
In the fall of 1924, a young Armenian painter and refugee named Vosdanig Manuk Adoian moved to New York City and gave himself a new name: Arshile Gorky. With that gesture, the artist (c. 1904-1948) embarked upon a journey of self-reinvention and aesthetic innovation that would parallel New York’s own transformation from an emerging city into a surging metropolis and a cultural epicenter. In a year that saw Manhattan host the premiere of George Gershwin’s ‘Rhapsody in Blue,’ the public opening of the Morgan Library, the completion of the gilded skyscraper known as the American Radiator Building and, in many respects, the birth of the Harlem Renaissance, Gorky took up residence and began forging a path toward becoming one of the most significant artists of the American avant-garde.
This September, Hauser & Wirth will celebrate the centenary of Gorky’s arrival in New York City with a special presentation at its space on Wooster Street, mere blocks from the artist’s original West Village address. ‘Arshile Gorky. New York City’ will present paintings and works on paper, many not seen since 1935, that spotlight the master’s development of an artistic language that ultimately would be as singular—and consequential—as the American city that was his home.
Arshile Gorky emigrated from Ottoman Armenia to the United States in 1920, fleeing the Armenian genocide. In an attempt to assimilate with the new culture in which he found himself, Gorky changed his name and consciously assumed the persona of an avant-garde artist. After five years in Massachusetts, Gorky moved to New York and became absorbed into the cultural milieu of a city on the brink of Modernism. Uncommitted to the political causes that engaged many of his contemporaries, Gorky busied himself with questions of artistic theory and the pursuit of a personal vision.




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