Mehfil/Party, Salman Toor
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Salman Toor
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Salman Toor, Three Friends in a Cab, 16 x 20 inches, 2021
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music room by salman toor, oil on canvas, 2021
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Salman Toor, Pillow Fight, 2022
Oil on linen, 24 x 30 in
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Toor’s scenes possess a kind of solemnity or quietude that does not suggest equilibrium so much as tender regard. Toor’s protagonists, obvious stand-ins for the artist himself, at least at an earlier moment in his life, seem held in suspension between two worlds, Old and New, never entirely at home in either. But he also holds them at emotional arm’s length, as if these images were tempered by time, less observations than memories, and they begin to assume the lineaments of archetype, despite their depiction of technology à la mode.
(Many of the pictures have an overall green palette, appropriate, perhaps, for the nocturnal illumination of bars or apartment parties—although more readily suggesting fin de siècle gaslight—but also reminiscent of the discoloured varnish of old paintings hanging for generations in smoke-filled drawing rooms.)
on Salman Toor
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the holy trinity of the pieces with intimacy that make me feel more alive -
salman toor / holly warburton
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Salman Toor (Pakistani, b. 1983), Girl and Boy with Driver, 2013_Oil on canvas, 134.3 x 199 cm.
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1 ghost story by salman toor
3, 8 hello my twenties
2, 6, 10 leah wei in leah's fieldnotes: finding your path, creating habits, taking breaks, anxiety, recent insights (uncut candid) (podcast)
4 normal people by sally rooney
5 three girls watching tv liu xiaodong
7 jonathan decker in therapist reacts to 'a silent voice'
9 bar boy by salman toor
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three boys by salman toor, oil on panel, 2019
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Queer artists 14/30 - Salman Toor
Salman Toor is a Pakistani-American painting living and working in New York City. His work often depicts candid scenes of queer men in social scenarios such as gays bars and house parties, as well as the experiences of South Asian men in the diaspora. These pieces explore themes of public and private space, the role of technology in modern life, and the treatment of men of colour. Salman's work often uses bright, saturated colours, with many of them strongly featuring the colour green. He says, "I chose green for aesthetic reasons. There is something nocturnal about it, like night vision. It’s inviting and glamorous, but it has connotations of poisonous gases and potions. But most importantly, I like that it’s not a sentimental color."
Salman's work is influenced by both South Asian and Western canons, placing subjects who have typically been marginalised from art history into these canons. His painting The Bar on East 13th, for example, visually references Manet's A Bar at the Golies-Bergere. He states, "I like these seemingly undernourished and hairy bodies of color inhabiting familiar, bourgeois, urban, interior spaces. I see these boys or men as well-educated, creative types discovering what it means to live an artist’s life in New York City and in the thick of changing ideas about race, immigration, and foreignness, and also what it means to be American. Sometimes they can look like lifestyle images. They are also fantasies about myself and my community."
[Image descriptions: Two green-tinted scenes of bars in which men dance, talking, embrace and kiss. In the first, a bartender stands behind a bar, looking at the viewer, while the mirror behind him reflect the patron he is looking at and the bar behind him. In the second, a central figure stands in a gap in the crowd, looking down at a mobile phone which shines light across his face.]
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Salman Toor, The Stone Throwers, 2021
Oil on Canvas, 36 x 30 in
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