GESTURE/COLOR/FORM

September 10–November 5, 2022

Opening reception: Saturday, September 10, 3:00–5:30pm

Big Chief, 1974

Leo Valledor, Big Chief, 1982;
108×144 inches

#12, 1980, 1980

Karl Benjamin, #12, 1980, 1980;
72×47-3/4 inches

Gilding (Collage 4), 2021

Gary Lang, Gilding (Collage 4), 2021;
58 inches diameter

Squall, 2005

Peter Alexander, Squall, 2005;
37×27 inches

Scenes from Dogmore Island, 1991

Roy De Forest, Scenes from Dogmore Island, 1991; 53×103×3-1/2 inches

At Some Point, 2018

Tony Berlant, At Some Point, 2018;
22×22×6-1/2 inches

Who Bart, 2008

Ed Moses, Who Bart, 2008;
66×54 inches

7/7/15 (Flo Lemon Yellow Wedge), 2015

Peter Alexander, 7/7/15 (Flo Lemon Yellow Wedge), 2015; 9-1/2×8-1/2×4-1/4 inches

Untitled, February 1968

Willem de Looper, Untitled, February 1968;
49×46-1/2 inches

Untitled, 1985

Robert Hudson, Untitled, 1985;
70×38×37 inches

Broken Words, 2010

Robert Hudson, Broken Words, 2010;
37×40×26 inches

White Mask, 1992

Robert Arneson, White Mask, 1992;
12-1/2×11×5-1/4 inches

All American, 1992

Robert Arneson, All American, 1992;
17×12×7-1/2 inches

Tumult, 2022

Linda Fleming, Tumult, 2022;
65×54×2 inches

Photosynthesis Leaf Grid, 2010–11

Meridel Rubenstein, Photosynthesis Leaf Grid, 2010–11; 62-1/4×63 inches overall

Untitled #67, 2003

Paul Sarkisian, Untitled #67, 2003;
23-5/8×23-5/8 inches

Untitled #14, 2001

Paul Sarkisian, Untitled #14, 2001;
20×14 inches

Untitled #104, 2001

Paul Sarkisian, Untitled #104, 2001;
18-3/4×18 inches

Untitled (red 20, single panel variant), 2001

Paul Sarkisian, Untitled (red 20, single panel variant), 2001; 22-1/2×22-1/2 inches

Red/Violet Sea Painting, 2017

Phil Sims, Red/Violet Sea Painting, 2017;
60×60 inches

Squeeze Box, 2021

Dana Hart-Stone, Squeeze Box, 2021;
75 inches diameter

Untitled #641, 2012

Teo Gonzalez, Untitled #641, 2012;
60×72 inches

18,230, 2019

Robert Sagerman, 18,230, 2019;
48×46 inches

Succession #3, 2002

Michelle Fierro, Succession #3, 2002;
48×54 inches

Lodestar, 2013

Andrea Way, Lodestar, 2013;
30×22 inches, 39-3/4×31 inches framed

North West Passage, 2013

Andrea Way, North West Passage, 2013;
30×22 inches, 39-3/4×31 inches framed

Navy (grid), 2021

Keira Kotler, Navy (grid), 2021;
each panel 24×24 inches, 48-1/2×48-1/2 inches verall

Diluvia 1, 2021

Sono Osato, Diluvia 1, 2021; 30×72 inches

Blue Ascent, 2022

Donald Feasel, Blue Ascent, 2022;
66×60 inches

Bear's Ears Seeps, 2018

Johnnie Winona Ross, Bear's Ears Seeps, 2018; 24×22-1/2 inches

Inevitability of Truth 7-S4848 Square (Blue Orange-Orange Deep), Inevitability of Truth Series, 2015

Ruth Pastine, Inevitability of Truth 7-S4848 Square (Blue Orange-Orange Deep), Inevitability of Truth Series, 2015;
48×48×-1/2 inches

Assemblage #8, 2021

Mary Ijichi, Assemblage #8, 2021;
24×24×3/4 inches, 27-1/2×27-1/4 inches framed

Assemblage #15, 2022

Mary Ijichi, Assemblage #15, 2022;
12×12×3/4 inches, 15-1/2×15-1/4 inches framed

Assemblage #16, 2022

Mary Ijichi, Assemblage #16, 2022;
12×12×3/4 inches, 15-1/2×15-1/4 inches framed

Saturday 1, Saturn’s day, Sabbath, God of fun and feasting, 2020

Cheonae Kim, Saturday 1, Saturn’s day, Sabbath, God of fun and feasting, 2020; 16×16 inches

Sunday, Sol’s day, sun god, 2020

Cheonae Kim, Sunday, Sol’s day, sun god, 2020; 16×16 inches

Mists, 2016

Freddy Chandra, Mists, 2016; 16-3/4×64×1-1/2 inches

Just a Mirror for the Sun, 2013

Marco Casentini, Just a Mirror for the Sun, 2013; 37.5×33 inches

Essence II, 2015–17

Sue Dirksen, Essence II, 2015–17; 24×60 inches

Go Lucky, 2018

Pard Morrison, Go Lucky, 2018;
20×14-1/8×5-3/4 inches

Turnabout #2, 2022

Mokha Laget, Turnabout #2, 2022;
24×48 inches

Construction No. 1, 2020

Mokha Laget, Construction No. 1, 2020;
16-1/2×21-1/2×25-1/2 inches

M.A. 1012-5, 2012

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.