Sternthal Books

Excited to announce the publication of a new book of paintings by Shony Rivnay - featuring vibrant and colorful paintings created between 2019-2025.

Rivnay’s paintings unfold as fields of movement — intuitive, physical, and deeply attuned to material presence. Working primarily in acrylic on canvas, he builds layered surfaces where gesture, gravity, and instinct guide the composition. Forms emerge and dissolve; orientation remains fluid. As stated by Naomi Lev, “The vibrancy of the colors, brushstrokes, and shapes resolve into a centered, slow-motion dance, where Rivnay’s compositions transform across the canvas like molten lava, bubbling and burning in a deliberate, measured flow.”

‘Shony Rivnay: Paintings 2019-2025’ is edited by Naomi Lev, designed by Noa Schwartz , featuring texts by Naomi Lev , Jessica Holmes , and a conversation with Jason Rosenfeld . Copy editing by Sabeena Raj Kholsa .khosla

We want to wish a Happy Valentine’s Day to everyone - those in love, those who have lost love, those who long for love - I don’t believe there is anything more important in this world. Don’t ever let it slip away….Pictures from ’s book ‘LGBTQ Love’

The special edition of ‘Study For Woman נפש חיה בי’ continues the printing of the image along the book’s edge, forcing the reader to break open the woman’s chest, in order to access the inside of the book.

The image on the cover was a very important one for Dana - it was a still from an art action by Otto Muehl in the late 1960’s associated with the story of Leda and the Swan from Greek mythology, resulting in a violent performance intended to break from traditional “bourgeois” art forms.

It involved a female model (Leda) and a male performer (Leonardo) who subjected the woman’s body to various “material” applications, including the grating of a large cucumber over the model, the smashing of ten tomatoes and five eggs on her, and placing a bottle containing a rose between her legs. Breadcrumbs and coffee powder were also scattered over her, and a large, uninflated plastic swan was placed between her legs.

As stated by Ilanit Konopony, “Darvish’s choice of this image from Muehl’s extreme performance for the cover of her book unites the woman and the animal and points to them as sharing the same fate. In this way, already at the opening of the book, she proclaims—employing the notions of citation and source—a feminist critique of society, of culture, and of the art field and its system of representations.”