1990s Art

Vintage offset lithograph postcard published by Nouvelles Images SA Editeurs. Printed in France. Presented in a white wood frame with a 1-inch front profile and a 3/4-inch side profi...

Eye catching abstract mixed media painting blending vivid jewel tone colors by American artist Kismine Varner, 1990. Signed and dated lower right. Original artwork on paper displa...

BESSIE MAE is a hand drawn, limited edition lithograph/linocut by the African American artist JONATHAN GREEN printed in 10 colors using hand lithography techniques and linoleum cut o...

Lara Schnitger (b.1969). Pink Gin, 1999. Collage of cut vintage papers on illustration board, measures 10 x 14.25 inches. Measures 17.5 x 21.5 inches framed. Provenance: Anton Kern Gallery. Search terms: woman artist; Feminist artist: Feminist Lara Schnitger 1969 Born in Haarlem, Netherlands 1987-1991 Koninklijke Academie voor beeldende Kunsten, Den Haag 1991-1992 Academie Vyvarni Umeni, Prague 1992-1994 Ateliers ´63, Amsterdam 1999-2000 C.C.A., Kitakyushu, Japan Lives and works in Los Angeles and Amsterdam Solo Exhibitions 2018 Suffragette City, Frieze Live, Frieze Art Fair, Randall's Island, NY 2017 Don't Let The Boys Win, Galerie Gebr. Lehmann, Dresden, Germany Suffragette City, Kunsthaus Dresden, Germany Lundgren Gallery, Mallorca, Spain 2016 In Real Life: Lara Schnitger, Hammer Museum, Los Angeles, CA 2015 Suffragette City, FRAC Champagne-Ardenne, Rheims, France Suffragette City, Parcours, Art Basel, Lichthof Building, Basel, Switzerland 2014 PINK POP Festival, Bonnefantenmuseum Pavilion, Maastricht, Netherlands Stuart Shave/Modern Art, London, UK Never Alone, Anton Kern Gallery, New York, NY 2012 Lara Schnitger, Wilhelm Müller: Colored Fabrics, Galerie Gebr. Lehmann, Dresden, Germany Lara Schnitger & My Barbarian: The Butterfly’s Evil Spell, Anton Kern Gallery, New York, NY 2010 Damned Women, Modern Art, London, UK Two Masters and Her Vile Perfume, Sculpture Center, New York The Artist's Museum, Museum of Contemporary Art, Los Angeles 2009 Anton Kern Gallery, New York Dance Witches Dance (with My Barbarian), Luckman Fine Arts Complex, Cal State, Los Angeles 2008 Museum of Modern Art Arnhem, Holland, Netherlands Dance Witches Dance (with My Barbarian), Museum Het Domein, Sittard [cat.] Double Happiness, Galerie Gebr. Lehmann, Berlin 2007 Stuart Shave/Modern Art, London Anton Kern Gallery, New York 2005 My Other Car is a Broom, Magasin 3, Stockholm, Sweden traveling to Stroom den Haag, The Hague, The Netherlands [cat.] Anton Kern Gallery, New York [cat.] Blacks on Blondes, Triple Candie, New York 2004 Air 2 Paris, Paris 2003 Liesje Leerde Lotje lopen langs de lange Lindenlaan, Revalidatie Centum Friesland, Beesterswaag, Netherlands 2002 Civilized Special Zone, Lara Schnitger and Matthew Monahan, Chinese European Art Center, Xiamen Anton Kern Gallery, New York, NY 2001 Statements, Basel Art Fair, Basel Raum Aktuellekunst, Martin Janda Gallery, Vienna Project Room, Santa Monica Museum of Art, Santa Monica, CA 2000 Kunstwerke, Berlin Gozaimas, Lara Schnitger and Matthew Monahan, Bureau Amsterdam, Amsterdam 1999 Anton Kern Gallery, New York, NY Up & Co, New York, NY 1998 Hyper Space, Galerie Daniel Blau, Munich Basel Art Fair, Galerie Daniel Blau SpaceInvader, Vleeshal, Middelburg, Netherlands 1997 University of Buffalo Art Gallery, Buffalo, NY 1996 Anton Kern Gallery, New York, NY Group Exhibitions 2018 Other Walks, Other Lines, San Jose Museum of Art, San Jose, CA (opening November) Pussy, King of the Pirates, Maccarone, Los Angeles, CA “Do I contradict myself? Very well then I contradict myself. (I am large, I contain multitudes.), curated by Emmanuelle Lainé, FRAC Champagne-Ardenne, Reims, France bitch MATERial, Kunstquartier Bethanien, Berlin, Germany Reclaimed, Linda Pace Foundation, San Antonio, TX 2017 3. Berliner Herbstsalon, Maxim Gorki Theatre, Berlin, Germany Brightsiders, curated by Adam D. Miller, Verge Center for the Arts, Sacramento, CA Hope and Hazard: A Comedy of Eros, curated by Eric Fischl Hall Art Collection, Reading, VT Do Disturb, Palais de Tokyo, Paris, France 2016 Revolution in the Making: Abstract Sculpture by Women, 1947 – 2016, Hauser, Wirth & Schimmel, Los Angeles, CA [cat.] Reveal the Rats, The Pit, Los Angeles, CA 2015 NO MAN’S LAND: Women Artists from The Rubell Family Collection, Rubell Family Collection, Miami, FL Poor Art - Rich Legacy. Arte Povera and Parallel Practices 1968-2015, Museum of Contemporary Art, Oslo, Norway Beating around the bush Episode #4, Bonnefanten Museum, Maastricht, The Netherlands 2014 Beating around the bush Episode #2, Bonnefanten Museum, Maastricht, The Netherlands 2013 Girls Just Want to Have Funds, La Mama Gallery, New York, NY Paintings, Sculptures, Drawings and Mixed Media Artworks, The Rema Hort Mann Foundation, New York, NY 2012 My Barbarians Collaboration / Performance, Anton Kern Gallery, New York, NY More to Tell, Museum Het Domein, Sittard, Netherlands Chasm of the Supernova, Center for the Arts Eagle Rock, Los Angeles, CA Niki de Saint Phalle Tirs: Reloaded, Getty’s Pacific Standard Time Performance and Public Art Festival Without Hope, Without Fear, Mottahedan Projects, Al Quoz, Dubai, UAE The Butterflies Evil Spell, Anton Kern Gallery, New York, NY 2011 The Artist's Museum, Museum of Contemporary Art, Los Angeles Investigation of a Dog: Works from the FACE collections, Magasin 3 Konsthall, Stockholm, Sweden; La Maison Rouge, Paris, France 2010 Ordinary Madness, Carnegie Museum of Art, Pittsburgh, PA Investigation of a Dog: Works from the FACE collections, Ellipse Foundation, Cascais, Portugal; Deste Foundation, Athens, Greece; Fondazione Sandretto Re Rebaudengo, Turin, Italy 2009 Group Exhibition, Honor Fraser, Los Angeles Strike a Pose, Stephen Friedman Gallery, London Directions, A Palazzo Gallery, Brescia, Italy Double Dutch, Hudson Valley Center for Contemporary Art, Peekskill Investigations of a Dog, Fondazione Sandretto Re Rebaudengo, Turin (re)Visions:(di)Visions, Foster Gallery, University of Wisconsin, Eau Claire 2008 Sonsbeek Sculpture Exhibition, Arnhem Attribution problems, Johann König, Berlin Carried away, Museum Moderne Kunst, Arnhem, NL 2007 Read Me! Text In Art, Armory Art, Pasadena Unmonumental: The Object in the 21st century, New Museum, New York Wild West, Galerie Gebr. Lehmann, Berlin USA Today, Hermitage, St. Petersburg, Russia To Be Continued…, Magasin 3 Stockolm Konsthall, Stockholm, Sweden Frac des pays de la loire, Carquefou, France Don’t Let the Boys Win, Mills College Art Museum, Oakland Fantastic Politics, The National Museum of Contemporary Art, Oslo, Norway Eight Sculptors from Los Angeles, Sabine Knust, Munich Uneasy Angel/Imagine Los Angeles, Sprueth Magers, Munich 2006 Lara Schnitger, Lily Van Der Stoker, Sue Williams, Modern Art Inc., London Ridykeulous, Participant Inc., New York, NY La Retour de la Colonne Durutti, Gallery Isabella Bortolozzi, Berlin USA Today, The Saatchi Gallery, London Implosion, Anton Kern Gallery, New York The “F” word, Andy Warhol Museum, Pittsburgh, USA Red Eye: L.A. Artists from the Rubell Family Collection, Miami, FL 2005 THING New Sculpture from Los Angeles, Hammer Museum, Los Angeles, CA Both Ends Burning, David Kordansky Gallery, Los Angeles [cat.] Follow Me: A Fantasy, curated by Malik Gaines, Arena 1 Gallery, Santa Monica, CA Forms after David, Accademia di Belle Arti, Florence, Italy My Barbarian, Powerplant, Toronto, Canada 2004 Obsession, Galerie Diana Stigter, Amsterdam, NL M.B. The Mary Blair...

This vintage postcard, estate authorized and produced in 1998, features an iconic design by Keith Haring, showcasing his signature style and playful themes. Titled Fold 'n Please Car...

This large landscape oil painting by John Traynor captures a scene in New England. Cows are visible in front of a long picket fence, with a red barn and house behind the fence and lush green trees on either side and along the hills in the horizon. Fluffy, almost abstracted clouds sit above the hills, with a patch of blue skies shining through toward the top of the image. The painting is 48" x 72", and 58" x 82" framed. It is professionally framed in a classic, antiqued, gold leaf frame. It is signed by the artist in the bottom right-hand corner of the canvas, and is wired and ready to hang. John C. Traynor's painting style is reminiscent of some 19th century painters and the Dutch Masters. He uses his knowledge of light and color to create a certain mood in each of his works. The creation of atmosphere is an important element in Traynor's paintings. Painting outdoors, on location, is a prime source of inspiration and ideas for his landscapes. John travels extensively, painting the landscapes around him. John was born in 1961 and spent his early years in Chester and Mendham, New Jersey. His art studies began at Delbarton School in Morristown, New Jersey, and from there he furthered his education at Paier College of Art in New Haven, Connecticut. He studied figure painting at the Art Students League of New York, as a merit scholar, with Frank Mason. Traynor continued his studies in Vermont with Mr. Mason on landscape painting, drawing with Carroll N. Jones Jr. of Stowe, Vermont and sculpture with Brother Jerome Cox...

This reproduction silkscreen poster features Romare Bearden's vibrant work Early Carolina Morning, published by American Vision Gallery Inc. The piece has ...

Compelling and large scale neo-expressionist figurative painting by San Jose, California area artist Daniel David Fuentes (American, 20th century), Circa 1995. Unsigned. From a colle...

Oil on canvas realized by Pino Romanò (1934) in 1990s. Hand signed. Titled on rear. Excellent condition.

Signed lower right, 'Mark S' for Mark Shepherd (English, 20th century) and dated 1995. Titled on the original Royal Academy exhibition label, verso. This figural work by Shepherd wa...

16 x 20" vintage silver gelatin photograph, multiple exposure male nude. Titled, numbered, dated, and signed by Jack Mitchell on the recto. Comes directly from the Jack Mitchell Arch...

"River 2" Abstract Composition in Acrylic and Gold Leaf on Wood Panel Bold abstract composition by California artist Janet Trenchard (American, b. 1947). This piece is composed of layers of rich dark green, and soft yellow. There are accents of bronze-gold leaf that shimmer under direct light. Streaks and scrapes add dynamic movement to the compostition. Titled and signed on verso: River 2 Janet Trenchard No frame, but the edges are painted for frame-less display. Janet Trenchard (American, b. 1947) is an artist and poet from San Jose, California. Trenchard taught art in public high school for 12 years before retiring to pursue her own creative interests. An artist and writer, her paintings and assemblages have been exhibited in San Jose, Palo Alto, and San Francisco. Her poems and stories have been published in Porter Gulch...

Tracey Emin Every Bodies Been There (signed twice), 1998 Lithograph on paper Underneath that existing plate signature, Tracey Emin has, exceptionally hand signed and dated the work f...

Jean-Michel Basquiat (1960-1988) Crowned T-Rex, 1997 Lithograph Printed signature in the plate On paper 76 x 56 cm (c. 29.9 x 22 in) Published by Galerie Enrico Navarra Authentica...

Rare Limited Edition Serigraph of John Lennon's handwritten lyrics for the song "Revolution," first released on The "White Album" by the Beatles in 1968 This limited edition was r...

Signed lower right, "Maxon" for John Maxon (American, 20th century) and created circa 1995. Additionally titled, verso, 'White Flower'. Monotype with additional hand-painted detail. ...

Artist: James Rosenquist (1933-2017) Title: Katonah Muse Year: 1993 Medium: Lithograph in colors on wove paper Edition: A.P. 6/20; 100 Size: 27.75 x 21.25 inches Inscription: Signed ...

This exquisite lithograph by David Hockney (born 1937), titled Letter M, from the folio Hockney's Alphabet, Drawings by David Hockney, originates from the 1991 edition published by A...

Vintage blank postcard featuring Roy Lichtenstein’s White Brushstroke #1 from his iconic Brushstroke series. Published by VG Bild-Kunst, Bonn in 1992 and printed in Germany, this ear...

Mother and Daughter 1997 Signed and numbered, recto 8 color screenprint on paper (Edition of 100) 12 x 9 inches

An excellent original signed lithograph depicting the legendary Windsor Castle by HM King Charles III (b. 1948). “The third lithograph to be produced was the very dramatic Windsor C...

Vibrant fauvist landscape of redwood trees titled "Forest Wonder" by John Stenvall (American, 1907- 1998), 1993. Signed lower left corner. Presented in g...

This poster, part of a series by Andy Warhol for Chanel No. 5 features the sophisticated design of the bottle in the center of the image. Aiming for simplicity, the bottle is the foc...

David Hockney, 'M' from 'Hockney's Alphabet', 1991 Edition of 250 From the special edition of Hockney's Alphabet, published in 1991, and signed on the justification page by the art...

Glenny created beautiful miniature watercolors, mostly still life. This image of a bronze teapot with red onions is a unique work of art. Glenora Rich...

C F S I is an original hand drawn lithograph by the New York woman artist Marie Roberts printed using hand lithography techniques on archival Arches paper 100% acid free. C F S I portrays a Coney Island Sideshow Performance with several onlookers standing by the stage watching the show. C F S I is a skillfully expressed comic character figure drawing printed in black ink shaded with colored crayon line textures in shades of red, yellow and blue. C F S I is a very fine impression exemplifying the magic and artistic mastery of hand crafted lithography with its nuanced tusche brush strokes and pencil crayon line textures and shading. Print size - 29.5 x 21.25 in, unframed, excellent condition, hand signed in pencil by Marie Roberts, inscribed P P 2/2, Printers Proof aside from edition of 25, hand deckled print edges Image size - 26.25 x 18.25 in Year published - 1995 Edition size - 25 Marie Roberts, a Coney Island native is best known for her banners for the Coney Island Circus Sideshow...

John Baldessari's Paradise is a thought-provoking piece that plays with the concept of utopia and the viewer’s expectations of imagery. Known for his witty and conceptual approach, B...

Edition 25 Also available in 101 x 127 cm / 40 x 50 inch, Edition 10 Black and white portrait of the Italian actress Sophia Loren waring sunglasses and sits in a director's chair. ...

Amazing male bronze bust with a black patina. This work is the 6th from an edition of eight. Its creator, Igor Mitoraj, is a polish sculptor deeply rooted in the classical tradition....

Sunset at Grand Teton National Park - Plein Aire Landscape in Oil on Board Vibrant plein aire landscape by Thomas Bradshaw (American, b. 1972). This landscape was complete on site, ...

Bellissima colorata opera , stagno di ninfee Artista Italiana ANNA SOGNO

Rare Limited Edition Serigraph of John Lennon's handwritten lyrics for the song "Day Tripper" first released as a single by the Beatles in December, 1965...

Gregg Robinson, American (born 1948) "Cipher Bar 20" Oil on Canvasboard Panel. Artist signed, title and dated 1990 far right. Very minor rubbing to paint. Panel measures 15-1/4" H x ...

Fugue is an original hand drawn limited edition lithograph by the African American artist Hughie Lee-Smith printed using hand lithography techniques on archival Arches paper, 100% ac...

Ellsworth Kelly Blue Yellow Red (Gemini 1524), 1991 Lithograph on Rives BFK paper with blind stamps Signed and numbered 24/80 in graphite pencil; bears publisher's and artist's blind...

Fantasy, Japanese, limited edition lithograph, black, white, red, signed, titled Shinoda's works have been collected by public galleries and museums, including the Museum of Modern Art, Solomon R. Guggenheim Museum, Brooklyn Museum and Metropolitan Museum (all in New York City), the National Museum of Modern Art in Tokyo, the British Museum in London, the Art Institute of Chicago, Arthur M. Sackler Gallery of the Smithsonian in Washington, D.C., the Singapore Art Museum, the National Museum of Singapore, the Kröller-Müller Museum in Otterlo, Netherlands, the Albright–Knox Art Gallery in Buffalo, New York, the Cincinnati Art Museum, and the Yale University Art Gallery in New Haven, Connecticut. New York Times Obituary, March 3, 2021 by Margalit Fox, Alex Traub contributed reporting. Toko Shinoda, one of the foremost Japanese artists of the 20th century, whose work married the ancient serenity of calligraphy with the modernist urgency of Abstract Expressionism, died on Monday at a hospital in Tokyo. She was 107. Her death was announced by her gallerist in the United States. A painter and printmaker, Ms. Shinoda attained international renown at midcentury and remained sought after by major museums and galleries worldwide for more than five decades. Her work has been exhibited at, among other places, the Metropolitan Museum of Art and the Museum of Modern Art in New York; the Art Institute of Chicago; the British Museum; and the National Museum of Modern Art in Tokyo. Private collectors include the Japanese imperial family. Writing about a 1998 exhibition of Ms. Shinoda’s work at a London gallery, the British newspaper The Independent called it “elegant, minimal and very, very composed,” adding, “Her roots as a calligrapher are clear, as are her connections with American art of the 1950s, but she is quite obviously a major artist in her own right.” As a painter, Ms. Shinoda worked primarily in sumi ink, a solid form of ink, made from soot pressed into sticks, that has been used in Asia for centuries. Rubbed on a wet stone to release their pigment, the sticks yield a subtle ink that, because it is quickly imbibed by paper, is strikingly ephemeral. The sumi artist must make each brush stroke with all due deliberation, as the nature of the medium precludes the possibility of reworking even a single line. “The color of the ink which is produced by this method is a very delicate one,” Ms. Shinoda told The Business Times of Singapore in 2014. “It is thus necessary to finish one’s work very quickly. So the composition must be determined in my mind before I pick up the brush. Then, as they say, the painting just falls off the brush.” Ms. Shinoda painted almost entirely in gradations of black, with occasional sepias and filmy blues. The ink sticks she used had been made for the great sumi artists of the past, some as long as 500 years ago. Her line — fluid, elegant, impeccably placed — owed much to calligraphy. She had been rigorously trained in that discipline from the time she was a child, but she had begun to push against its confines when she was still very young. Deeply influenced by American Abstract Expressionists like Jackson Pollock, Mark Rothko and Robert Motherwell, whose work she encountered when she lived in New York in the late 1950s, Ms. Shinoda shunned representation. “If I have a definite idea, why paint it?,” she asked in an interview with United Press International in 1980. “It’s already understood and accepted. A stand of bamboo is more beautiful than a painting could be. Mount Fuji is more striking than any possible imitation.” Spare and quietly powerful, making abundant use of white space, Ms. Shinoda’s paintings are done on traditional Chinese and Japanese papers, or on backgrounds of gold, silver or platinum leaf. Often asymmetrical, they can overlay a stark geometric shape with the barest calligraphic strokes. The combined effect appears to catch and hold something evanescent — “as elusive as the memory of a pleasant scent or the movement of wind,” as she said in a 1996 interview. Ms. Shinoda’s work also included lithographs; three-dimensional pieces of wood and other materials; and murals in public spaces, including a series made for the Zojoji Temple in Tokyo. The fifth of seven children of a prosperous family, Ms. Shinoda was born on March 28, 1913, in Dalian, in Manchuria, where her father, Raijiro, managed a tobacco plant. Her mother, Joko, was a homemaker. The family returned to Japan when she was a baby, settling in Gifu, midway between Kyoto and Tokyo. One of her father’s uncles, a sculptor and calligrapher, had been an official seal carver to the Meiji emperor. He conveyed his love of art and poetry to Toko’s father, who in turn passed it to Toko. “My upbringing was a very traditional one, with relatives living with my parents,” she said in the U.P.I. interview. “In a scholarly atmosphere, I grew up knowing I wanted to make these things, to be an artist.” She began studying calligraphy at 6, learning, hour by hour, impeccable mastery over line. But by the time she was a teenager, she had begun to seek an artistic outlet that she felt calligraphy, with its centuries-old conventions, could not afford. “I got tired of it and decided to try my own style,” Ms. Shinoda told Time magazine in 1983. “My father always scolded me for being naughty and departing from the traditional way, but I had to do it.” Moving to Tokyo as a young adult, Ms. Shinoda became celebrated throughout Japan as one of the country’s finest living calligraphers, at the time a signal honor for a woman. She had her first solo show in 1940, at a Tokyo gallery. During World War II, when she forsook the city for the countryside near Mount Fuji, she earned her living as a calligrapher, but by the mid-1940s she had started experimenting with abstraction. In 1954 she began to achieve renown outside Japan with her inclusion in an exhibition of Japanese calligraphy at MoMA. In 1956, she traveled to New York. At the time, unmarried Japanese women could obtain only three-month visas for travel abroad, but through zealous renewals, Ms. Shinoda managed to remain for two years. She met many of the titans of Abstract Expressionism there, and she became captivated by their work. “When I was in New York in the ’50s, I was often included in activities with those artists, people like Mark Rothko, Jackson Pollock, Motherwell and so forth,” she said in a 1998 interview with The Business Times. “They were very generous people, and I was often invited to visit their studios, where we would share ideas and opinions on our work. It was a great experience being together with people who shared common feelings.” During this period, Ms. Shinoda’s work was sold in the United States by Betty Parsons, the New York dealer who represented Pollock, Rothko and many of their contemporaries. Returning to Japan, Ms. Shinoda began to fuse calligraphy and the Expressionist aesthetic in earnest. The result was, in the words of The Plain Dealer of Cleveland in 1997, “an art of elegant simplicity and high drama.” Among Ms. Shinoda’s many honors, she was depicted, in 2016, on a Japanese postage stamp. She is the only Japanese artist to be so honored during her lifetime. No immediate family members survive. When she was quite young and determined to pursue a life making art, Ms. Shinoda made the decision to forgo the path that seemed foreordained for women of her generation. “I never married and have no children,” she told The Japan Times in 2017. “And I suppose that it sounds strange to think that my paintings are in place of them — of course they are not the same thing at all. But I do say, when paintings that I have made years ago are brought back into my consciousness, it seems like an old friend, or even a part of me, has come back to see me.” Works of a Woman's Hand Toko Shinoda bases new abstractions on ancient calligraphy Down a winding side street in the Aoyama district, western Tokyo. into a chunky white apartment building, then up in an elevator small enough to make a handful of Western passengers friends or enemies for life. At the end of a hall on the fourth floor, to the right, stands a plain brown door. To be admitted is to go through the looking glass. Sayonara today. Hello (Konichiwa) yesterday and tomorrow. Toko Shinoda, 70, lives and works here. She can be, when she chooses, on e of Japans foremost calligraphers, master of an intricate manner of writing that traces its lines back some 3,000 years to ancient China. She is also an avant-garde artist of international renown, whose abstract paintings and lithographs rest in museums around the world. These diverse talents do not seem to belong in the same epoch. Yet they have somehow converged in this diminutive woman who appears in her tiny foyer, offering slippers and ritual bows of greeting. She looks like someone too proper to chip a teacup, never mind revolutionize an old and hallowed art form She wears a blue and white kimono of her own design. Its patterns, she explains, are from Edo, meaning the period of the Tokugawa shoguns, before her city was renamed Tokyo in 1868. Her black hair is pulled back from her face, which is virtually free of lines and wrinkles. except for the gold-rimmed spectacles perched low on her nose (this visionary is apparently nearsighted). Shinoda could have stepped directly from a 19th century Meji print. Her surroundings convey a similar sense of old aesthetics, a retreat in the midst of a modern, frenetic city. The noise of the heavy traffic on a nearby elevated highway sounds at this height like distant surf. delicate bamboo shades filter the daylight. The color arrangement is restful: low ceilings of exposed wood, off-white walls, pastel rugs of blue, green and gray. It all feels so quintessentially Japanese that Shinoda’s opening remarks come as a surprise. She points out (through a translator) that she was not born in Japan at all but in Darien, Manchuria. Her father had been posted there to manage a tobacco company under the aegis of the occupying Japanese forces, which seized the region from Russia in 1905. She says,”People born in foreign places are very free in their thinking, not restricted” But since her family went back to Japan in 1915, when she was two, she could hardly remember much about a liberated childhood? She answers,”I think that if my mother had remained in Japan, she would have been an ordinary Japanese housewife. Going to Manchuria, she was able to assert her own personality, and that left its mark on me.” Evidently so. She wears her obi low on the hips, masculine style. The Porcelain aloofness she displays in photographs shatters in person. Her speech is forceful, her expression animated and her laugh both throaty and infectious. The hand she brings to her mouth to cover her amusement (a traditional female gesture of modesty) does not stand a chance. Her father also made a strong impression on the fifth of his seven children:”He came from a very old family, and he was quite strict in some ways and quite liberal in others.” He owned one of the first three bicycles ever imported to Japan and tinkered with it constantly He also decided that his little daughter would undergo rigorous training in a procrustean antiquity. “I was forced to study from age six on to learn calligraphy,” Shinoda says, The young girl dutifully memorized and copied the accepted models. In one sense, her father had pushed her in a promising direction, one of the few professional fields in Japan open to females. Included among the ancient terms that had evolved around calligraphy was onnade, or woman's writing. Heresy lay ahead. By the time she was 15, she had already been through nine years of intensive discipline, “I got tired of it and decided to try my own style. My father always scolded me for being naughty and departing from the traditional way, but I had to do it.” She produces a brush and a piece of paper to demonstrate the nature of her rebellion. “This is kawa, the accepted calligraphic character for river,” she says, deftly sketching three short vertical strokes. “But I wanted to use more than three lines to show the force of the river.” Her brush flows across the white page, leaving a recognizable river behind, also flowing.” The simple kawa in the traditional language was not enough for me. I wanted to find a new symbol to express the word river.” Her conviction grew that ink could convey the ineffable, the feeling, "as she says, of wind blowing softly.” Another demonstration. She goes to the sliding wooden door of an anteroom and disappears in back of it; the only trace of her is a triangular swatch of the right sleeve of her kimono, which she has arranged for that purpose. A realization dawns. The task of this artist is to paint that three sided pattern so that the invisible woman attached to it will be manifest to all viewers. Gen, painted especially for TIME, shows Shinoda’s theory in practice. She calls the work “my conception of Japan in visual terms.” A dark swath at the left, punctuated by red, stands for history. In the center sits a Chinese character gen, which means in the present or actuality. A blank pattern at the right suggests an unknown future. Once out of school, Shinoda struck off on a path significantly at odds with her culture. She recognized marriage for what it could mean to her career (“a restriction”) and decided against it. There was a living to be earned by doing traditional calligraphy:she used her free time to paint her variations. In 1940 a Tokyo gallery exhibited her work. (Fourteen years would pass before she got a second show.)War came, and bad times for nearly everyone, including the aspiring artist , who retreated to a rural area near Mount Fuji and traded her kimonos for eggs. In 1954 Shinoda’s work was included in a group exhibit at New York City’s Museum of Modern Art. Two years later, she overcame bureaucratic obstacles to visit the U.S.. Unmarried Japanese women are allowed visas for only three months, patiently applying for two-month extensions, one at a time, Shinoda managed to travel the country for two years. She pulls out a scrapbook from this period. Leafing through it, she suddenly raises a hand and touches her cheek:”How young I looked!” An inspection is called for. The woman in the grainy, yellowing newspaper photograph could easily be the on e sitting in this room. Told this, she nods and smiles. No translation necessary. Her sojourn in the U.S. proved to be crucial in the recognition and development of Shinoda’s art. Celebrities such as actor Charles Laughton and John Lewis of the Modern Jazz Quartet bought her paintings and spread the good word. She also saw the works of the abstract expressionists, then the rage of the New York City art world, and realized that these Western artists, coming out of an utterly different tradition, were struggling toward the same goal that had obsessed her. Once she was back home, her work slowly made her famous. Although Shinoda has used many materials (fabric, stainless steel, ceramics, cement), brush and ink remain her principal means of expression. She had said, “As long as I am devoted to the creation of new forms, I can draw even with muddy water.” Fortunately, she does not have to. She points with evident pride to her ink stone, a velvety black slab of rock, with an indented basin, that is roughly a foot across and two feet long. It is more than 300 years old. Every working morning, Shinoda pours about a third of a pint of water into it, then selects an ink stick from her extensive collection, some dating back to China’s Ming dynasty. Pressing stick against stone, she begins rubbing. Slowly, the dried ink dissolves in the water and becomes ready for the brush. So two batches of sumi (India ink) are exactly alike; something old, something new. She uses color sparingly. Her clear preference is black and all its gradations. “In some paintings, sumi expresses blue better than blue.” It is time to go downstairs to the living quarters. A niece, divorced and her daughter,10,stay here with Shinoda; the artist who felt forced to renounce family and domesticity at the outset of her career seems welcome to it now. Sake is offered, poured into small cedar boxes and happily accepted. Hold carefully. Drink from a corner. Ambrosial. And just right for the surroundings and the hostess. A conservative renegade; a liberal traditionalist; a woman steeped in the male-dominated conventions that she consistently opposed. Her trail blazing accomplishments are analogous to Picasso’s. When she says goodbye, she bows. --by Paul Gray...

This limited edition serigraph titled Westport, Massachusetts by renowned artist Gretchen Dow Simpson is a meticulously crafted piece that captures the serene and picturesque landsca...

Alan Cottrill (American, Ohio, b. 1952) Nude Female Torso, 1994 Bronze mounted to green marble base Signed, dated and numbered 14/20 verso of leg, with foundry stamp 17. in. h. x 6 i...

Valeri Farràs (L’Estany, 1950) Mediterranean Landscape with Path and Houses Medium: Oil on canvas Dimensions: 38 × 46 cm (approx. 15.0 × 18.1 in) Framing: Unframed Signature: Hand-...

SHARING THE CHORES is a hand drawn, limited edition lithograph by the acclaimed Charleston SC artist JONATHAN GREEN printed using hand lithography techniques on archival Arches paper...

Signed lower right, 'Sanzone' for Mario Sanzone (Italian, born 1946) and titled, 'Portofino'. Previously with: Zantman Art Galleries, Carmel, CA. A substantial oil on canvas showi...

Paper Size: 30 x 23.25 inches ( 76.2 x 59.055 cm ) Image Size: 30 x 23.25 inches ( 76.2 x 59.055 cm ) Framed: No Condition: A: Mint Additional Details: Shoes, 1980 by Andy Warhol, pr...

Museum quality painting of Sagg Pond in Sagaponack, New York by the well known American artist, Robert Dash. Longview of Sagg Pond, farmland, dunes and the Atlantic Ocean beyond. Signed lower right. Condition is very good. Overall framed in custom brown/black floating frame 61.5 by 74 inches. Born in downtown Manhattan in 1934 Robert Dash was home schooled for most of his young life due to ongoing illnesses. Never formally studying painting, he developed a strong interest in the abstract expressionists, particularly De Kooning, in college. He attended the University of New Mexico in Albuquerque, in part to escape the city. After college he spent a year in Italy and upon returning to New York City worked for Arts and then Art News, while painting at night. He had his first show in 1960. Since then, he has painted, written and gardened near Sagg Pond on eastern Long Island, at residence among the changeable celebration of plantings, paths, views and architectural expressions of Madoo, a much-admired garden conservatory of his own making. A longtime Hamptons...

Paper Size: 36.5 x 25 inches ( 92.71 x 63.5 cm ) Image Size: 29 x 25 inches ( 73.66 x 63.5 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional Det...

Abundant Harvest - Summer Fruit Still Life Vibrant still life of juicy, ripe fruit on a ceramic tile by Alzora Zaremba (American, b. 1943). Signed by the artist "Alzora 1991" in the...

Alejandro Colunga is a renowned Mexican artist born in 1948 in Guadalajara, Jalisco. He is part of the Nueva Mexicanidad movement and is celebrated for his surrealist and fantastical...

Jim Dine (American, b. 1935) Etching depicting Pinocchio Published by Enitharmon Press for Whitman College, London 1999 Hand signed in pencil lower right. Measures 9" x 7" sheet siz...

Trilogia Homage to Orazio Tanelli (Italian poet) Hand signed middle left and titled extensively and signed and dated verso. 1991 Dimensions: 30 X 24 inches. A painter and poet born ...

Robert Indiana Screenprint, The Book of Love 7, 1996, Pop Art, Framed Artist: Robert Indiana Title: The Book of Love 7 Medium: Serigraph Year: 1996 Edition: 3/14 Frame Size: 30" x 28...

Self taught outsider art by African American artist from New Orleans with work in major museum and private collections. White created a bold c...

Bold and graphic orange abstract monotype by American artist Kismine Varner, circa 1990. Signed lower right. Original artwork on paper displayed on ...

Silkscreen, 1994 Edition : 150 ex. 64.50 cm. x 50.00 cm. 25.39 in. x 19.69 in. (paper) 64.50 cm. x 50.00 cm. 25.39 in. x 19.69 in. (image) Handsigned by the artist in pencil Cer...

Colorado Winter Morning oil/canvas laid down to board signed LR dated 1996 verso image 12 x 15.75 unframed Bio Matt Smith was born in Kansas City, Missouri in 1960. At an early age ...

Rafael Duran Benet (1931-2015) - Fishing port - Oil on panel Measures work 53x75 cm. Frameless. Rafael Duran Benet (Terrassa, 1931 - Barcelona, 2015) is a Catalan painter, nephew of...

Manuel Velasco (Spain, 1966) 'S/T 1', 1991 silkscreen, collage on paper 27.6 x 19.7 in. (70 x 50 cm.) Edition of 50 Unframed ID: VEL1400-001-050 Hand-signed by author

"Church in Murnau" is a high-quality reproduction of an original painting by Wassily Kandinsky, one of the pioneers of abstract art. This reproduction is part of a limited edition of...

Armando Villagran (Mexican, 1945-1995) Untitled (Figure with Animal), 1991 Oil on canvas, signed and dated lower right Canvas: 55"h x 43.5"w, overall (with frame): 56"h x 44"w Born ...

This exhibition card was produced by Brooke Alexander Editions in connection with Series of Ten Woodcuts in Three Color States, associated with the work of Donald Judd. Published by...

Woman Waving - 1991 Abstract Expressionist Lithograph on Paper 1991 black and yellow abstract expressionist lithograph depicting a woman by Sidney Jonas Budnick (1921 - 1994). The w...

Capelán's work stands out for its rigorous handling of diverse artistic techniques and procedures, ranging from drawing to installation, including painting, printmaking, photography,...