• Amir Guberstein uses sand—mixed with paint—as a political vehicle to explore concepts of prohibition and censorship; political and cultural borders;...

    Amir Guberstein uses sand—mixed with paint—as a political vehicle to explore concepts of prohibition and censorship; political and cultural borders; identity and memory; all linked to his upbringing in Israel. 

     

    Over the course of many years, Guberstein researched independent monitoring agencies in Israel and the occupied Palestinian territories, which led to different bodies of work that transformed maps and texts into abstract, monochromatic works. During this period, Guberstein aimed to create flows of light and shadows within his compositions, mixing particles of sand that he brought from Israel and the West Bank into the paint as a tribute to the histories of both territories.

     

    Upon further contemplation, Guberstein continued to develop his abstract style by introducing gestural marks and brushstrokes with the use of color. “I would look at these large scale monotypes and started imagining eruptions of color,” he explains. “All the black and white structures on the surface looked to me all of the sudden like cracks and crevices that had to be either filled or densed through and around and so I picked up some oil pastels and pigments oil bars, I put on gloves and I started overworking surfaces almost like a sculptor would form shapes out of clay.” The resulting vibrant compositions speak of the constant tension that arises from geopolitical movements—or lack thereof—in modern times.

     

    Referencing Biblical texts, such as The Book of Lamentations, Wisdom of Solomon, and Song of Songs, Guberstein aims to highlight his Jewish heritage and manifest faith as a cohesive element of human relations.

     

    Amir Guberstein (b. 1985, Ra’anana, Israel) lives and works in New York City. He holds an MFA and BFA from the University of the Arts, Berlin (UdK). His work will be included in the upcoming  exhibition The Sea Beneath Our Eyes at KMAC Museum, Kentucky, opening November 2020. Recent exhibitions include Fierman Gallery, New York; SAMUEL Gallery, Chicago; New Art Projects, London; Caves Art Center, Taipei.

     

  • SONG OF SONGS-26, 2020 Triptych. Oil pastel, oil bar, and gesso with sand from Israel/Palestine on board 48 x 72...
    SONG OF SONGS-26, 2020
    Triptych. Oil pastel, oil bar, and gesso with sand from Israel/Palestine on board
    48 x 72 inches total
    (122 x 183 cm total)
  • Guberstein’s approach rests at the intersection of Impressionism’s pursuit of trapping luminosity and Expressionism’s unfurling of the unseen inner scape. 

  • SONG OF SONGS-24, 2020 Diptych. Oil pastel, oil bar, and gesso with sand from Israel/Palestine on board 48 x 48...

     

     

     

     

     

     

     

     

     

     

     

     

     

    SONG OF SONGS-24, 2020
    Diptych. Oil pastel, oil bar, and gesso with sand from Israel/Palestine on board
    48 x 48 inches total
    (122 x 122 cm total)
  • I was working the front desk at the Jewish Museum a couple of years ago while a show of Chaim... I was working the front desk at the Jewish Museum a couple of years ago while a show of Chaim... I was working the front desk at the Jewish Museum a couple of years ago while a show of Chaim...

    I was working the front desk at the Jewish Museum a couple of years ago while a show of Chaim Soutine's dead animals was on display. I got to tour the galleries every day before the Museum opened, on my lunch breaks, and I was just time and time again drawn to this chaos of almost impasto brushstrokes that danced around the cadavers in such an aggressive but also graceful and dignified way.

     

    —Amir Guberstein

     

     

    Visit Chaim Soutine: Flesh

  • WISDOM OF SOLOMON-8, 2019 Oil, pencil, sand from Israel/Palestine in gesso on cradled panel 24 x 18 in (61 x...

     

     

     

     

     

     

     

     

     

     

     

     

     

    WISDOM OF SOLOMON-8, 2019
    Oil, pencil, sand from Israel/Palestine in gesso on cradled panel
    24 x 18 in
    (61 x 45.7 cm)
  • In The Studio

  • In Emile Nolde's Bible paintings, there's this similar sensibility of almost contained drama, and all these impressions found their way... In Emile Nolde's Bible paintings, there's this similar sensibility of almost contained drama, and all these impressions found their way... In Emile Nolde's Bible paintings, there's this similar sensibility of almost contained drama, and all these impressions found their way...

    In Emile Nolde's Bible paintings, there's this similar sensibility of almost contained drama, and all these impressions found their way into my gestural approach in the studio; and I keep finding myself trying to create or recreate these compositions that want to escape the boundaries of the work but then again keep getting tamed back into place.

     

    —Amir Guberstein

     

     

     

     

    Visit Emil Nolde: A German Legend

     

     

  • LAMENTATIONS SMALL-6, 7, 8, 2019
    Pencil, oil on paper
    7 x 5 inches each (unframed)
    (17.8 x 12.7 cm each, unframed)
    • Lamentations small-1, 2019 Pencil, oil on paper 7 x 5 inches (unframed) (17.8 x 12.7 cm, unframed)
      Lamentations small-1, 2019
      Pencil, oil on paper
      7 x 5 inches (unframed)
      (17.8 x 12.7 cm, unframed)
    • Lamentations small-2, 2019 Pencil, oil on paper 7 x 5 inches (unframed) (17.8 x 12.7 cm, unframed)
      Lamentations small-2, 2019
      Pencil, oil on paper
      7 x 5 inches (unframed)
      (17.8 x 12.7 cm, unframed)
    • Lamentations small-4, 2019 Pencil, oil on paper 7 x 5 inches (unframed) (17.8 x 12.7 cm, unframed)
      Lamentations small-4, 2019
      Pencil, oil on paper
      7 x 5 inches (unframed)
      (17.8 x 12.7 cm, unframed)
  • Image credits: 

    Artworks and self-portrait © 2020 Amir Guberstein. 

     

    Reference images: Chaim Soutine, Carcass of Beef, c. 1925, oil on canvas. Collection of Albright-Knox Art Gallery, Buffalo, New York; Room of Contemporary Art Fund, 1939 (RCA1939:13.2). Artwork © Artists Rights Society (ARS), New York; Chaim Soutine, Still Life with Fruit, 1919. Oil on canvas. Private collection. Photograph by Reginart Collections; Chaim Soutine, Still Life with Rayfish, c. 1924, oil on canvas. Metropolitan Museum of Art, The Mr. and Mrs. Klaus G. Perls Collection, 1997 (1997.149.1). Artwork © Artists Rights Society (ARS), New York; Emil Nolde, Legend: St. Mary of Egypt: In the port of Alexandria, 1912. Oil on canvas, 33 7/8 x 39 3/8. Kunsthally, Hamburg. © Emil Nolde; Emil Nolde, Crucifixion, 1912. Oil on canvas, 220.5 x 193.5 cm. © Emil Nolde; Emil Nolde, Prophet, 1912. Woodcut on paper, 49.5 x 36.5 cm. © Emil Nolde

     

    Please note that all prices are list prices and do not include shipping, framing, handling, taxes or installation.