Jen Brisson Art

Polzeath, sunset by Rupert Aker [2021] original Acrylic on canvas Image size: H:60 cm x W:60 cm Complete Size of Unframed Work: H:60 cm x W:60 cm x D:4cm Framed Size: H:64 cm x W...

Red, Hot and You is an acrylic on canvas by artist Peggy Vineyard. It was completed in 2021. Red, Hot and You brings out the colors in this abstrac...

"Limitations 1" is a masterful painting that challenges the boundaries of artistic expression through a restricted palette of red, black, and neutral white. Despite its seemingly co...

I intuitively paint each of my paintings based on my mood of the day or at that moment. I never know what I am going to create until I see the end result. Sometimes it is a colorful,...

Bird Under a Full Moon Original Oil on canvas by Eugene DeSmith Expressive abstract painting by California and Indiana artist Dennis E. Smith AKA Eugene DeSmith (American, B-1950) Eu...

Jack Roth (American, 1927-2004), Untitled, Acrylic on Canvas, 1978, signed and dated "Roth 78" lower right, marked "2993" to edge, signed, dated, marked "JR -411-78", and with two "J...

Colourful Expressive Abstract River Landscape Scene by Contemporary British Artist, Angela Wakefield Art measures 16 x 16 inches Frame measures 21 x 2...

City Drive Abstract Expressionist Painting - a rare early work from Leading British Urban Artist, Angela Wakefield. Entitled 'City Drive', this moody and atmospheric artwork is from ...

I intuitively paint each of my paintings based on my mood of the day or at that moment. I never know what I am going to create until I see the end result. Sometimes it is a colorful,...

I intuitively paint each of my paintings based on my mood of the day or at that moment. I never know what I am going to create until I see the end result. Sometimes it is a colorful,...

Larry Zox Lexington, 1973 Acrylic on canvas 61 x 49 inches Provenance: Andre Emmerich Gallery, New York Janie C. Lee Gallery, Houston, Texas Private Collection, Greenwood Village, Colorado Exhibited: New York, Andre Emmerich Gallery, Larry Zox: New Paintings, March 10 - 28, 1973. Houston, Texas, Janie C. Lee Gallery, Larry Zox, February - April, 1974. 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, which question and violate symmetry. 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." 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 1973–74 solo exhibition at the Whitney Museum of American Art. Zox also at times used a freer, more intuitive method, while maintaining coloristic autonomy, which became increasingly important to him in his later career. 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 Guggenheim Museum. In 1973–74, 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, which acquired fourteen of his works. Zox was born in Des Moines, Iowa. He attended the University of Oklahoma and Drake University, 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. He occasionally sparred with visiting fighters. He later established a studio in East Hampton, a former black smithy used previously by Jackson Pollock. Zox’s earliest works were 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. Next, 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 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 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...

I intuitively paint each of my paintings based on my mood of the day or at that moment. I never know what I am going to create until I see the end result. Sometimes it is a colorful,...