Noah Becker:
A Stranger in a Strange Land
November 12 – December 20, 2020
In all his self-portraits Becker is a stranger in a strange land—at home nowhere, and so in peculiar exile everywhere--and as such suffers from what the existentialists call “dreadful freedom.”
-Donald Kuspit
Orange Art Foundation is pleased to present A Stranger in a Strange Land, an online solo exhibition of recent paintings by Noah Becker. On view digitally now through Sunday, December 20, 2020. In conjunction with the exhibition, a catalogue that showcases all the selected works has been produced and is available online.
“Mood is an unrated aspect of painting, either conveyed through color, or a sense of familiarity. It’s a balance between art history, my personal story and where or how a painting sits in our current world.”
- Noah Becker
Sometimes he is on stage, sometimes he is symbolically present in the form of the rocks, as his signature graffiti suggests, orchestrating the scene if sometimes from the wings. Carrying his baton or slapstick (paintbrush), the Harlequin can change the scene at will, participating in it or not but controlling it – stage-managing it.
-Donald Kuspit
When so much supposedly radical art comes with a family tree almost visibly attached, it’s rather refreshing to be confronted with such normal-looking work that is so deeply different.
-Anthony Haden-Guest
ABOUT NOAH BECKER
Noah Becker (born 1970) is an American and Canadian artist, writer, art publisher, and jazz saxophonist who lives and works in New York City and Vancouver Island in British Columbia. A prodigy in painting and drawing, Becker was born in Cleveland, Ohio and grew up on a 40-acre farm on Thetis Island, off the coast of British Columbia. He moved with his family to Victoria, British Columbia, at age 15, after their house burned down. He had little early formal education and did not attend high school but excelled at writing. He was a painting student at Victoria College of Art, and studied saxophone in Toronto before moving to New York in 2010.
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