Unknown

"Untitled" - Dynamic Op-Art Collage Composition in a Monochromatic Palette

Circa 1965

This refined mid century modern mixed media work was realized in the United States circa 1970. In dialogue with the Op Art movement of the time- popularized by such artists such as V...

This dynamic work was realized by the esteemed 20th Century modern artist Mon Levinson in 1964. The work was realized in 1964, and printed in 1965 by Chiron Press in New York- the same year that Levinson was included in the seminal Op-Art exhibition "The Responsive Eye", alongside contemporary luminaries such as Bridget Riley. An identical work from this edition resides in the permanent collection of the New York MoMA. This mixed media work consists of an translucent vinyl sheet layered over a print- part etching, part lithograph. The clear vinyl sheet is embossed with a tight pattern of sinuously curved repeating black lines and is subtly raised in places- creating a subtle three dimensionality and dynamic sense of movement. The paper is inscribed with the same recurring pattern of snaking black lines, like a fine filigree, with two weighty black geometric forms that appear to crowd the composition. Smaller geometric forms reside within creating the apparition of negative space in the bone hued paper. The juxtaposition of the delicate texture and colossal feeling forms imbues the piece with a stunning dynamism and tension, helping to explain why Levinson is among the most influential and important artist to come out of the Op Art movement. His work is in the permanent collections of important institutions around the world including the Museum of Modern Art as well as the Whitney Museum of American Art in New York. Signed by the artist and marked 18/200. The work comes presented in a custom walnut and white gilt frame...

This refined mixed media work was realized by the esteemed American artist Michael Brangoccio in 1986. Realized in the manner of Robert Motherwell, this painting features laid paper ...

Alexander Markovich, the esteemed American artist painted this work entitled, "Understanding Dharmata- The unconditioned truth", circa 1985. The work consists of pictographic black a...

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This vibrant and iconic lithograph in colors was realized by the acclaimed Italian artist Marino Marini, circa 1970. A contemporary of Jean Arp, Alexa...

Over the course of her prolific and radical career, Nancy Graves became a master of translating the primary data of soft science disciplines such as archaeology and anthropology into empirically informed, expressive works, such as "Canopic Prestidigitation." A large-scale, 23-color lithograph, Canopic Prestidigitation is as technically masterful as it is conceptually layered. Graves combines the Egyptian visual lexicon of the afterlife and allusions to European Renaissance masterworks to catalyze heuristic understandings of cross-cultural communication—Figures rendered in the hybridized profile-portrait style of Egyptian hieroglyphs float through a swirling and subtle maze of neo-classical architectural suggestions, while a disembodied hand reminiscent of Michelangelo’s "The Creation of Adam" reaches out through a frothing red portal. A cast-paper representation of Horus perches in the bottom right corner of the work, a nod to the symbolic language of the print and Graves’ multi-disciplined artistic approach. When read together, the elements of Canopic Prestidigitation become an artistic interpretation of the intangible qualities of social science...

Label from Obelisk Gallery verso. Henry C. Pearson (October 8, 1914 – December 3, 2006) was an American abstract and modernist painter. Pearson was born in Kinston, North Carolina, graduated from the University of North Carolina in 1938, and studied theatrical design at Yale University. He served in the U.S. Army Air Corps in the Second World War, designing maps for the Okinawa campaign, and then re-enlisted to serve in the US occupation of Japan, where he was influenced by Japanese art and theatre forms. Henry Pearson is perhaps best known for a mildly optical manner of painting, featuring a mutable labyrinth of undulating parallel lines, which somewhat inadvertently linked him to the Op Art movement of the 1960s. Although included in the Museum of Modern Art's landmark exhibition The Responsive Eye in 1965, his work displays an intuitive rhythm and poetic elegance that falls well outside of the calculated, often hard-edged quality normally associated with the Op group of artists. Pearson came late to the visual arts. His first career, in theatre design, was cut short by the Second World War. He entered the U.S. Army in 1942, and at war's end requested duty in occupied Japan, where a prolonged contact with Japanese culture nurtured a passion for painting. Upon his discharge from the army, in 1953, he enrolled in the Art Students League in New York City, where he studied with, among others, Reginald Marsh and Will Barnet. Inspired by Malevich, he turned to rectilinear abstraction, and employed it as the dominant means of expression in his painting between 1954 and 1961. As early as 1959, however, sensing an incipient decadence in his geometric canvases...

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