Oli Sihvonen

"DK. Green, Scarlet, Blue" Oli Sihvonen, Abstract Vertical Geometric Composition

1977

Calvert Coggeshall Meridian, 1974 Signed, titled, and dated on the reverse Acrylic on canvas 67 x 45 inches Calvert Coggeshall worked as an abstrac...

Calvert Coggeshall A Stripe, 1971 Signed, titled, and dated on the reverse Acrylic on canvas 30 x 30 inches Calvert Coggeshall worked as an abstrac...

Calvert Coggeshall Illumination, 1973 Signed, titled, and dated on the reverse Acrylic on canvas 65 x 67 inches Calvert Coggeshall worked as an abs...

Calvert Coggeshall Notes XXI, 1973 Signed, titled, and dated on the reverse Japanese pigment on canvas 29 x 29 inches Calvert Coggeshall worked as ...

In High Grass Full Moon, Kurt Herrmann channels his signature colorist instinct into a bold, multichromatic geometric abstraction. Executed in acrylic on a square canvas, the paintin...

"Big Little #142" (Contemporary Abstract Geometric Painting) by Vincent Pomilio Colorful abstract painting on panel made with mixed media in a bright red and blue palette acrylic, p...

#38, by George Vander Sluis, American (1915–1984) Date: 1967 Acrylic on Canvas, signed, titled and dated verso Size: 74 x 48 in. (187.96 x 121.92 cm)

SALE ONE WEEK ONLY "Red Harmony" is an abstract painting that does have a sculptural presence in the shapes of the red areas. The lush greens blend various shades into a background that while it does contrast sharply with the reds, it is not in conflict. The overall effect of this work is dynamic in its energy while at the same time harmonious. One of the original Cass Corridor artists from the 1960s William Antonow studied at the School of the Detroit Society of Arts and Crafts (now the College for Creative Studies) and at Wayne State University, where he received his BFA (1967) and MA (1970.) Antonow’s first one-person show at the Willis Gallery in 1971, represented a radical departure from his early work – abstract bronzes shown at the Michigan Artists exhibitions at the Detroit Institute of Arts in 1969 and 1970. A founding member of the Willis, Antonow publicized his exhibition with a cryptic invitation stating, “art isn’t anything.” Echoing the challenge implicit in the exhibition announcement, the works in the show consisted of precariously balanced piles of such non-art materials as wood crates and barrels, corrugated paper or cardboard, cellophane and beer cans. These brash, paint-slathered juxtapositions of salvaged objects were perhaps the first example of the nascent “tough art” aesthetic of the Cass Corridor. (Both Gordon Newton’s wood constructions and Bob Sestok’s crude “radio wheels” first appeared in 1972.) In 1975, in the inaugural group exhibition of the Willis at its new location in the Fisher Building...