Sara Walton

Sara Walton - Minimalist Abstract Painting "Excelsior" Red Blue White

2020

"X Composition" Acrylic on linen over panel. 18 x 14" 2017 Sara Walton orchestrates a symphony of color that transcends mere visual aesthetics, delving deep into the realm of emoti...

"Pushed Boundaries" Acrylic on canvas. 48 x 48" 2019 Sara Walton orchestrates a symphony of color that transcends mere visual aesthetics, delving deep into the realm of emotion and...

"Envelope 2" Acrylic on canvas. 36 x 48" 2019 Sara Walton orchestrates a symphony of color that transcends mere visual aesthetics, delving deep into the realm of emotion and percep...

"Split Rail" Acrylic on linen over panel. 12 x 9" 2018 Sara Walton orchestrates a symphony of color that transcends mere visual aesthetics, delving deep into the realm of emotion ...

Gong (Red, Blue) (Abstract Painting) Acrylic on honeycomb aluminum - Unframed Hallard works with the themes of space and geometry, manipulating images and arrangements of objects i...

Larry Zox Red, White and Blue painting, 1963 Original acrylic painting on board Signed and dated upper right front; Signed, titled and dated on the back as well Unique This work was originally sold by Jill Kornblee of the legendary Kornblee Gallery, with the back of the panel bearing Kornblee's original Upper East Side address before the gallery moved to West 57th Street Frame included: Elegantly double framed. Measurements: Outer Frame 13.5 inches vertical by 13.5 horizontal by 2.5 inches Original Frame: 10 inches vertical by 9.75 inches horizontal Painting 9.25 inches vertical x 9 inches horizontal 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...

Red and blue linear print that is signed by Marianni. The work is similar to the style of famous artist Bernett Newman who painted strickly colorful paintings with a "zip" that broke...

Commemorate, Original Contemporary Red, White, and Blue Abstract Painting, 2022 30" x 48" x 1.5" (HxWxD) Acrylic and Ink on Canvas A vibrant color palette of blues, reds, and greens flows across the canvas in abstracted forms that imply the movement of water. It looks as though you are looking up at a distorted image through the movement of the ocean overhead. The red, white, and blue color scheme invokes a patriotic feel, as if you are spending the 4th of July on a lake. Artist Commentary: 30 x 48 x 1.5” gallery wrapped with painted edges. Acrylic and Ink on canvas. This is one in my series of emotionally charged coastal abstract artworks. I used saturated vibrant colors and powerful brush strokes, as I do in all my paintings, in order to create a lasting visual impression. Materials: Professional acrylic paints and canvas. Finished with a glaze of UV varnish to protect against sunlight and dust damage. My art pieces are held in private and commercial collections around the world, including the UK, Germany, Austria, Netherlands, Asia, France, Canada, Australia and USA. Margaret Juul...