Border Crossings Magazine

Claude Cahun: Travelling in the Prow of Herself

Meeka Walsh

  Following her death, at her own hand at the age of 80, the contents of Suzanne Malherbe’s house were auctioned in lots at Langlois’s Don Street and Peter Street auction rooms in Jersey, Channel Islands....

The Pleasures of Indeterminacy: Andrew Wright

  Ottawa-based photographer, Andrew Wright, has adopted an aesthetic strategy of putting things in play to see what happens. His latest engagement with this art of unpredictability is a series called “Coronae,” consisting of 60 x...

Sarah in Wonderland: Sarah Anne Johnson

  “Totally alien. I felt like I had landed on Mars. It was unlike anything I had even seen or done before.” Sarah Anne Johnson, the Winnipeg photographer with an aesthetic Midas touch, is talking about...

The Wheel of Reputation: Vivian Maier

  History doesn’t just repeat itself, it is also in the business of re-invention. The discovery in Chicago three years ago of a cache of photographs and negatives by Vivian Maier is a classic case of...

Moments of Beauty and Brilliance: Steve Ackerman

  Steve Ackerman has an instinct for photographing people in states of quiet pleasure, even unto ecstasy. That is the actual condition of a young woman at the Winnipeg Folk Festival who has taken the drug...

Useless Beauty

Robert Enright

  The opening shots in Kevin Macdonald’s documentary Life in a Day are fetching. We see a full and gorgeous moon, a pair of elephants bathing in the still dark morning, a wonderfully spindly tree, a...

The Art of Everyday Illumination: Gillian Wearing

  BORDER CROSSINGS: The mask is a very complicated device. The masks in Trauma are odd, and I know you wanted them to represent the person when the incident being recalled happened, even if it is...

Colour His World: The Photography of Fred Herzog

Introduction by Meeka Walsh

Discussions of colour photography and its earned and appropriate consideration as a serious art form were taking place in the US in the mid-’70s. No longer identified as only a commercial medium, it was challenging...

Paper Wait: The Darkroom Alchemy of Alison Rossiter

BORDER CROSSINGS: In a digital age that’s not a usual way to approach photography. It seems like you have always been something of an outsider. ALISON ROSSITER: Well, I have tried many subjects with cameras and...

Anxious Desires: The Photography of Susan Dobson

  BORDER CROSSINGS: A number of your bodies of work look at the relationship between consumer culture and natural culture. You often structure the bodies of work in terms of binary oppositions. SUSAN DOBSON: I don’t construct...

Rooms of Her Own: The Comfortable Strangemess of Lynne Cohen's Photographs

Stephen Horne

  The critical potential of Cohen’s work lies in its characteristics of ambiguity and opacity, or at least, these are what provide the real dynamic for her photographs, propelling her descent into what critics have referred...

Multiple Benefits: Evan Lee's Photographic Variety

Lee Henderson

  As a photographer, Evan Lee has steadily moved away from reproduction. His most recent project is a painstaking recreation of an Associated Press aerial photograph of Sri Lankan boat refugees in Vancouver’s harbour, where he...

Self-Inventions: The Photography of Suzy Lake

Daniel Baird

  “Choreographed Puppets” is about control and resistance, gravity and momentum and friction; it is also, as she told me, about “the controlling hand of the other.” “ImPositions,” 1977, on the other hand, is about confinement....

David Balzer

Christopher Olson

Richard Holden

MJ Thompson

Jenn Hutton

Rhiannon Vogl

Gary Michael Dault

Petra Halkes

Jessi Khadivi

Sarah Milroy

April Steele

Nancy Tousley

James Campbell

E C Woodley

James Campbell

Cameron Skeene

Andrew Kear

Jessica Eaton: New Work

  Above images: Jessica Eaton, from "cfaal series" (Cubes for Albers and LeWitt), 2011, archival pigment prints. Courtesy the artist and Clint Roenisch Gallery, Toronto.