GOOD VIBRATIONS HARD EDGE ABSTRACTION
WALTER ALLNER
German/American, 1909–2006
UNTITLED (#87) , 1960-1970
Acrylic on board
48 x 48 inches
Signed lower right and estate stamped verso
Cover, detail: RICHARD ANUSZKIEWICZ
American, 1930-2020
TRISECTED- YELLOW TO PINK , 1976
Acrylic on canvas
30 1/4 x 36 1/8 inches
Signed and dated verso
ILYA BOLOTOWSKY
Russian/American, 1907–1981
ORANGE, YELLOW AND BLUE TONDO , 1976
Acrylic on canvas
39 1/2 inches diameter
Signed, dated and titled on stretcher verso
OPENING COCKTAIL RECEPTION
Thursday, March 5, 2026
6–8 pm
7 pm Gallery Talk
RSVP: 432.687.1268 or info@bakerschorrfineart.com
Valet Parking
Village, 200 Spring Park Drive, Suite 105, Midland, Texas
Ally
ALEXANDER LIBERMAN
American, 1912-1999
UNTITLED , c. 1960
Acrylic on canvas
20 x 24 inches
Framed: 21 1⁄2 x 25 1⁄2 inches
Signed verso
“Geometry and color represent to me an idealized classical place that’s very clear and very pure.”
Richard Anuszkiewicz
GOOD VIBRATIONS HARD EDGE ABSTRACTION
March 5 - April 30, 2026
The term Hard Edge Abstraction originated with Californian art critic Jules Langsner, and was initially intended to title a 1959 exhibition of four West Coast artists - Karl Benjamin, John McLaughlin, Frederick Hammersley and Lorser Feitelson. The four artists became synonymous with the movement; their style referred to as California Hard Edge. Langsner ultimately titled the 1959 exhibition Four Abstract Classicists, as their work marked a classical turn away from the romanticism of Abstract Expressionism. Their paintings were distinguished by fields of clean-edged color which reinforced the flatness of the picture surface.
Turning away from painterly, gestural forms, Hard Edge or Geometric Abstraction is characterized by economy of expression, rich, delineated color, and the complete absence of brushstrokes. Hard Edge painters prioritize line, shape and color with keen interest in design and structure. Recalling the geometric abstraction of Piet Mondrian and Josef Albers, leading proponents of Hard Edge include Al Held, Ellsworth Kelly, Frank Stella and Kenneth Noland, among others.
Good Vibrations: Hard Edge Abstraction highlights the work of several of the California Hard Edge Group, including Benjamin, Feitelson, and his wife Helen Lundeberg, whose precise compositions and restricted palettes evoke the landscape and sometimes architectural elements. Additionally, the exhibition features stellar examples from the following artists associated with Hard Edge and Geometric Abstraction, including several from the Washington Color School:
Walter Allner
Richard Anuszkiewicz
Leon Berkowitz
Ilya Bolotowsky
Carlo Ciusi
Gene Davis
Harold Krisel
Alexander Liberman
Jay Rosenblum
Ludwig Sander
John Stephan
Fred Troller
George Vranesh
Larry Zox
Karl Benjamin noted his “fascination with the infinite range of expression inherent in color relationships.” This collection highlights the illimitable juxtaposition of color, clean edges and pure forms of Hard Edge and Geometric Abstraction.
Enjoy the Good Vibrations!
Russian/American, 1907–1981
WHITE DIAMOND , 1968
Oil on canvas
70 1/2 x 70 1/2 inches
Framed: 72 1/2 x 72 1/2 inches
Signed and dated bottom right
ILYA BOLOTOWSKY
American, 1920–1985
UNTITLED , 1981
Acrylic on canvas
70 x 93 inches
Estate stamp verso
GENE DAVIS
ROBERT GOODNOUGH
American, 1917-2010
RECTANGLES WITH RED AND BLUE , 1965
Oil and graphite on canvas
56 x 56 inches
Framed: 57 1/2 x 57 1/2 inches
Signed and dated lower right
American, 1925-2012
UNTITLED , 1957
Oil on canvas
30 x 40 inches
Initialed and dated lower left recto
©Estate of Karl Benjamin Photo: Gene Ogami
KARL BENJAMIN
LUDWIG SANDER
American, 1906–1975
PAWNEE XVII , 1974
Oil on canvas
40 x 44 inches
Signed, titled and dated verso
ILYA BOLOTOWSKY
Russian/American, 1907-1981
ABSTRACTION IN SQUARE , 1978
Oil on canvas
40 x 40 inches
Signed lower center; titled and dated 1978 verso
WALTER ALLNER
German/American, 1909–2006
UNTITLED (#29) , c. 1960-1970
Acrylic on board
24 x 24 inches
Signed lower right, estate stamped verso
ALLNER
German/American, 1909–2006
UNTITLED , 1960-1970
Acrylic on board
24 x 24 inches
Signed lower right, estate stamped verso
WALTER
HELEN LUNDEBERG
American, 1908-1999
OCEAN VIEW , 1970
Acrylic on canvas 20 x 20 inches
©The Feitelson/Lundeberg Art Foundation Photo: Gene Ogami
HELEN LUNDEBERG
American, 1908-1999
NAIAD , June, 1968
Acrylic on canvas
30 x 54 inches
Signed and dated verso
©The Feitelson/Lundeberg Art Foundation
Photo: Gene Ogami
HELEN LUNDEBERG
American, 1908-1999
NIGHT FLYING IN , 1984
Acrylic on canvas
38 x 72 inches
Signed and dated verso ©The Feitelson/Lundeberg Art Foundation
Photo: Gene Ogami
American, 1930–2020
UNTITLED, 1977
Acrylic on masonite
84 x 48 inches
Signed and dated verso
American, 1937-2006
P.A. , 1964
Acrylic on canvas
66 x 72 inches
Signed, dated, and titled on stretcher bar verso
LARRY ZOX
RICHARD ANUSZKIEWICZ
LORSER FEITELSON
American, 1898 - 1978
MAGICAL SPACE FORMS , 1952-54
Oil on canvas
45 x 66 inches
Signed upper left and lower right recto
©The Feitelson/Lundeberg Art Foundation Photo: Gene Ogami
LEON BERKOWITZ
American, 1911–1987
CATHEDRAL #23 , 1968
Oil on canvas
90 x 72 inches
RICHARD ANUSZKIEWICZ
American, 1930–2020
SUMMER ROSE, 1977–2015
Acrylic on canvas
24 3/8 x 24 3/8 inches
Framed: 26 1/5 x 26 1/2 inches
Signed and dated verso
JOHN STEPHAN American, 1906–1995
DISC #6 , 1969
Acrylic on canvas
74 x 78 inches
Signed, dated and estate stamped verso
KARL BENJAMIN
American, 1925-2012
#3 , 1992
Oil on canvas
48 x 48 inches
Titled and dated upper left verso
©Estate of Karl Benjamin Photo: Gerard Vuilleumier
Back cover, detail: ALEXANDER LIBERMAN
American, 1912–1999
ALPHA III , 1961
Acrylic on canvas
81 x 61 inches
Signed verso
