Larry Zox Prints and Multiples

Original screen print from the Gemini series “Untitled” (Red), 1968 by Larry Zox. Condition is good. Mild toning of the white areas in the screen print. Other colors are still vibra...

Artist: Larry Zox Title: Untitled 4 Year: circa 1980 Medium: Screenprint, signed and numbered in pencil Edition: 175 Image Size: 30.5 x 19 inches Paper Size: 42 x 30 in. (106.68 x 7...

Artist: Larry Zox Title: Niagara Series III Year: 1980 Edition: 19/88 Medium: Serigraph Signed: Hand signed in pencil Sheet Size: 42 1/4" x 29 3/4"

Artist: Larry Zox Medium: Serigraph Title: Niagara Series IV Year: 1980 Edition: 93/175 Signed: Hand signed in pencil Sheet Size: 42 1/4" x 29 3/4"

Artist: Larry Zox (1937-2006) Title: Three Square Composition Year: 1978 Edition: VII/LX; 200 Arabic Numeral, 60 Roman Numeral, plus proofs Medium: Silkscreen on Arches paper Size: 2...

Larry Zox Niagara Series I - 1973 Print - Linocut Paper Size 25½'' x 35'' inches Edition: Signed in pencil and marked 7/175 Unframed Larry Zox is one of the principal representativ...

Artist: Larry Zox Title: Niagara Series No. 5 Year: circa 1980 Medium: Screenprint, signed and numbered in pencil Edition: 175 Image Size: 34 x 13 inches Paper Size: 39 in. x 20.5 i...

Larry Zox Untitled IV, ca. 1979 Pochoir on Arches Paper with Deckled Edges. Hand signed and annotated Printers Proof in pencil on the lower front. 28 1/2 × 22 1/2 inches Unframed This beautiful Larry Zox pochoir on Arches paper with deckled edges a unique Printers Proofs - signed by the artist in pencil on the lower front. We do not know the size of the regular edition, or whether there is a regular edition, but this is indeed a unique PP. LARRY ZOX BiIOGRAPHY 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.”[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 1973–74 solo exhibition at the Whitney Museum of American Art.[3] 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.”[4] 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. With a mathematical precision and a poetic license, Zox flattened the three dimensional object onto graph paper, and later translated his interpretation of vessel’s lines onto canvas with masking tape, forming the structure of the painting. The Diamond Cut and Diamond Drill paintings...

Artist: Larry Zox (1937-2006) Title: Three Square Composition Year: 1978 Edition: VII/LX; 200 Arabic Numeral, 60 Roman Numeral, plus proofs Medium: Silkscreen on Arches paper Size: 2...

Larry Zox Niagara Series I - 1973 Print - Linocut Paper Size 25½'' x 35'' inches Edition: Signed in pencil and marked 2/175 Unframed Larry Zox is one of the principal representativ...

Dexter’s Choice II Larry Zox, American (1937–2006) Date: 1993 Screenprint with pochoir, signed and numberd in pencil Edition of 16/30 Size: 40.75 x 60.25 in. (103.51 x 153.04 cm)

Dexter’s Choice I Larry Zox, American (1937–2006) Date: 1993 Screenprint with pochoir, signed and numberd in pencil Edition of 29/30 Size: 40.75 x 60.25 in. (103.51 x 153.04 cm)