Bigindicator

Allan Gorman

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Double Trouble, 2013 Oil on Canvas 40 in X 40 in © ©2013 Allan Gorman
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A Nice Day for a Ride, 2013 Oil on Canvas 40 in X 40 in © ©2013 Allan Gorman
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Three in a Row, 2014 Oil on Canvas 40 in X 40 in © Allan Gorman
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Macho Dream, 2013 Oil on Canvas 40 in X 40 in © ©2013 Allan Gorman
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Ruby and Sapphire, 2014 36 in X 24 in © Allan Gorman
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Star and Stirrup, 2012 Oil on Linen 48 in X 48 in © Allan Gorman
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Blue Button, 2012 Oil on Panel 18 in X 18 in © Allan Gorman
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Patek, 2011 Oil on Panel 18 in X 18 in © Allan Gorman
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Lexus Reflexus, 2014 30 in X 30 in © Allan Gorman
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Park Avenue Bentley, 2014 30 in X 30 in © Allan Gorman
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Blue Buick, 2012 Oil on Canvas 36 in X 36 in © Allan Gorman
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Woody in a Woody, 2014 30 in X 30 in © Allan Gorman
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Parallels, 2012 Oil on Linen 36 in X 36 in © Allan Gorman
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Red white and blue, 2012 Oil on Linen 36 in X 36 in © Allan Gorman
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Twin Lights, 2012 Oil on Linen 36 in X 36 in © Allan Gorman
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SteamPunk, 2014 99 in X 71 in © Allan Gorman
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What Iron Hath Wrought, 2011 Oil on Linen 36 in X 36 in © Allan Gorman
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Zim, 2011 Oil on Linen 40 X 30 © Allan Gorman
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Down Ramp, 2010 Oil on Linen 36 in X 36 in © ©2010 Allan Gorman
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On Old 17, 2010 Oil on Linen 36 in X 24 in © Allan Gorman
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Geometrics, 2010 Oil on Linen 40 in X 30 in © ©2010 Allan Gorman
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Ceiling at Dia, 2014 40 in X 40 in © Allan Gorman
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No Gas for Miles, 2011 Oil on Linen 30 in X 40 in © Allan Gorman
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Big Silver, 2011 Oil on Canvas 36 in X 54 in © Allan Gorman
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Quick Facts
Birthplace
Brooklyn New York
Birth year
1947
Lives in
West Orange NJ
Works in
West Orange NJ
Representing galleries
ES Lawrence, CK Contemporary
Tags
new realism modern, york, city landscape, abstract, figurative, conceptual
Statement

I’m drawn to the abstract patterns, shapes and random aesthetic tensions I find hidden in realistic objects - particularly within the industrial milieu.  Although the paintings are photo-realistic, the focus isn’t necessarily on the photo-realsim at all, but rather on the plays of light and shadow, dance of the colors, overall composition, shapes and contrasts.  In this way, I think of these works as abstract paintings in the guise of realism, and that’s what informs me as a criteria for what to paint.

I find something mysterious, romantic and nostalgic about the power of cities, machines, night time and the edgy parts of town.  I’m a child of the 50s and 60s, and have great memories about the neon lights and hustle-bustle of old NYC when old subways had wicker seats, and Jazz was in the air.  

My influences were the artists of a generation or two before - the ash can school artists like George Bellows, Edward Hopper, and Reginald Marsh; and photographers like Paul Strand, Richard Avedon and Irving Penn.  And then, when photo-realsim and the west-coast artists first came on the scene in the mid 60’s, early 70’s , I was immediately drawn to the work of Ricard Estes, Robert Cottingham, Wayne Thiebault, of course Richard Diebenkorn, and others who could—within the confines of a small rectangle or square, tell a story about my time, my society, and the things I related to.  I think you can see some of these influences in the images I make today.  But, while acknowledging my predecessors, I’m certainly not trying to be like them. Hopefully, my art will be unique and interesting enough to make its’ own statement—without any comparisons to what someone else might have said.