Ron Gorchov, Chase Street Lounge, 2011, Oil on linen, 43 x 36 x 9 1/4 inches (courtesy of Cheim & Read, New York)
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.