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


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


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


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“The range of subjects Okshteyn has painted over the years — from old hats and clothing to out-of-date appliances to high-class comestibles — reveal his own unfolding interaction with life in the United States after his years in the Soviet Union.”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


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


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