It has been quite awhile since our last post, but we could not wait to post this review on two museums in New York City we were able to visit this past week.

The Metropolitan Museum of Art in New York City is one of the most stunning museum’s with an incredible collection. A special exhibition that is a must see is Pierre Bonnard: The Late Interiors, which is showing through April 19. This is the first exhibition of its kind to focus primarily on his radiant late interiors and still life drawings, paintings and watercolors.

A piece that cannot be missed is “Table in Front of Window.” The painting, set in the south of France really expresses who Bonnard was as a person and artist. You really get a sense of how Bonnard must have felt sitting in the sunlight looking out onto the sea by his extraordinary use of color and feeling. This exhibition is highly recommended, but be sure to spend a day at the MET, the vast space has hidden treasures in every corner.

Luckily I was able to see the Alexander Calder exhibition at the Whitney Museum of American Art in New York City on Valentines Day… it closed the next day. It was a wonderful and whimsical show of his work during The Paris Years, 1926-1933. In these seven years, Calder’s fluid, animating drawn line transformed from two dimensions to three, from ink and paint to wire. His radical innovations included openform wire caricature portraits, a bestiary of wire animals, his beloved and critically important miniature Circus, abstract and figurative sculptures, and his paradigm-shifting “mobiles.”His work continued to evolve throughout his career.

DeVorzon Gallery fortunately still has a few of Calder’s works from the 1960s and ’70s. These original, signed, limited edition lithographs are wonderful pieces by a great master. The prints which can be seen on our website feature some of his famous symbols: birds, circles, dots and dashes, while still sticking to another common theme throughout his work, primary colors.

:: Feb.19.2009 :: New York City Museums :: No Comments »

In 1974 Barbara DeVorzon of DeVorzon Gallery was in Mexico City arranging an exhibition of Francisco Zuniga original lithographs and bronze sculptures. At that time, she acquired several portfolios containing 20 offset reproductions each from the Misrachi Gallery. These beautifully printed reproductions were created to introduce new, young collectors to works by Zuniga at an affordable price. They were never to be confused with original drawings or hand-signed lithographs. The DeVorzon Gallery has retained a complete portfolio of these reproductions dedicated on the cover sheet to Barbara by Zuniga.

Today, many people who are trying to sell these pieces are not aware of their origin and think they are drawings. An example of an offset reproduction being sold as a drawing.

See what we have available at DeVorzon Gallery of Francisco Zuniga.

:: Nov.10.2008 :: Francisco Zuniga :: No Comments »

One day in the early seventies a young man walked in to my gallery when it was on La Cienega with two portfolios. In “one of those Factory moments,”Andy Warhol had personally given him his screens and the rights to print the Marilyn’s and Flower’s in different colors. On the back of the each 36” square screenprint, it says “Fill in Your Own Signature.” I was amazed with the integrity of these fabulous “Marilyn’s.” After buying both portfolios, put them in a corporate job that had great taste, but a little budget… It was a stunning installation. Though they are not original Andy Warhol Marilyn Monroe Screenprints, these are the closest to be found and a lot of bang for the buck.

During a challenging recent design project for a Los Angeles condominium I remembered those incredible Warhol look-a-likes and called to find that wonderful young man still had the screens. Fortunately, the Sunday B. Morning editions can be found in our store and purchased individually or as a portfolio.

Take a look…

Barbara DeVorzon

:: Sep.04.2008 :: Marilyn Monroe Screen Prints :: No Comments »

Art and the Artist Trailer from Gino Hollander on Vimeo.

Hollander is an undisciplined painter. He withholds nothing of himself. He refuses to rein in his emotions or his appetites. If a canvas is vulgar it is because he was feeling vulgar when he painted it. He shows it anyway. He feels that any painting he has done is a part of him. He doesn’t show just his party face. He strips himself naked for all to see.

“To know me is to know all of me,” says Hollander

The painter paints. He refuses to discuss his work or for that matter, art in general. To him “there’s nothing verbal about a canvas. A painting is simply one way to express a feeling and feelings can only be made less if they are talked to death”. Beginning and end of conversation. Hollander is a difficult man to interview. Like his paintings, he is tricky, hard to pin down. He’ll talk with you for hours and it is only very late in the night that you are aware that he is interviewing you, finding out who you are and how you feel. He’ll discuss any valid subject in the world. Except his paintings. The canvas has no meaning for him once it is finished. It is the push and pull, the emotional context of painting that captures him. From then on it is the province of the viewer alone. There is a dialogue of course, but a wordless one. A statement, a response; a question, an answer. If these exist they are mute. This is a dialogue of the heart or, perhaps, the soul.

CLICK HERE FOR GALLERY

:: Aug.21.2008 :: Gino Hollander :: No Comments »