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MB Abram

@mb_abram

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Art Dealer, Contemporary & Ethnographic Works of Art・Representing #junewayne @john_baeder @ourstrangenewland #hughmangum #janhaag
Los Angeles

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Los Angeles Times @latimes art critic @leahollman identifies June Wayne’s White Tidal Wave as one of “17 must-see works” amongst the 3,000 on exhibit. In Ollman’s words, Wayne’s waves are “odes to monumental tidal energy.”The much anticipated new @lacma building, designed by Swiss architect Peter Zumthor, traverses Wilshire Boulevard for the first time. In this free flowing space, art is grouped around four bodies of water: the Atlantic, Pacific, Indian Oceans, and the Mediterranean Sea, this configuration highlighting the architect’s unique perspective.Growing up in Chicago observing Lake Michigan, Wayne was fascinated from a young age by the power and unpredictability of water. Please also see on our website our video conversation “Waterworks” with the artist in her Tamarind Studio in 2011, evidencing her unparalleled passion and skill as a visionary printmaker and artist (link in bio). The Los Angeles County Museum Of Art’s New David Geffen Galleries open to the general public on May 4th. Please enjoy. by @mb_abram

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In collaboration with esteemed friend Jeff Landau of Landau Traveling Exhibitions, we are pleased to announce “June Wayne: the Art of Everything” opening July 24th at the Lake Charles, Louisiana, Historic City Hall Arts and Cultural Center, and continuing through September 26th. The Museum has hosted significant Picasso and Norman Rockwell exhibits, and their upcoming show complements an ongoing presentation of June Wayne works on view in the inaugural exhibit of Los Angeles’ County Museum’s David Geffen Galleries. by @mb_abram

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We are pleased to announce the inclusion of 23 sculptural works by artist @chrisfraticelli in the exhibition Some Assemblage Required, opening at the @calheritagemuseum in Santa Monica July 11, 2026. Executive Director and trailblazer Tobi Smith has brought together an extraordinary selection of work from both new voices, and acknowledged masters including Tony Berlant, George Herms, Edward Kienholz, Michael McMillen, @alison_saar, and Alexis Smith.This is the third appearance by Fraticelli at the Heritage Museum, now sharing many works not previously seen.Chris Fraticelli collects ceramics from dozens of sources, reassembling the broken fragments with a keen eye for composition, color and symbolism. Many of the ceramics passed through hundreds of hands, from conception to manufacture, sale, and display by their original owners, before being discarded or traded, stimulating thought about time and value.The assemblages raise questions, sometimes sharp, as to our customs, beliefs and history, all seen through the prism of breakage and Fraticelli’s healing transformations.Los Angeles based Fraticelli was raised in rural Quakertown, Pennsylvania. He entered the US Naval Academy, was commissioned a Second Lieutenant. Fraticelli spent seven years in the Marine Corps, rising to responsibilities as a platoon commander in Somalia and Operation Desert Storm, where he was charged with the dangerous task of defusing mines and explosives. Upon leaving the military he moved to California and worked as a producer on shows including Jimmy Kimmel Live. He eventually left Hollywood to focus full time on his art.Chris Fraticelli, “When Fish Dream,” ceramic sculpture, 2020. by @mb_abram

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We are pleased to announce the inclusion of 23 sculptural works by artist @chrisfraticelli in the exhibition Some Assemblage Required, opening at the @calheritagemuseum in Santa Monica July 11, 2026. Executive Director and trailblazer Tobi Smith has brought together an extraordinary selection of work from both new voices, and acknowledged masters including Tony Berlant, George Herms, Edward Kienholz, Michael McMillen, @alison_saar, and Alexis Smith.This is the third appearance by Fraticelli at the Heritage Museum, now sharing many works not previously seen.Chris Fraticelli collects ceramics from dozens of sources, reassembling the broken fragments with a keen eye for composition, color and symbolism. Many of the ceramics passed through hundreds of hands, from conception to manufacture, sale, and display by their original owners, before being discarded or traded, stimulating thought about time and value.The assemblages raise questions, sometimes sharp, as to our customs, beliefs and history, all seen through the prism of breakage and Fraticelli’s healing transformations.Los Angeles based Fraticelli was raised in rural Quakertown, Pennsylvania. He entered the US Naval Academy, was commissioned a Second Lieutenant. Fraticelli spent seven years in the Marine Corps, rising to responsibilities as a platoon commander in Somalia and Operation Desert Storm, where he was charged with the dangerous task of defusing mines and explosives. Upon leaving the military he moved to California and worked as a producer on shows including Jimmy Kimmel Live. He eventually left Hollywood to focus full time on his art.Chris Fraticelli, “My Crucifixion,” ceramic sculpture, 2018. by @mb_abram

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We are pleased to announce the inclusion of 23 sculptural works by artist @chrisfraticelli in the exhibition Some Assemblage Required, opening at the @calheritagemuseum in Santa Monica July 11, 2026. Executive Director and trailblazer Tobi Smith has brought together an extraordinary selection of work from both new voices, and acknowledged masters including Tony Berlant, George Herms, Edward Kienholz, Michael McMillen, @alison_saar, and Alexis Smith.This is the third appearance by Fraticelli at the Heritage Museum, now sharing many works not previously seen.Chris Fraticelli collects ceramics from dozens of sources, reassembling the broken fragments with a keen eye for composition, color and symbolism. Many of the ceramics passed through hundreds of hands, from conception to manufacture, sale, and display by their original owners, before being discarded or traded, stimulating thought about time and value.The assemblages raise questions, sometimes sharp, as to our customs, beliefs and history, all seen through the prism of breakage and Fraticelli’s healing transformations.Los Angeles based Fraticelli was raised in rural Quakertown, Pennsylvania. He entered the US Naval Academy, was commissioned a Second Lieutenant. Fraticelli spent seven years in the Marine Corps, rising to responsibilities as a platoon commander in Somalia and Operation Desert Storm, where he was charged with the dangerous task of defusing mines and explosives. Upon leaving the military he moved to California and worked as a producer on shows including Jimmy Kimmel Live. He eventually left Hollywood to focus full time on his art.Chris Fraticelli, “Sealed With A Kiss,” ceramic sculpture, 2021. by @mb_abram

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We are pleased to announce the inclusion of 23 sculptural works by artist @chrisfraticelli in the exhibition Some Assemblage Required, opening at the @calheritagemuseum in Santa Monica July 11, 2026. Executive Director and trailblazer Tobi Smith has brought together an extraordinary selection of work from both new voices, and acknowledged masters including Tony Berlant, George Herms, Edward Kienholz, Michael McMillen, @alison_saar, and Alexis Smith.This is the third appearance by Fraticelli at the Heritage Museum, now sharing many works not previously seen.Chris Fraticelli collects ceramics from dozens of sources, reassembling the broken fragments with a keen eye for composition, color and symbolism. Many of the ceramics passed through hundreds of hands, from conception to manufacture, sale, and display by their original owners, before being discarded or traded, stimulating thought about time and value.The assemblages raise questions, sometimes sharp, as to our customs, beliefs and history, all seen through the prism of breakage and Fraticelli’s healing transformations.Los Angeles based Fraticelli was raised in rural Quakertown, Pennsylvania. He entered the US Naval Academy, was commissioned a Second Lieutenant. Fraticelli spent seven years in the Marine Corps, rising to responsibilities as a platoon commander in Somalia and Operation Desert Storm, where he was charged with the dangerous task of defusing mines and explosives. Upon leaving the military he moved to California and worked as a producer on shows including Jimmy Kimmel Live. He eventually left Hollywood to focus full time on his art.Chris Fraticelli, “BMMM!,” ceramic sculpture, 2018. by @mb_abram

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We are pleased to announce the inclusion of 23 sculptural works by artist @chrisfraticelli in the exhibition Some Assemblage Required, opening at the @calheritagemuseum in Santa Monica July 11, 2026. Executive Director and trailblazer Tobi Smith has brought together an extraordinary selection of work from both new voices, and acknowledged masters including Tony Berlant, George Herms, Edward Kienholz, Michael McMillen, @alison_saar, and Alexis Smith.This is the third appearance by Fraticelli at the Heritage Museum, now sharing many works not previously seen.Chris Fraticelli collects ceramics from dozens of sources, reassembling the broken fragments with a keen eye for composition, color and symbolism. Many of the ceramics passed through hundreds of hands, from conception to manufacture, sale, and display by their original owners, before being discarded or traded, stimulating thought about time and value.The assemblages raise questions, sometimes sharp, as to our customs, beliefs and history, all seen through the prism of breakage and Fraticelli’s healing transformations.Los Angeles based Fraticelli was raised in rural Quakertown, Pennsylvania. He entered the US Naval Academy, was commissioned a Second Lieutenant. Fraticelli spent seven years in the Marine Corps, rising to responsibilities as a platoon commander in Somalia and Operation Desert Storm, where he was charged with the dangerous task of defusing mines and explosives. Upon leaving the military he moved to California and worked as a producer on shows including Jimmy Kimmel Live. He eventually left Hollywood to focus full time on his art.Chris Fraticelli, “To The Highest Bidder,” ceramic sculpture, 2019. by @mb_abram

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Los Angeles Times @latimes art critic @leahollman identifies June Wayne’s White Tidal Wave as one of “17 must-see works” amongst the 3,000 on exhibit. In Ollman’s words, Wayne’s waves are “odes to monumental tidal energy.”The much anticipated new @lacma building, designed by Swiss architect Peter Zumthor, traverses Wilshire Boulevard for the first time. In this free flowing space, art is grouped around four bodies of water: the Atlantic, Pacific, Indian Oceans, and the Mediterranean Sea, this configuration highlighting the architect’s unique perspective.Growing up in Chicago observing Lake Michigan, Wayne was fascinated from a young age by the power and unpredictability of water. Please also see on our website our video conversation “Waterworks” with the artist in her Tamarind Studio in 2011, evidencing her unparalleled passion and skill as a visionary printmaker and artist (link in bio). June Wayne, White Tidal Wave, color lithograph, 1972.“The beautiful white is the paper itself. The paper is really doing the work in this image. It is a very large area to keep clean while printing.”—June Wayne in video conversation with MB Abram at her Tamarind studio in 2009. by @mb_abram

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“She chose tapestry because the element of time contained within the weaving process itself is cumulative, and remains implied in the result. The weaving of tapestry is intensive, rhythmical, and slow. In these characteristics, Wayne found a direct and appropriate way by which she could transmit to the viewer a sense of time passing that is internal to the process. She can lead the viewer beyond real time to read certain works at a quickened pace, or to perceive others in extended cosmic time.”—Bernard KesterWe are pleased to announce that five tidal wave lithographs by June Wayne are on display in the newly inaugurated Los Angeles County Museum of Art’s new David Geffen Galleries @lacma, which opened to the general public on May 4th. Los Angeles Times @latimes art critic @leahollman identifies Wayne’s White Tidal Wave as one of “17 must-see works” amongst the 3,000 on exhibit. In Ollman’s words, Wayne’s waves are “odes to monumental tidal energy.”June Wayne, Lame de Choc (Shock Wave), Tapestry, 1972 by @mb_abram

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“As an artist how do you make a wave look like its towering above? How do you get that verticality? How do you get that vividness? That is a real problem, a technical and aesthetic problem. I did it by literally making the waves stand up, which meant carving an edge on one side. Because if you think about waves, they go on forever. And you look at a wave which is very tall and it has diminished into the vanishing point. It vanishes. I had to go against that somehow. And this idea of having a wave come up like that, as though it were in a plume, is mostly contrary to reality, and yet I had to make it so convincing that you accept it even though you know it is absurd.”—June Wayne We are pleased to announce that five tidal wave lithographs by June Wayne are on display in the newly inaugurated Los Angeles County Museum of Art’s new David Geffen Galleries @lacma, which opened to the general public on May 4th. Los Angeles Times @latimes art critic @leahollman identifies Wayne’s White Tidal Wave as one of “17 must-see works” amongst the 3,000 on exhibit. In Ollman’s words, Wayne’s waves are “odes to monumental tidal energy.”June Wayne, Grande Vague Noire, Tapestry, 1974, based on the lithograph published in 1973. by @mb_abram

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“Waves are such a great mystery, especially for an artist to draw. A wave has no edges. Whatever it does, it does far away from where you can really see it. We think the water is rushing towards us. Actually the action is quite different. Everything is rushing towards us and the water takes on the shape of that energy but actually any particular spot is mostly going up and down. It’s paradoxical—it ain’t what you see. You can’t be sure what you’re looking at. And yet it’s also a force that has no respect whatsoever for your opinion. It’s the human dilemma.”—June WayneWe are pleased to announce that five tidal wave lithographs by June Wayne are on display in the newly inaugurated Los Angeles County Museum of Art’s David Geffen Galleries @lacma, which opened to the general public May 4th.Los Angeles Times @latimes art critic @leahollman identifies Wayne’s White Tidal Wave as one of “17 must-see works” amongst the 3,000 on exhibit. In Ollman’s words, Wayne’s waves are “odes to monumental tidal energy.”June Wayne, Tidal Wave, Color Lithograph, 1973 by @mb_abram

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“The question of scale: how you interpret something, how big it is, this is very important to a work. What does it evoke in you, the relationship to you? In Tenth Wave I hint at crowds in those little lines at the base. You sense those crowds fleeing, but I don’t give you the opportunity to compare the waves with the situation. (smiling) Hokusai made some mistakes, putting people in. By comparison that wave would be... only two or three times bigger than people. With people as a measure, you associate the wave with a different kind of scale.” —June Wayne.We are pleased to announce that five tidal wave lithographs by June Wayne are on display in the newly inaugurated Los Angeles County Museum of Art’s new David Geffen Galleries @lacma, which opened to the general public May 4th. Los Angeles Times @latimes art critic @leahollman identifies Wayne’s White Tidal Wave as one of “17 must-see works” amongst the 3,000 on exhibit. In Ollman’s words, Wayne’s waves are “odes to monumental tidal energy.”June Wayne, Tenth Wave, color lithograph, 1972. by @mb_abram

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