Such the wonder of a new way of being in the world: the proposals that remake our visions, rare celebrations like the turn toward abstraction in art during the last century.
Humankind at its best suggests new worldviews — that our ground is round instead of flat, for instance, and it is a shared amazement, like the suggestion that a star is at the center of things rather than us. And with these understandings, we are transformed.
And how we love our animals.
We tame them. We worship them. We sleep with them. We admire them. We eat them. We use them for sport, for fashion, for profit. We nurture them, cultivate them, hunt them, kill them. They are devils. They are gods.
I’m sorry, but this show is just not the way it is supposed to be.
It’s off-kilter, sometimes upside-down and usually topsy-turvy.
Give this 54th version of Chautauqua’s juried Exhibition of Contemporary Art a nudge and it would tumble over the line, across that careful border that too often marks what is right for art and what is supposedly not.
Abstract work from the Albright-Knox Art Gallery in Buffalo, N.Y., featured in the exhibition “Abstract in America: 1940s to 1960s” will be on display in the Strohl Art Center throughout the summer. This is supported by the three-year partnership with the Albright-Knox.