Athos Zacharias “Reinforce” Acrylic on canvas 1972
ATHOS ZACHARIAS (b. 1927) New York, NY
“Reinforce” (Rolex Watch Band Abstraction) 1972
Acrylic on Canvas in an Optic Minimalist Style of a Rolex Watch Band
Signed on the back of the canvas: Athos Zacharias, Reinforce, 1972, 40”x48”
H: 40” x W: 48”
Synthesizing images from pop, culture, architecture, and nature, painter Athos Zacharias creates dynamic works notable for their spontaneity and characterized by ART NEWS as “blindingly original.” Now the one-time assistant to Willem de Kooning has produced a totally new group of paintings that unite major ideas of this “between generational” painter.
His work can be found in important collections including the Corcoran Gallery of Art, Washington D.C.: the Museum of Art, Providence, R.I.; the Institute of Contemporary Art, Boston, Mass.; the Kalamazoo Institute of Art, Kalamazoo, Mi.; the Butler Art Institute, Youngstown, Ohio; E.F. Hutton & Co., New York; and the Westinghouse Corporation, Pittsburgh, Pa.
Zacharias has exhibited in leading galleries in major American cities including New York and the Hamptons, as well as internationally, notably in Amsterdam and Japan.
Arriving in New York in 1956, Zacharias immediately became involved with the downtown art scene. “I encountered some of the artists who would impact my artistic life. During the sixties in New York, I assisted other artists including Larry Rivers, Grace Hartigan, Mary Abbot, Jack Tworkov, Alphonso Ossorio and Lee Krasner, and notably, de Kooning. Another friend and major influence was the abstract painter Franz Kline.”
Recalling his initial encounter with de Kooning, Zacharias says: “I met Milton Resnick, who invited me to the “Club” where I attended many panels on Friday nights, and participated on one panel entitled “Younger Artists”. Shortly thereafter, I met de Kooning and a friendship blossomed. I was fortunate to be his first assistant when his studio was on Tenth Street. He so strongly believed in my work that he sponsored me for the Longview Foundation Award in 1962. I began to exhibit at the local Guild Hall, where in 1961, and again in 1979, I won the “Best in Show” Award. My friendship with de Kooning continued until his death.
“My great good fortune and a major part of my artistic development was not only being de Kooning’s assistant, but also being part of the Tenth Street Cooperative Gallery Movement. In 1959, I joined the Tenth Street’s “March” Gallery and showed with Mark di Suvero. I continued showing downtown at the Great Jones Gallery, and in 1961, I had my first one-person show at the Gallery Mayer, an uptown gallery that represented artists including John Graham and Man Ray.”
Zacharias was born in Marlborough, Mass. In 1927, and was raised in Fall River, Mass. He attended the Rhode Island School of Design on the GI Bill, graduating in 1952. He then did a year of post-graduate study at the Cranbrook Academy of Art, Bloomfield Hills, Michigan, receiving an MFA in 1953.
He has taught classes in leading institutions including Brown University, SUNY New Paltz, and the Parsons School of Design, and for twenty-six years taught at Wagner College on Staten Island.
He was married to Mary Filateros, and is the father of two, Rena and Denis.
Athos Zacharias “Reinforce” Acrylic on canvas 1972
PETER CANTY (b. 1938) USA
Oil on canvas
Framed size: 33″ x 27″ x 3″
Peter Canty received his BA in art from the Chouniard Art Institute, Los Angeles (now California Institute of the Arts) and an MA from the University of California, Santa Cruz in 1969. Heavily influenced by the Post-Impressionist masters Van Gogh, Gauguin and Cezanne, in his own he words he describes his interest in landscapes, believing they are, “the best vehicle for motion, force, and color dynamics.” Although his work reference realistic subjects, Canty’s imagery is drawn strictly from his own imagination.
RICHARD A. HAMBLETON (1954-) USA
Untitled (Marlboro Man) c.1983
Acrylic on canvas
For more information see: Artists Observed, photographs by Harvey Stein, preface by Corness Capa, essay by Elaine A. King (New York: Harry N. Abrams, Inc., Publishers, 1986), p. 121; Capured: A film/video history of the Lower East Side, Clayton Patterson (New York: Seven Stories Press, 2005), p. 149, 301 and 530; New, Used & Improved: Art for the 80’s, Peter Frank (New York: Abbeville Press, 1987), 46-48, 50-51 and 60.
Framed: H: 54 7/8” x W: 41 ½”
Hambleton can handle paint. When he throws white or black on the canvas, his waves break, his rodeo rider bucks, a man shot seems blown apart. – Michael Brenson, New York Times, March 30, 1984
During the 1970s, a loosely woven network of aspiring artists made a break into the public venue by raising graffiti to a new level of significance. Richard Hambleton was among a growing number of artists who came to be known as “illegal street artists.” He seemed undaunted by the consequences of being perceived as deviant and moved in and out of the urban alleyways, leaving behind a wake of paper paste-ups, freehand drawings, photos and stenciled images. When Hambleton moved from Vancouver in 1980 he left behind several hundred life-size diazo prints of himself plastered all over the city. Upon his relocation to New York, Hambleton was often spotted with friends that included Jean-Michel Basquiat and Keith Herring. He continued painting his energized, life-size figures that earned him the label pop-expressionist, a parody on modernity’s generic expressionism.