Jonathan Novak Contemporary Art Blog

Current Sam Francis Exhibition

2011-11-15T12:23:00.000-08:00

Click through to view the -> available Sam Francis paintings on exhibit now.

Pacific Standard Time

2011-11-01T12:25:00.000-07:00

Pacific Standard Time is an unprecedented collaboration of cultural institutions across Southern California coming together to celebrate the birth of the L.A. art scene. Beginning October 2011, over 60 cultural institutions will make their contributions to this region-wide initiative encompassing every major L.A. art movement from 1945 to 1980. Celebrate the era that continues to inspire the world.

Jonathan Novak Contemporary Art is proud to celebrate Pacific Standard Time.

Our New Gallery Space

2011-10-01T12:41:00.000-07:00

Make an appointment to come see us today. 310-277-4997

A Tour of Our Booth at the LA Art Show

2011-02-04T15:43:00.000-08:00

Thank you for visiting us at The LA Art Show & making it so successful.

2011-01-27T11:40:00.000-08:00

Will You Be At The LA Art Show?

2011-01-14T13:57:00.000-08:00

... we will. Booth C101 {click the image for more info}

2010-12-24T13:18:00.000-08:00

Sam Francis at Martin Katz in Beverly Hills

2010-12-07T12:17:00.001-08:00

On a recent episode of Giuliana and Bill on the Style Network, Bill stopped by Martin Katz, Ltd. in Beverly Hills to replace Giuliana's wedding band. Hanging in the foyer is a beautiful Sam Francis acrylic on paper from the early 70's which Martin acquired from Jonathan Novak Contemporary Art.

Here's a closer look along with the details of the work on paper.

Sam Francis
Untitled (SF71-1006), 1971
Acrylic on paper
29-1/2" x 40-1/8"

Click Here to see more works by Sam Francis

Jim Dine : Five Summer DiptychsNew Heart Paintings

2010-10-10T13:50:00.000-07:00

On View Until November 30, 2010

Click Here for more ->>

Art Aspen Mock Booth

2010-08-13T16:12:00.000-07:00

Join Us @ Art Aspen 2010

2010-08-06T10:46:00.000-07:00

Thank you for visiting us at Art Chicago 2010 & making it so successful.

2010-04-27T11:28:00.000-07:00

Join Us @ Art Chicago 2010

2010-04-16T12:03:00.001-07:00

Don Jacot ~ Photorealist ~ Art & Bio

2009-11-06T14:03:00.000-08:00

American Photorealist artist, Don Jacot (1949 - ), states "I identify myself with Photorealism, an art movement some thirty years into its development, but with historical precedents in the origins of optics and photography. Though I have done purely realist paintings, I prefer the clarity and dependability of photo information, especially for landscapes."

Don Jacot (1949 - )

The artist, Don Jacot expresses "I identify myself with Photorealism, an art movement some thirty years into its development, but with historical precedents in the origins of optics and photography. Though I have done purely realist paintings, I prefer the clarity and dependability of photo information, especially for landscapes. Working from my own photos but not a slave to them, I feel free to alter perspective, color, the shapes and positions of objects, buildings, etc, in a painting, or to combine elements from sets of photos. I often compose images, which no camera could take. The possibilities are endless, and new artistic developments will probably parallel progress in photography, optics, and computers."

Jacot began drawing in Detroit, Michigan, in 1981 for recreation, using charcoal on paper to interpret photographs of works by famous masters, such as Charles Sheeler and Walker Evans. He took basic drawing classes at Wayne State University and is essentially self-taught. In 1983 he began to seriously pursue art as a full-time career while performing part-time work as a physician's assistant.

Jacot works in acrylics, oils, gouache, watercolor, and charcoal, but concentrates on oil painting. He works with regular artists' brushes and rarely uses an airbrush for touches in a few paintings. Influenced by Social Realism, his urban landscape includes commonplace subjects and aging structures and portrays their "pathos and dignity." Recently he has taken a different approach to the urban environment or the culture in general, and has focused in on the shop window as a motif for a series of paintings. "There I found unusual and complex arrays of consumer items, toys, etc, old and new, mundane or exotic, but always interesting and beautiful to me. I have edited things out of store window settings and then inserted the objects I wanted to see. Sometimes I have fabricated whole images of window displays. My next step is narrowing the frame of reference furtherdown to close-up views of groups of objects, appliances, etc, still within a store window context. By complement and by contrast I combine things from different eras, objects with similar functions or with nostalgic, humorous, or symbolic value, and thereby reflect the culture around me. Beyond that I want to share my fascination with the forms of the things themselves, their colors and surfaces, and their appearances under different lighting, angles, or lens lengths" Jacot explains.

1949 Born Chicago, IL
1971 B.A., University of Illinois Champaign, IL
1977 B.S., Mercy College of Detroit Detroit, MI

Selected Exhibitions
2003 Iperrealisti, Chiostro Del Bramante, Rome, Italy
2002 Urban Landscapes, Louis K. Meisel Gallery, New York, NY
2001 Near and Far, Louis K. Meisel Gallery, New York, NY
1999 Louis K. Meisel Gallery, New York, NY
1999 See the USA, National Building Museum, Washington, D.C.
1998 Photorealism, Jaffe Baker Gallery, Boca Raton, FL
1997 The New Photorealists, Louis K. Meisel Gallery, New York, NY
1996 New Work, Xochipilli Gallery, Birmingham, MI
1996 Attention to Detail (Realism in All Forms), Louis K. Meisel Gallery, New York, NY
1995-96 The Chair: Deconstructed/Reconstructed, The Sybaris Gallery Royal Oak, MI
1995 The Chair: Deconstructed/Reconstructed, Louis K. Meisel Gallery New York, NY
1995 The Chair: Deconstructed/Reconstructed, Xochipilli Gallery Birmingham, MI
1994 An American Vision: Photorealism Paintings, Margulies Taplin Gallery, Boca Raton, FL
1993 Really, Real, Realism Show, Jack Wright Gallery, Palm Beach, FL
1992 Photorealism for Nashville Collections, Cheekwood Fine Arts Center Nashville, TN
1992 The Mailbox Show, The Archives of American Art, Smithsonian Inst. Detroit, MI
1991 The Mailbox Show, Louis K. Meisel Gallery, New York, NY
1990 Don Jacot-El Structures, Xochipilli Gallery Birmingham, MI
1988 Detroit Landscapes, Xochipilli Gallery Birmingham, MI
1985 Urban Realism, Xochipilli Gallery Birmingham, MI

Helen Frankenthaler : Tales of GenjiInspired by Murasaki Shikibu's classic narrative work & the Japanese Ukiyo-e tradition

2009-08-28T13:36:00.000-07:00

American painter and printmaker, Helen Frankenthaler (1928-) returned to the oldest form of printmaking, woodcut, to create her famous series of prints, Tales of Genji. Appropriately for the series title, Frankenthaler, chose a romance about the passionate meanderings of an emperor's son in Heiam Japan, a unique tribute to what many consider to be the world's first novel. The Tales of Genji, written by a court lady known as Murasaki Shikibu in the 11th century, has inspired innumerable ukiyo-e woodcuts since it was written. However, these prints have distinctly stepped outside the ukiyo-e tradition and beyond what Frankenthaler has already achieve in her past woodblock editions.

Tales of Genji I, 1998
Thirty-three color woodcut from 11 woodblocks on light sienna TGL handmade paper
42" x 47"
Edition of 30, 12 Artist Proofs

Tales of Genji II, 1998
Forty-one-color woodcut from 14 woodblocks on pale orange TGL handmade paper
47" x 42"
Edition of 35, 12 Artist Proofs

Tales of Genji III, 1998
Fifty-three color woodcut from 18 woodblocks and 2 stencils on gray TGL handmade paper
47" x 42"
Edition of 36, 14 Artist's proofs

Helen Frankenthaler
Tales of Genji IV, 1998
Collage
47" x 42"
Edition of 30, 12 Artist Proofs

Tales of Genji V, 1998
Forty-eight color woodcut from 21 woodblocks and one stencil on rust TGL handmade paper
42" x 47"
Edition of 36, 14 Artist Proofs

Tales of Genji VI, 1998
Thirty-five color woodcut from 14 woodblocks and one stencil on tan TGL handmade paper
47" x 42"
Edition of 35, 14 Artist Proofs

* Frankenthaler: The Woodcuts (Helen Frankenthaler) (Hardcover)
by Judith Goldman (Author), Myra Janco Daniels (Author), Suzanne Boorsch (Author)

* Some images taken from Against the Grain : Helen Frankenthaler Woodcuts

* Some text taken from "Notes on Tales of Geji" by Kenneth E. Tyler of Tyler Graphics, LTD, New York

Wayne Thiebaud: Candy: Suckers

2009-08-14T14:23:00.000-07:00

"Suckers" (from the Delights portfolio) Etching 1964

"Large Sucker" Color Lithograph 1971

"Big Suckers" Aquatint 1971

"Black Suckers" Aquatint 1971

Woman Attacks Mona Lisa

2009-08-13T10:56:00.000-07:00

A Russian tourist sparked a security alert when she threw a mug at the Mona Lisa, the world's best-known painting, officials at Louvre Museum in Paris have revealed.

Screams erupted from the 40-odd tourists jostling for position around Leonardo da Vinci's enigmatic painted lady when the empty terracotta mug flew over their heads and smashed into the portrait.
The Russian woman is thought to have bought it minutes earlier at the museum gift shop.

However, the Mona Lisa's enigmatic smile was unaffected by the commotion, as the mug bounced harmlessly off the bullet-proof glass shielding her and shattered on the floor, according to the team of staff paid to guard her.

"There was no damage done to the painting whatsoever," a museum official told Le Parisien.

"Naturally the Mona Lisa is a carefully watched and protected painting. It is kept in a special sealed box to protect it from vibrations, heat and humidity. It is protected by thick glass resistant to bullets and any other object hurled at it," he said.

The woman was seized by two museum security guards and handed over to central Paris police after the incident on August 2.

The remaining tourists were then left in peace to gaze at the work, viewed by 8.5 million people each year.

The Russian is being held in custody and has reportedly undergone a psychological examination.

Doctors were trying to assess whether she was suffering from Stendhal Syndrome, a rare condition in which often perfectly sane individuals momentarily lose all reason and attack a work of art.

In July last year, a 32-year-old woman wearing lipstick kissed a painting by the American artist Cy Twombly on display in Avignon, leaving left a large red smudge. She was sentenced to community work.

At the Orsay Museum in Paris the previous year, a man ripped a hole in a painting by impressionist Claude Monet.

The last attack on a work of art at the Louvre was in 1998, when a mathematics professor and calm family man suddenly attacked a statue of the Roman philosopher Seneca with a hammer.

The Mona Lisa is the only painting ever to have been stolen from the Louvre, in 1911, and then recovered.

In 1956, it was damaged when a vandal threw acid over it while it was on display at a museum in Montauban, in France.

The same year, a Bolivian man threw a rock at the painting, damaging paintwork below the Mona Lisa's left elbow.

The painting belongs to the French state.

By Henry Samuel in Paris
Published: 12:11PM BST 11 Aug 2009
Source: Telegraph.co.uk
images via Wikipedia

John Baeder Paintings & Biography

2009-08-07T14:50:00.000-07:00

John Baeder (1938 - )

Baeder, born in South Bend, Ind., 1938, studied at Auburn University in Alabama. His subjects have been almost exclusively isolated roadside diners and eateries. That an artist can concentrate so masterfully on one theme enticed Abrahms to publish “Diners by John Baeder” in 1978.

John Baeder’s calculated and nostalgic renderings of “classic Americana” theme diners have brought him great appeal and success. As Gerrit Henry commented in “Super Realism: A Critical Anthology” (Dutton 1975); in “In Photo-Realism, reality is made to look so overpoweringly real as to make it pure illusion: through the basically magical means of point-for-point precisionist rendering the actual is portrayed as being so real that it doesn’t exist. What does exist off the canvas is the mind, which conceived of the idea of the painting of a photograph of reality, in all its intrinsic implausibility. Whereas classical painters through the ages have idealized reality itself, the “classical” New Realists have totally devalued reality in order vastly to overvalue (in other words, completely abstract) the human brain. Photo-Realismm is basically not realism at all. More correctly, it is the plastic offshoot of today’s conceptual arts.”

John Baeder

1938 Born, South Bend, IN
1960 Auburn University, Auburn, AL
Resides: Nashville, TN

Selected Exhibitions
2005 Diners, Galerie Patrice Trigano, Paris, France
2004 Los Angeles Taco Trucks, Mission San Juan Capistrano Gallery, CA
2004 The Early Eighties,(watercolors), Cumberland Gallery, Nashville, TN
2003 Los Angeles Taco Trucks,(watercolors), Paul Kopeikin Gallery, Los Angeles, CA
2003 O.K. Harris Works of Art, New York, NY
2000 O.K. Harris Works of Art, New York, NY
1999 Ryman Auditorium, Nashville, TN
1997-98 Cumberland Gallery, Nashville, TN
1997 Sign Language: Photographs, Nation’s Bank Plaza Galleria, Atlanta, GA
1997 O.K. Harris Works of Art, New York, NY
1996 Sign Language: Photographs, O.K. Harris Works of Art, New York, NY
1994-95 What’s For Dinner?, Columbia Museum of Art, Columbia, SC
1994 Southern Images Plus Two That Aren’t, Morgan Gallery, Kansas City, MO
1993 O.K. Harris Works of Art, New York, NY
1993 Southern Images, Cumberland Gallery, Nashville, TN
1991 O.K. Harris Works of Art, New York, NY
1989 O.K. Harris Works of Art, New York, NY
1988 John Baeder: Americana Photographs, Zimmerman-Saturn Gallery, Nashville, TN
1988 Modernism, San Francisco, CA

On the road

With a new book, exhibition and acclaim, Atlanta native John Baeder takes viewers on a uniquely American odyssey
by : Stacey Hudson

AUGUSTA, GA. - Get up close to a John Baeder painting — really close. But don’t touch it. See the play of light and shadow in the folds of the cheap aluminum siding on the Lan Tin Chinese Kitchen? Now try and find a brushstroke. You can’t. Not really.

That’s it. That level of detail and precision in his sometimes massive paintings is one of the reasons that Baeder is among the best-known of the photorealist masters of the 20th century.

The other reason — apart from his approachable and agreeable personality — is the enduring and endearing subjects he chooses.

He highlights his lifelong obsession in a new retrospective at the Morris Museum: “Pleasant Journeys and Good Eats Along the Way.” The exhibit showcases 40 paintings on loan from both public and private collections.

Baeder paints what he loves: diners, those icons of the American highway system, urban neighborhoods and rural back roads. Longtime friend Kevin Grogan has tried to stump him, calling him from two-lanes all over the American landscape with a diner dragged from obscurity.

He’s never once succeeded. Baeder seems to know every indie restaurant in America, like Willie’s on Rural Route 22 near Paulding, N.Y. Willie’s is a diner in the most authentic way possible, which is to say that it is not comprised of a converted railroad dining car. That’s a myth of the industry’s origins that doesn’t hold true.

Willie’s is a converted school bus, painted blue and remodeled to include tables, chairs and air conditioning. That’s closer to the real origins of diners, which actually began in 1872 in Providence, R.I., as a simple horse-drawn food wagon. Not to say that some of the railroad industry’s rolling stock wasn’t converted into free-standing restaurants.

Obviously, evidence of that exists at many a rail station crossroad around the country. But the concept was similar to the current taco wagon phenomenon seen in L.A., Miami and parts of Texas: independent entrepreneurs quickly providing hot, fresh, homemade meals at a reasonable price to loyal patrons.

Diners proliferated from the late 1930s through the 1950s, with the rise of car culture and the construction of the U.S. interstate highway system. Many of them stayed open 24 hours for the newly road-weary. Like Baeder’s “home” diner, Atlanta’s famous Majestic on Ponce de Leon Avenue, open consistently and owned by the same family since 1929.

“It was an eatery with a counter, but not a diner in the traditional, pure, bonafide sense. It had short stools and I was enthralled sitting on those stools with all the grown-ups and was more thrilled by observing with complete and clear amazement the choreography of the counter-man preparing food so swiftly on the grill in front of me,” Baeder said. It was like a dance of physical multitasking as the short-order cook — or Shorty, as the cook in such places is often called — flipped burgers, burned toast, poured pancake batter and scrambled eggs after breaking them with just one hand.

Diners are somehow rooted in both traditional American family values, and yet evoke a Bohemian feel drawn directly from Jack Kerouac on the road with his notebook and his dog. Icons of this era and lifestyle are the things Baeder paints: diners and icons of the age, like Shoney’s Big Boy statues. Few artistic endeavors provoke as ready a smile as a painting of a “graveyard” for retired Big Boys (one of which now sits in Baeder’s
backyard, a gift from a friend). And, of course, he has a series that features the individuality of the taco trucks that roam L.A.’s streets, bringing burritos to the masses and gainful employment to a family of recent immigrants.

Baeder’s paintings are popular enough to find success in the reproduction market with prints, postcards and bits of nostalgia-themed household goods. But he’s no Thomas Kinkaide, turning art into something mass-produced with the zeal of a million Happy Meals. Baeder’s work sits in such prestigious holdings as the Whitney Museum in New York, and, of course, the High Museum in his hometown of Atlanta.

But in addition to his righteous place at the forefront of the masters of the photorealism movement, Baeder’s work also attracts such attention because, in many cases, his photographs and paintings of roadside stands are the only remaining records of emblems of American history. They are sought after and protected in much the same way as original paintings of Rosie the Riveter or the first sketches of Mickey Mouse. Their artistic value is driven up by their cultural value. As a result, the Morris Museum chose him as their featured artist for their gala this year.

Baeder says he takes culture from one dimension and contributes back in another. He captures a rapidly disintegrating aspect of the country’s landscape and both glorifies and preserves it. But getting there is half the battle.

“The painting is the mere act of transcendence, an end product that enters space and time,” Baeder said. “The final leg of the quest.”

Pleasant Journeys and Good Eats Along the Way
The Morris Museum of Art
Through March 9, 2008
706-724-7501
themorris.org

Links
John Baeder's American Roadside
Pleasant Journeys and Good Eats along the Way: The Paintings of John Baeder
Official John Baeder website

An Artist at WorkRobert Bechtle Paintings

2009-08-07T13:00:00.001-07:00

Robert Bechtle Paintings & Biography

2009-08-06T14:06:00.000-07:00

Robert Bechtle (1932 - )

Robert Bechtle was born in 1932 in San Francisco. He graduated from the California College of Arts and Crafts, Oakland with a BA in 1954 and an MFA in 1958, and has taught at UC Berkeley, UC Davis, and San Francisco State.

Bechtle has exhibited his work since 1957, and has been included in group exhibitions in some of America's most prestigious institutions (including the Whitney Museum of American Art, the American Academy of Arts and Letters, and the San Francisco Museum of Modern Art). In addition, his work have been seen in exhibitions throughout the world, including Japan and Germany.

Robert Bechtle has worked in pencil, oil, acrylic, and watercolor, and has successfully experimented with printmaking. His work is represented in numerous museums and private collections throughout the country.

Robert Bechtle

1932 Born in San Francisco, CA
1954 California College of Arts and Crafts, Oakland, CA: B.F.A.
1958 California College of Arts and Crafts, Oakland, CA: M.F.A.
1960 - 1961 University of California, Berkeley, CA
Lives in San Francisco, CA

Selected Exhibitions
2006 “Full House,” Whitney Museum of American Art, New York
2006 "Robert Bechtle: A Retrospective,” Corcoran Gallery of Art, Washington D. C.
2006 “Infinite Painting, “ Villa Manin Centro d’ Art Contemporanea, Codroipo, Italy
2005 "Robert Bechtle: A Retrospective,” San Francisco Museum of Modern Art
2005 Gallery Paul Anglim, San Francisco, CA
2005 "Robert Bechtle: A Retrospective,” Modern Art Museum of Ft. Worth
2002 “New York Renaissance: Masterworks from the Collection of the Whitney Museum,” Palazzo Reale, Milan, Italy
2002 “American Standard: (Para)Normality and Everyday Life,” Barbara Gladstone Gallery, New York, NY
2001 “Looking At You,” Metropolitan Museum of Art, New York
2001 “Les Annees Pop” Centre Pompidou, Paris, France
2001 O.K. Harris Works of Art, New York, NY
2000 Gallery Paul Anglim, San Francisco, CA
2000 “Urban Realism,” Blain Fine Art, London, UK
2000 “Made in California: Art, Image, and Identity, 1900-2000,” Los Angeles County Museum of Art, Los Angeles, CA
2000 “Drawings 2000,” Barbara Gladstone Gallery, New York, NY
2000 “A Century of the American Dream,” Aichi Prefectural Museum of Art, Nagoya: Hyogo Prefectural Museum of Modern Art, Kobe, Japan

1999 “The American Century: Art and Culture, 1950-2000,” Whitney Museum of American Art, New York, NY
1997 “Thirty-five Years at Crown Point Press,” National Gallery of Art, Washington DC; Fine Arts Museums of San Francisco, San Francisco, CA
1997 “Watercolors” O.K. Harris Works of Art, New York, NY
1996 Gallery Paul Anglim, San Francisco, CA/ O.K. Harris Works of Art, New York, NY
1996 “CCAC: Past, Present, and Future (1906-1996),” Oliver Art Center, California College of Arts and Crafts, Oakland, CA
1992 O.K. Harris Works of Art, New York, NY
1991 “Robert Bechtle: New Work,” San Francisco Museum of Modern Art, San Francisco, CA
1987 O.K. Harris Works of Art, New York, NY
1984 O.K. Harris Works of Art, New York, NY

I am interested in how things look; I am also interested in painting that is based upon how things look. I like to see things the way they are rather than thinking how they can be changed. The richness and range of the visual world constantly thrills and amazes me. I am most particularly interested in using the part of our world which we seem to notice least...that is, our everyday surroundings as we live day to day. Thus, I have painted friends and family, familiar houses, streets and neighborhoods. The paintings are on one level, about middle class American life as experienced in California. On another, they are about reconciling that subject matter with concerns about formal painting issues (the use of color and light, design, and the kinds of marks one must make to replicate appearances). They are, in that sense, a part of a long tradition of European and American painting which has sought to find significance in the details of the commonplace.
- - Robert Bechtle, 1990, OK Harris

Jim Dine: Tools

2009-07-30T13:08:00.000-07:00

American pop artist Jim Dine (June 16, 1935) is sometimes considered to be a part of the Neo-Dada movement. Like pop artists, Dine incorporates images of everyday objects from everyday life such as tools, rope, shoes, neckties, and other articles of clothing, and even a bathroom sink, to his canvases and in his art.

...via

Seven White Hammers

...via

Jim Dine
Ten Hand-Colored Winter Tools II, 1973-1989
Lithograph with hand coloring on German Etching Deluxe Cream; torn edges
Each sheet: 23-3/4" x 17-3/4"
Edition of 18

Jim Dine and his tools

"I do not think that obsession is funny or that not being able to stop one's intensity is funny." -Jim Dine

1960's Sam Francis Art ~ Edge Paintings

2009-07-24T12:46:00.000-07:00

Francis’ paintings during the 1960’s began to emphasize the edges of his canvas exposing vast white spaces in the center which chart his response to and participation in the Minimalist aesthetic of the 1960's. During this time he also worked in watercolor and was largely responsible for the revival of color lithography. Below are some great examples of what were to be named Edge Paintings by Sam Francis.

Sam Francis   Untitled (SFP66-12)

Sam Francis' move to this extreme, open format dominated by white space did not happen overnight and was not the result of a sudden conversion. Rather, it can be traced far back in his career, to the works done in 1952 known as the White Paintings. The inclination to the edge as a defining structured had appeared as early as 1949 in rectangular mandala shapes which appeared in his dark works on paper.

Sam Francis   Untitled (SFP69-17)    1969
Acrylic on canvas 96" x 156"

Sam Francis   Untitled (SFP66-15)    1966
Acrylic on canvas 76" x 54"

Color has its own scale and weight, which Francis always varied to great effect. By leaving the bottom edge open {or sides}, Francis created a setting of drapery pulled back from a window, a curtain from a stage, or from the niche of a baroque church to reveal a saint in a religious scene. These "Drapery Paintings", another subdivision within the "Edge" series, form what might then be called a kind of baroque minimalism. We now peer into the large white space which has been given a new and more dominating presence.

Sam Francis   Untitled (SFP65-6)    1965
Acrylic on canvas 89 1/2" x 71-1/2"

Sam Francis   Untitled (SFP68-14)    1968
Acrylic on canvas 96" x 156-1/4"

We now understand that in these large open fields we are not in the presence of empty spaces, but of white spaces, as Gail Scott noted in 1970. They may not be complicated, but they are complex. For example, they are painted (as opposed to most color field paintings of the 1960's which used bare canvas) but they are never painted exactly the same white, but rather are tinted to some off-white, barely perceptible, but there nevertheless. These white areas are not voids. They are volumes, with a material and palpable presence that exerts full pressure against the coloration of the edges, shaping and reshaping them as our eye moves over the surface. They are also mirrors, reflecting back at us in ways that recall a parallel structuring in certain paintings of Matisse and Bonnard.

Sam Francis   Untitled (SFP68-3)    1968
Acrylic on canvas 60" x 29"

Sam Francis   Untitled (SFP68-29)    1968
Acrylic on canvas 102-3/4" x 86-3/4"

One marvels at Fracis's nerve as he pushed the format of the Edge paintings into ever larger formats and ever thinner bands of color in the late 1960's. Indeed he had pushed the format's capability to make and to carry a convincing and viable painting to its very limits. By 1968, in certain paintings, he had probaby reached and passed those limits, for at points the painting became too silent, even virtually inactive. It was as if he had almost painted himself out of the picture.

Sam Francis   Untitled (SFP66-37)    1966
Oil on gessoed linen 36" x 30"

Sam Francis   Untitled (SFP69-3)    1969
Oil on canvas 40" x 60"

The Edge paintings include some of Francis' most radical and difficult work and have elicited a wide spectrum of opinion, not always favorable. They chart an important step in his long and constant search for ever new means of employing color, strong and intense color, his true gift, in all its myriad possibilities.

Some text taken from the book Sam Francis - The Edge * 2000

Roy Lichtenstein Pop Art

2009-07-14T13:04:00.001-07:00

A little view into Roy Lichtenstein's studio. Watch him paint + a brilliant interview from the 1970's

Roy LichtenstinBiography, Images, Links & More

2009-07-10T14:44:00.000-07:00

Roy Lichtenstein (1923-1997) was a prominent American pop artist, whose work borrowed heavily from popular advertising and comic book styles, which he himself described as being "as artificial as possible." Lichtenstein's first experiments with popular images go back to 1956, when he created the famous Ten Dollar Bill print.

Roy Lichtenstein (1923-1997)

Roy Lichtenstein was born in New York as the son of a realtor and a housewife. Next to Andy Warhol he is considered as THE great artist of the Pop Art movement. The use of familiar subjects like comic strips, bank notes or advertising themes, makes the art of Roy Lichtenstein easily accessible.

His Early Years

Lichtenstein grew up under no specific artistic influence - neither at home nor at school. But at the age of 14 he attended a painting class at Parson's School of Design every Saturday morning. From 1940 to 1943 he studied in New York at the Art Students' League. Then he was drafted to the US Army and served in Europe during War II. Back from the army, Lichtenstein studied at the Ohio State University from 1946 and received his M.A. in 1949. Like Andy Warhol he worked in the commercial graphic business for a while - making designs and decorating shop windows. From 1957 on, he taught at different universities.

Lichtenstein's first experiments with popular images go back to 1956, when he created the famous Ten Dollar Bill print. Then followed a three year period of abstract painting. "Abstract expressionism" was the dominating art movement at that time. Lichtenstein was then in his late thirties and an unknown artist.

The drastic change in Lichtenstein's career came with his first painting in the style of a comic strip. It was a painting of Mickey Mouse and Donald Duck. The story goes, that he painted it for his kids who had provoked him by saying that "daddy could not paint as well as the images in the comic books". So it may have been his own kids, who are responsible for the artist's move into the olymp of art celebrities.

Pop Art Paintings, Sculptures and Prints

Lichtenstein worked a lot with stencils, thus producing rows of oversized dots that should make his paintings or prints look like a huge mass publication product. Although he prepared and executed his works painstakingly like the old masters, he wanted his works of art look like machine made. One of his peculiarities was, that he did not want his brush strokes to be seen.

Other than paintings and sculptures, the artist produced a number of prints for which he used different techniques: lithographs, screenprints, etchings and woodcuts. Often he combined these techniques in one print.

Lichtenstein is usually characterized as ironic, humorous and witty. He openly commented on his own works. The citations below - mostly taken from interviews - show a very sensitive, intelligent and overt personality.

Lichtenstein in His Own Words

"Commercial art had all of the aspects that were needed to get across a new form of painting which just seemed to be interesting".

"All my art is in some way about other art, even if the other art is cartoons."

When asked, if he disliked the title "pop artist", Lichtenstein answered:

"If people use the word pop to differentiate it from art, then I would not like the idea too much. It is inevitable I am going to be called a pop artist. The name is going to stick, no matter what I think."

"I'd rather use the word dealing with than parody. I am sure there are certain aspects of irony, but I get really involved in making the paintings when I am working on them, and I think just to make parodies or to be ironic about something in the past is much too much of a joke for that to carry your work as a work of art."

"I realize there's a difference in style and so forth, but first of all, I think there isn't that big difference between Romantic and Classical artists. There is obviously a difference in emphasis, and I would be more of a Classical artist than a Romantic, I suppose, but then the kind of unity that holds a painting together is really the same whether it's done by Rembrandt or David or Picasso or Oldenburg. There's really not that much difference, there never was."

"In their optimism, Lichtenstein's elegant paintings argue explicitly that most art is about love, both in its initial impetus within the artist and its final effect within the viewer. His drawings make the argument even more explicit by reminding us of his rapt devotion to his art, its fabrication and the cultural motifs that made it all possible."
ROBERTA SMITH

Links
Roy Lichtenstein Foundation

Roy Lichtenstein House with Gray Roof

Arcana Books: Roy Lichtenstein

NY Times articles on Roy Lichtenstein

David Hockney Hotel Acatlan Series

2009-07-07T11:09:00.000-07:00

David Hockney
Hotel Acatlan: Two Weeks Later, 1985-86
Color lithograph on two sheets of white HMP handmade paper
28-1/2" X 73-1/2"
Edition 98

David Hockney
Hotel Acatlan: Second Day, 1985
Offset lithograph, 28 colors
28-3/4" x 75"
Edition of 98

David Hockney
Hotel Acatlan: First Day
Original Color Lithograph, 1985
Printed in two parts; overall measurements 29-1/2" x 74"
Edition 70

From the Moving Focus series.

In February 1984, when travelling in Mexico, Hockney had an unexpected stay at the Hotel Romano Angeles in Acatlan, as a result of his car breaking down. Happily, the outcome was a series of bold and richly colourful works on his return to Los Angeles, when he once again worked with Kenneth Tyler resulting in the sought after prints.

Description via artnet.com

The Painter Sam Francis a Film by Jeffrey Perkins

2009-06-26T14:43:00.000-07:00

Forty years in the making, ‘The Painter Sam Francis’ is artist Jeffrey Perkins’ lyrical and intimate portrait of a friend, mentor, and leading light of American abstract art. The film retraces Francis’ life and career from his childhood in California to his artistic maturation in post-war Paris, his time spent in Japan, and his return to the United States. Hinging on an interview that Perkins conducted with Francis in 1973, as well as extended scenes of the artist at work in the studio, the film provides deep insight into a man for whom creativity was a powerful life-sustaining force. Interviews with friends, family, and fellow artists - including Ed Ruscha, James Turrell, Bruce Conner, Alfred Leslie, and others - illuminate a mysterious and complex personality, and its reflection in a body of work that is simultaneously diverse and singular. For Francis, art was a path to transcendence; for Perkins, Francis was art. ‘The Painter Sam Francis’ is a labor of love, a moving portrait of a man, and a tribute to the power of art.

The Official Website for the film

Jim Dine Heart PaintingsThe Month Of June 2006

2009-06-23T14:48:00.000-07:00

The Month of June #1

The Month of June #2

The Month of June #3

The Month of June #4

The Month of June #5

The Month of June #6

The Month of June #7

The Month of June #8

The Month of June #9

The Month of June #10

Jim Dine
The Month of June
Oil on linen mounted on wood panel, 2006
19-1/2" x 16-3/8"
20-3/4" x 17-5/8" framed

Joseph CornellCollage, Boxes, & Biography

2009-06-19T13:59:00.000-07:00

Joseph Cornell (1903 – 1972)

Joseph Cornell was born December 24, 1903, in Nyack, New York. From 1917 to 1921, he attended Phillips Academy, Andover, Massachusetts. He was an avid collector of memorabilia and, while working as a woolen-goods salesman in New York until 1931, developed his interests in ballet, literature, and opera. He lived with his mother and brother, Robert, at their home in the Flushing section of Queens.

In the early 1930s, Cornell met Surrealist writers and artists at the Julien Levy Gallery, New York, and saw Max Ernst’s collage-novel La Femme 100 têtes. Cornell’s early constructions of found objects were first shown in the group exhibition Surréalisme at Levy’s gallery in 1932. From 1934 to 1940, Cornell supported himself by working as a textile designer at the Traphagen studio in New York. During these years, he became familiar with Marcel Duchamp’s readymades and Kurt Schwitters’s box constructions. Cornell was included in the 1936 exhibition Fantastic Art, Dada [more], Surrealism at the Museum of Modern Art, New York. Always interested in film and cinematic techniques, he made a number of movies, including the collage film Rose Hobart (ca. 1936) and wrote two film scenarios. One of these, Monsieur Phot (1933), was published in 1936 in Levy’s book Surrealism.

Cornell’s first two solo exhibitions took place at the Julien Levy Gallery in 1932 and 1939, and they included an array of objects, a number of them in shadow boxes. During the 1940s and 1950s, he made Aviary, Hotel, Observatory, and Medici boxes, among other series, as well as boxes devoted to stage and screen personalities. In the early 1960s, Cornell stopped making new boxes and began to reconstruct old ones and to work intensively in collage. Cornell retrospectives were held in 1967 at the Pasadena Art Museum and the Solomon R. Guggenheim Museum, New York. In 1970, the Metropolitan Museum of Art in New York mounted an exhibition of his collages. Joseph Cornell died December 29, 1972, at his home in Flushing.

“Shadow boxes become poetic theaters or settings wherein are metamorphosed the element of a childhood pastime.” - Joseph Cornell'

>Artists who work with found materials are frequently described as making something out of nothing. This characterization is based on the estimation that the salvaged materials are ordinary, their value transitory or forgotten, and their existance ephemeral until the artist has intervened and provided them with a new reality or reason for being. Cornell's interest in the ordinary and fleeting was so elevated that he named it the "métaphysique d'éphemera," suggesting that literal things can create an elaborate and subtle form of magic.

Lynda Roscoe Hartigan, Joseph Cornell: Shadowplay... Eterniday, p. 23

Links

Joseph Cornel ~ Navigating the Imagination
Joseph Cornell Study Center
of the Ontological Museum
Joseph Cornell Box

Linda Bacon At WorkAn Artist in Her Studio

2009-06-16T12:33:00.001-07:00

The Finished Work

Jam Session
2007
Oil on canvas
38" x 55"

Find it for sale Here, at Jonathan Novak Contemporary Art

Click Here for more info on Linda Bacon's studio and work process.

Richard Estes Paintings

2009-06-09T14:57:00.000-07:00

Wayne Thiebaud ~ Biography + Resume

2009-06-04T14:49:00.000-07:00

Wayne Thiebaud (born November 15, 1920) began his career working as a sign-painter, illustrator, and cartoonist in New York and Hollywood. Associated with Pop Art and as a predecessor of photorealism, Thiebaud found his signature style with brightly colored still-life paintings of food and other objects, shown against neutral backgrounds.

Wayne Thiebaud (1920 - )

Born in 1920 in Mesa, Arizona, Wayne Thiebaud worked as a sign painter, cartoonist, commercial artist and publicity manager before serving in the Army air force in the mid-1940’s. After the Army,
Thiebaud studied at Cal State University, Sacramento and the California School of Arts and Crafts. From 1950 until 1959, he served as and exhibit designer for the annual art exhibitions at the California State Fair and Exposition, Sacramento and also taught studio art and art history at Sacramento City College. In 1951, his first one-man show, Influences on a Young Painter, was presented at the Crocker Art Gallery in Sacramento. Thiebaud began painting the still lifes of pies, cakes and other objects, which would become the defining images of his career in the early 1960’s. His work has since been exhibited at major museums and galleries throughout the world. He was elected to the American Academy of Arts and Letters in 1985.

To follow is an excerpt from the essay “Wayne Thiebaud: Observations and Memories” by George W. Neubert, Director, Sheldon Memorial Art Gallery at the University of Nebraska. The essay was published in the catalogue accompanying the exhibition “The Prints of Wayne Thiebaud”, 1992, at the Sheldon Memorial Art Gallery.

“Printmaking as a medium has occupied an important part of Thiebaud’s artistic expression throughout his career. His early experience as an illustrator and set designer provided a knowledge and understanding of commercial techniques of graphic communication. However, it was his work with the master printer Kathan Brown at Crown Point Press that produced the impressive portfolio Delights. The processes used in this portfolio were primarily limited to drypoint, with some use of aquatint; nonetheless, Thiebaud created a tour de force that early on reflected his extraordinary abilities as a draughtsman and printmaker.

The small-scaled prints in the Delights portfolio are dominated by the still-life images of food stuff and delicatessen displays, with sharp shadows often viewed from elevated angles. As a result, conters and table tops seem to become stages. The formal Quality; the simplification of form and shapes; and the dramatic linear quality of etched lines and tones with the rich blacks and highkeyed light and shadows are remiscent of the authenticity and mastery of the etchings of the Italian painter Giorgio Morandi.”

Wayne Thiebaud

1920 Born, Mesa, Arizona
1950-51 Bachelor of Arts, California State University
1951-53 Master of Arts, California State University
1972 Honorary Doctorate, California College of Art and Crafts, San Francisco, CA
1983 Honorary Doctorate, Dickinson College, Carlisle, PA
1988 Honorary Doctorate, San Francisco Art Institute, CA
1994 National Medal for Arts Presidential Award, from President Clinton

Selected Exhibitions
2000-01 Wayne Thiebaud, Prints, Nohra Haime Gallery, New York, NY
1999 The American Century: Art and Culture, 1900-2000, Whitney Museum of American Art, New York, NY
1997 Thirty-Five Years at Crown Point Press: Making Prints, Doing Art, National Gallery of Art, Washington, D.C.
1992 Hand-Painted Pop: American Art in Transition 1955-62, Museum of Contemporary Art, Los Angeles, CA
1986 Wayne Thiebaud: 25th Anniversary Exhibition, Allan Stone Gallery, New York, NY
1978 Wayne Thiebaud: Recent Work, San Francisco Museum of Art, San Francisco, CA
1968 Wayne Thiebaud Graphics: 1964-1971, Whitney Museum of American Art, New York, NY
1967 United States Representative, Sao Paulo Bienal, Brazil
1962 Wayne Thiebaud: Recent Paintings, Allan Stone Gallery, New York, NY
1961 1961 Northern California Painters’ Annual, Oakland Art Museum, Oakland, CA
1951 Influences on a Young Painter, E.B. Crocker Art Gallery, CA
1949 Artists under Thirty-three, E.B. Crocker Art Gallery, CA
1948 Artists of Los Angeles and Vicinity, Los Angeles County Museum of Art, Los Angeles, CA

Public Collections
Poses Institute of Art, Brandies University, Waltham, MA
Museum of Fine Arts, Boston, MA
Museum of Modern Art, New York, NY
Whitney Museum of American Art, New York, NY
New Orleans Museum of Art, New Orleans, LA
Myra Morgan Gallery, Shawnee Mission, KS
The Art Institute of Chicago, Chicago, IL
University of Kansas, Lawrence, KS
Douglas Drake Gallery, Kansas City, KS
University of Southern Illinois, Carbondale, IL
Aldrick Museum of Contemporary Art, Richfield, CT
Standford University, Stanford, CA
Wadsworth Atheneum, Hartford, CT
Shasta College, Shasta, CA
San Jose State University, San Jose, CA
William Rockhill Nelson Gallery and Atkins Museum of Fine Art, Kansas City, MO
Albrecht Museum, St. Joseph, MO
Nebraska Art Association, University of Nebraska, Lincoln, NE
St. Louis Museum of Art, St. Louis, MO
Newark Museum of Art, Newark, NJ
The New Milwaukee Art Center Museum, Milwaukee, WI
Corcoran Gallery of Art, Washington, D.C.
Miwaukee Institute of Art, Miwaukee, WI
Gallery of Modern Art, Washington, D.C.
Library of Congress, Prints and Photography Division, Washington, D.C.
Museum of Modern Art, Washington, D.C.
Utah Museum of Fine Art, University of Utah, Salt Lake City, UT
Texas Institute of Contemporary Art, Dallas, TX
Fort Worth Art Museum, Fort Worth, TX
Albright-Knox Museum, The Buffalo Academy of Fine Arts, Buffalo, NY
American Broadcasting Company, New York, NY
Art Investments Ltd., Houston, TX
Collectors' Cooperative, Houston, TX
Philadelphia Museum of Art, Philadelphia, PA
Bryn Mawr College, Bryn Mawr, PA
Contemporary Arts Association, Houston, TX
Menil Foundation, Houston, TX
Oberlin College, Oberlin, OH
Solomon R. Guggenheim Museum, New York, NY
University of St. Thomas, Houston, TX
Cincinnati Art Museum, Cincinnati, OH
New York Studio School, New York, NY
Hanford Yang Foundation, New York, NY

Links
Wayne Thiebaud -Everyday Enchantment- NY Sun
Wayne Thiebaud @ SFMOMA
Wayne Thiebaud -Unconventional Confections- Daily Press

Roy LichtensteinTimes Square Mural

2009-06-02T15:43:00.000-07:00

Roy Lichtenstein........Porcelain enamel on steel......6 feet x 53 feet ......1994
(installed in New York City subway station, 42nd and Broadway in 2002)

"Times Square Mural, a 6-foot-high, 53-foot-long panel that revisits the history of New York transportation.... The first panel shows a portion of an arch ... rendered to resemble tile and masonry, the materials of the 1904 subway. The next arch metamorphoses into a steel girder, distilling the Machine Age of the 1930's, when metal gained popularity as a symbol of modernism. Streaking through the arches is .. a winged spaceship, suavely streamlined in the period manner." Source

Next Stop, Times Square

Twelve years ago the Metropolitan Transportation Authority's Arts for Transit program commissioned Roy Lichtenstein to create a mural for the Times Square subway station. A native New Yorker who had ridden the subway since boyhood, Lichtenstein jumped at the chance to create a work of public art. So he designed a 6-foot-tall, 53-foot-long porcelain enamel futuristic vision of New York, which he decided to make a gift to the city.

Lichtenstein fabricated the mural in 1994, three years before his death. Although it was ready to be installed then, plans for the redevelopment of Times Square were delayed and the mural was put in storage, where it has been ever since. But now, to coincide with the renovation of tbe Times Square subway station, the M.T.A. is putting the work in its rightful place. On Sept. 5 it will unveil "Times Square Mural" near the main entrance at 42nd Street and Broadway.

"A half a million people a day come through the Times Square subway station," said Sandra Bloodworth, director of the Arts for Transit Program. "Roy's desire to make this gift was an example of how much he believed in the subway and in New York."

"Times Square Mural" incorporates many of the artist's signature elements, including comic-book characters and science-fiction themes. Lichtenstein also made visual references to the 1939 and 1964 New York World's Fairs. In one portion of the mural, a Buck Rogers figure steps out of a space ship, looking through the remains of a crumbling 20th-century 42nd Street subway station and onto the city of the future. An image of the original 1904 plaque of the number 42, created by Grueby Faience of Boston, one of the most important terra-cotta manufacturers at the turn of the 20th century, was also incorporated,into the artist's scheme.

Inside Art .....by Carol Vogel
Roy Lichtenstein Foundation

Roy Lichtenstein ~ City Life ~

2009-06-02T15:29:00.000-07:00

Citylife - Roy Lichtenstein - kewego

Charles Arnoldi's Malibu beach house

2009-05-28T20:36:00.000-07:00

Los Angeles Times
A clean simplicity rules the Malibu home of artist Charles Arnoldi and wife, Katie, a novelist. He designed the house as well as most of its furniture, including an aluminum dining table topped with a small Calder sculpture. Arnold Schwarzenegger liked the table so much that he commissioned one for himself, Charles says. Outside the window is the silhouette of an aloe tree, backed by a sunset over the Pacific.
Ricardo DeAratanha

Wayne Thiebaud at UC Davis

2009-05-27T12:26:00.000-07:00

Alex Katz ~ Paintings and Bio

2009-05-26T13:26:00.000-07:00

Alex Katz (born July 24, 1927) is an American figural artist associated with the Pop art movement. In particular, he is known for his paintings, sculptures, and prints.

Alex Katz studied at The Cooper Union in New York and at Skowhegan School of Painting and Sculpture in Maine. In 1994, The Cooper Union endowed the Alex Katz Visiting Chair in Painting, and in 2000, honored the artist with its "Artist of the City" award. The Paul J. Schupf Wing for the Art of Alex Katz at the Colby College Museum of Art in Waterville, Maine, presents exhibitions of its in-depth collection of Katz's paintings, cut-outs, drawings, and prints.

Alex Katz's work has been the subject of nearly 200 solo exhibitions internationally since 1954. In the Summer of 2003, the first European exhibition devoted solely to the artist's celebrated portraits opened at the Fondazione Bevilacqua La Masa in Venice. An exhibition of the artist's aluminum cut-outs opened at the Deichtorhallen Hamburg in 2003 and traveled to the Museum Moderner Kunst Kaernten, Klagenfurt, Austria.

Major exhibitions of Katz's landscape and portrait painting in America and Europe followed his 1986 Whitney Museum of American Art retrospective and 1988 print retrospective at the Brooklyn Museum of Art. These exhibitions include: Staatliche Kunsthalle, Baden-Baden (1995), Instituto Valenciano de Arte Moderno, Valencia (1996), P.S. 1/Institute for Contemporary Art, New York (1997-1998), the Saatchi Gallery, London (1998), Galleria Civica di Arte Contemporanea, Trento (1999), and Kunst und Ausstellungshalle der Bundesrepublik Deutschland, Bonn (2002).

Alex Katz's work can be found in numerous public collections worldwide. Those in America include: Albright-Knox Museum, Buffalo; The Art Institute of Chicago; The Brooklyn Museum; Carnegie Museum of Art, Pittsburgh; Des Moines Art Center; Hirshhorn Museum and Sculpture Garden at the Smithsonian Institution, Washington, D.C.; The Metropolitan Museum of Art, New York; Milwaukee Art Museum; The Museum of Modern Art, New York; The National Gallery of Art, Washington, D.C.; Philadelphia Museum of Art; the Wadsworth Atheneum, Hartford; and The Whitney Museum of American Art, New York. Additionally, Katz's work can be found in the Albertine Graphische Sammelung (Austria), the Atenium Taidemuso (Finland), the Bayerische Museum (Germany), the Berardo Collection (Portugal), the Essl Collection (Austria), the French National Collection, the Israel Museum, IVAM Centre Julio Gonzalez (Spain), the Metropolitan Museum of Art (Japan), the Museo Nacional Centro de Arte Reina Sofia (Spain), the Nationalgalerie (Germany), the Saatchi Collection (England), and the Tate Gallery (England), among others.

Statement: "The three year bounce is when an artist connects style with fashion. Every artist has some relation with this. Very few artists get on top of the bounce. It’s usually for a few years (Three?). Picasso only had it in analytical cubism. After that, his painting got better, but his bounce was gone.

Braque had it with his black and white collages.

Malevich in his non-objective paintings had it in the 20th century teens.

Miro, in the 20th Century twenties.

Pollock, Bacon and DeKooning(his women) in the early fifties."

Links:
New York Times ~ Articles about Alex Katz
Alex Katz interviewed by Richard Prince
Alex Katz - Per Contra Interviews ~ with Miriam N. Kotzin
Alex Katz interview by Mie Iwatsuki with Eric C. Shiner
THE AI INTERVIEW ~ Alex Katz ~ by Robert Ayers
Official Alex Katz bio

Find more biographical information + resume on Alex Katz
Find Alex Katz paintings for sale

Niki de St. Phalle

2009-05-25T15:48:00.000-07:00

Beautiful and Talented.

Available works by Niki de St. Phalle

Linda Bacon ~ Personal Biography & Statement

2009-05-23T12:24:00.000-07:00

Linda Bacon (1942 - ): Personal Biography

I was born in Hillsboro, Texas, and lived there, in the same house where my mother still lives, until I went to college. I attended the University of Texas in Austin and graduated with a double major in English and History, and a minor in Philosophy. After teaching 7th and 8th grade English for two years in Port Aransas, Texas, I returned to Austin and enrolled in the Graduate School of Library Science.

In 1966, the call of San Francisco's cool summers, liberal attitudes, and great rock and blues music reached Austin, and I just loaded up my car with all my possessions and moved to California. After working for a year as the record librarian for "underground rock" station KMPX-FM, I moved to the country near Santa Cruz, where I grew organic vegetables, studied esoteric Eastern religions, and embroidered everything in sight.

My children, Starrs and Emil, were born in Marin County, California, in the early 1970's. While raising my children, I decided that I had always wanted to be a "real" artist: one that painted on canvas instead of drawing on and embroidering clothing. After marrying Charles McBurney in 1975, I started to pursue this goal, and I had my first gallery show in 1979. The ensuing years have been spent perfecting my artistic abilities while raising our children and spending time with family and friends. When I'm not in the studio, I am often sailing or traveling with my husband, reading a good book, playing some low-key bridge, or dancing to some great blues music.

Statement

The purpose of my art is to educate, stimulate, and entertain both myself and the viewers of my work. I paint realistic still lifes, using objects that I either own or borrow. I select objects that trigger a strong emotional or intellectual response in me: objects with color, shape, texture, design, and content that deserve hours of studying and painting. I create works that invite the viewer to reflect more deeply about familiar, easily recognizable objects, works that feature compositional complexity, fine detail, rich color, and my own expanding technical ability. A painting may deliver an overall philosophical message or emotion, yet on another level it might also investigate the relationship between certain colors, and in some corner there might be an exploration of abstraction within reality, perhaps through distorted reflections in the highly polished fender of a silvery toy car. Recently I created a series of paintings of beat-up old toys. I spent months with many wonderful borrowed toys that I would love to own, yet by thoroughly examining and painting them, I now in a very real sense do own them, and have given them and all that they evoke to everyone who views those paintings. Currently I am exploring new but similar subject matter: some is biographical, such as music memorabilia from the fifties and my uncle's old fishing lures, and some is just nostalgic, such as old unexploded fireworks and stage magic paraphernalia.

Linda Bacon Official Website

David Hockney ~ A Bigger Splash

2009-05-22T15:46:00.000-07:00

David inspects one of his finished pieces

Roy Lichtenstein House Optical Illusion + House with Gray Roof drawing

2009-05-21T15:34:00.000-07:00

Roy Lichtenstein House with Gray Roof 1971
Pencil and colored pencil on paper 8" x 8-3/4"

Sam Francis Painting in the movie Legal Eagles starring Robert Redford, Daryl Hannah & Debra Winger

2009-05-21T14:14:00.000-07:00

Sam Francis Her Summer Squares (SFP71-13) 1971
Acrylic on canvas 65-1/2" x 100-1/2"

Wayne Thiebaud "Dessert Painter"CBS Sunday Morning InterviewCakes and Pies

2009-05-21T13:38:00.000-07:00

Charles Arnoldi

2009-05-20T15:28:00.000-07:00

Charles Arnoldi has become a popular California artist best known for his brightly-colored, abstract paintings that incorporate the use of wood as an expressive medium, often using tree branches and twigs.

Born in Dayton, Ohio, Arnodi never imagined himself having a career in art. By the age of eighteen, Arnoldi had turned his back on a destructive and abusive childhood and moved to Los Angeles, California. Arriving in Southern California in 1965, he spent two years at Ventura Junior College before receiving a full scholarship to the Art Center School in Los Angeles. Frustrated with limitations imposed upon him as an illustrator, he only lasted about two weeks. Arnoldi then enrolled in the Chouinard Art Institute where he gained immediate recognition for his skills and received a Los Angeles County Museum of Art talent award.

When the funding for his tuition ran out, Arnoldi was suddenly faced with having to establish himself as an artist outside of an academic environment.

He experimented with various painting techniques and struggled to find a solid interpretation of his artistic vision. One day he collected some tree branches with a friend from a nearby area, brought them home and positioned them against the wall inside his studio. He observed the pieces and found that they resembled hand-drawn lines and began to use branches and twigs to make up the lines within his paintings, "building" a painting with them.

Arnoldi's earliest works were almost primitive in their simplicity and shape, resembling woven stick baskets delicately balanced. He concentrated on his twig paintings for eight years constructing many different forms, freestanding structures, sticks and string, twigs taped together densely or openly.

In 1977, Arnoldi had one of his small stick structures cast in bronze. It was his first metal sculpture and he found that the metal gave permanence to his wooden structures. He continued to sculpt with metal, often collecting scraps from the foundry, and appreciating their natural form.

In the 1980's color started to become more important to the artist and he used bright pigments to give even more definition to his three-dimensional pieces. He also started to paint on canvas, still reflecting the elements of his wood paintings.

In 1980 he painted his interpretation of the logjam that occurred as a result of the Mt. St. Helens volcano eruption. He juxtaposed his earth-toned canvas against a similar painting created entirely of sticks, mimicking the image on the painted canvas.

Arnoldi was constantly redefining his artistic approaches, and in the late 1980's started working with large plywood sheets. He glued the layered sheets together, deconstructed the pieces using a chainsaw to cut jagged scars into the wood, and then painted it. The work that emerged during this period was fueled by emotional energy that developed from both personal tragedy and personal joy. His mother and brother had both died, but Arnoldi had also experienced the birth of his first child, a son. He was able to direct his intense feelings into his art, often with dynamic results. He was now involved in a new process of building up and tearing down. His ever-evolving style took yet another direction when he started using heavy blocks of wood brightly painted and mounted on the wall. He made a point of preserving the integrity of wood by not sanding away any exposed grain.

In the 1990's Arnoldi departed from the rigidity of his wood creations by painting on canvas. His paintings from this period are predominantly black and white and display free-flowing organic shapes like twists and loops with a sense of motion not seen before in his work. Arnoldi's work has been exhibited throughout his career in many solo and group shows. His first one-man show was at the Riko Mizuno Gallery in Los Angeles in 1971 and subsequent solo exhibitions followed at the James Corcoran Gallery in Los Angeles, (1980-1985), and the Arts Club of Chicago, Illinois (1986). His group exhibitions include the Los Angeles County Museum of Art (1983), the Brooklyn Museum (1986) and the Museum of Contemporary Art Los Angeles (1992).

Charles Arnoldi resides in Venice, California.

Find works for sale by Charles Arnoldi

Sam Francis Paintings from the 1970's

2009-05-19T15:53:00.000-07:00

Untitled 1973 22" x 30" / 55.9 x 76.2 cm

Untitled 1975 Acrylic on paper 12" x 15" / 30.5 x 38.1 cm

Tokyo 1974 Acrylic on paper 10.5" x 12" / 26.7 x 30.5 cm

...In the 1970's, Francis' paintings are dominated by symbolic forms such as crosses, circles, spirals and matrices. more than anything else perhaps, these symbolic forms appear to refer to the kind of archetypes and primal images of which Francis so often speaks. Ten years later, these "figurative" elements remain visible in his work, but Francis uses them in paintings in which colour and colour contrasts the "violence" of gesture, and layer upon layer of sharply delineated areas of often strongly outwardly flowing colour, are given a special value.

-excerpts from the essay "Sam Francis" by Ad Kraan from the book Sam Francis - organized by Museum van der Togt - The Netherlands

David Hockney "Beverly Hills Housewife"

2009-05-16T14:22:00.000-07:00

The woman in the painting is Betty Freeman {who was the owner as well}. It's titled "Beverly Hills Housewife" (1966), a 12-foot double canvas that shows the pink-sheathed collector on her patio, flanked by a zebra-print lounge chair and an abstract sculpture and is part of the "California Dreaming" series Hockney created in Los Angeles in the late 60's.

This painting by David Hockney which has been in a private collection from its conception sold at Christie's auction house last Wednesday for $7.9 million USD.

Niki de Saint PhalleTable sculptures & vases

2009-05-14T13:14:00.000-07:00

Niki de St. Phalle
Sun God Vase
2001-03
Polyester resin, flash paint (acrylic), resin clear coat
20-3/8" x 22" x 9-1/4"
Edition of 12

Niki de St. Phalle
Tete de femme
1982
Acrylic paint on polyester resin
9" x 8-1/4" x 3-1/2"
Edition of 7

Niki de St. Phalle
Nana with Handbag
2000-2001
Painted polyester resin
24-3/4" x 14-1/4" x 6-3/4"
62.9 x 36.2 x 17.1 cm
Edition of 150 + 20EA

Niki de Saint Phalle (1930 - 2002)

The "magic reality" of Saint Phalle's sculpture relates to the visual vitality and affirmation of spirit found in Outsider Art. Throughout her work, no matter how extreme the image, there is an underlying innocence that has the power to gladden the heart and enchant the eye. Like Saint Phalle's well-known female figures, the Nanas, her art resonates with a "joyful noise."

Melanie Pullen: High Fashion Crime Scenes

2009-05-07T14:51:00.000-07:00

FASHION VICTIM
Melanie Pullen's photo exhibit, High Fashion Crime Scenes, opens in Milan...during Milan Fashion Week!

Fashion has always had a dark side, but it's never been traversed as provocatively as in photographer Melanie Pullen's critically acclaimed exhibition High Fashion Crime Scenes. In meticulously crafted large-scale photographs, authentic crime scenes are reenacted with a twist—not only are the corpses outfitted in designer vintage and couture, but you might recognize some very-much-alive actors like Juliette Lewis. Pullen's penchants for the macabre were initially inspired by Luc Sante's Evidence, a book of New York City crime scene prints compiled in the 20th century, but she also studied up on pre-’50s L.A.P.D. records. The resulting images are hauntingly beautiful, inspiring double and triple takes when you realize that amidst the photograph's grisly visage, the victim is clad in Chanel. {SAMANTHA GILEWICZ}

Phones

Marc & The Pigeon (Hanging Series)

Renee's Tree

Nina ....for sale

Where does your interest in art stem from?
Growing up in Greenwich Village in the ’70s and ’80s—My entire family consisted of artists and writers. I learned photography by imagining what I wanted to make in my mind, and then making it happen. I honestly think this is the best approach to any art form.

How did High Fashion Crime Scenes come about?
Years ago I came across a book of crime scenes. I was always very taken aback by violent imagery but for some reason I was more fascinated with the composition of the photographs and the stories behind them. I realized how glamorized violence has become. This series really became about exploiting that sensibility.

How do you distract the viewer from the crime?
I was very inspired by the artistry I found in early crime scene photography--Many early crime scene photographers were also experimenting with photography as an art form. For me, it was very interesting to look at something so violent but to be totally swayed into how beautiful the image was. I'm also interested in the way the news has become a form of mass entertainment in our culture. In High Fashion Crime Scenes I highlight the more insignificant aspects of the situation. The models are also perfect distractions as beauty is the ultimate distraction from all problems.

The exhibition has traveled around the globe. How has the response been different?
In Korea, people were very serious about the subject matter. In Los Angeles, I saw a woman putting on her lipstick in the reflection of a hanging woman—She was totally oblivious!

MiCamera Gallery
Via Medardo Rosso, 19
Milano
micamera.com
nylonmag.com

Click here to view them all

Blue (Water Series) ...for sale

Alex Katz Paintings ...for sale

2009-05-01T14:29:00.000-07:00

Three Trees

Windswept Trees

Blackeyed Susans

Maine Woods

Alex Katz (born July 24, 1927) is an American figural artist associated with the Pop art movement. In particular, he is known for his paintings, sculptures, and prints.

Roy Lichtenstein: Nudes

2009-04-24T14:44:00.000-07:00

Roy Lichtenstein   Nude with Yellow Pillow    1994
16 Color relief print on Rives BFK mould-made paper    52-5/8" x 434"    Edition of 60

Roy Lichtenstein   Nude Reading    1994
12 Color relief print on Rives BFK mould-made paper    30-1/2" x 36-1/4"    Edition of 60

Roy Lichtenstein   Two Nudes    1994
13 Color relief print on Rives BFK mould-made paper    48" x 41"    Edition of 40

Roy Lichtenstein   Thinking Nude    1994
19 Color relief print on Rives BFK mould-made paper    42" x 62"    Edition of 40

Roy Lichtenstein   Roommates    1994
20 Color relief print on Rives BFK mould-made paper    64-1/4" x 51"    Edition of 40

FOR SALE

Roy Lichtenstein   Nude with Blue Hair    1994
19 Color relief print on Rives BFK mould-made paper    57-3/4" x 37-1/2"    Edition of 40

Roy Lichtenstein did not draw from live models when he created his Nudes. Rather, he worked from 1960's comic book caricatures of women, removing their outfits and adding references to earlier works he had done such as the Reflections, Imperfect, Water Lily, and Interiors Series. These are Lichtenstein's first comic book style, full-body nudes. they are purposefully bland, stripped of corporeal attributes, bearing little relation to nature. Nonetheless, they are adorned in Lichtenstein's witty language, unabashedly flaunting bright color patterns and bold lines.

The Nudes Reveal more about the artist's visual language than the female form, expressing more about composition than subject matter. Lichtenstein describes the nude figures in this suite of prints as a good excuse to contrast undulating and volumetric form with rigid geometry. The resemblance to cartoon Lolitas only addresses the amusing, slightly kitsch veneer of these elegant arabesques.

Essay by Marabeth Cohen-Tyler
Tyler Graphics Ltd.

ARTIST SPOTLIGHT: PHOTOREALISTSRalph Goings

2009-04-23T14:01:00.000-07:00

Goings is regarded as the senior member of the original group of Photo-Realist painters, and his work is the classic example of that style.

Ralph Goings   Ice Water    1974
Watercolor on paper    Image size: 8-3/4" x 13"    Sheet size: 11" x 15"

Ralph Goings   Giorgio's Table    2006
Watercolor on paper    Image size: 11-1/4" x 13"    Sheet size: 15" x 19"

Ralph Goings   Blue Table Cloth    1987
Oil on canvas    28" x 30" (71.1 x 76.2 cm)

Ralph Goings   Still Life with Vinegar    1979
Watercolor on paper    Image size: 11" x 11"    Sheet size: 15" x 17"

The artist's working method involves taking a "couple of hundred" slides of his subject. Choosing the one he likes best, he projects it on the canvas. A detailed pencil drawing results, and then with an enlargement of the slide to consult, he begins to paint, methodically working outward from a dark background area. A painting can take months of steady labor to complete. The result is "a lightly varnished, even-surfaced painting with just enough evidence of the brush to let you know that it was hand-painted rather than fabricated. Goings paints what he sees . . ." He chooses familiar images, generally illustrating some aspect of middle-class America.

Jim Dine ~ PinocchioModel for Boräs MonumentWalking to Boras

2009-04-17T13:51:00.000-07:00

Jim Dine Model for Boräs Monument 2006
Cast bronze painted with oil-based gloss enamel
27-7/16" x 19-11/16" x 17-1/2" / 69.7 x 50 x 44.5 cm

On May 16 2008, Jim Dine inaugurated a nine meter high bronze statue depicting a walking Pinocchio, named Walking to Borås. The statue is placed in the city of Borås, Sweden.

The sculpture shown above is a miniature model version ...a study, if you will and it is for sale

Two {very short} films of the unveiling of the Jim Dine sculpture Walking to Boras ...and both have a rather ghostly feel to them.

“Sculptures have always aroused people´s feelings. Their sole task is to be experienced by us", claims Hasse Persson, head of the art museum.

Flickr Source

Sam Francis "Blue Balls" Paintings

2009-04-14T14:45:00.000-07:00

~ early 1960's works~

Sam Francis   Untitled (Blue Balls) (SF61-053)    1961
Watercolor on paper 13-4/5" x 19-7/10"

Sam Francis   Untitled (SF60-025)    1960
Watercolor on paper 29 1/2" x 41"

Sam Francis   Upper Left Red (SF61-092)    1961
Gouache on paper 15-1/4" x 12-1/2"

Sam Francis   Also Violet (SF61-047) from the Blue Balls Series    1961
Gouache on paper 13-3/4" x 19-3/4" / 34.9 x 50.2 cm

Sam Francis   Blue Balls (SF62-1)    1962
Acrylic on canvas 72" x 52"

Bunny Art ~ Rabbit ArtSculptures, Paintings, Drawings of Bunnies

2009-04-10T14:31:00.000-07:00

Not too often does one find animal inspired contemporary or modern works of art but here are a few extraordinary examples of bunnies in contemporary art ...just in time for Easter.

Andy Warhol   Chocolate Bunny    c. 1983
Synthetic polymer paint and silkscreen inks on canvas 20" x 16"

Barry Flanagan   Acrobats    2004
Bronze 57-3/4" x 16-1/8" x 16-3/8" Edition of 8

Charles Bell   Study for Bunny Cycle    1985
Oil pastel on gray gessoed mat board mounted to white corrugated conservation board
40-1/8" x 60-1/16"

Jeff Koons   Rabbit    1986
Stainless Steel 41" x 19" x 12"

Wayne Thiebaud   (Rabbit): from a portfolio. "Seven still lifes and a rabbit"    1970-71

1950's Sam Francis Paintings

2009-03-13T12:14:00.000-07:00

Sam Francis’ career began in Paris in the 1950’s. His work from this period is airy & light-filled; influenced by Japanese painting, he opened up an empty space in the middle of the canvas and enlarged the scale of his works. Below are some great examples of Sam Francis paintings on paper & canvas from the 1950's. ...click to enlarge

Sam Francis   Untitled (SF55-003)    1955
Gouache with egg tempera on paper 10-3/4" x 8"

Sam Francis   Red and Pink    1951
Oil on canvas 80" x 65.9" / 203.2 x 167.3 cm

Sam Francis   Untitled (SF56-194)    c. 1956-58
Watercolor on paper 42-3/8" x 29-1/4"

Sam Francis   Untitled (SF58-001)    1958
Gouache on paper 5-9/16" x 3-15/16"

Sam Francis   Untitled (SF56-194))    1957-58
Gouache and flash on paper 22-1/4" x 29-7/8" / 56.5 x 75.9 cm

Sam Francis   Black    1955
Oil on canvas 74-1/2" x 63-1/2" / 189.2 x 161.2 cm

Sometimes considered a second-generation Abstract Expressionist, Sam Francis’ work of the 1950’s was abstract, luminous and painterly rather than gestural. Influenced by the works of Mark Rothko and Clyfford Still, Francis’ “signature” paintings of the early 1950’s are overlays of serial but asymmetrical biomorphic forms saturated with color. In the mid-1950’s, Francis began to paint fields of various sized clusters of cell-like shapes usually in blue, yellow, and red on a white ground. By the late 1950’s Francis concentrated on large mural sized works dominated by white and bordered by colorful clusters of forms.

Jim Dine

2009-03-06T11:35:00.000-08:00

Merry Snow
2008
Acrylic and charcoal on linen
48" x 42"

American painter, sculptor, and graphic artist, Jim Dine was born in Cincinnati, Ohio in 1935. Dine studied at the University of Cincinnati, the Boston Museum School, and in 1957 received a bachelor of fine arts degree from Ohio University. After graduation, he moved to New York City and became involved with a circle of artists—including Robert Rauschenberg, Claes Oldenburg, and Roy Lichtenstein—whose work moved away from abstract expressionism toward pop art.

Walla Walla Heart on a Rock
2005
Bronze
20-1/2" x 19" x 12-1/2"
Edition of 8

Like pop artists, Dine incorporated images of everyday objects in his art, but he diverged from the coldness and impersonal nature of pop art by making works that fused personal passions and everyday experiences. His repeated use of familiar and personally significant objects, such as a robe, hands, tools, and hearts, is a signature of his art. In his early work, Dine created mostly assemblages in which he attached actual objects to his painted canvases, as in Shoes Walking on My Brain (1960). From 1959 to 1960, Dine also was a pioneer of happenings, works of art that took the form of theatrical events or demonstrations.

Anderson and Shepard #4
2008
Acrylic and charcoal on linen
48" x 96"

In 1967 Dine and his family moved to London, England, where he devoted his energies to printmaking and drawing. When he returned to the United States in 1971, he concentrated on figure drawing. Dine is considered among the most accomplished draftsmen of his generation, and is known for his series of self-portraits and portraits of his wife, Nancy. Dine's attention turned to sculptural work in the early 1980s when he created sculptures based on the ancient sculpture Venus de Milo. His recent art uses imagery borrowed from ancient Greek, Egyptian, and African objects.

Sam Francis Painting in his Studio

2008-04-01T14:18:00.000-07:00

PHOTOREALISM: CULTURAL ICONS

2006-12-18T12:09:00.000-08:00

Ralph Goings   Blue Napkin Holder    1978
Oil on canvas 26" x 36"
Our current exhibition, on view through January 13, 2007, features an outstanding group of artists known as the Photorealists. This movement arose in the late 1960s and early 1970s when a number of artists began producing highly detailed paintings based on photographs. Their goal was to translate the photographic vision as accurately as possible. The resulting images present an uncanny blend of meticulous detail and sensuous handling of paint.

Photorealist paintings are often seen as cultural icons because the imagery derives from everyday life. These artists preferred scenes of daily Americana: diners, storefronts, cars, trucks, and toys. They excelled in capturing reflections in store windows, or the gleam of light on highly polished metal. In their hands, everyday scenes acquire a magical, transcendental element.

Robert Cottingham   Miller High Life    1977
Oil on canvas 78" x 78"

Artists on view include pioneers of the Photorealist movement such as Richard Estes, Robert Bechtle, John Baeder, Robert Cottingham, Don Eddy, and Ralph Goings. Paintings by younger artists Linda Bacon, Bertrand Meniel, Don Jacot, and Rod Penner show that the movement is still vibrant and inspirational.

In conjunction with this exhibition, we are proud to publish a catalogue with an introductory essay by Louis Meisel, who has written the most authoritative books on the movement.

Robert Bechtle   La Jolla Chairs    1974
Watercolor on paper Imagee: 9-7/8" x 15-3/4" Sheet: 13-5/8" x 19-3/4"

Don Jacot   Big Race    2006
Oil on canvas 54" x 72"

"PHOTOREALISM: CULTURAL ICONS" will be followed by "Jim Dine: Recent Works." This exhibition will open mid-January and will include paintings and sculpture that explore several of the artist's most popular iconographic motifs. This exhibit coincides with a major retrospective of Jim Dine's drawings at the Frederick Weisman Art Museum at Pepperdine University. This powerful exhibition includes drawings from the 1970s until the present and will open at Pepperdine University in Malibu with a reception to meet Jim Dine on Saturday, January 6, from 6 to 8 pm.

Art of the 20th Century New York 2006!

2006-11-02T11:59:00.000-08:00

Fair Information
November 10 - 13, 2006
Friday noon - 8pm
Saturday 11am - 7pm
Sunday noon - 7pm
Monday 11am - 5pm

The Park Avenue Armory
643 Park Avenue, between 66th & 67th Streets
New York City

Booth Number
B-13 / C-12

Preview Gala
Thursday, November 9, 6pm - 9pm
To benefit Planned Parenthood of New York City & Planned Parenthood Federation of America

We look forward to seeing you in New York for Art20 2006!

Robert Cottingham Miller High Life 1977
Oil on canvas 78" x 78"

Art Scottsdale 2006Booth Installation Photos

2006-03-27T11:33:00.000-08:00

Art Scottsdale 2006

2006-03-03T14:46:00.000-08:00

Jonathan Novak Contemporary Art will be exhibiting at Art Scottsdale, March 23-26, 2006 at WestWorld in Scottsdale, Arizona. We will show fine examples of Pop, Photorealism, Abstract Expressionism, and other Post-War art including Jim Dine, Sam Francis, Robert Motherwell, Joseph Cornell, David Hockney, Ralph Goings, Robert Bechtle, Barry Flanagan, Richard Estes, Linda Bacon, Frank Stella, and Tom Wesselmann.

Location:WestWorld
16601 N. Pima Road
Scottsdale, Arizona 85260

Booth Number: G64

Opening Night Gala:
Thursday, March 23, 6:30 p.m. - 9:30 p.m. at WestWorld
Benefiting Phoenix Art Museum's Contemporary Forum
Tickets: $95 per person in advance, $120 at the door.

Show Dates & Hours:
Friday March 24, 11:00 a.m. - 7:00 p.m.
Saturday March 25, 11:00 a.m. - 6:00 p.m.
Sunday March 26, 11:00 a.m. - 5:00 p.m.

artLABooth Installation Photos

2006-01-27T14:38:00.000-08:00

LOS ANGELES ART SHOW 2006Booth Installation Photos

2006-01-27T14:09:00.000-08:00

Five Centuries of Art
The 11th Annual Los Angeles Art Show featured selected fine galleries exhibiting thousands of works, including historical, modern and contemporary art. We invite you to discover exceptional paintings, drawings, prints, photographs and sculpture.

Thank you for making it a successful show!

Art Week LA

2006-01-13T13:43:00.000-08:00

JIM DINE Dexter and Gus 2002 Oil on canvas 72-1/8" x 90-1/4"

Jonathan Novak Contemporary Art will be exhibiting at the Los Angeles Art Show at Barker Hangar, Santa Monica Airport January 25-29, 2006 and artLA at the Santa Monica Civic Auditorium, January 26-29, 2006.

At both fairs we will be showing Pop, Photorealism, Abstract Expressionism, and other Post-War art including Roy Lichtenstein, Wayne Thiebaud, Jim Dine, Sam Francis, Robert Motherwell, Joseph Cornell, Jean Dubuffet, David Hockney, Ralph Goings, Robert Bechtle, Barry Flanagan, Richard Estes, Helen Frankenthaler, Tom Wesselmann, and many more.

JOSEPH CORNELL Cherubino's Game Box construction c. 1954-56 14-3/8" x 10-7/8" x 2-1/2"
RICHARD ESTES Billiards Oil & acrylic on board 1976 16" x 20-3/4"

Los Angeles Art Show
Barker Hangar, Santa Monica Airport January 25-29, 2006

Booth: C34

Patron Donor Preview - Wednesday January 25, 6-7pm
Opening Night Gala - Wednesday January 25, 7-10pm

General Show Hours
Thursday, January 26, Noon - 7 pm
Friday, January 27, Noon - 7 pm
Saturday, January 28, Noon - 7 pm
Sunday, January 29, Noon - 6 pm

go to laartshow.com for more info

artLA
Santa Monica Civic Auditorium, January 26-29, 2006

Booth: 5

Opening Night Gala - Thursday, January 26, 6-9 pm ~ The proceeds will benefit the MOCA Contemporaries

General Show Hours
Friday, January 27, Noon -7 pm
Saturday, January 28, Noon -7 pm
Sunday, January 29, Noon - 6 pm

go to artLA for more info

Sculpture: BARRY FLANAGAN Acrobats Bronze 2004 57-3/4" x 16-1/8" x 16-3/8"

THE PARK AVENUE ARMORY, NYC Art 20 2005 Installation {Booth} Photos

2005-11-18T12:24:00.000-08:00

Thank you everyone for making Art of the 20th Century 2005 a great success!

Art of the 20th Century New York 2005!

2005-11-07T12:13:00.000-08:00

SAM FRANCIS Untitled (SFP86-45) 1986 Acrylic on canvas 54" x 42"

Jonathan Novak Contemporary Art is pleased to participate in Art of the 20th Century 2005.

We will be exhibiting Pop, Photorealism, Abstract Expressionism, and other Post-War art including Roy Lichtenstein, Wayne Thiebaud, Andy Warhol, Jim Dine, Sam Francis, Robert Motherwell, Milton Avery, Joseph Cornell, Jean Dubuffet, David Hockney, Saul Steinberg, Ralph Goings, Robert Bechtle, and Richard Estes.

SHOW LOCATION:
Seventh Regiment Armory
Park Avenue @ 67th Street
New York City

November 18 through November 21, 2005

Friday noon - 8pm
Saturday 11am - 7pm
Sunday noon - 7pm
Monday 11am - 5pm

Booth Number: B13/C12

The preview gala will be held on Thursday, November 17, 6-9pm, benefiting the Lower Manhattan Cultural Council. For gala tickets, contact Lana Zepponi at 212-777-5218.

www.novakart.com for more info

We Hope to See you in NY!

JIM DINE The Mystery 2005 Acrylic & sand on three canvas panels
Each panel: 48" x 48" Overall: 48" x 144"

Los Angeles International Art Fair 2005Booth Installation Photographs

2005-04-17T12:56:00.000-07:00

Jonathan Novak Contemporary Art exhibited at the first Los Angeles International Antiques, Fine Art and Jewelry Show at the Los Angeles Convention Center displaying significant works by Joseph Cornell, Richard Diebenkorn, Jim Dine, Sam Francis, Ralph Goings, Roy Lichtenstein, Frank Stella, Wayne Thiebaud and Andy Warhol.

Thank you for making the Los Angeles International Art Fair a great success!

Los Angeles International Art Fair 2005

2005-04-06T12:03:00.000-07:00

Jonathan Novak Contemporary Art will be exhibiting this week at the first Los Angeles International Antiques, Fine Art and Jewelry Show at the Los Angeles Convention Center, booth 509/608. We will be displaying significant works by Joseph Cornell, Richard Diebenkorn, Jim Dine, Sam Francis, Ralph Goings, Roy Lichtenstein, Frank Stella, Wayne Thiebaud and Andy Warhol.

This unique event will bring together over one hundred exhibitors from across the globe. Dozens of fine art, antique and jewelry dealers from Europe and Asia will be making their first appearance in Los Angeles, giving enthusiasts the opportunity to see the best collections the world has to offer in the comfort of their own city.

Designed for connoisseurs of a wide variety of art, antiques and jewelry, displays will include modern and contemporary art, jewelry, furniture, tapestries, rugs, sculptures, ornaments and paintings, many never seen before on this side of the world.

This event will be a unique and exciting experience for all fine art and antique aficionados in Los Angeles.

We look forward to seeing you at the first Los Angeles International Antiques, Fine Art and Jewelry show!

The Los Angeles Convention Center
West Hall A
1201 South Figueroa Street
Los Angeles, CA 90015

Dates/Hours
April 9-17, 2005
Saturday, April 9 11am-7pm
Sunday, April 10 11am-7pm
Monday, April 11 11am-7pm
Tuesday, April 12 11am-7pm
Wednesday, April 13 11am-7pm
Thursday, April 14 11am-7pm
Friday, April 15 11am-7pm
Saturday, April 16 11am-7pm
Sunday, April 17 11am-5pm

Special Opening Night Reception Benefiting the Starlight Starbright Children’s Foundation
Friday, April 8, 6-10pm

For detailed information, click here