In a small room across from the 1937 portrait, however, a group of Gorky's early modernist imitations suggested the very different figure of Gorky the Faker.
So it was partly because of chronology, but also because of this slight curatorial emphasis on Gorky the Authentic, that the second discrete room of the exhibition was devoted to Gorky's two famous paintings of himself as a boy standing next to his mother (along with another large wall panel that repeated some of the artist's gruesome biographical details).
Unlike Pollock, Gorky never ventured into allover composition; unlike Newman and Rothko, Gorky did not radically reduce the number of compositional incidents to flatten the canvas.
In his murals for the Newark Airport Administration Building, Gorky sent dotted lines across a biomorphic map of the United States (Texas is a mere uvula), playing on conventions of suggested routes.
Gorky was also good at masking his canvases, as he embedded his own artistic mythology of rural authenticity within formal techniques of concealing and revealing.
Other winners included: Gorkys
(Best Welsh Language Act), Boobytrap (Best Label), Greg Haver (Best Producer), Coal Exchange (Best Live Venue over 500 capacity), Clwb Ifor Bach (Best Live Venue under 500), Pop Factory (Best Music Programme), Session in Wales (Best Radio Show) and One Live in Cardiff (Best Special Event).