Deceleration I 1964
Deceleration I
Catalogue raisonné no. 46
Artist's CR 044
1964
New York
Oil on irregular, shaped canvas
74 x 71 inches / 0 cm
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First Jump Course (One Man Show), Richard Feigen Gallery, New York, NY, 1964chevron_right
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Museum of Contemporary Art, Nagaoka, Japan, 1965chevron_right
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A New York Collector Selects ..., San Francisco Museum of Art, San Francisco, 1965chevron_right
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1971: Gerald Laing, Scottish National Gallery of Modern Art, Edinburgh, 1971chevron_right
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Christopher Finch, Image as Language: Aspects of British Art 1950–1968, Penguin, Harmondsworth, 1969chevron_right
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Gerald Laing and Alasdair Hamilton, 1971: Gerald Laing, exhibition catalogue, Scottish National Gallery of Modern Art, 1971chevron_right
Selected Citations and Comments
The dichotomy between the dotted volumetric areas and the flat coloured areas seemed to require that a strong formal division should be made between them. In certain paintings I let literal requirements decide which areas should be painted in which technique; but on the whole this appeared to be an unsatisfactory method of approach, resulting as it did in apertures being opened in the flat coloured areas in what were, from a strictly formal point of view, arbitrary positions. So in general a strong boundary was made, often reinforced by a division in the stretcher. In the painting illustrated here, the boundary follows one of the panels of the parachute. Drag racers, film starlets and skydivers were subjects I found very useful at this time, because they are all excellent examples of individuals formalised and rendered, in a sense, heroic, by their accoutrements.
, 1971: Gerald Laing, exh cat., Scottish National Gallery of Modern Art, Edinburgh, 1971