Collapse 1964
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Catalogue raisonné no. 54
Artist's CR 052
1964
New York
Oil on irregular, shaped canvas
39 x 28 inches / 0 cm
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Gerald Laing Prints, Institute of Contemporary Arts, London, 1964chevron_right
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Four Young Artists, Institute of Contemporary Arts, London, 1964chevron_right
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1971: Gerald Laing, Scottish National Gallery of Modern Art, Edinburgh, 1971chevron_right
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Gerald Laing: A Retrospective 1963–1993, The Fruitmarket Gallery, Edinburgh, 1993chevron_right
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Gerald Laing: From 1963 to the Present, Bourne Fine Art, Edinburgh, 2004chevron_right
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Space, Speed, Sex: Works from the early 1960s by Gerald Laing, Hazlitt Holland-Hibbert, London, 2006chevron_right
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Gerald Laing 1936–2011: A Retrospective, The Fine Art Society, London, 2016chevron_right
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Four Young Artists, exhibition catalogue, Institute of Contemporary Arts, 1964chevron_right
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Gerald Laing and Alasdair Hamilton, 1971: Gerald Laing, exhibition catalogue, Scottish National Gallery of Modern Art, 1971chevron_right
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Gerald Laing: A Retrospective 1963–1993, exhibition catalogue, The Fruitmarket Gallery, 1993chevron_right
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Space, Speed, Sex: Works from the early 1960s by Gerald Laing, exhibition catalogue, Hazlitt Holland-Hibbert, 2006chevron_right
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Gerald Laing, 'Gerald Laing: An Autobiography', unpublished manuscript, 2011chevron_right
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Gerald Laing 1936–2011: A Retrospective, exhibition catalogue, The Fine Art Society, 2016chevron_right
Selected Citations and Comments
By shaping the canvases I was able to accentuate their objecthood. By placing, say, a parallelogram on top of a rectangle, I could imply a third dimension for the painting, as though it was folded and protruded into the room. Curved sides suggested undulations in the surface; visual paradoxes began to fascinate me; and the shapes I required for these became so complicated that it was impracticable to make them as you would normal stretchers over which the canvas was stretched.
, 'Gerald Laing: An Autobiography', unpublished manuscript, 2011, ch.20