Baltimore Museum of Art: Salman Toor: No Ordinary Love

Salman Toor is the other special exhibition at the BMA that I wanted to see. Toor was born in Lahore, Pakistan in 1983. As a gay man, he didn't exactly find a ready audience for his ideas, let alone his art. The thing that I love about this particular exhibit is its immediacy. The artist painted several works specifically for this exhibition based on painting in the BMA's collection of 17th through 19th century European Art. In do so, Toor's intention is to turn the tables on the subject matter and create an alternate perspective on the composition that is not simply not European, but particularly South Asian and Queer. Now don't over-read into this. None of his work is particularly erotic, and if you think it is, then may respectfully suggest that this is a topic for you to discuss with your therapist! Yet, it is certain sexuality positive. And, yes, there is a difference.

A nice collection of his work can be found in a trio of galleries between the Cohen Sisters collection of post-impressionist masters and the contemporary art wing. Others that were painted specifically for the exhibition hang throughout the 17th-19th century European Art galleries in the company of the works they inspired.

One of the delightful things about the exhibition was the number of visitors, young folks mostly, of South Central Asian heritage.  Under-riding conversations was a palpable joy, a shared sense of pride in having Toor's works featured in this way.  In some cases they as much as said so to one another.  It was a good feeling.

Now, what struck me most about his work was the plethora of ways his work felt derivative of other artists.  Lots of other artists for all manner of diverse reasons.  I found myself seeing clear comparisons between his paintings and those of Vincent Van Gogh, Pierre Bonnard, Edward Hopper, Philip Guston, Charles Burchfield, and George Bellows!  Now, I grant you that part of what Toor does is appropriate ideas, but I was overwhelmed by these connections even before I read the blurb about his process, inspirations and intentions.  

It's a very interesting show, and it only has two weeks left before it ends.

Dad and Son, 2020

This painting is evocative of so much!  The Madonna and Child motif rife in European art for centuries.  And such an air of tenderness, it's striking.  When examining the use of 'tally marks" to create depth and movement coupled with the compassionate treatment of the subject, I was immediately reminded of Van Gogh's early painting, especially the ones of the potato pickers.  

Back Lawn, 2021

The accompanying text associated the inspiration for this work to a painting by the Indian Mughal artists  (circa 1730 - 1750).  The painting is titled, "Krishna and the Gopis Play Hide-and-Seek".  Further the architecture of the building is based on the artist's childhood home.  In the Mughal tradition, garden scenes are common, and the inclusion of lover who are meeting clandestinely to frolic among the greenery is common.  

Now while this makes sense, for whatever reason, I was also taken to Edward Hopper's masterwork in the Chicago Art Institute "Nighthawk's Date".  The night scene was an illuminated "inner" area and the suggestion of a clandestine rendezvous.  

The Women, 2021

What strikes me about this painting is the title.  Clearly there are three women lounging on the bed.  A cursory glance might suggest that a young girls is standing before the dresser with its objects of feminine make-up averting her eyes from the mirror.  But look closer.  I don't think it's a girl at all.  I think it's a boy.

Cemetery with Dog, 2022

I defy you not to see the hidden language of sound in this work that is the hallmark of works by the artist Charles Burchfield.  Period. 

Pillow Fight, 2022