Peter Alexander
Kori Newkirk
Rank P.V.P. 1, 2008
Lithograph, ed. 45
25 x 34 3/4 in.
653c-KN08
$1,500
Kori Newkirk
Rank P.V.P. 2, 2008
Lithograph, ed. 45
34 3/4 x 25 in.
654c-KN08
$1,500
Kori Newkirk
Rank P.V.P. 3, 2008
Lithograph, ed. 45
25 x 34 3/4 in.
655c-KN08
$1,500
Eve Sonneman
Rings on Outer Space, 1988
Polaroid Sonnegram, ed. 3
20 x 24 in.
008-88-ES
Price available upon request
Eve Sonneman
Discus Thrower, 1988
Polaroid Sonnegram, ed. 3
24 x 20 in.
003-88-ES
Price available upon request
Fred Eversley
Red Dwarf, 2019
Archival pigment print, ed. 50
32 x 32 in.
734c-FE19
$3,500
Joe Goode
Double Feature, 2019
Archival pigment print, lithograph, silkscreen, ed. 40
34 x 23 in.
733c-JG19
$3,500
Barbara T. Smith
Rocks, Weeds, Dirt, 2019
Archival pigment print, ed. 50
18 1/2 x 38 1/2 in.
736c-BTS19
$1,800
Barbara T. Smith
Signifier 2, 2016
Archival pigment print, ed. 35
41 5/8 x 30 1/2 in.
704c-BS16
$2,500
Peter Alexander
Anacin II, 1972
Lithograph on Kromekote, ed. 79
11 1/8 x 13 1/8 in.
079c-PA72
Price available upon request
Peter Alexander
Golden Arches, 1972
Lithograph on Kromekote, ed. 79
11 1/8 x 13 1/8 in.
078c-PA72
Price available upon request
Peter Alexander
Monument Valley, 1972
Lithograph on Kromekote, ed. 79
11 1/8 x 13 1/8 in.
077c-PA72
Price available upon request
Peter Alexander
Anacin I, 1972
Lithograph on Kromekote, ed. 79
11 1/8 x 13 1/8 in.
076c-PA72
Price available upon request
Ruben Ochoa
Untitled, 2006
Lithographic monoprint with hand-painted appliqué, ed. 40, no. 27
20 1/2 x 29 1/4 in.
644c-RO06
$1,200
Ruben Ochoa
Untitled, 2006
Lithographic monoprint with hand-painted appliqué, ed. 40, no. 28
20 1/2 x 29 1/4 in.
644c-RO06
$1,200
Judy Chicago
On Fire at Eighty, 2019
Archival pigment print, ed. 50
24 x 30 1/8 in.
731c-JC19
$4,200
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Los Angeles Times, May 28, 2020, 11:05 AM.
By Carolina A. Miranda, staff writer
For Peter Alexander, the moment that helped change the direction of his art arrived after a mundane session of ding repair on his surfboard in the 1960s.
He had poured some resin into a paper cup to seal his board, and over the course of several hours the resin hardened into a translucent puck.
“I remember at the bottom of the Dixie Cup, this clear material,” he told a documentary team from the Getty Conservation Institute in 2014. “And I was doing a project and I thought, ‘I bet this could be done in polyester, in this resin.’ So I started casting it in little things — like little boxes.”
Those experiments with industrial materials, begun when he was a student at UCLA, led to the creation of ethereal sculptures that evoked the quietly shifting nature of light, color and environment. And they put Alexander among the vanguard of Southern California’s Light and Space artists, a movement that brought buoyancy and perceptual play to Minimalism, which until then been dominated by the more austere forms emerging from the East Coast.
