- Yellow Trace
- Catalogue raisonné no. 224
- Artist's CR 214
- Ingrams and Halliwell no. 61
- February, 1968
- New York
- Lacquered aluminium and chrome-covered brass, polished black marble base
- Edition of 10
- 24.5 x 10 x3.5 inches / 62 x 25 x9 cm
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1971: Gerald Laing, Scottish National Gallery of Modern Art, Edinburgh, 1971chevron_right
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Gerald Laing: Paintings and Sculpture 1963–1983, Herbert Art Gallery & Museum, Coventry, 1983chevron_right
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Gerald Laing: A Retrospective 1963–1993, The Fruitmarket Gallery, Edinburgh, 1993chevron_right
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Gerald Laing: Sculpture 1968–1999, The Fine Art Society, London, 1999chevron_right
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Gerald Laing 1936–2011: A Retrospective, The Fine Art Society, London, 2016chevron_right
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Lyndsey Ingram at the Armory Show, Lyndsey Ingram at the Armory Show, New York City, 2019chevron_right
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Gerald Laing and Alasdair Hamilton, 1971: Gerald Laing, exhibition catalogue, Scottish National Gallery of Modern Art, 1971chevron_right
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Gerald Laing: Paintings and Sculpture 1963–1983, exhibition catalogue, Herbert Art Gallery & Museum, 1983chevron_right
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Clare Henry, 'Fruitful Transformation', Herald, 20 Augustchevron_right
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Gerald Laing: A Retrospective 1963–1993, exhibition catalogue, The Fruitmarket Gallery, 1993chevron_right
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Gerald Laing: Sculpture 1968–1999, exhibition catalogue, The Fine Art Society, 1999chevron_right
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Lindsey Ingram and Rupert Halliwell (eds.), Gerald Laing Prints and Multiples: A Catalogue Raisonné, Sims Reed Ltd, London, 2006chevron_right
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Gerald Laing 1936–2011: A Retrospective, exhibition catalogue, The Fine Art Society, 2016chevron_right
Selected Citations and Comments
In 1964 I went to live in New York. By 1965 I had begun to use shaped canvas stretchers of such complexity that it became obvious that it would be easier to cut the shape I required out of some sort of sheet material instead. In addition, I had become less interested in the figurative content of the work and more interested in its formal and abstract qualities. These two considerations led to a group of abstract metal pieces, of which catalogue numbers 4 & 5 [After the Ball is Over I and Yellow Wedge are examples. They still contain figurative references, but these are merely points of departure for idealised abstract works which still display a strong technological optimism. The techniques and finishes used are derived largely from the world of custom cars.
, Gerald Laing: Paintings and Sculpture 1963–1983, sxhibition catalogue, Herbert Art Gallery, Coventry, 1983