FRAMED 2
Works by Peter Alexander, Robert Arneson, Andrew Belschner, Roy De Forest, Adam Fowler, and Paul Sarkisian
August 4–November 5, 2022
Reception: Saturday, September 10, 3:00–5:30pm
Robert Arneson, Jackson, 1982;
37×27 inches, 40×30 inches framed
Robert Arneson, Untitled Drawing #4, 1981; 30×22 inches, 37×29-1/4 inches framed
Roy De Forest, Drawing, 1984–85;
34-3/4×46-3/4×1-1/2 inches framed
Paul Sarkisian, Untitled #3, 1983;
50×38 inches
Adam Fowler, H, 2019; 22×15 inches, 26-1/4×19-1/4 inches framed
Adam Fowler, C, 2018; 22×15 inches, 26-1/4×19-1/4 inches framed
Andrew Belschner, 5.001, 2015; 22.5×60 inches, 27×65 inches framed
Peter Alexander, Black Stroke #43, 2017; 12×9 inches, 17-1/2×14-1/2 inches framed
Peter Alexander, Black Stroke #66, 2017; 12×9 inches, 17-1/2×14-1/2 inches framed
Peter Alexander, Black Stroke #53, 2017; 12×9 inches, 17-1/2×14-1/2 inches framed
Peter Alexander, Black Stroke #64, 2017; 12×9 inches, 17-1/2×14-1/2 inches framed
Peter Alexander, Black Stroke #60, 2017; 12×9 inches, 17-1/2×14-1/2 inches framed
Peter Alexander, Black Stroke #56b, 2017; 12×9 inches, 17-1/2×14-1/2 inches framed
Press Release
Brian Gross Fine Art is pleased to announce the reception for FRAMED 2: Works by Peter Alexander, Robert Arneson, Andrew Belschner, Roy De Forest, Adam Fowler, and Paul Sarkisian on Saturday, September 10th, from 3:00–5:30pm. The exhibition features paintings, drawings, and cut paper reliefs by gallery artists that range from photorealistic, to representational, to gesturally abstract. The exhibition will be on view August 4–October 1, 2022.
Among the works showcased in the exhibition are Jackson, an arresting portrait of Jackson Pollock by Robert Arneson; Roy De Forest’s Drawing (1984-85) depicting a male figure walking in a western landscape alive with dogs and other spirit animals; a group of six Black Stroke paintings on paper by Peter Alexander; an Untitled (1983) photo-realist painting on paper of a still life tableau by Paul Sarkisian; two layered cut paper drawings by Adam Fowler; and a flowing abstract watercolor diptych by Andrew Belschner.
Ranging in size from large to intimately scaled, the works in FRAMED 2 represent some of the trajectories that representational and abstract art have taken in America since the 1970s.