Geoffrey Williams

Trocoman #5

1990

This painting with added elements is an excellent example of Joe Doyle’s abstract illusionist art. It is composed of acrylic on shaped canvas with fabric elements added. It measures 36 x 43 inches. Each edge has been painted except for the left edge which has a frame. The right edge has been shaped. The black elements of the tent-like structure are added fabric. The work is signed, titled "564" and dated on the reverse. As well it bears a label from Harcourts Gallery, a gallery in San Francisco during the 1980s and 1990s. The work is in very good condition. Joe Doyle established himself as a painter during the movement toward new abstraction in San Francisco in the mid-seventies. Stylistically his work evolved from photo-realist renderings of aircraft which exaggerated differences in focus of background and foreground" By 1975 his imagery shifted to arrangements of flat, geometric forms and tubular squiggles in a trompe l'oeil manner that created the illusion of a multi-layered, three dimensional space. By the late 1970s Doyle, along with James Havard, Jack Reilly, George D. Green, and others, had attained national prominence working this style now referred to as Abstract Illusionism. Doyle and others were included in 'Reality of Illusion' a large touring exhibition of primarily American illusionist artists organized by the University of Southern California and The Denver Art Museum. Doyle enrolled at San Francisco State College receiving his M.A. in 1971. From 1971 to 1975 he was a photo-realist transferring images from photographs using airbrush techniques on canvas, occasionally adding political satire into the subject matter, as in "Ice House...

Artist: Enrique Kico Govantes (Cuban, born 1957) Title: Untitled Year: Circa 1985 Medium: Oil on pressed board panel Panel size: 23.5 x 9.5 inches Signature: Signed on t...

Roland Ayers (1932-2017). Untitled, 1983. Ink on paper, measures 17 x 23 inches. Unframed and unmounted. Signed and dated lower left. Ayers holds the distinction of having participated in the first important survey of African-Americans, Contemporary Black Artists in America, a 1971 show at The Whitney. Biography: Artist and art educator, Roland Ayers was born on July 2, 1932, the only child of Alice and Lorenzo Ayers, and grew up in the Germantown district of Philadelphia. Ayers served in the US Army (stationed in Germany) before studying at the Philadelphia College of Art (currently University of the Arts). He graduated with a BFA in Art Education, 1954. He traveled Europe 1966-67, spending time in Amsterdam and Greece in particular. During this period, he drifted away from painting to focus on linear figurative drawings of a surreal nature. His return home inaugurated the artist’s most prolific and inspired period (1968-1975). Shorty before his second major trip abroad in 1971-72 to West Africa, Ayers began to focus on African themes, and African American figures populated his work almost exclusively. In spite of Ayers’ travel and exploration of the world, he gravitated back to his beloved Germantown, a place he endowed with mythological qualities in his work and literature. His auto-biographical writing focuses on the importance of place during his childhood. Ayers’ journals meticulously document the ethnic and cultural make-up of Germantown, and tell a compelling story of class marginalization that brought together poor families despite racial differences. The distinctive look and design of Germantown inform Ayers’ visual vocabulary. It is a setting with distinctive Gothic Revival architecture and haunting natural beauty. These characteristics are translated and recur in the artist’s imagery. During his childhood, one of the only books in the Ayers household was an illustrated Bible. The images within had a profound effect on the themes and subjects that would appear in his adult work. Figures in an Ayers’ drawing often seem trapped in a narrative of loss and redemption. Powerful women loom large in the drawings: they suggest the female role models his journals record in early life. The drawings can sometimes convey a strong sense of conflict, and at other times, harmony. Nature and architecture seem to have an antagonistic relationship that is, ironically, symbiotic. A critical turning point in the artist’s career came in 1971 when he was included in the extremely controversial Whitney Museum show, Contemporary Black Artists in America. The exhibition gave Ayers an international audience and served as a calling card for introductions he would soon make in Europe. Ayers is a particularly compelling figure in a period when black artists struggled with the idea of authenticity. A questioned often asked was “Is your work too black, or not black enough?” Abstractionists were considered by some peers to be sell-outs, frauds or worse. Figurative* work was accused of being either sentimental or politically radical depending on the critical source. Ayers made the choice early on to be a figurative artist, but considered his work devoid of political content. Organizations such as Chicago’ s Afri-Cobra in the late 1960‘s asserted that the only true black art of any relevance must depict the black man and woman...

Oil and silver leaf on canvas