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Gaylen Gerber

Support, 1970

Oil paint on Puffo, polyurethane foam
18 × 20 in
45.7 × 50.8 cm
location
New York
About the work
W
wallspace_1
New York
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Gruppo Sturm (Giorgio Ceretti, Piero Derossi, Riccardo Rosso), produced by Gulfram, Italy, 1970

Gruppo Sturm (Giorgio Ceretti, Piero Derossi, Riccardo Rosso), produced by Gulfram, Italy, 1970

Medium
Sculpture
Gaylen Gerber
American, b. 1955
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Gaylen Gerber creates what he calls “backdrops” or “supports,” in effect producing paintings that serve as contextual grounds for another artist’s work. His artworks are typically large monochromatic canvases on wooden stretchers that mimic exhibition walls, often matching their color and size. The work critiques institutional settings and raises questions about authorship. The artist and curator Michelle Grabner wrote that Gerber’s work “has always confused the ‘seeing’ of visual images and the ‘evidence’ of visual images.” Gerber’s suggestion is that an artwork is not inherently meaningful, but that its meaning emerges from its relationship and placement in an environment. “There’s an unseen norm that structures the way that expression is constructed, and there’s the expressions that deviate from the norm that we find meaningful,” Gerber has said. “And so that’s the relationship I see in my work.”

Save
Save
view
View in room
share
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Save
Save
view
View in room
share
Share
About the work
W
wallspace_1
New York
Follow

Gruppo Sturm (Giorgio Ceretti, Piero Derossi, Riccardo Rosso), produced by Gulfram, Italy, 1970

Gruppo Sturm (Giorgio Ceretti, Piero Derossi, Riccardo Rosso), produced by Gulfram, Italy, 1970

Medium
Sculpture
Gaylen Gerber
American, b. 1955
Follow

Gaylen Gerber creates what he calls “backdrops” or “supports,” in effect producing paintings that serve as contextual grounds for another artist’s work. His artworks are typically large monochromatic canvases on wooden stretchers that mimic exhibition walls, often matching their color and size. The work critiques institutional settings and raises questions about authorship. The artist and curator Michelle Grabner wrote that Gerber’s work “has always confused the ‘seeing’ of visual images and the ‘evidence’ of visual images.” Gerber’s suggestion is that an artwork is not inherently meaningful, but that its meaning emerges from its relationship and placement in an environment. “There’s an unseen norm that structures the way that expression is constructed, and there’s the expressions that deviate from the norm that we find meaningful,” Gerber has said. “And so that’s the relationship I see in my work.”

Gaylen Gerber

Support, 1970

Oil paint on Puffo, polyurethane foam
18 × 20 in
45.7 × 50.8 cm
location
New York