Wedding (Primary Title)
“I began to have problems with the rectangle and flat painting, as well as with the tendency to regard sculpture as more palpable than painting. I’ve always looked at painting as an object.” —Ron Gorchov
Like many abstract painters of the 1970s and 1980s, Gorchov merged literalness—the idea that a work of art is an object—with painterliness—a work’s expressive qualities intrinsic to painting. In Wedding, the specially designed stretchers bow out at the top and bottom of the canvas, pushing the painting away from the wall and into the viewer’s space. By leaving the wooden edges of the stretcher unwrapped, Gorchov reinforces the painting’s thingness.
At the same time, Gorchov activated the canvas’s interior space. He places the “planaria”—what he named the pair of oval shaped for their resemblance to flatworms—off the central vertical axis, creating a sense of movement. The ovals, which also resemble eyes, suggest a diverted gaze.
Ron Gorchov, Hamilton Gallery, New York, NY, October 20 – November 10, 1979
Zimmer, William. “Mask Marvel.” The Soho Weekly News (November 8): 58. (B/w ill. p. 58).
Ittner, John G. “Primal & Gilded.” New York Post (October 26, 1979). (B/w ill.).
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