Tom Holland Presented to Enrique Liberman and Charles Yassky

TOM HOLLAND PRESENTED TO ENRIQUE LIBERMAN AND CHARLES YASSKY

Untitled, 1955 oil on canvas 48”x 72”

Untitled, 1961 oil on canvas 70”x 52” x 8”

Untitled, 1962 oil on canvas 70”x 76”

Bird, 1963 oil on canvas 72”x 48” x 20”

Untitled, 1964 tempura and elmers painting 28” x 22”

Bird, 1964 tempura and elmers painting 28” x 22”

Tree Over Bay, 1965 oil and acrylic 62” x 80”

Fat Blue Plane, 1965 ink and oil crayon 26”x 26”

Time and Time Again, 1965 oil on canvas 74.5”x 53”

Pond Series 4, 1965 epoxy on aluminum and fiberglass 42”x 72” x 2”

Double Fall, 1966 oil and acrylic on canvas 68” x 60”

Palm Springs, 1966 oil and acrylic on canvas 69” x 57”

Blue Fish, 1966 acrylic on canvas 65” x 60”

Blue Hangers, 1967 acrylic on canvas 87” x 57.5” x 8”

Malibu, 1968 epoxy on aluminum 88” x 36”

Berkeley Series, 1970 epoxy on fiberglass 80” x 95”

Berkeley Series, 1970 epoxy on fiberglass 42” x 98”

Berkeley Series, 1970 epoxy on fiberglass 22.75” x 45”

Vertical Berkeley Series, 1970 epoxy on fiberglass 96” x 48” x 1”

Knutson, 1972 epoxy on fiberglass 48” x 96” x 1”

Ayres, 1973 epoxy on fiberglass 80” x 13”

Untitled, 1973 epoxy on fiberglass painting 84”x 132”

Rule, 1973 epoxy on fiberglass 84”x 120”

Whitts, 1978 epoxy on aluminum 132”x 74” x 35”

Seago, 1979 epoxy on aluminum 71”x 48” x 27”

Neece, 1981 epoxy on aluminum 70”x 64” x 47”

Duval, 1982 epoxy on aluminum 66” x 40” x 26”

Clew, 1984 epoxy on aluminum and fiberglass 72” x 48” x 6.5”

Blue Still Life 1, 1985 epoxy on aluminum 64” x 71.5” x 5.5”

Orange Still Life, 1988 epoxy on aluminum and fiberglass 70”x 98”

Luc, 1988 epoxy with marble dust 13”x 12” x 1”

Bazzi, 1988 epoxy on aluminum 72”x 94” x 3”

Turnac III, 1990 epoxy on aluminum 32”x 74.5” x 27”

Pago, 1990 epoxy on aluminum 50”x 83.5”

Untitled, 1990 epoxy on aluminum 55”x 36” x 18”

Fucia, 1992 epoxy on aluminum 39” x 28” x 2”

Pope Valley #2, 1992 epoxy on aluminum 48”x 60”

Pope Valley Series #3, 1992 epoxy on aluminum 61”x 83”

Pond Series #13, 1993 epoxy on aluminum 30.5”x 24” x 3”

Pond Series #42, 1994 epoxy on aluminum 14.5”x 27” x 2”

Pond Series #46, 1994 epoxy on aluminum 46”x 35.5” x 3”

Pond Series #55, 1994 epoxy on aluminum 36”x 82.5”

Black Fish series, 1996 epoxy on aluminum 59” x 83”

Bug Series #73, 1996 epoxy on aluminum 147” x 192” x 48”

Black Fish Series #26, 1996 epoxy on aluminum 59” x 83”

Bug Series #15, 1997 epoxy on aluminum 44”x 32” x 14”

Pope Valley Moonlight #29, 1997 epoxy on fiberglass 24.5”x 21”

Vintage Flower, 1999 epoxy on aluminum and fiberglass 61”x 44” x 4”

Bug Series #66, 2000 epoxy on aluminum 51” x 67” x 2”

Pope Creek #30, 2001 epoxy on aluminum 38” x 50” x 14”

HB, 2002 epoxy on aluminum 24” x 18” x 1”

Lodger, 2002 epoxy on aluminum 34” x 15” x 14”

Pope Canyon #21, 2003 acrylic urethane on aluminum 77” x 26” x 26”

Pope Canyon #29, 2004 acrylic urethane on aluminum 47” x 14” x 12”

Siren I, 2005 epoxy on aluminum 28” x 33” x 20

Islands, 2007 epoxy on aluminum 36” x 70” x 1.5”

Invented Fish, 2009 epoxy on aluminum 18” x 29” x 13”

Summer Lizard, 2009 epoxy on aluminum 23” x 10” x 12”

Clay Hills Flatwater, 2012 epoxy on aluminum 37.5” x 48” x 2”

Pianimal #20, 2014 epoxy on aluminum 26” x 27” x15”

Untitled, 2014 watercolor on paper 29.2” x 21.75” x 2”

Untitled, 2014 watercolor on paper 29.2” x 21.75” x 2”

Spillway, 2015 epoxy on aluminum 98” x 30” x 24”

Falls II, 2015 epoxy on aluminum 54” x 27” x 2”

Pope Canyon #14, 2015 epoxy on aluminum 74” x 53” x 1”

Magpie, 2016 epoxy on aluminum 48” x 48”

Color Wash, 2016 epoxy on aluminum 87” x 48” x 1”

Tattler, 2016 epoxy on aluminum 87”x 38” x 3”

Edgewater, 2016 epoxy on aluminum 119”x 53” x 24”

Water Table, 2016 epoxy on aluminum 98” x 55” x 32”

Waxwing, 2017 epoxy on aluminum 48” x 39.5” x 3.5”

ABOUT TOM HOLLAND Tom Holland grew up in San Mateo, California, and attended San Mateo High School. Upon graduation he went to Willamette University in Salem, Oregon, where he was mentored by Mark Hatfield who was then the Dean of Men. When Hatfield entered politics, he hired Holland to drive him to campaigning locations. It was while waiting in the car during Hatfield’s public appearances that Holland began painting watercolors. Holland began to focus seriously on a career in painting while at Willamette, and he subsequently transferred to the University of California, Berkeley.

Although his early work was traditional oil on canvas, it was when Holland began to work with aluminum during his early years teaching at UCLA in Los Angeles that he really achieved critical acclaim. In the 70’s Holland began using materials that were light and strong but did not require a frame. Using fiberglass and aluminum, making pieces of color which hang on the wall like stiff tapestry, the thin edges allow Holland’s paintings to become a part of the space occupied. Using simple materials and a unique approach combining paint and sculpture, he cuts thin sheets of aluminum or fiberglass to build either a painting or free standing form. He rivets the cut pieces to a single sheet and then, after applying a white base coat, he uses epoxy paint to achieve the effects of depth, light, reflection and shadow. He works alone, without assistance, in his downtown Berkeley studio, as well as in his country studio. Holland considers the landscape and his attachment to the natural world to be the basis and constant inspiration for his long career of over 50 years as a California painter.

His work has been described as taking inspiration from Cubism, Futurism, and Constructivism, and he has been called one of California’s most important contemporary artists and was featured in Art in the San Francisco Bay Area, 1945–1980: An Illustrated History. His work has been labeled exhilarating and visually challenging, playing games and distorting the three dimensional space.

In addition to developing his own work, Holland has also served as a faculty member at the San Francisco Art Institute, UCLA, and UC Berkeley. He retired from teaching in order to paint full time in his downtown Berkeley studio. He frequently speaks about his work and his career to university classes, museum groups and arts clubs, collectors of contemporary art, art students and arts faculty. He also opens his studio to students, museum groups and collectors for visits and discussions upon request.

Beyond his larger sculptural pieces, Holland occasionally cuts and bends paper, fiberglass or aluminum to make small figures such as heads or animals which are playful exercises with color, form and materials. He contracts with a potter to make ceramic plates which he paints using images inspired by the landscape and has done a series of paintings often etching on thin copper sheets. His work was chosen by John Elderfield of the Museum of Modern Art in New York City for a show of work on paper which encouraged Holland to continue exercising this creative form. He works on marble, copper, paper, and clay and uses watercolor, acrylic urethane and ceramic glazes.

ABOUT BIVINS GALLERY With a concentration on modern, post-war, abstract expressionist, and contemporary art, Bivins Gallery showcases established, world-renowned, blue chip artists who were, and are major figures in seminally historic art movements. The gallery also represents highly select emerging artists, artists’ estates, and possesses an extraordinarily resourceful secondary market division.

At Bivins Gallery, cultural integration looms large as famous names of the 20th century share wall space with coveted new talent. The gallery boldly embraces juxtaposition in creating a direct dialogue amongst works of art from different generations and countries, keenly engaging the viewer.

The Gallery is deeply devoted to nurturing and enhancing its artists’ careers while producing inspi-rational shows and charitable events for a broad audience. It challenges viewers to better understand modern and contemporary art within its social and historical contexts.

To create the effluence and confluence of ideas and dialogue across the institutional spectrum, Bivins Gallery frequently collaborates with other galleries and curators from around the world. The Gallery also brings key educational programs, exclusive artists’ lectures, and relevant documentaries and films to Dallas.

Bivins Gallery is owned and managed by Karen and Michael Bivins, each with 30+ years of art world experience.

Located in the iconic Crescent complex in Uptown Dallas, the gallery is directly located across from the main entrance to the Hotel Crescent Court.

300 CRESCENT COURT SUITE 100 DALLAS, TEXAS 75201

BIVINSGALLERY.COM ART@BIVINSGALLERY.COM 214.272.2795