The aim of The Shimon Okshteyn Estate is to promote and further the legacy of the artist, and by doing so, highlight his work and identity. The past few years have been dedicated to ensuring representation of Okshteyn in major museums such as Flint Institute of Art, MI, Grinnell College Art Museum, IA, and The Telegraph, Czech Republic. This remains the primary objective of the Estate, along with archiving and making the vast assemblage collection of the Estate available to scholars, artists, collectors and the general public through exhibits and publications.
All images © Shimon Okshteyn Estate | Soft Network Member
Licensing requests for the work of Shimon Okshteyn are managed by Artists Rights Society
For more information and additional images, please contact the Estate.
For all other inquiries, please contact Black & White Gallery
2019 - 2017
“Using different techniques allows Shimon Okshteyn to generate rich and complex surfaces, where collage has a lion’s share. A work is often designed as a huge pattern where each item is adjusted against another to build an image. Neighborly relationships participate in a new visual unity and semantic meaning of the work.” ___Jean-Pierre Garand, Art Historian
HAMPTONSARTHUB.COM review
HAMPTONSARTHUB.COM review
MELANCHOLIA, 2019
Mixed media on canvas mounted on plywood
60”x 90”
LA PLAGE, 2019
Mixed media on canvas, 60"x 80"
BIRDS OF A FEATHER FLOCK TOGETHER, 2019, mixed media on canvas, 40"x 43"
NATURE STILL-LIFE, 2019
Mixed media on canvas, 38"x 48"
UNTITLED, 2019
Mixed media on canvas, 80"x 60"
SEASCAPE SERIES (1), 2019
Oil & collage on canvas, 12″ x 24″
Provenance:
Black & White Gallery / Project Space, 2025
SEASCAPE SERIES (2), 2019
Oil & collage on canvas, 12″ x 24″
Provenance:
Black & White Gallery / Project Space, 2025
SEASCAPE SERIES (3), 2019
Oil & collage on canvas, 24″ x 12″
SEASCAPE SERIES (4), 2019
Oil & collage on canvas, 12″ x 24″
PASTORAL #1, 2019 -2018
Mixed media on canvas, 16.5"x 20.5"
PASTORAL #2, 2019-2018
Mixed media on canvas, 16.5"x 20.5"
PASTORAL #3, 2019-2018
Mixed media on canvas, 16 .5"x 20.5"
PASTORAL #4, 2019-2018
Mixed media on canvas, 16.5"x 20.5"
PASTORAL #5, 2019-2018
Mixed media on canvas, 16.5"x 20.5"
SAVE $50, 209-2018
Mixed media on canvas, 36"x 41"
POLO HAMPTONS, 2018
Mixed media on canvas, 60”x 80"x24”
Provenance:
Black & White Gallery / Project Space, 2025
Janet Lehr Gallery, Easthampton, NY, 2018
LANDSCAPE #1, 2018
Mixed media on vintage postcard mounted on board, 7”x 5.5”
Provenance:
Janet Lehr Gallery, Easthampton, NY, 2018
LANDSCAPE #2, 2018
Mixed media on vintage postcard mounted on board, 7”x 5.5”
Provenance:
Janet Lehr Gallery, Easthampton, NY, 2018
LANDSCAPE #3, 2018
Mixed media on vintage postcard mounted on board, 7”x 5.5”
Provenance:
Janet Lehr Gallery, Easthampton, NY, 2018
LANDSCAPE #4, 2018
Mixed media on vintage postcard mounted on board, 7”x 5.5”
Provenance:
Janet Lehr Gallery, Easthampton, NY, 2018
HAMPTONS LANDSCAPE, 2018
Oil & mixed media on canvas mounted on plywood, 52”x 70”
Provenance:
Janet Lehr Gallery, Easthampton, NY, 2018
LILY | Pink, 2018
Oil on canvas, 36”x 36”
LILY| Yellow, 2018
Oil on canvas, 36”x 36”
Garden Nymph, 2018
Oil & mixed media on panel, 86”x 72”
Provenance:
Janet Lehr Gallery, Easthampton, NY, 2018
INTERPRETATION OF PABLO PICASSO EROTIC ETCHINGS, 2017
Etching #1, Mixed media, 10" x 8"
Provenance:
Janet Lehr Gallery, Easthampton, NY, 2018
INTERPRETATION OF PABLO PICASSO EROTIC ETCHINGS, 2017
Etching #3, Mixed media, 10" x 8"
Provenance:
Janet Lehr Gallery, Easthampton, NY, 2018
2014 - 2008
“Shimon Okshteyn’s new paintings carry us through the conceptual and epistemological thicket, responding intuitively to the radically changed visual environment of the 21st century. Here we find an aesthetic that is deeply informed by and that responds to these shifting modes of representation, a material reworking of the very notion of the analogue in a post-digital age.”
_______ Beth E. Wilson, Art Historian, NYC
ARTFORUM review
VILLAGE VOICE review
HEARTS & FLOWERS, 2014
Oil on canvas, 22"x 22"
Print on Dibond, 57”x 36”
Provenance:
Black & White Gallery / Project Space, 2025
Black & White Gallery / Volta Art Fair, NYC, 2016
Black & White Gallery / Pulse Contemporary Art Fair, NYC, 2014
PINK BLOSSOM, 2014
Oil on canvas, 22"x 22"
Print on Dibond, 57”x 36”
Provenance:
Black & White Gallery / Volta Art Fair, NYC, 2016
Black & White Gallery / Pulse Contemporary Art Fair, NYC, 2014
SUNSHINE, 2014
Oil on canvas, 22"x 22"
Print on Dibond, 57”x 36”
Provenance:
Black & White Gallery / Project Space, 2025
Black & White Gallery / Volta Art Fair, NYC, 2016
Black & White Gallery / Pulse Contemporary Art Fair, NYC, 2014
NICOTIANA, 2014
Oil on canvas, 22"x 22"
Print on Dibond, 57”x 36”
Provenance:
Black & White Gallery / Project Space, 2025
Black & White Gallery / Volta Art Fair, NYC, 2016
Black & White Gallery / Pulse Contemporary Art Fair, NYC, 2014
WILD FLOWER, 2014
Oil on canvas, 22"x 22"
Print on Dibond, 57”x 36"
Provenance:
Black & White Gallery / Project Space, 2025
Black & White Gallery / Volta Art Fair, NYC, 2016
Black & White Gallery / Pulse Contemporary Art Fair, NYC, 2014
LADY IN WAITING #1, 2013
Found objects, Italian porcelain figurine, bar stool
58"x 14":
Provenance:
Southampton Art Center, East End Collected 6, 2021
LADY IN WAITING #2, 2013
Found objects, Italian porcelain figurine, bar stool
58"x 14"
Provenance:
Southampton Art Center, East End Collected 6, 2021
LOVERS, 2013
Found objects, Italian porcelain figurine, bar stool
58"x 14"
Provenance:
Southampton Art Center, East End Collected 6, 2021
MM -21, 2012
Mixed media on canvas, 22″x 22"
Provenance:
Stux Gallery, New York, 2013
Janet Lehr Fine Arts, Easthampton, NY, 2018
MM-33, 2012
Mixed media on canvas, neon lights
64″x 48"
Provenance:
Stux Gallery, NYC, 2013
Janet Lehr Fine Arts, Easthampton, NY, 2018
MM-28, 2012
Mixed media on canvas, 64″x 50"
Provenance:
Stux Gallery, NYC, 2013
Janet Lehr Fine Arts, Easthampton, NY, 2018
BEFORE THE SUN SPLENDOR, 2012
Graphite, charcoal & digital print on canvas, plastic mirror, wood, 100" x 74"
Provenance:
Stux Gallery, New York, 2013
BLUE TIE, 2011
Acrylic on canvas
38″x 20"
RED TIE, 2011
Acrylic on canvas
38″x 20″
BLUE & RED TIE, 2011
Acrylic on canvas
38″x 20"
SELFIES, 2010
Pigmented silicone rubber
15″x 12″x 12″ / each
Provenance:
Black & White Gallery / Project Space, 2025
Stux Gallery, New York, 2013
K Gallery, St. Petersburg, Russia, 2013
Venet House Gallery, Ulm, Germany 2013
TMORA, Minneapolis, MN, 2022
PILLS, 2008
Oil on plastic mirror, 48"x 50"
Provenance:
Stux Gallery, New York, 2008
Black & White Gallery / The Solo Project Art Fair, Basel, Switzerland 2011
Black & White Gallery, Brooklyn, NY, 2017
STILL LIFE WITH ACTION FIGURES, 2010
After Willem Kalf, Still Life with a Chinese Bowl, a Nautilus Cup and Fruit, 1662
Oil on canvas, 92"x 78"
Provenance:
Triumph Gallery, Moscow, Russia, 2012
K Gallery, St. Petersburg, Russia, 2013
Venet House Gallery, Ulm Germany 2013
STILL LIFE WITH DIAMOND SKULL, 2010
After Aelbert Janz van den Schoor, Vanitas Still Life (Skulls on Table), c. 1660
Oil on canvas, 78”x 96”
Provenance:
Triumph Gallery, Moscow, Russia, 2012
K Gallery, St. Petersburg, Russia, 2013
Venet House Gallery, Ulm Germany 2013
Southampton Art Center, East End Collected 4, 2017
STILL LIFE WITH SMART PHONES, 2010
After Jan Davidsz de Heem, Abundant Still Life with a Parrot, c. 1655
Oil on canvas, 78”x 92”
Provenance:
Triumph Gallery, Moscow, Russia, 2012
K Gallery, St. Petersburg, Russia, 2013
Venet House Gallery, Ulm Germany 2013
KOONS TREE, 2010
After Jeff Koons Sculptures
Oil on canvas, 99”x 78”
Provenance:
Triumph Gallery, Moscow, Russia, 2012
K Gallery, St. Petersburg, Russia, 2013
Venet House Gallery, Ulm Germany 2013
PEARLS, 2010
Oil on canvas, 16″ × 17″
BEYOND BELIEF, 2010
Mixed media on canvas, 52″X 70″
Janet Lehr Fine Arts, Easthampton, NY, 2018
COCAINE, 2008
Oil on canvas mounted on plastic mirror
54″ x 49""
Provenance:
Stux Gallery, New York, 2008
Black & White Gallery / The Solo Project Art Fair, Basel, Switzerland 2011
Black & White Gallery, Brooklyn, NY, 2017
ASHTRAY, 2008
Oil on canvas mounted on plastic mirror
60″ x 49″"
Provenance:
Stux Gallery, New York, 2013
Black & White Gallery / The Solo Project Art Fair, Basel, Switzerland 2011
Black & White Gallery, Brooklyn, NY, 2017
DAILY DOSE, 2008
Oil on canvas mounted on plastic mirror
75”x 50”"
Provenance:
Stux Gallery, New York, 2008
Black & White Gallery / The Solo Project Art Fair, Basel, Switzerland 2011
Black & White Gallery, Brooklyn, NY, 2017
MOLLY, 2008
Oil on canvas mounted on plastic mirror
36″ x 49″"
Provenance:
Stux Gallery, New York, 2008
Black & White Gallery / The Solo Project Art Fair, Basel, Switzerland 2011
Black & White Gallery, Brooklyn, NY, 2017
ECSTASY, 2008
Oil on canvas mounted on plastic mirror
36″D x 4″H "
Provenance:
Stux Gallery, New York, 2008
Black & White Gallery / The Solo Project Art Fair, Basel, Switzerland 2011
Black & White Gallery, Brooklyn, NY, 2017
STILL-LIFE WITH PORK SHOULDER BUTT, 2008
Oil on canvas, mirror panels, 142″x 117" x 10"
Fiberglass & marble dust sculpture, 70″x 40″
Provenance:
Stux Gallery, New York, 2008
K Gallery, St. Petersburg, Russia, 2013
SELF PORTRAIT WITH REMBRANDT, 2008
Painting: oil, mirrors on canvas, 110″x79″
Sculpture: fiberglass & marble dust, 70”x 40”
Provenance:
Stux Gallery, New York, 2008
K Gallery, St. Petersburg, Russia, 2013
STILL-LIFE WITH PEACHES, 2008
Oil on canvas, glass, 90”x114”x 30”
Provenance:
Stux Gallery, New York, 2008
K Gallery, St. Petersburg, Russia, 2013
WINE GLASS, 2008
Graphite on canvas, 52″ x 40″
Provenance:
Black & White Gallery / Project Space, 2025
ARITHMOMETER, 2008
Graphite on canvas, 40″ x 48″
Provenance:
Black & White Gallery / Project Space, 2025
GLASS OF WATER & COFFEE POT, 2008
After Still Life by Chardin, 1760
Graphite & oil on canvas, 54″ x 68″
2007 - 2000
“Okshteyn is a force to contend with. His well-informed appropriationist tendencies are abetted by the artist’s urge towards classical traditions that balance gloomy introspection against outward looking strength. Add to this a coherent yet surprising use of thematic material, a richness of invention, and systematized build up of narrative — all of these aspects make Okshteyn’s work irresistibly attractive to the eye —a haptic feast laced with megatonic power.” ___Dominique Nahas, NYC
NYARTS review
THE NEW YORK ART WORLD review
NEW YORK TIMES review
ART NEWS review
REFLECTIONS #4, 2007
Graphite & charcoal on canvas with mixed media on plastic mirror., sculptural arrangement
81”x 111” x 40”
Provenance:
Black & White Gallery / Project Space, 2025
Janet Lehr Fine Arts, East Hampton, NY, 2018
Black & White Gallery / Art Wynwood Contemporary Art Fair, Miami, FL 2013
State Russian Museum, St. Petersburg, Russia, 2007
ZIPPO GAS LIGHTER, 2007
Graphite & pencil on paper, 14″x 11″
SAFTY PIN, 2006
Graphite on canvas, 28″x 22″
BASKET WITH PEACHES & GRAPES 2005
After a Flemish Still Life, 17th Century
Graphite on canvas, mixed media frame, 82”x 89”
Provenance:
Memorial Art Gallery, University of Rochester, Rochester, NY, 2007
Stux Gallery, NYC, 2005
STILL LIFE WITH FLOWERS & FRUITS, 2005
After a Flemish Still Life, 17th century
Graphite on canvas, mixed media frame, 52”x 42”
Provenance:
Memorial Art Gallery, University of Rochester, Rochester, NY, 2007
Stux Gallery, NYC, 2005
STILL LIFE, 2005
After Willem Claesz, Heda Still Life, 1651
Mixed media on canvas, 110”x 86”
Provenance:
Memorial Art Gallery, University of Rochester, Rochester, NY, 2007
Stux Gallery, NYC, 2005
PUSH PIN, 2004
Oil on canvas, 15″x 12″
LILY CUT, 2003
Oil on canvas, 10”x 10”
LILY SLASHEDS, 2003
Oil on canvas, 59”x 59”
LILY, 2003
Graphite on canvas, 51”x 51”
BALDUCCI FETUCCINE, 2003
Graphite on paper, 14″x 11″
NEEDLE, 2003
Graphite on paper, 14″x 11″
BRUSHSTROKES #1, 2003
Graphite on canvas, 44” x 42”
Provenance:
Black & White Gallery / Project Space, 2025
Norah Haime Gallery, 2003
BRUSHSTROKES #2, 2003
Graphite on canvas, 44” x 42”
Provenance:
Black & White Gallery / Project Space, 2025
Norah Haime Gallery, 2003
BRUSHSTROKES #3, 2003
Graphite on canvas, 44” x 42”
Provenance:
Norah Haime Gallery, 2003
BRUSHSTROKES #4, 2003
Graphite on canvas, 44” x 42”
Provenance:
Black & White Gallery / Project Space, 2025
Norah Haime Gallery, 2003
STEAM IRON, 2002
Graphite, pencil on canvas, 51” x 42”
Provenance:
Katonah Art Museum, Katonah, NY, 2008
Grinnell College Museum of Art, Grinnell, IA, 2002
FLOWER HAT, 2002
Graphite on canvas, 40″x 42″
LILIES TORNED, 2002
Acrylic, oil on canvas, 91” x 101”
COMB | PURPLE, 2002
Fiberglass comb on painted cement, 22”x 76”
COMB | BROWN, 2002
Oil, fiberglass comb on canvas, 66”x 74”
ALARM CLOCK, 2001
Cast handmade paper, acrylic, pulp, 80″ x 60″
SHOE LAST STUDY #1, 2000
Wood, plaster, wire, 13”x 13”x 7”
SHOE LAST STUDY #2, 2000
Wood, 15”x 12″x 3.5”
COMB, 2000
Wood, metal, acrylic on canvas, 68″ x 14″ x 2″
Provenance:
Black & White Gallery / Project Space, 2025
Janet Lehr Gallery, Easthampton, NY, 2018
OK Harris Works of Art, NYC, 2002
SMOKING HAND, 2000
Fiberglass, oil paint on canvas, found object
31″ x 26″ x 26″
THE BELL, 2000
Graphite & pencil on paper, 19″ x 16″
THIMBLE, 2000
Graphite, pencil on canvas, 65” x 55”
GRATER, 2000
Graphite on paper, 19″ x 15″
BRUSH, 2000
Graphite on paper, 11″x 9″
BURGER, 2000
Graphite, pencil on paper, 20″x 25″
Provenance:
Black & White Gallery / Project Space, 2025
HIGH HILL SHOE | TIP, 2000
Graphite on canvas, 16″x 22″
Provenance:
Black & White Gallery / Project Space, 2025
THIMBLE STUDY #1, 2000
Mixed media on canvas, 18”x 16”
THIMBLE STUDY #2, 2000
Mixed media on canvas, 18”x 16” x 2"
THIMBLE STUDY #3, 2000
Mixed media on canvas, 18”x 16”
1999 - 1990
“The range of subjects Okshteyn has painted over the years — from old hats and clothing to out-of-date appliances to high-class comestibles — reveal his own unfolding interaction with life in the United States after his years in the Soviet Union.” ___ Ivan Karp, NYC
“What makes Okshteyn special is to be able to take traditional means and shape an enormous change in scale: the pencil asked to do heavy carrying. And it works, the image becomes icon, its impact profound.” ___ J. Bowyer Bell, NYC
“Okshteyn’s still lifes—objects whose life has been stilled—not only explore the boundary between ordinary objects and poetic objects—non-art and found art—but between aesthetics and erotics.”
___Donald Kuspit, NYC
THE SOUTHAMPTON PRESS review
REVIEW MAGAZINE review
H CONNOISSEUR review
DAILY NEWS review
HAND, HAT, CANE, 1999
Fiberglass, acrylic on canvas, 47 “x 24″ x 24”
OLD PHONE, 1998
Graphite on canvas, 51″x 50″
Provenance:
Black & White Gallery / Project Space, 2025
COMB STUDY, 1998
Fiberglass comb, cement on board, 16” x 23”
COMB STUDY, 1998
Plastic combs, acrylic, cement on canvas, 17”x 14”
HAND IN THE MIRROR, 1997
Wood, fiberglass acrylic on canvas, 24” x 16”
Provenance:
Southampton Art Center, East End Collected 6, 2021
TELEPHONE, 1997
Mixed media on paper, 11.5″ x 11.5″
BUSTLE, 1997
Graphite, pencil on cardboard, 22″x 30″
THE FAN, 1997
Graphite, pencil on canvas, 91″ x 81″
Provenance:
Black & White Gallery / Project Space, 2025
State Russian Museum, St. Petersburg, Russia, 2007
Des Lee Gallery at Washington University in St. Louis, MO, 2001
OK Harris Works of Art, NYC, 1998
BUTTERFLY, 1997
Graphite, pencil on paper, 16″x 21″
SHOE LAST, 1995
Graphite on canva, 10″ x 18″
LOVESEAT, 1994
Acrylic on canvas, 72”x 88”
Mixed media on loveseat sofa
SHOE, 1993
Fiberglass, acrylic on canvas, 54”H x 25"D
Provenance:
Le Centre d’Art Vaas, Vence, France 1994
WHITE SHOE, 1993
Fiberglass, 54″H x 25″D
SPOOLS, 1993
Graphite on paper, 28″x 33.5″
LARGE CAMERA, 1993
Found objects on wood panel, 80″x 72″x 12″
TANYA
Oil on canvas | 30"x 30", 1991
Estate
SPOONS, 1991
Graphite on paper, 13.5″x 9.5″
UTENSILS, 1991
Graphite, pencil on foam board, 15″x 9.5″
LEOPARD SHOE, 1991
Acrylic & pastel on canvas, 70″x 50″
Provenance:
Janet Lehr Fine Arts, Easthampton, NY, 2018
Alex Edmund Gallery, NYC, 1991
THE TIE, 1991
Acrylic on canvas, 90″x 56″
Provenance:
Alex Edmund Gallery, NYC, 1991
1989 - 1980
“Rigorously trained in the art institutes of the Soviet Union, Okshteyn had acquired before coming to the United States a great mastery of the techniques of drawing, composition and painting. …His first few years in America are represented in his work by brief but rapid period of transition, which appears to have ended in 1983, when he began to depict some of these women whom I might be tempted to call, according to an old American popular song, his “Hard-hearted Hannahs.”
____ Edouard Roditi, Los Angeles
“Some men are so made that for them women provide a constant spectacle. Shimon Okshteyn is such a man. And so it is that those women who contrive to reinforce their powers of seduction would inevitably attract the attention of a man who watches women and who is an artist! Besides, how can an artist worthy of that name not observe women? Have they not been since the beginning of time as much a lesson in the art of inciting the look of another, be it that of their own rivals, as in the art of using forms and colors.” ___José Pierre, Paris, France
DAYLY NEWS
FRAU GRETE KREMER, 1989
Collage on paper, 27.5″ x 21.5″
THIS IS THE MAN, 1989
Collage, 32″ x 24″
ONLY $31
Collage on canvas, 16.5″ x 14.5″
WHEN MARRIAGE IS A CRIME, 1987
Collage on paper, 20″ x 14″
RED PROFILE, 1989
Oil on canvas, 70″x 80″
TIMELESS STYLE, 1987
Serigraph (200 screens) on 300G paper
42″ x 43″, edition: AP 30
MYSTIQUES SERIES, 1987
Portfolio of six
Serigraph (61 screens) on 300G paper
42”x 32” / each, edition: AP 8/30
CATSPAW, 1986
Oil on canvas, 54″ x 41″
WALLFLOWER SERIES | LUDMILA, 1986
Collage on paper, 16″x 11″
PRICE SLASHED, 1986
Collage on linen, 27″x 21″
SHOE, 1985
Glazed porcelain, 9”x 15.5” x 5.5″
FOXY LADY, 1985
Mixed media on 300g linen canvas
(Pastel on limited edition serigraph)
52 “x 41”
SMOKING CIGS, 1985
Pencil, collage on paper, 14″x 10″
CHEEK TO CHEEK, 1985
Collage on canvas, 18”x 14”
SMOKING CIGS, 1984
Hand colored etching, 7″x 5″
PARTNERS, 1984
Limited edition lithograph on Arche paper
Produced by Mourlot Studios, Paris
30 “x 21”, Edition: 150
NO SMOKING, 1984
Limited edition lithograph on Arche paper
Produced by Mourlot Studios, Paris
18″x 20″, edition: 150
SUSAN, 1984
Limited edition lithograph on Arche paper
Produced by Mourlot Studios, Paris
26.5″ x 20.25″, edition: 150
BUSINESSMAN, 1984
Limited edition lithograph on Arche paper
Produced by Mourlot Studios, Paris
30 “× 22”, edition: 250 + 10AP
LEGS, 1984
Limited edition lithograph on Arche paper
Produced by Mourlot Studios, Paris
30 “x 21”, Edition: 150
DREAMING OF MY CITY | BLUE, 1984
Watercolor on paper, 41″x 45″
Provenance:
Black & White Gallery / Project Space, Volta NYC, 2024
DREAMING OF MY CITY | YELLOW, 1984
Watercolor on paper, 41″x 45″
Provenance:
Black & White Gallery / Project Space, Volta NYC, 2024
EXPLORING MEMORY, 1982
Watercolor on paper, 18″x 23.5″
COLOR OF MY CITY, 1982
Oil & gold leaf on wood, 36″ D
COLOR OF MY CITY | YELLOW, 1980
Oil on canvas, 40″x 40″
COLOR OF MY CITY | RED, 1980
Oil on canvas, 40″x 40″
COLOR OF MY CITY | WHITE, 1980
Oil on canvas, 24″× 32″
Provenance:
Black & White Gallery / Project Space, 2025
DON'T FORGET THERE ARE RELATIVES
MEMORY #1, 1980
Pencil on paper, 27 “x 23”
Provenance:
Black & White Gallery / Project Space, Volta NYC, 2024
DON'T FORGET THERE ARE RELATIVES
MEMORY #2, 1980
Pencil on paper, 27 “x 23”
Provenance:
Black & White Gallery / Project Space, Volta NYC, 2024
DON'T FORGET THERE ARE RELATIVES
MEMORY #3, 1980
Pencil on paper, 27 “x 23”
Provenance:
Black & White Gallery / Project Space, Volta NYC, 2024
DON'T FORGET THERE ARE RELATIVES
MEMORY #4, 1980
Pencil on paper, 27 “x 23”
Provenance:
Black & White Gallery / Project Space, Volta NYC, 2024
ROME (VIEW FROM SPANISH STEPS), 1980
Watercolor on paper, 16" x 19"
1979 - 1972
“As long as Okshteyn remained in Soviet Ukraine. where he was born in 1951 and studied drawing and painting at the Odessa Academy of Fine Arts, his paintings indeed tended to express, with a kind of nostalgic tenderness. mainly his quite filial attachment to the landscapes and citi-scapes of his native Bukovina. Until he emigrated to the United States in 1980, he painted all these in a kind of “School of Paris” idiom vaguely reminiscent al times oi Utrillo and other Montmartre painters.”
___ Edouard Roditi, Los Angeles
“Okshteyn, separated by time and space from the Russian modernists of the twenties and leaving behind the French inspired academic approaches of expressionism, produces a different impression of life around him. He is like a tree, which is uprooted by forces beyond his control, the storms of our times; but his roots are strong, imbedded in his art, and transplanted, grows and gives fruit. He is an artist who gets stronger, his vision clear, a hidden intellectual who observes the world around him and shows it in his metamorphoses. He is not ethnic art, not Russian, nor local, but international in scope and understanding.”
___Emil G. Schnorr, Conservator, G.W.V. Smith Art Museum, Springfield, MA
UKRAINE MAGAZINE
OLD CITY QUARTERS (BEER), 1979
Watercolor on paper, 24″x 32″
STILL LIFE, 1978
Oil on canvas, 23″x 28″
OLD CITY QUARTERS (LONELINESS), 1978
Oil on canvas, 20″x 23″
OLD CITY QUARTERS (CLOCK TOWER), 1978
Oil on canvas, 20″x 24″
OLD CITY QUARTERS (RED ROOFS), 1978
Oil on canvas, 17″x 27″
OLD CITY QUARTERS (TURKISH BRIDGE), 1978
Oil on canvas, 19″x 23″
OLD CITY QUARTERS (MAIN STREET), 1978
Oil on canvas, 20″x 23
STILL LIFE, 1978
Oil on canvas, 28″x 23″
INSIDE THE STUDIO, 1978
Oil on canvas, 20″x 20″
SELF-PORTRAIT, 1976
Oil on canvas, 19″x 17″
Provenance:
Black & White Gallery / Project Space, 2025
FAMILY, 1974
Oil on canvas, 20″x 26″
OLD QUARTERS | CHERNIVTSI | UKRAINE, 1976 Oil on canvas | 25" x 27"
OLD CITY QUARTERS (#7), 1976
Oil on canvas, 15″x 20″
OLD CITY QUARTERS (BLACK WINDOW), 1976
Oil on canvas, 17″x 21″
OLD CITY QUARTERS (GHETTO), 1976
Oil on canvas, 20″x 21″
HARLEQUIN, 1976
Oil on canvas, 26" x 24"
FRIEND, 1976
Oil on canvas, 19" x 17"
BROWN HAT, 1974
Oil on canvas, 18" x 16"
GREEN HAT, 1974
Oil on canvas, 19″x 17″
UNTITLED, 1974
Oil on canvas, 13″x 17″
OLD CITY QUARTERS (CHIRCH), 1972
Oil on canvas, 19″x 15″
OLD CITY QUARTERS (PURPLE ROOF), 1972
Oil on canvas, 20″x 24″
LA CIRQUE, 1972
Oil on canvas, 24″x 24″