Nathlie Provosty talks to painter Ron Gorchov about his work and career.
Gorchov remarks: "I really think that painting is about space and proportions and where things go; it’s what painting is. Form, if it isn’t the right color, it is not in the right place. And you know you can actually change the relationships a lot by changing the color a little... To me, art is really very much about the irrational. I don’t think you can rationalize why something is good, for instance. There are many definitions of art, but what strikes me as art is when something’s much better than it should be, when you just can’t figure out why it’s so good. In other words, you can’t use craft—that it’s meticulously made or that the colors are absolutely right. Something can be really good, and nothing’s right about it; it’s irrationally good."
Eliot Markell blogs about an exhibition of watercolors by Ron Gorchov at Lesley Heller Workspace, New York, on view through October 13, 2013.
Markell writes that "a Gorchov trademark that does seem to have remained virtually unchanged are the familiar vertical slashes. This move animated what might otherwise result in a clunky looking attempt at mask making. But then Gorchov has never pretended to be a virtuoso; his wobbly, concave structures carve curvilinear boundaries in space, while his mark making espouses the virtues of loosely informal technique. What does seem to have evolved in the recent works on paper is a textural integrity. The thick, wafer-like ground provides stability for inherently diffuse, lightly pigmented forms floating in their constrained, yet unframed ether."
James Kalm visits the exhibition Painting Toward Three Dimensions at Galerie Richard, New York. The show, featuring paintings by Bram Bogart, Ron Gorchov and Takesada Matsutani, was closed due to flooding from Hurricane Sandy.
All three painters move painting beyond two-dimensions. Kalm notes that "The works of both Bogart and Matsutani explore the use of unique painting materials while Gorchov develops a body of work questioning the basic concept of the rectangular flat picture plain."
Paintings shouldn't simply be seen, they should change the viewer, suspend him or her in an altered moment. A recent visit to exhibitions by Adolph Gottlieb, Ron Gorchov, and Douglas Florian proved one's sense of time and place can, indeed, be altered by a colored surface.
Robert C. Morgan reviews the exhibition Ron Gorchov at Cheim & Read, New York, on view through April 28. 2012.
Morgan writes that Gorchov "knows where he is going without imposing his intentions – not even on himself. I would say Gorchov is as open and clear as any painter I have meant. His idea is his image, and his image is his idea. In recent years he has taken the saddle form – that he employs to accentuate the perceptual aspect of how we see form in painting – as if to ask: 'Why does painting require a rectangle?' Gorchov does not paint in the laboratory sense of trying to prove something. Rather he simply states that the convex saddle is closer to how we perceive than the hardened rectangle. This is the given in his work, and he moves ahead from there, often with extraordinarily lyrical results."
James Kalm visits the exhibition of new paintings by Ron Gorchov at Cheim & Read, New York, on view through April 28, 2012.
Kalm notes "in the late sixties that Gorchov devised his unique painting support, often referred to as a 'saddle shape.' The use of this convex surface was a refutation of Clement Greenberg's dogmatic idea that the picture plane must be flat, and rectangular. Along with his 'saddle shape' canvases Gorchov has developed a 'stack' format, a series of curved planes overlaying each other, that he paints sophisticated color studies on. This exhibition presents recent examples of Gorchov's works that display his innovative comingling of painting and sculpture and the mastery of his means."
Edited by artist Brett Baker, Painters' Table highlights writing from the painting blogosphere as it is published and serves as a platform for exploring blogs that focus primarily on the subject of painting.