Stephen Edlich

"Ouverture, with Cypress Forms" Stephen Edlich, Abstract Geometric Painting

1982

Mario Yrisarry Untitled, 1973 Signed and dated on the overlap Acrylic on canvas 48 x 48 inches Provenance: Private Collection, Ellicott City, Maryland ...

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...

Dan Christensen Untitled, circa 1970-71 Acrylic and enamel on canvas 44 x 20 inches Provenance: The artist Sherron Francis (gift from the above) Dan Christensen was an American abs...

Boris Margo (1920 -1995) Message I, circa 1970 Stretched canvas over relief 22 x 27 x 1 1/2 inches Best known as a painter of surrealist imagery, Boris Margo was born in Wolotschisk, Ukraine, in Russia. In 1919 he enrolled at the Polytechnik of Art at Odessa, and in 1924 received a grant to study at the Futemas (Workshop for the Art of the Future) in Moscow. A second grant enabled him to study the work of the Old Masters in the Hermitage Museum in Leningrad and to attend Pavel Filonov's Analytical School of Art in 1927. In 1928 Margo received a certificate from the Polytechnik and immigrated to Montreal, where he worked as a muralist for a year. Moving to New York City in 1930, he studied at the Roerich Museum, and two years later began teaching there. He began experimenting with celluloid and acetone in his printmaking and was also an early user of the decalomania technique in oil painting. In 1943 he became an American citizen. Five years later Margo founded a Creative Art Seminar (later called Artists Gallery) in Orlando, Florida, and a year later established a similar venture in Provincetown, Massachusetts. Margo's first solo exhibition was at the Artists Gallery in New York City. Other important shows were held at the Brooklyn Museum, the Tweed Gallery at the University of Minnesota, Duluth, and the Michael Rosenfeld...

Gerome Kamrowski (1914 - 2004) Night Road, 1966 Acrylic on canvas 58 1/4 x 96 1/4 inches Signed and dated Provenance: The Artist The Kamrowski Estate (by family descent in 2004) Exhibited: The Detroit Institute of Arts, Detroit, Michigan, 56th Exhibition for Michigan Artists, November 18 - December 31, 1966, no. 32, illustrated (Night Road was the winner of the "Phyllis King Weiner Memorial Prize" at this exhibition). Ann Arbor, University of Michigan Museum of Art, Gerome Kamrowski: A Retrospective Exhibition, August 30 - October 16, 1983, no. 70, illustrated. Tarpon Springs, Florida, Leepa-Rattner Museum of Art, St. Petersburg College, Gerome Kamrowski: An American Surrealist, September 8 - October 27, 2002, no. 23. Chelsea, Michigan, River Gallery, Gerome Kamrowski: 1914-2004, A Memorial Retrospective, October 30 - December 5, 2004. Gerome Kamrowski was born in Warren, Minnesota, on January 19, 1914. In 1932 he enrolled in the Saint Paul School of Art (now Minnesota Museum of American Art - MMAA), where he studied with Leroy Turner, and Cameron Booth. Both Turner and Booth had been students of Hans Hofmann, and were also associated with the Abstraction-Création group in Paris. It was from these peers that Kamrowski was introduced to a "kind of expressionist cubism." In 1933 Kamrowski was awarded a scholarship to the Art Students League, where he would study in New York under Hans Hofmann. Unfortunately, immigration problems had prevented Hofmann from assuming his post. Nevertheless, Kamrowski decided to remain in New York for a short time, to attend classes taught by George Grosz. After a few weeks, he returned to St. Paul, and found a position in the mural painting division of the Minnesota FAP/WPA (Works Progress Administration). In 1936 he contributed “Synthetic Cubist Style” frescoes in the Northrup Auditorium of the University of Minnesota. In 1937 Kamrowski went to Chicago to study under László Moholy-Nagy and Alexander Archipenko at the New Bauhaus (now Illinois Institute of Technology's Institute of Design). There he was exposed to new and interesting ideas regarding the role of nature in art and the "geometric basis of natural form". In 1938 Kamrowski received a Guggenheim fellowship to attend Hans Hofmann's summer school in Provincetown, Massachusetts. He then relocated to New York where he met William Baziotes. Together they shared a fascination in Surrealist automatic writing, and both artists explored its possibilities in their paintings. Kamrowski was particularly drawn to Surrealism's fundamental appeal of intuition over intellect. He was interested seeking a process that "binds all things together...a kind of cosmic rhythm". Throughout the late 1930s and early 1940s while living in New York, Kamrowski became an integral part of the emerging surrealists. In 1942, the artist Roberto Matta attempted to form a group of artists to investigate new applications for Surrealist methods. He invited Kamrowski, along with William Baziotes, Jackson Pollock, Peter Busa...

SHERRON FRANCIS (AMERICAN, B. 1940) Untitled, 1977 Acrylic on canvas 33 x 27 1/2 inches Signed, titled and dated on the reverse A reappraisal is long ...

An example of eco-friendly art is the minimal use of synthetic materials and the reuse of natural materials without harming the environment. Square composition made on linen canvas w...

"Warm summer" is a conceptual abstraction. Square composition made on linen canvas with acrylic paints, as well as texture paste with sand, threads, jute fiber. It is covered with a ...

Square composition in the genre of conceptualism. The mixed media painting has a contrast and warm color scheme - orange, silver, gray and dark green. Acrylic paint, texture paste wi...

Square composition made on linen canvas with acrylic paints, as well as texture paste with sand and coffee, textiles, jute fiber. It is covered with a durable acrylic varnish. Does n...

Abstract Geometric Composition with Handmade Paper, Fibers and Acrylic on Canvas (Red) Whimsical abstract composition by an unknown artist (20th Century). Red acrylic paint makes up...

Abstract Geometric Composition with Handmade Paper, Fibers and Acrylic on Canvas (Blue) Whimsical abstract composition by an unknown artist (20th Century). Blue acrylic paint makes ...