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Edward Avedisian
Untitled 028 (Mid-Century Modern Color Field Canvas in Raspberry w/ Striped Orb)

c. 1965

About

79 x 79 inches, acrylic on unstretched canvas Genuine Abstract Expressionist painting circa 1965-1966 by Edward Avedisian. Mr. Avedisian was best known for his work in the 1960s: brilliantly colored, boldly composed canvases that combined Minimalism’s rigor, Pop’s exuberance and the saturated tones of Color Field painting. He was largely recognized for a series of Beach Ball paintings that emerged in the early 1960s. Large sections of orbs hovered partially on the canvas' surface, juxtaposing uninterrupted fields of color with the perimeters of the beach ball. Description of the work: The work of this period was all square format. The image of the striped disc hovers, pushed uncomfortably toward the edge as it begins to outgrow the field of raspberry red. The inner wide stripes of tangerine orange and Sunburst yellow adds an ambiguity and liveliness to the disc as shape and increases the identification between the color of the disc edges and the field color since it is in contrast to them. This canvas is particularly impressive in this sophistication and complexity of its color as it is worked out through shapes, which do not act merely as motif. The staining, which Avedisian had begun to use more fully by this time the early 1960s, enforces the flatness of the picture and discourages a three-dimensional reading of the beach balls which might be suggested by the stripes. About the Arist: In the 1960’s, Edward Avedisian was one of the youngest of those luminaries producing a grand new abstract painting. Shown first at Ivan Karp and Dick Bellamy’s Hansa Gallery and then at Robert Elkon in New York City, Avedisian’s insouciant mix of pop playfulness, color field cool and high formalist style put his art in a unique, and at the time generously rewarded, position. Paintings made it onto the cover of Artforum in January 1969 and were purchased by all the major museums. His were among the few abstract works shown as representative of America’s post-war achievement at Expo 67 in Montreal alongside Jasper Johns, Ellsworth Klly, Roy Lichtenstein, Robert Motherwell, Kenneht Noland, and Frank Stella. This exhibit comprised a cornerstone in histories of the period written by Barbara Rose, among others. Influences for the color-field work included artists such as Mark Rothko and Barnett Newman, while later paint splatter, lyrical abstract work of the 70s and 80s were influenced by fellow artist Jackson Pollock. Of his contemporaries in New York, the most prominent included Helen Frankenthaler and John Hoyland in London. Museum Collections: Albright-Knox Art Gallery, Buffalo, New York Brooklyn Museum, New York Chrysler Art Museum, Norfolk, Virginia Denver Art Museum, Colorado Flint Institute of Arts, Michigan Jack S. Blanton Museum of Art, Austin, Texas The Larry Aldrich Museum, Ridgefield, Connecticut Metropolitan Museum of Art, New York Minneapolis Institute of Arts Minneapolis Society of Fine Arts Neuberger Museum of Art, State University of New York, Purchase Los Angeles County Museum, California Neuberger Museum, SUNY, Purchase, New York Parrish Art Museum, Water Mill, New York *Above description supported by text from the January 1969 issue of Artforum. Photos included here are of the artist c. 1960s in his Manhattan studio; the cover of the Artforum Magazine from 1969; and pages from the catalog printed for American Painting Now Dec. 1967 - Jan 1968 sponsored by the Institute of Contemporary Art organized by Alan Solomon.

Details

  • Condition
    Excellent. This painting is currently on non-stretched canvas. Any wrinkles that appear in the canvas will disappear once the canvas is pulled taught. This painting will ship rolled in a tube. In excellent condition..
  • Dimensions

    H 79 in. x W 79 in.

    H 200.66 cm x W 200.66 cm

  • Gallery location
    Hudson, NY
  • Reference number
    LU2271701753

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