GERALD LAING

Yellow Trace

Catalogue raisonné no. 224

Artist's CR 214

Ingrams and Halliwell no. 61

February, 1968

New York

Lacquered aluminium and chrome-covered brass, polished black marble base

Edition of 10

24.5 x 10 x3.5 inches / 0 cm

Exhibitions:
• 1971: Gerald Laing, Scottish National Gallery of Modern Art, Edinburgh, 1971
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• Gerald Laing: Paintings and Sculpture 1963–1983, Herbert Art Gallery & Museum, Coventry, 1983
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• Gerald Laing: A Retrospective 1963–1993, The Fruitmarket Gallery, Edinburgh, 1993
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• Gerald Laing: Sculpture 1968–1999, The Fine Art Society, London, 1999
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• Gerald Laing 1936–2011: A Retrospective, The Fine Art Society, London, 2016
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• Lyndsey Ingram at the Armory Show, Lyndsey Ingram at the Armory Show, New York City, 2019
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Literature:
• Gerald Laing and Alasdair Hamilton, 1971: Gerald Laing, exhibition catalogue, Scottish National Gallery of Modern Art, 1971
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• Gerald Laing: Paintings and Sculpture 1963–1983, exhibition catalogue, Herbert Art Gallery & Museum, 1983
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• Gerald Laing: A Retrospective 1963–1993, exhibition catalogue, The Fruitmarket Gallery, 1993
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• Clare Henry, 'Fruitful Transformation', Herald, 20 August
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• Gerald Laing: Sculpture 1968–1999, exhibition catalogue, The Fine Art Society, 1999
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• Lindsey Ingram and Rupert Halliwell (eds.), Gerald Laing Prints and Multiples: A Catalogue Raisonné, Sims Reed Ltd, London, 2006
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• Gerald Laing 1936–2011: A Retrospective, exhibition catalogue, The Fine Art Society, 2016
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Selected Citations and Comments

In 1964 I went to live in New York. By 1965 I had begun to use shaped canvas stretchers of such complexity that it became obvious that it would be easier to cut the shape I required out of some sort of sheet material instead. In addition, I had become less interested in the figurative content of the work and more interested in its formal and abstract qualities. These two considerations led to a group of abstract metal pieces, of which catalogue numbers 4 & 5 [After the Ball is Over I and Yellow Wedge are examples. They still contain figurative references, but these are merely points of departure for idealised abstract works which still display a strong technological optimism. The techniques and finishes used are derived largely from the world of custom cars.

Gerald Laing, Gerald Laing: Paintings and Sculpture 1963–1983, sxhibition catalogue, Herbert Art Gallery, Coventry, 1983