James Koenig

Hot Triangles

1975

An original hard edge abstraction by American artist James Koenig titled "Ribbon Structure". This work created in 1971 will be featured in the u...

An original hard edge abstraction by American artist James Koenig. This piece is featured in Draw Near which is currently on view at Benjaman Gallery.

An original hard edge abstraction by American artist James Koenig. This work titled "Sun" is part of the Draw Near exhibition currently on view at Benjaman Gallery.

An original hard edge abstraction by American artist James Koenig. This work titled "Ribbon Structure #4" is part of the Draw Near exhibition currently on view at Benjaman Gallery

An original hard edge abstraction by American artist James Koenig titled "Cool Triangles. This work is part of Draw Near exhibition which opened at Benjaman Gallery on March 11. Th...

An abstract expressionist painting by Duayne Hatchett . Oil on canvas, circa 1990. Signed verso. Framed. Image size, 60"H x 56"L. Duayne Hatchett was a visual artist whose work included prints, paintings, sculpture, and found objects. He was born on May 12, 1925 in Shawnee, Oklahoma. He enlisted in the Air Force where he trained to become a fighter pilot. After leaving the militrary he studied design at the University of Oklahoma. His highly technical military training combined a mathematical intelligence with a love for physics and a daring embrace of new experience, all of which would soon be the tools for his evolution through art. Two major influences interacted on his early development at OU. Emelio Omero, a colleague and close friend of Diego Rivera, introduced him to the revolutionary art ideas of Mexico City, while teaching him a wide range of printing techniques that would culminate in a Masters Degree in Painting in 1952. During this time he met Bruce Goff, a renowned Wright disciple, who was teaching architecture at OU and befriended Hatchett, introducing him to the most avant-garde architecture of that time. He spent his summers while at OU designing for a small sign shop, which introduced him to new materials used for building neon, plastic, and metal signs. The use of new materials and a keen sense for design would soon become invaluable building blocks for future sculpture. During this time he met and married Mary Ellen Jeffries. They would spend their lives together and raise three children, David (me), my brother Dana, and my sister Jeffri. As children, they were immersed in art from childhood and benefited greatly from this loving art and domestic environment. Hatchett was always interested in the techniques of construction, often watching different tradesmen working, understanding how materials are put together to create the manmade environment that surrounded him. While teaching printmaking at Oklahoma City University from 1951 through ‘54, he began to build sculpture employing some of the materials and techniques that he saw workers using. He was beginning to draw the attention of architects and he became interested in their work-trade processes, moving from blue prints to construction. He accepted an invitation from Alexander Hogue...

A great strong-edge painting by Naohiko Inukai, No. 16 is part of a series the artist created in the mid 1960s. Many from this series were shown at Inukai's two solo shows at Stempfl...

"Strengths and Weaknesses" is a portrait exploring several elements and strategies that fascinate the artist – notably the performance anxiety induced by simply being an artist, staring down the freight train of art history as it hurtles toward you every time you pick up a brush. Luck? Talent? Maybe. There are signposts and guides in this painting, of course (Cubism! Surrealism! Brancusi! Guston!), but they can clobber you too if you're not careful. Even the phrase "strengths and weaknesses" smacks of compromises and rationalization – deadly to an artist looking to construct their own integral world. "Strengths and Weaknesses" is an acrylic and charcoal on canvas measuring 54" tall by 54" wide. It was included in the artist's solo show "Comedy Cellar" at Freight + Volume Gallery, New York City in July 2018. (See last photograph for an installation view.) From Daniel Gerwin – "Schenck’s color is vibrant, wild, saturated to the point of overheating, and altogether brilliant in the balancing of hues, temperatures, shapes, and color quantities. The paintings have a remarkable coherence for their dizzying juxtaposition of so many small chromatic passages." (Essay: The Anxiety and the Ecstasy) Peter Schenck...

Our shaped canvas which also is a sculptural form in essence for a wall, is a geometric and forward play of optical illusion. Hinman is an important pioneer of exploration in the co...

acrylic on canvas Dion Johnson’s paintings combine and explore dynamic opposites: expansiveness and compression, surface and depth, and darkness and light. Gradient color fields are...

acrylic on canvas Dion Johnson’s paintings combine and explore dynamic opposites: expansiveness and compression, surface and depth, and darkness and light. Gradient color fields are...

Jay Rosenblum (1933 - 1989) Untitled, 1973 Acrylic on canvas 54 x 128 inches Signed twice and dated on the reverse Provenance: Private Collection, Long Island Jay Rosenblum experim...