The Manuel Ojeda gallery, located at Calle Buenos Aires, 3, in the capital of Gran Canaria, opens the doors to the Highway Song exhibition, by the German painter Richard Schur, which can be visited until April 30.
About his work, author Peter T. Lenhart writes the following: Like many artists of his generation, Richard Schur grew up (both in life and in painting) with a worldly awareness of the fact that there will no longer be first paintings, nor there will be latest paintings. And, like other painters of his generation, he understands that drawing on certain vocabularies from the past is a legitimate possibility in this post-historical situation. An interesting aspect of Schur’s back to the future is that it does not relate to the avant-gardes of the early 20th century. Clear and stubborn, he refers to these North American painting movements of the 1950s and 1960s, which turned against the gestures of the Abstract Expressionists in favor of a more or less pure “painting in color.” (Without having to jump to definitions of schools or eras.
The new paint, as Piet Mondrian postulated in 1920, “it is a composition of rectangular color planes that expresses the deepest reality. It achieves this through the plastic expression of relationships and not through natural appearance. It realizes what all painting has always done. sought, but which could only be expressed in a veiled way. Colored planes, both by position and dimension and by the greater value given to color, plastically express only relationships and not forms. A passage that may well make one think of paintings by Richard Schur, especially when Mondrian wrote some years later (1938) that non-figurative art would evolve from ‘establishing a dynamic rhythm of shapes, lines, colors and relationships’ and for good reason Schur likes to speak in musical metaphors about his painting. Usually associating him with Mondrian is not unreasonable because the young Schur was totally fascinated by his paintings, until later he focused more on the expressive and gestural and from there he came to his interpretation of Hard Edge Painting. If one could still believe in the aforementioned teleological development of art history, one could imagine seeing here in the phenotype an ongoing genotypic development, which, of course, goes too far and, above all, does not do justice to the Schur’s originality.
However, also without such beliefs, in this context one might think of Clement Greenberg (himself a great believer in teleology), at least as regards the distinction he made between abstract expressionism and post-painting abstraction:! Much of earlier pictorial art, Abstract Expressionism, has ultimately worked to reduce the role of color: uneven densities of paint become so many differences of light and dark, that they deprive color of both its purity and fullness. At the same time, it has also worked against true openness, which is supposed to be another quintessential pictorial goal: careless application of paint ends up crowding the plane of the image into a compact jumble. ” However, the painters of the new direction turned “away from the pictorial character of Abstract Expressionism, as if to save pictorial objects (color and openness) from painting itself.” Nevertheless, the final effect sought is one of more than chromatic intensity; it is rather one of an almost literal opening that embraces and absorbs color in the act of being created by it.