Tuesday, June 24, 2014

Local Deals From Amazon

Monday, June 16, 2014

Tishiro Mifune Art prints

Films that featured artists such as Tishiro Mifune and others, often had nice movie still created in
black and white. Click image to view larger.

japanese vintage films



Thursday, June 12, 2014

Boston's Arts Community is a $1.4 Billion Economy Booster, According to a New Report

When you think 'Boston arts,' the big names come to mind, like a trip to the Museum of Fine Arts, or a night at the Boston Symphony Orchestra. But the vein of cultural influence runs much deeper than the obvious art institutions in the city. In fact, the 2014 Arts Factor report, culled by ArtsBoston and longtime partner and sponsor Bank of America, found that the arts in Boston is a $1.4 billion sector.
The first-time study, according to ArtsBoston's Catherine Peterson, proved just how powerful of a force Boston's art scene is in the city.
"[It] really shows what a powerful impact we have on the region, beyond what people do know already," said Peterson. "There's an incredible wealth of variety here in Boston, and it's letting people know that there's a rich, vibrant cultural community that they can take part in."
Peterson also echoed one of they key points made by the Arts Factor study: Boston boasts more arts and cultural organizations per capita than any other U.S. metro area, with 50 organizations for every 100,000 residents. This intensive community pumps $1 billion worth of direct spending into the community through admissions, with an addition $450 million dollars coming from revenue earned outside of admissions.
Bank of America's Bob Gallery said that from a business standpoint, the arts not only draws people from other industries and students in, it keeps them in the region. Peterson added that the number of jobs that the arts brings to the city aren't going anywhere, either.
The arts sector adds 26,000 jobs to the Boston economy, and according to Peterson, "those jobs aren't going to be outsourced."
To put some of the numbers that the Arts Factor found during research into perspective, the report found that enough people visit Boston's art institutions to sell out Fenway Park 488 times, meaning 18.3 million attendees per year are utilizing the city's art and culture resources. Meanwhile, and speaking of sports, 4.5 times more people visited art and culture institutions than Boston's sports teams – the Celtics, Patriots, Bruins and Red Sox – put together: 4.5 million sports attendees versus the 18.5 million art attendees.
And contrary to popular belief, engaging in the arts doesn't have to be expensive. According to the data, 40 percent of people who visited for free. According to Peterson, the median cost of admission throughout 2013 was $16 due to the number of free events, made possible by partnerships with companies like Bank of America, which, according to Gallery, "realize the public good, the economic impact and the public good of supporting arts and culture."
To learn more about the Arts Factor report, and some of the stats they discovered, check out the infographic below, and visit ArtsBoston to download the complete report.


Monday, June 2, 2014

Nichole McDaniles Art

fine art resin canvas stencil
Artist Nichole McDaniels
Nichole creates impressive works on canvas using stencil, custom hand
worked backgrounds and a heavy resin that is melted into the canvas.
Must see in person to appreciate!
stencil arts





The Number One Searched Art Term online

nature art prints
The number one searched art term is "Nature"
The word nature is searched online more than any other word.
More people choose images of nature, trees, flowers, creeks, rivers, the beach, mountains 
and wildlife in nature over all other subjects including celebrity portraits.

The image above is a high def photo that can be viewed as a print
on canvas metal or paper. Click the image to view. 




Tuesday, May 20, 2014

Renoir LUNCHEON OF THE BOATING PARTY PIERRE-AUGUSTE RENOIR

LUNCHEON OF THE BOATING PARTY

PIERRE-AUGUSTE RENOIR

renoir posters
Luncheon of the Boating Party by Pierre-Auguste Renoir remains the best known and most popular work of art at The Phillips Collection, just as Duncan Phillips imagined it would be when he bought it in 1923. The painting captures an idyllic atmosphere as Renoir's friends share food, wine, and conversation on a balcony overlooking the Seine at the Maison Fournaise restaurant in Chatou. Parisians flocked to the Maison Fournaise to rent rowing skiffs, eat a good meal, or stay the night.
To order an Affordable Poster of this work, use the link below




Art by Dan

Monday, May 19, 2014

Starry Night by Vincent van Gogh

starry night poster
The Starry Night is a painting by the Dutch post-impressionist artist Vincent van Gogh. Painted in June 1889, it depicts the view outside of his sanatorium room window at Saint-Rémy-de-Provence (located in southern France) at night, although it was painted from memory during the day. It has been in the permanent collection of the Museum of Modern Art in New York City, part of the Lillie P. Bliss Bequest, since 1941. The painting is among Van Gogh's best-known works and marks a decisive turn towards greater imaginative freedom in his art.
An affordable poster of this work can be ordered using the link below.

                                                                 

Pablo Picasso Old Guitarist

picasso posters
The Old Guitarist is an oil painting by Pablo Picasso created late 1903–early 1904. It depicts an old, blind, haggard man with threadbare clothing weakly hunched over his guitar, playing on the streets of Barcelona, Spain. It is currently on display in the Art Institute of Chicago.
At the time of The Old Guitarist’s creation, Modernism, Impressionism, Post-Impressionism, and Symbolism had merged and created an overall movement called Expressionism which greatly influenced Picasso’s style. Furthermore, El Greco, Picasso’s poor standard of living and the suicide of a dear friend influenced Picasso’s style at the time which came to be known as his Blue Period. Several x-rays, infrared images and examinations by curators revealed three different figures hidden behind the old guitarist.
You can order a poster of this work using the Amazon link below,
prices are very affordable.


                                                                        

Wednesday, May 14, 2014

Experts find elusive Dali paintings

A picture released by the Gala-Salvador Dali Foundation/VEGAP shows a newly identified painting by Spanish artist Salvador Dali titled "Libre inclinacion del deseo" (Free inclination of Desire) and "Simulacre de la nit" (Simulation of the Night). Picture: AFP / GALA-SALVADOR DALI FOUNDATION

BARCELONA - Two oil paintings, including one owned by Yale University in the United States, have been certified as being the work of Spanish surrealist artist Salvador Dali, officials said on Tuesday.
Art experts from the Gala-Salvador Dali Foundation knew that the two works existed but up until now they had been unable to locate and authenticate them.
"We had identified the works but we did not know where they were or how to link them to Dali. We thought they were made by him but we had to verify," the director of the foundation's research department, Montse Aguer, told AFP.
"These are works from Dali's surrealist period. Both are very significant. They depict dreamlike landscapes that are typical of Dali, with shadows and big pedestals."
The two paintings were painted in 1930 and they were put on display by Dali only once, in separate exhibitions.
The Gala-Salvador Dali Foundation, located in the mustachioed artist's native Figueres in northeastern Spain, discovered the existence of the works through press clippings about the exhibitions that were published at the time.
One painting, Free Inclination of Desire, which depicts a large rock along with ants, keys and other random objects, was shown in an exhibition in 1935 in Santa Cruz de Tenerife, the capital of Spain's Canary Islands.
It belongs to the art gallery of Yale University in New Haven, Connecticut.
Simulation of the Night depicts a veined hand on a column in a barren landscape and appeared at an exhibition in San Francisco in 1965.
It is in the hands of a private collector who does not wish to be identified.
Dali, who is praised by some as a creative genius for his striking and bizarre images, died in Figueres in 1989 aged 85.

Monday, May 12, 2014

New video that features artist and art instructor Clara Berta

Clara Berta hosts regular art classes at her downtown studio.
art workshop california
Artist Biography
Clara Berta
is a passionate, award-winning mixed-media artist of Hungarian heritage. Inspired by her love of nature and the beauty she sees all around, her highly textural abstract works often evoke the deep blues of the ocean she loves, or the golden glow of a Tuscan sunset from her trips to Italy. 
Berta has concentrated on abstract expressionism through painting and unique monotypes.  Her paintings and prints explore themes such as the ebb and flow of memory, the significance of personal heritage, renewal, the passing of physical time, desire, passion, and love. Her large-scale abstract works often include recycled reminders of her travels, bits of fabric, or eco-friendly / organic materials such as palm bark. Manipulating the texture with many layers of paint, she will work and re-work her canvases, layering, scraping, piling up textures to give added dimension, creating works that intrigue and invite the viewer in for closer inspection.
 Believing that art offers therapeutic relief from the challenges and stress people face in their daily lives, Berta shares her beliefs and abilities by teaching advanced painting techniques and collage classes in her beautiful sunny loft/studio in downtown Los Angeles. Growing up in a culturally rich and stimulating environment, a Hungarian enclave in Romania, Berta moved to Chicago at the age of eleven.   She relocated to Los Angeles when she began her formal education, receiving a BA in Psychology from Antioch University.

Tuesday, May 6, 2014

Marilyn Monroe Art

marilyn monroe portrait
Original painting of Marilyn Monroe.
To view image larger and see prints
Click image above


Thursday, May 1, 2014

Hand signed Peter Max

PETER MAX - PRINTED ART SIGNED IN INK 1988

PETER MAX. Printed Image signed: "Peter Max/1988". Color, 8½x6 postcard. Depicts his 1986 painting, Lady on Red (With a Flowering Vase), from his "Ladies of the 80's" series, which also included Deco Lady, Lady By Window, Lady With Degas, Lady With Flowers, Nude and Vase and Zero Amarillo. Peter Max, born in Berlin in 1937, spent most of his first ten years in Shanghai, and then traveled the world with his parents before immigrating to the US in 1953. Already an award-winning graphic artist and designer, Max burst on the cultural scene in the 1960s, first with his "psychedelic art" and then with a new concept, "cosmic art." Max, who works in many mediums, has been the official artist for the Grammy Awards, the New Orleans Jazz Festival, the Woodstock Music Festival and 5 Super Bowls. He has decorated a Boeing 747, a Dale Earnhart racecar, and 265 murals on the US border. He has designed popular US and UN stamps, painted five US Presidents, the Beatles, the Rolling Stones, Mikhail Gorbachev and the Dalai Lama. He painted individual portraits of 356 firefighters who lost their lives heroically on 9/11, presenting these portraits to the families, and then at President Bush's request designed 356 more for the firefighters' memorial. Fine condition. Framed in the Gallery of History style: 17x20¾.
Order using the image link below:


Monday, April 28, 2014

Internet Art Sales increase, new trend to buy art online

buy art online

LONDON - The value of the online fine art market is expected to more than double to $3.76 billion in the next five years as it increasingly attracts younger and first-time buyers, British insurer Hiscox said on Monday.

Online art sites do not threaten galleries and auction houses in the same way Internet availability has undermined the traditional movie, book and music businesses, Hiscox said.

But the willingness of younger buyers to make their first purchases over the Internet along with the rapid growth of online sites pointed to the future of the sector, it said in a statement.

"Young collectors are looking for art work which is easy to buy and available at a wide range of prices," Robert Read, Hiscox's head of fine art, was quoted as saying.

"Online art platforms cater for all tastes and budgets, but are particularly effective for those just starting to collect—opening up the art market in a way that is hard to replicate in the real world."

London-listed Hiscox, which underwrites cover for oil rigs, kidnappings, fine art and vintage cars, estimated the value of global online art sales at $1.57 billion in 2013.

In its second annual report on the online art market, in conjunction with market research company ArtTactic, Hiscox projects this figure will grow to $3.76 billion in 2018.

The report's findings are based on a survey of 506 international art buyers on ArtTactic's client mailing list, Twitter and Facebook, Hiscox said.

"Based on these figures, online art buying accounts for 2.4 percent of the estimated value of the global art market, which in 2013 was $65 billion," Hiscox said.

Internet retail giant Amazon had launched its Art portal in the past year and online auction house eBay was reportedly planning a rival platform, it said.

"Significant increased investment into platforms like Paddle8, Artsy and Artspace indicates continued confidence from investors and belief in the long-term potential of these businesses," Hiscox said.

Complementary buying opportunities

Online-only sales would not replace galleries, auctions and other traditional sales channels, it said, but provide an alternative buying opportunity and additional revenue stream.

"The findings indicate that online art e-commerce will not exist as a separate entity—it will augment and co-exist with what is happening in the real, physical art world," Hiscox said.

The report did find, however, that future generations of collectors were likely to make their first art purchases online, with almost 25 percent of 20- to 30-year-olds surveyed for the report saying they first bought art online without seeing the physical piece.

Although 39 percent of respondents said buying art online was less intimidating than at a gallery or auction, having a bricks-and-mortar presence instilled confidence, with 90 percent of online buyers purchasing from a physical space before turning to websites.

Limited edition prints were a popular entry point for online buyers, the report said, with 55 percent of those surveyed having bought a print online in the last 12 months.

The report found that 44 percent of buyers said they had spent more than £10,000 ($16,800) purchasing art and collectibles online so far, with 21 percent of this group saying they had spent in excess of 50,000 pounds.

Nevertheless, seeing the physical object remained important, with 82 percent of those surveyed saying the most difficult aspect of buying art online was not being able to inspect it.  Reuters


Wednesday, April 16, 2014

Salvador Dali Dinners for Gala Book


Inside book
“When six years old I wanted to be a cook” Dali wrote. He is now sixty eight and his ambition is fulfilled in the shape of a book: Les Dîners de Gala. Published by Felicie Inc.
Buy it on AMAZON!

Sunday, April 13, 2014

Winslow Homer Painting to be sold

museum painting to be sold

By Associated PressPublished: April 12

WILMINGTON, Del. — One of the Delaware Art Museum’s most treasured works has been taken off the museum’s collections database as the museum prepares to sell artworks to repay debt and replenish its endowment.
The News Journal  reported Saturday that Winslow Homer’s painting “Milking Time” disappeared from the museum’s collections database. But museum officials won’t confirm whether the 1875 painting is among the works to be sold.

Museum and art experts said the change likely signals the painting of rural America will be sold. On Saturday, the painting of a milkmaid and child looking at cows was no longer hanging in the museum.
Board members have said they won’t release the names of works to be sold because it could lower their value on the market. Museum CEO Mike Miller would not explain why Homer’s painting was removed.
“You can make your own speculations,” he said.
The museum has said it’s planning to sell as many as four artworks by October to repay nearly $20 million in debt from a 2005 expansion. Museum leaders said the only other alternative was to shut down.
The Association of Art Museum Directors has strongly opposed the museum board’s decision to sell artworks. The move violates national museum standards and the Delaware museum’s own collections policy. It could result in sanctions or a possible loss of the museum’s accreditation.
“Milking Time” was purchased in 1967 using a bank loan and donations from the group Friends of Art, Miller said. Art experts said it’s a “landmark painting” for Homer and that it is extremely rare for a Homer piece of that quality to leave a museum.
Danielle Rice, the museum’s former executive director, said that shortly after she began leading the museum in 2005, trustees began pressuring her to sell art to pay off construction debt. Rice said she threatened to resign and urged trustees to pursue alternatives.
“You just basically keep knocking on doors,” she said. “You can always get a mortgage.”
The state has declined to intervene to stop the art sale or provide funding to the museum. At least one trustee has met with Gov. Jack Markell to discuss a state takeover of the museum, Miller said. But Markell said budgetary constraints wouldn’t allow state assistance.
Jeffrey Fuller, a Philadelphia-based art appraiser, said he encouraged the Delaware museum to sell lesser works that are kept in storage, rather than the most valuable pieces.
“I guess it’s just an easy way out,” he said.



Strong, Fast Sales at Art Cologne Mark New High Point For German Art Fair


artnet news

A hulking pair of Joel Shapiro sculptures flanks the entryway to Art Cologne’s 48th edition. Pristine examples of his Elevation series from 1996, minimal and of a grey that nearly disappears against intermittently overcast skies they set the tone for the fair overall. Subtlety and quality, and not flash, proves paramount across the fair this year. It’s a place for connoisseurs, not those looking for a shiny statement piece.
Art Cologne requires a slower gait and more patient eye than its brethren. But then, that’s already the style of the assembled (mostly European) collectors that fair director Daniel Hug has been on a mission to attract back over the past six years. “We needed a good German fair and we have that now,” one prominent Rhineland gallerist told artnet News. Many more echoed the sentiment during Art Cologne’s first two days.
Lack of flash may separate the fair. But at this year’s vernissage, the bustling halls could well have been those of Armory, Frieze, or Basel. Dealers were inundated with collectors, sometimes lined up to get a word (or offer) in edgewise. Sales were swift. That’s all glad news.

On another level, though, Art Cologne remains a regional affair, attracting deep-pocketed buyers from the Rhineland, Germany’s south, and the Benelux countries. Anita Zabludovicz from London was present and buying. Americans also held a presence at the fair, highlighted by the return of Don and Mera Rubell as well as Michael and Susan Hort.
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On the first floor, home to established galleries peddling mostly blue chip contemporary or secondary market work, energy was steady throughout the first day, with a slight calm setting in on Thursday before the Belgians were set to arrive in hordes over the weekend—school holidays kept some of the country’s prominent purchasers at bay during the preview.
David Zwirner once again outperformed the competition. Two works by current art world darling Oscar Murillo—one painting and a sculpture from his A Mercantile Novel series, which will premiere in New York on April 24th—were first to be nabbed by collectors. A series of ten drawings on hotel stationary by Martin Kippenberger, collages by Marcel Dzama, photos by James Welling also sold during the preview. By Thursday evening, a large photogram byThomas Ruff was also sold. And sales of works by Michael Riedel and Christopher Williams that had been put on reserve the previous day also went through.
Adjacent to Zwirner, German mega-collector Ingvild Goetz could be seen chatting with Karsten Greve. The dealer had two exceptional works by Pierre Soulages, ahead of the opening of the 94-year-old artist’s Musée Soulages in his birth town of Roudez in southern France. Three paintings by recently deceased painter Gotthard Graubner also attracted interest. (Dierking, Sundheimer was also showing one of the artist’s largest works.)
At Milan’s Cardi Gallery, owner Nicolò Cardi was beaming after a successful return to Art Cologne after years away from the fair. “Art Cologne is such a strong, good quality fair,” he said, explaining that their return was due to, “the extraordinary work the new director is doing.” Within the fair’s first hours Cardi sold a Jannis Kounellis piece from the 1980s for which he was asking €100,000. He had further works by Michelangelo Pistoletto and Giuseppe Penone on hold with confidence they would sell by fair’s end.
Many of the first floor’s other galleries reported strong sales. Most galleries reported selling small paintings or works on paper but were holding out for the weekend for more significant results and confirmations on early holds. Art Cologne is notorious for its collectors’ reticence to pull the trigger on high priced pieces.
Upstairs, sales for contemporary and emerging galleries were slightly slower at the fair’s start but soon overtook their more established colleagues. At least in volume, that is. A layout change is potentially to blame. For the previous two years the New Art Dealers Alliance (NADA) had a separate section of the fair. For visitors, that allowed a partial compartmentalization of the already smaller and more numerous booths on the second floor. But for the NADA dealers, it meant sluggish sales at best. This year, the NADA galleries who chose to return have formed the Collaborations section, along with others from Art Cologne proper. It’s a great opportunity for galleries to show more ambitious or experimental work.


Overall, the quality of work this year far outshined that of Art Cologne’s 2013 edition. That’s partly due to some key additions. Contemporary Fine Arts (CFA) is back in Cologne after over ten years and has the fair’s most audacious presentation: two full 50 square meter booths showing solo presentations of Tal R and Gert and Uwe Tobias. Two Tal R works sold within the first hour for €33,000-54,000. Several more were on hold. Four of the Tobias twins’ works had also sold by Thursday afternoon for €38,000 each.
London and Berlin’s Sprüth Magers was inundated with collectors during the vernissage. A large Sterling Ruby sculpture topped their balance sheet by Thursday afternoon, having sold to a German collector for $150,000. A large wall sculpture by Cologne-based artist Michail Pirgelis sold for €40,000. A painting from their recent Berlin exhibition of Andreas Schulze and “a lot of works from storage” rounded out a solid performance.
In their second year at the fair, Peres Projects moved from the fair’s perimeter to a much larger stand in the heart of the second floor. The gallery had placed two paintings from David Ostrowski’s F series with prominent collectors from the Rhineland. Peres still sells the works at €10,000-25,000 despite a comparable painting’s recent sale at Phillips for £86,500 and has been extremely attentive to which collectors are purchasing the work. A mirror painting by Eddie Peake had also sold by Thursday afternoon. Two prime examples of Dorothy Iannone’s work from the 1960s were viewer favorites and had attracted serious institutional interest. Iannone currently enjoys a major retrospective at the Berlinische Galerie. The works were priced in the realm of €65,000.
In terms of sheer sales volume, Johann Koenig was unmatched. In the first day alone, the gallery sold over 30 works from nearly every artist on their booth and several whose work they hadn’t even brought to the fair. “It was a bit like [Art] Basel,” Koenig said of the preview and vernissage. He sold to major institutions like Munich’s recently reopened Lenbachhaus and Christian Boros among other prominent and “mostly German,” collectors. Interest was heaviest in Berlin-based artist Alicja Kwade, a Boros favorite. Others included a large, bench sculpture by Jeppe Hein, paintings by Katharina Grosse, and a sculpture by Tatiana Trouvé.
Perhaps most surprisingly, success befell young galleries with unprecedented pace this year. The region typically demonstrates conservative buying habits. And previous editions of Art Cologne were marked by a tense air at the second floor’s perimeter—the location of New Contemporaries, Hug’s section for galleries under ten years old.
Smiles replaced those furrowed brows this time around. Nearly all galleries asked had sold something by Thursday afternoon.
Berlin’s Klemms hand a strong first day, selling several drawings for €500 a piece. Two large photographs by Adrian Sauer sold. One painting by Bernard Piffaretti had sold by Thursday afternoon for €14,000 with another on reserve. Stopping to catch his breath near the end of Wednesday’s vernissage, Sebastian Klemm noted how essential Art Cologne was to his ability to survive the crisis years and Berlin’s still-sluggish market.
Soy Capitán’s Heike Tosun said she was slightly nervous for this year’s fair, after deciding to bring only one of the artists that had seen a flood of sales hit her booth in 2013. Fears were quickly averted. Tosun had sold four paintings by Henning Strassburger and Matthias Dornfeld priced between €6,000-10,000 each by Thursday afternoon. “I even sold something at the party!” she exclaimed, referring to a post-vernissage fete thrown by a group of young galleries on Wednesday night.
To an extent, the increase in sales at the young galleries is also structural. Collectors apparently were scared to even talk to a gallerist about an unknown artist when Hug took over the fair in 2008. “They thought that they would be obligated to buy,” he says.  Clearly, they have no more fears.

Monday, April 7, 2014

Largest outdoor art show Five U.S. museums unite for Art Everywhere

largest art show museums
Among the denim-clad glamour girls and blockbuster movie stars staring down from the billboards of the Sunset Strip, images of great American artworks will be displayed this summer in what organizers are calling “the largest outdoor art show ever conceived.”

Five museums — the Los Angeles County Museum of Art, the Art Institute of Chicago, the Dallas Museum of Art, the National Gallery of Art in Washington, D.C., and the Whitney Museum of American Art in New York — have come together with the Outdoor Advertising Assn. of America to execute Art Everywhere, a sweeping, interactive art campaign.

Along with billboards in Hollywood, the images will be displayed in Times Square and bus stops, subway platforms and signs around the country.

ART: Can you guess the high price?
Starting Monday, the public will be invited to vote on its favorite American artworks from a master list of 100 that the museums have curated from their combined collections, the frenetic color-drippings of Jackson Pollock and the fluid curves of Georgia O’Keeffe’s oil blossoms among them. The 50 most popular images will then be featured throughout August on about 50,000 billboards and signs in select U.S. cities.

The campaign, which follows a similar progam in England last year that was a collaboration between Innocent Drinks co-founder Richard Reed, arts fundraiser the Art Fund, Tate, and the U.K. out of home advertising industry, may be a publicity play for the museums, but it’s also an effort to raise awareness of art nationwide.

“Images out of sight may be out of mind,” LACMA Director Michael Govan said. “Art Everywhere puts marvelously diverse American ideas and stories told through images in the open air with public involvement — reminding us of the many more great images that are accessible in our museums.”

Voters will be asked to consider not just paintings but photographs, multimedia works, drawings on paper and decorative objects from the 18th century to 2008. Grant Wood’s now-iconic “American Gothic,” of a rigid-looking farmer clutching a pitchfork beside his daughter, was nominated by the Art Institute of Chicago. LACMA’s black and white John Baldessari photograph from the mid-’60s, “Wrong,” is also in the mix.

CHEATSHEET: Spring 2014 arts preview
“In a way, it’s a mini history of American art — and an opportunity for people to identify which works resonate for them personally,” said Dallas Museum of Art Director Maxwell L. Anderson. “I hope families and individuals will have a fresh look at our collective cultural heritage and see the potential in their lives of visiting museums and appreciating great works of art.”

Voting will take place at ArtEverywhereUS.org, where the final list of artworks will be announced June 20. Among the artists whose works are on the ballot: Edward Hopper, Mark Rothko, John Singer Sargent, Mary Cassatt, Ed Ruscha, Catherine Opie, Andy Warhol, Cindy Sherman and Frank Lloyd Wright.

“The beauty of this project,” Govan said, “is that we can share these masterpieces of American art with people all around L.A. and the rest of the country — no admission necessary.”



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