Jean Feinberg

"Stack-Up" Abstract Goemetric Modern Oil on Wood Mixed Media Bright Blue Aqua

2017

Rip/Tear, 2017, Oil on Painted Plywood, 12 x 12 x 1 Inches. This painting is currently on view in a one-person exhibition of the artist's works at the Beth Urdang Gallery in Boston. ...

"Later that Evening," Flashe on Canvas, 72 x 60 Inches, A highly sophisticated series of large and small paintings, drawings and monoprints by Margo Margolis, NY artist who recently...

Begging Blue, 2015, Oil on Found Wood, 11 x 13 Inches. Jean Feinberg is a NY based artist whose works on paper (handmade paper, gouache, and collage) are closely linked to her uniqu...

Black Unsquared, 2017, Oil and Gesso on Plywood, 12 x 12 Inches. Currently on view in a one-person exhibition of the artist's work at Beth Urdang Gallery in Boston through May 6. ...

Tilt, 2017, Oil on Painted Plywood, 12 x 12 x 1 Inches. This painting is currently on view in a one-person exhibition of the artist's works at the Beth Urdang Gallery in Boston. Jea...

Periscope, 2017, Oil on Wood, 12 x 12 Inches. This painting is currently on view in a one-person exhibition of the artist's works in the Beth Urdang Gallery in Boston. Jean Feinber...

Johnnie Winona Ross Deep Creek Seeps 10, 2007 Oil paint on acrylic base burnished on Belgian linen Signed twice, dated and titled on the verso; also bears the original Stephen Haller Gallery label\ Canvas is stretched against wooden backing but no outer frame This work was originally sold by the Stephen Haller Gallery which hosted several critically acclaimed, sell-out shows of New Mexico resident Johniie Winona Ross, whose exquisite Minimalist aesthetic really took hold with collectors. The debt to famous New Mexico resident and Minimalist goddess Agnes Martin is obvious, but Winona Ross has a disctinctive style and technique of his own. The process of creating this work was laborious: Ross typically applies as many as 90-100 layers of paint to each canvas, then scrapes the surface with a straight-edged razor to reveal the many layers (and their chronology), and finally burnishing the surface with a Pueblo pottery stone to achieve a soft gloss. Maureen Mullarkey of Studio Matters wrote in 2010: THE LOVELINESS OF JOHNNIE WINONA ROSS' paintings elude translation into either reproduction or verbal description. In 2011, ArtDaily published this announcement from Stephen Haller, publicizing a later exhibition: "Washington Post critic Stephen Parks characterized Ross’s work in this way: “From a distance his canvases appear to be simple, minimal constructions of horizontal stripes with hints of vertical color in the background. Up close the paintings are seen to be extraordinarily beautiful and complex objects that induce a humming meditative state.” Ross grounds his work in the inspiration of the desert of the American Southwest, and borrows techniques from ancient Native American sources, melding them with a distinctly sophisticated and utterly contemporary vision. His use of the Native American technique of burnishing pigment and minerals with a potter’s stone to create a hard surface with a visually warm sheen creates an effect reminiscent of the softening of marble steps...

This recent body of work is informed by my continuing research into the physical and metaphorical nature of archaeological artefacts and votive objects, allied to the referencing of the symbolic forms and materiality of alchemy. Central to this practical investigation has been the use of ‘gold’, and the qualities that the material, with its obvious chromatic and symbolic values, seems to possess. This has driven both the conceptual and pragmatic concerns within the evolution of this work. Gold is an alluring and complex symbol of many, often conflicting meanings, avarice, greed, wealth but also of purity and celebration, and has been used as the adornment of spiritual and religious iconography as a devotional act for millennia. The titles refer to connections I have made with the forms themselves, often when making a painting a word will emerge which acts as a form of poetic catalyst. ‘Parsival’ or Percivale/Peredur was the knight questing for the holy grail...

LE BohemianMuse is an accomplished first-generation Ghanaian-American artist, whose work is informed by her formal education in art and theater at Loyola Marymount University and the British American Drama Academy in Oxford, England. Her paintings invite the viewer to explore new worlds through storytelling, using vivid and vibrant colors, expertly executed textures, and subtle nuances to convey a rich depth of emotion and meaning. This one-of-a-kind 18-inch square acrylic and mixed media painting is wired and ready to hang. It is painted on the sides and does not require framing. The painting is signed on the back. Convenient local Los Angeles area shipping. Affordable Continental U.S. and international shipping are also available. This artwork comes with a certificate of authenticity issued by the art gallery. Pushing against social convention, abstract artist LE BohemianMuse creates multifaceted artworks which challenge her artistic impulses. Each artwork reflects a story of defiance with a subtle vulnerability through the exposed layers and visible stages of creation. As a self-proclaimed colorist, BohemianMuse works against creative stagnation by placing a focus on textural elements which act as a source of detail, energy, and complexity in place of obvious colors. REPRESENTATION: Artspace Warehouse, Los Angeles, USA EXHIBITIONS 2023 “Unquestionable Abstraction”, Artspace Warehouse, Los Angeles, CA 2022 “Saturated Euphoria”, Artspace Warehouse, Los Angeles, CA “The Framework of Texture”, Artspace Warehouse, Los Angeles, CA 2021 San Francisco Hearts...

Swedish artist Jonas Fisch’s imagery is vibrantly buzzing with colorful commentary on society - past and present - morphed into figures, words, and shapes. His heavily layered canvas...

Artist Len Klikunas paints to modify experienced reality through visual perception. His art is a mix of art and architecture, hovering between painting and sculpture. It employs shizen (自然): the Japanese concept of naturalness, absence of pretense, or artificiality. Material is stretched over a supporting three-dimensional framework, like a tent, and coated with paint. This multi-dimensional 18-inch square, 3.25-inch deep post-minimalist artwork is wired and ready to hang. It is created with white acrylic and black spray paint on canvas, stretched over a three-dimensional wooden form. The sides of this artwork are finished by the artist as a continuation of the front, and it does not require framing. The artist signs and titles the artwork on the back. Convenient delivery is available for those in the local Los Angeles area, and affordable worldwide shipping is available for US and international art collectors. A certificate of authenticity issued by the gallery is included. Klikunas focuses on the larger idea behind his original abstract minimalist artworks. The work is characterized by “mindful artlessness” and simplicity. The natural-like radiation that comes from the structure of the materials and color schemes expresses calmness. With a fusion of art and architecture, Klikunas presents compositions that defy conventional perceptions. Through strategic placement and a rich color palette, he creates three-dimensional structures that engage viewers in a captivating visual experience. Len Klikunas' sculptural minimalist works are represented by Artspace Warehouse Los Angeles. They have been exhibited and collected throughout the world. REPRESENTATION Artspace Warehouse, Los Angeles, USA SOLO EXHIBITIONS 2018 Lacy Lines, The District, Boise, Idaho Horizons, Landscapes, The District, Boise, Idaho 2013 Block in the Void, The District, Boise, Idaho 2012 Back of the Light, The District, Boise, Idaho 1979 Nudes by Klikunas, Courtyard Gallery, Portland, Oregon 1976 Solar Votives, Clackamas College Gallery, Oregon City, Oregon SELECT GROUP EXHIBITIONS 2023 “Fluro Colour Forever”, Civic Center, Nampa, ID 2022 “Lines In Motion”, Artspace Warehouse, Los Angeles, CA 2020 Midnight Blue, Artspace Warehouse, Los Angeles, CA Reflections and Shadows, Meridian Library, ID Behind the Red Door, Initial Point Gallery, ID 2019 Affordable Art Fair, New York, NY Roots, Nampa Civic Center, Nampa, ID Binary Response, Artspace Warehouse, Los Angeles, CA After Dark: A Duality, Nampa Civic Center, Nampa, ID 2018 Affordable Art Fair, New York, NY Artspace Warehouse, Los Angeles, CA Art Palm Springs, CA 2017 Artspace Warehouse, Los Angeles, CA 2016 6 by Six, Art Source Gallery, Boise, Idaho (juried) This American Life, Treasure Valley Artists Alliance, Boise, Idaho (juried) Celebrating Private Idaho, Treasure Valley Artists Alliance, Boise, Idaho (juried) Inner Workings, Surel's Place, Winston C. Mitchell and Surel L. Mitchell Family Foundation honorarium, Garden City, Idaho (juried) 2015 Hunting and Gathering Exhibition, Treasure Valley Artists Alliance, Boise, Idaho (juried) Artspace Warehouse, Los Angeles, California 2nd 2015 Showcase Competition, winner, Artslant Bellingham National Salon des Refusés, Whatcom Museum, Bellingham, Washington 2011 Elon University Gallery, Elon, North Carolina 2010 Idaho Triennial, Boise Art Museum, Boise, Idaho 1987 La Quinta Juried Art Festival, La Quinta, California 1984 Courtyard Gallery, Portland, Oregon 1983 Courtyard Gallery, Portland, Oregon 1982 Courtyard Gallery, Portland, Oregon 1981 Courtyard Gallery, Portland, Oregon 1980 Salon de Refuses, Portland Center for the Visual Arts (PCVA), Portland, Oregon Courtyard Gallery, Portland, Oregon 1979 Courtyard Gallery, Portland, Oregon 1978 Artists of Oregon, Portland Art Museum, Portland, Oregon (juror: Wayne Thiebaud) Courtyard Gallery, Portland, Oregon Gazebo Gallery, Lake Oswego, Oregon 1977-1974 Courtyard Gallery, Portland, Oregon Gazebo Gallery, Lake Oswego, Oregon PUBLICATIONS 2010 ArtDaily, Feb 5–May 25, 2010 2010 Boise Weekly Vol. 19 Issue 15, Oct 6–12, 2010 2010 Sustain + Expand, Boise Art Museum, Boise, Idaho 2010 Idaho Statesman, Boise, Idaho, Taking the Pulse of Idaho’s Art...

Swedish artist Jonas Fisch’s imagery is vibrantly buzzing with colorful commentary on society - past and present - morphed into figures, words, and shapes. His heavily layered canvas...