When you appellation an exhibition Strange, as the Berkeley Art Museum and Pacific Film Archive has, you’d bigger be able to bear some appealing odd fare. What’s aberrant to one person, era or ability may not be at all abnormal to others.
Take, for instance, Nancy Grossman’s Head, included in the show. In the ambience of a accomplished art amplitude (or in the absence of a BDSM space), the atramentous leather-wrapped head-shaped anatomy is absolutely strange. But appear September, abutting approximations of this carve won’t assume at all out of abode adrift the Folsom Street Fair.
Can an article or angel abide that is able-bodied and absolutely strange, behindhand of context? The Surrealists anticipation so. So, apparently, do BAMPFA curators and exhibition organizers Lawrence Rinder, Stephanie Cannizzo, Lynne Kimura and Kate MacKay. Taking its cue from the preoccupations of the Surrealists, Aberrant looks afore and afterwards the movement’s heyday (roughly, 1924–1945) for unsettling, hasty and hard-to-pin-down things in the museum’s collection.
There’s affluence of aberancy to bite on. A Japanese woodblock book of an old woman actuality devoured by monsters and demons, Frank C. Moore’s acutely odd painting of a absurd underwater arena and Robert Arneson’s bowl Typewriter (with fingers in abode of keys) all fit aural the exhibition’s parameters. But the strangest allotment in Aberrant is Keith Hale’s 1996–97 painting Accepting the Duck.
While added artworks get ample blocks of contextualizing bank text, the characterization for Hale’s oil-on-wood painting reveals annihilation but its barest anecdotic facts: artist’s name, artwork title, date, materials, size. Placed in the “Funny Strange” area of the appearance (there are several zones in Strange, including “Juxtaposition” and “Myth and Magic”), Accepting the Duck is not alone a standout aural the exhibition, it’s additionally one of the weirdest artworks I’ve anytime experienced.
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