From the Author
I am deeply indebted to Eli Borstein for many studio visits and long conversations. I am grateful to both Eli and his wife, Christina, for crucial background stories and biographical details, as well as for delightful lunches and dinners, and so much more. My other indispensable partner in Saskatoon has been Cheryl Avery, archivist at the University of Saskatchewan, who has been tireless in her pursuit of the images for the book and of archival information. At the Remai Modern I thank Sandra Fraser and also Troy Mamer, who has been an essential source not only of his own photography of Eli’s art, but also for his work in scanning and cleaning Eli’s personal photographs and collection of old slides. Valuable advice has come from artist Elizabeth Willmott, and from art historian Olivar Botar, who has long been an astute writer on and curator of Eli’s work. The hospitality of Norman Zepp and Judith Varga, Bob and Susanne Christie, and Cathy Perehudoff and Graham Fowler during my many visits has made Saskatoon one of my favourite Canadian cities. Also my thanks to the several ACI editors who have helped shape my prose for a general reader. And finally, endless kisses to my wife, Lori Walters, always a patient reader and rereader of my writings.
IMAGE SOURCES
Every effort has been made to secure permissions for all copyrighted material. The Art Canada Institute will gladly correct any errors or omissions.
The Art Canada Institute thanks the following for their assistance: Art Gallery of Ontario (Alexandra Cousins); ARTRES (John Benicewicz); Bauhaus-Archiv Berlin (Erika Babatz, Kai-Annett Becker); Beaverbrook Art Gallery (Dawn Steeves); Canadian Centre for Architecture (Céline Pereira); Copyright Visual Arts (Geneviève Daigneault); Dallas Museum of Art (Paul Molinari); Estate of Charles Gagnon (Eames Gagnon); Estate of Henry George Glyde; Estate of Naum Gabo; Family of Lawren S. Harris (Stew Sheppard); Figure 1 Publishing (Mark Redmayne); Forum Gallery (Asja Gleeson); General Hardware (Niki Dracos); Hirshhorn Museum and Sculpture Garden, Smithsonian Institute (Hannah Green); Kunstmuseum Den Haag (Jolanda Zonderop); Maynards Fine Art and Antiques (Maya Thapa); McMichael Canadian Art Collection (Hanna Broker); Minneapolis Institute of Art (Dan Dennehy); Moholy-Nagy Foundation (Natalia Hug); Mondrian Trust (Madalena Holtzman); Montreal Museum of Fine Arts (Marie-Claude Saia); National Gallery of Canada (Raven Amiro, Philip Dombowsky); Nickle Galleries, University of Calgary (Lisa Tillotson, Christine Sowiak); Ottawa Art Gallery (Jennifer Gilliland); Postmedia (Elena Novikova); Remai Modern (Jillian Cyca); RISD Museum (Nicole Priedemann); Saskatoon Public Library (Jeff O’Brien); Tate Modern (Fintan Ryan); University of Manitoba Art Collection (C.W. Brooks); University of Regina Archives and Special Collections (Alyssa Hyduk); University of Saskatchewan Art Galleries (Blair Barbeau); University of Saskatchewan, University Archives and Special Collections (Cheryl Avery); University of Wisconsin-Milwaukee Libraries (Abigail Nye); Vancouver Art Gallery (Danielle Currie); Walker Art Centre (Kova Walker-Lečić); Weisman Art Museum at the University of Minnesota (MollieRae Miller); Whyte Museum of the Canadian Rockies (Amy Lalonde); Winnipeg Art Gallery (Nicole Fletcher, Sydney Murchison); Eli Bornstein; Oliver A.I. Botar; Christian Eckart; Roald Nasgaard; Liv Valmestad; and Elizabeth Willmott.
The ACI recognizes the additional private collectors who have given permission for their works to be published in this edition.
Credit for Cover Image
Eli Bornstein, Hexaplane Structurist Relief No. 2 (Arctic Series), 1995–98. (See below for details.)
Credits for Banner Images
Biography: Eli Bornstein installing his work for Artist in Focus: Eli Bornstein at Remai Modern, Saskatoon, 2019. (See below for details.)
Key Works: Eli Bornstein, Quadriplane Structurist Relief No. 2 (River-Screen Series), 1989–96. (See below for details.)
Significance & Critical Issues: Eli Bornstein, Saskatoon, 1954. (See below for details.)
Style & Technique: Cover of The Structurist, no. 49/50, “Toward an Earth-Centred Greening of Art and Architecture,” 2009–10. (See below for details.)
Sources & Resources: Eli Bornstein, The Island, 1956. (See below for details.)
Where to See: Installation view of An Art at the Mercy of Light: Recent Works by Eli Bornstein at the Mendel Art Gallery, Saskatoon, 2013. (See below for details.)
Credits: Eli Bornstein, Quadriplane Structurist Relief No. 8 (detail), 2000–2002. (See below for details.)
Credits for Works by Eli Bornstein
Aluminum Construction (Tree of Knowledge), 1956. Photo credit: Roald Nasgaard.
Arctic Study No. 7, 1986. Collection of the artist. Courtesy of the University of Saskatchewan, University Archives and Special Collections.
Arctic Study No. 12, 1986. Collection of the artist. Courtesy of the University of Saskatchewan, University Archives and Special Collections.
Arctic Study No. 38, 1987. Collection of the artist. Courtesy of the University of Saskatchewan, University Archives and Special Collections.
Boats at Concarneau, 1952. Private collection. Courtesy of Eli Bornstein.
Detail of Multiplane Structurist Relief IV, No. 2 (Arctic Series), 1987–88. Collection of the artist. Courtesy of the University of Saskatchewan, University Archives and Special Collections.
Double Plane Structurist Relief No. 3, 1967–69. Collection of the University of Saskatchewan, Saskatoon, Purchased 1973 (1973.011.001). Courtesy of the University of Saskatchewan.
Double Plane Structurist Relief No. 8, 1973. The Mendel Art Gallery Collection at Remai Modern, Saskatoon, Purchased 1984 (1984.16). Courtesy of Remai Modern. Photo credit: Blaine Campbell.
Downtown, 1954. Collection of the University of Saskatchewan, Saskatoon, Purchased 1956 (1957.011.001). Courtesy of the University of Saskatchewan.
Downtown Bridge #4, 1954. The Mendel Art Gallery Collection at Remai Modern, Saskatoon, Gift of the Picture Sales and Rental Committee, Women’s Auxiliary, Saskatoon Art Centre, 1977 (1977.3.2). Courtesy of Remai Modern.
Four Part Vertical Double Plane Structurist Relief, 1980–83. Photo credit: Roald Nasgaard.
Four Part Vertical Double Plane Structurist Relief Nos. 14–17 (Winter Sky Series), 1980–83, model of commission for Wascana Centre Authority. Collection of the Canadian Centre for Architecture, Montreal, Gift of Eli Bornstein (DR2008:0028). Courtesy of the Canadian Centre for Architecture.
Girl Reading, 1948. Collection of the artist. Courtesy of the University of Saskatchewan, University Archives and Special Collections.
Growth Motif Construction No. 3, 1956. Location unknown. Courtesy of Eli Bornstein.
Growth Motif No. 4, 1956. Collection of the artist. Courtesy of Eli Bornstein.
Head, c.1947. Collection of the Walker Art Center, Minneapolis, Gift of the T.B. Walker Foundation, 1947 (1947.46). Courtesy of the Walker Art Center.
Hexaplane Structurist Relief No. 1 (River-Screen Series), 1989–96. Collection of the artist. Courtesy of Remai Modern. Photo credit: Troy Mamer.
Hexaplane Structurist Relief No. 2 (Arctic Series), 1995–98. Collection of the University of Saskatchewan, Saskatoon, Gift of Dorothea Adaskin, 2005 (2005.001.001). Courtesy of the University of Saskatchewan.
Installation view of Quadriplane Structurist Relief No. 1 (River-Screen Series), 1989–96, Quadriplane Structurist Relief No. 2 (River-Screen Series), 1989–96, and Quadriplane Structurist Relief No. 3 (River-Screen Series), 1989–96, by Eli Bornstein. Collection of the artist. Courtesy of Roald Nasgaard. Photo credit: Roald Nasgaard.
Installation view of Structurist Relief No. 6, 1999–2000, Structurist Relief No. 7, 2000–2001, and Structurist Relief No. 8, 2000–2002, by Eli Bornstein at the Mendel Art Gallery, Saskatoon, 2013. Courtesy of Remai Modern. Photo credit: Troy Mamer.
Installation view of Structurist Relief in Fifteen Parts, 1962, by Eli Bornstein at the Max Bell Centre, University of Manitoba, Winnipeg, 2014. Collection of the University of Manitoba. Courtesy of Oliver A.I. Botar. Photo credit: Oliver A.I. Botar.
Installation view of Untitled Hexaplane Structurist Relief, 2004, by Eli Bornstein on the Synchrotron–Canadian Light Source building, University of Saskatchewan, Saskatoon, date unknown. Photographer unknown. Courtesy of Eli Bornstein.
The Island, 1956. Collection of the artist. Courtesy of Eli Bornstein.
Isometric Study for Double Plane Structurist Relief, 1969. Collection of the artist. Courtesy of Remai Modern. Photo credit: Blaine Campbell.
Low Form Relief No. 10, 1957. Collection of the artist. Courtesy of Remai Modern. Photo credit: Blaine Campbell.
Multiplane Structurist Relief IV, No. 1 (Arctic Series), 1986–87. Collection of the Beaverbrook Art Gallery, Fredericton, Gift of the artist (2009.143). Courtesy of the Beaverbrook Art Gallery.
Multiplane Structurist Relief V, No. 1, 1993. The Mendel Art Gallery Collection at Remai Modern, Saskatoon, Gift of Dorothea Larsen Adaskin, 2004 (2004.17.25). Courtesy of Remai Modern. Photo credit: Blaine Campbell.
Multiplane Structurist Relief VI, No. 1 (Sunset Series), 1998–99. Collection of the artist. Courtesy of Remai Modern. Photo credit: Troy Mamer.
Porte St. Denis, 1954. Private collection. Courtesy of Maynards Fine Art and Antiques.
Quadriplane Structurist Relief No. 1 (River-Screen Series), 1989–96. Collection of the artist. Courtesy of Roald Nasgaard. Photo credit: Roald Nasgaard.
Quadriplane Structurist Relief No. 2 (River-Screen Series), 1989–96. Collection of the artist. Courtesy of Roald Nasgaard. Photo credit: Roald Nasgaard.
Quadriplane Structurist Relief No. 3 (River-Screen Series), 1989–96. Collection of the artist. Courtesy of Roald Nasgaard. Photo credit: Roald Nasgaard.
Quadriplane Structurist Relief No. 4 (Sunset Series), 1997–99. Collection of the artist. Courtesy of Remai Modern. Photo credit: Troy Mamer.
Quadriplane Structurist Relief No. 8, 2000–2002. Collection of the artist. Courtesy of the University of Saskatchewan, University Archives and Special Collections.
Quadriplane Structurist Relief No. 15-II, 2016–17. The Mendel Art Gallery Collection at Remai Modern, Saskatoon, Gift of the artist, 2017 (2017.12). Courtesy of Remai Modern. Photo credit: Blaine Campbell.
Saskatoon, 1954. Private collection. Courtesy of Eli Bornstein.
Shelomo, 1949-56. Collection of the artist. Courtesy of Eli Bornstein.
Structurist Relief in Five Parts, Model Version, 1962. Collection of the National Gallery of Canada, Ottawa, Purchased 1965 (14754). Courtesy of the National Gallery of Canada. Photo credit: NGC.
Structurist Relief No. 1, 1966, Collection of the Nickle Galleries, University of Calgary (NG.1970.060.002). Courtesy of the Nickle Galleries. Photo credit: Andy Nichols, LCR Photo Services.
Structurist Relief No. 1-1 (Sea Series), 1966. Collection of Forum Gallery, New York. Courtesy of Forum Gallery.
Structurist Relief No. 3 (Sea Series), 1966–67. Collection of the artist. Courtesy of the University of Saskatchewan, University Archives and Special Collections.
Structurist Relief No. 3-1 (Canoe Lake Series), 1964. Private collection.
Structurist Relief No. 18-II, 1958–60. Collection of the University of Saskatchewan, Saskatoon, Commissioned 1958 (1958.003.001). Courtesy of the University of Saskatchewan. Photo credit: Roald Nasgaard.
Tripart Hexaplane Construction No. 2, 2002–6. Collection of the University of Manitoba, Gift of Eli Bornstein, 2007. Courtesy of Liv Valmestad. Photo credit: Liv Valmestad.
Tripart Hexaplane Construction No. 2 (model), 2002–6. Collection of the artist. Courtesy of Remai Modern. Photo credit: Troy Mamer.
Tripart Hexaplane Construction No. 3, 2008–10. Collection of Remai Modern, Saskatoon, Purchased with the support of the Frank and Ellen Remai Foundation, 2019 (2019.11). Courtesy of Remai Modern. Photo credit: Blaine Campbell.
Untitled (Murray Adaskin), 1953. The Mendel Art Gallery Collection at Remai Modern, Saskatoon, Gift of Dorothea Larsen Adaskin, 2004 (2004.17.19). Courtesy of Remai Modern.
Credits for Photographs and Works by Other Artists
Above Bow Falls, 1952, by H.G. Glyde. Collection of Whyte Museum of the Canadian Rockies, Banff, Gift of Fred Burghardt, Edmonton, 2018 (GyH.02.15). Courtesy of the Whyte Museum of the Canadian Rockies.
Abstract: Green and Gold, 1954, by Lionel LeMoine FitzGerald. Collection of the Winnipeg Art Gallery, Gift of Mr. and Mrs. Joseph Harris (G-63-287). Courtesy of WAG-Qaumajug. Photo credit: Ernest Mayer.
Billboard advertising the exhibition Artist in Focus: Eli Bornstein at Remai Modern, Saskatoon, 2019. Courtesy of Roald Nasgaard. Photo credit: Roald Nasgaard.
Bird’s-eye view of 21st Street East, Saskatoon, 1955. Hillyard Photograph Collection, Saskatoon Public Library (B-2051). Courtesy of the Saskatoon Public Library. Photographer unknown.
The Bornstein family, 1938–39. Courtesy of Eli Bornstein. Photographer unknown.
Château Noir, 1900/1904, by Paul Cézanne. Collection of the National Gallery of Art, Washington, D.C., Gift of Eugene and Agnes E. Meyer, 1958 (1958.10.1). Courtesy of the National Gallery of Art.
Composition with Large Red Plane, Yellow, Black, Gray, and Blue, 1921, by Piet Mondrian. Collection of the Kunstmuseum Den Haag (333329). Courtesy of Kunstmuseum Den Haag.
Cover of Art as the Evolution of Visual Knowledge, by Charles Biederman (Red Wing: self-published by the author, 1948).
Cover of Artist in Focus: Eli Bornstein, with contributions by Sandra Fraser and Roald Nasgaard (Saskatoon: Remai Modern, 2019). Courtesy of Remai Modern.
Cover of Eli Bornstein: Arctic Journals 1986 and 1987, by Eli Bornstein, with contributions by Roald Nasgaard (Vancouver: Figure 1 Publishing, 2022). Courtesy of Figure 1 Publishing.
Cover of Eli Bornstein: Art Toward Nature, with contributions by Eli Bornstein and Jonneke Fritz-Jobse (Saskatoon: Mendel Art Gallery, 1996). Courtesy of Remai Modern.
Cover of Eli Bornstein: Selected Works / Œuvres choisies, 1957–1982, with contributions by Eli Bornstein and Kazimir Karpuszko (Saskatoon: Mendel Art Gallery, 1982). Courtesy of Remai Modern.
Cover of Nature by Ralph Waldo Emerson (Boston: James Munroe and Company, 1836). Courtesy of Christie’s.
Cover of Structure: Annual on the New Art, no. 1, edited by Eli Bornstein and Joost Baljeu (Saskatoon: University of Saskatchewan, 1958). Courtesy of the University of Saskatchewan, University Archives and Special Collections.
Cover of The Structurist, no. 1, “Structurist Origins/Developments,” edited by Eli Bornstein (Saskatoon: University of Saskatchewan, 1960). Courtesy of the University of Saskatchewan, University Archives and Special Collections.
Cover of The Structurist, no. 2, “Art in Architecture,” edited by Eli Bornstein (Saskatoon: University of Saskatchewan, 1962). Courtesy of the University of Saskatchewan, University Archives and Special Collections.
Cover of The Structurist, no. 4, “Art and Music,” edited by Eli Bornstein (Saskatoon: University of Saskatchewan, 1964). Courtesy of the University of Saskatchewan, University Archives and Special Collections.
Cover of The Structurist, no. 11, “An Organic Art,” edited by Eli Bornstein (Saskatoon: University of Saskatchewan, 1971). Courtesy of the University of Saskatchewan, University Archives and Special Collections.
Cover of The Structurist, no. 49/50, “Toward an Earth-Centred Greening of Art and Architecture,” edited by Eli Bornstein (Saskatoon: University of Saskatchewan, 2009–10). Courtesy of the University of Saskatchewan, University Archives and Special Collections.
Eli and Christina Bornstein’s dining room with skylight, 2020. Photograph by Roald Nasgaard. Courtesy of Roald Nasgaard.
Eli and Christina Bornstein’s house, date unknown. Courtesy of Eli Bornstein. Photographer unknown.
Eli and Christina Bornstein’s wedding photo, Monterey, California, 1965. Courtesy of Eli Bornstein. Photographer unknown.
Eli and Christina Bornstein in the artist’s studio, date unknown, Saskatoon. Courtesy of Oliver A.I. Botar. Photo credit: Oliver A.I. Botar.
Eli Bornstein and A.Y. Jackson at Murray Adaskin’s cabin, Canoe Lake, Ontario, 1964. Courtesy of Eli Bornstein. Photographer unknown.
Eli Bornstein and Charles Biederman in Red Wing, Minnesota, September 1958. Courtesy of Eli Bornstein. Photographer unknown.
Eli Bornstein and Gordon Snelgrove, c.1950–51. Courtesy of Eli Bornstein. Photographer unknown.
Eli Bornstein and his first dog, Skippy, 1932. Courtesy of Eli Bornstein. Photographer unknown.
Eli Bornstein and Murray Adaskin at a party hosted by Fred Mendel in Saskatoon, c.1954. Courtesy of Eli Bornstein. Photographer unknown.
Eli Bornstein in his studio, date unknown. Courtesy of Oliver A.I. Botar. Photo credit: Oliver A.I. Botar.
Eli Bornstein installing his work for Artist in Focus: Eli Bornstein at Remai Modern, Saskatoon, 2019. Courtesy of Remai Modern. Photo credit: Troy Mamer.
Eli Bornstein on the occasion of his graduation from the Milwaukee State Teachers College, 1945. Courtesy of Eli Bornstein. Photographer unknown.
Eli Bornstein painting at Ellesmere Island, 1986. Courtesy of the University of Saskatchewan, University Archives and Special Collections. Photo credit: Hans Dommasch.
Eli Bornstein playing the drums, date unknown. Courtesy of Eli Bornstein. Photographer unknown.
Eli Bornstein posing with the maquette for Tree of Knowledge, 1979. Courtesy of Eli Bornstein. Photo credit: Sandra Semchuk.
Eli Bornstein with Structurist Relief No. 18-II in the Arts and Science Building at the University of Saskatchewan, Saskatoon, 1961. University of Saskatchewan Photograph Collection, University of Saskatchewan, University Archives and Special Collections (A-8368). Courtesy of the University of Saskatchewan, University Archives and Special Collections. Photographer unknown.
Eli Bornstein with the cover proof of the 1997–98 issue of The Structurist, 1998. University of Saskatchewan Photograph Collection, University of Saskatchewan, University Archives and Special Collections (A-11126). Courtesy of the University of Saskatchewan, University Archives and Special Collections. Photographer unknown.
Eli Bornstein with two of his Structurist Reliefs, 1986. General Photographs Collection, Saskatoon Public Library (LH-9267). Courtesy of the Saskatoon Public Library. Photo credit: Saskatoon StarPhoenix.
Eli Bornstein with Untitled Hexaplane Structurist Relief, date unknown. Courtesy of the University of Saskatchewan, University Archives and Special Collections. Photographer unknown.
Ellesmere Island—Otto Fjord, 1986, by Hans Dommasch. University of Saskatchewan, University Archives and Special Collections, Hans Dommasch fonds, box 25, file F.5 folder 2 (MG 172). Courtesy of the University of Saskatchewan, University Archives and Special Collections.
Exterior of the Layton Art Gallery, 1895. Collection of the University of Wisconsin-Milwaukee Library. Courtesy of the University of Wisconsin-Milwaukee Library. Photographer unknown.
Forest, British Columbia, 1931–32, by Emily Carr. Collection of the Vancouver Art Gallery, Emily Carr Trust (VAG 42.3.9). Courtesy of the Vancouver Art Gallery.
Frank Lloyd Wright, 1954. Photograph by Al Ravenna. Collection of the Library of Congress, Washington, D.C. Courtesy of the Library of Congress.
Gardanne, 1885–86, by Paul Cézanne. Collection of The Metropolitan Museum of Art, New York, Gift of Dr. and Mrs. Franz H. Hirschland, 1957 (57.181). Courtesy of The Metropolitan Museum of Art.
In the Northland, 1915, by Tom Thomson. Collection of the Montreal Museum of Fine Arts, Purchase, Gift of Dr. Francis J. Shepherd, Sir Vincent Meredith, Drs. Lauterman and W. Gardner and Mrs. Hobart Molson (1922.197179). Courtesy of the Montreal Museum of Fine Arts. Photo credit: MMFA, Denis Farley.
Installation view of An Art at the Mercy of Light: Recent Works by Eli Bornstein at the Mendel Art Gallery, Saskatoon, 2013. Courtesy of Remai Modern. Photo credit: Troy Mamer.
Installation view of Artist in Focus: Eli Bornstein at Remai Modern, Saskatoon, 2019. Courtesy of Remai Modern. Photo credit: Blaine Campbell.
László Moholy-Nagy reviewing his notes at the opening of the New Bauhaus, Chicago, 1937. Courtesy of the Moholy-Nagy Foundation. Photo credit: Herbert Matter.
Mount Katahdin (Maine), Autumn #2, 1939–40, by Marsden Hartley. Collection of The Metropolitan Museum of Art, New York, Bequest of Edith Abrahamson Lowenthal, 1991 (1992.24.3). Courtesy of The Metropolitan Museum of Art and Wikimedia Commons / CC BY 1.0.
Page 36 of the inaugural issue of Structure: Annual on the New Art (1958), illustrating one of Eli Bornstein’s first Structurist Reliefs alongside Piet Mondrian’s Composition with Color Planes 2, 1917. Courtesy of the University of Saskatchewan, University Archives and Special Collections.
The “Regina Five”: Ronald Bloore, Arthur McKay, Douglas Morton, Kenneth Lochhead, and Ted Godwin outside the Norman MacKenzie Art Gallery, Regina, at the time of their May Show exhibition, 1960. Kenneth Lochhead fonds, University of Regina Archives and Special Collections. Courtesy of the University of Regina Archives and Special Collections. Photographer unknown.
Spatio-Temporelle #23, 1966, by Jean Gorin. Collection of the University of Saskatchewan, Saskatoon, Purchased 1972 (1972.008.001). Courtesy of the University of Saskatchewan.
Tree of Knowledge installed outside the Saskatchewan Teachers’ Federation Building (original site), 1956. Creative Professional Photographers Collection, Saskatoon Public Library (CP-4219-1). Courtesy of the Saskatoon Public Library. Photo credit: Leonard Hillyard.
View of an unfinished Structurist Relief in Eli Bornstein’s studio, Saskatoon, 2020. Courtesy of Roald Nasgaard. Photo credit: Roald Nasgaard.
View of Eli Bornstein’s studio featuring a collection of colour swatches for enamel paints, date unknown, Saskatoon. Courtesy of Oliver A.I. Botar. Photo credit: Oliver A.I. Botar.
View of Eli Bornstein’s studio featuring an unpainted aluminum Structurist Relief, date unknown, Saskatoon. Courtesy of Oliver A.I. Botar. Photo credit: Oliver A.I. Botar.
View of the South Saskatchewan River Valley from Eli Bornstein’s house, date unknown. Courtesy of Eli Bornstein. Photographer unknown.
Walt Whitman, c.1860–65. Photograph by Matthew Brady. Collection of the National Archive and Records Administration, Photographs and Graphic Materials, Washington, D.C. Courtesy of the National Archives and Records Administration.
Winter Night in the Mountains, 1914, by Harald Sohlberg. Collection of the National Museum of Art, Architecture and Design, Oslo. Courtesy of the National Museum of Art, Architecture and Design and Wikimedia Commons / CC BY 1.0.
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