Dan Abramson was a self-taught New York and L.A. artist whose career spanned five decades. During the 1960s, he was considered a "Mad Man," creating iconic commercial illustrations. His first solo show took place in New York City, NY, in 1961, and he participated in group shows with contemporaries such as Rauschenberg, Warhol, Jasper Johns & Jim Dine. He temporarily retreated from the art world in 1967, reemerging as a visual artist in the late 1980s in Los Angeles, CA. He worked with assemblage and decorative arts, transitioning later to works on paper: collages & manipulated images. His later works were produced in Casa Effie (his artist's home in Silverlake, California). He was represented by Louis Stern Fine Arts in West Hollywood for a decade and had many solo & group shows.
Pat Carey was the sister of fellow-artist Virginia Conroy. She was born in New York and educated as an artist and fashion illustrator in Los Angeles at the Chouinard Art Institute. After working in Hollywood, she left and became an integral part of the counterculture art scene in Carmel/ Monterey in the 1960s. She moved to San Francisco in the early 1970s where she was an activist, art teacher and gallerist. Much of her figurative work portrays those she knew in the Tenderloin and the legendary Goodman Arts Building (where she resided).
Singularly focussed on the marriage of science, religion and art, Virginia Conroy spent over half a century imbuing her pieces with the spiritual energy latent in all living things. Conroy graduated from Chouinard Art Institute in Los Angeles, CA, in 1944 with a degree in commercial art. While her education primed her for cartoon and fashion illustration, Conroy transitioned away from commercialism to represent Pierre Theilhard de Chardin’s theory of spiritual evolution. After moving to Monterey, CA in 1950, her art continued to capture the interconnected nature of science, spirituality, ethnicity, and the cosmos. Conroy’s exploration of humanity's collective evolution complemented the socially conscientious work of her sister, Pat Carey, and the renowned cartoons of her husband, Eldon Dedini.
Overton was trained at CCAC in the 1950s where he met his wife, fellow-artist Nancy. He then worked as the art director for KPIX. His return to painting came in the last decades of the 20th century. He looked for fresh takes on local subjects like Alameda, Mt. Diablo, The Berkeley Marina, Martinez and the Oakland Hills. He was deeply influenced by California painters like David Park and Richard Diebenkorn and explored the interplay between the formal elements of the composition and the subject matter, often leaning into abstraction. He served in the Navy and continued to sail and fish all around the Bay Area, which would also influence his choice of subjects. In addition to land and seascapes, Overton is also known for his abstract work and his unique series of dogs and kimonos.
Standish was a Los Angeles artist, violin prodigy, and actor. As a child actor, Standish had roles in several Hollywood films during the early 1940s. During WWII, Standish entertained troops during WWII in Bobby Byrne’s band. He was an art teacher in Los Angeles for thirty years and exhibited at the Falk-Raboff Gallery in L.A (1954), LACMA (1959), and the Riverside Art Museum (2010).
Sherry was a California photographer active in the 1940s-70s. His work is in the permanent collection of the Seattle Museum of Art and he was listed in the 1943 American Annual of Photography. Sherry was an active member of the Sierra Camera Club of Sacramento, California. He worked in the modernist black and white photography traditions of the mid 20th Century. Sherry was born in Minnesota and died in Sacramento, CA. A true “lost artist”, very little more is known about his life and work.
Delamater spent April 2022 in New Orleans producing works and getting to know the unique culture of one of the most renowned American cities. He stayed in the Irish Channel residential neighborhood, blocks from the Mississippi and far from the French Quarter. The homes had all aged beautifully. The gardens were loose and lush. Music wafted from every direction. Neighbors hung out on their front porches and greeted passersby. Spring storms came through in the afternoon and brought rain and delight. Rob absorbed the patina of the crumbling buildings and wondered at all the plants and life that seemed to just thrive everywhere. So much green. During this trip, he worked with hand-mixed pigments and gouache paints to record the impressions New Orleans left on him.
For several years now, Caron has attempted to establish an art residency on the Big Island of Hawaii where he captures tropical landscapes, and collaborates with an inspiring group of painters associated with the art studio of late local painter, Arthur Johnsen. In addition to in-studio model painting, the group ventures several times a week to the local Red Road seaside to perform plein-air painting. Caron joined them during the spring of 2022 and created a new group of plein-air landscape and figurative works. The Puna Peninsula on the Big Island is a place of stunning natural beauty, preserved from development and tourism by the precariousness of the activity of the Kilauea volcano.
Where we are: 245 South Van Ness Avenue, #303, San Francisco, CA, 94103 When to visit: Monday through Saturday, 10:30am to 5:30pm
How to find us: We’re nestled on the top floor of the Sherwin Williams building adjacent to the 101 and 80 freeway. Enter through the black door and take the stairs to the third floor, or ring the doorbell if you need a lift in the elevator.
Where to park: We have one parking space in the lot directly in front of the building. If that’s taken, try the meters running along 13th/Division Street.
How to contact us: If you’re having trouble finding the gallery (trust us, it happens!) give us a call at (415) 861-1530 for more help. You can also email us ahead of time at firstname.lastname@example.org
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