GESTURE/COLOR/FORM
September 10–November 5, 2022
Opening reception: Saturday, September 10, 3:00–5:30pm
Leo Valledor, Big Chief, 1982;
108×144 inches
Karl Benjamin, #12, 1980, 1980;
72×47-3/4 inches
Gary Lang, Gilding (Collage 4), 2021;
58 inches diameter
Peter Alexander, Squall, 2005;
37×27 inches
Roy De Forest, Scenes from Dogmore Island, 1991; 53×103×3-1/2 inches
Tony Berlant, At Some Point, 2018;
22×22×6-1/2 inches
Ed Moses, Who Bart, 2008;
66×54 inches
Peter Alexander, 7/7/15 (Flo Lemon Yellow Wedge), 2015; 9-1/2×8-1/2×4-1/4 inches
Willem de Looper, Untitled, February 1968;
49×46-1/2 inches
Robert Hudson, Untitled, 1985;
70×38×37 inches
Robert Hudson, Broken Words, 2010;
37×40×26 inches
Robert Arneson, White Mask, 1992;
12-1/2×11×5-1/4 inches
Robert Arneson, All American, 1992;
17×12×7-1/2 inches
Linda Fleming, Tumult, 2022;
65×54×2 inches
Meridel Rubenstein, Photosynthesis Leaf Grid, 2010–11; 62-1/4×63 inches overall
Paul Sarkisian, Untitled #67, 2003;
23-5/8×23-5/8 inches
Paul Sarkisian, Untitled #14, 2001;
20×14 inches
Paul Sarkisian, Untitled #104, 2001;
18-3/4×18 inches
Paul Sarkisian, Untitled (red 20, single panel variant), 2001; 22-1/2×22-1/2 inches
Phil Sims, Red/Violet Sea Painting, 2017;
60×60 inches
Dana Hart-Stone, Squeeze Box, 2021;
75 inches diameter
Teo Gonzalez, Untitled #641, 2012;
60×72 inches
Robert Sagerman, 18,230, 2019;
48×46 inches
Michelle Fierro, Succession #3, 2002;
48×54 inches
Andrea Way, Lodestar, 2013;
30×22 inches, 39-3/4×31 inches framed
Andrea Way, North West Passage, 2013;
30×22 inches, 39-3/4×31 inches framed
Keira Kotler, Navy (grid), 2021;
each panel 24×24 inches, 48-1/2×48-1/2 inches verall
Sono Osato, Diluvia 1, 2021; 30×72 inches
Donald Feasel, Blue Ascent, 2022;
66×60 inches
Johnnie Winona Ross, Bear's Ears Seeps, 2018; 24×22-1/2 inches
Ruth Pastine, Inevitability of Truth 7-S4848 Square (Blue Orange-Orange Deep), Inevitability of Truth Series, 2015;
48×48×-1/2 inches
Mary Ijichi, Assemblage #8, 2021;
24×24×3/4 inches, 27-1/2×27-1/4 inches framed
Mary Ijichi, Assemblage #15, 2022;
12×12×3/4 inches, 15-1/2×15-1/4 inches framed
Mary Ijichi, Assemblage #16, 2022;
12×12×3/4 inches, 15-1/2×15-1/4 inches framed
Cheonae Kim, Saturday 1, Saturn’s day, Sabbath, God of fun and feasting, 2020; 16×16 inches
Cheonae Kim, Sunday, Sol’s day, sun god, 2020; 16×16 inches
Freddy Chandra, Mists, 2016; 16-3/4×64×1-1/2 inches
Marco Casentini, Just a Mirror for the Sun, 2013; 37.5×33 inches
Sue Dirksen, Essence II, 2015–17; 24×60 inches
Pard Morrison, Go Lucky, 2018;
20×14-1/8×5-3/4 inches
Mokha Laget, Turnabout #2, 2022;
24×48 inches
Mokha Laget, Construction No. 1, 2020;
16-1/2×21-1/2×25-1/2 inches
Rex Yuasa, M.A. 1012-5, 2012;
27×27 inches, 36-1/4×36 inches framed
Press Release
Brian Gross Fine Art is pleased to announce the opening of GESTURE/COLOR/FORM, on Saturday, September 10th, from 3:00–5:30pm. The exhibition explores the power of line, shape, and color, to convey meaning and to create sublime aesthetic experiences. The exhibition includes paintings, sculpture, and photoworks by Peter Alexander, Robert Arneson, Karl Benjamin, Tony Berlant, Marco Casentini, Freddy Chandra, Roy De Forest, Willem de Looper, Sue Dirksen, Donald Feasél, Michelle Fierro, Linda Fleming, Teo González, Dana Hart-Stone, Robert Hudson, Mary Ijichi, Cheonae Kim, Keira Kotler, Mokha Laget, Gary Lang, Pard Morrison, Ed Moses, Sono Osato, Ruth Pastine, Johnnie Winona Ross, Meridel Rubenstein, Robert Sagerman, Paul Sarkisian, Phil Sims, Leo Valledor, Andrea Way, and Rex Yuasa. The works in the exhibition reveal the expansive range of abstract styles and representational forms employed by this wide swath of gallery artists.
Among the works making their gallery exhibition debuts are Leo Valledor’s monumental, multi-part painting Big Chief; Robert Arneson’s All American ceramic mask, which was his last fired work; a glorious polychromed welded steel sculpture by Bay Area legend Robert Hudson; an electric yellow cast urethane wedge sculpture by Peter Alexander; Sono Osato’s intricately painted triptych Diluvia 1; an evocative new stain painting by Donald Feasél; Dana Hart-Stone’s optically charged, digitally collaged tondo Squeeze Box; two luminous drawing assemblages by Mary Ijichi; the vibrantly painted color study Inevitability of Truth 7 by Ruth Pastine; and a seductive group of resin-based works on panel dating from 1998–2005 by the late Paul Sarkisian. Other highlights in the exhibition include the dynamic Photosynthesis Leaf Grid by Meridel Rubenstein; an expansive mythical landscape drawing by Roy De Forest; a large black and white painting by Teo González created using his trademark veil of hundreds of painted dots; and 18,230, a dynamic work comprised of thousands of dollops of oil paint laid in swirling patterns by Robert Sagerman.
The exhibition will be on view through November 5, 2022.