Zane Bennett Contemporary Art

Fred Sandback was a minimalist conceptual-based sculptor known for his yarn sculptures, drawings, and prints. He majored in philosophy at Yale Universit...

Artist: (after) Dan Flavin (American, 1933-1996) Title: "Dan Flavin: A Retrospective" Year: 2004 Medium: Original Offset-Lithograph, Exhibition Poster on heavy smooth wove paper Limi...

AGNES MARTIN Praise, 1976 Lithograph on Dalton Natural Bond paper. Gold stamped signature on the front Numbered 593 in pencil on the front, from the limited edition of 1000 Accompani...

Carl Andre Untitled (0813), 1976 Rubber stamp relief print Artist Stamp and Copy Right on the back. It is from a limited edition of 1000. Frame Included This is Minimalist master Car...

1-2-3 Outside reproduces James Rosenquist’s 1963 oil painting of the same name, collected in the Spencer Museum of Art, The University of Kansas, Lawrence. Rosenquist sourced the ima...

Vibrant magenta, yellow, orange, brown, purple, lime green, jungle green, dark green, cerulean, and sky-blue lines take on the organic quality of handmade paper, resulting in this su...

Brice Marden's Studio Offset lithograph poster (hand signed by Brice Marden in 2015) This print was published on the occasion of Brice Marden's 1996 exhibition at the Matthew Marks Gallery in Chelsea, New York City. The image is based on Nan Goldin's 1995 photograph of Marden working in his studio. The print was signed by Brice Marden for the present owner. A collectors item when hand signed! About Brice Marden: Ultimately I’m using the painting as a sounding board for the spirit. . . . You can be painting and go into a place where thought stops—where you can just be and it just comes out. . . . I present it as an open situation rather than a closed situation. —Brice Marden Brice Marden (1938–2023) continuously refined and extended the traditions of lyrical abstraction. Experimenting with self-imposed rules, limits, and processes, and drawing inspiration from his extensive travels, Marden brought together the diagrammatic formulations of Minimalism, the immediacy of Abstract Expressionism, and the intuitive gesture of calligraphy in his exploration of gesture, line, and color. Born in Bronxville, New York, Marden received an MFA from Yale University’s School of Art and Architecture, where his teachers included the painters Alex Katz and Jon Schueler. After graduation he worked as a guard at the Jewish Museum in New York. There, during a 1964 Jasper Johns retrospective, Marden studied Johns’s early works extensively and considered them in relation to the Baroque masters he has long admired, such as Francisco de Zurbarán, Francisco Goya, and Diego Velázquez. Marden’s paintings from the 1960s include subtle, shimmering monochromes in gray tones, sometimes assembled into multipanel works, in a manner similar to the black paintings and White Paintings of Robert Rauschenberg, who hired Marden as a studio assistant in 1966. A trip to Greece in the early 1970s led Marden to create the Hydra paintings (1972), which capture the turquoise hues of the Mediterranean, and Thira (1979–80), a painting composed of eighteen interconnected panels inspired by the shadows and geometry of ancient temples. To heighten the effect of each color, plane, and brushstroke, Marden developed the unique process of adding beeswax and turpentine to oil paint and applying the mixture in many thin layers. Marden employed this technique for the Grove Group paintings (1972–76)—exhibited at Gagosian’s Madison Avenue gallery in New York in 1991, along with related works—and the Red Yellow Blue paintings...

Abstract yellow and black Rene Ricard print with hand painted poetry on handmade paper. Printed in black ink at the top of the sheet and framed with a thin line, the artist's loose h...

Sol Lewitt Black with White Lines, Vertical, Not Touching, from Conspiracy: The Artist as Witness (Krakow 1970.07; 3. Kornfeld), 1971 Lithograph on Wove Paper Edition AP (A rare Artists Proof, aside from the regular edition of 150) Hand-signed by Sol Lewitt: pencil signed on the reverse (see photos), annotated Artists Proof, blindstamp of the publisher; copyright stamp reads: COPYRIGHT 1971 BY SOL LEWITT Published by: Bank Street Shorewood Atelier Frame included: Held in original vintage metal frame Measurements: Framed: 25 inches x 28 inches Sheet: 17 inches x 23 ½ inches This one-color lithograph pulled by hand from stone on Arches paper at the Shorewood Bank Street Atelier in New York by American master Sol Lewitt is a classic example of pure Minimalist art from the early 1970s - the most influential and desirable era. A very rare Artists Proof, aside from the regular edition of 150. "Vertical Lines Not Touching (Black)" was created for the legendary portfolio "CONSPIRACY: the Artist as Witness", to raise money for the legal defense of the Chicago 8 - a group of anti-Vietnam War activists indicted by President Nixon's Attorney General John Mitchell for conspiring to riot during the 1968 Democratic National Convention. (1968 was also the year Bobby Kennedy was killed and American casualties in Vietnam exceeded 30,000.) The eight demonstrators included Abbie Hoffman...

Overlooking Wadi, Asir Province, Kingdom Of Saudi Arabia by His Majesty King Charles III, (created when he was HRH The Prince of Wales) - ...

Rainbow shades shine in this abstract, color field print. Vibrant red, yellow, orange, purple, and green lines take on the organic quality of handmade paper, resulting in this subtle...

Joel Shapiro Poster (Hand Signed), 1990 Offset Lithograph poster Boldly signed and inscribed in black marker on the front 20 × 27 1/2 inches Unframed Hand signed and inscribed by Jo...