519:, 2015)—closeups of his own worried face, blurred and moving, in eyeglasses and sometimes smoking a cigar—that emerge from rearview mirrors, box forms or rough grids. His "Skinny Jeans" paintings (2016) developed out of the self-portraits, as he simultaneously saw the eyeglasses in them as back pockets on jeans. He created the paintings by scraping outlined forms out of dark monochrome surfaces with a palette knife, revealing lines of bright underpainting. Writers described them as both humorous and homoerotic examinations of looking and being looked at, desire and mortality, that refer back to the queer abstraction of his "Denim" paintings.
526:, Bordo exhibited his "crackup" paintings, which drew upon prior series by employing monochrome grounds and lines incised into wet, oil surfaces that appeared like broken window panes. They depict dark holes on their surfaces, surrounded by spidery cracks that seemingly threaten to shatter further. The show included nine canvases in moody greens and blues, ranging from imposing (seven feet tall) to intimate (twenty inches), that reflected a contemporary, contentious political climate.
511:, both 2012). These paintings typically employed a complex sense of space, with overlaps, splits, doublings, changes of scale, and expressive horizontal and vertical lines suggesting journeys anticipated or recalled. Roberta Smith wrote that the thick, wet-on-wet paint handling, blurred transparencies and fractured spaces of broken center lines and red lights created "an effect that is deliciously and darkly comic, but also abstract and rather ham-handedly beautiful."
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review of his "crackup" paintings, Andrea Scott wrote, "Bordo's imagery is an apt metaphor for our current, contentious political climate, but his true subject is painting itself: how easily it can tip realism into abstraction or shift figure-ground relations until it's impossible to discern whether
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is a New York-based, Canadian-American artist known for paintings that blend modernist formal concerns with postmodern approaches to image, subject matter and metaphor. Throughout his career, he has worked in painting series positioned between representation and abstraction that critics characterize
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Bordo exhibited map paintings in six solo exhibitions between 1987 and 1996. In these modestly scaled, quasi-minimal canvasses, he rendered the abstract shapes and irregular contours of landmasses from globes in glazes and textured fragments of color, which hovered between topographical suggestions
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In his early work, Bordo sought to integrate an abstract painting language with subject matter and metaphors related to landscape, social narratives, modernism, and his personal history as a
Canadian and Montrealer living in New York. He initially painted globes, before turning to two-dimensional
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With exhibitions at
Alexander and Bonin, Rubicon Gallery (Dublin) and Mummery + Schnelle (London) between 2005 and 2009, Bordo departed from multi-image postcard works, producing some of his most, understated, abstract paintings. In simple, frontal works, he distilled a sense of light, space and
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wrote that these paintings left behind the more delicate, lyrical touch of the landscape works, "evince a
Gustonesque brusqueness and spleen… with a blunter, more robust facture and a more implacable presence." This somewhat larger work was more explicitly structured by its imagery—often car
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described them as "homeless paintings" of drift and restlessness, of area but not place, grounded by concrete qualities of texture, surface and intimate scale. Other writers identified metaphors involving emigration, journey, change and loss, or—citing their military, economic and geographic
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Bordo began exploring motifs involving abstracted landscape, the presentation of sublime space, and human archiving and recall of image memories in the late 1990s. In solo shows at
Alexander and Bonin (1999 and 2002), he exhibited wide-format paintings featuring small, rectangular landscape
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School of Art in New York, heading its painting program from 1996 to 2017. He became a faculty member of Bard
College's MFA painting program in 2010. Bordo maintained studios in both the Hudson Valley in upstate New York and Brooklyn in the first two decades of the 2000s and now works from
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abstractions derived from picture postcards his mother had collected. He rendered the images in quiet, carefully limited palettes and a no-frills manner without descriptive detail, then overlapped them in loose grids or clustered constellations over unmodulated, matte grounds (e.g.,
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In the "Windshield" paintings, Bordo continued to engage characteristic interests in visual and tactile pleasure, flatness and depth, conflating the picture plane with the windscreens of cars often depicted driving through unpredictable, rainy weather with active wipers (e.g.,
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466:(both 2008) consisted simply of free, seemingly casual, lyrical brushstrokes, applied in blended colors over a monochrome ground. Reviews of both shows noted the work's strong connection with nature, in palette and atmospherics, despite the high degree of abstraction.
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Bordo's 1990s work also included his "Speech Bubble" and "Denim" paintings. The former works employ ghostly, hand-painted, empty speech bubbles set against monochrome white or gun-metal gray backgrounds—an iconic reference to speechlessness during the height of the
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Stephen Maine wrote that the "muted colors and veiled imagery" evoked an understated theatrical quality of intrigue that prompted viewers "to hang on every painterly syllable … drawn into what seems like an artworld subplot." Later paintings such as
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as conceptually structured, yet sensual in execution. These series explore recurring, often overlapping themes, such as memory and experience, the passage of time, landscape and weather phenomena, mapping, and mark-making as an indicator of thought.
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termed them reticent "mindscapes"—generalized impressions of landscape that others equated to links in the associative chain of private thought and emotions, elusively suggesting the possibility of resolution into coherent subjects or sites.
333:. Cohen distinguishes Bordo from both groups in his greater focus on "painterly experience" and the physical qualities of color, substance and application. Bordo's earlier series were noted for lyrical qualities recalling CĂ©zanne and the
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Bordo's painting series are intuitive in their development, often originating from ruminations on banal images, objects or clichés, which give way to explorations of the space, vocabulary and material practice of painting. Critics
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landforms and graphic elements, most prominently in his "Map
Paintings." His approach to imagery and form—as well as his suggestive titles—kept this work open to a range of political, historical and physical interpretations.
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place into a minimum of color and surface incident—brushy, wet-into-wet stretches of mint, blue or taupe overlaid with dots, daubs, tiny brushstrokes, or slabs—pushing the limits of suggestive representation (e.g.,
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In the latter half of the 2010s, Bordo developed several offshoots from the windshield paintings. He exhibited loosely painted, abstracted heads rendered with thick, squeegeed paint in "Greater New York"
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256:(derived from his abstracted map paintings of the time) "read as fact, but as idea—a projection, of Aeneas’s duty" and the vastness of the world and history compared to the individual.
279:. His first major solo exhibitions were held at Brooke Alexander Gallery in New York (1987–1992) and Mira Godard Gallery in Toronto (1991). In 1995, he joined the faculty at the
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of land, water or sky and abstraction, augmented by camouflage patterns, frames and elements from airmail envelopes, barely visible ledgers and stenciled aircraft forms (e.g.,
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399:. The "Denim" works employ stenciled bootprints on blue monochromes and consider themes involving mapping, walking, cruising, and queering of the field of painting.
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described Bordo's early map paintings as charting an idiosyncratic "hybrid discipline … a kind of cartographically conscious rerouting of modernism"; in a 2019
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Bordo's paintings in the 2010s displayed a new sense of anxiety, reflecting issues such as the dramatic political polarization in the U.S. and climate change.
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windshields and rear-view mirrors, which served as metaphors for consciousness and movement in space and time, forward and backward (e.g., Rear-view, 2011;
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Bordo's work belongs to the public collections of the
Metropolitan Museum of Art, San Francisco Museum of Modern Art, Albright-Knox Art Gallery,
214:. He collaborated with Morris on several dance productions between 1983 and 1995, creating set designs, costumes and posters for works staged at
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1288:. "Jeans, Glasses, Faces, Asses" Robert Bordo in Conversation with Cecily Brown and Amy Sillman," September 2016, p. 68-71.
345:; his later series feature a blunter, more anxious sensibility that writers compare to the late work of Philip Guston.
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and
Stephen Maine have related Bordo's art to an American tradition of stylized abstraction from nature that includes
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538:(2007), Robert De Niro Sr. Painting Prize (2014), and awards from the American Academy of Arts and Letters (2012),
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During the first decade of his art career, Bordo exhibited in solo shows at the New York Studio School and
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Hanna, Deirdre. "Bordo's
Unconventional Landscapes Map Potential for Cultural Change,"
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304:, oil and dry pigment on linen, 32" x 48", 1987. Metropolitan Museum of Art Collection.
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275:, and in collaborative projects with poet William Allen and the conceptual collective
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in Montreal from 1967 to 1970. He was dissatisfied at the time with the dominance of
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1024:, Middletown, CT: Wesleyan University Press, 2004. Retrieved February 21, 2022.
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DiBenedetto, Steve. "Robert Bordo in Conversation with Steve DiBenedetto,"
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Heinrich, Will. "Robert Bordo: Three Point Turn at Alexander and Bonin,"
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Bordo's work belongs to several public art collections, including the
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Later series: windshield, rear-view mirror and "crackup" paintings
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817:"What to See in New York Art Galleries This Week – Robert Bordo,"
542:(2012), Ballinglen Foundation (2010), Tesuque Foundation (1998),
379:). Roberta Smith likened these works to "the infinite spaces" of
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New York Studio School of Drawing, Painting and Sculpture alumni
1148:, New York: New York University Press, 1987. February 28, 2022.
1120:, New York/Toronto: Brooke Alexander/Mira Godard Gallery, 1990.
1249:"Prof. Robert Bordo Receives 2014 De Niro Prize for Painting,"
1089:"On Reckless Passion And Flying Bodies: Meditation in Motion,"
732:"Robert Bordo: it’s always raining at Alexander and Bonin,"
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1449:, December 20, 1996, p. C28. Retrieved February 17, 2022.
1043:, November 13, 1986, p. C25. Retrieved February 17, 2022.
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New York Studio School of Drawing, Painting and Sculpture
56:
New York Studio School of Drawing, Painting and Sculpture
1465:, January 15, 1993, p. C30. Retrieved February 16, 2022.
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Deitcher, David. "Robert Bordo at Alexander and Bonin,"
183:
Bordo was born in Montreal, Canada in 1949. He attended
1460:"Group Shows in SoHo for a Weekend of Gallery Hopping,"
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Taylor, Kate. "Geographic Works in Realm of Politics,"
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Westfall, Stephen. "Robert Bordo at Brooke Alexander,"
1054:"Sidestepping the Camp in a Work by Stein and Thomson,"
706:
Maine, Stephen. "Robert Bordo at Alexander and Bonin,"
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references—contemporary geopolitical commentary (e.g.,
1550:"Robert Bordo awarded 2014 Robert De Niro, Sr. Prize,"
1513:, April 18, 2013, p. C26. Retrieved February 16, 2022.
1059:, March 18, 2006, p. B12. Retrieved February 17, 2022.
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The Canada Council. "20th Annual Report 1976–7", 1977.
778:, April 16, 1999, p. E35. Retrieved February 17, 2022.
1073:"Purcell’s 'Dido and Aeneas' As Mark Morris Sees It,"
870:, April 7, 1989, p. C22. Retrieved February 16, 2022.
1251:
News, December 5, 2014. Retrieved February 16, 2022.
822:, May 18, 2017., p. C17 Retrieved February 16, 2022.
1565:, New York: New York Foundation for the Arts, 2013.
1489:"Robert Bordo in Conversation with Cameron Martin,"
1094:, May 5, 1993, p. C15. Retrieved February 17, 2022.
428:, 2003). Reviews compared the paintings to work by
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958:"Robert Bordo Wins 2014 Robert De Niro Sr. Prize,"
737:, September 22, 2008. Retrieved February 17, 2022.
891:, December 18, 2019. Retrieved February 16, 2022.
144:you’re on the inside looking out or vice versa."
1332:, October 10, 2005. Retrieved February 21, 2022.
1311:, July–August 2016. Retrieved February 17, 2022.
963:, December 3, 2014. Retrieved February 16, 2022.
849:, December 6, 2019. Retrieved February 16, 2022.
191:in Montreal, and left to take up studies at the
1552:December 10, 2014. Retrieved February 16, 2022.
1131:Eight Painters: Jersey City Museum Invitational
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1343:"The Big Picture at Sikkema Jenkins & Co,"
910:, Art Collection. Retrieved February 21, 2022.
1686:Robert Bordo conversation with Cameron Martin
1181:Yau, John. "Robert Bordo's Current Address,"
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659:, March 3, 2013. Retrieved February 16, 2022.
432:or the "foggy infinitude of Agnes Martin and
415:Postcard paintings and landscape abstractions
8:
1403:, October 2015. Retrieved February 17, 2022.
1348:, July 1, 2012. Retrieved February 17, 2022.
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1133:, Jersey City, NJ: Jersey City Museum, 1980.
1078:, June 9, 1989. Retrieved February 17, 2022.
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686:, June 7, 2002. Retrieved February 17, 2022.
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938:John Simon Guggenheim Memorial Foundation.
250:wrote that Bordo's "brooding" backdrop for
226:, among other venues. These works included
1649:, Collection. Retrieved February 21, 2022.
1607:, Collection. Retrieved February 21, 2022.
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1474:Dunne, Aidan. "Blurring the boundaries,"
1428:, May, 2017. Retrieved February 16, 2022.
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546:(1994), and Canada Council (1991, 1977).
1696:Robert Bordo interview with Seth Cameron
1563:Directory of Artists' Fellows 1985–2013
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1662:, Artist. Retrieved February 21, 2022.
1636:, Museum. Retrieved February 28, 2022.
1620:, Artist. Retrieved February 21, 2022.
1591:, Person. Retrieved February 21, 2022.
975:American Academy of Arts and Letters.
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926:, Artist. Retrieved February 21, 2022.
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1578:Artists. Retrieved February 21, 2022.
942:Fellows. Retrieved February 16, 2022.
561:Alex Katz Collection, Hammer Museum,
387:and the fictional stamp paintings of
7:
1444:"Elizabeth Bishop and Robert Bordo,"
1269:People. Retrieved February 16, 2022.
1103:Acocella, Joan. "The Long Journey,"
922:San Francisco Museum of Modern Art.
206:In 1977, Bordo moved into a loft in
169:American Academy of Arts and Letters
94:American Academy of Arts and Letters
1681:Robert Bordo, Guggenhiem Fellowship
203:, among others, from 1972 to 1974.
1561:New York Foundation for the Arts.
1548:The Estate of Robert De Niro, Sr.
1535:Hirsch, Faye, "Greater New York,"
210:that he shared with choreographer
153:San Francisco Museum of Modern Art
14:
1508:"Robert Bordo: Three Point Turn,"
1306:"Robert Bordo with Seth Cameron,"
1118:Robert Bordo: Paintings 1989-1990
534:Bordo has been recognized with a
498:, oil on canvas, 75" x 56", 2019.
410:, oil on linen, 21" x 35", 2003.
123:, oil on canvas, 24" x 36", 2011.
1199:Cyphers, Peggy. "Robert Bordo,"
903:The Metropolitan Museum of Art.
847:Nordic Art Review – Kunstkritikk
608:Pardee, Hearne. "Robert Bordo,"
540:New York Foundation for the Arts
1234:Gopnick, Adam. "Robert Bordo,"
638:, (Toronto), February 28, 1991.
263:(Montreal), group shows at the
1737:20th-century Canadian painters
1732:21st-century Canadian painters
1727:20th-century American painters
1722:21st-century American painters
1362:Arning, Bill. "Robert Bordo,"
979:. Retrieved February 21, 2022.
773:"Robert Bordo: New Paintings,"
1:
1629:Colby College Museum of Art.
1380:Jones, Alan. "Robert Bordo,"
159:. In 2007, he was awarded a
1752:Sculptors from Pennsylvania
1587:Albright-Knox Art Gallery.
559:Colby College Museum of Art
175:, among other recognition.
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1616:Birmingham Museum of Art.
1145:The Man on the Moon: Poems
710:, February 2006, p. 131–2.
654:"500 Words: Robert Bordo,"
179:Education and early career
149:Metropolitan Museum of Art
1658:Weatherspoon Art Museum.
1423:"Robert Bordo Back Flip,"
571:Mississippi Museum of Art
220:Brooklyn Academy of Music
165:Robert De Niro, Sr. Prize
163:. He has also received a
90:Robert De Niro, Sr. Prize
16:Canadian-American painter
1747:McGill University alumni
1708:, artist page, Bortolami
1107:, Summer 2015, p. 182–5.
1004:, Summer 2010, p. 14–28.
555:Birmingham Museum of Art
349:Early series (1988–1998)
1645:Sheldon Museum of Art.
1600:Blanton Museum of Art.
1327:"Ambiguous Landscapes,"
583:Weatherspoon Art Museum
1398:"Ode to Robert Bordo,"
1038:"Mark Morris Company,"
842:Jones, Nicholas John.
530:Awards and collections
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224:Dance Theatre Workshop
124:
1757:Sculptors from Quebec
1524:The New York Observer
579:Sheldon Museum of Art
551:Blanton Museum of Art
536:Guggenheim Fellowship
493:
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292:Artwork and reception
246:(1993). Dance critic
228:The Death of Socrates
189:hard-edge abstraction
161:Guggenheim Fellowship
118:
86:Guggenheim Fellowship
1605:, 1987, Robert Bordo
1330:he New York Observer
1129:Jersey City Museum.
908:, 1987, Robert Bordo
575:Norton Museum of Art
286:Kinderhook, New York
261:Concordia University
167:and awards from the
1539:, December 8. 2015.
1384:, March–April 1988.
1105:The Opera Quarterly
1052:Dunning, Jennifer.
977:Purchase Fund Award
273:Tampa Museum of Art
230:(1983), the danced
208:Hoboken, New Jersey
1511:The New York Times
1463:The New York Times
1447:The New York Times
1401:Two Coats of Paint
1247:The Cooper Union.
1223:The Globe and Mail
1092:The New York Times
1087:Kisselgoff, Anna.
1076:The New York Times
1071:Kisselgoff, Anna.
1057:The New York Times
1041:The New York Times
1036:Kisselgoff, Anna.
956:Chiaverina, John.
868:The New York Times
820:The New York Times
794:Schwabsky, Barry.
776:The New York Times
567:Jersey City Museum
563:High Museum of Art
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265:Jersey City Museum
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1700:The Brooklyn Rail
1690:The Brooklyn Rail
1492:The Brooklyn Rail
1487:Martin, Cameron.
1442:Cotter, Holland.
1426:The Brooklyn Rail
1364:Time Out New York
1309:The Brooklyn Rail
1267:/ "Robert Bordo,"
1116:Deitcher, David.
612:, September 1989.
185:McGill University
113:
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60:McGill University
47:Canadian-American
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327:Thomas Nozkowski
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865:"Robert Bordo,"
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796:"Robert Bordo,"
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771:Glueck, Grace.
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681:"Robert Bordo,"
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480:Barry Schwabsky
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455:Art in America'
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323:Raoul De Keyser
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253:Dido and Aeneas
236:Dido and Aeneas
201:Mercedes Matter
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300:Robert Bordo,
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759:, June 1999.
756:
734:
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636:Now Magazine
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496:c.u.c.d. #14
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442:Grace Glueck
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430:Robert Ryman
425:
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389:Donald Evans
385:Vija Celmins
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343:Agnes Martin
331:Merlin James
319:Milton Avery
307:
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281:Cooper Union
258:
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244:Paukenschlag
243:
242:(1986), and
240:Stabat Mater
239:
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128:Robert Bordo
127:
126:
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108:Robert Bordo
23:Robert Bordo
1762:1949 births
1603:Stop 'n' Go
1574:Macdowell.
1346:artcritical
1021:Mark Morris
735:artcritical
522:In 2019 at
451:Another Day
434:Mark Rothko
397:AIDS crisis
335:color-field
311:David Cohen
212:Mark Morris
44:Nationality
1716:Categories
589:References
509:The Future
464:Green Girl
141:New Yorker
1382:Flash Art
544:MacDowell
524:Bortolami
487:, 2012).
476:Artforum'
453:, 2005).
426:Back Seat
408:Back Seat
337:painters
315:Alex Katz
121:Rear-view
52:Education
799:Artforum
657:Artforum
517:MoMA PS1
460:Heatwave
424:, 1999;
69:Painting
38:, Canada
36:Montreal
961:ARTnews
440:critic
422:Lookout
232:Purcell
135:critic
104:Website
1702:, 2016
1692:, 2013
684:Frieze
581:, and
377:Letter
329:, and
234:opera
171:, and
155:, and
96:, The
82:Awards
74:Spouse
1183:Cover
485:Wacko
373:Exile
195:with
1201:Arts
610:Arts
505:Dial
462:and
383:and
365:Thaw
341:and
317:and
271:and
222:and
199:and
32:1949
29:Born
436:."
367:).
1718::
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515:(
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