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Sam Gordon

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Visit Gordon Robichaux’s presentation of recent work by Deondre Davis and Agosto Machado at Post-Fair Paris, October 19-24th. 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 #6’ 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
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Visit Gordon Robichaux’s presentation of works by Deondre Davis and Agosto Machado at post-Fair Paris thru Saturday, booth 23, 79 Rue du Temple. @post_fair Agosto Machado was a Chinese-Spanish-Filipino-American performance artist, activist, archivist, caretaker, and friend to countless celebrated and underground artists. Over seven decades, he collected and preserved ephemera, relics, artwork, and personal effects, which he lovingly incorporated into his shrines and assemblages dedicated to remembrance, activism, and community. Machado was a vital participant in creative life in New York from the early 60s, from art, theater, performance, and film to social and political counterculture and the dawn of the gay liberation movement. Throughout his time living in downtown New York, he felt a responsibility to preserve and memorialize his creative community, informed by his deep appreciation of the ephemeral reality of queer and underground creative production and his profound experience of the AIDS crisis. IMAGES: Agosto Machado ‘Untitled (Care)’ n.d., Key chains and rings, keys, 10 x 8 x 3¾ in., 25.40 x 20.32 x 9.53 cm
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Visit Gordon Robichaux’s presentation of recent work by Deondre Davis and Agosto Machado at Post-Fair Paris, October 19-24th. 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 ‘Untitled’ 2026, Pencil, oil, and gouache on canvas mounted to wood panel, 9½ x 7½ x ⅜ in., 24.13 x 19.05 x 0.95 cm @tux_pants @post_fair
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Opening TODAY: Gordon Robichaux at Post-Fair Paris with a two-person presentation of works by Deondre Davis and Agosto Machado at booth 23, 79 Rue du Temple. Machado was a Chinese-Spanish-Filipino-American performance artist, activist, archivist, caretaker, and friend to countless celebrated and underground artists. Over seven decades, he collected and preserved ephemera, relics, artwork, and personal effects, which he lovingly incorporated into his shrines and assemblages dedicated to remembrance, activism, and community. Machado was a vital participant in creative life in New York from the early 60s, from art, theater, performance, and film to social and political counterculture and the dawn of the gay liberation movement. Throughout his time living in downtown New York, he felt a responsibility to preserve and memorialize his creative community, informed by his deep appreciation of the ephemeral reality of queer and underground creative production and his profound experience of the AIDS crisis. IMAGES: Agosto Machado ‘Untitled (Downtown) Altar’ 2026, Mixed media assemblage, 13.5 x 17 x 15 in
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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
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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
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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.
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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.
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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 #5’ 2026, 9⅞ x 7 x ⅜ in., 25.10 x 17.78 x 0.97 cm @tux_pants @post_fair
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‘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
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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.
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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.
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