🔥 RARE Modern Hard Edge Abstract Minimalist Op Art Oil Painting, DANIEL AKSTEN

Description: This is a visually striking and RARE Modern Hard Edge Abstract Minimalist Op Art Oil Painting, Acrylic or Oil paint on aircraft-grade Aluminum, by the pioneering and influential Southern California modernist painter, Daniel Aksten. This work depicts a bold and imposing hard edge image, with a rectangular silver and white checkered grid, encapsulated in an ovoid form. Approximately 48 x 48 inches. Signed and titled on the verso: "Daniel Aksten '12." Good condition for decades of age and storage, with some light scuffing, scratches, heavy finger smudges and soiling along the edges, mild paint loss at the corners, and moderate edge wear throughout (please see photos carefully.) Acquired from the contents of a defunct contemporary art gallery in Los Angeles County, California. Priced to Sell. Aksten's original paintings have soared in value in recent years, and this artwork is a sound investment. Daniel Aksten's original artworks are held in prominent public and private collections across the world. Due to the large size and heavy weight of this piece, S&H costs will be unavoidably high. However, Free Local Pickup from Los Angeles County, California is also an option. If you like what you see, I encourage you to make an Offer. Please check out my other listings for more wonderful and unique artworks! About the Artist: Quirky, pixilated paintings by Daniel Aksten are the highlight of this inaugural show, “Difference and Repetition.” Uniform metal panels explore a restrained palette (red, grey, yellow) with taped grids and squares with rounded corners. Featuring both what the artist refers to as “portraits” and “landscapes,” each work is a result of calculated construction and arbitrary randomness determined, literally, by a roll of dice. Interestingly, the carefully masked and unmasked marks of automotive paint refer not so much to the future as it once might have, given that the computer byte metaphor has ceased to arouse such associations. Even the subtle basket-weaving texture of the paint layers points to craft and the artist’s hand in a way that makes one think about how the word “modern” has come to seem “old-fashioned.” Daniel Aksten’s work distinguishes itself in all three genres. Exceptionally clean deliberate edges compliment an almost casual randomness in design. The roll of a die literally determines the application of color in layered grids committed to steel panels.Built up of automotive paint scientifically formulated to dazzle under the California Sun, the surface denies the expression of the artist’s hand, not uncommon with California Light and Space work and the aesthetic of the Finish-Fetish “Cool School.” Conscious decisions have been made with regard to scale, texture, and paint color (or lack of it), while composition, shape and image are given to chance.Contrast is the subject, not only of luminous color abutting a neutral ground, but also light vs. solid, intention vs. happenstance: contrast getting along with harmony. Forms emerge from this complexity. Optical radiance occludes geometric certainty.A ubiquitous and familiar motif in Aksten’s work occupies the last layer of each panel: the round-cornered “screen” like a painted ghost frame reminds the viewer that eyesight has a limited range. One’s eyes are tempted to focus with tunnel vision, accustomed to seeing by proxy through technologic enhancements of camera viewfinders or binoculars. Perceptual awareness always excludes the complexity of the peripheral in an effort to grasp at a single subject before the ground. Aksten’s work regards this search obsolete, collaborating instead with the viewer as images co-arise from an ambient and dense atmosphere.Bill Wheelock During my childhood my father had one of the biggest antique gun collections in the Unites States, I grew up with 1,100 guns in the house. This taught me about collecting, and importance of one item over another. I also learned how to tell if something is real or not and how to grade items, this allowed me a schematic to apply to painting which I started in my early twenties when I moved to Los Angeles, after dropping out of school. I first moved to Venice where I got a job waiting tables at a small restaurant, which happened to be where several successful artist had lunch, these included Ed Ruscha, Alexis Smith, Jonathan Borofsky, Peter Alexander, and Billy Al Bengston. I was also introduced at that time to critical French philosophical theory, by the authors Deleuze and Guattari, Michel Foucalt, Henri Bergson, and Derrida. I was very excited about what I was reading by the authors, and inspired a great desire to write. I knew there was little chance of success for me in writing critical theory as I was not in academics, so I turned to painting instead to express my ideas. I had brought with me my Mother’s oil paints. She had died when I was 3, I still held on to them; so I just went to work, often painting ten to fourteen hours, allowing no mistakes or difficulties to stop me. Born: June 15, 1967EDUCATION:1986-89 California State University, Chico, CA.SOLO EXHIBITIONS:2012 “Support, Edge -Variation” - CB1, Los Angeles CA2010 “Material” - CB1, Los Angeles “Synopsis” - Oxnard College, Oxnard CAated2009 “Generation” - PØST, Los Angeles, CA2002 “Treatment” - PØST, Los Angeles, CA.2001 “Formula” - PØST, Los Angeles, CA.1998 “Screen Test” - Mesa College Art Gallery, San Diego, CA.1996 “Coverage” - Simayspace Gallery, San Diego, CA. GROUP EXHIBITIONS:2020 “Positive Pandemic Experiment” - curated by Kohl King on Instagram2018 “Magic” - Roberts Projects, Culver City, CA2013 “Gravity” - Long Beach City College Art Gallery, Long Beach, CA “White Soup and Weighty Air” - JAUS, Los Angeles, CA “Mutual Appreciation Society” - ARTRA, Los Angeles, CA2012 The Happiness Machine, PØST, Los Angeles, CA “Cast. Reflect.” - CB1, Los Angeles2011 “Metallic” - PØST, Los Angeles, CA “Colburn + CB1 “ - The Colburn School, Los Angeles, CA2010 “Draft” - 643 APROJECTSPACE, Ventura, CA “Difference and Repetition” - CB1, Los Angeles, CA2009 “Here and Now” - ARTRA, Los Angeles, CA “Black, White, and Grey all over” - APROJECTSPACE, Ventura, CA 2003 “Fresh” - MOCA Contemporary Art Auction, Los Angeles, CA.2002 “Relative Objects” - PØST, Los Angeles, CA.2001 “Made” - PØST, Los Angeles, CA. “Auxiliary Setting” - Cirrus Gallery, Los Angeles, CA. “100% Rag” - PØST, Los Angeles, CA.2000 “Emulsion” - POST, Los Angeles, CA. “Summer Show” - William Turner Gallery, CA.1999 “New Visions, New Voices” - University Art Gallery, “UCSD” - San Diego, CA 1996 “Group Shot” - Simayspace Gallery, San Diego, CA. “Con-Structured” - Gallery 825, Los Angeles, CA.1995 “Los Angeles Juried Exhibition” - Municipal Art Gallery, Los Angeles, CA.1994 “House of Styles” - TRI Gallery, Los Angeles, CA. SELECTED COLLECTIONS:Crocker Museum, Sacramento, CAPomona College Museum of Art, Pomona, CADr. Ilene Fort, Curator Emerita, Los Angles County Museum of ArtDavid Pagel, Art critic, Los Angeles TimesAlexina Matisse Morgan FisherSteve and Karen HillenburgYoka SmithBIBLIOGRAPHY:Pagel, David, Idiosyncrasies Come Out To Play, Los Angeles Times, May 18, 2012Frank, Priscilla, Daniel Aksten’s “Support, Edge, Variation” Hit CB1 Gallery, Huffington Post, May 8, 2012Frank, Peter, “Haiku Reviews,” Huffington Post, June 20, 2012Nys Dambrot, Shana, “Material,” Flavorpill Los Angeles, September 8, 2010Lee, Jeannie R., ArtScene, March 2010John, Heather, “Architects and Heroes,” Los Angeles Times, April 8, 2001.Pincus, Robert, “Motley Crew,” San Diego Union-Tribune, May 13, 1999.Pagel, David, “Unfulfilled Fantasy of Democratic Inclusiveness,” Los Angeles Times, July 7, 1995.

Price: 3500 USD

Location: Orange, California

End Time: 2025-01-14T02:50:45.000Z

Shipping Cost: 100 USD