Leslie Sacks Fine Art

Venue  |  Exhibitions
Room , 1988 Etching 32 X 41 1/2 In.
Leslie Sacks Fine Art
11640 San Vicente Blvd.
Los Angeles, CA 90049
Venue Type: Gallery
Open hours
Gallery type

Leslie Sacks established his first gallery in Johannesburg, South Africa, in 1981. Leslie Sacks Fine Art opened in the Los Angeles community of Brentwood in 1992 and has become an important American venue specializing in fine prints and rare works on paper by modern and contemporary European and American masters. Most recently, Leslie Sacks Fine Art has been developing a roster of important mid-career contemporary artists including Shane Guffogg, Minjung Kim and Jon Krawczyk. Leslie Sacks Fine Art is a member of the California Art Dealers Association and the International Fine Print Dealers Association.

While specializing in fine prints and unique works on paper, the gallery's collection also includes painting, sculpture and illustrated artists’ books (livres d'artistes), impressionist and expressionist works, and a thoroughly vetted collection of African tribal art. In addition to holding a substantial owned inventory Leslie Sacks Fine Art works with dealers and collectors throughout Europe, Asia and the United States to source and discretely  sell important impressionist, post-impressionist and 20th century art.

In 2007 Leslie Sacks Fine Art acquired Bobbie Greenfield Gallery at Bergamot Station in Santa Monica, California. Now called Greenfield Sacks Gallery, this contemporary space specializes in prints, works on paper, paintings and sculpture by post-war and contemporary masters, and represents, in Los Angeles, the estate of Robert Motherwell (The Dedalus Foundation), and the Andy Warhol Foundation.


Gallery Philosophy

Western civilization’s passion for structure and explanation has separated mind from body and emotion from the psyche, along with every other possible subdivision. This dislocation of what is essentially interconnected and universal has led Western man in a direction opposite that of traditional Eastern culture and other more naturalistic peoples. This cultural difference not withstanding, if one were to scientifically investigate the commonalties between various peoples, one would probably find that the differences are vastly in the minority when compared with the incidence of natural similarities.

Likewise, in the art world there is more commonality than difference between modern art and tribal art, contemporary art and German Expressionism, lithographs and oils; more shared than disparate between ceramics and illustrated books, theatre and music. There need be no artificial barriers between disciplines. It is possible for a gallery, a collector or a museum to show and enjoy a variety of seemingly disparate works because the innate universality of elements predominates for the viewer who is open to the river of life flowing through all of humanity’s inspired creations.

French Impressionism started a great cycle of change, throwing off the strictures and limitations of hundreds, indeed thousands, of years of the Western cannon. This change continued with Post Impressionism, Cubism, Fauvism, and German Expressionism, to name but a few nineteenth and early twentieth century movements. The culmination and refinement of many of these exciting and challenging directions were delineated in modern art, which produced a new renaissance. Picasso, Miro, Marini, Matisse, Moore, Kandinsky, Pollock, Rothko and a host of artists have distilled the essence of the centuries of art that preceded ours and restated the precepts of the classical in previously unimaginable ways, thereby deconstructing artificial barriers that would disconnect the past from the present, while challenging future generations to do the same.

Leslie J. Sacks

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