Border Crossings Magazine

Highlights

Robert Enright’s interviews in Border Crossings set the standard and are regularly quoted and reprinted in books and other magazines.

A selection from the past two decades includes:

A
Adams, Kim - Issue 69
Alexander, David - Issue 63
Altmejd, David - Issue 92
April, Raymonde - Issue 108

B
Belmore, Rebecca - Issue 95
Boyle, Shary - Issue 103
Brown, Cecily - Issue 93
Burkett, Ronnie - Issue 52

C
Cardiff, Janet & George Bures Miller - Issue 78
Celmins, Vija - Issue 87
Christo & Jeanne-Claude - Issue 41
Cohen, Leonard - Issue 104
Condo, George - Issue 86
diCorcia, Philip-Lorca - Issue 108
Cragg, Tony - Issue 43
Cumming, Donigan - Issue 94

D
Dean, Max - Issue 101
Delvoye, Wim - Issue 96
Dine, Jim - Issue 48
Doig, Peter - Issue 98
Dyck, Aganetha - Issue 74

E
Eakin, William - Issue 94
van Eeden, Marcel - Issue 104

F
Falk, Gathie - Issue 46
Fastwurms - Issue 97
Fischl, Eric - Issues 67, 75, 87
Ford, Walton - Issue 97
Frenkel, Vera - Issue 102

G
Gibson, Ralph - Issue 82
Golub, Leon - Issue 73
Goodwin, Betty - Issue 56
Gornik, April - Issues 63, 75
Green, Art - Issue 96

H
Hamilton, Ann - Issue 74
Henriquez, Gregory - Issue 100
Hoffos, David - Issue 99
Holownia, Thaddeus - Issue 84
Horn, Rebecca - Issue 40
Horn, Roni - Issue 110

J
James, Geoffrey - Issues 33, 81
Johnson, Sarah Anne - Issue 107

K
Katz, Alex - Issue 83
Kentridge, William - Issue 81
Koons, Jeff - Issue 37

L
Lake, Suzy - Issue 49
Letinsky, Laura - Issue  99
Lexier, Micah - Issue 78
Lichtenstein, Roy - Issue 51
Lukacs, Attila Richard - Issues 39, 78

M
MacPhe, Medrie - Issue 78
Marden, Brice - Issue 70
Martin, Steve - Issue 75
McCollum, Allan - Issue 79
Michener, Diana - Issue 72
Mitchell, Joni - Issue 77
Morley, Malcom - Issue 100
Motherwell, Robert - Issue 32
Moon, Sarah - Issue 72
Murray, Robert - Issue 70
Mutu, Wangechi - Issue 105

N
Neshat, Shirin - Issue 109

O
Ono, Yoko - Issue 49

P
Penny, Evan - Issue 98
Poitras, Edward - Issue 56
Polataiko, Taras - Issue 58
Pylypchyk, Jon - Issue 107

R
Ramsay, Benny Nemerofsky - Issue 92
Redl, Erwin - Issue 96
Rorai, Gina - Issue 88
Rossellini, Isabella - Issue 86
Rothenberg, Susan - Issue 95
Ruscha, Ed - Issue 106

S
Scully, Sean  - Issue 103
Scherman, Tony - Issue 103
Schutz, Dana - Issue 92
Schnabel, Julian - Issue 88
Scott, John - Issue 71
Sims, Theo - Issue 107
Snow, Michael - Issue 102
Spero, Nancy - Issue 89
Stillwell, Jennifer - Issue 107
Stone, Reva - Issue 101
Sullivan, Françoise - Issue 106

U
Urban, David - Issue 80

W
Wainio, Carol - Issue 85
Wall, Jeff - Issue 73
Wegman, William - Issue 85
Werner, Janet - Issue 83
Wiitasalo, Shirley - Issue 95

Y
Yuskavage, Lisa - Issue 103

INTERVIEW EXCERPT

From "On the Other Side of the Mirror, A Conversation with Nancy Spero"

BORDER CROSSINGS: Your whole relationship to being silenced has been fascinating. It’s interesting that you would find a way out of silence through Artaud. Were you aware that he was a remarkable drawer as well as a writer?

NANCY SPERO: The only reason that I got into Artaud was we bought a book that a friend of ours, a young poet we knew in 1958 when Leon was teaching at Indiana University, had published on the translations of Artaud. I had known about Artaud but hadn’t shown much interest in him in France. After we had returned from Paris, our middle son was reading to me and translating Artaud back into the French and I said, that’s it. That’s the voice, the tragic artist who couldn’t find a foothold, and who had been knocked around and ignored in bourgeois society and the French intellectuals. The "War Series" had run its course and Artaud arrived.

BORDER CROSSINGS: The interesting thing about Artaud was his fury. Was he the right artist for you to choose because he matched your rage?

NANCY SPERO: I "knew" his bitter disappointment in the world and also I was in pain from arthritis. The arthritis is progressive and you can see the terrible havoc it’s claimed on my hands. You can’t see my elbows because I keep them hidden, but it’s not hard to see my hands. So at that time my choice wasn’t so much visual as it was self-denial; I kept running from doctor to doctor. This started happening in Paris, and I didn’t want to admit to myself that I had this terrible disease. So I was in great pain and it resonated: Artaud, the art world, my being silenced, bourgeois society’s indifference, my physical pain and the inherent futility and/or tragedy of life itself. It fuelled my imagery.