DOCSLIB.ORG

C O L O R F I E L

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
C O L O R F I E L C O L O R F I E L D S Ludwig SANDER Untitled Oil on paper, circa 1960s, unsigned (from the estate of the artist’s widow), on off-white wove paper Image 17 3/4 x 15 3/4 inches Sheet 26 x 20 inches $3,000 Sander’s work from the early-1960s onwards is known immediately for it’s almost complete focus on color. The few divisions of the picture field that there are, are most often just separations of subtle tonal differences. Gene DAVIS “Ianthe” Silkscreen printed in colors on canvas laminated to card (as issued), 1969, signed in ink and numbered from the edition of 150 on the reverse, published by Petersburg Press, London, and with their ink stamp on the reverse, printed to the edge of the sheet, in a thin white wood frame Sheet 24 x 30 inches $2,800 The iconic stripe paintings of Gene Davis, one of the most famous of the Washington Color School artists, display the rhythmic interplay of pure color, and the limitless possibilities it allows. The word “Ianthe”, the name of a romantic figure in mythology, comes from the Greek for “violet flower”. Kenneth YOUNG “Blue” Acrylic on blotting paper, 1973, signed, dated and titled lower-right in ink, painted to the edge of the sheet Sheet 30 x 22 1/4 inches $2,500 The Washington DC artist Kenneth Young, like Morris Louis in the 1950s and his contemporary Sam Gilliam, was preoccupied in the 1960s and 70s with the effect of pigments staining and blending on untreated canvas and absorbent paper. Walter Darby BANNARD “Blush and Flame No.3” Alkyd resin on canvas, 1970, titled and dated on a label attached to the stretcher, unsigned (the artist has confirmed the date and title of this work), in a period wood and metal frame 30 x 45 inches $4,500 In 1970 Bannard began to use the new acrylic paints that were appearing on the market. His sparser, lightly painted works of the 1960s changed with the use of these new materials, applied with squeegees and other unorthodox tools, into more richly colored, visceral works. Roy COLMER Untitled Acrylic on canvas, circa 1972/73, unsigned (the authenticity of this painting has been confirmed by the artist); in a wood strip frame 29 x 29 inches $3,000 Colmer’s works from the late-1960s through early- 1970s were painted with an industrial spray gun. He was fascinated with the optical effects of color and lines, and was influenced by the visual experience of viewing blurred or continuously looped color video. Sewell SILLMAN “Mastaba” Oil on masonite, 1961, signed in pencil and dated in the upper-right border, also signed in ink, dated and titled on the reverse; in excellent condition, in a period thin silver wood frame, with a label on the reverse from David Herbert Gallery, NYC 16 x 26 1/2 inches $3,500 Like Josef Albers, his teacher at Black Mountain College and friend and mentor at Yale University, the colors in Sillman’s paintings from this period are “juxtaposed for various and changing visual effects. They are to challenge or to echo each other, to support or oppose one another.”* * Josef Albers, “Josef Albers: Homage to the Square” (Museum of Modern Art, NY, 1964) Ernest POSEY Circles Color ink airbrushed on paper, circa 1980s, unsigned (from the artist’s estate), on white wove paper; in a white wood frame Sheet 35 x 23 inches $1,500 The work of the West Coast artist Ernest Posey in the 1970s and 80s was most often involved with simple geometric shapes, frequently concentric circles painted in a limited palette of colors. Edward AVEDISIAN Untitled Acrylic on thick paper, 1974, signed and dated on the reverse 56 x 41 1/2 inches $5,000 Avedisian’s paintings from the 1960s are known for their flat, defined areas of color. By the early-1970s however, his work had evolved into a more painterly, exuberant style, with thick layers of color poured and squeezed directly onto the canvas or paper. Robert SLUTZKY Tipped Painting - Gray Acrylic on canvas, circa 1969, unsigned (from the artist’s estate) 66 1/2 x 60 inches (square) $12,000 Slutzky created a small number of “tipped” paintings in the late-1960s and early-70s. These works, with their dominant central color and subtle, irregularly positioned lines, extend the form and color painted on the canvas beyond the edges of the painting, and hint at outside forms coming into the picture plane in ways that can make a right-angled canvas seem static by comparison. Jeanne LEVIN “Reflected Yellow” Acrylic on canvas, 1971, signed in ink, dated and titled on the reverse; in a thin white-painted wood frame 26 x 52 inches $3,500 What on first sight appears to be a work solely of parallel horizontal lines, in fact hides three diagonal slivers. The subtle color field of the painting is broken up, in the most imperceptible way, by these slivers that appear and recede effortlessly. Additional images of all of these works, as well as other works by these artists, can be found on our website..
Load more

Recommended publications
  • Post-War & Contemporary
    Post-War & Contemporary Art New York I November 18, 2020 Bonhams Detail Lot 36 © 2020 Bonhams & Butterfields Auctioneers Takashi Murakami,Tongari-kun (Mr. Pointy) Costume, 2003 Corp. All rights reserved. Post-War & Contemporary Art New York | Wednesday November 18, 2020 at 1pm EST BONHAMS INQUIRIES IMPORTANT NOTICES COVID-19 SAFETY STANDARDS 580 Madison Avenue Jacqueline Towers-Perkins Please note that all customers, Bonhams’ galleries are currently New York, New York 10022 +1 212 644 9039 irrespective of any previous activity subject to government restrictions bonhams.com with Bonhams, are required to have and arrangements may be subject to [email protected] proof of identity when submitting bids. change. SALE NUMBER Failure to do this may result in your bid Andrew Huber not being processed. Preview: Lots will be made available 26107 +1 917 206 1633 For absentee and telephone bids for in-person viewing by Lots 1 - 49 [email protected] we require a completed Bidder appointment only. Please contact Registration Form in advance of the the specialist department on AUCTION INFORMATION Sheida Ellini sale. The form can be found at the +1 917 717 0367 or contemporary.us@ Ralph Taylor back of every catalogue and on our bonhams.com to arrange an +1 917 717 0367 2063659-DCA website at www.bonhams.com appointment before visiting our [email protected] Jacqueline Towers-Perkins and should be returned by email to galleries. In accordance with 2068426-DCA the specialist department or to the Covid-19 guidelines, it is mandatory PRESS INQUIRIES Rupert Banner Client Services department at bids.
    [Show full text]
  • Michael Clark (A.K.A
    ARTIST MICHAEL CLARK: WASHINGTON April 3 – May 27, 2018 American University Museum at the Katzen Arts Center Washington, DC ALPER INITIATIVE FOR WASHINGTON ART FOREWORD Michael Clark (a.k.a. Clark Fox) has been an influential figure in the Washington art world for more than 50 years, despite dividing his time equally between the capital and New York City. Clark was not only a fly on the wall of the art world as the last half- century played out—he was in the middle of the action, making innovative works that draw their inspiration from movements as diverse as Pop Art, Op Art, Conceptual Art, Minimalism, and the Washington Color School. The result of this prolific and varied artistic oeuvre is that Clark’s output is too much for one show. After consulting with former Washington Post art critic Paul Richard, I decided Michael Clark: Washington Artist at the American University Museum would concentrate on his significant artistic contributions to the ‘60s, ‘70s, and ‘80s in Washington, DC. In line with his amazingly diverse and productive career, a conversation with Michael Clark is similar to drinking from a fire hose. In one sentence, he can jump from painting techniques using masking tape to making cookies for Jackie Onassis. My transcription of our conversation, presented here as a soliloquy, tries its best to maintain some kind of coherence and order, but in reality, I just tried to hold on for the ride. In contrast, the amazing thing about Clark’s art is how still, focused, and composed it is. The leaps and diversions of his lively mind are transmuted into an almost classical art, more Modigliani than Soutine, probably reflecting the time spent in his early years copying masterworks in the National Gallery of Art.
    [Show full text]
  • Bulletin #3. Peeling Back Robert W. Newmann
    Peeling Back RoBeRt W. NeWmanN �NarRatiVe PoRtfOlio by Antonia 1. 1 Dapena-Tretter dRoSte eFfeCT �BULLETIN 3 Peeling Back RoBeRt W. NeWmanN �NarRatiVe PoRtfOlio 3 WaSHingtoN InStaLlation art: 1. 2 COlor ScHoOl SuBtracTive RoOts: The EaRly LaYeRs 24 ARROws 7 ImmaTeRial Embracing the ScUlPtureS: Literal: ADditive CoNCePtUal Layers 15 CONcluSiONs 38 Peeling Back RoBeRt W. NeWmanN �NarRatiVe PoRtfOlio — by Antonia Dapena-Tretter Abstract Unpacking Robert W. Newmann's portfolio requires a layered approach with equal attention paid to biography, aesthetics, and the larger art market of the 1970s to the present. These diverse methodologies intertwine to reveal the artist's surprising rejection of the Washington 1. 3 Color School tradition of ethereal stained canvases in favor of the real space of large-scale installations. Literal layers—taking the form of pigment added to the canvas or inches of substrate sandblasted away— Bulletin 3 separate Newmann's art from that of his teachers and serve as a common thread, tying together enormous shifts in practice and medium. Although each period of the artist's oeuvre reinforces his strong attraction to the experiential, the unexpected challenges of wedding an artwork to the space around it ultimately drove Newmann to accept and embrace the unavoidable nature of the immaterial. Peeling Back Robert W. Newmann — Narrative Portfolio Washington Post critic Paul Richard theorized that 1960s D.C.-based artists such as Kenneth Noland, Thomas Downing, and Gene Davis «worked from a particular sensibility, nourished by the grids and circles of the original L’Enfant plan.»1 If this is taken to be true, the hard- edged lines of the Washington Color School canvases were born from the same inspiration as Robert Newmann’s For Pierre L’Enfant (pic.
    [Show full text]
  • Free Art and a Planned Giveaway
    54 ARCHIVES of AMERICAN ART JOURNAL | 57.1 fig. 9 Letter from Henri Ehrsam to Gene Davis, June 29, 1965. Henri Gallery Records, Archives of American Art, Smithsonian Institution. first attempt to create the paintings, using local art students, so poor that he refused to put his name to them.40 McGowin ultimately enlisted Michael Clark (now known as Clark V. Fox), a recent graduate of the Corcoran School of Art and a skilled artist, to paint the fifty copies.41 The process of mass-reproducing Popsicle highlighted a hierarchy of labor in Giveaway, by which the physical production of the work was subordinate to its conception. Working on five canvases at a time, twelve to sixteen hours a day for nine days, and paid less than a skilled worker’s hourly wages plus meals, Clark painted all fifty works.42 Extant canvases bear the silkscreened names of the three event organizers followed by Clark’s original signature, with some—but not all—of the works also signed by Clark’s assistants ( fig. 10).43 In effect diminishing the painter and fabricators’ skill and artistic contributions, Douglas Davis declared “although his work is original and profound, in some ways Gene Davis is an easy copy.”44 Like Sturtevant’s repetitions, the copies of Popsicle were not exact.45 Mixing pigments to produce the exact hues of the original painting was challenging, given the brevity of Davis’s instructions.46 Moreover, at least one critic noted stylistic differences between Davis’s and Clark’s stripes; the older artist had been interested in how overlapping colors could produce faint effects of subtle vibration, but Clark did not have the luxury of letting one stripe dry before painting the next.47 Subtle aesthetic differences between the original and its reproductions produced fresh skepticism about a model of creative practice unable to see beyond the dichotomy of author and nonauthor.
    [Show full text]
  • Gene Davis (American Painter, 1920-1985)
    237 East Palace Avenue Santa Fe, NM 87501 800 879-8898 505 989-9888 505 989-9889 Fax [email protected] Gene Davis (American Painter, 1920-1985) Gene Davis, a painter associated with the Washington Color School Painters*, was a self-taught artist whose early work represented several phases of experimentation, including Abstract Expressionism*, Neo-Dada*, and Proto- Pop. Davis was born in Washington, D.C. in 1920. Spending most of his life there, he started painting at a very young age, as the artist himself explains to Buck Pennington in an interview: “I believe – when I was eight, nine years old, somewhere in that vicinity, I used to do little childlike drawings and I sent them in to the Washington Post 's"Children's Page" -- they had a regular "Children's Page" -- and they thought enough of them to publish several of them, one of which won a $1 prize, which was the thrill of a lifetime, of course, in those days. So my interest in visual art goes back to early childhood. And then I took -- I guess it was about a two- or three-hour-a-day drawing course, three times a week, in high school. But then there was a long hiatus there, where I was in the writing " At the age of 19 his first writing job was as a sports writer for the Washington Daily News, a paper that no longer exists. Between 1945 and 1950, Davis wrote for Transradio Press, covering the end of WWII as well as the Truman administration. He earned a living as a writer for close to 35 years before he felt successful enough as an artist to quit his job and to paint full-time in 1968.
    [Show full text]
  • ALMA THOMAS: RESURRECTION Curated by Sukanya Rajaratnam September 10 – October 19, 2019
    ALMA THOMAS: RESURRECTION Curated by Sukanya Rajaratnam September 10 – October 19, 2019 Mnuchin Gallery is proud to announce Alma Thomas: Resurrection, curated by Sukanya Rajaratnam. The exhibition will survey Thomas’s singular career, featuring paintings and works on paper from 1959 through 1976. It will be Thomas’s first solo exhibition on the Upper East Side since her 1976 show at Martha Jackson Gallery, and will be among her largest solo exhibitions to date. On view from September 10 through October 19, 2019, it will open with a public reception Tuesday, September 10 from 5-7pm. The exhibition will be accompanied by a fully illustrated catalogue and comprises loans from private collections as well as institutions. Institutional lenders include George Washington University, the Hirshhorn Museum and Sculpture Garden, Howard University, the Miami-Dade County Art in Public Places Trust, and the Tampa Museum of Art. Alma Thomas was a pioneering figure in American painting of the 1960s and 70s, whose ebullient, light-filled abstractions defy categorization. Her work has often been associated with the Washington Color School, given that she spent her adult life in Washington, D.C. and that she worked alongside Color Field painters such as Morris Louis, Kenneth Noland, Gene Davis and Sam Gilliam. However, rather than using the pouring and staining techniques popular with her Color Field contemporaries, Thomas primed her canvases and applied her paint with a brush. In 45 East 78 Street New York NY 10075 T +1.212.861.0020 F +1.212.861.7858 www.mnuchingallery.com fact, her dense paint application and expressive brushwork linked her to the preceding generation of Abstract Expressionists, although her short and repetitive brushstrokes also looked back to Pointillism while coinciding with some elements of Minimalist application.
    [Show full text]
  • Oral History Interview with Sam Gilliam, 1989 Nov. 4-11
    Oral history interview with Sam Gilliam, 1989 Nov. 4-11 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Sam Gilliam on November 4- 11, 1989. The interview took place in Washington, DC, and was conducted by Benjamin Forgey for the Archives of American Art, Smithsonian Institution. Sam Gilliam and Benjamin Forgey have reviewed the transcript and have made corrections and emendations. The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose. Interview BENJAMIN FORGEY: I feel like a good place to start - I mean, this is as you know, SG, is about Washington. But I thought we could back up a little bit. I'd be interested to know when you were in Louisville getting your graduate degree, how you decided to come to Washington, why you decided Washington, why you moved. SAM GILLIAM: I went to graduate school from 1958 til "61 because I taught during the daytime and went to school part-time. I came to Washington because Dorothy and I had decided to get married. All the time that - if I was in the Army here, she was in school some place else. And finally when I was in school in Louisville she was in school in Columbia, in New York City.
    [Show full text]
  • Abstract Art Utah Museum of Fine Arts Evening for Educators September 29, 2004, 5:30 P.M
    The Most Difficult Journey: Abstract Art Utah Museum of Fine Arts Evening for Educators September 29, 2004, 5:30 p.m. - 8:30 p.m. Table of Contents Page Contents 2 List of Postcards 3 Devil at the Keyboard, de Kooning Written by Mary Francey 4 lesson plans for Devil at the Keyboard Written by Tiya Karaus 12 Untitled, #39, Diebenkorn Written by Cori Swisher 13 lesson plan for Untitled, #39 Written by Karey Rawitscher 21 Jasmine Sidewinder, #91, Davis Written by Cori Swisher 22 lesson plan for Jasmine Sidewinder #91 Written by Andrea Heidinger 25 Three Fish, Blaine Written by Cori Swisher 26 lesson plan for Three Fish Written by Pam Thompson 42 One Cent Life, Francis Written by Cori Swisher 43 lesson plan for One Cent Life Written by Jennifer Opton 48 Gold Stone, Primary Series, Krasner Written by Cori Swisher 49 lesson plan for Gold Stone, Primary Series Written by Megan Hallett Special Thanks to Elizabeth Firmage for the digital photography in this packet. Evening for Educators is funded in part by the The Richard K. and Shirley S. Hemingway Foundation and the StateWide Art Partnership. 1 The Most Difficult Journey: Abstract Art Utah Museum of Fine Arts Evening for Educators September 29, 2004, 5:30 p.m. - 8:30 p.m. List of Postcards 1. Willem de Kooning (1904-1997), American Devil at the Keyboard , 1972, edition 74/75 Color lithograph on paper Purchased with funds from Friends of the Art Museum Museum # 1980.078 © 2004 The Willem de Kooning Foundation/Artists Rights Society (ARS), New York 2.
    [Show full text]
  • The Origins of the Washington Color School
    The Origins of The Washington Color School by Robert Bettmann Prepared for the DC Digital Museum of the Humanities May 2015 The District of Columbia is a cultural melting pot, with few markers of local accomplishment. The visual arts movement known as the Washington Color School is rivaled only by Go-Go music in local pride and national importance. The Color School’s inception and development connects D.C. to local and national trends in the arts, race, gender, and politics. The first major exhibit gathering Color School paintings in Washington DC occurred at the Washington Gallery of Modern Art (WGMA), a briefly influential museum and gallery. The WGMA opened in October 1962, at 1503 21st Street NW, with a show of artwork by Franz Kline and three nights of star-studded parties. The gallery was an early project of local arts champion Alice Denney, and Denney served as founding assistant director. The new museum’s first director was respected Baltimore-based curator Adelyn Breeskin, and the WGMA’s board chair was physicist Julian Eisenstein. Frank Getlein wrote about the opening for The Evening Star, “Like the museum, the exhibition, with a few reservations, was very well received by the invited audience of artists and arts writers. The artists easily outnumbered the writers. Among those present were David Smith, sculptor, and New York painters Mark Rothko, Helen Frankenthaler and Barnett Newman, all exponents of the abstract expressionist manner in which Mr. Kline was an internationally recognized leader… Local artists at the opening included Robert Gates and James Twitty. Meeting the guests were the staff and many of the trustees of the new gallery.” The WGMA was founded as a home for new and adventurous artwork, and in its first year the gallery produced one of the earliest performance “happenings” in the region (by Robert Rauschenberg) and the influential exhibition of Van Gogh paintings that went on to form the core collection at the Van Gogh Museum (in Amsterdam.) From before the opening the WGMA forged connections to the Kennedy administration.
    [Show full text]
  • Lunar Surface, 1970
    2 THE LONG SIXTIES The Long Sixties Washington Paintings in the Watkins and Corcoran Legacy Collections, 1957 – 1982 February 16 – August 9, 2021 American University Museum at the Katzen Arts Center Washington, DC The Long Sixties Washington Paintings in the Watkins and Corcoran Legacy Collections 1957 – 1982 INTRODUCTION The American University Museum recently acquired 9,000 works from the Corcoran Gallery of Art, a Washington institution that closed its doors to the public in 2014. Together with our Watkins Collection we have an especially strong cache of works by Wash- ington regional artists. While curating a show of Washington paintings drawn from our growing collections, I became inter- ested in how my memories of a formative time in my life might be affecting my choice of artwork for this exhibition. BY JACK RASMUSSEN Director and Curator American University Museum at the Katzen Arts Center Washington, DC THE LONG SIXTIES 3 This most influential time for baby boomers like me has been referred to as “the long sixties” by both National Gallery of Art curator James Meyer, and sixties radical Tom Hayden.1 Meyer references Tom Hayden’s book, The Long Sixties: From 1960 to Barack Obama (2011), as one source for his use of the term.2 I have identified my personal “long sixties” as the years between 1957 and 1982. My intention is to foreground the effect of my experiences and memories of this important time in my life in my selection and present interpretation of paintings from that period. I hope to add transparency to my curatorial process.
    [Show full text]
  • Howard Mehring 1931
    HOWARD MEHRING 1931 – 1978 Born in Washington, DC EDUCATION: 1955 M.F.A., Catholic University of America, Washington DC. SELECTED SOLO EXHIBITIONS: 2007 Howard Mehring: All Over Paintings from the Estate of Vincent Melzac, Conner Contemporary Art, Washington, DC 2002 Howard Mehring: Classical Abstraction painting from the Vincent Melzac Collection, Catholic University of America, Washington, DC 1977 Howard Mehring: A Retrospective Exhibition, Corcoran Gallery of Art, Washington DC Howard Mehring – Soft Palette Paintings 1958-1961, Pyramid Galleries, Ltd., Washington, DC 1976 Howard Mehring, Galerie Heseler, Munich, Germany Howard Mehring – Drawings, Pyramid Galleries, Ltd., Washington, DC 1974 Howard Mehring – Paintings 1957-1967, Pyramid Galleries, Ltd., Washington, DC, 1971 Jefferson Place Gallery, Washington, DC 1970 Howard Mehring: Early Minimal Paintings: 1958-1960, A.M. Sachs Gallery, New York, NY Jefferson Place Gallery, Washington, DC A.M. Sachs Gallery, New York, NY Howard Mehring, Washington, Galerie Heseler, Munich, Germany 1969 Jefferson Place Gallery, Washington, DC 1968 A.M. Sachs Gallery, New York, March 30-April 18 1966 A.M. Sachs Gallery, New York, April 19-May 7. 1965 A.M. Sachs Gallery, New York, April 27-May 15. 1963 Reflections – 63: The Painting of Howard Mehring, The Adams-Morgan Gallery, Washington, DC 1962 Recent Paintings: Howard Mehring, Jefferson Palace Gallery, Washington, DC 1960 Recent Paintings: Howard Mehring, Jefferson Place Gallery, Washington, DC 1959 Recent Painting: Howard Mehring, Origo Gallery,
    [Show full text]
  • Bio Reed, Paul Allen
    237 East Palace Avenue Santa Fe, NM 87501 800 879-8898 505 989-9888 505 989-9889 Fax [email protected] Paul Allen Reed (American Painter, 1919-2015) A prominent member of the Washington Color School – a group of Color Field painters who worked and exhibited in Washington, D.C.’s avant-garde art scene in the second half of the 20th century, Paul Reed was born in Washington, D.C. He studied at San Diego State College and the Corcoran School of Art. Throughout the 1940s, Reed worked in New York City as an illustrator of magazines and designer of advertisements. He died at his home in Phoenix in 2015 at the age of 96. While in New York, Reed visited museums and galleries, becoming acquainted with New York Abstract Expressionists and Action Painters, such as Jackson Pollock, Willem de Kooning and Franz Kline. In 1950, Reed returned to Washington to start his own graphic design business. Through his childhood friend, Gene Davis, Reed became acquainted with the works of the artists at the Washington Workshop for the Arts, including Jacob Kainen and Kenneth Noland. He also formed friendships with fellow Color Painters Tom Downing and Howard Mehring, who introduced Reed to the work of their Washington Workshop mentor, Morris Louis. Reed’s early paintings are highly gestural and expressionistic in style, similar to Davis’ early work. In the late 1950s, he encountered the technique of staining raw canvas with pigment – a technique made possible by the invention of water-based acrylic paint and becoming increasingly popular with Louis and his Color School colleagues.
    [Show full text]