The ARTCHIVAL - Todd Schorr

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Sept 3, 2010, 12:26am

The ARTCHIVAL :: Art :: Low Brow/Pop Surrealism :: Todd Schorr

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Todd Schorr
« Thread Started on Mar 24, 2009, 12:18pm »

Posted up an interview with Schorr. Here is part of it.

Arrested Motion (AM): Your fans in Los Angeles have waited over five years for you to return with another solo show. Can you tell us a little about this show and why you entitled it “The World We Live In?”

Todd Schorr: The work in this show began as an outgrowth from the large “Ape Worship” painting I worked on from 2007-2008. After completing that painting, I found I had some related ideas, also concerning apes, that I wanted to get down on canvas. Those ideas formed the basis of what would become “An Ovoid Ape,” “The Anguish Of Carl Akeley,” and “An Ape Allegory.” “When Fairy Tales Collide” and “The World We Live In” round out the show along with preliminary work for “Ape Worship.” I wanted to include the preliminary “Ape Worship” pieces as a sort of preview for the massive installation that will be part of my 25 year retrospective to take place at The San Jose Museum Of Art beginning in June. The meaning of the show’s title, “The World We Live In,” is obvious in the painting of the same name, but it also serves as a convenient blanket statement with regards to my work in general. All of my work, regardless of subject matter, touches on some aspect of shared universal truth common to our time and place.

AM: The “Ape Worship” painting that was part of the “In the Land of Retinal Delights: The Juxtapoz Factor” exhibition at the Laguna Art Museum, we remember, was impressive in scale and composition. How did you feel being included in such a landmark exhibition? How important did you think an exhibition like this was for the scene and where do we go from here?

Schorr: The Juxtapoz show certainly was an important milestone exhibition, and through Meg Linton’s insightful curatorial guidance, the wonderful range, depth, and importance of this art could be viewed as a collective whole. It’s one of the few small steps certain progressive museums have taken to bring this art to a wider public.

The next step is to see major exhibitions of these artists in the truly hallowed halls of art like the Museum Of Modern Art in New York for instance. There is still a persistent reluctance on the part of many of these larger institutions in acknowledging this art, but I really feel they’re shooting themselves in the foot on this point, and fail to realize the broader audience this art has the potential to bring in. I recently witnessed a rather humorous situation at the Museum Of Art in New York where the gallery displaying surrealist art was jam-packed with onlookers, while the gallery containing work of recent conceptual work was occupied solely by a young mother changing the diaper of her baby infant. Does that not tell you something?