Scott Sandell Art

This artwork titled "Asbury Park II" 1992 is an original color lithograph on Wove paper by noted American abstract expressionist artist, Michael Rubin, bor...

Graphite, mineral pigments, flashe black and Sienna on Archives Color paper

Color monotype.

John Altoon (1925-1969) UNTITLED, 1966, color lithograph, hand signed in pencil and inscribed trail proof II, sheet 29 ¾ x 41 ¼, printed by Gemini G.E.L.,...

This lithograph was printed in 1965 at the Atelier Mourlot in Paris. It is signed, and numbered from an edition of 150. A major theme running through Lanskoy's work is the interactio...

Unframed. This is a combination of painting and photography, the antique cyanotype process. The silhouette of the plant was first drawn, then painted not with ink or paint, but wit...

Untitled, 1983, lithograph printed in sepia ink, Hand signed and dated lower right, numbered in pencil with the artist's chop mark lower left, inscribed by artist. From a series of experimental abstract linocuts done in 1983. These are very small editions and were gifted to a friend of the artist. They are done on deckle edged French Arches Art paper. Hans Gustav Burkhardt (1904 – 1994) was a Swiss-American abstract expressionist artist. Hans Burkhardt was born in the industrial quarter of Basel, Switzerland. Captivated by Germanic art, he began dabbling in art in his spare time while learning how to decorate furniture in antique styles. He became foreman of the furniture company's decorating department. From 1925 to 1928 he attended the Cooper Union School of the Arts, where he befriended mentor Arshile Gorky and Willem de Kooning—sharing Gorky's studio from 1928 to 1937. Burkhardt's paintings of the 1930s are part of the genesis of American abstract expressionism. In 1937 he moved to Los Angeles and represented the most significant bridge between New York and Los Angeles. His experimental investigative approach paralleled, and in many instances anticipated, the development of modern and contemporary art in New York and Europe including the work of Mark Rothko, Jackson Pollock, and Barnett Newman. Burkhardt held his first solo exhibition in 1939 at Stendahl Gallery in Los Angeles, arranged by Lorser Feitelson, and, in response to the Spanish Civil War, he painted his first anti-war works. From the late 1930s he began to produce apocalyptic anti-war compositions, a theme which became particularly pronounced in an abstract expressionist style after the atom bomb was dropped on Hiroshima and Nagasaki at the end of the Second World War. In the years following an acclaimed (1945) solo exhibition at the Los Angeles County Museum, Burkhardt continued in his art to respond to WWII, in the aftermath of Gorky's suicide in 1948, Burkhardt delved into his grief and celebration of Gorky's life creating several versions of “Burial of Gorky” and a series entitled “Journey into the Unknown.” Burkhardt first visited Mexico in 1950, and spent the next decade living half of the year in and around Guadalajara. Strongly influenced by Mexican attitudes towards the dead, and by the country's colors, sensuality, and spiritual qualities, Burkhardt “painted the soul of Mexico” with Mexican themes and colors—especially those of burials and ceremonies surrounding death—permeating his abstract work. His Mexican work flirted with Surrealism although he was never really considered a Surrealist artist. Art critics of the time considered him a "great Mexican master” alongside Orozco, Diego Rivera, and Siqueiros, and Rufino Tamayo admired his work. Overall, in the 1950s Burkhardt held 23 solo exhibitions in Los Angeles and Mexico, and participated in group shows at over thirty museums worldwide. He was friends with June Wayne from Tamarind Press. In the 1960s he produced paintings in protest against the Vietnam War, some of which incorporated the human skulls he had collected from Mexican graveyards. As art historian Donald Kuspit stated, Burkhardt was “a master—indeed the inventor—of the abstract memento mori.” In 1964, for the first time in forty years, Burkhardt returned to Basel, and began making annual summer visits where he became a friend of Mark Tobey—printing linocuts for the artist and collecting his work. In the 1970s Burkhardt continued his anti-war paintings—incorporating protruding wooden spikes into the canvas—while simultaneously painting abstractions of merging lovers and cityscapes during his summer visits to Basel. His “Small Print” (protesting smoking), “Graffiti,” and “Northridge” series demonstrate the evolution of his symbolism, and his “Desert Storms” series, in response to Iraq's invasion of Kuwait, was discussed by critic Peter Selz at a presentation at the International Congress of Art Critics Conference. In the last decades of his life, Burkhardt's work had moved from images of imbalance to a study of human tragedy—which he embraced in an attempt to discover beauty and facilitate understanding. Critic Peter Frank called Burkhardt “…one of America’s most vital abstract expressionist painters, someone who took the seed of the movement and cultivated it a rather different way in very different soil.” Burkhardt taught at numerous colleges and universities and retired as a professor emeritus from California State University, Northridge. In 1992 Burkhardt was honored as the recipient of the Lifetime Achievement Award by the American Academy and Institute of Arts and Letters’ Jimmy Ernst (son of Max Ernst) Award. Also in 1992, he established the Hans G. and Thordis W. Burkhardt Foundation. In 1993, the last year of his career, his final series “Black Rain” channeled pain and hardship, but provided poignant, symbolic beacons of hope and wishes for a better future for humanity. His unique role as an important American painter is affirmed by the constant interest and continuing reassessment afforded his work. Select Solo exhibitions 1939: Stendahl Gallery, Los Angeles, March 27 – April 17 1945: Hans Burkhardt, Los Angeles County Museum of Art 1951: Museo de Bellas Artes, Guadalajara, Mexico: Exhibición de Pinturas Modernas; Comara Gallery, Los Angeles 1953: Fisher Gallery, University of Southern California, Los Angeles 1957: Pasadena Art Museum, California: Ten Year Retrospective, June 14 – July 14; 1968: San Diego Museum of Art: Vietnam Paintings...

Color monotype with collage. Kushner recently completed a series of monotypes, many with collaged decorative papers. He worked from still-lives of flowers, fruits, pitchers and Bett...

Artist: (after) Lee Krasner (American, 1908-1984) Title: "City Art Gallery (Bird Talk)" *Signed and dated by Krasner in the plate (printed signature) lower left Year: 1966 Medium: Or...

Signature: Signed "R. Motherwell" in pencil lower right Inscriptions: Numbered in pencil lower right; workshop chop mark lower right Edition: 16

Seder by Tobiasse shows a group of eleven men, woman and children sitting and standing around the Seder table with an orange background. This original lithograph is in good condi...

1982-84 Hunter College, New York (M.F.A.) 1978-80 School of Visual Arts, New York 1973-77 Bezalel Academy of Art, Jerusalem (B.F.A.) American, born in Romania Lives and works in New York City Solo Exhibitions 2008 Michael Steinberg Fine Art, New York 2006 Galeria Joan Prats, Barcelona 2005 Karpio + Facchini Gallery, Miami Jacob Karpio Galeria, San Jose (Costa Rica) 2004 Michael Steinberg Fine Art, New York 2001 Marella Arte Contemporanea, Milan 2000 Von Lintel & Nusser, New York Galerie Von Lintel & Nusser, Munich 1998 Galerie Thomas von Lintel, Munich 1997 Galerie des Archives, Paris 1995 Galerie Samuel Lallouz, Montreal L.A. Louver, Los Angeles 1994 Marc Jancou Gallery, London Galerie des Archives, Paris 1993 Galerie Barbara Farber, Amsterdam Real Art Ways, Hartford (Connecticut) 1992 Tom Cugliani Gallery, New York Galerie Marc Jancou, Zurich Galerie des Archives, Paris 1989 Tom Cugliani Gallery, New York Galerie Barbara Farber, Amsterdam Studied at bezalel from 1973 to 1977. And it was a very fascinating time because it was a highly conceptually based school. Very much influenced by Joseph Beuys, and European Conceptualism, I didn’t really like the atmosphere there that much, because it was dominated by male painters like Jörg Immendorf, Marcus Lupertz, and a few others. then came to New York to study at SVA for two years. New York in 1978 was exciting. I was very lucky to be in a class that was full of very bubbly and very energetic artists like Keith Haring, Kenny Scharf, Tim Rollins, Moira Dryer, Frank Holliday, and Tom Cugliani (who later became one of my dealers).The eighties were dominated largely by Neo-Expressionist paintings. There were Germans, such as Baselitz, Kiefer, Richter, Penck, and the Italians, Clemente, Chia, Cucchi, Palladino as well as Schnabel, Fischl, Basquiat, Salle, and many others, but all of their paintings were figuratively based. But below the popular consent, there was a group of painters who were working more in the vein of what Stephen Westfall referred to as “Neo-Surrealism,” including George Condo, Jeffrey Wasserman, Kenneth Scharf, David Humphrey. However, I felt that Carroll Dunham and you were the only two painters who seemed to be less interested in the kind of narrative, lyrical, or let’s say, stationary composition. He belongs to the generation of Terry Winters, Elizabeth Murray, David Reed and Jonathan Lasker but in some strange way, if we’re looking back to the mid-eighties, we have to include New Image painters like Susan Rothenberg, Neil Jenney, and Robert Moskowitz who were working in between the figure and abstraction with a kind of condensation and compression, in relationship, lets say, to cartoon imagery. There are artists like Jeff Koons, or even Damien Hirst who took the Duchampian aspect and brought it into the continuity of his readymade. But for me, I see no difference between the crack in “Large Glass” and the drips in Jackson Pollock’s paintings. There was something that I felt in my own equation of the continuity between Paul Klee, Duchamp, Picabia, and, oddly enough, Clyfford Still. What essentially is important is how different artists carry on a dialogue among themselves so that they can all keep their work vital. Whether from the abstract paintings of Richmond Burton, Fabian Marcaccio extending the borders of his paintings on to the wall, or Cady Noland’s early scattered installation, my own pre-occupation with machinery, urban environment, and the Duchampian models has always materialized in relationship to other forms of art making. Selected Group Exhibitions: 2014 Drawing on Difference: An Ambition by Saul Ostrow and Lidija Slavkovic, Studio Vendome Gallery, New York. 2013 Drawing on Habit: An Ambition by Saul Ostrow and Lidija Slavkovic, South Carlton Beach and The Betsy-South Beach Exhibition Programs, Art Basel, Miami Beach. 2013 Imprinted Pictures: Lydia Dona...