GERALD LAING

Indenty

Catalogue raisonné no. 113

Artist's CR 108

December 1965 – January, 1966

New York

Enamel on aluminium and chrome on brass

84 x 144 inches / 0 cm

Exhibitions:
• Primary Structures: Younger American and British Sculptors, The Jewish Museum, New York, 1966
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Literature:
• Kynaston McShine, Primary Structures: Younger American and British Sculptors, exhibition catalogue, The Jewish Museum, 1966
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• Gerald Laing: A Retrospective 1963–1993, exhibition catalogue, The Fruitmarket Gallery, 1993
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• James Meyer, Minimalism: Art and Polemics in the Sixties, Yale University Press, New Haven and London, 2001
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Selected Citations and Comments

Laing’s Loop (1965) and Indenty (1966) are full of Baroque shifts which run laterally and vertically through the application of acrylic lacquer, metalflake and chromium which adorn the flat forms. This flatness is their key characteristic: they are zig-zagging silhouettes, as thin as a ballet dancer frontally addressing an audience, like Laing’s self, risen as the sculpted dancer in his Adam (1986). The overlay of painted curvilinear patterns renders the implacable surface of aluminium (in Loop, for example) ambiguous and playful.

David Alan Mellor, 'Gerald Laing: Swift Passages and the Monumental Imagination', Gerald Laing: A Retrospective 1963–1993, exhibition catalogue, The Fruitmarket Gallery, Edinburgh, 1993