Larry Zox Art

Larry Zox Two Screen Prints Edition: Signed in pencil and marked XXII/XXX Scissors Jack I Scissors Jack II 39'' x 29.5'' inches Larry Zox is one of the principal representatives...

Artist: Larry Zox (1937-2006) Title: Three Square Composition Year: 1978 Edition: VII/LX; 200 Arabic Numeral, 60 Roman Numeral, plus proofs Medium: Silkscreen on Arches paper Size: 2...

Larry Zox Niagara Series I - 1973 Print - Linocut Paper Size 25½'' x 35'' inches Edition: Signed in pencil and marked 7/175 Unframed Larry Zox is one of the principal representativ...

Larry Zox (1937-2006) Three Square Composition, 1978 Print, Silkscreen, on Arches archival paper - 1978 52 " x 25 " inches Signed in pencil and marked VIII/LV Unframed.  Larry Zox i...

Larry Zox Study for Scissors Jack Series, 1965 Mixed media and colored ink drawing on draft paper Hand signed and dated on lower right recto (front). Bears Forager House Collection s...

Larry Zox Jean Jean, 1964 Signed, dated, and titled on the stretcher Liquitex on canvas 58 x 62 inches Provenance: Solomon & Co., New York Private Collection, NJ Estate of the above, 2023 Committed to abstraction throughout his career, Larry Zox played a central role in the Color Field discourse of the 1960s and 1970s. His work of the time, consisting of brilliantly colored geometric shapes in dynamic juxtapositions, demonstrated that hard-edge painting was neither cold nor formalistic. He reused certain motifs, but he did so less to explore their aspects than to “get at the specific character and quality of each painting in and for itself,” as James Monte stated in his essay for Zox’s solo exhibition at the Whitney Museum of American Art in 1973. By the 1970s, Zox was using a freer, more emotive method, while maintaining the autonomy of color, which increasingly became more important to him than structure in his late years. Zox began to receive attention in the 1960s, when he was included in several groundbreaking exhibitions of Color Field and Minimalist art, including Shape and Structure (1965), organized by Henry Geldzahler for the Gallery of Modern Art, New York, and Systemic Painting (1966), organized by Lawrence Alloway for the Guggenheim Museum. In 1973, the Whitney’s solo exhibition of Zox’s work gave recognition to his significance in the art scene of the preceding decade. In the following year, Zox was represented in the inaugural exhibition of the Hirshhorn Museum, which owns fourteen of his works. Zox was born in Des Moines, Iowa. He attended the University of Oklahoma and Drake University. While studying at the Des Moines Art Center, he was mentored by George Grosz, who despite his own figurative approach encouraged Zox’s forays into abstraction. In 1958, Zox moved to New York, joining the downtown art scene. His studio on 20th Street became a gathering place for artists, jazz musicians, bikers, and boxers. He occasionally sparred with the visiting fighters. He later established a studio in East Hampton, where he painted and fished including using a helicopter to spot fish. In the 1950s and early 1960s, Zox’s works were collages consisting of painted pieces of paper stapled onto sheets of plywood. He then produced paintings that were illusions of collages, including both torn- and trued-edged forms, to which he added a wide range of intense hues that created ambiguous surfaces. Next, he omitted the collage aspect of his work and applied flat color areas to create more complete statements of pure color and shape. From 1962 to 1965, he produced his Rotation Series, at first creating plywood and Plexiglas reliefs, which turned squares into dynamic polygons. He used these shapes in his paintings as well, employing white as a foil between colors to produce negative spaces that suggest that the colored shapes had only been cut out and laid down instead of painted. The New York Times noted in 1964: “The artist is hip, cool, adventurous, not content to stay with the mere exercise of sensibility that one sees in smaller works.” In 1965, he began the Scissors Jack...

Larry Zox (1937-2006) was a central figure in the evolution of American abstraction. He played an essential role in the emergence of Color Field during the 1960s and 1970s, eventuall...

Artist: Larry Zox Title: Green Card Sound II Year: 1980 Medium: Silkscreen, Signed in Pencil l.r. Edition: 185 Size: 40 x 30 in. (101.6 x 76.2 cm)

"Mostly Mozart Festival" by Larry Zox is a vibrant serigraph from 1971, part of a signed and numbered limited edition. The artwork is characterized by its dominant green, red, purple...

Larry Zox Untitled IV, ca. 1979 Pochoir on Arches Paper with Deckled Edges. Hand signed and annotated Printers Proof in pencil on the lower front. 28 1/2 × 22 1/2 inches Unframed This beautiful Larry Zox pochoir on Arches paper with deckled edges a unique Printers Proofs - signed by the artist in pencil on the lower front. We do not know the size of the regular edition, or whether there is a regular edition, but this is indeed a unique PP. LARRY ZOX BiIOGRAPHY A painter who played an essential role in the Color Field discourse of the 1960s and 1970s, Larry Zox is best known for his intensely and brilliantly colored geometric abstractions, which question and violate symmetry. Zox stated in 1965: “Being contrary is the only way I can get at anything.” To Zox, this position was not necessarily arbitrary, but instead meant “responding to something in an examination of it [such as] using a mechanical format with X number of possibilities.”[2] What he sought was to “get at the specific character and quality of each painting in and for itself,” as James Monte stated in his introductory essay in the catalogue for Zox’s 1973–74 solo exhibition at the Whitney Museum of American Art.[3] Zox also at times used a freer, more intuitive method, while maintaining coloristic autonomy, which became increasingly important to him in his later career. Zox began to receive attention in the 1960s, when he was included in several groundbreaking exhibitions of Color Field and Minimalist art, including Shape and Structure (1965), organized by Henry Geldzahler and Frank Stella for Tibor de Nagy, New York, and Systemic Painting (1966), organized by Lawrence Alloway for the Guggenheim Museum. In 1973–74, the Whitney’s solo exhibition of Zox’s work gave recognition to his significance in the art scene of the preceding decade. In the following year, he was represented in the inaugural exhibition of the Hirshhorn Museum, which acquired fourteen of his works. Zox was born in Des Moines, Iowa. He attended the University of Oklahoma and Drake University, and then studied under George Grosz at the Des Moines Art Center. In 1958, Zox moved to New York, joining the downtown art scene. His studio on 20th Street became a gathering place for artists, jazz musicians, bikers, and boxers. He occasionally sparred with visiting fighters. He later established a studio in East Hampton, a former black smithy used previously by Jackson Pollock. Zox’s earliest works were collages consisting of pieces of painted paper stapled onto sheets of plywood. He then produced paintings that were illusions of collages, including both torn- and trued-edged forms, to which he added a wide range of strong hues that created ambiguous surfaces. Next, he omitted the collage aspect of his work and applied flat color areas to create more complete statements of pure color and shape. He then replaced these torn and expressive edges with clean and impersonal lines that would define his work for the next decade. From 1962 to 1965, he produced his Rotation series, at first creating plywood and Plexiglas reliefs, which turned squares into dynamic polygons. He used these shapes in his paintings as well, employing white as a foil between colors to produce negative spaces that suggest that the colored shapes had only been cut out and laid down instead of painted. The New York Times noted in 1964: “The artist is hip, cool, adventurous, not content to stay with the mere exercise of sensibility that one sees in smaller works.”[4] In 1965, he began the Scissors Jack series, in which he arranged opposing triangular shapes with inverted Vs of bare canvas at their centers that threaten to split their compositions apart. In several works from this series, Zox was inspired by ancient Chinese water vessels. With a mathematical precision and a poetic license, Zox flattened the three dimensional object onto graph paper, and later translated his interpretation of vessel’s lines onto canvas with masking tape, forming the structure of the painting. The Diamond Cut and Diamond Drill paintings...

Larry Zox Dexter's Choice, State II, ca. 1990 Mixed media, Watercolor pochoir, and Oil stick Wax, Water-Based Crayons, on heavy Arches museum watercolor rag paper with deckled edges 40 × 60 in 101.6 × 152.4 cm Edition 8/30 (unique variant) Frame included Measurements: Sheet: 40 inches (vertical) by 60 inches (horizontal) Frame: 42 inches x 62 inches x 1 inch Dexter's Choice, State # II is a unique, mixed media work from an edition of 30 unique variants done in pochoir, (25 stencils, 14 colors). Here, Zox uses watercolor instead of inks, which is applied to heavy 300 lb. watercolor paper. Although it is a multiple signed and numbered from the edition of 30, each work of art is unique because of how the paper receives the watercolor brush. In addition, this work is created like a mixed media painting because it has 11 lines added by hand with wax and water based crayons and oil sticks. The unique watercolor technique that Zox employed in making "Dexter's Choice" is documented in the textbook, "Screen Printing: Water Based Techniques,Roni Henning, NYIT ". Dexter's Choice was published by Images Gallery, and this work was acquired directly from the publisher before they sold out. This work is elegantly floated and framed in a white wood frame. Accompanied by gallery issued Certificate of Guarantee Larry Zox Biography: A PAINTER who played an essential role in the Color Field discourse of the 1960s and 1970s, Larry Zox is best known for his intensely and brilliantly colored geometric abstractions that question and violate symmetry.1 Zox stated in 1965: “Being contrary is the only way I can get at anything.” To Zox, this position was not necessarily arbitrary, but instead meant “responding to something in an examination of it [such as] using
a mechanical format with X number of possibilities.”2 What he sought was to “get at the specific character and quality of each painting in and for itself,” as James Monte stated in his introductory essay in the catalogue for Zox’s 1973–1974 solo exhibition at the Whitney Museum of American Art.3 Zox’s robust paintings reveal
a celebrated artist and master of composition who is explored and challenged the possibilities of Post-Painterly Abstraction and Minimalist pictorial conventions. Zox began to receive attention in the 1960s when he was included in several groundbreaking exhibitions of Color Field and Minimalist art, including Shape and Structure (1965), organized by Henry Geldzahler and Frank Stella for Tibor de Nagy, New York, and Systemic Painting (1966), organized by Lawrence Alloway for the Solomon R. Guggenheim Museum, New York. In 1973–1974, the Whitney’s solo exhibition of Zox’s work gave recognition to his significance in the art scene of the preceding decade. In the following year, he was represented in the inaugural exhibition of the Hirshhorn Museum and Sculpture Garden, Wahsington, DC, which acquired fourteen of his works.
 Zox was born in Des Moines, Iowa in 1937. He attended the University of Oklahoma and Drake University, Des Moines, Iowa, and then studied under George Grosz at the Des Moines Art Center. In 1958, Zox moved to New York, joining the downtown art scene. His studio on 20th Street became a gathering place for artists, jazz musicians, bikers, and boxers, and he occasionally sparred with visiting fighters. He later established a studio in East Hampton, a former black smithy used previously by Jackson Pollock. In his earliest works, such as Banner (1962) Zox created
collages consisting of pieces of painted paper stapled onto sheets of plywood. He then produced paintings that were illusions of collages, including both torn- and trued-edged forms, to which he added a wide range of strong hues that created ambiguous surfaces. In paintings such as For Jean (1963), he omitted the collage aspect of his work and applied flat color areas to create more complete statements of pure color and shape. He then replaced these torn and expressive edges with clean and impersonal lines that would define his work for the next decade. From 1962 to 1965, he produced his Rotation series, at first creating plywood and Plexiglas reliefs, which turned squares into dynamic polygons. He used these shapes in his paintings as well, employing white as a foil between colors to produce negative spaces that suggest that the colored shapes had only been cut out and laid down instead of painted. The New York Times in 1964 wrote of the works in show such as Rotation B (1964) and of the artist: “The artist is hip, cool, adventurous, not content to stay with the mere exercise of sensibility that one sees in smaller works.”4 In 1965, he began the Scissor Jack series, in which he arranged opposing triangular shapes with inverted Vs of bare canvas at their centers that threaten to split their compositions apart. In several works from this series, Zox was inspired by ancient Chinese water vessels. With a mathematical precision and a poetic license, Zox flattened the three dimensional object onto graph paper, and later translated his interpretation of the vessel’s lines onto canvas with masking tape, forming the structure of the painting. The Diamond Cut and Diamond Drill paintings...

Artist: Larry Zox Title: Niagara Series No. 5 Year: circa 1980 Medium: Screenprint, signed and numbered in pencil Edition: 175 Image Size: 34 x 13 inches Paper Size: 39 in. x 20.5 i...

Larry Zox Lexington, 1973 Acrylic on canvas 61 x 49 inches Provenance: Andre Emmerich Gallery, New York Janie C. Lee Gallery, Houston, Texas Private Collection, Greenwood Village, Colorado Exhibited: New York, Andre Emmerich Gallery, Larry Zox: New Paintings, March 10 - 28, 1973. Houston, Texas, Janie C. Lee Gallery, Larry Zox, February - April, 1974. A painter who played an essential role in the Color Field discourse of the 1960s and 1970s, Larry Zox is best known for his intensely and brilliantly colored geometric abstractions, which question and violate symmetry. Zox stated in 1965: “Being contrary is the only way I can get at anything.” To Zox, this position was not necessarily arbitrary, but instead meant “responding to something in an examination of it [such as] using a mechanical format with X number of possibilities." What he sought was to “get at the specific character and quality of each painting in and for itself,” as James Monte stated in his introductory essay in the catalogue for Zox’s 1973–74 solo exhibition at the Whitney Museum of American Art. Zox also at times used a freer, more intuitive method, while maintaining coloristic autonomy, which became increasingly important to him in his later career. Zox began to receive attention in the 1960s, when he was included in several groundbreaking exhibitions of Color Field and Minimalist art, including Shape and Structure (1965), organized by Henry Geldzahler and Frank Stella for Tibor de Nagy, New York, and Systemic Painting (1966), organized by Lawrence Alloway for the Guggenheim Museum. In 1973–74, the Whitney’s solo exhibition of Zox’s work gave recognition to his significance in the art scene of the preceding decade. In the following year, he was represented in the inaugural exhibition of the Hirshhorn Museum, which acquired fourteen of his works. Zox was born in Des Moines, Iowa. He attended the University of Oklahoma and Drake University, and then studied under George Grosz at the Des Moines Art Center. In 1958, Zox moved to New York, joining the downtown art scene. His studio on 20th Street became a gathering place for artists, jazz musicians, bikers, and boxers. He occasionally sparred with visiting fighters. He later established a studio in East Hampton, a former black smithy used previously by Jackson Pollock. Zox’s earliest works were collages consisting of pieces of painted paper stapled onto sheets of plywood. He then produced paintings that were illusions of collages, including both torn- and trued-edged forms, to which he added a wide range of strong hues that created ambiguous surfaces. Next, he omitted the collage aspect of his work and applied flat color areas to create more complete statements of pure color and shape. He then replaced these torn and expressive edges with clean and impersonal lines that would define his work for the next decade. From 1962 to 1965, he produced his Rotation series, at first creating plywood and Plexiglas reliefs, which turned squares into dynamic polygons. He used these shapes in his paintings as well, employing white as a foil between colors to produce negative spaces that suggest that the colored shapes had only been cut out and laid down instead of painted. The New York Times noted in 1964: “The artist is hip, cool, adventurous, not content to stay with the mere exercise of sensibility that one sees in smaller works.” In 1965, he began the Scissors Jack series, in which he arranged opposing triangular shapes with inverted Vs of bare canvas at their centers that threaten to split their compositions apart. In several works from this series, Zox was inspired by ancient Chinese water vessels...

Artist: Larry Zox Title: Rotation I Year: 1978 Medium: Serigraph, signed and numbered in pencil Edition: 160 Paper Size: 34 x 38 inches [86.36 x 96.52 cm]

Artist: Larry Zox Title: Crow Slab II Year: 1979 Medium: Serigraph, Signed and numbered in Pencil Edition: 160 Size: 42 x 30 in. (106.68 x 76.2 cm)

Artist: Larry Zox Title: Grey Sweep I Year: 1979 Medium: Serigraph, Signed and numbered in Pencil Edition: 160 Size: 41.5 x 30 inches

Artist: Larry Zox, American (1937 - 2006) Title: Moro II Year: 1981 Medium: Screenprint, Signed and numbered in Pencil Edition: 185 Size: 42.5 x 30 inches

Artist: Larry Zox Title: Brow Slab I Year: 1979 Medium: Serigraph, Signed and numbered in Pencil Edition: 160 Size: 42 x 30 in. (106.68 x 76.2 cm)

Artist: Larry Zox Title: Grey Sweep II Year: 1979 Medium: Serigraph, Signed and numbered in Pencil Edition: 160 Size: 41.5 x 30 inches

Artist Name: Larry Zox Title:Niagara Series IV Yellow Signed Linocut Lithograph Year : 1979 Medium Type: Print - Linocut Lithograph Size-Width Size-Height : 42.25'' 29.75'' Signed ...

Artist: Larry Zox Title: Niagara Series III Grey Year: 1980 Print - Linocut Lithograph 29.75'' x 42.25'' inches Edition: signed in pencil and numbered 22/88 UNFRAMED GOOD CONDITION...

In Mr. Zox's sigrrature works of the mid- to late 1960s, flatly painted diamonds, triangles and other hard-edged shapes were orchestrated into brilliant symmetrical and asymmetrical ...

In Mr. Zox's sigrrature works of the mid- to late 1960s, flatly painted diamonds, triangles and other hard-edged shapes were orchestrated into brilliant symmetrical and asymmetrical ...

Larry Zox (1937-2006) was a central figure in the evolution of 20th century abstraction in America. Raised in Des Moines, Iowa, Zox studied at the University of Oklahoma and went on to work under the tutelage of modernist Georg Grosz at the Des Moines Art Centre. Zox moved to New York City and established his reputation by the mid 1960's. His studio was located on 20th Street and he was surrounded and inspired by a melting pot of jazz artists, bikers, and boxers. Zox was one of the most successful practitioners of hard-edge or geometric abstraction and not surprisingly was championed by Frank Stella, amongst others. By the mid 1960's, Zox arrived at his most recognized style, utilizing hard-edge shapes in bold colors to create geometric patterns, which were often realized on raw canvas. Zox's hard-edge geometric creations from the late 1960's and early 1970's are arguably the most recognizable works from his oeuvre. Fittingly he had a retrospective at the Whitney Museum in 1973, that focused on such work. Today, numerous museums including the Whitney, the MoMA, the Tate and the Metropolitan all have examples of his work from this era in their permanent collections. While Zox is not directly associated with the Op Art movement, many of his works by nature of their patterns and colors create visual illusions in dimensionality. In "Mosaic" the kelly green band that intersect the composition helps give the overall work an appearance of a slanted stair. Frequently the artist seems to be inviting the viewer to find pattern within the work. In "Mosaic" we have both areas of synergy and dissonance. Can you find them? Questions about this piece? Contact us! Teal Top...

Artist: Larry Zox Medium: Serigraph Title: Niagara Series I Year: 1980 Edition: 75/175 Sheet Size: 26" x 35" Signed: Hand signed in pencil

Larry Zox Red, White and Blue painting, 1963 Original acrylic painting on board Signed and dated upper right front; Signed, titled and dated on the back as well Unique This work was ...

Artist: Larry Zox Title: Niagara Series III Year: 1980 Edition: 19/88 Medium: Serigraph Signed: Hand signed in pencil Sheet Size: 42 1/4" x 29 3/4"

Artist: Larry Zox Title: Green Card Sound I Year: 1980 Medium: Serigraph, Signed and numbered in Pencil Edition: 185 Size: 40.5 x 30 inches

Artist: Zox, Larry Title: Untitled III Medium: Pochoir Unframed Dimensions: 37.25" x 43" Signature: Pencil signed Edition: HC

Artist: Larry Zox Title: Sounds Cut I Year: 1980 Medium: Screenprint, Signed and numbered in Pencil Edition: 185 Size: 42.5 x 29.5 inches

This stunning serigraph, "Untitled" (Diagonal Composition) was realized by the esteemed American color field artist Larry Zox (American, 1936-2006) circa 1965. It features a dynamic ...

Artist: Larry Zox (1937-2006) Title: Two Square Composition Year: 1978 Edition: 13/20, plus proofs Medium: Silkscreen on japon paper Size: 18 3/4 x 26 inches Condition: Good Inscript...

Artist: Larry Zox Title: Bonac II Year: 1981 Medium: Serigraph, Signed and numbered in Pencil Edition: 160 Image Size: 36 x 17 inches Size: 42.5 in. x 30 in. (107.95 cm x 76.2 cm)

Zox moved to New York in 1958 and became part of the downtown art scene. By the mid-60s, his large geometric paintings were appearing in pres...

Artist: Larry Zox Title: Untitled 4 Year: circa 1980 Medium: Serigraph, signed and numbered in pencil Edition: 175 Image Size: 30.5 x 19 inches Paper Size: 42 x 30 in. (106.68 x 76....

Larry Zox (1937-2006) was a central figure in the evolution of abstraction in American art of the 20th century. He played an essential role in the Color Field discourse of the 1960s...

Larry Zox (1937-2006) was a central figure in the evolution of 20th century abstraction in America. Raised in Des Moines, Iowa, Zox studied at the University of Oklahoma and went o...

Artist: Larry Zox Title: Bonac I Year: 1981 Medium: Serigraph, Signed and numbered in Pencil Edition: 160 Size: 42.5 x 29.5 inches

Larry Zox (1937-2006) was a central figure in the evolution of abstraction in American art of the 20th century. Raised in Des Moines, Iowa, Zox studied at the University of Okla...

Larry Zox (1937-2006) was a central figure in the evolution of abstraction in American art of the 20th century. He played an essential role in the Color Field discourse of the 1960s...

Larry Zox (1937-2006) was a central figure in the evolution of 20th century abstraction in America. Raised in Des Moines, Iowa, Zox studied at the University of Oklahoma and went o...

Larry Zox (1937-2006) was a central figure in the evolution of abstraction in American art of the 20th century. Raised in Des Moines, Iowa, Zox studied at the University of Oklaho...

Larry Zox (1937-2006) was a central figure in the evolution of 20th century abstraction in America. Raised in Des Moines, Iowa, Zox studied at the University of Oklahoma and went o...

Larry Zox (1937-2006) was a central figure in the evolution of 20th century abstraction in America. Raised in Des Moines, Iowa, Zox studied at the University of Oklahoma and went o...