Maryland
By the 1970s, now with a family, Gorski sought a less hectic environment, one more conducive to his nature, which would allow him to concentrate on his work. Considered an excellent teacher Gorski would come to hold various teaching positions over the years including a long tenure at The Maryland Institute of Art. This new life-style also afforded him the luxury of extensive travels, especially to Arizona, southern Utah, northern New Mexico and the Yucatan, Peru and Ecuador.
Photos of Dan and his young children during the happy years before his marriage broke up.
Dan Flower Power 1971, taken during happy days of marriage to second wife
Kalika born 1974 and Elektra born 1977
1976 “The Maryland Biennial Exhibition
Baltimore Museum of Art
Exhibition Brochure
One of the jurors for the exhibition, Nancy Graves, selected Dan’s painting, “Saltillo Garden” to receive the Mr. and Mrs. Jules Horelick Award.
Saltillo Garden, 1975, Acrylic Paint on Canvas, 72x72 in. Available
To liven things up, Dan moved back to paint on canvas. These works including Saltillo Garden and Homage to Albers and Rothko, employed color more strongly and by virtue of the underlying geometry suggestive of architectural structures.
Dan (left) with students at MICA
1979, 1980, 1981 Various Outdoor
Sculpture Exhibitions
During this period, created a body other works based on buildings and architecture, based on his own farmhouse (Home Sweet Home Series) or based on the temples of the ancient cultures he encountered on his travels.
Exhibition Brochures
Home Sweet Home 1, 1979, acrylic paint on wood, 2D construction, 96 x 97 x 40 inches
Ford Foundation Award
1979, Temple of the Inscriptions—Palenque, wood, 8' x 17.5' x 6'
1989 “Daniel Gorski – Recent Paintings”
Franz Bader Gallery, Washing DC
Dan’s work in this exhibition featured works influenced by his travels, with many works’ titles referencing the Zuni, Hopis, and Incans.
1986 at the time Dan’s marriage broke up. Marriage/Mirage, acrylic on wood, 96 x 96 inches.
Available
Zuni Shalako/Night, 1988, acrylic on wood and metal, 96 x 83 inches. Available
Joe Shannon’s review in the Washington Review, volume XV ,number 2, August/September1989 and Edward Phillips review in the September 1989 Art Examiner feature this piece along with this photo.
Below are a couple of other pieces from the exhibition having Zuni and Hopi influences:
Zuni Shalako/Daybreak, 1988, acrylic on wood + metal, 92x60 inches. Private Collection
Tuwa-Katsi (Fourth World Emergence), 1987, acrylic on wood + metal, 96x79 inches. Private Collection