Gary Komarin, Contemporary, Oil on Paper, Large Abstract Painting, Usa, 1987

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Gary Komarin, Contemporary, Oil on Paper, Acrylic, Large Abstract Painting, USA, 1987

'Loosha' 1987 by Gary Komarin - a contemporary … Read more Gary Komarin, Contemporary, Oil on Paper, Acrylic, Large Abstract Painting, USA, 1987

'Loosha' 1987 by Gary Komarin - a contemporary oil on paper with oil crayon and acrylic by Gary Komarin.

Oil on Paper, Oil Crayon, Acrylic; USA, 1987

Born in New York City in 1951, the son of a Czech architect and Viennese writer, Gary Komarin is a risk taker and considered a modern master in post painterly abstraction. In 1996, Komarin’s work was included in a pivotal exhibition at 41 Greene Street where his work was shown with the paintings of Jean-Michel Basquiat, Philip Guston and Bill Traylor. Gary Komarin was invited to show in a catalog exhibition with Robert Motherwell and Sir Anthony Caro in Dublin in 2009. One of the paintings in this exhibition was recently acquired by Museo d’Arte Contemporanea di Roma. And in 2016, Komarin was invited to show with Joan Mitchell and Manuel Neri in Denver. In 2016, a 60 Minutes Producer, Harry Moses, shot, produced and directed a short documentary film on Gary Komarin titled, The Painter’s Path. This follows Komarin’s invitation to participate in a film titled, The Chalkboard Chronicles, narrated by Spalding Grey. He was also included in a recent documentary on American master Clyfford Still, which was aired at the New Clyfford Still Museum in Denver, where Komarin’s work was also acquired for their permanent collection.

“My paintings proceed without preconception. I paint to find out what it is that I am going to paint. I think of myself as a stagehand who sets up the conditions necessary for drama to unfold. The very best paintings are those that fail the most. Once a painting has achieved a life of its own- when it speaks back to you as a painter, this is a good place to be. My aim is for the paintings to paint themselves.” - Gary Komarin

"Komarin gets paintings that vibrate with historical memory, echoing such things such as Matisse's driest most empty pictures, Robert Motherwell's spare abstractions of the 1970's, or the early New Mexico and Berkeley paintings of Richard Diebenkorn." - Kenneth Baker, Art Critic, 2007

Unframed: Height: 38 inches, Width: 49.5 inches
Framed: Height: 40 inches, Width: 52 inches, Depth: 1 inch See less