Leo Valledor Estate

BECOMING

2011-02-06T12:58:00.000-08:00

1963

San Francisco Museum of Modern Art

WHOSE BLUES

2011-02-06T12:50:00.000-08:00

1958
4' X 4'
oil on masonite
San Francisco Museum of Modern Art

The Vogels' bedroom

2011-02-06T12:47:00.000-08:00

"The Vogels’ bedroom with works by Leo Valledor, Gary Stephan, Richard Tuttle, Robert Mangold, Alan Saret, Ron Gorchov, Joseph Kosuth, Vito Acconci, Joseph Beuys, and Peter Hutchinson, among others, c. 1975. Photographer unknown "

"Leo Valledor: Tempo & Triumph"

2009-10-03T21:39:00.000-07:00

Short clip from "Leo Valledor: Tempo & Triumph" a documentary currently in production.

San Francisco Asian Art Museum features Valledor presentation

2009-10-03T15:19:00.000-07:00

Togonon Gallery Director Julina Togonon Speaks at
Roundtable Discussion on Fine Art During
Filipino American History Month Celebration at the
Asian Art Museum
1 :30 pm, October 4, 2009
Togonon Gallery Director Julina Togonon will participate in a roundtable discussion of Artists and scholars about the state of Filipino-American arts today. She will present the story of Leo Valledor, a pioneering Filipino American artist whom critics and curators regarded as a major master of geometric abstraction. Julina will show a trailer for a documentary project by Togonon Gallery on Leo Valledor's artistic life story. Presenting Leo's story will be a window to the history of Filipino -American Fine arts in the U.S and will be a good reference point for talking about the issues: access, biases, challenges, successes, the current contemporary scene and future directions. Celebrate Filipino American History Month with Filipino American artists, authors, and performers.

Roundtable Discussion Speakers
Julina Togonon, Togonon Gallery - Fine Arts
Dr. Ramon Silvestre, Pacific Ethnographic - Traditional Arts
Emma Francisco - Cinema
Peggy Peralta - Cinema and Photography
Anthony Lagarda - Fashion
Anthem Salgado - Spoken Word/Literature
Wilfred Galila - Cinema

Celebrating 422 Years
Filipino American History Month celebrated at the Asian Art Museum October 4, 2009
10:00 am-4:00 pm
FREE admission courtesy of Target*
200 Larkin St
San Francisco, CA 94102

About Leo Valledor
http://www.veritevideo.com/leo.html

Reimagining Space NYTimes Ad

2008-09-26T07:05:00.000-07:00

Reimagining Space: The Park Place Gallery Group in 1960s New York

2008-09-26T06:52:00.000-07:00

The Blanton Museum of Art
Reimagining Space: The Park Place Gallery Group in 1960s New York

September 28, 2008 – January 18, 2009

(from blantonmuseum.org)

This fall the Blanton Museum of Art presents a groundbreaking exhibition of work by artists associated with the Park Place Gallery, a prominent artists' cooperative space in 1960s New York. With their specific aesthetics, the group was often at odds with the predominant style of many artists of the era, and as a result, their work has largely been ignored in chronicles of 1960s art. Organized by the Blanton in collaboration with the University's College of Fine Arts, the exhibition features approximately 40 works and examines the impact of this little known but influential cadre of artists....

...Initially located on the top floor of a five–story loft building at 79 Park Place in downtown Manhattan, the gallery began in 1962 as an informal gathering place for artists who shared similar aesthetic and social concerns and a passion for jazz. The group later developed into a more formal organization, opening in 1965 as a cooperative gallery in Greenwich Village. Five sculptors (Mark di Suvero, Peter Forakis, Robert Grosvenor, Anthony Magar, and Forrest Myers) and five painters (Dean Fleming, Tamara Melcher, David Novros, Edwin Ruda, and Leo Valledor) comprised the group, and Paula Cooper served as the gallery's director for most of its existence....

...Between 1963 and 1967, the Park Place Gallery group was at the center of contemporary artistic activity in New York and several members were included in exhibitions that would later be defined as “Minimalist.” As Reimagining Space argues, however, the group eluded categorization into the dominant movements of the 1960s, specifically Minimalism and the reigning focus on flat painting. As Fleming stated, "It was impossible to identify what we were. That was our freedom."...

Artist Panel in conjunction with Reimagining Space
Friday, September 26, 3:30 PM
In conjunction with the opening of Reimagining Space: The Park Place Gallery Group in 1960s New York, Mark di Suvero, Dean Fleming, Tamara Melcher, and Forrest Myers, four of the founders of the Park Place Gallery, will talk informally about their pioneering venture in New York in the 1960s. The panel will be moderated by guest curator and UT Art History professor Linda Dalrymple Henderson. Location: ACES Building, Avaya Audtorium (rm. 2.302), 24th and Speedway on the UT campus.
Funding for this program is provided by the Carolyn Harris-Hynson Centennial Visiting Professorship in Fine Arts.

Director's Circle Preview Party
Friday, September 26, 6 – 8 PM
Celebrate the Blanton's new fall exhibitions Reimagining Space: The Park Place Gallery Group in 1960s New York and The New York Graphic Workshop, 1964 – 1970.
For Director's Circle members only

Members-Only Preview Day
Saturday, September 27, 1 – 5 PM
Preview the Blanton's new fall exhibitions before they open to the public: Reimagining Space: The Park Place Gallery Group in 1960s New York and The New York Graphic Workshop, 1964 – 1970.
Open to all Blanton members.

Curator's Tour: The New York Graphic Workshop: 1964 - 1970
Thursday, October 2, 12:30 PM
Gina McDaniel Tarver, curatorial associate in the Blanton's Latin American department, leads a gallery talk titled “Juan Trepadori or How to Succeed as a Latin American Artist in New York.”

B scene: Art from the Underground
Friday, October 3, 6 – 11 PM
New York, New York
Celebrate the opening of the Blanton's fall exhibitions at the museum's monthly art party. Go beneath the surface and experience the wild side of art from New York in the 1960s.
$5 members/$10 non-members

Expert Perspective: Reimagining Space
Thursday, October 9, 12:30 PM
John Clarke, Annie Laurie Howard Regents Professor in Fine Arts at UT, puts the Park Place Gallery into the context of the art world of the 1960s.

Expert Perspective:
Thursday, October 16, 12:30 PM
Craig Wheeler, Samuel T. and Fern Yanagisawa Regents Professor in Astronomy and Distinguished Teaching Professor, discusses the Space Age and cosmology at the Park Place Gallery.
Funding for this program is provided by the Carolyn Harris-Hynson Centennial Visiting Professorship in Fine Arts.

Curator's Tour: Reimagining Space
Thursday, October 23, 12:30 PM
Linda Henderson, David Bruton, Jr. Centennial Professor in Art History and Distinguished Teaching Professor at UT and guest curator for Reimagining Space, explores the Park Place Gallery Group's interest in the fourth dimension.

'The New American Abstraction'

2007-05-11T10:48:00.000-07:00

'La Nouvelle Abstraction Americaine 1950-1970' by Claudine Humblet will be released in an English translation, The New American Abstraction 1950-1970 (hardcover), on November 13, 2007.

Art In America Review of show at Mitchell Algus Gallery

2007-05-11T10:39:00.000-07:00

by Michael Amy in the March 2007 Issue

Minimal Art: A Critical Anthology

2007-02-26T06:25:00.000-08:00

"Here with a new introduction and updated bibliography, is the definitive collection of writings by and about the work of the 1960s minimalists, generously illustrated with photographs of paintings, sculpture, and performance."

Minimal Art: A Critical Anthology By Gregory Battcock features Skeedo (1965)

New York Times review

2007-02-19T12:39:00.000-08:00

Martha Schwendener reviews "ART AND SPACE: Park Place and the Beginning of the Paula Cooper Gallery" at the Archives of American Art, New York Regional Center Gallery
UBS Building, 1285 Avenue of the Americas between 51st and 52nd streets
Through Feb. 23, 2007

If SoHo in the 1960s has been mythologized into a contemporary art utopia, you need only peruse documents relating to Park Place and the early days of the Paula Cooper Gallery, acquired recently by the Archives of American Art and on view in their New York office, to gain a fuller perspective.

Park Place started in 1963 when artists including Mark di Suvero, Robert Grosvenor and Edwin Ruda began exhibiting work on the top floor of the building that held their studios in Lower Manhattan. The arrangement was eventually moved and formalized in an 8,000-square-foot space on West Broadway financed by collectors, like Vera and Albert List, who paid the gallery’s expenses in exchange for one work by each artist each year. Park Place closed in 1967, and Paula Cooper, its director and president at the time, opened a space on Prince Street, the first commercial gallery in SoHo...

The Brooklyn Rail review

2006-11-08T10:52:00.000-08:00

Jim Long reviews 'The Filipino Roots of Minimalism: Leo Valledor and Mario Yrisarry' at the Mitchell Algus Gallery for The Brooklyn Rail.

...Leo Valledor’s painting starts with geometry, but it’s about practically everything else. He uses geometric division and color the way a musician (which he was) might give life to the phrasing of a line or passage. At his most reductive, Valledor employs a single zigzag division made up of multiple “fingers” that lock perfect pairings of color to the painting surface. These read as “rays,” each originating at points in the infinite distance, from the left and right, simultaneously arriving in the form of dovetailing vectors to create an experience of light-drenched fullness...

Smithsonian / Archives of American Art New York Regional Center Gallery

2006-11-07T11:16:00.000-08:00

Mitchell Algus Gallery in Village Voice Best of NYC 2006

2006-11-07T11:13:00.000-08:00

Best Art Dealer In Need Of A MacArthur Award - Mitchell Algus
By Jerry Salz for The Village Voice

...Think of all those painters and sculptors that you've vaguely heard of or remember seeing in the back of an old art magazine, circa 1968 through 1979—people whose work was prescient, accomplished, and even important but who somehow managed to either slip through the cracks or otherwise lacked that certain social something that allows some artists' artists to reach that next level...

...A word to some museum somewhere: Maybe your institution could dedicate a small gallery for Algus to curate; it would be an amazing history lesson...

Smithsonian Press Release

2006-10-06T12:49:00.000-07:00

Art and Space
Park Place and the beginning of the Paula Cooper Gallery
Archives of American Art New York Regional Center Gallery
UBS Building, 1285 Avenue of the Americas between 51st and 52nd streets
Oct. 17 through Feb. 23, 2007

The Archives of American Art is dedicated to the collection, preservation and study of papers and other primary records of the history of the visual arts in America. Its collections, comprising 16 million items, are the world's largest single source for such information.

The Archives of American Art will present "Art and Space: Park Place and the beginning of the Paula Cooper Gallery," an exhibition that features selected documents from the recently acquired records of the Park Place Gallery Art Research Inc. records, 1965- 1967; and Paula Cooper Gallery records, 1968-1973. It will be on view to the public from Oct. 17 through Feb. 23, 2007, at the Archives of American Art New York Regional Center Gallery, located on the lobby level of the UBS Building, 1285 Avenue of the Americas between 51st and 52nd streets.

Park Place Gallery was one of the first artist-run cooperatives and highlighted such artists as Mark di Suvero, Robert Grosvenor and Forrest (Frosty) Myers, among others. In 1965, the opening of its huge 8,000-square-foot space at 542 West Broadway was hailed by David Bourdon in the Village Voice as "probably the major Village art event of the 1960s." Under Cooper's direction the gallery had expansive group shows that were supplemented with performance art and musical events.

In 1968, Cooper opened the Paula Cooper Gallery at 96 Prince St., representing many of the Park Place artists. The Paula Cooper Gallery was the first art gallery to open in New York's SoHo district, with an exhibition to benefit the Student Mobilization Committee to End the War in Vietnam. It included works by Carl Andre, Dan Flavin, Donald Judd, Robert Mangold and Robert Ryman, among others, as well as Sol LeWitt's first wall drawing. For more than 30 years since then, the gallery has been a defining force for conceptual and minimal art.

Exhibition highlights include a logbook of artists and works of arts circa 1968-1970; a certificate of incorporation for Park Place Gallery; various financial records, including a rent bill for Cooper's SoHo gallery; transcripts of interviews conducted with the artists in the mid-1960s and biographies, photographs and letters from artists Forrest Myers, Edwin Ruda and Leo Valledor, among others.

The New York Times on Mitchell Algus Gallery Exhibit

2006-09-29T07:05:00.000-07:00

Holland Cotter writes in The New York Times about the exhibit "THE FILIPINO ROOTS OF MINIMALISM: Leo Valledor and Mario Yrisarry" at The Mitchell Algus Gallery.

We owe Mitchell Algus for yet another historical rescue, with this show of two painters who had a strong New York moment decades ago, then disappeared...

...Many people were making big changes in those days; a lot of art and reputations were lost or mislaid. It’s good to see these artists at their brief, high moment, restored.

Togonon Gallery Announcement

2006-09-28T12:10:00.000-07:00

Roots in the Bay
Togonon Gallery
77 Geary Street, 2nd floor
San Francisco, California 94108
(415) 398-5572
October 5th through October 28th, 2006

Opening Reception - Thursday, October 5th from 5:30 - 8 pm

LA Weekly on MSG Exhibit

2006-09-28T06:09:00.000-07:00

Peter Frank writes in LA Weekly about three Los Angeles shows in the article "A Lot of Local Abstraction."

...Carlos Villa and the late Leo Valledor, both Filipino–Bay Areans — cousins, in fact, born the same year (1936) but with very different artistic temperaments — show together to great advantage. Villa’s the more reticent, conceptual one, exploring gray nuances and constructed painting-objects. Valledor did big, bold, geometric forms, the colors brilliant. Valledor’s is a ’60s mentality, cultivated in New York before he returned West; Villa’s cool, misty, contemplative spirit is total San Fran Zen...

Work at the Mendenhall Sobieski Gallery

2006-09-04T08:42:00.001-07:00

FASTPASSIN'
HOTOSHO
IN THE AM
SUNDAY PAINTING
BIG CHIEF
BETWEEN HEAVEN AND EARTH
WE SHALL OVERCOME
and a selection of small pieces

Mendenhall Sobieski Gallery Announcement

2006-09-04T07:49:00.000-07:00

Mendenhall Sobieski Gallery Show

2006-09-04T06:54:00.000-07:00

Leo Valledor / Carlos Villa
Mendenhall Sobieski Gallery
40 Mills Place
Pasadena, California 91105
(626) 535-975
September 9th through October 3rd, 2006

Opening Reception - Saturday, September 9th from 7 - 9 pm

Text from the Mendenhall Sobieski Gallery announcement:
Cousins Leo Valledor and Carlos Villa share an artistic vision that, in different ways, seeks expression of their individual and group identities through modern abstract Western traditions. Leo Valledor (1936-1989), who grew up in the Fillmore district of San Francisco, was at the vanguard of the minimalist painting movement in 1974. Art critics have placed his work in the league of Ellsworth Kelly, Barnett Newman and Leon Polk Smith. In a recent catalog essay about Valledor's work, art curator Lawrence Rinder said, “Abandoning the gestural language of abstract expressionism (which would linger in the Bay area for decades), Valledor started to explore reduced palettes, geometric shapes, and the spatial dimension of color.” He received his art education at the California School of Fine Arts. Carlos Villa, born on December 11, 1936, and raised in San Francisco, began his long career in 1957 with a first drawing lesson from cousin Leo Valledor, whom he cites as his most influential artist role model. Since then, he has committed his art-and very much his life-to his search for identity, fusing modern abstraction with his Filipino heritage. In the process, his work, as it changes and shifts with its environment, comments on the social development of multicultural communities.

Mitchell Algus Gallery Announcement

2006-08-09T06:13:00.000-07:00

Mitchell Algus Gallery Press Release

2006-08-09T06:00:00.000-07:00

"The Filipino Roots of Minimalism:
Leo Valledor and Mario Yrissary" September 7 - October 7, 2006

Reception: Thursday September 7 from 6 to 8
Mitchell Algus Gallery
511 West 25 Street #206
NY 10001
212-242-6242

Press release
The Mitchell Algus Gallery presents an exhibition of paintings from 1964 – 1967 by Leo Valledor and Mario Yrisarry. A reception will be held on the day of the opening from 6 to 8 pm.

Minimalism is foremost an object maker's game; there are few important Minimalist painters. Donald Judd, Carl Andre, Dan Flavin, Robert Morris are all ostensibly sculptors. Of painters associated with Minimalism, Stella is of course forebear and beacon. Other painters whose work is considered Minimalist – Ellsworth Kelly, Robert Ryman, Agnes Martin, Kenneth Noland – are Minimalists in hindsight only. With a myriad of surgical barbs Judd, the great critical arbiter, burst the bubbles of most painters who pretended to the mute veracity of the specific object.

Working in New York in the 1960s Leo Valledor and Mario Yrisarry produced some of the best – and now least known – early and high Minimalist paintings. Both showed at the pioneering Park Place cooperative alongside Sol Le Witt, Robert Smithson, Mark Di Suvero, Robert Grosvenor and Edwin Ruda. Both exhibited commercially with Graham Gallery, then run by Joan Washburn. And both were admired by Judd. (Yrisarry was his lower Park Avenue next-door neighbor.)

Leo Valledor was born to Filipino parents in San Francisco in 1936. Mario Yrisarry was born in Manila in 1933 and moved to New York City at the end of WWII. As was typical of their generation, apprenticeships in gestural abstraction were quickly transgressed. Valledor began to make eccentrically shaped canvases that pushed color/geometry interactions to extremes. In the words of Robert Smithson: "The synthetic math [of this new art] is reflected in...Duchamp's "measured" pieces of fallen threads, 'Three Standard Stoppages,' Judd's sequential structured surfaces, Valledor's 'fourth dimensional' color vectors....These artists face the possibility of other dimensions, with a new kind of sight." (Entropy and the New Monuments, 1966). Interestingly, here Smithson emphasizes the visionary, narrative subtext of a reductive art that would later, at Judd's behest, become parochially non-narrative. Still, reviewing a 1965 show of Park Place artists, Judd found "Leo Valledor's horizontal paralellograms...best. [Being] composed of long fast V's...."

The slyly structured sprayed paintings that Mario Yrisarry made in the mid-1960s are among the most originally radical of the time. Their deceptive material and compositional simplicity is still unsettling. Reviewing Yrisarry's first one-man show in 1964 Judd noted with typical understatement that "...it's one of the better ones. Yrissary clearly has a purpose, but within this there is a fair amount of important variation." In Yrisarry's painting he found "something new," neither illusionistic, nor coherently sequential (Arts Magazine, 1964). Odd color and allusive, yet concrete, composition is shared by both Valledor and Yrisarry and sets them apart from the retrograde academicism of much 60s geometric art, the more organic tendencies of contemporaneous color field painting, and the rote schematicism the conventionally Minimal.

Why then are Valledor's and Yrisarry's paintings now so little known? Valledor left New York in 1968 and returned to San Francisco. Yrisarry stopped painting altogether in the early 1970s and built a career in the graphic arts. Though Valledor continued to work and teach in San Francisco, he stopped exhibiting in New York and died in 1989. Mario Yrisarry lives in New York City.

Philippine News article

2006-05-11T09:55:00.000-07:00

Stephanie Grace Loleng has written the article "Provocative colors in Leo Valledor’s art" for the Philippine News. She includes quotes from Mary Valledor and Julina Togonon (Togonon Gallery).

Domino Magazine features ‘For M’

2006-04-04T16:16:00.000-07:00

The April 2006 Issue of Domino features the painting ‘For M’ in a story called “Fabric Palette: Scandinavian Style.”

SFWeekly Review (3.29.06): Togonon Gallery Exhibit

2006-04-04T06:41:00.000-07:00

"Selected Works: Paintings by Leo Valledor (1936-1989)" In the 1970s, Leo Valledor was a prominent Bay Area painter who had solo exhibitions at SFMOMA and the de Young, but since his death in 1989, the Filipino-American artist has received little public attention. This selection of refined yet ebullient abstractions from the '80s makes that neglect hard to understand…
...Valledor's paintings inject a potentially dry, academic style with personality and sly humor. Through April 8 at Togonon Gallery, 77 Geary (at Grant), S.F.

by Sharon Mizota

(complete review here...)

ZUP

2006-03-31T06:50:00.001-08:00

1985
4' x 4'
acrylic on canvas
SOLD

ZAM

2006-03-31T06:50:00.000-08:00

1984
10' x 5' 6" (two pieces)
acrylic on canvas

YUM

2006-03-31T06:49:00.000-08:00

1985
3' x 4'
acrylic on canvas

WHAT'S BUZZIN' COUSIN?

2006-03-31T06:48:00.000-08:00

1979
SOLD

UNDERCURRENT

2006-03-31T06:47:00.001-08:00

1965
2' x 10'
acrylic on canvas
SOLD

THE SWEET LAND

2006-03-31T06:47:00.000-08:00

1980
8' x 10' (two pieces)

THE RIDDLE

2006-03-31T06:46:00.000-08:00

1988

acrylic on canvas
SOLD

THE LIGHT HEAVY

2006-03-31T06:45:00.000-08:00

1985
4' x 4'
acrylic on canvas

STILLETTO

2006-03-31T06:44:00.000-08:00

1965
2' x 10'
acrylic on canvas
SOLD

SPLITZ

2006-03-31T06:43:00.001-08:00

1965
2' x 8'
acrylic and canvas
SOLD

SOLIDUDE

2006-03-31T06:43:00.000-08:00

1986
7' x 4'
acrylic on canvas

SHARPIE

2006-03-31T06:42:00.000-08:00

1965
2' x 10'
acrylic on canvas
SOLD

SHAPIN' UP

2006-03-31T06:40:00.000-08:00

1982
8' x 4'
acrylic and oil on canvas

POOM

2006-03-31T06:39:00.000-08:00

1988
SOLD

OMEGO

2006-03-31T06:38:00.000-08:00

1965
SOLD

OKASIAN

2006-03-31T06:37:00.000-08:00

1986
4' x 3'9"
acrylic on canvas

NOTANGEM

2006-03-31T06:36:00.000-08:00

1965
SOLD

NOON

2006-03-31T06:35:00.000-08:00

1966
2'1" x 10'1 1/2"
acrylic on canvas
SOLD

MOSHO

2006-03-31T06:34:00.000-08:00

1965

acrylic on canvas
SOLD

IZIP

2006-03-31T06:33:00.000-08:00

1965
2' x 7'
acrylic on canvas
SOLD

IN YOUR FACE

2006-03-31T06:31:00.001-08:00

1983
4' x 4'
acrylic on canvas

INDIGON

2006-03-31T06:31:00.000-08:00

1965
2' x 9'9"
acrylic on canvas
SOLD

HOTOSHO

2006-03-31T06:30:00.000-08:00

1988
4'6" x 4'
acrylic on canvas

FOR M

2006-03-31T06:29:00.000-08:00

1966
1'8" x 10'

SOLD

FORECAST

2006-03-31T06:28:00.000-08:00

1965
2' x 7'

SOLD

FASTPASSIN'

2006-03-31T06:27:00.000-08:00

1985
4' x 5'
acrylic on canvas

DUIT

2006-03-31T06:26:00.000-08:00

1965
2' x 6'11"

SOLD

DIVINITIF

2006-03-31T06:25:00.000-08:00

1986
3'1" x 4'
acrylic on canvas

CULI

2006-03-31T06:24:00.001-08:00

1965
2' x 8'

SOLD

CANCANT

2006-03-31T06:24:00.000-08:00

1985
4' x 4'

SOLD

AMOROONI

2006-03-31T06:22:00.000-08:00

1965
2' x 7'

SOLD

ALIENATIVE

2006-03-31T06:21:00.000-08:00

1986
4' x 3'9"
acrylic on canvas

WE SHALL OVERCOME

2006-03-30T16:08:00.000-08:00

1983
8' x 18' (four pieces)
acrylic and oil on canvas

THE WILL AND THE WAY

2006-03-30T16:07:00.000-08:00

1977
2' x 5'
acrylic on canvas
SOLD

THE RETURN

2006-03-30T16:04:00.000-08:00

1984
3'6" X 4'
acrylic and oil on canvas
SOLD

THE FLIPSIDE

2006-03-30T15:53:00.000-08:00

(shown at the Oakland Museum)
1975
10' x 10' (two pieces)
acrylic on canvas

THE CASE OF THE DISORIENTED ORIENTAL

2006-03-30T15:41:00.000-08:00

(shown at the Oakland Museum)
1975
9' x 11' (three pieces)
acrylic on canvas

SIGNAL

2006-03-30T15:33:00.000-08:00

1976
2' x 4'

SOLD

ROTHKOKORO

2006-03-30T15:32:00.000-08:00

1988
8' x 8'(two pieces)
acrylic and enamel on canvas

REMEMBER

2006-03-30T15:27:00.000-08:00

1984

acrylic on canvas
SOLD

PARADIZ

2006-03-30T15:20:00.000-08:00

1981
9' x 4'

SOLD

OPE

2006-03-30T14:56:00.000-08:00

1985
4' Diameter
acrylic and oil on canvas

LIBERTY ROCK

2006-03-30T14:32:00.000-08:00

1973
9' x 9' (three pieces)
acrylic on canvas
SOLD

IN THE BALANCE (TO MARK)

2006-03-30T14:30:00.000-08:00

1980
8' x 8' (two pieces)
acrylic and enamel on canvas

HELLO LIKE BEFORE

2006-03-30T14:28:00.000-08:00

1983
4' x 5'

SOLD

GERONIMA

2006-03-30T14:24:00.000-08:00

1981
2'4 1/4" x 2'4 1/4"
acrylic on canvas

DARK EYES

2006-03-30T14:22:00.000-08:00

1982
4' x 5'

SOLD

A LITTLE KISS

2006-03-30T14:20:00.000-08:00

1977
2' x 4'

ARCANGLE

2006-03-30T14:16:00.000-08:00

1983
4' x 4'
acrylic and oil on canvas

BETWEEN THE LINES

2006-03-30T14:06:00.000-08:00

1982
4' x 5'

SOLD

BIG CHIEF

2006-03-30T14:05:00.000-08:00

1974
9' x 12' (three pieces)
acrylic on canvas

BLOODBATH

2006-03-30T14:02:00.000-08:00

1969
5' Diameter

SOLD

BETWEEN HEAVEN AND EARTH

2006-03-30T13:56:00.000-08:00

1974
10' x 10' (four pieces)

THE FOUR SEASONS

2006-03-27T18:36:00.000-08:00

1980
8' x 16'
acrylic on canvas

IN THE AM

2006-03-26T09:18:00.000-08:00

(shown at The Togonon Gallery)
1985
3' 6" x 3' 3"
acrylic on canvas