Waller-Yoblonsky Fine Art

In 1980, as a senior in college, I interned at the Kennedy Center in Arts Administration. The concept of studying at the Kennedy Center (KC) under some of the finest arts administrators seemed almost foreign to a young man who went to high school in Wolf Point, MT, on the Sioux and Assiniboine - Fort Peck Reservation. After my internship, I landed another job that fall in Washington, DC. In the early spring of 1982, Kool Cigarettes (part of the Brown and Williamson Tobacco Company) was sponsoring a one-day jazz festival at the Kennedy Center. I was asked to assist with the festival participants because I knew the entire building, including the intricate back hallways not known by the public and some of the staff. I had also served as an assistant backstage manager for the American College Theatre Festival, which held several performances at the KC yearly. Kool Jazz Festival Backstage Pass and Working Credentials I arrived early on the day of the Jazz Festival and received my backstage ...

Garden Journal X: On the Beach White Line Woodcut, 1996 Assateague Ponies, Carousel Rides, Sugarloaf Mountain with Wooly Sheep, a Kauai Rooster, Goldfish and Koi Ponds, sea bearing vessels, vintage cars, beaches and landscapes, table scenes and garden scenes, portraits of old friends and neighbors, nude sketches and monkeys at the zoo.  Zahn wrote numerous Artist Statements over her artistic career, but she never described herself as working in the figurativism style. A review of her work from her early art days to her death shows that the figure played an important role in her subject matter, whether in sculptural terra-cotta nudes displayed in her garden or in her prints. She used modern techniques and ideas to depict real-world subjects, including very recognizable human and animal figures. Sometimes, she would include landscapes to house her figures. Frequently, her garden scenes might take on more abstract elements, but she always included enough realism and imagination to all...

Jorge Blanco Delbugio is a Modern Latin Minimalist from Uruguay. He has exhibited in the United States, but frequently signs his work “Blanco” which then becomes confused with the other Latin American artist Jorge Blanco, who is known as a sculptor with a great internet presence. Blanco Delbugio is highly influenced by Universal Constructivism that was introduced by the Uruguayan artist Joaquin Torres-Garcia. Torres-Garcia developed an artistic style that combined geometric shapes with pictographs that created meaning to the viewer. Torres-Garcia brought this style back to his home country in the 1930s from time spent in Spain, France and Italy, as well as New York City. After World War II Latin artists were beginning to be influenced by modern geometric abstraction concepts in design and artistry. In 2007, North America celebrated Latin America’s love for these artistic concepts with a traveling exhibit that featured artists and designers from all the major South American cities inclu...

Manso combined two different art movements, the French world of Impressionism ushered in by Bonnard and Cezanne, and the American world that accepted a new way of seeing, abstraction. He exhibited with Pollack, and was a close friend and admired by famed artist Robert Motherwell. Manso sat at the precipice of avant-garde and cutting edge. In the second half of his life, he took on Assemblages, part collages, part paintings. If you don't closely examine the untitled landscape below, it looks like an abstract painting. It is a fluid composition, rich with color, but take a closer look. It consists of torn packing papers in free-form shapes, acrylic paints, and splattered India ink. It is clear that some torn papers were painted with colors first and then ripped into smaller elements, then attached with glue. At other times, he reduced the paper to its most transparent qualities, making the paper look like brush strokes. Once all the elements were assembled, he then in-paints...

Christa Reuter Riegen’s interpretation of Henri Matisse’s “The Green Line” (La Raie Verte) also known as Madame Matisse, illustrates Riegen’s ability to capture the fundamental elements of the original painting. She celebrates the iconic painting, making it her own; it is not a duplicate, it is a refreshing portrait of Matisse’s wife. Madame Matisse Acrylic on Canvas 20 X 24" - Framed: 25 X 29" Signed Upper Right: Christa Riegen Dated: 3/2002   At the time of the painting, 1905, Matisse was part of a small modern movement called the les fauves (the wild beasts). The name came from their sheer strident use of color and wild brushstrokes. Matisse’s work would have been rejected by the major salons in Paris with this portrait. He creates no personification of female beauty in his wife’s portrait, it is a highly simplified painting. He uses a green line down the center of her forehead, continuing down her face and then on to her neckline. The green line represents a shadow upon h...