![PAUL VILLINSKI Wave [left], 2017](https://img.artlogic.net/w_2020,h_1160,c_limit/exhibit-e/5493565707a72c7342335013/6a7b5a99e59afe6b9137d1a18af642e1.jpeg)
![PAUL VILLINSKI, Vector [right], 2015](https://img.artlogic.net/w_2020,h_1160,c_limit/exhibit-e/5493565707a72c7342335013/b945d78c7e18b81a4697192a55320b47.jpeg)
Tony Dagradi
TONY DAGRADI
View of Mount Fuji, 2018
hardcover book, acrylic varnish
10.25h x 7.50w x 1d in
TONY DAGRADI
Family Time #2 (diptych), 2017
hardcover book, acrylic varnish
14.50h x 10.50w x 1.50d in
TONY DAGRADI
The Jazz Age, 2018
hardcover book, acrylic varnish
14h x 12w x 2d in
TONY DAGRADI
New Century Dictionary pockmark - zymurgy (side a), 2017
hardcover book, acrylic varnish
11.75h x 13w x 6.50d in
E2 - KLEINVELD & JULIEN
Ode to Leutze's Washington Crossing the Delaware, 2016
archival pigment print
30.5 x 48 inches
extra large: 30.5 x 48 inches, edition of 3, 2 APs
large: 20 x 30 inches, edition of 3, 2 APs
medium: 16 x 20 inches, edition of 5, 2 APs
E2 - KLEINVELD & JULIEN
Ode to Whistler's Arrangement in Grey and Black No. 1, 2014
archival pigment print
large: 30 x 32 inches, edition of 3, 2 APs
medium: 24 x 26.5 inches, edition of 5, 2 APs
small: 16 x 18 inches, edition of 7, 2 APs
E2 - KLEINVELD & JULIEN
Ode to Van Eyck's Arnolfini Marriage, 2012
archival pigment print
large: 30 x 20 inches, edition of 3, 2 APs
medium: 24 x 15 inches, edition of 5, 2 APs
small: 19 x 13 inches, edition of 7, 2 APs
E2 - KLEINVELD & JULIEN
Ode to Vermeer's Girl with a Pearl Earring, 2012
archival pigment print
large: 32 x 26 inches, edition of 3, 2 APs
medium: 24 x 15 inches, edition of 5, 2 APs
small: 19 x 13 inches, edition of 7, 2 APs
ELLIOTT GREEN
Throb, 2017
oil on linen
38 x 84 inches
ELLIOTT GREEN
Diving Oxygen, 2017
oil on linen
36 x 40 inches
ELLIOTT GREEN
Physics, 2017
oil on linen
36h x 40w in
ELLIOTT GREEN
The Overreach, 2016
oil on linen
18h x 24w in
MARGARET EVANGELINE
Coiled Fuses 3, 2017
oil on canvas
48 x 36 inches
MARGARET EVANGELINE
Coiled Fuses 5, 2017
oil on canvas
60 x 60 inches
BONNIE MAYGARDEN
Beneath, 2018
acrylic on canvas
48h x 60w in
BONNIE MAYGARDEN
Paralell Moment, 2018
acrylic on canvas
48h x 60w in
BONNIE MAYGARDEN
Burn Out, 2017
acrylic on canvas
48h x 60w inches
BONNIE MAYGARDEN
Black and Blue Velvet, 2014
acrylic and enamel on pleather
64 x 36 inches
ADAM MYSOCK
Our Legacy of Engagement, 2018
acrylic on panel
8 x 6.50 inches
after: “La Lutte” by Émile Friant, 1889
As I’ve gotten older, I’ve been particularly struck by the staggering number of unintended consequences political (and typically military) actions tend to have for decades after they’re made. You’d think that we’ve been a country long enough to recognize that our decisions matter now AND in the future. We have enough data, enough history, to evaluate the trends accurately. And we can observe other nations’ consequences from afar and take heed.
But that’s not the context in which we live.
Our political leadership seems to be required to function in the “now.” We make decisions with concern for their effect on tomorrow, not next year.
And yet, time, space, nature, any number of cosmic-scaled phenomena don’t care about our myopia. Time knows that our behavior has ramifications. Whether we’d like it to or not, the battles we wage now influence the relationships of members of the next generations.
For this piece, I’ve stacked two boys wrestling in Émile Friant’s La Lutte into a diminishing pyramid. Early foundational actions are repeated through future generations, with each new layer becoming less than its ancestors simply because it continues a struggle without pause. The smaller figures simply imitate the maneuvers of their supporting predecessors, never looking upward or outward.
Decisions made by the base reduce the substance of the highest members of the lineage.
ADAM MYSOCK
Foreseeing Nothing, 2016
acrylic on panel
6.5 x 8 inches
after: Henry Fawcett; Dame Millicent Garrett Fawcett by Ford Made Brown, 1872
On November 7th, 2016, it seemed as if everyone knew how the U.S. presidential election would conclude, particularly our major media outlets. On the morning of November 9th, 2016, it was clear that no one had known what they had been talking about.
We’d spent so much time living in a world defined by largely reliable focus groups, polls, and surveys that we’d become convinced that we could idly predict the future. Our news sources became complacent in their analysis of human behavior, and we followed along. It became the blind leading the blind.
But what truly struck me was that we seemed surprised to discover our inability to foresee the future, to discover that we aren’t omniscient.
Here—in the tradition of other paintings depicting the parable of the blind leading the blind—I’ve presented a row of men pointing us in a specific direction. An isolated portrait of blind, British academic, economist, and statesman Sir Henry Fawcett is repeated four times* as a visualization of our election’s timeline. For the majority of the painting (which was completed before the election), Fawcett (who became a noted social and political leader in England during the reign of Queen Victoria despite his disability) is seen pointing us toward his left. However, just before the work’s conclusion (the rightmost quarter, completed after the election), he turns and abruptly shoves the viewer’s gaze to his right.
Just as so many news outlets encouraged our attention (and hope) to the Left, Democratic candidate for a majority of the general election, after November 8th—we were all forced to attend to an unanticipated Right.
*The presence of four repetitions is a nod to the four-year term of the presidency.
GINA PHILLIPS
Jason and Manami, 2016
fabric, thread, paint
69 x 32 inches
GINA PHILLIPS
Johnny Kashner, 2015
fabric, thread, paint
65 x 28 inches
LISA SANDITZ
Northern Border Blue, 2016
acrylic on canvas
54h x 70w inches
LISA SANDITZ
Behind the Moraga Casino, 2015
oil on canvas
30h x 40w in
LISA SANDITZ
Cheetoh Factory, 2013
oil on canvas
30h x 40w in
76.20h x 101.60w cm
LSan009
LISA SANDITZ
Purple Mountains, 2015
oil on canvas
30h x 40w in
CARLTON SCOTT STURGILL
Branded Rose (Pink), 2017
Ralph Lauren button down shirts, aluminum wire, floral tape
dimensions vary upon installation
CARLTON SCOTT STURGILL
Branded Rose (Pink) (detail), 2017
Ralph Lauren button down shirts, aluminum wire, floral tape
dimensions vary upon installation
CARLTON SCOTT STURGILL
Globe de Mariée - Double Bouquet, 2017
vintage glass dome, wedding dresses and fabric, silver wire, mirrors, ribbon, floral tape, crystals and pearls
14h x 14w x 14d in
CARLTON SCOTT STURGILL
Thinking about a threesome - mw4w - 28, 2011
paint chip sample mosaic on panel
25 x 17.5 inches
PAUL VILLINSKI
Radius, 2017
found aluminum cans, wire, Flashe
41 x 107 x 7 inches
PAUL VILLINSKI
Wave [left], 2017
found aluminum cans, wire, gold leaf
60 x 144 x 7 inches
PAUL VILLINSKI
Vector [right], 2015
found aluminum cans, wire, Flashe
84 x 60 x 6 inches
PAUL VILLINSKI
Feather, 2017
aluminum (found cans), wire
79 x 37 x 6 inches
MONICA ZERINGUE
From Silver and Dream, 2015
graphite on linen
31.75 x 23.75 inches
MONICA ZERINGUE
Cusp, 2015
acrylic, hand-sewn gold plated beads and wallpaper on linen
13.75 x 13.75 inches
MONICA ZERINGUE
Her pale fire snatches from the sun, 2015
graphite and beads on linen
13.75 x 13.75 inches
MONICA ZERINGUE
Under her dark veil, 2015
graphite, embroidered thread and beads on linen
13.75 x 13.75 inches
