Galerie Prints Paintings

‘PORTAL 1 ( PROSPERO) Abstract Oil and Acrylic on birch ply panel was exhibited at GALLERY46 show 'KNOCKING IT OUT OF THE PARK' - 5TH NOVEMBER – 12TH DECEMBER 2021 Sarah Pickstone's work is in the collections of The Royal Academy of Arts Societe Generale UK Art Collection Saatchi Collection The Walker Art Gallery National Museums of Liverpool The Mercer Art Gallery collection – Yorkshire Museums British School at Rome Teaching is an intrinsic part of Sarah Pickstone's practice and is currently 2019 – Mentor Turps Banana Painting...

The first time I heard the words “abstract expressionism” I was in New York, trying to grab another day of leave before the army shipped me overseas. At that time in 1952, while brow...

Shortly before Walt Esslinger died a few years ago, we talked in his small yellow painted studio in Bakersfield. Sixteen years my senior, he’d been my close friend, mentor and running mate since 1960. “You still writing?” he asked. “Yes,” I answered, taking in the space’s renovations he’d recently sub-contracted. Ninety one years old, and he was thinking ahead. “Do me a favor,” he said. “Write the Andy Warhol story.” Walt was a Central Valley guy, an L.A. guy, a Las Vegas guy. A man who knew his way around. “I want you to put on record what happened back then when I bought the soup can painting.” Back then was the fall of 1962. The two of us had been exhibiting our paintings in the L.A. Art Institute’s gallery for locals only. Walt had given legendary Ad Rhinehardt a story about how he and I had been working in both Edward Kienholz’s and John Altoon’s studios (false—we’d only been visiting). One morning, the Institute’s Director, who hadn’t suspected us to be charlatans yet, introduced us to a reed thin, tow headed young man leaning against the main gallery’s wall. “Meet Andy Warhola,” he said. “Andy is from New York.” “Warhol,” the boy/man said. “Painter?” Walt asked him. “Shoe Illustrator.” The director made a snorting noise I took to mean that Warhola or Warhol’s modesty was posed. He mentioned something about Andy having a show on the La Cienega strip of galleries. We exchanged mumbles about how the art world was in flux, nothing more than that, and Walt and I moved on. If this strange cat had anything to look at, we’d see it. It was a Monday, and La Cienega’s twenty some galleries would be opening new shows and serving champagne that evening. North La Cienega Avenue, laid over a network of oil veins decades before, had become the street for the Cool School, a group of artists and gallery people trying to bring Los Angeles’s art scene to life. The galleries were small but proud. Sure, Jazz was born on the Delta and raised in New Orleans, St, Luis and Chicago, but L.A. had fifty-three jazz joints according to Chet Baker, who’d blown with the best. Why then should the West Coast be lagging behind New York in the other truly American expression, abstract art? At the Ferus Gallery that night we found Warhol’s exhibit. “Shit,” I said. Walt grinned. “You no like?” “Not exactly my can of soup,” I said, peeking into the small space, loaded now wall to wall with paintings of Campbell’s Tomato Soup. Walt stepped into the space. “How about the idea of it?” I made my way through spectators looking at once to be confused, amused, enthused and abused. When I came back to Walt he was still smiling. “Why didn’t he silk screen ‘em?” I asked. “That’s probably his next move,” Walt said. “You wanna stay?” Walt’s keen eyes cased the joint. “I see Irving Bloom over there,” he said. “Believe I’ll stick around and talk with him.” Bloom had been operating this popular gallery for some time now. “One hundred a month,” he’d told me. “It’s not like I’m getting rich.” I stood around for a bit, heard a fellow abstract expressionist I’d met tell a young lady who looked to be lost, “Okay that’s the soup. Come with me, baby, and I’ll show you the juice.” Two doors down I stopped at the Primus-Stuart Gallery. A group of people had gathered around a display of soup cans, stacked grocer’s pyramid style in the window. All Campbell’s. All Tomato. A sign leaning against the grouping stated: “Get the real thing. Thirty cents each.” That’s the way it was. Twenty-four galleries forming a gauntlet between La Cienega’s 300 block, all the way up to Barney’s Beanery at the corner of Santa Monica. Hollywood types dressed to the nines, Beats dressed for the times just gone. Champagne popping...

Steven Rehfeld's "The New York" is a 50" x 40" mixed media abstract that encapsulates the vibrant and frenetic energy of the city. The canvas bursts with a bold palette of sky blues,...

"Don't you ever give up Don't you ever lose faith Believe it's yours Already and forever Life gets easy Beauty of the Earth Enjoy this journey Being conscious of the birth" 'do ...

"Trust life Your life is everything Your passion serves the humanity It serves all of us" 'trust life' is a reminder that with resilience your life is about to change for the better, for good. Get ready to receive abundance of health, wealth, love and success in this lifetime, loving the way you live and surrendering to your glorious destiny. Emmi Granlund...

"Masquerade" 2024, 48" H x 60" W. Large-scale, multi-colored abstract painting consisting of acrylic, house paint, pencils, and oil pastels on canvas by Argentine-born artist Karina ...

This 20" x 30" contemporary abstract mixed media piece by Steven Rehfeld is a captivating exploration of form, color, and texture. The composition features a harmonious blend of soft pastel hues — calming blues, delicate pinks, and mellow yellows — juxtaposed against more assertive tones of deep magenta, vibrant orange, and charcoal gray. The painting showcases Rehfeld's signature style of blending geometric shapes, notably triangles and circles, with freer, more organic brushstrokes. The added depth is achieved through the inclusion of mixed media elements: fragments of paper with faint sketches, scribbles, and translucent overlays create a multidimensional visual experience. The smoky, sinuous black mark towards the center adds a hint of dynamism, while the layered application of paint and paper produces a tactile richness, making the piece an engaging visual journey. Steven is now one of the top emerging artists in the U.S. His works are groundbreaking, bold, and imbued with unflinching disregard for painting conventions. Many works are in collections and museums in the U.S. Steven is also part of the 'Outsiders' school of art, originating in France in the 19th century. Also known as the Naïve movement, and was comprised of people with no art training at all, who suddenly started to paint. Many of them are from very challenging backgrounds. All they had was talent that had never before been tapped. In no time this movement became a significant art phenomenon and spread all over the world. His work, however, has branched out past the movement and his use of earth elements renders a basic and raw interpretation of his message. Original, 1-of-1. Shown at the American Art Gallery, Carmel-By-The-Sea, California. Keywords: colorful, mixed media, contemporary, abstract, expressionism, blue, pink, yellow, magenta, orange, grey, Steven H...

"In A Mood" 2023, 72" H x 96" W. Large scale abstract painting consisting of acrylic, pencils, and oil pastels on canvas by Argentine-born artist Karina Gentinetta (featured in Elle ...

"No more waiting No more waiting No more Waiting There are other realms Where your dreams have Already happened Trust the timing of it all" 'no more waiting' is a tribute to tr...

"Untitled" 2019, 25" x 31" horizontal drawing on paper by Argentine-born artist Karina Gentinetta (featured in Elle Decor, the New York Times, Tradi...

Reuven Kadim (Mark Berman) Kadim, Israeli, born Philadelphia, Pennsylvania,USA, 1929-2014. Identified with geometric abstract art. Since 1985 worked with classical ancient Mediterranean imagery, and Since 1995 worked exclusively with computer on new versions of Islamic and fractal patterns. 1983 Curator of the 17th International Biennale of Sao Paulo, Brazil. 1961-72 Art Critic for "Jerusalem Post"; 1966-73 Art Critic for "Yedioth Ahronoth" newspaper. Lived and worked in Rehovot. Education 1948-49 Los Angeles City College, California, USA, Anthropology and Architectural Design 1954-56 New Bezalel School of Art, Jerusalem Teaching 1977-84 The Technion, Israel Institute of Technology, Haifa, Architecture, and Town Planning since 1979 Bezalel Academy of Art & Design, Jerusalem 1984 Sadna Workshop for Architecture and Design, Tel Aviv. Reuven Berman...