Kim Tschang-Yeul turns 90 this December, following an illustrious career that played a crucial role in bringing post-war Korean painting into the modern and contemporary art canon. Long celebrated for pensive depictions of water drops, the esteemed artist uses dual languages of abstraction and hyperrealism to articulate the psychological traumas...
In 2012, Melati Suryodarmo opened Studio Plesungan in her native Surakarta, also known as Solo, the historic royal capital of the Mataram Empire of Java in Indonesia. Suryodarmo had returned to Indonesia from Germany, where she studied Butoh and choreography with Butoh dancer and choreographer Anzu Furukawa, time-based media with avantgarde...
In what was reportedly Tokyo's cloudiest summer in over a century this July, Yoshiji Kigami, key animator of the cyberpunk classic Akira (1988), died in an arson attack that killed 35 people at Kyoto Animation. The attacker lit the fire with a lighter after dousing the studio with gasoline. 'They are always stealing', he explained in the belief the...
Hans Hartung and Art Informel at Mazzoleni London (1 October 2019-18 January 2020) presents key works by the French-German painter while highlighting his connection with artists active in Paris during the 50s and 60s. In this video, writer and historian Alan Montgomery discusses Hartung's practice and its legacy.Born in Leipzig in 1904, Hans...
This exhibition took place at our previous 547 W 25th St, New York location.
Cheim & Read is pleased to announce an exhibition of new paintings by Ron Gorchov, which will open on February 16, 2017, and run through March 25.
With this exhibition, Gorchov continues his Arguments with Rectangles, Flatness and Dimension, to invoke the title of a series of works he made in 1966. It was at that moment in his career that he felt compelled to challenge 'the ad-hoc acceptance of the rectangle,' seeking instead 'a more intentional form that would create a new kind of visual space,' as he told the artist Ray Smith in an interview published in the catalogue of a solo exhibition at the Centro Atlántico de Arte Moderno, Las Palmas, Spain.
In the same interview, Gorchov listed six issues that concerned him at that time, starting with 'free painted edges' and ending in 'synthesis of painting, sculpture and architecture' — explorations that continue to fuel his art a half-century later.
In his new work, Gorchov expands upon these longstanding concerns with deeply felt investigations into the color, scale, and surface of the distinctive forms he has been developing over the past four decades: the convex/concave canvases that are known as 'shields' or 'saddles,' and the climbing walls of color he builds from multiple paintings, or 'stacks.'
Gorchov works on custom-fabricated stretchers that eliminate the corners of a conventional canvas: formal endpoints he deemed extraneous. It was a realization that would lead him to a radical stance against 'the ad-hoc acceptance of the rectangle,' a position not unrelated to the liberation strategies sought by a number of artists at that time, such as Frank Stella and his shaped paintings. But Gorchov’s invention is unique in the way it moves painting forward while evoking the arts of antiquity — from Bronze Age armor to Coptic sarcophagus portraits to Sienese panel painting — straddling the past and future within the confines of a formal device.
While containing identical elements — two amorphous shapes against a monochromatic ground in the shield paintings, and a single field of color encompassing the surfaces of the stacks — no two paintings are alike, with variations running from nuanced inflections to stark contrasts. From the bold primary colors of Prometheus to the muted greens of Ilione, or the startling leap in scale from Erinna to Hippolyte, the distances the artist can travel within the self-imposed restrictions of his chosen format are wide and unpredictable.
Gorchov’s impulse to explore his ideas deeply and relentlessly have turned his work into an inspiration for a new generation of artists, who recognize the extent to which his far-reaching investigations within the microcosm of his individualized format feel more connected to the 21st century than they do with the postwar era from which they grew.
Born in Chicago in 1930, Ron Gorchov has lived and worked in New York City since the early 1950s. Following his debut at New York’s Tibor de Nagy Gallery in 1960, Gorchov has exhibited at the Museum of Modern Art, the Whitney Museum of American Art, MoMA PS1, the Queens Museum of Art, the New Museum of Contemporary Art, and Centro Atlántico de Arte Moderno, among other institutions.
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