New York

Malcolm Morley, Tilting, 2017, diptych, oil on linen, overall 50 × 100".

Malcolm Morley

Sperone Westwater

Malcolm Morley, Tilting, 2017, diptych, oil on linen, overall 50 × 100".

Malcolm Morley’s late oeuvre, which this show to some extent encapsulated, has an undeniably boyish core. Having worked his way through various isms and influences in the 1960s, ’70s, and ’80s to considerable acclaim, the transplanted Brit (Morley moved to New York in 1958 when he was in his late twenties) returned in the ’90s to an early preoccupation with nautical themes, wartime imagery, and model making. Repressed memories of traumatic events had bubbled up via psychoanalysis from the turbulent depths of his famously troubled childhood: As the Wiki-myth would have it, Morley spent the first twenty years of his life grappling with cruelty (at the hands of a resentful and abusive stepfather), conflagration, and loss. As a young boy, he is said to have been both thrilled and horrified by the war with Nazi Germany that consumed his country and destroyed his familial home. An

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