Word: gussow
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Dates: during 1960-1969
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...front of the Smithsonian Institution's new Museum of History and Technology last week went an 8-ft.-high, stainless-steel piece of abstract sculpture designed by New York's José de Rivera, 62, and executed with the aid of fellow New York Abstractionist Roy Gussow, 48. In terms of institutional oneupmanship, the work gives the Smithsonian the distinction of placing the first abstract sculpture on the capital's Mall, which will eventually be blooming with them: Hostess Gwen Cafritz is donating an Alexander Calder stabile-mobile that will be installed in midsummer, while the Hirschhorn...
...GUSSOW - Borgenicht, 1018 Madison Ave. at 78th. The streamlined slabs and slippery surfaces of modern abstracts in stainless steel, forged bronze and copper by a teacher at Pratt Institute who studied under Moholy-Nagy and Archipenko. Most are on loan. Through April...
When asked what he studied at Middlebury College in Vermont, Painter Alan Gussow answers: "American literature and the Vermont landscape." Now 30, Gussow still majors in landscapes and seascapes, and he achieves a rare blend of strength and delicacy. At times he seems to be rough with his subject. He dissects the land, shreds the sky, churns up the sea; yet instead of seeming shattered, his images take on new life. Gussow's first Manhattan show, at the Peridot Gallery, is one of the freshest of the season...
...winner of the Prix de Rome at 21, Gussow learned in Europe "not how to paint, but how to love art. When I went over," he confides with some embarrassment, "I hadn't even heard of Botticelli." He stayed in Europe two years, devouring the museums, but it was not until he got back home that his own work seemed to take on meaning. Gussow found his inspiration in the countryside most familiar to him-the hills and valleys around Congers, N.Y., where he bought a house, and the sea around Maine's Monhegan Island, where he spends...
...Gussow makes a distinction between an object and a subject as a theme for a painting. "An object," he says, "is something separate, like a Chinese urn, to be held up, inspected, admired, but nothing more. A subject implies something subservient, something that the artist can control but is also responsible for." Gussow's special responsibility is to show his favorite subject, nature, in action. He succeeds admirably. Though his design stays firm, his spontaneous brush strokes make his canvases seem fluid. The effect is just what Gussow is after: "The idea of something happening, the illusion of change...