Paul Burlin was born in New York in 1886. Though he had some training at the National Academy of Design, he later dropped out to pursue his studies informally. He visited the Southwest for the first time in 1910, and paintings from this visit were received warmly in New York and shown in a 1911 exhibition. As a result of his early success, he was one of the youngest artists (at twenty-six years of age) to participate in the 1913 Armory Show – the revolutionary exhibition of avant-garde European work that can be credited with introducing modern art to the United States and stimulating the development of modernism in America. There, Burlin’s work was exhibited alongside works by such artists as Picasso, Monet, Cézanne, and Duchamp.

In 1913 Burlin returned to the Southwest to live, where he drew inspiration from the cultures and landscape. Like many modernists of the day, Burlin was fascinated by so-called "primitive" art, particularly the designs and palette of the Native cultures he encountered in New Mexico. In 1917 he met and married Natalie Curtis, a highly-regarded ethnomusicologist specializing in Native American music. Burlin was the first participant in the Armory show to live in New Mexico, and his time there had a profound impact, not only on his own work, but on the development of modernism throughout the Southwest.



In 1921, Paul and Natalie Burlin moved to Paris as part of an exodus of expatriate artists responding to the provincialism of America after World War I, exemplified by the hostile reaction to his abstract work and other modern art. In Paris, Burlin found himself in the cultural center of modern art. He studied European abstract artists, working with the Cubist Albert Gleizes, and further developed some of the intellectual and symbolic elements that he had begun in the Southwest.

Later that year, Natalie was killed in an automobile accident. Burlin was devastated. He moved back to the Southwest, but found no solace there, and soon returned to Europe. He continued to live in Paris until 1932, when he moved back to the United States in the midst of the Great Depression to work for the WPA.

During this time, Burlin’s work tended toward social-realism, experimenting with political and urban themes. Throughout the war, Burlin employed themes of war and persecution, drawing much of his inspiration from Picasso’s war paintings.

Burlin exhibited throughout his career, and as a member of the American Congress of Artists was active in both the Provincetown Artists Colony and the MacDowell Colony in Peterborough, New Hampshire. He was represented by several prestigious New York galleries during his lifetime, including Edith Halpert’s Downtown Gallery and the Grace Borgenicht Gallery. A prominent retrospective of his work was sponsored by the American Federation of the Arts at the Philadelphia Art Alliance and the Whitney Museum in 1962.

The 2023 Peyton Wright Gallery exhibition “Transformation of Spirit to Pigment: Harmony in Chaos” celebrated Paul Burlin’s mature works, ca. 1950 –1969; not only his most prolific and productive period but arguably his most poetic, with numerous canvases from the Whitney Museum of American Art and the Museum of Modern Art exhibitions. The accompanying catalogue at the link below is the most extensive biographic chronology of the artist to date including his exhibition history, literature and publications. 

Burlin's work can be found in numerous private and public collections around the world, including the Albuquerque Museum, NM; the New Mexico Museum of Art, Santa Fe, NM; the Museum of Modern Art, the Whitney Museum of American Art, the Metropolitan Museum of Art, and the Brooklyn Museum, NY; the Smithsonian American Art Museum, Washington, DC; , the Getty Museum, Los Angeles, CA; the San Francisco Museum of Modern Art, San Francisco, CA; and the Tel-Aviv Museum, Tel-Aviv, Israel, among others.

View 2023 catalogue exhibition price list
Paul Burlin Essay by Irving Sandler

Download Full Biography

“Abstract painting is on a level with music. It’s a physical outburst from your whole being. It’s not the idea that is created and then you start painting. It’s always a challenge to shape something from nothing, to do the impossible.” John Grillo, August, 2001.

John Grillo (1917 - 2014) was a pioneer of Abstract Expressionism, working alongside Mark Rothko and Clyfford Still from 1946 to 1947 at the California School of Fine Arts (now San Francisco Art Institute) to found the movement also known as the New York School.

Grillo’s explosive drip paintings—projectile splatterings on cast-off objects as well as other more conventional supports—chronologically parallel those of Jackson Pollock, though he reserved his most radical experimentation for the media of gouache and watercolor, creating work that exudes a sensuous delight in the manipulation of paint in radiant, almost phosphorescent color.

John Grillo was born July 4, 1917, the elder of three sons to Sicilian immigrant parents, in the small industrial town of Lawrence, Massachusetts. As a child his first influences were from within the family, since his father had painted and sculpted. The 1930s brought the family to Hartford, Connecticut, where John would frequent the Wadsworth Antheneum Museum , drawing inspiration from its portrait collection.

He began taking art courses at the Hartford Art School in Conneticut, where he became acquainted with modernist masterworks by Pablo Picasso and Joan Miró at the nearby Wadsworth Atheneum. In 1937, he collaborated with Alexander Calder and Eugene Berman in the theatre production, “Paper Ball: Cirque des Chiffoniers” for the Hartford Arts Festival.

He painted the poor and the working class and in 1939 he painted a large mural depicting a family of three sitting at a dining table with no food on their plates (based possibly on a lithograph by Daumier). During this period his major interests included the “Ashcan School”, Luks, Robert Henri, Thomas Hart Benton and Reginald Marsh, together with the works of the old masters.

In 1944 Grillo enlisted in the Navy and was sent to Okinawa in the South Pacific where he continued to paint landscapes and scenes of life in the service. At that time he was inspired by a reproduction of Robert Motherwell’s collage, “Pancho Villa.” This soon led to his flowing and spontaneous abstractions, some of which were included in a post- war exhibition entitled “Soldier Art” at the National Gallery of Art in Washington D.C.

After serving in the Navy during World War II, Grillo disembarked in San Francisco and enrolled at the California School of Fine Arts, a hotbed of experimental abstraction in America with a faculty and guest lecturers that included Elmer Bischoff, Marcel Duchamp, Richard Diebenkorn, Claire Falkenstein, Stanley William Hayter, Hassel Smith, David Park, Clyfford Still, Man Ray, Mark Rothko, Mark Tobey, and Ad Reinhardt.


Douglas MacAgy, the California School of Fine Arts director, remembered Grillo as that “fiery young sailor” and gave him a studio - and a lot of free reign. In Susan Landauer’s “John Grillo, the San Francisco Years: Art of California”, May 1990, she wrote: “Short on art supplies, Grillo used whatever was at hand. He threw cocoa and coffee grounds on sheets of paper to make speckled abstract patterns, tying the compositions together with washes and linear designs.”

Equally responsible for the school’s energized atmosphere were the veterans flooding the classrooms after the war, and Grillo epitomized this new breed of mature and independent-minded student on an equal footing with the instructors. Grillo’s free wheeling, unorthodox abstractions, begun while stationed on Okinawa, served as an important catalyst for many artists, notably faculty member Diebenkorn, who credited Grillo with liberating his style.

In the summer of 1947, he studied with Rothko and created a sizable amount of work. He was given his first one-man show at the Daliel Gallery in Berkeley and received the Samuel S. Bender Award for painting, the funds of which enabled him to continue painting at the school.

“Although he was only there for two short years, Grillo played a seminal role in the San Francisco branch of a movement that would revolutionize American Art. Today, Grillo is acknowledged as perhaps the first and purest ‘action painter’ on the West Coast and one of the most influential painters of San Francisco’s school of Abstract Expressionism” (Thomas Albright, “Art in the San Francisco Bay Area,” 1985.)

Toward the end of 1947, Grillo returned to the East Coast, where he was initially welcomed into New York’s avant-garde. Sam Hunter, reviewing his solo exhibition of San Francisco work at the Artist’s Gallery for the New York Times in 1948, singled Grillo out as a leading figure, writing: “His painting acknowledges no allegiance to tradition, exists in a moment of intensity of explosive abstraction.” He was also selected for the signal show 15 Unknowns at the Kootz Gallery in 1950. From 1948 to 1951, Grillo studied with Hans Hofmann, whose love of dazzling color matched his own. Though he became a favored student of Hofmann, who purchased one of Grillo’s paintings for his own collection, the connection may have ultimately hurt his career, positioning him as a second-generation Hofmann disciple.

However, Grillo was not a slavish copier - a trait that Hofmann appreciated.

“I would do the damnedest and be rebellious and go against his principles and I would just do my own thing,” Grillo said in a 1980s interview. “I was extremely shocked and quite pleased that he liked my work so much that I had buyers in some of the students that wanted to buy my painting. “

In the 1950s he experimented with symbolism, action painting and grid-like paintings consisting of small squares based on Hofmann’s teachings. During the early 1950s the Olsen Foundation acquired some of Grillo’s watercolors and paintings for a retrospective collection that traveled to museums and colleges throughout the United States. Works were also being acquired in this period by major museums such as the Metropolitan Museum of Art and the Whitney Museum of American Art.

Grillo’s body of work remained consistent in reveling in high-keyed color and lush surfaces. Critic April Kingsley remembered of his “Yellow Abstractions” exhibited at the Howard Wise Gallery in 1961 that they “indulged his love of pigment for its own sake to the fullest. The canvases and huge collages . . . seem hedonistic and full of joy as the best of Hofmann’s and are even more sensuous.” Grillo’s paintings—whether figurative or abstract—have elicited adjectives such as Rubenesque and he has been called “the Renoir of Abstract Expressionism.”

One critic brought up Turner, while another waxed eloquently about Venetian luminosity. Exhibitions of these works appeared at the Howard Wise Gallery, Bertha Schaefer Gallery and the Grace Borgenicht Gallery in New York City.

During the mid-1960s, Grillo was artist-in-residence at the University of California, Berkeley and received a Ford Foundation Grant to produce lithographs at the Tamarind Lithography Workshop in Los Angeles in 1964. Returning to New York, he began working in three dimensions and produced fired clay and lost-wax pieces cast in bronze. Anthropomorphic in character, one of these works was acquired by the Guggenheim Museum for its permanent collection.

In 1965, while spending the summer in a Maine farm house, Grillo painted on found objects such as bent wood chairs, antique Victrolas, headboards, farm implements, a sauerkraut maker, and his own easel and palette. He did a series of geometric etchings, paintings and silk screens from 1967-1971. During the 1970s he explored several series, including the “Kaleidoscape” set of abstract landscapes, and colorful figurative and erotic paintings and lithographs.

In 1967, Grillo was appointed Professor of Fine Arts at the University of Massachusetts at Amherst, where he taught for 25 years. He served as an inspiration to his students, initiating participatory events such as mural projects in public places, thematic performances and arts carnivals, which later led to his “Circus Theme,” a series of paintings produced from 1981-83.

Having traveled to South America in the early 1980s, the mythology and religion of the Colombian Indians became the theme of paintings and charcoal drawings depicting Eldorado. He also created large- scale vibrant paintings based on the tango theme. “Grillo researched the origin of the dance from a form of social protest to a fashion of the times. He used the music of the dance to guide his art works” (Ellen Rubenstein, Cove Gallery, 1998). This theme was later revisited in 1998.

Uniquely, some of his circus and tango paintings were painted on both sides of the canvas and hung from the ceiling, to be viewed from both sides.

In 1991, Grillo moved to Wellfleet in Cape Cod, joining the close-knit art colony of the Provincetown area. He maintained a studio and continued to paint on a daily basis, reinventing and evolving his artwork.

In September, 2014 he had a retrospective exhibition, "John Grillo: Six Decades, Paintings, Prints and Drawings, 1945-2005" at the Herter Art Gallery at University of Massachusetts, Amherst.

His work currently shows at galleries and museums in New York City, Cape Cod Mass., Boston, MA, Chicago, New Mexico and California.

Over the length of his career, he had over 85 one-man and 100 group shows. His paintings and sculptures are in the collection of the Metropolitan Museum, the Solomon R. Guggenheim Museum, the Whitney Museum of American Art, and the British Museum in London, among others.

Biographical sources: Jamieson Grillo; Susan Landauer

Download Full Biography

Margo Hoff was born into a large family in Tulsa in 1910. As a child she spent many hours playing out­side, finding patterns in nature, a practice she pursued throughout her life, rendering them as bright, textural paintings. Hoff graduated from Tulsa University in 1931. Three years later she moved to Chicago, enrolling in the National Academy of Art and later at SAIC. In 1939 she spent a few months in Europe traveling and looking at art, and during her lifetime she traveled and worked in over twenty-five countries, including Brazil, Ethiopia, and Lebanon.


Hoff's early paintings often featured a stylized figure in a flat, patterned, and sometimes skewed space, evok­ing a sense of mystery or a dreamlike quality. She included images of children, holidays, animals, and seashores, still emphasizing design and geometry. With the protagonist usually absorbed in an activity, the viewer was left to construct a narrative to accompany the scene. Hoff's content is largely autobiographical, con­stantly changing with her environs and activities.

The human figure remained an important component in her work until two pivotal moments encouraged an interest in abstraction: watching Sputnik I fly over the Earth (1957) and viewing an object through an electron microscope. Hoff became increasingly aware of the space surrounding the figures, rather than just the figures themselves. The human form eventually disappeared from her work, leaving abstract shapes of color in kaleidoscopic arrangements.

After moving to New York in the 1960s, Hoff began making collages of painted paper. In 1970 Hoff switched from paper to canvas collages, using vibrant colors to conjure up such sensations as the experience of a crowd, the rhythm of jazz, or the wail of night sirens. She also created lithographs, sculpture, stained- glass windows, wood block prints, and book illustrations. She has painted murals and designed tapestries and rugs, as well as stage sets and costumes.

Hoff showed in exhibitions at Art Institute Chicago (1945, 1946, 1950, and 1953), winning several prizes. In addition to her long-standing association with Fairweather-Hardin Gallery, which began in 1955 with her first one-person exhibition in Chicago, Hoff's work has been shown often in New York, including Hadler-Rodriguez Galleries, Saidenberg Gallery, Babcock Gallery, Betty Parsons Gallery, and Banter Gallery; and in Paris at Wildenstein Gallery.

Her work can be found in the collections of major museums including The Metropolitan Museum of Art and the Whitney Museum of American Art, New York; Corcoran Gallery of Art and the National Museum of American Art, Washington, DC; Victoria and Albert Museum, London; and Art Institute of Chicago.

"Margo Hoff: Paintings and Prints 1940-1990" 2025 Exhibition Catalogue

Hoff's personal statement from World Artists 1980–1990: An H.W. Wilson Biographical Dictionary (1991).

Download Full Biography

Stanton Macdonald-Wright (1890-1973) was one of America’s leading modernist painters and an early pioneer of abstract art. Born in Virginia and raised in southern California, he enrolled at the Art Students League in Los Angeles as a precocious thirteen-year-old. In 1907, while still a teenager, he married and then settled in Paris, studying at the Sorbonne and several art academies, including the Académie Colorossi and the École des Beaux Arts, and then privately with Percyval Hart-Tudor, who taught color theory in relation to music. Inspired chiefly by the works of Cézanne, Matisse, and the Cubists, Macdonald-Wright exhibited at the Salon d’Automne in 1910 and at the Salon des Indépendents in 1912. Together with fellow American expatriate Morgan Russell, Macdonald-Wright cofounded the avant-garde painting movement Synchromism, whose first exhibition was held in Munich in the summer of 1913 and the second in Paris during the fall of the same year. These were soon followed by shows in London, Milan, and Warsaw. And in early 1914 Synchromist paintings were exhibited for the first time in New York. Similar to its rival Parisian movement Orphism, Synchromism combined color with Cubism, producing luminous and rhythmic compositions of swirling and serpentine forms infused with a rich chromatic palette. As Macdonald-Wright later described it, “Synchromism simply means ‘with color’ as symphony means ‘with sound’, and our idea was to produce an art whose genesis lay, not in objectivity, but in form produced in color”.

At the outbreak of World War I, Macdonald-Wright moved to London with his older sibling, Willard Huntington Wright, who was an editor and author. Sharing quarters there for the next two years, the brothers collaborated on three art books, including Modern Painting, Its Tendency and Meaning (1915), that were subsequently published in New York. After repatriating himself to the United States in 1915, Macdonald-Wright took up residence in New York, where he participated in the Forum Exhibition of Modern American Painters in 1916 and was given his first one-man show at Alfred Stieglitz’s “291” gallery the following year. His Synchromist paintings had a direct and marked influence on the work of Thomas Hart Benton, Andrew Dasburg, Jan Matulka, Stuart Davis, Arnold Friedman, and Alfred Maurer.

Although successful in New York, Macdonald-Wright became increasingly dissatisfied with what he saw as the “sterile artistic formulism” of modern art and the “academicism” of his own Synchromism. Consequently, he permanently resettled in Santa Monica in 1919 and withdrew from the commercial art scene for the following three decades. Instead, he became an active and energetic force in the southern Californian art world primarily as a teacher and administrator, all the while still continuing his artistic pursuits, which turned heavily toward Eastern representational models, especially Chinese painting. From 1922 to 1930 he served as Director of the Art Students League in Los Angeles, writing a student textbook entitled Treatise on Color (1924). During the late twenties and early thirties, he co-exhibited at several museums in California with Morgan Russell and had a one-man show at Stieglitz’s “An American Place” in New York in 1932. He then worked for the WPA Art Project as Director of Southern California and as Technical Advisor for seven western states from 1935 to 1942, during which time he personally completed several major civil art projects, including the murals at the Santa Monica City Hall. During World War II and up through 1952, Macdonald-Wright taught at UCLA, USC, Scripps College, and the University of Hawaii on the subjects of art history, Oriental aesthetics, and iconography. In 1952-53, he visited Japan as a Fulbright exchange professor and briefly lectured at Kyoiku Daigaku (Tokyo University of Education). Finally, in 1954, he retired from academia. After a hiatus of more than thirty years, Macdonald-Wright returned to nonobjective painting in the mid 1950s with renewed vigor and enthusiasm, producing some of his finest canvases. This new body of Neo-Synchromist work surpassed the artist’s earlier paintings by way of a heightened luminosity and augmented spatiality, creating as a result, in the opinion of the modern art champion, Alfred Barr, a deeper spirituality. As the artist himself described it, “At first I saw my new painting with a certain astonishment, for I had made the “great circle”, coming back after 35 years to an art that was, superficially, not unlike the canvases of my youth. However, at bottom there was a great difference: I had achieved an interior realism, what is called yugen by the Japanese. This is a sense of reality which cannot be seen but which is evident by feeling, and I am certain that this quality of hidden reality was what I felt to be lacking in my younger days.” From 1958 on, Macdonald-Wright spent five months each year at Kenninji, a Zen monastery in the center of Kyoto, Japan. One of the most fruitful outcomes of his exposure to Japanese poetry and art was the creation of the Haiga portfolio (1965-66), a suite of twenty Haiku illustrations in brilliant color that is a masterful synthesis of modernist art in the Synchromist style and the traditional technique of Japanese woodblock printing.

In 1967 the Smithsonian Institution’s National Collection of Fine Arts held a major retrospective exhibition on Macdonald-Wright, honoring his more than six decades of artistic achievement. During the remaining years of his life and up until his passing in 1973 at the age of 83, Macdonald-Wright continued to be productive and inventive, leaving as his legacy a large and diverse body of modernist painting, which has since taken its rightful place as being of premier importance in American twentieth-century art. ~ Andrew Diversey

References:
Daviee, Jerry M. 1982. Stanton Macdonald-Wright: Watercolors and Drawings. San
Francisco: The Art Museum Association.
Figoten, Sheldon. 1985. Stanton Macdonald-Wright: Paintings 1953-1964. Redding, CA: Redding Museum and Art Center.
Scott, David W. and Stanton Macdonald-Wright. 1967. The Art of Stanton Macdonald-Wright. Washington, D.C.: The Smithsonian Press.
South, Will. 2001. Color, Music, and Myth. Stanton Macdonald-Wright and
Synchromism. Raleigh, NC: North Carolina Museum of Art.
Wight, Frederick. 1970. Stanton Macdonald-Wright: A Retrospective Exhibition 1911-1970. Los Angeles: The UCLA Art Galleries.

Download Full Biography

Herbert Bayer (1900-1985) was born in Austria, where he entered into an apprenticeship under the architect and designer, Georg Smidthammer, with whom Bayer learned drawing, painting, and architectural drafting, inspired by nature and without formal knowledge of art history. In 1920, Bayer discovered the theoretical writings of the artist Vassily Kandinsky, as well as Walter Gropius’ 1919 Bauhaus manifesto, in which Gropius declared the necessity for a return to crafts as a source of true creativity and inspiration. Bayer traveled to Weimar to meet Gropius in October of 1921 and was immediately accepted into the Bauhaus. There, he was deeply influenced by the instruction of Kandinsky, Johannes Itten and Paul Klee.

In 1928 Bayer moved to Berlin together with several members of the Bauhaus staff including Gropius, Moholy-Nagy and Marcel Breuer. He found work as a freelance graphic designer, particularly with German Vogue, under its art director Agha. When the latter returned to Paris, Bayer joined the staff full time, and also worked increasingly with Dorland, the magazine's principal advertising agency. It was in the period from 1928 to his emigration to America in 1938 that he developed his unique vision as an artist, combining a strongly modernist aesthetic sense with a rare ability to convey meaning clearly and directly. This seamless combination of art, craft and design mark Bayer as true prophet of Bauhaus theories.

Bayer followed Gropius to America in 1938, and set his breadth of skills to work later that year in designing the landmark Bauhaus 1918-1928 exhibition at the Museum of Modern Art. Bayer flourished in New York as a designer and architect, but it was his meeting with the industrialist Walter Paepcke in 1946 that allowed him to harness his concepts of 'total design' to the postwar boom. Paepcke was developing Aspen as a cultural and intellectual destination, and found in Bayer the perfect collaborator. Bayer was designer, educator and indeed architect for Paepcke's Aspen Institute for Humanistic Studies (later The Aspen Institute), which promulgated the very Bauhaus project to encourage cooperation between art and industry and the role of the arts in society. From 1965 he fulfilled a similar role in advising Robert O. Anderson, chairman of the Atlantic Richfield Company.

His work is represented in the collections of the Guggenheim Museum, New York, Museum of Modern Art, New York, Whitney Museum of American Art, New York, San Francisco Museum of Modern Art, Bauhaus-Archiv, Berlin, Schubladen Museum, Bern, Switzerland, Kunsthalle, Hamburg, Germany, Museum of Modern Art, Mexico City.

In August 2019 The Aspen Institute announced a major donation by Stewart and Lynda Resnick for the creation of the Resnick Center for Herbert Bayer Studies. This will allow the Institute to showcase and exhibit its Bayer works, grow its collection, borrow from major cultural institutions, and create new exhibitions that will educate the public about Bayer’s remarkable legacy. The center opened in the spring of 2022.




Download Full Biography

Art Brenner, a prolific painter, sculptor, and scholarly writer, was born in New York City in 1924.

 Beginning as a painter, his work evolved in a direction that unavoidably led to sculpture. To devote himself to this new development, in 1964 he left New York for Paris where he lived and worked for over forty years. He died in Adelaide, Australia in 2013.

Brenner’s first solo show was held in 1967 at the Galerie Lucien Durand in Paris. From then on his  work  garnered critical acclaim and success, with  numerous solo and group exhibitions in cities such as Paris, London, Avignon, Barcelona, Brussels, Brest, Amsterdam, Heidelberg, Montreal, and Adelaide, Australia.

Brenner exhibited in solo and group exhibitions in numerous countries for over 36 years, and participated in more than 60 exhibitions throughout his career. He also received the highest honor as a “Chevalier de L’Ordre des Arts et des Lettres”(“Knight of the Order of Arts and Letters”) in France, bestowed upon individuals who have distinguished themselves by their creativity in the world of art, culture and literature and their contribution to the influence of arts in France and the throughout the world. 

 He had a long and prestigious career, and continued exhibiting into his nineties. In 1995 he was the subject of a CNN film titled “An American Sculptor in Paris.” 

One of his best-known articles, entitled “Concerning Sculpture and Architecture”, explores the relationship between modern architecture and sculpture. Brenner suggests that monumentality in sculpture was a direct product of Modernist thinking in architecture, and uses this as a call for architects and sculptors to collaborate to create public spaces that are not merely functional, but aesthetically satisfying environments for living. Brenner heeded his own call, and has continued to collaborate with architects to create incredible works in public spaces, and in conjunction with various building projects around the world.  

Though best known for his sculptural work, and written essays and articles on the changing nature of sculpture in society, Brenner was also an astonishingly capable painter. His works created in the 1950s reflect the Abstract Expressionist movement of the time. Although part of  that oeuvre, his style is hard to pigeonhole. He clearly has a spatial sensibility to his canvases, but his color is careful, and unflinchingly unique. His works from that time are gestural, with controlled but choppy swaths of color  whispering and interrupting each other,  creating a vibrant plane of conversation on the canvas. Though they are reminiscent of many other painters of the time, such as Joan Mitchell, Michael Goldberg, Norman Bluhm, Edward Dugmore, John Grillo and even Alma Thomas among others, Brenner brought a spatial awareness that was a departure point for his future years and his life’s devotion to sculpture. 

Art Brenner’s work is present in various public collections and public spaces in Europe and the United States, particularly in France at the Fonds National d’Art Contemporain (FNAC) Paris and Musée d’Art et d’Histoire, Meudon and also the Art sur l’Autoroute, Spain; the Rose Museum, Waltham, MA; tjhe Wadsworth Atheneum, Hartford, Conn;  and the Museum of History and Art, Anchorage, Alaska, anmong others.

His work is also present in numerous private collections in France, Germany, Spain, the United States, Australia, Great Britain, Belgium and the Netherlands.


Download Full Biography