Brian Gross Fine Art
EXHIBITIONS
ARTISTS
GALLERY
Current Exhibition Past Exhibitions Future Exhibitions
She-Horse and Daughter, 1961
She-Horse and Daughter, 1961
27-1/2 × 18 × 8-1/2 inches


On and Off, 1964
On and Off, 1964
6-1/2 × 8-1/2 × 6-1/2 inches


The Critic, 1964
The Critic, 1964
16 × 17 × 16 inches
(Private Collection)


Gold Lustered Rose, 1966
Gold Lustered Rose, 1966
11 × 28 × 25 inches


A Kookie Dish, c.1967
A Kookie Dish, c.1967
18-1/4 inch diameter


Cookie Jar, 1967
Cookie Jar, 1967
8-1/4 × 10 inches


Heart Memorial Trophy, 1965
Heart Memorial Trophy, 1965
21-1/2 × 7-1/2 × 5-1/2 inches
(Private Collection)


Scale, 1961
Scale, 1965
4-1/2 × 13 × 14 inches


Diet Cola, 1965
Diet Cola, 1965
6-1/2 × 8-1/2 × 6-1/2 inches
(Private Collection)


Flower Pot, 1969
Flower Pot, 1969
27 × 21 × 18 inches
(Private Collection)


Molded Salad, 1970
Molded Salad, 1970
7 × 15 × 3 inches


Alice Street Plate, 2007
Alice Street Plate, 1966
16 inch diameter


House Box, 1966
House Box, 1966
7-1/2 × 9-1/2 × 7 inches


Alice 1962-1969, 1969
Alice 1962-1969, 1969
54 × 67-3/4 inches


Finger Brick, c.1965
Finger Brick, c.1965
5-3/8 × 9-1/2 × 4-3/4 inches


Finger Plate, c.1965
Finger Plate, c.1965
2-3/4 × 14 inch diameter


Wall Plaque, 1963
Wall Plaque, 1963
35 × 18 × 4-1/2 inches


Sinking Brick, 1966
Sinking Brick, 1966
16 × 39 × 9-1/2 inches


Portrait of the Artist Side Stepping the Issue, 1969
Portrait of the Artist Side Stepping the Issue, 1969
21 × 48 × 2 inches


SMITE -- Poorly Restored, 1968
SMITE — Poorly Restored, 1968
15-1/2 × 19-1/2 × 6-1/3 inches


Two Running Feet from an Unnecessary Race, 1969
Two Running Feet from an Unnecessary Race, 1969
21 × 69 × 2 inches


John Figure, 1965
John Figure, 1965
28 × 60-1/2 × 35 inches
(Private Collection)


Blue Print for a Self Portrait, 1969
Blue Print for a Self Portrait, 1969
32 × 26 inches


Untitled Plate, 1961
Untitled Plate, 1961
1-1/2 × 15-1/2 inch diameter


Wonder What Roy Might Say About This, 1969
Wonder What Roy Might Say About This, 1968
9 × 7-1/2 × 5 inches


S.S. Alice, 1969
S.S. Alice, 1969
6-1/2 × 5-3/4 × 3-1/2 inches


Old Chinese Proverb, 1969
Old Chinese Proverb, 1969
4 × 3-1/2 × 4-1/2 inches
(Private Collection)


Yes, Botony Bay Tea is Native to New South Wales Teapot, 1969
Yes, Botony Bay Tea is Native to New South Wales Teapot, 1969
8-3/4 × 8 × 8 inches


Robert Arneson: from the 60's

Brian Gross Fine Art is pleased to announce the opening of Robert Arneson: from the 60's on Thursday, February 14, 2008. This exhibition will feature over 20 works made during Arneson's formative years in the 1960's and examines early figurative and abstract expressionistic works, explorations in porcelain and bronze, conceptual works, painting, and his transformation of every day objects with the humor and irreverence that became his hallmark. The exhibition will be on view through March 29.

Diet Cola and Flower Pot are quintessential examples of Arneson's use of the ordinary objects that he embraced as expressive devices. Unlike the cool aesthetic of work by Pop artists such as Johns and Warhol, Arneson's objects are formally expressionistic with rough-hewn textures and colorful glazes. Objects such as bottles, bricks, teapots, toasters and typewriters that populate the subject matter of these works are the beginning of his exploration of social and personal concerns and were at odds with the formalist tradition more often seen during the post-war era. Works like Scale, Molded Salad, Finger Brick and John Figure on display have a provocative quality that became an integral part of Arneson's oeuvre.

She-Horse with Daughter, a rare early work from 1961 just over two feet tall, is a blend of figurative elements, sexuality and playfulness. Here, abstract expressionist overtones mix with a weighty, free-form sensibility. Wall Plaque and Coil similarly harken from this period with painterly textures and glazes, emphasizing rich surfaces and ambiguous biomorphic forms.

Also included are works from the Alice Street series, an important theme for Arneson inspired by his experience living in a ranch house in Davis, California in the 1960's. The Alice Street house became a personal and symbolic icon of suburban life, and is exemplified by House Box and Alice Street Plate. Additionally, works like SMITE — Poorly Restored, Portrait of the Artist Sidestepping the Issue, and 2 Running Feet from an Unnecessary Race reflect the conceptual side of Arneson, evoking visual puns and word play.

Robert Arneson was born in Benicia, Calfornia in 1930. He received an MFA in 1958 from Mills College in Oakland. A professor of art at the University of California at Davis for 29 years, he retired in 1991, and died in 1992.

Arneson's museum exhibitions include Visual Politics: The Art of Engagement, San Jose Museum of Art, California, 2006; Arneson and the Object, Palmer Museum of Art, The Pennsylvania State University, 2004; Big Idea: The Maquettes of Robert Arneson, Palo Alto Art Center, California, 2002; Robert Arneson: Self-Reflections, San Francisco Museum of Modern Art, 1997; Arneson and Politics: A Commemorative Exhibition, M.H. de Young Memorial Museum, San Francisco, 1993; Robert Arneson: A Retrospective, Des Moines Art Center, Iowa, 1986; and Robert Arneson, Museum of Contemporary Art, Chicago, 1974. His work can be found in major museums nationally and internationally,




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