SPONDER GALLERY

413 E Palmetto Park Road, Suit 106

FL 33432 Boca Raton

United States

Phone : 5612413050

Fax :

Mobile Ph. : 5613500004

URL : info@spondergallery.com

Deborah Sponder   ()

Beverly Cuyler   ()

Cristin Longo   ()

About

Deborah Sponder began her art career as a private dealer in California in 1983. Twenty years later, she joined her mother Elaine Baker in Boca Raton as a partner at Baker Sponder Gallery (est. 1989). In 2013, SPONDER GALLERY emerged with a strong presence in the international art fair circuit.

In the gallery’s 30 year history, we boast a roster of established and mid-career artists and over 200 exhibitions of great quality and importance. Notable one person exhibits have included Lynn Chadwick, Friedel Dzubas, Dan Christensen, Frank Stella, William King and Boaz Vaadia. Artists who display innovative techniques and a unique approach to materials are paramount to the gallery's aesthetic.

The gallery focuses on contemporary abstract paintings and sculpture and maintains an inventory of strong secondary market work. We also offer personalized support and consulting in all aspects of collecting and appraisal services. In addition to our exhibition spaces, we facilitate major sculpture projects at the Boca Raton Resort & Club and the Ritz-Carlton in Key Biscayne and Coconut Grove. These venues provide museum quality works for acquisition, while adding an educational and cultural enhancement to the property.

Mirror Metamorphosis -  Tigran Tsitoghdzyan

Tigran Tsitoghdzyan Mirror Metamorphosis

Exhibiting Artists

  • Metis Atash

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  • Stanley Boxer  (+)

    Biography : Born in New York City, Boxer was natural draftsman but began formal art training after leaving the Navy at the end of World War II, when his brother persuaded him to take classes at the Art Students League. He was immediately drawn to painting and stayed with it for nearly five decades. A prolific and tireless worker Boxer was in the studio seven days a week, preferred the term "practitioner" to "artist" and routinely rotated his attention among several media, including painting, drawing, sculpture and printmaking. At one point he caught the eye of critic Clement Greenberg, and was lumped in with the "colorfield" painters whom Greenberg championed. Boxer himself was adamant in rejecting this stylistic label, however over the years he remained loyal to the materially dense abstract mode on which his reputation rested

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  • Lynn Chadwick  (+)

    Detailed Description : Lynn Chadwick was born in 1914 in London. One of the leading sculptors in Britain, Lynn Chadwick’s abstract and figurative work has brought him international renown. The angular contours and diamond shaped heads are entirely characteristic of his oeuvre. His figures with their softened geometric forms and rigid, stilted postures became a major theme of his work throughout the 1980’s. His talent for infusing cubic figures with anthropomorphic allusions remains one of his highest artistic accomplishments. Chadwick's work is in the collections of many major museums throughout the world.

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  • John Chamberlain  (+)

  • Dan Christensen  (+)

    Biography : Dan Christensen was born in Cozad, Nebraska in 1942. He received his BFA in 1964 from the Kansas City Art Institute and currently resides in New York City. His early work was of a minimalist geometric style which he later abandoned due to its constrictiveness. He now works as an romantic minimalist, using spray guns and squeegees to create luminous canvases with abstract patterns floating on In 1967 Dan began using spray guns to draw colorful stacks, loops and lines on his paintings, that were among the most original abstract paintings of the decade. Having a unique mastery of the language of abstract painting color, line, surface, and a confident and gifted touch Christensen has used his ability to produce a varied and high quality body of work. By 1968, Christensen made a group of paintings that were colored rectangles and bars floating in a sprayed atmosphere of lyrical, multi-colored space. That year he also began his important series of loop spray paintings. Resembling colored pencil or ball point pen doodles on a note pad, made on a giant scale by a giant hand, these paintings are astonishingly primal and liberating. Painted mostly in thin sweeping lines of sprayed primary color on neutral canvas-colored grounds, these paintings are a remarkable achievement. He followed those paintings with another series of sprayed line paintings that were thick, thin, twisting, serpentine lines and arcs painted on richly colored fields. Christensen's lucid and articulate ability to paint has led his fertile imagination into several radically different series. He has a willingness to change and grow and he has often altered his painting methods and his style. In the early seventies he made paintings with squeegees that were solid blocks of perpendicular color of different surfaces. Dan Christensen began exhibiting his paintings in New York City in 1966. He has had more than 60 solo exhibitions and his work has appeared in important group shows all over the world. His paintin

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  • Max Steven Grossman

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  • Kysa Johnson  (+)

    Biography : Artist statement: "My work explores patterns in nature that exist at the extremes of scale. Using the shapes of diseases and cures, maps of the universe, or the molecular structure of pollutants – in short, microscopic or macroscopic “landscapes” – it depicts a physical reality that is invisible to the naked eye. In rendering these forms in drawings and paintings the subject is removed from a purely scientific context and introduced into the arena of visual culture. There the possibility is presented of forming a new relationship with the subject at hand: to see, for example, whooping cough or pneumonia not simply as scourges in human history, but as phenomena to be appreciated on their own terms. As that investigation has continued another layer has evolved. These series of drawings and paintings also depict structures that occur in nature at a level hidden to the naked eye, but these images of the microscopic are now also used as building blocks to create a composition to which they are conceptually related. One level of the subject at hand forms a composition representing another level of that thing or idea. These microscopic yet fundamental parts of our physical universe are placed in the broader context of history and art and the stories that we create around them by the composition they form. One level is clinical and physical and one is emotional and historical." Kysa Johnson was born in Illinois in 1974, and trained at Glasgow School of Art in Scotland. Johnson has had solo exhibitions at institutions such as The Aldrich Museum of Contemporary Art (Ridgefield, CT), The National Academy of Sciences (Washington, DC), Roebling Hall Gallery (New York, NY), and The Nicolaysen Museum (Casper, WY). She has been featured in a number of group shows including exhibitions at The 2nd Biennial of the Canary Islands, the Tang Museum (Saratoga Springs, NY), The Katonah Museum of Art (Katonah, NY), the Hudson River Museum (Yonkers, NY), DeCordova Sculpture Park an

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  • William King  (+)

    Biography : William King was born in Jacksonville, Florida, in 1925, and grew up in Coconut Grove, Miami. After attending the University of Florida between 1942 and 1944, he came to New York in 1945, enrolling that year at Cooper Union and graduating in 1948. The following year he went to Rome on a Fulbright scholarship. Beginning in 1953, he taught for three years at the Brooklyn Museum Art School. He has also taught at the University of California, Berkeley, and elsewhere. He is a member of the American Academy of Arts and Letters, and was President of the National Academy of Design between 1994 and 1998. He is the father of Eli King and Amy King, and lives with his wife, Connie Fox, in East Hampton, New York. King’s earliest one-person shows were with the Alan Gallery, New York, beginning in 1954. The majority of his subsequent New York exhibitions were with the Terry Dintenfass Gallery. Of note in the writings about the artist are reviews by Fairfield Porter, in 1954 (in Art News) and 1960 (in The Nation), and numerous essays and reviews by Hilton Kramer. The fullest biographical account of the artist is by Gerald Nordland, in a 1994 gallery exhibition catalog entitled William King: Forty Years of Work in Wood. Previous awards include the Guggenheim Foundation Fellowship, National Endowment for the Arts Individual Artist Grant, San Francisco Arts Commission Award for Outstanding Achievement in Sculpture, Honorary Doctorate for Outstanding Achievement in Sculpture from the San Francisco Art Institute, Honorary Doctorate from the California College of Arts and Crafts, and Honorary Doctorate from the Corcoran School of Art, Washington, D.C.

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  • Matthias Lutzeyer

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  • Jane Manus  (+)

    Biography : Jane Manus has been continuously developing her oeuvre of forceful geometric sculptures since the 1970s, when as a young, female artist at the Art Institute of Boston she learned to weld metal into sculpture, an experience Manus describes as a breakthrough in her artistic career. Manus’ work has indeed evolved, and today she works exclusively in aluminum. Her vibrant sculptures seamlessly integrate disparate elements of geometry, thereby truly transforming the spaces that they inhabit. Dynamic shapes and massive forms penetrate the viewer’s space, and seem to move and change in appearance due to their extreme three- dimensionality. Abstract though they are, Manus’ sculptures also retain an unyielding expressive character that gives each work a life and spirit of its own. Jane Manus was born in New York in 1951, and is now based in West Palm Beach, Florida. Her work has been exhibited worldwide, and is included in many prestigious collections, including those of the Cricket Taplin Collection, Miami, FL; Harn Museum of Art, Gainesville, FL; The Lincoln Center/List Collection, New York; the Georgia Museum of Art, Atlanta; and Syracuse University.

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  • Donald Martiny  (+)

    Biography : Donald Martiny’s works are full of visceral movement and vibrant color, but it would be too easy to reduce these forms to a discussion of color and flow. These enlarged brush-like strokes, formed from polymer and saturated pigment, are visual poems; the painterly equivalent of a verbal haiku. The swaths of undulating paint, dotted with streaks of hidden color and seemingly random trace gesture, draw us closer, enticing us with their history. The sensual, almost liquid quality of the forms woos us. As these paintings attest "the simplest gesture is the most profound."

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  • James Austin Murray

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  • Jules Olitski  (+)

  • Jonathan Prince

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  • JM Rizzi

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  • Janet Rogers

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  • Kikuo Saito

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  • Tigran Tsitoghdzyan  (+)

    Artist's Objects:

    •  Tigran Tsitoghdzyan - Mirror Metamorphosis Mirror Metamorphosis

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  • Boaz Vaadia

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  • Valentin Van Der Meulen

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Other Represented Artists