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Gordon Robichaux will participate in the first edition of Post-Fair Paris, October 19-24th, with a presentation of recent work by Deondre Davis and Agosto Machado.

Gordon Robichaux at Post-Fair Paris
79 Rue du Temple, Booth 23

Deondre Davis’s practice is rooted in what he describes as “system-driven logic,” and the foundation of his paintings and drawings is generally a graphite grid, which he maps across the surface of unprimed canvas. The grid functions as a structure onto and against which the artist builds a layered composition of geometric shapes, filled with areas of translucent and opaque color-Ash Yellow, Olive Green, Copper, Warm Grey, Ash Blue, Quinacridone Rose, Warm Yellow-applied with gouache and oil paint. The abstract works evince a generative tension between rational forms and processes and the artist’s intuition, imagination, and embrace of imperfections: lines of varied weights waver and stray from strict perpendiculars, while color exceeds enclosure, and smudges or uneven applications of graphite and paint create interference. For Davis, repetition and seriality yield inconsistency and difference. He locates freedom and meaning within a narrow set of variables, a process which the artist calls “contemplative repetition.”

Deondre Davis (b. 1991, Chicago) is a self-taught artist who lives and works in Los Angeles. Solo exhibitions include Gordon Robichaux in New York (2026, 2024) and CASTLE in Los Angeles (2025). Davis was awarded residencies at Chinati Foundation in Marfa, TX (2026) and at Rondo in Mexico City, MX (2025).

IMAGE: Deondre Davis ‘Verdigris #9’ 2026, Pencil, oil, and gouache on canvas mounted to wood panel, 10 x 6½ x ⅜ in., 25.40 x 16.51 x 0.97 cm

@tux_pants @post_fair by @sam_gordon_

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18 hours ago

Visit ‘Proserpina / Devil Chaser: Rosemary Mayer and Ree Morton’ Friday thru Sunday 12-6pm and by appointment at Gordon Robichaux.

This is the first two-person presentation dedicated to the work of Rosemary Mayer and Ree Morton—groundbreaking artists who shared a friendship for several years before Morton’s untimely death in 1977. While closely associated with the feminist art movement and Post-Minimalism, their radical, multidisciplinary practices exceed these categorizations. Inspired by a wide range of overlapping interests including language, memory, and the natural world, Mayer and Morton developed their own distinct material and conceptual vocabularies and embraced hybridity, decoration, allegory, theatricality, kitsch, and biography as critical forms.

The installation at Gordon Robichaux is anchored by Rosemary Mayer’s ‘Proserpina’ and Ree Morton’s ‘Devil Chaser,’ two rarely exhibited sculptures created in 1975 that were inspired by plants, flowers, and the language and mythology connected to them. The exhibition also gathers together and integrates artworks that expand on the artists’ affinities and divergences, including several of Mayer’s delicate color pencil and watercolor drawings exploring fabric, flowers, and language; a recording of Mayer reading from her 1976 artist’s book ‘Passages;’ and a series of Morton’s ‘Signs of Love’ text paintings and ‘Beaux’ sculptures. Two works on view directly memorialize the artists’ friendship: a flag dedicated to Mayer from Morton’s ‘Something in the Wind’ installation (1975) and a drawing from Mayer’s balloon work ‘Some Days in April (1978),’ made the year after Morton’s death.

The artists’ friendship, exchange, and practices are also contextualized through a selection of archival materials including correspondence, publications, sketchbook drawings, and installation and performance documentation.

The exhibition is presented in collaboration with The Estate of Rosemary Mayer and The Estate of Ree Morton, with the support of Allan Schwartzman.

IMAGE: Ree Morton ‘Test Piece’ c. 1975, Enamel on celastic, wire and wood, 6 x 12 x 1½ in

#ReeMorton @rosemarymayerart #RosemaryMayer taken in Gordon Robichaux Gallery by @sam_gordon_

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2 days ago

Visit ‘Proserpina / Devil Chaser: Rosemary Mayer and Ree Morton’ Friday thru Sunday 12-6pm and by appointment at Gordon Robichaux.

This is the first two-person presentation dedicated to the work of Rosemary Mayer and Ree Morton—groundbreaking artists who shared a friendship for several years before Morton’s untimely death in 1977. While closely associated with the feminist art movement and Post-Minimalism, their radical, multidisciplinary practices exceed these categorizations. Inspired by a wide range of overlapping interests including language, memory, and the natural world, Mayer and Morton developed their own distinct material and conceptual vocabularies and embraced hybridity, decoration, allegory, theatricality, kitsch, and biography as critical forms.

The installation at Gordon Robichaux is anchored by Rosemary Mayer’s ‘Proserpina’ and Ree Morton’s ‘Devil Chaser,’ two rarely exhibited sculptures created in 1975 that were inspired by plants, flowers, and the language and mythology connected to them. The exhibition also gathers together and integrates artworks that expand on the artists’ affinities and divergences, including several of Mayer’s delicate color pencil and watercolor drawings exploring fabric, flowers, and language; a recording of Mayer reading from her 1976 artist’s book ‘Passages;’ and a series of Morton’s ‘Signs of Love’ text paintings and ‘Beaux’ sculptures. Two works on view directly memorialize the artists’ friendship: a flag dedicated to Mayer from Morton’s ‘Something in the Wind’ installation (1975) and a drawing from Mayer’s balloon work ‘Some Days in April (1978),’ made the year after Morton’s death.

The artists’ friendship, exchange, and practices are also contextualized through a selection of archival materials including correspondence, publications, sketchbook drawings, and installation and performance documentation.

#ReeMorton @rosemarymayerart #RosemaryMayer

The exhibition is presented in collaboration with The Estate of Rosemary Mayer and The Estate of Ree Morton, with the support of Allan Schwartzman. taken in Gordon Robichaux Gallery by @sam_gordon_

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4 days ago

Visit ‘Proserpina / Devil Chaser: Rosemary Mayer and Ree Morton’ Friday thru Sunday 12-6pm and by appointment at Gordon Robichaux.

This is the first two-person presentation dedicated to the work of Rosemary Mayer and Ree Morton—groundbreaking artists who shared a friendship for several years before Morton’s untimely death in 1977. While closely associated with the feminist art movement and Post-Minimalism, their radical, multidisciplinary practices exceed these categorizations. Inspired by a wide range of overlapping interests including language, memory, and the natural world, Mayer and Morton developed their own distinct material and conceptual vocabularies and embraced hybridity, decoration, allegory, theatricality, kitsch, and biography as critical forms.

The installation at Gordon Robichaux is anchored by Rosemary Mayer’s ‘Proserpina’ and Ree Morton’s ‘Devil Chaser,’ two rarely exhibited sculptures created in 1975 that were inspired by plants, flowers, and the language and mythology connected to them. The exhibition also gathers together and integrates artworks that expand on the artists’ affinities and divergences, including several of Mayer’s delicate color pencil and watercolor drawings exploring fabric, flowers, and language; a recording of Mayer reading from her 1976 artist’s book ‘Passages;’ and a series of Morton’s ‘Signs of Love’ text paintings and ‘Beaux’ sculptures. Two works on view directly memorialize the artists’ friendship: a flag dedicated to Mayer from Morton’s ‘Something in the Wind’ installation (1975) and a drawing from Mayer’s balloon work ‘Some Days in April (1978),’ made the year after Morton’s death.

The artists’ friendship, exchange, and practices are also contextualized through a selection of archival materials including correspondence, publications, sketchbook drawings, and installation and performance documentation.

#ReeMorton @rosemarymayerart #RosemaryMayer

The exhibition is presented in collaboration with The Estate of Rosemary Mayer and The Estate of Ree Morton, with the support of Allan Schwartzman. taken in Gordon Robichaux Gallery by @sam_gordon_

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5 days ago

Gordon Robichaux will participate in the first edition of Post-Fair Paris, October 19-24th, with a presentation of recent work by Deondre Davis and Agosto Machado.

Gordon Robichaux at Post-Fair Paris
79 Rue du Temple, Booth 23

Deondre Davis’s practice is rooted in what he describes as “system-driven logic,” and the foundation of his paintings and drawings is generally a graphite grid, which he maps across the surface of unprimed canvas. The grid functions as a structure onto and against which the artist builds a layered composition of geometric shapes, filled with areas of translucent and opaque color-Ash Yellow, Olive Green, Copper, Warm Grey, Ash Blue, Quinacridone Rose, Warm Yellow-applied with gouache and oil paint. The abstract works evince a generative tension between rational forms and processes and the artist’s intuition, imagination, and embrace of imperfections: lines of varied weights waver and stray from strict perpendiculars, while color exceeds enclosure, and smudges or uneven applications of graphite and paint create interference. For Davis, repetition and seriality yield inconsistency and difference. He locates freedom and meaning within a narrow set of variables, a process which the artist calls “contemplative repetition.”

Deondre Davis (b. 1991, Chicago) is a self-taught artist who lives and works in Los Angeles. Solo exhibitions include Gordon Robichaux in New York (2026, 2024) and CASTLE in Los Angeles (2025). Davis was awarded residencies at Chinati Foundation in Marfa, TX (2026) and at Rondo in Mexico City, MX (2025).

IMAGE: Deondre Davis ‘Verdigris #5’ 2026, 9⅞ x 7 x ⅜ in., 25.10 x 17.78 x 0.97 cm

@tux_pants @post_fair by @sam_gordon_

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6 days ago

‘Proserpina / Devil Chaser: Rosemary Mayer and Ree Morton’ on view at Gordon Robichaux, Friday thru Sunday 12-6pm and by appointment.

This is the first two-person presentation dedicated to the work of Rosemary Mayer and Ree Morton—groundbreaking artists who shared a friendship for several years before Morton’s untimely death in 1977. While closely associated with the feminist art movement and Post-Minimalism, their radical, multidisciplinary practices exceed these categorizations. Inspired by a wide range of overlapping interests including language, memory, and the natural world, Mayer and Morton developed their own distinct material and conceptual vocabularies and embraced hybridity, decoration, allegory, theatricality, kitsch, and biography as critical forms.

The installation at Gordon Robichaux is anchored by Rosemary Mayer’s ‘Proserpina’ and Ree Morton’s ‘Devil Chaser,’ two rarely exhibited sculptures created in 1975 that were inspired by plants, flowers, and the language and mythology connected to them. The exhibition also gathers together and integrates artworks that expand on the artists’ affinities and divergences, including several of Mayer’s delicate color pencil and watercolor drawings exploring fabric, flowers, and language; a recording of Mayer reading from her 1976 artist’s book ‘Passages;’ and a series of Morton’s ‘Signs of Love’ text paintings and ‘Beaux’ sculptures. Two works on view directly memorialize the artists’ friendship: a flag dedicated to Mayer from Morton’s ‘Something in the Wind’ installation (1975) and a drawing from Mayer’s balloon work ‘Some Days in April (1978),’ made the year after Morton’s death.

The artists’ friendship, exchange, and practices are also contextualized through a selection of archival materials including correspondence, publications, sketchbook drawings, and installation and performance documentation.

The exhibition is presented in collaboration with The Estate of Rosemary Mayer and The Estate of Ree Morton, with the support of Allan Schwartzman.

IMAGE: Ree Morton ‘Beaux’ c. 1974, Enamel on celastic, 11 x 9¾ x 1¼ in

@helenmariereillymorton @rosemarymayerart
taken in Gordon Robichaux Gallery by @sam_gordon_

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7 days ago

Visit ‘Proserpina / Devil Chaser: Rosemary Mayer and Ree Morton’ Friday thru Sunday 12-6pm and by appointment at Gordon Robichaux.

This is the first two-person presentation dedicated to the work of Rosemary Mayer and Ree Morton—groundbreaking artists who shared a friendship for several years before Morton’s untimely death in 1977. While closely associated with the feminist art movement and Post-Minimalism, their radical, multidisciplinary practices exceed these categorizations. Inspired by a wide range of overlapping interests including language, memory, and the natural world, Mayer and Morton developed their own distinct material and conceptual vocabularies and embraced hybridity, decoration, allegory, theatricality, kitsch, and biography as critical forms.

The installation at Gordon Robichaux is anchored by Rosemary Mayer’s ‘Proserpina’ and Ree Morton’s ‘Devil Chaser,’ two rarely exhibited sculptures created in 1975 that were inspired by plants, flowers, and the language and mythology connected to them. The exhibition also gathers together and integrates artworks that expand on the artists’ affinities and divergences, including several of Mayer’s delicate color pencil and watercolor drawings exploring fabric, flowers, and language; a recording of Mayer reading from her 1976 artist’s book ‘Passages;’ and a series of Morton’s ‘Signs of Love’ text paintings and ‘Beaux’ sculptures. Two works on view directly memorialize the artists’ friendship: a flag dedicated to Mayer from Morton’s ‘Something in the Wind’ installation (1975) and a drawing from Mayer’s balloon work ‘Some Days in April (1978),’ made the year after Morton’s death.

The artists’ friendship, exchange, and practices are also contextualized through a selection of archival materials including correspondence, publications, sketchbook drawings, and installation and performance documentation.

The exhibition is presented in collaboration with The Estate of Rosemary Mayer and The Estate of Ree Morton, with the support of Allan Schwartzman.

IMAGE: Rosemary Mayer ‘Bruce’s Flowers’ 1978, Watercolor on paper, 27 x 40 in. taken in Gordon Robichaux Gallery by @sam_gordon_

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10 days ago

Visit ‘Proserpina / Devil Chaser: Rosemary Mayer and Ree Morton’ Friday thru Sunday 12-6pm and by appointment at Gordon Robichaux.

Ree Morton’s ‘Gestures’ is one of nine paintings from the first iteration of her seminal installation, ‘Signs of Love,’ presented at the Fine Arts Center at the University of Rhode Island, Kingston, in 1976. In this context, she displayed the paintings among an array of celastic objects including drapery, flowers, Beauxs, ladders, and laundry baskets, which she installed on the floor and on the walls in a corner of the gallery. The words evoke the basic elements of a narrative, and the theatrical objects and arrangement suggest the deconstruction and celebration of emotional sentiment and experience.

After the installation in Rhode Island, Morton replaced all but one of the text panels—the titular painting—with felt letters applied directly to the wall. The exhibition at Gordon Robichaux follows Morton’s precedent of installing the works at varying heights on the wall.

Morton made ‘Signs of Love’ paintings with eight words—“atmospheres,” “gestures,” “moments,” “objects,” “pleasures,” “poses,” “settings,” and “symbols”—as well as the titular phrase. While the paintings used in the first iteration of ‘Signs of Love’ featured one word on a monochrome ground, a few related works include painted background elements and layered surfaces with impasto and sgraffito.

IMAGES: Ree Morton ‘Gestures (Signs of Love)’ 1976, Oil on plywood, 13.5 x 18 in

#ReeMorton @helenmariereillymorton @rosemarymayerart taken in Gordon Robichaux Gallery by @sam_gordon_

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13 days ago

Visit ‘Proserpina / Devil Chaser: Rosemary Mayer and Ree Morton’ Friday thru Sunday 12-6pm and by appointment at Gordon Robichaux.

This is the first two-person presentation dedicated to the work of Rosemary Mayer and Ree Morton—groundbreaking artists who shared a friendship for several years before Morton’s untimely death in 1977. While closely associated with the feminist art movement and Post-Minimalism, their radical, multidisciplinary practices exceed these categorizations. Inspired by a wide range of overlapping interests including language, memory, and the natural world, Mayer and Morton developed their own distinct material and conceptual vocabularies and embraced hybridity, decoration, allegory, theatricality, kitsch, and biography as critical forms.

The installation at Gordon Robichaux is anchored by Rosemary Mayer’s ‘Proserpina’ and Ree Morton’s ‘Devil Chaser,’ two rarely exhibited sculptures created in 1975 that were inspired by plants, flowers, and the language and mythology connected to them. The exhibition also gathers together and integrates artworks that expand on the artists’ affinities and divergences, including several of Mayer’s delicate color pencil and watercolor drawings exploring fabric, flowers, and language; a recording of Mayer reading from her 1976 artist’s book ‘Passages;’ and a series of Morton’s ‘Signs of Love’ text paintings and ‘Beaux’ sculptures. Two works on view directly memorialize the artists’ friendship: a flag dedicated to Mayer from Morton’s ‘Something in the Wind’ installation (1975) and a drawing from Mayer’s balloon work ‘Some Days in April (1978),’ made the year after Morton’s death.

The artists’ friendship, exchange, and practices are also contextualized through a selection of archival materials including correspondence, publications, sketchbook drawings, and installation and performance documentation.

#ReeMorton @rosemarymayerart #RosemaryMayer

The exhibition is presented in collaboration with The Estate of Rosemary Mayer and The Estate of Ree Morton, with the support of Allan Schwartzman. taken in Gordon Robichaux Gallery by @sam_gordon_

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17 days ago

Visit ‘Proserpina / Devil Chaser: Rosemary Mayer and Ree Morton’ Friday thru Sunday 12-6pm and by appointment at Gordon Robichaux.

This is the first two-person presentation dedicated to the work of Rosemary Mayer and Ree Morton—groundbreaking artists who shared a friendship for several years before Morton’s untimely death in 1977. While closely associated with the feminist art movement and Post-Minimalism, their radical, multidisciplinary practices exceed these categorizations. Inspired by a wide range of overlapping interests including language, memory, and the natural world, Mayer and Morton developed their own distinct material and conceptual vocabularies and embraced hybridity, decoration, allegory, theatricality, kitsch, and biography as critical forms.

The installation at Gordon Robichaux is anchored by Rosemary Mayer’s ‘Proserpina’ and Ree Morton’s ‘Devil Chaser,’ two rarely exhibited sculptures created in 1975 that were inspired by plants, flowers, and the language and mythology connected to them. The exhibition also gathers together and integrates artworks that expand on the artists’ affinities and divergences, including several of Mayer’s delicate color pencil and watercolor drawings exploring fabric, flowers, and language; a recording of Mayer reading from her 1976 artist’s book ‘Passages;’ and a series of Morton’s ‘Signs of Love’ text paintings and ‘Beaux’ sculptures. Two works on view directly memorialize the artists’ friendship: a flag dedicated to Mayer from Morton’s ‘Something in the Wind’ installation (1975) and a drawing from Mayer’s balloon work ‘Some Days in April (1978),’ made the year after Morton’s death.

The artists’ friendship, exchange, and practices are also contextualized through a selection of archival materials including correspondence, publications, sketchbook drawings, and installation and performance documentation.

The exhibition is presented in collaboration with The Estate of Rosemary Mayer and The Estate of Ree Morton, with the support of Allan Schwartzman.

IMAGE: Rosemary Mayer ‘Date Column’ 1976, Watercolor on paper, 39½ x 25½ in., 42⅞ x 28¾ x 1½ in. (framed)

@rosemarymayerart #RosemaryMayer taken in Gordon Robichaux Gallery by @sam_gordon_

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19 days ago

‘Proserpina / Devil Chaser: Rosemary Mayer and Ree Morton’ on view at Gordon Robichaux, Friday thru Sunday 12-6pm and by appointment.

This is the first two-person presentation dedicated to the work of Rosemary Mayer and Ree Morton—groundbreaking artists who shared a friendship for several years before Morton’s untimely death in 1977. While closely associated with the feminist art movement and Post-Minimalism, their radical, multidisciplinary practices exceed these categorizations. Inspired by a wide range of overlapping interests including language, memory, and the natural world, Mayer and Morton developed their own distinct material and conceptual vocabularies and embraced hybridity, decoration, allegory, theatricality, kitsch, and biography as critical forms.

The installation at Gordon Robichaux is anchored by Rosemary Mayer’s ‘Proserpina’ and Ree Morton’s ‘Devil Chaser,’ two rarely exhibited sculptures created in 1975 that were inspired by plants, flowers, and the language and mythology connected to them. The exhibition also gathers together and integrates artworks that expand on the artists’ affinities and divergences, including several of Mayer’s delicate color pencil and watercolor drawings exploring fabric, flowers, and language; a recording of Mayer reading from her 1976 artist’s book ‘Passages;’ and a series of Morton’s ‘Signs of Love’ text paintings and ‘Beaux’ sculptures. Two works on view directly memorialize the artists’ friendship: a flag dedicated to Mayer from Morton’s ‘Something in the Wind’ installation (1975) and a drawing from Mayer’s balloon work ‘Some Days in April (1978),’ made the year after Morton’s death.

The artists’ friendship, exchange, and practices are also contextualized through a selection of archival materials including correspondence, publications, sketchbook drawings, and installation and performance documentation.

The exhibition is presented in collaboration with The Estate of Rosemary Mayer and The Estate of Ree Morton, with the support of Allan Schwartzman.

IMAGE: Ree Morton ‘Beaux’ c. 1974, Enamel on celastic, 9 x 9¾ x 1¼ in

@rosemarymayerar @helenmariereillymorton #ReeMorton #RosemaryMayer taken in Gordon Robichaux Gallery by @sam_gordon_

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25 days ago

“In classic New York style, these two Romantic Conceptualists, whose paintings, sculptures, and installations elide the difference between material form and rhetorical description-each artist radical in their rigorous commitment to sentimental or cliché motifs, each the creator of gestures, atmospheres, settings—fashioned gorgeous innovation from minimal, lean resources, see: Ree Morton’s single-word oil paintings and Rosemary Mayer’s rarely exhibited 1975 ‘Proserpina,’ a model sculpture inspired by the Greek goddess indentured to a husband from hell, which gives Vladimir Tatlin’s ‘Monument to the Third International’ a run for its money (bigger isn’t better, bitch). —Paige K. Bradley for Cultured

@guiltgroupe @rosemarymayerart #RosemaryMayer #ReeMorton @schwartzman.art @helenmariereillymorton #Proserpina by @sam_gordon_

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a month ago