Tony King Art

Stephen Edlich Ouverture, with Cypress Forms, 1982 Signed, dated and titled on the stretcher Acrylic paint, mixed media, and burlap on canvas 60 x 40 inches An artist who worked in the post-cubist and constructivist traditions, Stephen P. Edlich gained a considerable amount of acclaim in the 1970s and 1980s for his collages, sculpture, and paintings. His promising career was cut short due to his untimely death at age 45 in 1989. Edlich was born in New York City. He received his undergraduate degree with a major in fine arts studies from New York University in 1967. During his college years, he traveled to London, where he met the art dealer Victor Waddington and created his first white on white collage. In that same year, he attended a major exhibition of the work of Ben Nicholson, which would be influential source in his art. Edlich returned to England in 1967, where he met Barbara Hepworth and Patrick Heron in London and traveled to St. Ives, Cornwall, long a favorite artists' haunt. Edlich began creating acrylic reliefs...

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...

Beautifully intricate piece from Sue's studio nestling above the Atlantic Ocean. Her paintings invite one into them and the eyes see the deep patterns she has woven. Oil and acrylic...

Yvette Cohen makes art that transforms space. Her oil paintings of geometric masses of color on shaped canvas look sculptural, but mount flat on the wall. Paintings become objects ...

Oli Sihvonen DK. Green, Scarlet, Blue, circa 1977 Signed and titled on the reverse Acrylic on canvas 36 x 36 inches Known for large, hard-edged abstractions, Oli T. Sihvonen, a Bro...

"Health Formula" Human health is its main well-being. But a person is not only a Body, it is, first of all, a Spirit and a Soul. Therefore, the healing process cannot be considered solely as a treatment of the Body. There is an expression: "Physics needs physics." This suggests that if you have health problems, then you should definitely go to the doctor and use it to eliminate these problems at the physical level. But, eliminating the consequence - the disease, doctors will not eliminate the causes of its occurrence, since they are at the level of the subtle plane and are caused by damage to the energy shell of the sick person, leakage of vital energy or its transformation into negative. A person with such energy will “catch” any negativity rushing around and more often suffer from relapses and chronic diseases, accidents, depressive states, etc. Our ancestors knew about this and, using the methods of body treatment available at that time, for example, herbs, they also used symbols and signs to heal and close energy wounds, and as amulets for protection and prevention. That is why all clothes, utensils, furniture, houses, armor, etc. of our ancestors are decorated with appropriate symbols. The memory of the ancestors still lives in us, their strength and influence growing every day. How it works, science explains: the higher the frequency of waves in the space around a person and in himself, the healthier he is both emotionally and physically (about the Schumann resonance, changes in the structure of water under the influence of sounds, frequencies of the tertiary structure of the DNA helix, frequencies of brain waves in different emotions and states, etc. you can read on your own). How can the Health Formula help? - In a positive effect on both the physical state and the mental, managing the flow and direction of thoughts and the general condition of a person, maintaining the fire of life in all life situations. It balances the forces responsible for the proportions of the five main elements in the body, and, as a result, the functioning of all human systems and organs is normalized. For example, an excess of the elements of ether and air can cause nervous irritation, high blood...

"Formula of Harmony" We can endlessly ask the Universe and the Cosmos for material wealth, health and well-being, but without spiritual wealth, everything worldly will sooner or late...

Carlos Puyol works from sketches before he turns to his large canvases. While he paints, he listens to jazz music. The music is not background noise, but acts as guide as he works; P...

Carlos Puyol works from sketches before he turns to his large canvases. While he paints, he listens to jazz music. The music is not background noise, but acts as guide as he works; P...

Carlos Puyol works from sketches before he turns to his large canvases. While he paints, he listens to jazz music. The music is not background noise, but acts as guide as he works; P...

Ted Dixon is a Black painter working primarily in abstraction. He writes: "How do we learn to see what we cannot yet see? What are the things that influence our ability to perceive? ...