Robert Longo

Pressure

1983

Robert Petersen May 1987, 1987 Pure pigment collage, gold leaf, acrylic painting and drawing Signed, titled and dated on the front. The back of the frame bears the label of Castelli Uptown (4 East 77th Street) This is a unique work Frame Included: floated and framed in vintage wood frame under acrylic with Castelli label on back This unique mixed media Robert Petersen pigment collage, with drawing and gold leaf and acrylic painting is floated against beveled edges, then matted and framed in a gorgeous light wood museum frame. It bears the label of Castelli Uptown on the back. Petersen, an American contemporary artist born in 1945, worked as an assistant to Robert Rauschenberg for 10 years from 1970 to 1980. He is a versatile artist, working in painting, drawing, printmaking, sculpture and collages, but is perhaps best known as a collagist, Robert Petersen was born in 1943 in the small farm town of Le Mars, Iowa. Petersen lived and worked closely with Rauschenberg on Captiva Island until 1980. In 1973, Petersen had his first solo show at Galerie Sonnabend in Paris, France, which was followed by numerous solo and group exhibitions worldwide. His work is represented in private and public collections internationally including the Centre Georges Pompidou, Musee National d'Art Moderne in Paris, France; The Metropolitan Museum of Art, New York, NY; Francois Pinault, Venice, Italy; Robert Rauschenberg Foundation, New York, NY; James Rosenquist, Aripeka, FL; Ileana & Michael Sonnabend, New York, NY; Cy Twombly Foundation, Rome, Italy, and Universal Limited Art Editions, NY. Measurements: Framed: 31 inches x 38.25 inches x 1.75 inches Artwork: 25 inches x 32 inches More about Robert Petersen: Robert Petersen was born in 1945 in the small farm town of Le Mars, Iowa and was raised there until 1952 when he moved with his family to Whittier, California. His education as an artist began in 1963 at Fullerton Community College where his interest in architectural drafting led him to develop a passion for drawing, painting, and printmaking. In 1966, he pursued his love for printmaking further at California State University, Long Beach under the former Tamarind Lithography Workshop printer, Robert Evermon. In 1969, Petersen went on to work as an assistant printer at Gemini G.E.L. where he printed editions for Frank Stella, Roy Lichtenstein, and Robert Rauschenberg. Most notably, Petersen served as one of the head printers for Rauschenberg's Stoned Moon series, during which the two formed a close friendship. In late 1970, Rauschenberg invited Petersen to live and work with him on Captiva Island, Florida, which had recently become the artist's permanent residence and studio. In 1971, Rauschenberg and Petersen established the experimental print shop, Untitled Press, Inc., where they not only printed their own work but also for visiting artists including David Bradshaw, Brice Marden, Hisachika Takahashi, Cy Twombly, and Robert Whitman. Petersen lived and worked closely with Rauschenberg on Captiva Island until 1980. During the early 1970's Petersen predominately created monochromatic minimalist work and then began to explore the possibilities presented by his intricate sketch pages. In 1976, Petersen made his first monthly inspired journal drawing from the highlights of his sketchbook where he collected observations of daily surroundings, drawings for future work, musings, postcards, photographs, and ephemera such as calendar clippings and magazine illustrations. This technique continues to serve as the basis for his present work. In 1973, Petersen had his first solo show at Galerie Sonnabend in Paris, France, which was followed by numerous solo and group exhibitions worldwide. His work is represented in private and public collections internationally including the Centre Georges Pompidou, Musee National d'Art Moderne in Paris, France; The Metropolitan Museum of Art, New York, NY; Francois Pinault, Venice, Italy; Robert Rauschenberg Foundation, New York, NY; James Rosenquist, Aripeka, FL; Ileana & Michael Sonnabend, New York, NY; Cy Twombly Foundation, Rome, Italy, and Universal Limited Art Editions, NY. Petersen currently works in Tivoli, NY where he lives with his wife, Cinda Sparling...

James Rosati Untitled Geometric Abstraction, 1982 Two-sided Acrylic and Colored Pencil on Paper drawing Hand signed and dated on lower right front 14 1/2 × 13 1/2 inches This is a un...

Billy Al Bengston Sweet Filthy Cheat, 2004 Watercolor and acrylic on paper Signed, dated and titled on the front Frame included Unique This unique work, with it's charmingly sly tit...

Larry Zox Dexter's Choice, State II, ca. 1990 Mixed media, Watercolor pochoir, and Oil stick Wax, Water-Based Crayons, on heavy Arches museum watercolor rag paper with deckled edges 40 × 60 in 101.6 × 152.4 cm Edition 8/30 (unique variant) Frame included Measurements: Sheet: 40 inches (vertical) by 60 inches (horizontal) Frame: 42 inches x 62 inches x 1 inch Dexter's Choice, State # II is a unique, mixed media work from an edition of 30 unique variants done in pochoir, (25 stencils, 14 colors). Here, Zox uses watercolor instead of inks, which is applied to heavy 300 lb. watercolor paper. Although it is a multiple signed and numbered from the edition of 30, each work of art is unique because of how the paper receives the watercolor brush. In addition, this work is created like a mixed media painting because it has 11 lines added by hand with wax and water based crayons and oil sticks. The unique watercolor technique that Zox employed in making "Dexter's Choice" is documented in the textbook, "Screen Printing: Water Based Techniques,Roni Henning, NYIT ". Dexter's Choice was published by Images Gallery, and this work was acquired directly from the publisher before they sold out. This work is elegantly floated and framed in a white wood frame. Accompanied by gallery issued Certificate of Guarantee Larry Zox Biography: A PAINTER who played an essential role in the Color Field discourse of the 1960s and 1970s, Larry Zox is best known for his intensely and brilliantly colored geometric abstractions that question and violate symmetry.1 Zox stated in 1965: “Being contrary is the only way I can get at anything.” To Zox, this position was not necessarily arbitrary, but instead meant “responding to something in an examination of it [such as] using
a mechanical format with X number of possibilities.”2 What he sought was to “get at the specific character and quality of each painting in and for itself,” as James Monte stated in his introductory essay in the catalogue for Zox’s 1973–1974 solo exhibition at the Whitney Museum of American Art.3 Zox’s robust paintings reveal
a celebrated artist and master of composition who is explored and challenged the possibilities of Post-Painterly Abstraction and Minimalist pictorial conventions. Zox began to receive attention in the 1960s when he was included in several groundbreaking exhibitions of Color Field and Minimalist art, including Shape and Structure (1965), organized by Henry Geldzahler and Frank Stella for Tibor de Nagy, New York, and Systemic Painting (1966), organized by Lawrence Alloway for the Solomon R. Guggenheim Museum, New York. In 1973–1974, the Whitney’s solo exhibition of Zox’s work gave recognition to his significance in the art scene of the preceding decade. In the following year, he was represented in the inaugural exhibition of the Hirshhorn Museum and Sculpture Garden, Wahsington, DC, which acquired fourteen of his works.
 Zox was born in Des Moines, Iowa in 1937. He attended the University of Oklahoma and Drake University, Des Moines, Iowa, and then studied under George Grosz at the Des Moines Art Center. In 1958, Zox moved to New York, joining the downtown art scene. His studio on 20th Street became a gathering place for artists, jazz musicians, bikers, and boxers, and he occasionally sparred with visiting fighters. He later established a studio in East Hampton, a former black smithy used previously by Jackson Pollock. In his earliest works, such as Banner (1962) Zox created
collages consisting of pieces of painted paper stapled onto sheets of plywood. He then produced paintings that were illusions of collages, including both torn- and trued-edged forms, to which he added a wide range of strong hues that created ambiguous surfaces. In paintings such as For Jean (1963), he omitted the collage aspect of his work and applied flat color areas to create more complete statements of pure color and shape. He then replaced these torn and expressive edges with clean and impersonal lines that would define his work for the next decade. From 1962 to 1965, he produced his Rotation series, at first creating plywood and Plexiglas reliefs, which turned squares into dynamic polygons. He used these shapes in his paintings as well, employing white as a foil between colors to produce negative spaces that suggest that the colored shapes had only been cut out and laid down instead of painted. The New York Times in 1964 wrote of the works in show such as Rotation B (1964) and of the artist: “The artist is hip, cool, adventurous, not content to stay with the mere exercise of sensibility that one sees in smaller works.”4 In 1965, he began the Scissor Jack series, in which he arranged opposing triangular shapes with inverted Vs of bare canvas at their centers that threaten to split their compositions apart. In several works from this series, Zox was inspired by ancient Chinese water vessels. With a mathematical precision and a poetic license, Zox flattened the three dimensional object onto graph paper, and later translated his interpretation of the vessel’s lines onto canvas with masking tape, forming the structure of the painting. The Diamond Cut and Diamond Drill paintings...

My 80's Hart "Token 5" 2019, gouache, acrylic, graphite, panel, purple, green, blue

My 80's Heart "Token 9" 2019, gouache, acrylic, graphite, panel, blue, orange, yellow

My 80's Hart "Token 4" 2019, gouache, acrylic, graphite, panel, yellow, orange

My 80's Heart "Token 7" 2019, gouache, acrylic, graphite, panel, blue, wood, orange