BEGIN:VCALENDAR VERSION:2.0 PRODID:icalendar-ruby CALSCALE:GREGORIAN BEGIN:VEVENT DTSTAMP:20170523T095208Z UID:281548 DTSTART:20130615T000000 DTEND:20130720T000000 DESCRIPTION:
1.departing from the right\, normal\, or usual course.
2.deviating f rom the ordinary\, usual\, or normal type\; exceptional\; abnormal.
Du ring the 100 years that abstract art has existed\, it has morphed from a ra dical\, experimental vehicle to something that must now be considered a tra dition. As a style\, it has proved to be an enduring one\; it is still prom inently shown in galleries in any major city. But much of the abstract art currently on view lacks an important quality that successful abstraction ha s always had - the ability to elicit surprise\, to challenge the viewer’s e xpectations.
To deviate from the “rig ht”\, or “usual” way of doing things is to be aberrant\, and that is the na ture of Aberrant Abstraction. Most of the work in this exhibition would not be considered abstract under the usual definition. Although each work appe ars at first to be a purely abstract image\, upon closer inspection\, there is always a reference to something outside of the artwork itself.\n
For example\, the canon of minimalist art\, o
ne of abstraction’s great achievements\, is evident in Jeff Colson’s large
wall sculpture\, but this deflates when one reads the work’s title\, Hot Do
g Boat. Lara Jo Regan’s large photograph of a defiled dollar store underwea
r rack is clearly representational\, but the work has more affinity with bi
omorphic abstract painting than with the usual conventions of photography.
Likewise\, Matthew Brandt’s photographs of lakes and reservoirs\, which hav
e been dipped in the water they depict\, often appear more like the organic
abstraction of surrealists Matta or Miro.
Significantly\, there is no actual painting in Aberrant Abstraction\, although many of the works resemble abstract painting. Instead\, the artists work in sculpture or pho tography\, or combine both mediums. Perhaps this is because after a century of incredible development in painting – abstraction’s most common and dura ble vehicle - there is more room to evolve in other mediums. And photograph y and sculpture\, both arts of the “real”\, are uniquely suited to the arti st that chooses to deviate from the right\, normal\, or usual.
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