Can we see past what we see? Can we see more than we see? Can we see in a way that not only reveals what we haven’t been seeing, but has us see a whole different reality? These are the questions that abstract art, after more than a century, still poses us. Art that does not replicate or even approximate the seen world is no longer a challenge to aesthetic conventions; it is by now universally regarded as an invitation to comprehension of a different kind, a comprehension at once more personal and more universal than is possible with representational art. Abstraction moves its makers and its viewers alike, in unique ways.
Van Der Plas Gallery, New York City – April 9 – 29, 2021
by Christopher Hart Chambers
Scot Borofsky was born in 1957, raised and still lives in Vermont. Since the mid 1970s he has traveled extensively throughout the Americas, and the influence is salient in his artwork. Borofsky attended the Rhode Island school of Design. Like several other street artists, when he moved to New York City after graduating, he found his art school learning dry and lifeless in comparison to the visual stimulation blooming on the urban streets – that was not yet even considered art from whence he hailed.
Acts of Erasure at the Museum of Contemporary Art (MOCA), Toronto is a stunning installation that brings two prominent artistic practises together into a dialog. Fatma Bucak and Krista Belle Stewart come from different geographical areas and heritages. Bucak was born in Iskenderun, on the Turkish-Syrian border and identifies as both Kurdish and Turkish. She now resides in London, UK. Stewart is a member of the Okanagan Nation in British Columbia. Their thoughtful work integrates interlocking layers of the historical, the political and the emotional.
Pace presents “Adrian Ghenie: The Hooligans,” an exhibition of nine large-scale semi-abstract oil paintings and three charcoal drawings rendered on paper. The term “hooligans” refers to an underground group of individuals who ignore the limitations of polite society, shaping their lives to be free of constraints. In his powerful new works, Ghenie explores the artists who formed movements that rocked established academies, challenging the status quo of their times with new visions of transformed realities, reinvigorating art in the process.
“Church and Rothko: Sublime,” an exhibition of twenty-seven oil paintings on canvas, brings into focus, in the context of the ‘Sublime,’ the similarities and divergences of two deeply contrasting artists who extended the art of painting to suit their overriding visions, separated by a span of nearly 100 years.