New York

Gerry Morehead

The Clocktower

Two often contradictory tasks face any serious artist: to participate in a wide-ranging discourse that includes the formal concerns identified as the realm of the esthetic and the more topical concerns that tie art to contemporary life, and thus to history (these latter are often dismissed by formalists as merely “sociological”); and to hoist an array of baffles to disturb that discourse and to deflect the predations of those explainers who would too easily reduce the work to a package, a cipher of itself that can be used more conveniently as a token in the spectacle of cultural exchange. Gerry Morehead has always seemed highly conscious of this problem, producing a body of work which, over the years, has seemed apposite and yet oddly obscure. (As this review went to press a small exhibition of Morehead’s older work opened at the Kitchen.) Morehead is of a generation that has found renewed

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