In this issue, Border Crossings looks in large part at the work of five female artists pushing the boundaries of contemporary sculpture.
British artist Phyllida Barlow recontextualizes found objects in a variety of unexpected ways. She is a master of transforming the ordinary into environments of irresistible density. In this way, her work is commensurate with the architecture she inhabits.
Valérie Blass’s work evokes a kind of spontaneous energy. Her assemblages and free-standing objects, much like those of Phyllida Barlow, are performative in nature and invite a kind of active engagement between the viewer and the viewed. Skirting the definitive, Blass’s work oscillates between figuration and abstraction, between something put-together and something fallen apart.
We interview Winnipeg-born, California-based sculptor and teacher, Mia Feuer. Feuer transforms ordinary everyday materials into fantastical environments. She uses art as a way of articulating a committed social engagement filtered through her own autobiography.
Doug Harvey discusses the interweaving of art history, feminism and postmodern formalism in the work of Phyllis Green, looking as far back as her seminal feminist art piece, Boob Tree, crocheted in candy floss pink. And Toronto-based sculptor Jen Aitken stresses the importance of intuition as a form of knowledge and expertise.
In this issue, Border Crossings presents with great pleasure Paul Butler’s Portfolio of hockey collages, the quintessential and iconic Canadian pursuit, with commentary by two iconic Canadian cultural producers: writer and psychoanalyst Dr. Jeanne Randolph and filmmaker Guy Maddin.
The Crossover section includes reviews on Meaghan Hyckie, Patrick Cruz, Przemek Pyszczek, Jack Goldstein and Ron Terada, the Contemporary Native Art Biennial/ La Biennale d’Art Contemporain Autochtone 2018, Cinthia Marcelle and + much more….