Road trips have always been a favorite way to explore this vast country of ours. What better way to experience the varied landscape, urban and rural space and inherent local flavor than by car.

The Whitney’s latest installment, America by Car, takes us on a tour across country with renowned photographer Lee Friedlander. We pass through vibrant cities, one-horse towns, scenic backdrops, and encounter loads of welcoming citizens, all of which are visualized through the camera lens, as well as the car window.

In each of the black and white square-framed pieces, mostly taken between 2004 and 2008, Friedlander gives us a glimpse of our fabled country, in addition to the interior of his rental car – rear view mirror, dashboard, gear shift, and seat belts. The entirety of the exhibit exudes a mystical quality, although somewhat tedious at times (192 images), and a vivid snapshot of life on the road.


Joni Diskint is fortunate to be a full-time artist – not a luxury afforded by many. She has set up her home in Chatham, New Jersey as a gallery – Joni Diskint Fine Art – specifically designed to showcase her work.

Her history probably dictated that she would set out on an artistic path. As a child, she was extremely creative, writing stories and making illustrations at a very young age. In fact, she nearly published a book when she was in the fifth grade.

The early years

But she only fully entertained the idea of being an artist when she was in college. She flourished in color and painting classes, received great feedback from professors, and decided to spend a year in London pursing her craft.

Things started to happen for her rather quickly. While living and painting in Colorado she began to show her work at local shows. At 25, she had her first show in Soho, NY, which marked the beginning of a yearly occurrence – she would show at a different gallery in Soho every year. At the time, she lived in the Berkshires, where she owned a gallery and would exhibit her work as well as that of other emerging artists.

At 30, she moved to the east side of NYC. “There was too much going on in the city not to be here”, she says.  Soon her work started selling in earnest, especially once she started offering prints of her pieces.

Seeing the light

The landscape is her inspiration – the colors and the light, as well as its never ending, constantly changing nature.  In most of her pieces the sky plays an important role because it is forever moving and always conveying a unique type of light.

Take “Lonesome Valley,” a very evocative and challenging piece that conveys a dramatic, dark sky contrasting against the white snow. The piece is very deep and intense and is made from a very dark color palette.  The ominous sky takes the viewer into a depth, to a different place.

Lonesome Valley

The “Oil Lamps” are equally evocative in their portrayal of light. She bought the lamps in India and uses them for meditation, mostly at night when they cast a very solemn glow. Her idea was to capture the dark, that is to paint the light within the dark, and her aim was to go as dark as possible.  She had studied Vermeer and other masters who so artfully conveyed light, and so she felt the need to do so as well.

Oil Lamp 1

“Reflected Light” is another play on light, this time using the reflection of the sun against the trees at sunset. These trees are actually in her backyard and she worked endlessly to evoke the light to come through to the canvas.

Reflected Light I

Joni sells through her home as well as through a variety of charity shows. She also has a separate studio attached to the house where she teaches painting classes.  We invite you to view the work of our featured artist and to “see the light” in her varied works.

To view the ArtistsinAuction website click here.

To view more of  Joni Diskint’s work, click here.


If you love color and abstraction, you won’t want to miss the Georgia O’Keefe exhibit currently on display at the Whitney Museum in NY.  By now you’ve read multiple reviews, but it can honestly be said that this is one show you have to see in order to “experience”.

While it is true that Georgia O’Keefe’s flowers and landscapes made her one of the most celebrated figures of twentieth-century art, the radical abstractions she created throughout her career are much less well known. Yet they are equally spectacular. In fact, it is her abstract work that ultimately led to her creation of landscapes and florals, and not the other way around.

For O’Keefe, abstraction offered a medium in which she could portray the “unknown” – the many intense thoughts and ideas she could not express in words. Her work conveys emotional response to people and places, as well as the rhythms of nature and the experience of being enveloped by its mystery and beauty.

The exhibit also chronicles the life saga of an extremely prolific artist, allowing us to feel her emotions as she went through different stages of elation and agony. At times her pieces explode with color, at other more distressful times, color becomes somewhat subdued.


In 1916, O’Keefe burst onto the New York scene with her charcoal abstracts –  some of the most radical works ever produced in the US in the twentieth century. Renowned photographer Alfred Steiglitz, who would shortly become her personal and professional partner, gave her a show in 1917, exhibiting her work for the first time at his “291” gallery.

Witness “Early Abstraction” from 1915 – a linear work that takes on the form of a piece of sculpture.


"Early Abstraction," 1915

Vibrant Oils

She first introduced oils at the Anderson Galleries in 1923, marking the public’s first view of her work since 1917 at “291.” It was a jubilant time for O’Keefe, both artistically and personally, and the vibrant colors she uses – fiery reds, lush greens, erotic greens and yellow – convey her exhilaration. Favorites of ours include “Pink and Green,” 1922, “Corn Dark,” 1924, “Red Canna,” 1925-1928, and “White Sweet Peas,” 1926 (you’ll have to see these for yourself in person).


"Abstraction," 1926


"Grey, Blue & Black-Pink Circle," 1929


"Flower Abstraction," 1924


"Abstraction White Rose," 1927

There is one particularly darker piece from this time period, a work that portrays her experience of undergoing anesthesia before an operation to remove a benign breast cyst – “Black Abstraction,” 1927.

O’Keefe married Steiglitz in 1924 and they spent winters in NYC and summers at his home on Lake George. Many of the colorful lake series were produced during the peaceful times spent there.

Darker times

O’Keefe first started to travel to New Mexico in 1929. Steiglitz was having an affair with a younger woman and she felt the need to escape. In 1932 she suffered a nervous breakdown and stopped painting altogether until 1934. For the next ten years abstraction figured very little into her work until the Black Place Series, which were based on an area in New Mexico 150 miles west of her home at Ghost Ranch.

Paving the way

After Steiglitz’s death in 1946, O’Keefe moved permanently to New Mexico, at which time she began to introduce flat geometric planes of color, a factor that would play a central role in the art of the 1960’s. A great example is “Black Door with Red” from 1954.

A personal favorite is the opening work to the exhibit – “Above the Clouds” – an absolute masterpiece, which was created in the early 1960’s.

Although the exhibit stops around this time period, O’Keefe would go on to expand and evolve through her painting. She died in 1986 – at the ripe old age of 98 – having left an indelible mark on the world of abstract art.

To view the ArtistsinAuction website click here.


"Black Door with Red," 1954

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"Above the Clouds," 1962-63