abstract art

Artist Interview: Kevin Brewerton!

By abstract art, art, Art Events, New Artists, The Venice Art CrawlNo Comments

Hey Crawlers!

With the new month of February we introduce to you another Artist, Kevin Brewerton!  This post is very special because it happens to be that Kevin is having an art show this weekend as well! (INFO) Get to know Kevin with the VAC and then hit up his show later this weekend! 


DSC_67191. Who are you and what do you do?

I am a visual, performing, and martial artist. I create art.  

2. In your words how would you define art? 

I am an expressionist in all forms. Although I don’t usually like to put myself in a category, as I prefer to have the freedom to explore without a label. That being said I do find myself gravitating to Abstract Expressionism. 

3. How did your relationship with art start?

Growing up I never knew the value of art. I was raised to believe that art was ornately framed pictures that hung on the walls of those who were rich.  Quite a beginning. As a teenager I didn’t like art. It confused me. I was much more interested in physical sports and dreaming about becoming a famous martial artist like Bruce Lee. Fortunately I was able to realize that goal by winning 5 world kickboxing championships. 

Studio_94. At what age did you realize that you were creatively talented?

That’s a tough question because at an early age I think that we just “do” without being conscious of what we are doing. But I can always remember sitting in class rooms in England, maybe 8th grade, doodling shapes and patterns on my work books. (I don’t think my teachers appreciated it)  But I think I’ve always been sketching and drawing shapes. Perhaps it was an unconscious yearning to paint. I suppose that feeling kept growing. When I’d moved to London to pursue a career as a fighter, from time to time I’d find myself leaving the gym after working out and ending up wandering around the Tate Gallery in my sweat suit. I’d be mesmerized by Turner’s land and seascapes or I would find myself both offended and intrigued by art that I just couldn’t understand. Why would anyone pay so much money for that? I remember thinking, pointing at a plain blue canvas- I think it must have been an Yves Kline!

5. What materials/paints do you generally work with?

Mostly acrylic and oil. However, I do like to experiment with different mediums. Tar is a very raw entity. I like the dense quality it brings. 

6. What art do you most identify with?

Any art that tells a story, Viscerally. I’m looking at art all of the time. Art that I can connect with. Art that is personal. Everything is art. Look around and it’s all art. The world is art. 


5th element (final)7. Describe a real-life situation that inspired you?

I’m fortunate to have had a lot of inspiring moments. However, one that particularly stands out was about 3 years ago when I received an e mail from a lady who was telling me that she and her husband had found my art. Her husband was also a painter, but had not painted in some years because he was virtually blind. She told me that they had studied a particular piece that I had painted, called, Unyielding, on their computer over and over. Because they were able to see the texture and thick brush strokes on the computer, the husband was able to see the art and and become inspired by it which led him to start painting again. They were writing to thank me. 

8. What is your artistic outlook on life?

I believe that art can change a persons life. I believe that art is the great mirror of humanity. I believe that art can be serious and intense, but also funny and ridiculous.

9. What superpower would you have and why?

I’d like to be able to fly. I don’t like the traffic in LA.

Screen shot 2014-02-05 at 10.28.01 AM10. If you could live anywhere in the world where would it be?

I like where I live in Los Angeles. It has become one of the great art capitals of the world. But that doesn’t mean that you won’t find me in Berlin or Barcelona. I believe they are also great places to create art. 

11. Name three artists you’d like to be compared to.

I wouldn’t want to sound obnoxious by comparing myself to certain artists. But I will tell you who I admire and whose influence I hope shows up in my work from time to time. 1. Picasso – for his ingenuity and for thinking in a different way. 2. Franz Klein- for his raw abstract presence on canvas. 3. Milton Katselas for encouraging me to take risks and dare to be an artist.

12. WHAT is your ‘method’? 

My method is no method, anything that works!  

Self_Portrait13.  What is your preferred subject and why?

I don’t have a preferred subject, however I do find myself returning to the fighter, now and again.  As a teenager I was formed through the kiln of a competition fighter- martial artist and boxing. Those themes keep showing up in my art in one way or another.


14. What’s the best thing about being an artist? 

leaving my mark in the world.  Knowing that I can have a  piece of art hanging in Hong Kong, Europe or a suburb in Pennsylvania. Knowing that I can be effecting someone at this very minute and making an impact on there lives. It gives me a sense of being timeless and universal.

15. What’s the worst thing about being an artist?

Cleaning the oil paint of my hands. 

16. What advice do you have for aspiring artists?

Create. Don’t let anything stop you. There is no right way or wrong way. Art can be anything. Say what you want to say. Have a point of view.


Check out more of Kevin’s artwork at his website http://kevinbrewerton.com !!  



Interviewed by: Nicole Muyingo




Cat Art: It Gets Serious

By abstract art, art, art news, The Venice Art CrawlNo Comments

From a provocative upcoming Metropolitan Museum show to adoption-ready “purr-formers,” the art world is exploring the shock of the meow!

Balthus: Cats and Girls, the exhibition opening September 25th at the Metropolitan Museum of Art, was originally called just that.

The title is accurate: Felines and females abound in the work of the French-born, classically inspired, figurative painter, who was a familiar art-world name at the time of his death, at 92, in 2001. In this country, though, he hasn’t had a big show in three decades.

So the general public might not be aware that these cats aren’t cute or grumpy at all. Rather they are sinister voyeurs of pensive adolescent girls, rendered in enigmatic and erotically charged poses.

Balthus, The King of Cats, 1935. oil on canvas. COURTESY FONDATION BALTHUS. ©BALTHUS.

Suggestive and disturbing, to our contemporary sensibility they may well seem even more provocative than they did the last time the Met did a big Balthus show, in 1984. To acknowledge that some viewers might find some content offensive, the museum added a subtitle: “Paintings and Provocations.”


Focusing on work from the mid-’30s to the ’50s, the exhibition coincides with the publication by Rizzoli of Balthus and Cats, which traces the cat motif throughout the artist’s career. The Met will show–for the first time in public–the charming ink drawings Balthus made at the age of 11 for Mitsou, his story about a stray tomcat; the book was published in 1921 by Rainer Maria Rilke, a close family friend.

Later Balthus began to pair these felines with tweens or teens poised in what curator Sabine Rewald describes as “self-absorbed languor,” draped over chairs, lost in a dream state, unself-consciously (or not) lifting their skirts to reveal their white panties. His models grew up and moved on, but Balthus stayed fixated on his nymphets. The cats beside them—sometimes rubbing suggestively, sometimes lapping at milk, sometimes staring amused (the way the models never do) at the viewer–play off the idea of budding female sexuality. Even more so, they act as stand-ins for the artist himself.

The Met show will make two cat-themed museum offerings in New York this season: It opens on the tails of the Brooklyn Museum’s inauguration of “Divine Felines: Cats of Ancient Egypt,” a long-term installation exploring the role of cats, lions, and other feline creatures in Egyptian society, religion, and everyday life.

Figure of a Cat, Provenance unknown. Ptolemaic Period-Roman Period, 305 B.C.E.-1st century C.E.

So cat art, in one form or another, has been around as long as cats have—over the centuries, the creatures have been imagined as goddess, hunter, consort and thief, as Sarah Hanson wrote in our pages in 2007, when Abrams brought out a massive cat-art tome. In recent years, especially with the rise of internet cat memes, the kitty has become associated with kitsch. But cats are also marking their territory in the avant-garde.

A landmark in the annals of cutting-edge cat art was the 1994 book Why Cats Paint: A History of Feline Aesthetics. Using copious photos and fluent artspeak, it revealed the achievements of Minnie, the Abstract Expressionist; Bootsie, the Trans-Expressionist; Princess, the Elemental Fragmentist, and other nascent art stars. Several readers believed this amazing story of painting cats, which included references to the “Scraatchi Collection” and an author named R. MuttWhy Cats Paint, of course, was an elaborate, hilarious hoax.

Or maybe just ahead of its time.

While the two New York museums were planning their cat-art history, two local alternative spaces were pushing cats into the realm of performance and social practice. Last spring Flux Factory in Long Island City staged Kitty City, an environment created by artists, kids, and city planners that culminated in a kitty adoption drive.

Cats_Flux Factory_600

Currently White Columns, in the West Village, is housing “The Cat Show,” an exhibition organized by Rhonda Lieberman that features cat art by figures from Andy Warhol to Matthew Barney, Olaf Breuning, Mike Kelley, Nina Katchadourian, Barbara Kruger, Elizabeth Peyton, and many, many others. The paintings, sculptures, videos, and more are there to spotlight the inspiration for the show, “The Cats-in-Residence Program.”

Installation view of "The Cat Show," 2013, White Columns, New York City. PHOTO: JONATHAN GRASSI. COURTESY WHITE COLUMNS.

For various days during the run of the show (which ends July 27), on a playground designed by architects Gia Wolff and Freecell, cats from Social Tees Animal Rescue adoption—“purr-formers,” in Lieberman lingo—will lounge, play, and hopefully find permanent homes.

“Cats rule the internet, but they are really underdogs in the city shelters,” says Lieberman, describing the artistic ambience as a strategy to “show strays as the gorgeous creatures that they are.” In keeping with the art theme, though, she has given her kitties art-world monikers: Frida Kahlico is “into indigenous calico culture”; Kitty Sherman  “questions the representation of cats in society.” Bruce Meowman  “believes art is an activity, not a product”; Claws Oldenburg is “fascinated by everyday objects.” Then there’s Richard Paw Prints. “Don’t call him a copycat,” says Lieberman. “He’s an appropriator!”

The personal ceramic cat collection of T. Cole Rachel. COURTESY OF WHITE COLUMNS. PHOTO: JONATHAN GRASSI.

Other cat stars–particularly Henri, Le Chat Noir–have emerged from the Internet Cat Video Film Festival, which started as a summer lark at the Walker Art Center and became a worldwidephenomenon, inside the art world and beyond. Currently underway in Jerusalem, it has future stops planned at sites ranging from the Minnesota State Fair to the Honolulu Art Museum and theMikwaukee Art Museum.

Meanwhile, another feline with a big role in art history is basking in the spotlight at the Ducal Palace in Venice, where Manet’s Olympia shares a wall with her predecessor and inspiration, Titian’s Venus of Urbino. The feline consort to Manet’s courtesan, sinister and suggestive, started a meme of its own back in the day (that continues to the present).

Édouard Manet, Olympia, 1863, oil on canvas. Ducal Palace. PARIS, MUSÉE D'ORSAY. COURTESY MUSÉE D'ORSAY, DIST. RMN-GRAND PALAIS / PATRICE SCHMIDT.

His descendants still turn up in contemporary art.

In David Humphrey’s show at Fredericks & Freiser last year, the rambunctious kitty was getting out of control. Or maybe the cat’s just learning to paint.

David Humphrey, Scratcher, 2012, acrylic on canvas. COURTESY FREDERICKS & FREISER.

And in a work by Mattia Biagi at Anna Kustera, Olympia’s cat jumped out of the picture and sped around the gallery on a Roomba.

Mattia Biagi, Black Cat, 2012, stuffed black cat toy, robotic vacuum cleaner. Edition of 5. COURTESY ANNA KUSTERA GALLERY, NY.

At Anton KernDavid Shrigley’s cats came with mixed messages.

David Shrigley, (from left) Cat (Enjoy Your Hell); Cat (Kill Your Pets); Cat (Kiss My Ass), 2012, acrylic on canvas stuffed with foam. COURTESY ANTON KERN GALLERY, NEW YORK.

If you want to throw a cat, or at least cat art, Barney’s offers an option, in the form of a Roy Lichtenstein laughing-kitty frisbee. Priced at $28, it’s part of a limited edition of summer-themed products created with the Art Production Fund.

Roy Lichtenstein, Laughing Cat, 1961, flying disc. COURTESY BARNEYS NEW YORK.

Just don’t let a dog do the fetching.

Copyright 2014, ARTnews LLC, 48 West 38th Street, New York, N.Y. 10018. All rights reserved.

Words Originally Posted by ARTnews.com

Original post: http://www.artnews.com/2013/07/11/taking-cat-art-seriously/

Reposted by: Gabrielle Wooden


Gabrielle Wooden is a writer currently residing in Southern California. Currently she is a blogger for the Venice Art Crawl and is working on her first novel entitled Blue Barcelona at UCLA’S Extension Writers Program. 

Artists To Follow On Instagram

By abstract art, art, art news, Instagram, New Artists, The Venice Art CrawlNo Comments

Helllooooo fellow art fanatics and crawlers!

Do you feel your instagram is shrouded with selfies, inspirational workout quotes, baby pictures, women crush wednesdays, and pictures of IN-N-OUT?

Well, check out these artists to follow on instagram spice up your dashboard!! 

(As reccomended by ARTnews!)

1. Toyin Odutola posts portraits of herself, her family, and her friends.

2. Ryan McGinness took advantage of the Instagram format to create a new body of work. His feed consists of “grams”: phrases or ideas culled from his sketchbooks and matched with an appropriate typeface. These are rendered in knockout type inside circles. At this writing he had posted 135; he’s going for 2,000.

3. Art and family in the feed of Laurie Simmons: images of daughter Lena Dunham, husband Carroll Dunham, and her own work from her 2001-4 “Instant Decorator” series.

 4. The writing on the wall: José Parlá chronicles his recent project with JR in Cuba.

 5. Hank Willis Thomas makes you wonder what the meaning of is is.

 6. Faile in the studio (working on their New York City Ballet collaboration) and beyond.

 7. The passions of Shinique Smith.

 8. Body of Work: Daniel Arsham.

 9. Olek, the artist whose medium is crochet.

 10. Nikki S. Lee, whose medium is self-portraits.

 11. Gary Baseman posts photos, paintings, drawings, and other pictures that can “have the viewer learn something personal about me during the course of my day.”

 12. Face time with Kenny Scharf.

 13. Using the app Draw Something (and another of her own design called Draw ArtPaige Dansinger uses her finger to recreate famous artworks.

Copyright 2014, ARTnews LLC, 48 West 38th Street, New York, N.Y. 10018. All rights reserved.

Post Originally posted by ARTnews.

Orignial Post: http://www.artnews.com/2013/01/17/artists-to-follow-on-instagram/


Reblogged by: Gabrielle

Gabrielle Wooden is a writer currently residing in Southern California. Currently she is a blogger for the Venice Art Crawl and is working on her first novel entitled Blue Barcelona at UCLA’S Extension Writers Program. 

We Are The Golden Age of Abstract Art

By abstract art, art, art news, The Venice Art CrawlNo Comments

It’s tempting to see the years 1912–25 and 1947–70 as the two golden ages of abstract art, and to feel that the present revival of abstraction is no more than a silver age. But the present is always deceptive: it was not evident to their contemporaries that Malevich, Mondrian, and Pollock were the towering giants they seem to us in retrospect. The fact is, there is a vast amount of good abstract art being made today, and the best of it is every bit as good as the best abstract art of the past. The golden age of abstraction is right now!

How do we make sense of all this activity in a type of art that was declared dead 40 years ago? I believe the most useful way to understand abstraction is not in terms of its formal evolution (which does not, in any case, fit the linear models beloved of theoreticians) but in terms of thematic content. The formal qualities of an abstract painting or sculpture are significant not in themselves but as part of the work’s expressive message. Artists work by reviving and transforming archetypes from the unconscious of modern culture. Therefore, the most useful questions to ask about contemporary abstract painting or sculpture are: What themes and forms does it retrieve from the tradition of modern art? How have they been changed? And how has the artist used them to express the social, political, and spiritual experience of our own time?

We might view abstract art as falling into six basic categories. Three respond to nature: cosmologies, landscapes, and anatomies. And three respond to culture: fabrics, architecture, and signs. These categories are not mutually exclusive. It often happens, for instance, that cosmological images include anatomical imagery or that images inspired by fabric patterns include drawn or written signs.

1. Cosmologies

Chris Martin’s Seven Pointed Star for Isaac Hayes, 2009, touches on cosmology and technology.

Cosmological imagery in modern art assumes three main forms: orbs, orbits, and constellations. The orbs and orbits in the work of pioneering abstract artists like Alexander Rodchenko and Liubov’ Popova reflected the Russian avant-garde’s obsession with space travel as an allegory of revolution: the cosmonaut left behind the corrupt old world to build a rational utopia in outer space.

 2.  Landscapes

 Anish Kapoor’s Cloud Gate, 2004, in Chicago’s Millennium Park, reflects and distorts the surrounding landscape.

The huge popularity of Anish Kapoor’s monumental Cloud Gate may be due to the hallucinatory impression it gives of having brought the heavens down to Earth. At the same time, the sculpture’s mirrorlike skin, recalling Brancusi’s polished bronzes, places it in the avant-garde tradition of art that actively interacts with its viewers and its environment. In the setting of downtown Chicago, Kapoor’s silvered sculpture seems to absorb, concentrate, and reemit the essence of a great American metropolis.

 3. Anatomies

However, the abstract anatomies of contemporary artists rarely correspond to the image of the human body as a whole. Instead, their work tends to hint at individual body parts, internal organs, or the “abject” substances excreted by the body.

4. Fabrics

Turning from natural to man-made models for abstraction, fabric has figured prominently as a source of inspiration. Throughout much of the 20th century, male abstract artists rejected comparisons between their paintings and decorative fabrics. In the 1970s, however, women artists, such as Miriam Schapiro and Joyce Kozloff, set out to revindicate decoration and to use it as the point of departure for a new, feminist mode of abstraction. The artists (both male and female) of the Pattern and Decoration movement often incorporated representational and architectural elements into their brilliantly colored compositions.

Valerie Jaudon, who emerged from the Pattern and Decoration movement,has remained highly abstract but alludes to the repeat patterns of fabric or wallpaper, as in Circa, 2012.

 5. Architectures

Peter Halley’s paintings, which launched the Neo-Geo movement of the 1980s, focus obsessively on the motif of a rectangular cell, reminiscent of a house, a prison, a computer chip, or a piece of machinery. Resting on a narrow band of earth or flooring, the structure is plugged into its environment by conduits that run through the ground or take to the sky, connecting it into an invisible urban grid. Instead of a place of refuge, the cell becomes a symbol of the postmodern self: isolated, immobilized, and under surveillance. The pure optical quality of 1960s modernism gives way in Halley’s work to a purgatory of Day-Glo colors and motel-room textures: garish, menacing, and weirdly seductive. Another painter, Sarah Morris, uses tilted grids and pulsing colors to suggest the dazed confusion found in the mirrored facades of corporate modernism.

 6. Signs

Signs have been an important element of modern art ever since 1911 and 1912, when Picasso and Braque put stenciled letters and scraps of newspaper into their Cubist pictures. But Jasper Johns’s flag, map, and number pictures of the 1950s and early 1960s initiated a revolutionary transformation in the character of sign painting. His stenciled letters and regular grids came to convey meaninglessness instead of meaning. They didn’t express emotion; they repressed it.

 Ultimately, the evolution of abstract art—like the evolution of modern art more broadly—has been a series of responses to the experience of life in the 20th and 21st centuries. As Halley argues in a brilliant 1991 essay, abstraction before World War II was largely inspired by the utopian belief that rational technocracy (i.e., socialism) would create a better world. The technocratic ideal found its most powerful symbol not in the rosy-cheeked workers of Socialist Realism but in geometric abstraction. After the devastation of World War II and the revelation of the horrors of Stalinist Russia, geometry could no longer function as an image of utopia. Changing polarity, it became instead a symbol of alienation.

Much contemporary art—not to mention fiction, film, and television—reflects a Blade Runner vision of a world, in which the individual is rendered powerless by anonymous government agencies, giant corporations, and deafening mass culture. It’s useful to remember that this nightmare vision is itself a romantic stereotype, ignoring the positive aspects of postmodern society. In 2013, as in 1913, abstraction is how we think about the future.


 Words Borrowed and Reblogged from ARTnews



 Reblogged by: Gabrielle Wooden

 Gabrielle Wooden is a writer residing in So Cal.  She is torn between having cinnamon toast or a milkshake for breakfast.



By abstract art, art, Art Events, art news, photography, The Venice Art Crawl, VAC EventsNo Comments

SO! For those of you who missed out on our Art Crawl two weeks ago, its okay. We forgive you. But next time, well… well we just hope there is no next time.  Well we hope there is a next time, obviously, we just mean that…we basically we just really want you to come.


The day  of the crawl on December 19th, started out a little scary, with grey clouds looming over Venice with weather reports threatening rain and low temperatures.  All of us thought, this is VENICE BEACH, it NEVER RAINS!

BUT! Thankfully the rain threats turned into a slight afternoon drizzle leaving the venice streets all shiny and sweet and the air dewy for us art crawlers who started rolling in as early as five pm.


The crawlers were greeted by volunteers at tables outside of restaurants who were handing out maps and other goodies.  The maps showed you what areas around you were participating in the Venice Art Crawl, and all of them were within walking distance of each other.  I know a lot of my friends were concerned about “thewalking part” but they quickly found out that there really wasn’t much walking and when your partying and buzzed with a big group of friends and people in the street walking around, the walking around became one of the highlights of the crawl.

IMG_4541First we had a drink and some pizza, and then we weaved through the crawl, seeing artwork and even a live art wall “reclaiming,” where a few artists reclaimed a previous wall of art that they painted that had later been repainted over.


Check out some of the photos of this winter’s Venice Art Crawl, and TRY AND TELL ME you don’t want to come to next one!

Photo Credits: Maria O’bry




  IMG_4560IMG_4546 (2)


IMG_4548 (1) IMG_4608

Blogged by: Gabrielle Wooden


Gabrielle lives in SUNNY CALIFORNIA.  She only loves cheese. No one else.


Venice Artist Interview: Kelcey Fisher!

By abstract art, art, art news, interview, Mural, The Venice Art CrawlNo Comments

So Venice Based artist and muralist Kelcey Fisher and I got together (on facebook) and I was lucky enough to get ten questions out of the guy about his inspirational artwork that was such a hit at this past Art Crawl!

And it goes a little somethin’ like this:  HIT IT!

 1. So Kelcey…your favorite artist (living or dead) invites you to their house for dinner. You want to bring them a gift. Who is it, and what would you bring them?

Kelsey Brookes, who is alive. Ironic we have the same name but huge fan of his work and his story behind it. I would bring him one of my paintings..hopefully we would work out a triad : ) Would be super pumped to own one of his pieces.

2. How old were you when you first discovered you where an artist? What was the “lightbulb moment” when you knew you wanted to pursue art as a career?

My mom was my art teacher when I was a youngen in preschool and always pushed me in that direction.. I think that definitely played a part in my art career..I never took art seriously however until I sold my first piece junior year of college. A lightbulb definitely went off when I got that first check haha. Thank you Debby Boyd for believing in me..I will always remember you as my first true fan and friend!


3.Describe your personal Hell.

L.A. traffic combined with LAX airport security line. End me!

4. Your latest art work involves larger than life playing cards with dimensional color schemes. What was the motive behind these pieces? Are you a gambling man?

You can catch me on the wheel of fortune slot machines every once and while but definitely not a gambling man. Those pieces were actually created for a wedding in Vegas however. I worked with a good friend and amazing wedding coordinator Courtney Stone to come up with that concept. They were some of the biggest pieces I’ve created. They were 5’x8′ wood panels. We titled them, “The Royal Romantics”. One of my favorite projects by far. Thanks for getting me involved Court!

5. Define what art means to you in five words.

Passion, Commitment, Life, Love, Escape


6. There is a lot of Hoopla going about with Performance Artist Marina Abramovic and Lady Gaga collaborating. It all started when Marina asked her: Who creates limits? How would you answer this question?

You create your own limits.

7.Morning or Night?



8. Its Friday night in Venice Beach, Where can our readers expect to be able to stalk you?

First stop- James Beach> Then off to Nikkis Beach> End with some shinanigens at TownHouse> Pizza at Santinos> Pillow to the face

9. Whats your Fantasy? We like details.

Simma down now


10. Alright, Last question. I say a word and you name the first word that comes to your mind:

Refrigerator: Beer

Country: Ireland

Culture: Important

Destiny: Who Knows

Venice Beach: Thank you


Thanks Kelcey Fisher for all that jazz.  Peep more of his work HERE!

 Interviewed and Written by: Gabrielle Wooden


Gabrielle Wooden is a writer currently residing in Southern California. Currently she is a blogger for the Venice Art Crawl and is working on her first novel entitled Blue Barcelona at UCLA’S Extension Writers Program. 

11-year-old Artist Talks Art Basel, Venice Beach, and Gun Violence with the LA Times

By abstract art, art, art news, International Art, The Venice Art CrawlNo Comments

11-year-old sixth grader and artist, Charles Gitnick, from Los Angeles is the talk of the town in the art world, boasting title features at the Washington Post, Yahoo! News, Huffington Post, and the LA times.  The young prodigy’s current work involves spray painted guns ranging in size and color, splattered with “Jackson Pollock-esk” paint drips, intended to bring awareness to America’s epidemic of shootings and violence.   He calls his art work “3-D gun art” and claims that he was seven when he first started creating abstract artwork. He also asserts was inspired to be an artist by the work of Andy Warhol, Lenonardo Da Vinci, and Basquiat.


4abe65d2d008fb28440f6a706700748c 11 Year old Charles Gitnick poses with his “3-D Gun-Art”.

 (AP Photo/J Pat Carter) Photo Taken from: Yahoo News



“Rainbow Drip”

He writes in his website bio: “My feelings about guns are that they are scary and dangerous. When I make one of my pieces, I create a background and then I camouflage the gun to make it almost invisible. The gun is still there but it’s hard to see it or you don’t see it for what it really is. Hopefully my art will get people talking about guns, gun safety and gun violence. I wish guns were only in an art gallery.”




“Dozen Guns” 


In a recent interview conducted with LA times, Gitnick talks about how he first sold his art in Venice Beach.  The LA times asks:

LA Times: Last December’s Sandy Hook school shooting in Connecticut affected you – and your art – deeply. Can you elaborate on that?

Gitnick: I stopped making art for 18 days because of it because I was afraid people would think I was promoting guns and not like my art. My dad talked to me about it and told me when those bad things happen it’s not a time for artists to back down; that’s when everyone is talking about it, it’s the best time to get the message out. So I started making art again.

We rented a house in Venice a few years ago and we were walking on the boardwalk and I sold some gun art on the boardwalk — we got a permit. That was the first time I sold to the public. This summer we sold every weekend in July. We made $1,100 in one day, the most I’ve ever made in a day. I’m saving for a car.

Read more about Charles Ginick’s interview with the LA Times here and check out his website!!


“Flower Power”




Blogged by:

Gabrielle Wooden


Gabrielle lives in So Cal.  She’s black.