In 2005, Vito Schnabel organized Ron Gorchov’s first solo show in New York in over a decade, focusing then as now on his output in the 1970s. Since then the veteran master of abstraction has seen belated and well-deserved adulation in the forms of exhibitions and critical attention. Reviewing Schnabel’s 2005 pop up in these pages, David Cohen wrote of one of Gorchov’s stack paintings, “The experience combines fairground, stage-set, Stonehenge, and all the theory you have ever read about support and surface, illusion and reality.” Pictured here, one of his trademark saddle/shield constructions, Brother, 1972
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