Paul Brach

Color Gradient Geometric Collage Painting New York School Abstract Expressionist

2005

Illegibly signed, titled and dated verso. angular abstract geometric painting in a graffiti, street art stye.

This work takes its cues from Ilya Bolotowsky and Piet Mondrian. A fine example of 1970's hard edged geometric abstraction. Artist, painter & master photographer Jonathan Singer was born in 1948. As a young man, Singer, a native New Yorker took art classes at the Museum of Modern Ar. As the protégé of Ilya Bolotowski, the painter (a member of "The Ten," a group that included Louis Schanker, Adolph Gottlieb, Mark Rothko, and Joseph Solman), Singer dreamed of becoming an artist, but his Jewish mother got her wish and Singer became a doctor instead but always kept a hand in the realm of art and photography. His two favorite subjects were flowers and graffiti. He’d spent many hours with graffiti writers (some of them famous, such as Lady Pink). In Fort Apache...

Califonia artist, Brandon Neher captivates with his figurative abstract artworks that seamlessly blend German Expressionism and Pop Abstraction. His original paintings on canvas embody a profound exploration of space, structure, and balance, infused with a touch of modern minimalism. Drawing inspiration from his coastal upbringing in California, Neher's art reveals layered references to his surroundings, merging physical and subconscious energies to create captivating shapes and patterns. This exceptional abstract artwork measures an impressive 62 inches high by 52 inches wide, showcasing Neher's fascination with artificial naturalism. Depicting a juxtaposition of figurative and abstract imagery, this artwork is photo-realistically painted with acrylic on canvas. The artwork's sides are painted, eliminating the need for framing, and it comes wired and ready to hang. Neher's signature and title grace the back of the painting, ensuring its authenticity. Free delivery is available for those in the local Los Angeles area, and affordable worldwide shipping is available for US and international art collectors. A certificate of authenticity issued by the art gallery accompanies your purchase. Born in Burbank, California, in 1983, Brandon Neher's artistic journey began after studying at the Brooks Institute of Photography for three years. His artistic prowess extends across a diverse range of mediums, including 16mm film, watercolor, oil, sculpture, charcoal, photography, mixed media collage, and print transfers. Neher finds inspiration in German expressionist painters, admiring their ability to convey narratives on canvas. His own creative process involves carefully considering his images before bringing them to life, layering colors in a way that invites viewers to perceive familiar elements in a fresh and enlightening manner. Brandon Neher's artwork has garnered attention and acclaim, with exhibitions and collectors spanning the United States. His creations have even graced television productions such as ABC Family's Secret Life of the American Teenager, HGTV's Design on a Dime, and NBC's The Biggest Loser. REPRESENTATION Artspace Warehouse, Los Angeles, USA EXHIBITIONS 2019-23 Artspace Warehouse, Los Angeles, CA 2018 Artspace Warehouse, Los Angeles, CA Private Collection, Venice, CA Private Collection, Las Vegas, NV 2017 The Hangar, Venice, CA 2016 AVA Studio City apartment complex- 4 Mural Commission 2015 Hotel Figueroa, Los Angeles, CA 2015 Grot Furniture, Redondo Beach...

Larry Zox Jean Jean, 1964 Signed, dated, and titled on the stretcher Liquitex on canvas 58 x 62 inches Provenance: Solomon & Co., New York Private Collection, NJ Estate of the above, 2023 Committed to abstraction throughout his career, Larry Zox played a central role in the Color Field discourse of the 1960s and 1970s. His work of the time, consisting of brilliantly colored geometric shapes in dynamic juxtapositions, demonstrated that hard-edge painting was neither cold nor formalistic. He reused certain motifs, but he did so less to explore their aspects than to “get at the specific character and quality of each painting in and for itself,” as James Monte stated in his essay for Zox’s solo exhibition at the Whitney Museum of American Art in 1973. By the 1970s, Zox was using a freer, more emotive method, while maintaining the autonomy of color, which increasingly became more important to him than structure in his late years. 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 for the Gallery of Modern Art, New York, and Systemic Painting (1966), organized by Lawrence Alloway for the Guggenheim Museum. In 1973, 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, Zox was represented in the inaugural exhibition of the Hirshhorn Museum, which owns fourteen of his works. Zox was born in Des Moines, Iowa. He attended the University of Oklahoma and Drake University. While studying at the Des Moines Art Center, he was mentored by George Grosz, who despite his own figurative approach encouraged Zox’s forays into abstraction. 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. He occasionally sparred with the visiting fighters. He later established a studio in East Hampton, where he painted and fished including using a helicopter to spot fish. In the 1950s and early 1960s, Zox’s works were collages consisting of painted pieces of 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 intense hues that created ambiguous surfaces. Next, he omitted the collage aspect of his work and applied flat color areas to create more complete statements of pure color and shape. 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 noted in 1964: “The artist is hip, cool, adventurous, not content to stay with the mere exercise of sensibility that one sees in smaller works.” In 1965, he began the Scissors Jack...