Javier Carrillo • Ned Evans •
Roger Herman • Salomon Huerta • Dan McCleary • Ed Moses • Gwynn Murrill • John Nava Allegra Pacheco • Astrid Preston Victor Reyes • Nancy Rubins • Ed Ruscha Luis Serrano • Jacqueline Valenzuela |
HOW TO PARTICIPATE & BID!
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ASTRID PRESTONSwedish-born Astrid Preston paints metaphysical “landscapes” with a veil of mystery, suggesting that something is either about to happen, something is missing, or ultimately, “ceci n’est pas un paysage.”
Preston received a B.A. in English Literature from UCLA in 1967. Her work has been exhibited in galleries and museums throughout the United States and Asia, including solo shows at the Laguna Art Museum, Saginaw Art Museum, Wichita Falls Museum, Ella Sharp Museum and Arts College International. She has had articles and reviews of her work published in the Los Angeles Times, Art in America and ArtForum. Preston received an NEA Fellowship Grant in Painting in 1987 and an artist residency from Lux Art Institute in 2008. Her work is in many public and private collections, including the Los Angeles County Museum of Art, Orange County Museum of Art, Long Beach Museum of Art, UCLA Hammer Museum, McNay Art Museum, Oakland Museum and Nevada Museum of Art. She lives and works in Santa Monica, California. 
June Afternoon, 2018
Oil on canvas 16 x 16 inches Signed by the artist on verso |
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ED RUSCHAAt the start of his artistic career, Ed Ruscha called himself an “abstract artist ... who deals with subject matter.” Abandoning academic connotations that came to be associated with Abstract Expressionism, he looked instead to tropes of advertising and brought words—as form, symbol, and material—to the forefront of painting. Working in diverse media with humor and wit, he oscillates between sign and substance, locating the sublime in landscapes both natural and artificial.
In 1956, Ruscha moved from Oklahoma City to Los Angeles, where he attended the Chouinard Art Institute. After graduation, Ruscha began to work for ad agencies, honing his skills in schematic design and considering questions of scale, abstraction, and viewpoint, which became integral to his painting and photography. He produced his first artist’s book, Twenty six Gasoline Stations—a series of deadpan photographs the artist took while driving on Route 66 from Los Angeles to Oklahoma City—in 1963. Ruscha since has gone on to create over a dozen artists’ books, including the 25-foot-long, accordion-folded Every Building on the Sunset Strip (1966) and his version of Kerouac's iconic On the Road (2009). Ruscha also paints trompe-l’oeil bound volumes and alters book spines and interiors with painted words: books in all forms pervade his investigations of language and the distribution of art and information. Ruscha’s paintings of the 1960s explore the noise and the fluidity of language. With works such as OOF (1962–63)—which presents the exclamation in yellow block letters on a blue ground—it is nearly impossible to look at the painting without verbalizing the visual. Ruscha continues to influence contemporary artists worldwide, his formal experimentations and clever use of the American vernacular evolving in form and meaning as technology and internet platforms alter the essence of human communication. He represented the United States at the 51st Venice Biennale (2005) with Course of Empire, an installation of ten paintings. Inspired by nineteenth century American artist Thomas Cole’s famous painting cycle of the same name, the work alludes to the pitfalls surrounding modernist visions of progress. 
Companies Large and Small, 2025
Die-cut print on handmade Japanese Igarashi Kozo paper Signed, dated and numbered by the artist Number 2/40 |
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NED EVANSThe functional and formal honesty of Ned Evans’ latest paintings reflects his enduring attention to the edge, as both a physical place and an idea—a site of tension, and a source of energy. An avid surfer and student of art and architecture, Evans has spent years contemplating the line between land and sea, between this part and that one. He spent years building artist studios and galleries around Los Angeles; while working on these construction sites, he recorded the process through photographs of the edges and joins, documenting those overlooked points of intersection and intervention essential to these structures. These experiences of the edge are evident in his recent body of paintings which are animated by the interactions between shape and color and defined by the relationships between individual components. Luminous swatches are stacked and joined to form architectonic images that resist the two-dimensionality of the canvas, and offer lessons in close observation.
Patea, 2025
Acrylic on raw canvas 10 x 10 inches Signed by the artist on verso |
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JAQUELINE VALENZUELA“Un Regalito” is part of a new body of work in which Valenzuela explores floral imagery as a means of contemplating the human condition, particularly life, death, and memorialization. The painting was created in response to a makeshift memorial that appeared behind the artist’s studio following a fatal incident of gun violence. Departing from traditional still life conventions, Un Regalito integrates both automotive and classical painting techniques, challenging and reimagining the formal language of historical still life in order to reflect contemporary realities.
Jacqueline Valenzuela (b. 1997, East Los Angeles) is an interdisciplinary artist whose work explores personal narrative and the roles of women in the Chicano lowrider scene. Bridging fine art and car culture, her practice reflects a deep connection to her community. She earned her BFA from Cal State Long Beach and is currently pursuing her MFA in Painting & Drawing at UCLA (2027). Her work has been exhibited at the South Gate Museum, Mexic-Arte Museum, Marietta Cobb Museum, The Cheech, and Elverhøj Museum. In 2024, she presented her first solo museum exhibition, Con Safos, Con Fuerzas, at the Bakersfield Museum of Art, with upcoming solo shows including Divine Rides at College of the Canyons and Orison at the Brand Library. Valenzuela was a 2023–24 CAC Individual Artist Fellow and a 2024–25 Long Beach Professional Artist Fellow, and has held residencies at Blue Roof Studios, Torrance Art Museum, and ArtShare L.A. In addition to her studio practice, she curates and teaches, founding the traveling exhibition project L.A. to S.A. and leading lowrider-themed workshops at museums and community events. 
Un Regalito, 2025
Airbrush, color pencil, oil & sharpie on canvas 12 x 12 x 1.5 inches Signed by the artist on verso |
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NANCY RUBINSThis is one of a series of recent collages by Nancy Rubins. The images are photographic details of her sculptures.
Nancy received her Masters at UC Davis. She is represented by Gagosian Gallery. Her work is found in many collections including LACMA, MOCA, and MOMA. 
Collage #1, 2025
Mixed media collage on paper 26.25 x 29 framed Signed by the artist |
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DAN McCLEARY“This is part of a series of watercolors I did in September 2023 in Paris at the Hotel La Louisiane.”
Dan McCleary is an LA based artist. He is also the founder and director of Art Division. His work is in the collections of LACMA, MOCA, and the Metropolitan Museum of Art. 
Mixed Fruit, September 2023
Watercolor on paper Image: 9 x 9.5 inches / Framed: 15 x 17 x 1 inches |
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ED MOSESEd Moses is an American painter and central figure in the Los Angeles art scene and a key promoter of Post-War, West Coast art. Best known for his eclectic range of abstract paintings, Moses’ work is unified by his interest in transitory processes and the mutability of concepts. His work constantly shifted throughout his career, building off of the theories formulated by the pieces made before. His canvases are formal abstractions using a variety of processes to experiment with surface, creating striations, cracks, marks, and blurs that sometimes juxtaposed with hard-edge geometric abstraction. A contemporary of fellow West Coast compatriots like Wallace Berman, Billy Al Bengston, and Ed Ruscha, Moses was born in Long Beach, CA on April 9, 1926. He went on to study at the University of California, Los Angeles, where he would receive both his BA and MA, and exhibit at the notorious Ferus gallery in 1958. He was the subject of a major retrospective at the Museum of Contemporary Art, Los Angeles and received a Guggenheim Fellowship in 1980. Today, his works can be found in the collections of the Art Institute of Chicago, The Museum of Modern Art in New York, and the Philadelphia Museum of Art, among others.
Axe, 2006
Lithograph AP from an edition of 10 15 x 20 inches Signed by the artist on recto |
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JAVIER CARRILLO“This print represents the fight of our people against the corruption that has continued since 1492 when Columbus arrived.”
Javier Carrillo is a Los Angeles-based artist whose work is profoundly influenced by the working-class neighborhoods of his upbringing. He has exhibited in various museums and galleries such as Craig Krull Gallery, Bakersfield Museum of Art, and The Mexican Consulate General of Los Angeles. His work is part of the private collections of Stewart and Lynda Resnick, USC Fisher Museum of Art, Georgia College & State University, and more. His images of pick-up trucks are the subject of a One Picture Book titled Las Trocas, Angelinas, con sus Mercancía, published by Nazraeli Press in 2017. A solo exhibition of Carillo's work will open at Craig Krull Gallery, Santa Monica in January 2026. He currently teaches fundamentals and advanced printmaking at Art Division, where he is also a full-time Exhibitions and Operations Manager. 
Not Like Us, 2025
Linocut Print on RFK 10 x 30 inches Artist Proof Signed by the artist |
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ROGER HERMANL.A. artist, Roger Herman was born and educated in Germany. He moved to California in 1977 where he started working with canvases. Painted with a loose, colorful hand, they managed to be simultaneously expressive and conceptual, with traces of Georg Baselitz and Anselm Kiefer. Herman was recognized as the West Coast parallel of the eighties neo-Expressionist movement. Gagosian quickly represented him and positioned him as the California counterpart to David Salle and Jean-Michel Basquiat.
In the mid-eighties, Herman was offered a position in the art department of UCLA where he continues to teach and explore a broad range of styles. ‘It is about painting, not about subject matter. I don’t have a narrative,’ Herman says about his work. ‘The subject is always painting, which is why there is a repetition always— like Morandi. I’m trying to go somewhere I’m not comfortable.’ In the last thirty years, Herman has contributed to the rise of several West Coast artists, who today pay their respect to him. Artist Cyril Kuhn says, ‘Every painter in the last 30 years who has come out of Los Angeles owes a debt to him’. Between 1998 and 2008, he ran a gallery in Chinatown for a young artist group called Black Dragon Society. His work is included in the permanent collections of The Los Angeles County Museum of Art, Los Angeles, CA; The Museum of Contemporary Art, Los Angeles, CA; The Orange County Museum of Modern Art, Newport Beach, CA; and The Walker Art Center, Minneapolis, MI, to name a few. 
2 Figures Standing, Red, Yellow, 2008
Oil on Canvas 12 x 9 inches |
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LUIS SERRANOLuis Serrano is an artist who lives in Los Angeles, California. Serrano uses local accessible green areas as his workspace, letting the natural clusters and configurations of wildlife serve as muse. His dense, vertical depictions can take months to complete.
“Serrano's botanical visions feel as weightless and organic as the species they depict, guiding viewers through overgrown spaces cluttered with leaves and branches of unknown origin. Yet despite the matted chaos depicted in the works, a sense of tranquility subsumes the wildness, providing a sensation similar to taking a deep breath in the great outdoors,” (Priscilla Frank, 2017). 
Day’s End, 2004
Graphite on paper 14 x 17 in. (unframed) Signed by the artist on verso |
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ALLEGRA PACHECOAllegra Pacheco (1986, Costa Rica) is an award-winning documentary filmmaker and internationally recognized multi-disciplinary artist whose work has been exhibited in galleries and museums worldwide. She received her BFA in Photography at School of Visual Arts, New York, and an MFA in Visual Art from Wimbledon College of Art, University of Arts of London. In her new series of small-scale paintings, Blood Sugar, she portrays her most recent obsession: the world of fighting, with an emphasis on boxing and MMA (mixed martial arts). A selection of Pacheco’s boxing paintings were recently included in the major survey Strike Fast, Dance Lightly: Artists on Boxing at the Norton Museum of Art in West Palm Beach, Florida and are illustrated in the corresponding catalogue. In 2024 her work was included in Accretion: Latin American Women Artists at the Santa Barbara Museum of Art.
Untitled, 2024
Oil on canvas 4.5 x 7 x 1 inches Signed by the artist on verso |
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GWYNN MURRILLLos Angeles-based artist Gwynn Murrill is best known for her sculptures in wood, marble and bronze of animals. Her practice has been rooted in the close study of the landscape’s inhabitants around her home as well as in photographs, memory, and imagination.
Murrill has been an exhibiting artist for over 40 years and won the Year in Review Award from the Americans for the Arts Public Art Network and other awards from the John Simon Guggenheim Fellowship, and the Prix di Roma Fellowship. Her work is included in esteemed collections worldwide, including the Norton Simon Museum, Portland Museum of Art, Los Angeles County Museum of Art and Palm Springs Desert Museum, to name a few. In 2022 a major survey of her work, Gwynn Murrill: Animal Nature was exhibited at the Frederick R. Weisman Museum of Art, Pepperdine University, Malibu, CA.
Dog Sitting, 2011
5.75 x 4 inches Bronze |
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JOHN NAVAJohn Nava studied art at UC Santa Barbara under Howard Warshaw and did his graduate work in Florence, Italy. His work is found in numerous private, corporate and public collections throughout the United States, Europe and Japan including the National Museum of American Art in Washington D.C., the Museum of Contemporary Art (MOCA) of Hawaii, the Triton Museum in San Jose, California and the Ventura County Museum of History and Art, Ventura, California.
In 1999 Nava was commissioned by the Archdiocese of Los Angeles to create three major cycles of tapestries for the new Cathedral of Our Lady of the Angels. The primary cycle of 25 tapestries depict The Communion of Saints and comprise 136 over life-size saints from throughout history and from all parts of the world. The tapestries were specially woven in Belgium combining custom weaving craftsmanship and digital technology. Our Lady of the Angels, the largest Catholic cathedral in the United States, opened in September of 2002. In 2003 Nava’s tapestries for the Cathedral of Our Lady of the Angels won the National Interfaith Forum on Religion, Art and Architecture (IFRAA) Design Honor Award for Visual Art. 
Diver, 2004 A.P.
Etching Image 12 1/2 x 9 ½ in. Paper 29 1/2 x 22 inches Framed 33 3/4 x 26 ¾ |
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VICTOR REYESI’m Victor Reyes, a self-taught artist born in San Jose, California, raised between Zamora, Michoacán, Mexico and Los Angeles. I come from a creative family, my mom loved creating gift baskets and a mixture of different art and craft, and my dad worked in construction and also made wooden toys. Growing up, I always felt connected to making things with my hands. Living with learning problems and facing challenges in school, especially after a period without education while in Mexico, made it hard to find my path. I’ve worked many difficult jobs dishwashing, janitorial work, graveyard shifts, while also dealing with depression and housing instability. But through it all, art has been my way to survive, express myself, and make sense of the world. I use my art to tell stories of identity, memory, and resilience.
Untitled, 2023
Glazed ceramic 12 x 6 inches Signed by the artist at base |
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SALOMÓN HUERTAKnown for his series of paintings depicting anonymous subjects who sit or stand with their backs to the viewers, this body of work signals a new direction for the painter. Rather than working serially on a single subject, Huerta takes cues from his environment and relationships as points of departure. He continues to work in representational painting - primarily portraiture - distilling elements of classicism with a modern social and cultural scrutiny. While his distinct bodies of work can be linked through their shared investigations and considerations of identity, his work remains engaged in a delicate balance between rich color and strong brushwork and an unassuming intimacy that provokes self-reflexivity in its viewers.
Untitled, 1994
Oil on paper 10 x 8 in. Signed by the artist |
Tour of the Norton Simon Museum’s French Collection by Dan McCleary and Fabian Cereijido, PhD. $500.00 Buy now |
Tour of the Norton Simon Museum’s French Collection by Dan McCleary and Fabian Cereijido, PhD.
Lunch included. 3 spaces available |
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