Sky Jones (Michael Whipple)

untitled in the manner of Gaetano Pesce

1994

Abstract Conceptual painting. it has a lacquer resin like finish to it. it is reminescent of the pored resin works of Gaetano Pesce. it is not framed. Siren Bliss was born Michael W...

Ronald Davis (American, b. 1937) Pitch, 1983 cel-vinyl copolymer on canvas Hand signed verso and further inscribed with title, date, size and PTG 751 67 x 110 1/2in. Framed 69 x 112in. Bears remnants of old gallery label to reverse. Ronald Ron Davis (born 1937) is an American painter whose work is associated with geometric abstraction, abstract illusionism, lyrical abstraction, hard-edge painting, shaped canvas painting, color field painting, and 3D computer graphics. He is a veteran of nearly seventy solo exhibitions and hundreds of group exhibitions. Born in Santa Monica, California, he was raised in Cheyenne, Wyoming. In 1955–56 he attended the University of Wyoming. In 1959 at the age of 22 he became interested in painting. In 1960–64 he attended the San Francisco Art Institute. Abstract expressionism, the prevailing artistic movement of the time, would have an influence on many of his future works. In 1962 he was a Yale-Norfolk Summer School Grantee. In 1963 his paintings became hard-edged, geometric and optical in style, and by 1964 his works were shown in important museums and galleries. He lived and worked in Los Angeles, 1965–71, and in Malibu, California, 1972–90. Since 1991 he has lived and worked in Arroyo Hondo on the outskirts of Taos, New Mexico. Ronald Davis from the earliest days of his career had a significant impact on contemporary abstract painting of the mid-1960s. According to art critic Michael Fried: Ron Davis is a young California artist whose new paintings, recently shown at the Tibor de Nagy Gallery in New York, are among the most significant produced anywhere during the past few years, and place him, along with Frank Stella and Walter Darby Bannard, at the forefront of his generation. He had his first one-person exhibition at the Nicholas Wilder Gallery in Los Angeles in 1965. Barbara Rose wrote an in depth essay about Davis' paintings of the 1960s in the catalogue accompanying an exhibition of his Dodecagon Series in 1989 in Los Angeles. Among other observations she wrote: Davis saw a way to use Marcel Duchamp's perspective studies and transparent plane in The Large Glass for pictorial purposes. Instead of glass, he used fiberglass to create a surface that was equally transparent and detached from any illusion of reality. Because his colored pigments are mixed into a fluid resin and harden quickly, multiple layers of color may be applied without becoming muddy. his is essentially an inversion of Old Master layering and glazing except that color is applied behind rather than on top of the surface. Alone among his contemporaries, Davis was equally concerned with traditional problems of painting: space, scale, detail, color relationships and illusions as he was with the California emphasis on hi-tech craft and industrial materials. His work has some connection to the Light and Space art movement related to op art and minimalism. He was a contemporary of Peter Alexander, Larry Bell, Robert Irwin, Ron Cooper...

Richard Heinsohn (American, -1961) "Life Forms in Transit," Hand signed and dated 1988 verso. Provenance: Allan Stone Gallery, New York. Education: 197...

Perez Celis (American, Argentinian 1939-2008) Oil and mixed media on canvas 1993 Latin abstract expressionism oil painting depicting a color block and drip motif Hand signed and dated to lower left. In gilt gold frame. Approximate dimensions: canvas h. 14", w. 21"; frame h. 24", w. 31", d. 2.25". Celis Pérez (1939 – 2008) was an Argentine artist usually referred to as Pérez Celis. He earned international recognition for his paintings, sculptures, murals and engravings. Pérez was born in San Telmo on the South side of Buenos Aires, and grew up in Liniers, on the opposite end of town. Working as a newsboy during childhood, he learned the basics of drawing and painting via correspondence classes. In 1954 he entered the Manuel Belgrano National School of Fine Arts, and under the guidance of teachers like Leopoldo Presas, Santiago Cogorno, and Libero Badii, Pérez Celis developed his interest in abstraction. He first exhibited at age 17, at Galería La Fantasma. Following his entry into the professional arts world, he began using his name in a reversed form. At the start of his career he has been influenced by Hungarian artist Victor Vasarely during a 1957 retrospective of the latter's works at the National Fine Arts Museum. Some of his later works bear the influence of Gerhard Richter. He married Sarah Fernández in 1959 and relocated to Uruguay for less than a year invited by Carlos Páez Vilaró . Took part in the "Group of 8" – proponents of abstract art among the normally conservative local audiences. "Grupo de los 8", was a movement of Latin American, Uruguayan and Argentine artists formed in 1958 together with Oscar García Reino, Miguel Ángel Pareja, Raúl Pavlovsky, Lincoln Presno, Américo Sposito, Alfredo Testoni and Julio Verdie in order to promote new tendencies in painting. In 1960 they were invited by art critic Rafael Squirru to join the international exhibition at the Buenos Aires Museum of Modern Art (of which he was creator and first director) with artists such as Willem de Kooning, Roger Hilton and Lucio Fontana. He returned to Buenos Aires in 1960, and opened a downtown atelier with the support of Guido Di Tella, his first mecena. Pérez Celis explored geometric art, and builds his first mural, Fuerza América, in 1962. Indigenous patterns and colors would reappear in many of his productions during the 1960s and 1970s, and distinguished him from most other local artists, among whom pop art and figurative art was more influential. His work had a more raw, Art Brut , Brutalist feel to it. He was featured in more than 120 solo shows during his career, notably the Galerie Bellechasse, Anita Shapolsky Gallery New York, (he showed with Agustin Fernandez, Rodolfo Abularach, Giancarlo Puppo and Cuban artist Mario Bencomo) Arteconsult, Boston & Panama, Witcomb, etc. and his art was purchased for many private collections and first-rate museums, including the Museum of Modern Art in New York. He received commissions from the Argentine government, which placed his works in the Ministro Pistarini International Airport, from other governments, and from prominent individuals and businesses. In 1977, following his wife's passing in an automobile accident he remarried and lived in Caracas, Paris, New York City, and Miami in subsequent years. He shared his time between Buenos Aires and New York in 1994, a retrospective of his work was hosted at Biblioteca Nacional visited by more than 300000 persons. He continued exhibiting in Latin America, in the Sanyo Gallery in Tokyo, the Anita Shapolsky Gallery in New York City, and at numerous universities. Among his numerous recognitions in later years was the Alba Award at the 61st Salón Nacional de Artes Plásticas Argentino, and he was proclaimed a Distinguished Citizen of the City of Buenos Aires in 2001. He also created several literary illustrations, notably those for Jorge Luis Borges' Spanish-language translation of Walt Whitman's poem Leaves of Grass. A fan of the Club Atlético Boca Juniors football team, he created two murals in 1997 for the team's La Bombonera Stadium in Buenos Aires: "Idolos" (Idols) and "Mito y Destino" (Myth and Destiny), both Venetian mosaics and bronze sculpture on cement. Museum of Modern Art (MOMA), New York, NY Museum of Modern Latin American Art...

Genre: Contemporary Subject: Abstract Medium: Mixed Media Surface: Canvas Country: United States Dimensions: 32.25" x 24.25" commissions for movie advertisements, stage sets...

Michael David (b. 1954) Billie's Tree Signed, Titled, and Dated 1982 Verso. Provenance: Museum of Contemporary Art, Chicago (bears label en verso) where it had been exhibited for nearly two decades. It was also Exhibited at the Museum of Modern Art (MoMA NYC) just after he won the National Guggenheim Award. The Piece Measures approximately 70" x 71" x 8" Deep. Michael David Singer; born 1954, is an American painter. Born in Reno, Nevada, David's family relocated to Brooklyn, New York, where he was raised. He attended SUNY Fredonia for one year and in 1976 received a B.F.A. from Parson's School of Design. Michael David is classified as an abstract painter, best known for his use of the encaustic technique, a was pigmentation technique which incorporates pigment with heated beeswax. He is also known for his works in mixed-media figure painting, photography and environmental sculpture. He often incorporates religious iconography and symbolism, art historical themes such as the nude, and contemporary politics into his paintings resulting in a critical dialogue between the layered abstraction of the surface and the integrated representational imagery. His work is included in the permanent public collections of the Metropolitan Museum of Art, the Guggenheim Museum, the Jewish Museum in New York, the Museum of Contemporary Art in Los Angeles, and the Los Angeles County Museum of Art, among others. In 1976 David, erotic photographer Roy Stuart and Fredonia friend Richie Stotts formed a band called The Numbers, with David on bass. The group was a fixture in New York's early punk rock music scene, playing in clubs alongside punk pioneers Television, Blondie and the Ramones. David also played bass with punk innovators Jerry Nolan of The New York Dolls, Cheetah Chrome of The Dead Boys, Marky Ramone, Peter Gordon, David Van Tieghem and the free-improvisation noise music group Borbetomagus. In 1977, The Numbers were approached by impresario Rod Swenson, who was seeking musicians to form a backing band for singer Wendy O. Williams, whose radical persona he sought to exploit as punk music and performance art. The Numbers became The Plasmatics but the attention David began to gain as an important voice in the art world caused him to leave the band to pursue his burgeoning painting career. David's first one-man show was in 1981 at the historic Sidney Janis Gallery. That year he was awarded a Guggenheim Fellowship, at the time the youngest artist ever to do so, and in 1982 was awarded an American Academy of Arts and Letters prize. He went on to exhibit at galleries worldwide and was represented by Knoedler & Co. for the next 25 years. David is best known for using the encaustic technique of painting, which uses pigment combined with heated beeswax. David built his early career on abstraction and religious iconography, which formed the bulk of his output until 1999. Since then he has also experimented with representational painting and traditional photography. In 2000, he developed the "Chortens" and "Populations" series, about which prominent art historian and critic Donald Kuspit writes: "They are enigmatic works, all the more so because of the way their innumerable details form singularly monumental, intimidating wholes. Dense yet delicate, awesome yet intimate, they convey the fragility as well as grandeur of sheer being. Layer upon layer of paint piles up like layer upon layer of coral, but the textural result is more epic, not to say startling, than any coral island, and virtually any other existing abstract expressionist painting (upon which they are stylistically founded)." In 2001, David developed bi-lateral neuropathy due to being poisoned by gases released by overheated beeswax used in the encaustic process. The disease left him with partial paralysis of his legs, slowing the production of his painting for a number of years. That year, David began painting one of his best-known series, the "fallen Toreadors", inspired by 19th century French Realist painter Édouard Manet's "The Dead Toreador" of 1864. In 1993, David experimented at the "20x24" Polaroid studio in Manhattan, which resulted in a series of portraits of playwright Edward Albee and of friend Jackie Gross, which would become the ongoing "Jackie" series of mixed-media works. When neuropathy rendered him unable to paint during 2003, he returned to the 20x24 camera and shot large-format Polaroids inspired by Caravaggio; nude men and women dressed as Toreadors, and religious imagery. In 2002, David began to develop The Greenhouse Project, an evolving "architectural construct" based on historical American Antebellum greenhouses built using the actual glass negatives sold to starving farmers in the post-American Civil War South. David has indicated that each greenhouse will, through the display of photography and use of social networking, create a forum and exhibit for ideas and artifacts related to civil and human rights; the specifications of each greenhouse particular to the community in which each is built. David's work was reviewed in Artforum and Art in America, and is considered one of the last links to the New York School of painting. David may be the most innovative master of immediate surface since the abstract expressionists. He has acknowledged his debt to Abstract Expressionism, but he has transformed it. Where the abstract expressionist paintings of the forties and fifties seem like modern cave paintings, as their crude, unfocused, often meandering, turbulent painterliness suggests, and as such to reinstate prehistory, David seems to turn the cave into a temple, as his more considered, concentrated, indeed, dense, contemplative painterliness indicates, so that his paintings have the aura of post history. SELECT GROUP EXHIBITIONS 2023 Radiate, Garvey Simon, New York, New York 2021 Selections from NYFA - Courtesy of the Martin Z. Margulies Foundation, New York, New York 2020 Bill Lowe Gallery Presents: Masterworks from the Gallery 2016 The Golem, The Jewish Museum of Berlin, Berlin, Germany In a Post-World: Post-Punk Art Now, The Invisible Dog Art Center, Brooklyn, New York 2014 Gallery Artists, Bentley Gallery, Pheonix, Arizona 2011 Post Mammalian Tension: Michael David & Scott Browning, Bill Lowe Gallery, Atlanta, Georgia 1999 Waxing Poetic: Encaustic Art in America, Montclair Art Museum, (Jasper Johns, Jackson Pollock, Robert Rauschenberg etc) Forty Years of American Drawings, Raab Galerie, Berlin, Germany Germany Summertime, Knoedler & Company, New York, New York 1997 Michael David and James Hyde...

Since the 1990s, Heinsohn’s work has addressed climate change, impending cataclysm, and cultural dysfunction in numerous bodies of work including his mixed media wall reliefs, his "T...

Since the 1990s, Heinsohn’s work has addressed climate change, impending cataclysm, and cultural dysfunction in numerous bodies of work including his mixed media wall reliefs, his "Time Frames" series of photo-based abstractions, and his turbulent, thickly painted, cratered abstractions. However, as mentioned in his recent statement: “Given the current dysfunctional mayhem of our planet, I believe we need visual art that provides a place for the mind to transcend our calamity, to thoughtfully explore the multitude of unknowns connected to our daily lives, and to thereby refresh our optimism and our sense of urgency in the reimagining of our existence.” These new works channel the meditative properties of abstraction pursued by Kandinsky and Malevich, combined with intuitive approaches of accessing higher consciousness which guided Hilma af Klint as well as, much later, artists of Abstract Surrealism such as Gordon Onslow Ford, Roberto Matta, Wolfgang Paalen...

Since the 1990s, Heinsohn’s work has addressed climate change, impending cataclysm, and cultural dysfunction in numerous bodies of work including his mixed media wall reliefs, his "Time Frames" series of photo-based abstractions, and his turbulent, thickly painted, cratered abstractions. However, as mentioned in his recent statement: “Given the current dysfunctional mayhem of our planet, I believe we need visual art that provides a place for the mind to transcend our calamity, to thoughtfully explore the multitude of unknowns connected to our daily lives, and to thereby refresh our optimism and our sense of urgency in the reimagining of our existence.” These new works channel the meditative properties of abstraction pursued by Kandinsky and Malevich, combined with intuitive approaches of accessing higher consciousness which guided Hilma af Klint as well as, much later, artists of Abstract Surrealism such as Gordon Onslow Ford, Roberto Matta, Wolfgang Paalen...

Since the 1990s, Heinsohn’s work has addressed climate change, impending cataclysm, and cultural dysfunction in numerous bodies of work including his mixed media wall reliefs...

Since the 1990s, Heinsohn’s work has addressed climate change, impending cataclysm, and cultural dysfunction in numerous bodies of work including his mixed media wall reliefs, his "Time Frames" series of photo-based abstractions, and his turbulent, thickly painted, cratered abstractions. However, as mentioned in his recent statement: “Given the current dysfunctional mayhem of our planet, I believe we need visual art that provides a place for the mind to transcend our calamity, to thoughtfully explore the multitude of unknowns connected to our daily lives, and to thereby refresh our optimism and our sense of urgency in the reimagining of our existence.” These new works channel the meditative properties of abstraction pursued by Kandinsky and Malevich, combined with intuitive approaches of accessing higher consciousness which guided Hilma af Klint as well as, much later, artists of Abstract Surrealism such as Gordon Onslow Ford, Roberto Matta, Wolfgang Paalen...

Since the 1990s, Heinsohn’s work has addressed climate change, impending cataclysm and cultural dysfunction in numerous bodies of work including his mixed media wall reliefs, his "Time Frames" series of photo-based abstractions and his turbulent, thickly painted, cratered abstractions. However, as mentioned in his recent statement: “Given the current dysfunctional mayhem of our planet, I believe we need visual art that provides a place for the mind to transcend our calamity, to thoughtfully explore the multitude of unknowns connected to our daily lives, and to thereby refresh our optimism and our sense of urgency in the reimagining of our existence.” These new works channel the meditative properties of abstraction pursued by Kandinsky and Malevich, combined with intuitive approaches of accessing higher consciousness which guided Hilma af Klint as well as, much later, artists of Abstract Surrealism such as Gordon Onslow Ford, Roberto Matta, Wolfgang Paalen...