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Ron GorchovRon Gorchov Mid Century Modern Abstract Expressionist painting on paper Signed1962
1962
About the Item
Ron Gorchov
Untitled early 1960s Abstract Expressionist work, 1962
Ink and watercolor painting on paper
Signed and dated in black ink lower left recto
Frame included:
elegantly floated and framed in a museum quality wood frame with UV plexiglass
Early (mid-Century) Ron Gorchov watercolor and ink painting on paper. Hand signed and dated on the recto. Elegantly floated with beveled edges and framed with wood frame. Unique work.
Not many of the artist's early works come to market; rare and desirable.
Measurements:
Framed 16.25 Vertical by 13.5 Horizontal x 1
Sheet: 11 inches vertical x 8.25 inches horizontal
Accompanied by Certificate of Guarantee issued by Alpha 137 Gallery
More about Ron Gorchov
Ron Gorchov uniquely merged elements of sculpture and abstract painting: His signature canvases are curved, like saddles or shields, and feature spare, colorful, biomorphic forms, often paired and painted atop fields of color. His surfaces appear bold, raw, and brushy, with a cartoonish edge. Gorchov’s embrace of shaped canvases placed him in league with fellow artists such as Frank Stella, Blinky Palermo, Elizabeth Murray, and Ellsworth Kelly, yet his singular, twinned geometries set him apart. Gorchov’s work has been exhibited in New York, London, Brussels, Paris, and Los Angeles. His pieces have sold for up to six figures at auction and belong in the collections of the Metropolitan Museum of Art, the Museum of Modern Art, the Whitney Museum of American Art, the Guggenheim Museum, the Detroit Institute of Arts, and the Everson Museum of Art.
More about Ron Gorchov
“My paintings are mostly made from reverie, and luck.”
— Ron Gorchov from interview with Robert Storr and Phong Bui, September 2006
Born in Chicago in 1930, Ron Gorchov was an American artist known for his curved surface artworks. The artist helped spearhead the shaped canvas movement. With his bowed wooden frames stretched with linen or canvas, he uniquely bridged sculpture and abstract painting.
Gorchov’s oil-on-linen paintings pair one or two biomorphic colored shapes with differently colored backgrounds. The patterns of these paintings resemble living organisms, telling the story of the beginning of a certain formative state. These questions of form and existence materialize through the use of bold brushstrokes, providing chromatic contrasts.
The artist hung the work on a shaped canvas stretcher that is at once concave and convex, similar to shields or saddles. Gorchov utilized the curved shape’s ability to catch the viewers’ immediate attention faster than the traditional rectangle. While the paintings themselves play with symmetry and asymmetry, the warped edges of Gorchov’s canvases create new dimensions and depth, disorienting the perception of the audience.
Gorchov’s distinctive and assertive saddle-like stretchers were created in the late 1960s as an alternative to the pervasive Greenbergian formalism of the time, evidenced in the dominance of minimalist sculpture. He created his first shaped canvas work in Mark Rothko’s studio. He belongs to a generation of artists in New York in the 1960s and 70s that includes Frank Stella, Richard Tuttle, Blinky Palermo, and Ellsworth Kelly, who pushed painting to its extreme. Gorchov was unique in his ability to unite form and content while preserving their tensions.
Following his first solo exhibition at New York’s Tibor de Nagy Gallery in 1960, Gorchov’s artworks have since been exhibited at prominent museums and galleries around the world. His works have been shown in New York at The Museum of Modern Art, Whitney Museum of American Art, MoMA PS1, Queens Museum of Art, and the New Museum of Contemporary Art. He has also been the subject of solo exhibitions at the Contemporary Art Museum, St. Louis (‘14) and at the Centro Atlántico de Arte Moderno, Las Palmas de Gran Canaria (‘11). Recent solo exhibitions include Cheim & Read, New York (’22, ’21, ’19, ‘17, ‘12); Maruani Mercier, Brussels (’19, ’18, ’17); Modern Art, London (’19); Galerie Max Hetzler, Berlin (’18); Thomas Brambilla, Bergamo (’18, ‘15); and Vito Schnabel Gallery, New York (‘21, ’16, ’13, ’08, ‘05).
"Ron Gorchov’s paintings are among the most fully and graciously embodied being made today. They engage our whole bodies from our first encounter with them and sustain this engagement over time. You have to move to see them, and when you move, they come alive. With one’s whole body involved, the mind is also free to move, and does.”
—David Levi Strauss
“In Ron Gorchov’s paintings we find the argument that he created for himself is his poetic flight, and within the argument of lightness (his imagery) and weightiness (his structure) there arises his fine balance that truly obscures the differences between form and content. He is painting-in-between.”
—Phong Bui
- Creator:Ron Gorchov (1930 - 2020, American)
- Creation Year:1962
- Dimensions:Height: 16.25 in (41.28 cm)Width: 13.5 in (34.29 cm)Depth: 1 in (2.54 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1745215018762
Ron Gorchov
Born in Chicago in 1930, Ron Gorchov has lived and worked in New York City since the early 1950s. Following a first solo show at New York’s Tibor de Nagy Gallery in 1960, Gorchov has since exhibited at The Museum of Modern Art, Whitney Museum of American Art, P.S.1., Queens Museum of Art, New Museum of Contemporary Art, and Centro Atlántico de Arte Moderno among other institutions. Gorchov was part of a group of artists working in Manhattan in the 1960s and 70s that was responding to the concept of “Action Painting” as defined by Harold Rosenberg, a concept that purported to demolish pictorial conventions and held as suspect the notions of facility and harmonious composition. His work shows an affinity with that of Arshile Gorky (Gorchov was at one point affiliated with Gorky’s mentor John D. Graham), Joel Shapiro and Richard Tuttle. He was a mentor to Willem de Kooning and friendly with Mark Rothko.
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