Ed Moses, Grid-Y, 2014, Mixed Media, 66 x 54 Inches

This winter we turn our spotlight on an important and quintessential Grid painting by the internationally renowned American artist Ed Moses whose recent passing left a giant hole in the heart of the art world. For collectors in the mood to make a serious acquisition, there is no better time for a Moses Grid painting of this caliber.

We are equally proud to shine a bright light on the next generation of talent who grace our walls. View work by the wonderful artists below, along with work by dozens of other artists in our collection. We hope art will bring joy to you, and joy to the world.

Ed Moses, Grid-Y, 2014, Mixed Media, 66 x 54 Inches, Sloan Miyasato Installation View

First championed by the celebrated Ferus Gallery in 1957, Ed Moses achieved international recognition with other gallery artists such as Ed Ruscha, Robert Irwin, and Ed Kienholz. Moses was resolute in his commitment to abstract painting. Driven by process and formal experimentation, Moses described himself as a “mutater,” letting the daily practice of painting lead him to discoveries and new questions. He first began working with the infrastructure of the diagonal grid in the mid-1970s, and would return to the motif throughout his life. In his grids, layered space is interwoven and revealed though lattice-like armature of intersecting bands. Moses scraped, slathered, troweled and washed away his pigments, threading and knitting paint into geometric patterns. His work is held in significant public collections including the San Francisco Museum of Modern Art, Art Institute of Chicago, Los Angeles County Museum of Art, Museum of Contemporary Art, Los Angeles, National Museum of American Art, Smithsonian Museum, Washington D.C., Walker Art Center, and Whitney Museum of American Art, and Museum of Modern Art, NY.

Mindy Shapero, Square Vision (orange, black, copper), 2011
Acrylic, Spray Paint, and Copper Leaf on Paper, 48 x 48 Inches

Mindy Shapero, Square Vision (orange, black, copper), 2011, Acrylic, Spray Paint, and
Copper Leaf on Paper, 48 x 48 Inches, Gallery Installation View

As Pulitzer Prize winning art critic Jerry Saltz writes, “Shapero’s amazing feel for color and materials results in a tactile and visually intensive work with a mesmerizing jolt.” The works on paper and sculpture of Los Angeles-based artist Mindy Shapero have been shown at major galleries around the world including Marianne Boesky Gallery, NYC, David Kordansky, Los Angeles, and The Breeder, Athens, Greece. She received her BFA from Maryland Institute College of Art, Baltimore, and MFA from the University of Southern California. Her works have also been exhibited at various institutions such as the Orange County Museum of Art, Rubell Family Collection, Hammer Museum, Wexner Center for the Arts, and Aspen Art Museum.

Casper Brindle, Aura 5, 2016, Acrylic and Metallic Leaf on Panel, 48 x 96 Inches

Casper Brindle, Aura 5, 2016, Acrylic and Metallic Leaf on Panel, 48 x 96 Inches, Gallery View

Casper Brindle, Aura 5, 2016, Acrylic and Metallic Leaf on Panel, 48 x 96 Inches, Detail View

The work of contemporary Los Angeles artist Casper Brindle stems from the Light and Space and Finish Fetish art movements of the 1960s, reflecting the car and surf culture of Southern California. Brindle was mentored by the internationally acclaimed artist Eric Orr, one of the pioneers of the Light and Space movement. In a departure from Brindle’s Strata paintings, he introduces the Aura series. Upon first glance these works appear to be austere white paintings but, viewed from different angles, underlying visual structures begin to emerge. These ghostly forms rise to the surface and seem to vibrate with energy. This visual activity is enhanced by the glowing neon colored halos that radiate from the pieces themselves, extending their presence onto the wall behind them. The enigmatic bars of metallic color which float in the center of each piece inspire quiet reverence, becoming almost sacred in their simplicity. The interpretation of these cryptic monolithic forms is left up to the viewer.

David Becker, Thelonius, 2014, Acrylic on Canvas, 68 x 50 Inches

David Becker, who studied at the Central School of Art in London and the Whitney’s Independent Study Program in New York, has been quietly working in an Oakland warehouse for years, for the most part under the radar, showing rarely, producing a consistently strong body of painting. For all of his studio practice’s independence from the strains of the market, his work could hardly be described as naïve; in fact, it seems to deal with most every sophisticated current in the ongoing discussion of painting’s address to our culture and condition,” says gallerist George Lawson. “He has woven together multiple threads of recent art history and any given organizing principle in the work might depend upon the precedent one chooses to track. From the counterbalance of Alexander Calder’s mobiles, the opaque push and pull of Hans Hoffman’s abstraction, the gossamer layering of Robert Rauschenberg’s Combines, to the kitchen sink inclusiveness of Chris Martin’s post history, it’s all here, supporting a sampler quilt of paint’s possible vernacular range.”

Judith Foosaner, Outside In 9, 2016, Collage with Acrylic on Canvas, 54 x 72 Inches

Judith Foosaner studied with art world masters David Hockney, Elmer Bischoff, R.B. Kitaj, and Mark Rothko while at the University of California, Berkeley, where she received her MA in Art and BA in English. Based in the Bay Area for many years, Foosaner become known for her own mastery of line and shape, both in her paintings and collages. She also taught at the California College of Arts, University of California, Berkeley, and the Wimbledon College of Art in London before retiring from teaching to focus on her art practice. Outside In 9 is a continuation of her long love affair with calligraphy–the lines moving through the space, their variety, density, and nuance. In addition to line, there is shape. And in addition to shape, there is value, space, volume, and movement. Foosaner says, “As I work, and if I’m lucky, rhythm arrives, then more, then more. More luck and choreography announces itself. Necessity has now been met.”

Robert Charles Dunahay, Highway, 2018, Mixed Media on Canvas, 65 x 65 Inches

Robert Charles Dunahay, Crosswalk, 2018, Mixed Media on Canvas, 65 x 65 Inches

Robert Charles Dunahay, Crosswalk, 2018, Mixed Media on Canvas, 65 x 65 Inches, Detail

“Several years ago, I moved from the Bay Area to Palm Springs where I first experienced life in the desert,” says Robert Charles Dunahay. “I was fascinated by the patterns in the little sand dunes that would build up after a windy day. And the desert sand is so fine and silky, I wanted to use it in my work. Eventually I started adding sand to acrylic paint and brushing it onto canvas. Then, it was just a matter of time and experimenting to get to my new series of paintings Highways. Only now I am using crystalline sand rather than desert sand. When used in the context of a Pop Art inspired ubiquitous everyday subject like a section of highway or road, it really works brilliantly! You just want to touch the glittering pavement.”

Diane Tate DallasKidd, Charm, 2018, Hand-knotted Linen Threads,
Acrylic Paint, Marble, Metal Fixture, 44 x 7 x 4 Inches

Diane Tate DallasKidd, Charm, 2018, Hand-knotted Linen Threads,
Acrylic Paint, Marble, Metal Fixture, 44 x 7 x 4 Inches

Diane Tate DallasKidd was born and raised in San Francisco. Upon graduating from San Francisco State University with a BFA in Textile Art, she traveled to Japan to study under 4th generation dyer Tsuyoshi Kuno. Kuno uses centuries old techniques in inventive ways to create cutting-edge textiles for avant-garde fashion designers such as Issey Miyake. Working alongside such a visionary had a lasting impact on DallasKidd’s own artwork. Years later she continues to experiment, creating her own distinctive fiber art in her Sausalito, California studio. Even her modestly sized pieces are deceivingly powerful, evoking tribal fetishes or ancient charms.

Sloan Miyasato Fine Art

Located in the heart of San Francisco’s vibrant art and design district, Sloan Miyasato Fine Art is a contemporary art venue offering a user-friendly alternative to the white walls of traditional art galleries by helping collectors more easily envision art in their homes or other environments.

Founded in 1997 by Bay Area art advisor Michelle Bello, and set inside one of the city’s most venerable design showrooms, the program features a rotating collection of art installed in distinctive vignettes filled with world-class furnishings. Bello brings more than 25 years of professional art market expertise, both as a former director of two contemporary art galleries, and currently as an independent art advisor, to curate her selection of works by emerging and mid-career artists, along with museum-quality pieces by established names.