Luciana Levinton

Untitled (Athos Bulcao II)

Oil on vintage architecture magazine paper

Oil on vintage architecture magazine paper

Oil on vintage architecture magazine paper

Oil on vintage architecture magazine paper

Oil on vintage architecture magazine paper

Laocoonte, 2013 Mixed Media on board 39.40h x 19.70w in Julio Alan Lepez graduated from the National School of Arts Prilidiano Pueyrredón in 1997. He has been the subject of solo and group exhibitions internationally, including at Museo Municipal de Arte in La Plata, Argentina, Centro Cultural de España in Mexico City, Centro Cultural Recoletta in Buenos Aires, Artemisa Gallery...

Hermits is a tridimensional original painting on paper on branches depicting a woman next to a giant butterfly along a path in a dark night. keywords; butterfly, woman, lingerie, americana...

In the hands of Yeji Moon, ordinary materials are transformed into beautiful and complex collages that powerfully recall childhood nostalgia and the rapidly ...

History Maps by Maria Pierides [2020] Original Oil, oil stick collage, pastel and wax on cradled panel Image size: H:20 cm x W:20 cm Complete Size of Un...

"Uniformly Coordinated Tectonic Preferences IV," by Kati Vilim is a blue and magenta scale abstract geometric, non-objective, oil painting on canvas over wo...

"Interplay" by Steven Rehfeld is a compelling 25" x 25" contemporary abstract mixed media work, embodying the intricate dance between structure and spontaneity. The canvas is a vivid...

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...