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REAR WINDOW, 2018, acrylic and oil on canvas, 55” x 47”
Exhibited: “Summertime” Tibor de Nagy Gallery, NY, 2018

 
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PORTRAIT IN A CONVEX MIRROR ( for John Ashbury ), 2017, gesso, acrylic, polymer resin on canvas, 44" x 72",  commissioned Private Collection, NY

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DETAIL, 2017, PORTRAIT IN A CONVEX MIRROR

 
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NOTE TO SELF , 2017, gesso, acrylic, polymer resin on canvas, 44" x 72"

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NOTE TO SELF, Detail, 30"x 20"

 
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TRIPPING ON THE GREAT WALL, 2017

 

TIPPING POINT, Everyone Has Desires, 2016-17, polymer resin, acrylic on canvas, 62" x 48"

 
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PARALLAX, 2018, oil, acrylic, pearl and silver pigments , resin on canvas, 49" x 48"

 
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NOISEY CONTEMPLATION 2018, heavy body acrylic and polymer on canvas, 47" x 40"

 

  RISE -UP , 2015-16, oil, acrylic, and polymer on canvas, 74" x 64"

 
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RISE -UP, detail

 

BUDDHA, (Front And Center)  2016-17, acrylic, polymer resin on canvas, 36" x 30"

 
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OBJECT OF ILLUSION (In Praise Of Shadows), 2017, oil, acrylic on canvas, 20" x 20"

 
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THE IDEA OF MIDNIGHT SUN, 2018, acrylic on canvas, 24" x 24"

 
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TITLE COMING SOON, 2018, acrylic on canvas, 24” x 24”

 

VEILED HEAT COLD SNAP , 2016, oil, acrylic, metallic pigment, polymer resin on canvas, 62" x 73"

 
 

SPIRIT MATERIAL( Shelley Rowing Home To Mary) 2015-17, oil, acrylic, heavy body polymer, pearlescent pigment on canvas, 62" x 62"

 

MERCURY, 2016-17, oil, acrylic, polymer resin , silver and pearl pigment on canvas, 62" x 62"

 
 

WET ANGEL 2012, oil, acrylic, polymer resin, mica on canvas, 60" x 46 "
 Private Collection. NY
NY ART BEAT, LINK
THE HUDSON REVIEW, LINK

 

Installation, solo exhibition,  Quick Mettle Rich Blood , Allegra LaViola Gallery NY,  

 

SHOOT THE BLUES THINK BACK INTO THE OCEAN,  2012-2016, oil, acrylic, resin, mica, iridescent pigment/ canvas, 68" x 58"

 

SHOOT THE BLUES THINK BACK INTO THE OCEAN

  Exhibited: A Concentrated Gaze, 1285 Avenue of the Americas Art Gallery UBS , 1285 6th Ave, NYC, April 11-July 1, 2016

 

FARTHER OUT, 2012, oil, acrylic, mica, polymer resin on canvas, 62" x 62"

 

"Verbal attempts to describe Slone's opulent metaphysical paintings, enriched with sweeping sumptuous textures in blazing colors, cannot ever hope to do justice to their sheer grandeur."
— Gigi Kracht, pgs. 62-66, VIEWS Magazine, 2012

 

JOY WHISPER, 2012, oil, acrylic,polymer resin, micaa on canvas, 36" x 36"
Catalogue Essay, Hallucinatory Splendor, LINK

 

VULCAN LOVE , 2012, oil, acrylic, polymer, mica tar/ canvas, 46" x 43", Private Collection, New York

 

MADAME BLAVATSKY , 2011, oil, acrylic, mica, resin on canvas, 62" x 62"
"Sandi Slone continues her passionate affair with paint's kinetic, sensuous, qualities revisiting some of the unusual processes she developed ..."
—Stephanie Snyder, ARTFORUM.com, December 2010

 
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MARS VIOLET, 2012, acrylic, mica,  resin on  canvas, 43 x 63"

 
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CASCADE, 2015, acrylic and molding paste on canvas, 33” X 66”

 

WORLDS APART, 2014, oil & acrylic on canvas, 40" x 57", exhibited, The Lonely See And The Sky, NY, 2014, Private Collection, New York

 
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FOR ALL THAT, 2014, acrylic & polymer resin on canvas, 48" X 62"

 
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  TOUCHSTONE , 2012-2018, acrylic on canvas, 28" x 22"

 
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RED LETTER DAY  (The Aleph ) 2013, oil, acrylic, polymer on canvas, 76" x 60"
Exhibited : Art In Buildings, 2018, Love Apple Art Space, Ghent, NY, 2018

 

RED LETTER DAY (The Aleph), Painting 101, Sargent's Daughters, NY, 2014

 "Sandi Slone’s Red Letter Day is awash with symbols, and seems more like the cave walls of Lascaux or Le Chauvet. Her paintings are an accretion of visual ideas over time. From the upper right hand corner we read a bright red aleph-like shape, but this visual key presides over a cascade of less discernable but still interpretable signs.  Black circles, boxes and ladders fall away from the aleph into a rosy and grey miasma. Eros (2009) uses a similar figure ground typology, a single brushstroke with six dangling pods looms over a washy fade from light blue to yellow, like some forgotten gesture to call up a goddess."  - Artcritical.com

 

 
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The NEW YORK TIMES,  January 20, 2014, staff photographer: Nicole Bengiveno.  Red Letter Day (The Aleph) 76” x 60” exhibited: Painting 101Sargent's Daughters, New York, NY, 2013 , Material Way, Fiterman Art Center, BMCC-CUNY, New York, NY, 2014, Art In Buildings, Love Apple Art Space, Ghent, NY, 2018
Review; ARTCRITICALLINK,

 
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ART IN BUILDINGS, Exhibitions 2018 , Love Apple Art Space, SANDI SLONE Text Link

Even though Sandi Slone has often worked with oversized brushes—an early series of abstract paintings made with large brooms established her reputation as a young painter — she long has had a predilection for intimate gestures and unexpected incidents that signal her preoccupation with visual strategies as metaphors for everything from the materiality and sensuousness of color, light and space to the current state of our fraught planet. There has always been a sense of the hand, of calligraphic gestures and shapes, that explore the language of contemporary abstraction with its wide ranging references as much as do her full-body sweeps of paint and thick transparent pours , extending the conversation around modernism and what came after .

Slone’s paintings have been widely exhibited internationally and are held in many permanent major museum and private collections including The Museum of Modern Art, NY;  The Museum of Fine Arts, Boston; The Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, DC; The Portland Art Museum, OR; The Museum of Contemporary Art, Barcelona; The Katzen Art Museum, Washington, DC; The Rose Art Museum, Waltham, MA; The Alberta Museum of Art, Edmonton, Can; The Institute of Contemporary Art, Boston; two Corcoran Museum Biennials, Washington DC; The DeCordova Museum, Boston; The Etherington Art Center, Queen’s University, Ontario; The International Artists Museum, Lodz, Poland; The Jersey City Museum, NJ; The New Hall Art Collection, Cambridge University, UK; The Currier Museum of Art, Manchester, NH; The Butler Institute of American Art, Ohio; The Harvard University Graduate School of Design, and in numerous other venues in the US, France, Spain, Portugal, Germany, Poland, Canada, Korea, China.

Slone’s work has been featured in publications that include The New York Times, The Boston Globe, The Washington Post, Artforum, Art In America, ARTnews, ARTnet, Flash Art, Architectural Digest, The London Guardian, Art New England, ARTS Magazine, The Hudson Review, Partisan Review, and Interview Magazine.

Sandi Slone is Professor Emerita of painting at the School of the Museum of Fine Arts / Tufts University, Boston, has taught in Harvard’s department of Visual and Environmental Studies, in the MFA program at the School of Visual Arts, NY and is a Founding Board Member of Art Omi International Artists Residency and Art Center. Slone was born in Boston and has lived and worked in Manhattan since 1984.



 

FROM ALL SIDES, 2013, oil, acrylic, polymer resin on canvas, 20" x 20" 

Featured, SCENE MAGAZINE, LINK

 

PORTRAIT OF MRS. BOIT'S FUSHCA POLKA DOT DRESS, 2014, acrylic, gesso, polymer/canvas, 20" x 20"
Exhibited: 40 Female Artists Explore The Legacy of John Singer Sargent, Sargent's Daughters Gallery, New York, 2014, 

 
 

INSOMNIA (for Louise Bourgeois)  2013, acrylic, molding paste on canvas, 18" x 14"

 

WHITE ON THE MAP, 2013, acrylic, molding paste on canvas, 24" x 20", exhibited: Painting 101, Sargent's Daughters, 2014
Featured in INTERVIEW MAGAZINE, LINK

 

Blue Holds Red, (LUMEN)  18" x14", acrylic, polymers, on canvas, 2017

 

MIDNIGHT RIVER, 28" x 22", oil, acrylic /canvas exhibited Lower Manhattan Cultural Council 2017,  Private Collection, NY

 

ELYSIUM, 2012, 20" x 16", acrylic on canvas

 
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THE IDEA OF THE SEA, 2014, acrylic polymer on canvas, 30" x 36", private collection New York

 
 
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SPIRIT MATERIAL, 2012, oil, iridescent acrylic,  pearl pigment, polymer resin on canvas, 49" x 62", Private collection, NY

 
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