Alexander Liberman

"Aim I" Alexander Liberman, Bright Red, Large Modernist Metal Sculpture

1980

Hayward Oubre The Trap, c. 1960 Painted wire sculpture 40 H. x 16 1/2 W. x 21 D. inches Provenance: Estate of the Artist Deeply attached to his Souther...

Hayward Oubre Hitch Hiked, 1960 Signed on Base: OUBRE 60 Painted wire sculpture 45 H. x 21 W. x 19 D. inches Provenance: Estate of the Artist Deeply at...

Guillaume Cornelis van Beverloo (Corneille) Tropical Parrot with Woman, circa 1970 Signed: Corneille Edition Number: 6 of 8 Constructed and Painted wood 39" high x 40 1/2" wide x 6" ...

Seymour Fogel Untitled Oil on illustration board construction 10 x 7 1/2 inches Provenance: Estate of the artist Charles and Faith McCracken Larry and Trish Heichel Private Collection Seymour Fogel was born in New York City on August 24, 1911. He studied at the Art Students League and at the National Academy of Design under George Bridgeman and Leon Kroll. When his formal studies were concluded in the early 1930s he served as an assistant to Diego Rivera who was then at work on his controversial Rockefeller Center mural. It was from Rivera that he learned the art of mural painting. Fogel was awarded several mural commissions during the 1930s by both the Works Progress Administration (WPA) and the Treasury Section of Fine Arts, among them his earliest murals at the Abraham Lincoln High School in Brooklyn, New York in 1936, a mural in the WPA Building at the 1939-1940 New York World's Fair, a highly controversial mural at the U.S. Post Office in Safford, Arizona (due to his focus on Apache culture) in 1941 and two murals in what was then the Social Security Building in Washington, D.C., also in 1941. Fogel's artistic circle at this time included Phillip Guston, Ben Shahn, Franz Kline, Rockwell Kent and Willem de Kooning. In 1946 Fogel accepted a teaching position at the University of Texas at Austin and became one of the founding artists of the Texas Modernist Movement. At this time he began to devote himself solely to abstract, non-representational art and executed what many consider to be the very first abstract mural in the State of Texas at the American National Bank in Austin in 1953. He pioneered the use of Ethyl Silicate as a mural medium. Other murals and public works of art done during this time (the late 1940s and 1950s) include the Baptist Student Center at the University of Texas (1949), the Petroleum Club in Houston (1951) and the First Christian Church, also in Houston (1956), whose innovative use of stained glass panels incorporated into the mural won Fogel a Silver Medal from the Architectural League of New York in 1958. Fogel relocated to the Connecticut-New York area in 1959. He continued the Abstract Expressionism he had begun exploring in Texas, and began experimenting with various texturing media for his paintings, the most enduring of which was sand. In 1966 he was awarded a mural at the U.S. Federal Building in Fort Worth, Texas. The work, entitled "The Challenge of Space", was a milestone in his artistic career and ushered in what has been termed the Transcendental/Atavistic period of his art, a style he pursued up to his death in 1984. Painted and raw wood sculpture...

For many, rusty materials, pieces of glass or plastic fragments are not rubbish that should be left in the trash can.Finkelman's creative sensitivity has made these materials irrepla...

For many, rusty materials, pieces of glass or plastic fragments are not rubbish that should be left in the trash can.Finkelman's creative sensitivity has made these materials irrepla...

For many, rusty materials, pieces of glass or plastic fragments are not rubbish that should be left in the trash can.Finkelman's creative sensitivity has made these materials irreplaceable when she creates her sculptures. From The Assembler series Polished metal, metal knot...

For many, rusty materials, pieces of glass or plastic fragments are not rubbish that should be left in the trash can.Finkelman's creative sensitivity has made these materials irrepla...