Works in the exhibition range from large-scale canvases such as Cristoforo Colombo (1965), Camels and Goats (1980), and Rat Tat Tat (2001), to smaller sketches such as Hollywood Film Stars and Homes Foldout (1973) and back to the two new and previously unseen painted installations—Biggles and The Spitfire (both 2012). The exhibition centers on the recurring thems of disaster and chaos in Morley’s oeuvre (forces symbolized by automotive mayhem, beleaguered boats, and speeding, crashing aircraft) while offering glimpses of its other more whimsical dimensions.
Although he has refused to settle into any consistent style or follow any predictable path, Morley has nonetheless participated in or anticipated major art movements. Notably these associations include the precendent-setting example of his early 1960s “Photo-Realist” paintings (the artist preferred the label “Super Realist”), and his broad-brushed, image-dense canvases of the 1980s, frequently cited as precursors to “Neo-Expressionism” or “Bad Painting.”
A fully illustrated catalogue of the exhibition, featuring an interview with Morley and an essay by the curator Robert Storr, is forthcoming.
Gallery Hours: Wed.–Mon. (closed Tues.) 12noon–7pm
Gallery open specially Mon., Jan. 30, 3–6.30pm