x E by Equinox
... in this Exhibition: STEPHEN BEZAS
WILLARD BOEPPLE
DUANE BOUSFIELD
ALI ECKERT
ALEX AG GARBER
IOANNA GOUMA
OSVALDO MARISCOTTI
EDGAR NEGRET
FRANCINE TINT
XINYAN ZHANG
BERND ZIMMER
23 East 67th Street New York, NY 10065 Tuesday - Friday, 10AM - 6PM, Saturday 10AM - 5PM & BY APPOINTMENT
146 West 57th Street New York, NY 10019 BY APPOINTMENT ONLY
Phone: +1 (646) 476-4190 Email: info@upsilongallery.com
www.upsilongallery.com Upsilon Gallery Website
Digital Version of this Catalog
Marcelo Zimmler FOUNDER
Meyer Schapiro once wrote, “art is the grace by which we live,” and that has been true for us. Sharing the wonder of art by building a bridge between extraordinary talents and their positive effect on society has been and still is Upsilon Gallery’s primary mission. Supporting the careers of great artists, and the profound relationships that we have enjoyed as a result, has extended our perception of the world around us. Upsilon has always been an artist’s gallery. We are most grateful to the artists who have shaped the gallery and defined its mission by their marvelous contributions.
ABOUT THE GALLERY: Upsilon was founded in 2014 in New York City by Marcelo Zimmler. A family business with a global outlook, Upsilon has expanded over the past 7 years to include outposts in London and Miami. The gallery presents the work of artists who have been instrumental in shaping its identity over the past years, and who are the inspiration for Upsilon’s diverse range of activities that engage with art, publishing, scholarship, and technology. Upsilon Gallery specializes in international postwar and contemporary art with a mission to feature a variety of innovative perspectives and approaches, with a focus on rediscovering overlooked artists within a historical scope. We are proud to provide a content-rich platform for a balanced audience of novice and seasoned collectors, ensuring a critically engaging, yet approachable and friendly atmosphere.
S
ince its founding, Upsilon has strived and succeeded at offering a distinct point of view, one that is informed not by the whims of the market but by the rigors of scholarship and the drive to innovate. Upsilon is a true multimedia company embracing new technologies to deliver the highest level of service across the physical and digital channels. A leading fine print publisher, Upsilon collaborates with top printing ateliers to introduce new voices to the art printing canon. Today, Upsilon has four locations worldwide including office spaces in London, Miami and two galleries in New York – its headquarters at 23 East 67th Street, which accommodates 6-8 shows on an annual basis, and a private “by appointment only” space at 146 West 57th Street, which revolves around the gallery’s established fine print publishing program.
STEPHEN BEZAS Born and raised in New York City. He attended the High School of Art and Design and then the School of Visual Arts where he greatly admired and was influenced by artist Chuck Close, first as a student of Close’s and later as a friend. Bezas has had a career as a painter, photographer, and designer. A neo-pointillist, Bezas has also been inspired by historically important pointillist artists such as Georges Seurat and Paul Signac. Bezas’ distinctive trademark is the vertical and horizontal stacks of dots contained within a grid, which he sometimes places on a diagonal. Another distinct narrative of his art is the alternating dot pattern achieved by the smaller grids within larger ones and the two alternating dot sizes. He has created a contemporary hybrid using his design sensibilities, photography and painting talents, blurring the lines among the three. The dots in his art interrelate and culminate into something that’s larger than the sum of its parts. The viewer is utterly transfixed to realize that the work is created from a mélange of meticulously placed dots of varying sizes into an underlying grid in an artistic, mathematical process, whereby the actual composition comes alive with exciting recognition. Bezas’ keen eye and sense of imagery would prove him to be fruitful neo-pointillist artist in his own right. The nuances of his imagination and portrayals of myriad aspects of the human form and objects allows him to create fascinating collections such as Nudes, Americana, Flora, Urban Themes and more. Bezas sees himself as a contemporary artist rooted by his early pointillism and grids. He jokes about how his art has been influenced navigating the street grids of Manhattan to the grids of his designs.
STEPHEN BEZAS Kisses, 2023 Acrylic Painting on Canvas 48 x 48 in. (121.9 x 121.9 cm) Signed and Dated
$20,000
STEPHEN BEZAS Home Run, 2023 Acrylic Painting on Canvas 48 x 48 in. (121.9 x 121.9 cm) Signed and Dated
$20,000
STEPHEN BEZAS JELLY BEANS (STUDY), 2019 Acrylic Painting on Canvas 36 x 36 in. (91.4 x 91.4 cm) Signed and Dated
$12,500
STEPHEN BEZAS LOLLIPOPS, 2023 Acrylic Painting on Canvas 36 x 36 in. (91.4 x 91.4 cm) Signed and Dated
$12,500
WILLARD BOEPPLE
Abstract sculptor Willard Boepple believes in the ideal of an autonomous work of art, the sculpture or painang that takes total responsibility for its own meaning, which is to say that succeeds or fails enarely on the strength of the abstract relaaons among the elements that it comprises. In Boepple’s case this has largely involved making variaaons in wood, aluminum, and resin on a few basic forms or structures: Ladders, Shelves, Looms, Temples, Towers, Rooms, and Trestles. The arast has exhibited widely since the early sevenaes. His work is in the collecaons of the Metropolitan Museum of Art in New York, the Museum of Fine Arts in Boston, the Storm King Art Center, the Naaonal Academy, the Fitzwilliam Museum in Cambridge, the Hepworth Wakefield and numerous other public and private collecaons worldwide. He is represented by Upsilon Gallery in New York, Pamela Salisbury Gallery in Hudson and Broadbent Gallery in London.
WILLARD BOEPPLE Green Lock, 2019 Polychromed oak 17 x 18 x 16 in. (43.2 x 45.7 x 40.6 cm)
$10,000
DUANE BOUSFIELD Over the last 30 years, Duane Bousfield has cultivated a rich art practice that resists categorization and is admired internationally for the dexterity that unites the disparate aspects of his output. Bousfield has three distinct bodies of work: Abstract Landscapes, Dreamscapes and Labyrinths. ‘Abstract Landscapes’ are geometric playgrounds for the eye, where composition and color are the main concerns. ‘Dreamscapes’ are abstracted dramas of allusive figures entwined with the landscape. ‘Labyrinths’ are spontaneous one-line drawings, often into thick paint - the line can be followed like a rollercoaster or seen as a whole image. Each painting is a journey, and the titles relate thoughts the artist had on that path. Recurring themes seem to be basic human issues like: hopes, fears, searching, striving, love, loss, life, death, and God. Frequent images include birds, gardens, the moon, hearts, people and labyrinths. Duane Bousfield has exhibited in galleries from California to New York. During Covid he developed the Labyrinth series into gestural action paintings, and has increasingly focused on writing about his work and video presentations. Works by Duane Bousfield are found in major private and public collections, including the Leslie-Lehmann Museum, New York; the Esalen Institute, Big Sur, CA; and Apple Computer, Cupertino, CA.
DUANE BOUSFIELD Cardinal Song, 2023 Oil on canvas 60 x 48 in. (152.4 x 121.9 cm) Signed, titled, and dated, verso
$24,000
DUANE BOUSFIELD Adagio, 2022 Acrylic on paper 24 x 19 in. (61 x 48.3 cm) Signed, titled, and dated, verso
$2,750
ALI ECKERT Ali Eckert grew up within two cultures and has been strongly influenced by American imagery and pop cultural elements. His art explores various iconography to reflect its ongoing cultural transiaon. Eckert’s unique analog process marries photography with painang. With his background as a photographer, the arast has been experimenang for years the manual transfer of pigments to achieve a handmade painang. He skins the pigmented layer off and onto his canvas, aluminum or wood. The wet pigments are squeezed, wiped or reshaped while adding cyril paint. Eckert photographs all objects, sceneries – every lijle piece of the final image. Whether a crushed Brillo box, a wornout gas pump or a broken neon sign in the desert, they all struggle to hang on while simultaneously starang to fade into oblivion. The relaaon of the obvious and the hidden as well as the contradicaon of aestheac and decay are of high interest in Eckert’s art. Underneath the seducave surface, he layers ephemeral, vulnerable and dramaac content. The resulang images draw you in. His work refers to certain nuances that challenge the viewer to explore more. Ali Eckert works with mixed media, film and photography in his studios in Berlin and Wisconsin.
ALI ECKERT Vanishing Icons – Parking Meter, 2022 Mixed media on canvas 36 x 36 in. (91.4 x 91.4 cm) Signed, titled, and dated, verso
$9,500
ALEX AG GARBER Eastern European origin, most of his life a New Yorker. Alex AG excelled in virtually any form of visual art, ranging from painting to NFTs for digital art. After years of search he made stonemasonry his chosen media and propelled it into a completely new realm of sculpture created for tactile perception, inspired by his many years of creating and exhibiting visual art and past experience in archeology. Tactylism is a completely new direction in art, focusing on the most abstract and primal sense – the sense of touch. The visual form of AG’s sculpture is inspired by Neolithic aesthetics, informed by the artist’s encounters with archeology. Tactile sculptures are objects to be experienced while held in hand. The entire surface of the object is carefully crafted to tell the story read with fingers. The sensation induced by tactile sculptures is a combination of complex surface finish with the composition of simple figurative form, created as a direction for the fingers travelling the surface and intentionally shaped for the prevalence of the tactile composition over visual. The process of finishing the surface is more laborious than carving the actual sculpture’s shape. These sculptures are meant to be a personal item, owned and enjoyed by a single individual. They all are sized for being an easy-to-carry object, accompanying its owner.
ALEX AG GARBER One Day Away From Ásgardr Installation of nineteen tactile sculptures 14 x 11 x 8.5 in. (35.5 x 28 x 21.5 cm) overall installation This installation is homage to Norse pagan beliefs, inspired by characters of Scandinavian mythology and aesthetics of ritual stone carving.
Individual Piece: $1,250 Entire Set (19 pieces): $19,500
IOANNA GOUMA New York and Athens-based painter Ioanna Gouma was born in Athens in 1977. Her practice includes painting, mixed media, printmaking and ceramics. Her main body of work consists of drawings and monotypes on Japanese paper. In these series, dirt, dust, rotating sky organisms that inhabit the world, and molecular interactions, reveal their poetic forms. Multiple layers in each of her pieces some nearly invisible to the naked eye – create a universe of their own, not only as a mirroring image of what is out there but of what is actually in here and what is yet-to-be, stating the porosity of the exterior and the interior world. Microcosm and macrocosm are coinciding, a multitude of narratives and visual stories. Her compositions stand as a site of controlled chaos. Everything seems properly misplaced emancipated from time itself. Likewise, her watercolors exist in a dream-like state creating a fleeting, weightless moment. The drawing process develops like automatic writing configured by impulse memory, the subconscious, observing nature and discovery. Gouma, lets her works create their own non-linear rules and rhythms like a complex personal diary without time frames. It is the archaeologist and the scientist most at resemblance here, with beyond-thorough research and meticulous observation. A reverse archaeology swapping the researcher’s order with the dreamer’s perspective, unearthing but also hiding stories and references. The artist has exhibited widely since the early 2000s. Her work is in the collection of the Royal College of Art, London and numerous other public and private collections worldwide.
IOANNA GOUMA Untitled, 2018 Watercolor and ink drawing on bamboo paper 19 x 15 in. (48.3 x 38.1 cm) Signed and dated, verso
$4,950
IOANNA GOUMA Untitled, 2018 Watercolor and ink drawing on bamboo paper 19 x 15 in. (48.3 x 38.1 cm) Signed and dated, verso
$4,950
OSVALDO MARISCOTTI Osvaldo Mariscotti’s prolific career as printmaker, painter and sculptor has spanned over four decades, and his iconic images are internationally renowned. One of the most significant artists working today, Mariscotti’s dedication to the interaction of form and color has led to a continued exploration of perception. He takes over the most basic elements of Suprematist art, the straight line and the square, a choice that reflects the emphasis he places on the shapes produced by man rather than those existing in nature. His works are very significant, made from the decomposition of figures such as the rectangle, which is then decomposed into its essential colored lines on a black background. Mariscotti’s search puts him in the context of geometric conceptualism: that reality of thought that holds figuration as malaise and searches for synthesis, as a model to pursue. His art examines the “non reality” and breaks it down into geometric shapes, to arrive at the development of a new code. Works by Osvaldo Mariscotti are found in major private and public collections, including the Galleria Nazionale d’Arte Moderna, Rome; the Department of State, Washington, D.C.; the UBS Art Collection; the Washington County Museum of Fine Arts, Hagerstown, MD; and the Asheville Art Museum. In 2015, Mariscotti first participated in the 56th Venice Biennale with his now iconic Book of Color I. Mariscotti’s artwork has been featured in numerous solo and group exhibitions in prestigious institutions around the world such as the MIIT Museum, Turin; the Malzfabrik, Berlin; the Chianciano Museum of Art, Chianciano Terme; the Galata Museum, Genoa; the Officina delle Zattere, Venice; the European Museum of Modern Art (MEAM), Barcelona; Canova Museum, Possagno; and the Museum of Contemporary Art Giuseppe Sciortino, Monreale.
OSVALDO MARISCOTTI Four Seasons II, 2023 Oil on canvas, 4 panels 24 x 48 in. (61 x 121.9 cm) each; 48 x 96 in. (121.9 x 243.84 cm) overall Each signed and dated, verso
$38,500
OSVALDO MARISCOTTI Untitled, 2015 Oil on canvas 48 x 48 in. (121.9 x 121.9 cm) Signed and dated, verso
$17,500
EDGAR NEGRET
Edgar Negret was a Colombian artist known for his geometric sculptures. His works depicted natural forms like the sun and flowers using industrial materials. It was the artist’s feeling that repurposing mechanical forms into non-utilitarian objects was a magical act. Born on October 11, 1920 in Popayán, Colombia, Negret went on to study at the Escuela de Bellas Artes in Cali, Colombia. While studying there, he corresponded with the Spanish sculptor Jorge de Oteiza, who would have a profound influence on his work. Temporarily living in New York in the late 1940s, he studied at the Clay Club Center (presently the Sculpture Center), where he met the artists Louise Nevelson and Ellsworth Kelly. In 1957, Negret was invited in to participate in the São Paolo Biennial, where he exhibited one of his hallmark works, Aparatos Mágicos (Magical Apparatuses). At the 34th Venice Biennale his work was awarded the David E. Bright International Sculpture Prize. The artist died on his 92nd birthday, October 11, 2012 in Bogotá, Colombia. Today, his works are held in the collections of The Museum of Modern Art in New York, the Stedelijk Museum in Amsterdam, and the Museum of Modern Art in Bogotá.
EDGAR NEGRET Maiz (Corn), 1996 Painted aluminum 11 4/5 x 11 4/5 x 20 7/8 in. (30 x 30 x 53 cm) Edition of 7 Signed, titled, dated, and numbered, base
$15,500
EDGAR NEGRET Caravela (Caravel), 1986 Painted aluminum 11 4/5 x 12 3/5 x 12 3/5 in. (30 x 32 x 32 cm) Edition of 7 Signed, titled, dated, and numbered, base
$10,250
FRANCINE TINT
New York-based painter, Francine Tint, has been a working artist since the early 70s. Tint’s artistic career began as a successful costume designer and fashion stylist––working for David Bowie, Ridley Scott, and Entertainment and Sports Programming Network (ESPN), among others. After enduring a series of losses, Tint’s life took on a different meaning with dedication solely to painting. Impediments impede, but they can also inspire. Working as a stylist by day, and a painter by night, Tint developed her own method of large-scale, color-based paintingю Tint’s work continues to be shown widely, both nationally and internationally. Her tireless trajectory of artistic experimentation has made her work sought after by both private collectors and institutions. Tint is held in the permanent collection of over 28 museums, including The Neuberger Museum of Art, The Heckscher Museum of Art, The Portland Museum of Art (among the Clement Greenberg Collection), and The Krannert Art Museum, to name a few. Francine Tint continues to paint today and conducts abstract painting workshops at The Art Students League of New York.
FRANCINE TINT Private Affair, 2023 Acrylic on canvas 51 x 35 in. (129.5 x 88.9 cm) Signed, titled, and dated in pencil, verso
$15,000
FRANCINE TINT Plasma, 2023 Acrylic on canvas 55 x 23 in. (139.7 x 58.4 cm) Signed, titled, and dated in pencil, verso
$12,500
XINYAN ZHANG
“I have always maintained a high degree of enthusiasm for artistic creation, but I do not deliberately seek inspiration for creation, because it is a part of life itself.” -- Xinyan Zhang
Xinyan was born in 1991 in Shenzhen, China. Her work is best understood as the intersection between East and West, putting in dialogue Western post-expressionism with traditional Chinese painting. Her artistic practice uses fragmentation and hybrid techniques to explore the “vulnerability of human nature” and the “common state of human existence” under the influence of popular culture. Her focus is on the perceived low status of women and children in society.
XINYAN ZHANG Temptation of Venus, 2022 Oil and acrylic on canvas 31 1/2 x 27 1/2 in. (80 x 70 cm) Signed, titled, and dated, verso
$6,500
XINYAN ZHANG Forbidden Fruit No.1, 2022 Oil and acrylic on canvas 43 1/3 x 35 2/5 in. (110 x 90 cm) Signed, titled, and dated, verso
$8,500
BERND ZIMMER Bernd Zimmer (born November 6, 1948 in Planegg near Munich) is a German painter and a representative of the New Wilds. He lives and works in Polling, Upper Bavaria (Germany), Piozzano, Italy and Warthe, Brandenburg. With Rainer Fetting, Helmut Middendorf, Salomé and others, Zimmer founded the artist self-help gallery Galerie am Moritzplatz in 1977, which existed until 1981. In 1980, works by these so-called young wild animals were presented to the general public for the first time in the Berlin house on Waldsee under the title Heftige Malerei. In 1981 Bernd Zimmer was represented in the Rundschau Deutschland exhibition. His interest in astronomy and physics led Bernd Zimmer to his Cosmos pictures in 1998, which were created parallel to other picture cycles until 2006 and which were summarized in an illustrated book Cosmos: Pictures 1998-2006. The first overview of his woodcuts is shown in 2001 in Museum Morsbroich, Leverkusen. In 2006 the Kunsthalle Mannheim showed the first comprehensive exhibition of the Cosmos pictures. In 2007 Bernd Zimmer moved into another studio in the Brandenburg town of Warthe. Inspired by observing the lakes there, the reflection pictures were created. Since 2016 he has been working on the implementation of STOA169. In 2017, Bernd Zimmer made further trips to southern India’s Tamil Nadu, Karnataka, to visit Hindu temples there. On the occasion of his birthday, the Städtische Galerie im Leeren Beutel, Regensburg, and the Museum Neue Galerie in Kassel paid tribute to Bernd Zimmer’s work in 2018 with the extensive exhibition “Crystal World”. The columned hall STOA169 was opened in September 2020.
BERND ZIMMER Schwimmendes Licht, 2013 Acrylic on paper 39 2/5 x 27 3/5 in. (100 x 70 cm) Signed and dated, lower right
$8,500
BERND ZIMMER Ast, 2023 Acrylic on paper 27 3/5 x 19 7/10 in. (70 x 50 cm) Signed and dated, lower right
$5,500
BERND ZIMMER Reflex, 2012 Acrylic on paper 39 2/5 x 27 3/5 in. (100 x 70 cm) Signed and dated, lower right
$8,500
CHECKLIST STEPHEN BEZAS
ALEX AG GARBER
FRANCINE TINT
Kisses, 2023
One Day Away From Ásgardr
Private Affair, 2023
Acrylic Painting on Canvas
Installation of 19 tactile sculptures
Acrylic on canvas
48 x 48 in. (121.9 x 121.9 cm)
14 x 11 x 8.5 in. (35.5 x 28 x 21.5 cm)
51 x 35 in. (129.5 x 88.9 cm)
overall installation
Signed, titled, and dated
Signed and Dated
STEPHEN BEZAS
in pencil, verso
IOANNA GOUMA Untitled, 2018
FRANCINE TINT
Watercolor and ink drawing
Plasma, 2023
on bamboo paper
Acrylic on canvas
48 x 48 in. (121.9 x 121.9 cm)
19 x 15 in. (48.3 x 38.1 cm)
55 x 23 in. (139.7 x 58.4 cm)
Signed and Dated
Signed and dated, verso
Signed, titled, and dated
STEPHEN BEZAS
IOANNA GOUMA
JELLY BEANS (STUDY), 2019
Untitled, 2018
XINYAN ZHANG
Acrylic Painting on Canvas
Watercolor and ink drawing
Temptation of Venus, 2022
on bamboo paper
Oil and acrylic on canvas
19 x 15 in. (48.3 x 38.1 cm)
31 1/2 x 27 1/2 in. (80 x 70 cm)
Signed and dated, verso
Signed, titled, and dated, verso
OSVALDO MARISCOTTI
XINYAN ZHANG
Four Seasons II, 2023
Forbidden Fruit No.1, 2022
Acrylic Painting on Canvas
Oil on canvas, 4 panels
Oil and acrylic on canvas
36 x 36 in. (91.4 x 91.4 cm)
24 x 48 in. (61 x 121.9 cm) each;
43 1/3 x 35 2/5 in. (110 x 90 cm)
Signed and Dated
48 x 96 in. (121.9 x 243.84 cm) overall
Signed, titled, and dated, verso
Home Run, 2023 Acrylic Painting on Canvas
in pencil, verso
36 x 36 in. (91.4 x 91.4 cm) Signed and Dated
STEPHEN BEZAS LOLLIPOPS, 2023
Each signed and dated, verso
WILLARD BOEPPLE Green Lock, 2019 Polychromed oak 17 x 18 x 16 in. (43.2 x 45.7 x 40.6 cm)
DUANE BOUSFIELD Cardinal Song, 2023 Oil on canvas
BERND ZIMMER OSVALDO MARISCOTTI
Schwimmendes Licht, 2013
Untitled, 2015
Acrylic on paper
Oil on canvas
39 2/5 x 27 3/5 in. (100 x 70 cm)
48 x 48 in. (121.9 x 121.9 cm)
Signed and dated, lower right
Signed and dated, verso
BERND ZIMMER EDGAR NEGRET
Ast, 2023
Maiz (Corn), 1996
Acrylic on paper
60 x 48 in. (152.4 x 121.9 cm)
Painted aluminum
27 3/5 x 19 7/10 in. (70 x 50 cm)
Signed, titled, and dated, verso
11 4/5 x 11 4/5 x 20 7/8 in.
Signed and dated, lower right
(30 x 30 x 53 cm)
DUANE BOUSFIELD
Edition of 7
BERND ZIMMER
Adagio, 2022
Signed, titled, dated,
Reflex, 2012
and numbered, base
Acrylic on paper
Acrylic on paper 24 x 19 in. (61 x 48.3 cm) Signed, titled, and dated, verso
ALI ECKERT
39 2/5 x 27 3/5 in. (100 x 70 cm)
EDGAR NEGRET Caravela (Caravel), 1986 Painted aluminum 11 4/5 x 12 3/5 x 12 3/5 in.
Vanishing Icons – Parking Meter, 2022
(30 x 32 x 32 cm)
Mixed media on canvas
Edition of 7
36 x 36 in. (91.4 x 91.4 cm)
Signed, titled, dated,
Signed, titled, and dated, verso
and numbered, base
Signed and dated, lower right