Purple Pin 1966
Purple Pin
Catalogue raisonné no. 149
Artist's CR 139
1966
Aspen, Colorado
Acrylic on aluminium and chrome on brass, slate base
42 x 12 x6 inches / 0 cm
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Michael Findlay, 'The Efficiency Game', Art and Artists, vol.1, no.10, Januarychevron_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 freestanding pieces, of which this is an example, were still as flat as possible, their greatest width being that of the upright chrome tube which supported them. The flat aluminium part was indeed swelled with fibreglass to meet the width of this tube, but only for practical reasons - to hide the joining device and to prevent the tube from casting a hard shadow on the painted portion. This piece is a good example of implied volume. Convention tells us it is twisted; in fact, it is flat.
, 1971: Gerald Laing, exhibition Catalogue, Scottish National Gallery of Modern Art, Edinburgh, 1971
The Museum of Art does have a work by one additional British sculptor: Gerald Laing, Purple Pin, 1966, steel, painted and plated with acrylic and lacquer on aluminium with stone base. H. 102.9cm, W. 22.9cm. Signed with titel inscribed on base. Gift of Mr Arthur A. Goldberg, accession number 1974/2.43. As Gerald Laing reached artistic maturity in the 1960s, he must be considered one of the third generation of contemporary British sculptors and thus lies beyond the scope of this study…
, https://books.google.co.uk/books?id=k5HrAAAAMAAJ&pg=RA3-PA55&lpg=RA3-PA55&dq=purple+pin+michigan+art+museum&source=bl&ots=-XK36hsqjJ&sig=BhNEyTMKUorCoSEZRdEbzUsbwE8&hl=en&sa=X&ved=0ahUKEwiHvu7d-ZjOAhUGBsAKHe9CCoIQ6AEIKDAA#v=onepage&q=purple%20pin%20michiga">Bulletin - Museums of Art and Archaeology, University of Michigan, Volumes 1-4, 1978