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Art Market San Francisco

Booth A01

Fort Mason Center, Festival Pavilion - San Francisco, California

April 21 – 24, 2022

STARSKY BRINES, Mar De Fondo, 2020

STARSKY BRINES

Mar De Fondo, 2020

acrylic, spray paint, crayon on canvas

77h x 77w in

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STARSKY BRINES, Waking Up the Animal, 2020

STARSKY BRINES

Waking Up the Animal, 2020

acrylic, spray paint, crayon on canvas

55.50h x 49.50w in

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STARSKY BRINES, Knockout, 2020

STARSKY BRINES

Knockout, 2020

acrylic, crayon on canvas

30h x 24w in

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STARSKY BRINES, Embrace, 2020

STARSKY BRINES

Embrace, 2020

acrylic, spray paint, crayon on canvas

20h x 16w in

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AMANDA JOY BROWN, NYE, 2021

AMANDA JOY BROWN

NYE, 2021

acrylic on canvas

35.50h x 36w in

SOLD

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AMANDA JOY BROWN, Spectators (color) 1, 2021

AMANDA JOY BROWN

Spectators (color) 1, 2021

acrylic on canvas on panel

16h x 20w in

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AMANDA JOY BROWN, Spectators (color) 3, 2021

AMANDA JOY BROWN

Spectators (color) 3, 2021

acrylic on canvas on panel

16h x 20w in

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AMANDA JOY BROWN, Spectators (color) 2, 2021

AMANDA JOY BROWN

Spectators (color) 2, 2021

acrylic on canvas on panel

16h x 20w in

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SKYLAR FEIN, Karachi (Pan Am), 2021

SKYLAR FEIN

Karachi (Pan Am), 2021

acrylic & spray paint on aluminum

54h x 24w in

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SKYLAR FEIN, Taiwan (Pan Am), 2021

SKYLAR FEIN

Taiwan (Pan Am), 2021

acrylic & spray paint on aluminum

54h x 24w in

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SKYLAR FEIN, Do Not Touch, 2021

SKYLAR FEIN

Do Not Touch, 2021

acrylic & spray paint on aluminum

54h x 24w in

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SKYLAR FEIN, NYC (Pan Am), 2021

SKYLAR FEIN

NYC (Pan Am), 2021

acrylic & spray paint on aluminum

25.25h x 24w in

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KAT FLYN, Insurrection, 2021

KAT FLYN

Insurrection, 2021

assemblage sculpture: handmade & painted wooden men, hand-carved & painted wood eagle, 1 old wood puppet, old birdcage remade into the US Capitol, antique wrought iron church candle holder used as a stand, old flag

20h x 16w x 14d inches
60h x 16w x 14d inches, with stand

 

On January 6, 2021, a mob of insurrectionists invaded our Capitol. Ironically they waved American flags and called themselves “patriots” as they assaulted and defiled The Capitol Building, the sacred icon of our democracy. They claimed they were honoring our Constitution, a document they paid lip service to while ignoring its instructions on the peaceful transference of power. Their violent uprising – the first of its kind in our history - was in support of a would-be demagogue. We have clearly reached a historical pivot point. We again need to answer the question Abraham Lincoln put to us: Can a Republic founded on the proposition of self-governance long endure or shall it perish from the earth?

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KAT FLYN, They/Them, 2021

KAT FLYN

They/Them, 2021

assemblage sculpture: Handmade and painted shrine, vintage wood glass eye religious statue of Jesus in a painted pink slip, vintage hand-carved Trans girl & boy. Can be a wall object or stand-alone.

21h x 10w x 6d in
 

In this piece, Jesus appears to be sympathetic with your personal choice of gender.

 

He hoped no one would care’: Man pleads guilty in murder, attempted murder of transgender victims / Birmingham News Jun 17, 2019

Pronouns Offers Perspective of a Trans Teen / Chicago Tribune Oct 17, 2016

Texas bans transgender high school athletes / Houston Chronicle Oct 20, 2021

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KAT FLYN, 846, 2020

KAT FLYN

846, 2020

assemblage sculpture: Leather work boot with exaggerated sole, authentic vintage Minneapolis police badge, Police sign used to hang off a car door (most small towns did not have the money for their own police cars so each officer would take turns hanging this on an available vehicle). Antique shoe shine box reconstructed into a jail, 3 wood hand carved men, hand painted flag on wood.

28h x 18w x 10d in

 

The title references the 8 minute and 46-second video of George Floyd being choked to death. The video went viral and ignited worldwide protests. The enormous outpouring of rage is evidence that George Floyd's death is part of the much broader problem of systemic racism. The exaggerated heel on the boot is meant to draw attention to the magnitude of the problem – that people of color have been crushed beneath the heel of racial injustice for centuries. The Minneapolis police badge and the Police car door sign emphasize the role of police brutality. The stereotype shoeshine box doubles as a jail, where people of color are incarcerated disproportionately to their numbers in America. And the American flag, with its new black border & stripe representing all Americans, is hopefully the future.

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KAT FLYN, The Science is Not Settled, 2020

KAT FLYN

The Science is Not Settled, 2020

assemblage sculpture: antique wood & glass cigarette display case form small country store when cigarettes were 15 cents (1930-40s), Hand made & painted wood cigarette smoke stacks, vintage hand-painted wood “Phillip Morris” cigarette advertising boy in bellhop uniform (“Call for Phillip Morris”), 2020 paper mask, 10 unopened vintage camel cigarette packs

24h x 20w x 5d in

 

Of course, the Science is settled with regards to the connection between tobacco and lung cancer. In response to the impact this had on the tobacco industry, big corporations began viewing science and scientists with alarm. Consequently, we now find we can no longer agree on how to respond to current crises such as the Covid-19 pandemic and Climate Change as conservative forces cast doubt on whether or not the science is settled.

 

 

7 Anti-Science Myths We All Need To Unlearn / Forbes Dec 9, 2020
From ' Smoking Doesn't Kill' to Conversion Therapy / Newsweek Feb 27, 2020

Covid-19 and the rise of anti-science / PubMed Feb 22, 2021

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KAT FLYN, Ball's In Your Court, 2020

KAT FLYN

Ball's In Your Court, 2020

assemblage sculpture: antique handmade cloth and wood marionette with old clothing holding antique toy brass trumpet, handmade wood bench made from an old soda box, hand-carved & painted wood boy holding vintage globe.

16h x 18w x 12d in

 

At some point, every generation passes the torch to a younger generation. The implication of what this means can be ascertained by the wide-eyed open-mouth expression on the young man who just received the news that it's his turn.

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KAT FLYN, Trump Memorial, 2018

KAT FLYN

Trump Memorial, 2018

assemblage sculpture: re-constructed wood memorial, hand painted graffiti, hand painted old bank, antique tin articulated figure

10h x 14w x 9d in
 

A model of the Lincoln Memorial is defaced, suggesting that metaphorically Trump has debased our public discourse with his lies and incessant tweeting. A contrast is drawn between Lincoln, who is a symbol of national unity, and Trump, who is a divisive political figure. Trump, as portrayed by a clownish figure, has moved into the Lincoln Memorial, and what appears to be the ghost of Abe Lincoln is seen leaving the building. “So sad.”

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KAT FLYN, Camptown Racists, 2017

KAT FLYN

Camptown Racists, 2017

assemblage sculpture: Farrier box made into stands, hand-made wood horse & jockeys, wood stereotype figures

18h x 24w x 14d in

 

The first running of the Kentucky Derby was in 1875. The first winning jockey, Oliver Lewis, was African American. 13 of the 15 jockeys who raced that day were Black. Black jockeys won 15 of the first 28 runnings of the Kentucky Derby. However, by the 1904 racing season, Jim Crow laws had all but barred Black jockeys (& trainers).

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KAT FLYN, The Doll House, 2017

KAT FLYN

The Doll House, 2017

assemblage sculpture: painted photos on wood of old dolls in windows, constructed house, wood sign, rabbit bouncer

15h x 10w x 10d in

 

This work references the international sex trade of women and underage girls, something that received media attention recently when an owner of an NFL football team was charged with soliciting prostitution which was linked to a Florida sex-trafficking ring. The “Doll House” features young painted girl dolls lurking in the windows while a Bunny Bouncer guards the door.

 

 

Man sentenced to 20 years for trafficking teen girls.../ Denver Post Feb 27, 2020
NYC's Sex Trafficking Epidemic / NY Post Dec 5, 2020
Matt Gaetz associate admits both men had sex with teen girl / NY Post Apr 29, 2021
Jerry Epstein in South Florida: A constant search for new girls Sun-Sentinel / Apr 11, 2019

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LAUREN MABRY, Glazescape (White), 2021

LAUREN MABRY

Glazescape (White), 2021

ceramic, glaze

14.50h x 26.50w x 6d in

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LAUREN MABRY, Glazescape (Lavender No. 2), 2021

LAUREN MABRY

Glazescape (Lavender No. 2), 2021

ceramic, glaze

10.50h x 11w x 5.75d in

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LAUREN MABRY, Doorway No.6, 2021

LAUREN MABRY

Doorway No.6, 2021

ceramic, glaze

10h x 10w x 5.25d in

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LAUREN MABRY, Glazescape (20.02), 2020

LAUREN MABRY

Glazescape (20.02), 2020

earthenware, slip, glaze

7h x 13w x 2.50d in

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KRISTIN MOORE, Over The Hollywood Hills and Far Away, 2022

KRISTIN MOORE

Over The Hollywood Hills and Far Away, 2022

acrylic on panel

40h x 40w x 2d in

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KRISTIN MOORE, Beverly Hills Golden Hour, 2021

KRISTIN MOORE

Beverly Hills Golden Hour, 2021

acrylic on panel

36h x 36w x 2d in

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KRISTIN MOORE, Lost Vegas, 2022

KRISTIN MOORE

Lost Vegas, 2022

acrylic on panel

36h x 36w in

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KRISTIN MOORE, Desert Wine, 2021

KRISTIN MOORE

Desert Wine, 2021

acrylic on panel

36h x 36w in

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KRISTIN MOORE, Neon Boneyard (The Flame), 2021

KRISTIN MOORE

Neon Boneyard (The Flame), 2021

acrylic on canvas

24h x 24w x 2d in

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KRISTIN MOORE, Las Vegas Highway, 2022

KRISTIN MOORE

Las Vegas Highway, 2022

acrylic on panel

30h x 30w in

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KRISTIN MOORE, Out West, 2020

KRISTIN MOORE

Out West, 2020

acrylic on wood panel

30h x 30w x 2d in

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KRISTIN MOORE, High Hat Motel, 2021

KRISTIN MOORE

High Hat Motel, 2021

acrylic on panel

18h x 18w x 2d in

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RUTH OWENS, Good Family, 2019

RUTH OWENS

Good Family, 2019

oil on canvas

70h x 64w in

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RUTH OWENS, Tante Luise's Yard, 2020

RUTH OWENS

Tante Luise's Yard, 2020

oil on canvas

40h x 40w in

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RUTH OWENS, Half Brothers, 2018

RUTH OWENS

Half Brothers, 2018

oil on canvas

24h x 30w in

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RUTH OWENS, Dirty Rice on Tinder, 2020

RUTH OWENS

Dirty Rice on Tinder, 2020

oil on canvas

24h x 18w in

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RUTH OWENS, David and Sweet Ann, 2019

RUTH OWENS

David and Sweet Ann, 2019

oil on canvas

18h x 24w in

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RUTH OWENS, How?, 2017

RUTH OWENS

How?, 2017

oil on canvas

18h x 18w in

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RUTH OWENS, That Beauty Queen, 2018

RUTH OWENS

That Beauty Queen, 2018

oil on canvas

24h x 30w in

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RUTH OWENS, See Me Slopeside, 2021

RUTH OWENS

See Me Slopeside, 2021

casein and transfer on paper

13h x 13w in

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REWA, modern ways | somadina in black, 2021

REWA

modern ways | somadina in black, 2021

acrylic and ink on canvas

72h x 48w in

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REWA, Long Drive Back to Eden, 2022

REWA

Long Drive Back to Eden, 2022

acrylic and ink on canvas

36h x 48w in

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REWA, The Wind in the Willows, 2022

REWA

The Wind in the Willows, 2022

acrylic and ink on canvas

48h x 30w in

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REWA, Unapologetic Indulgence, 2022

REWA

Unapologetic Indulgence, 2022

acrylic and ink on canvas

48h x 36w in

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REWA, nni bu ndu, 2022

REWA

nni bu ndu, 2022

acrylic and ink on canvas

48h x 30w in

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REWA, Throwing Rocks, 2022

REWA

Throwing Rocks, 2022

acrylic and ink on canvas

48h x 30w in

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REWA, kambili | Let Me Live, 2020

REWA

kambili | Let Me Live, 2020

acrylic and ink on canvas

48h x 30w in

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REWA, somadina at 24, 2019

REWA

somadina at 24, 2019

acrylic and ink on canvas

24h x 16w in
60.96h x 40.64w cm

RU021

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LISA SANDITZ, Pizza Farm, 2014

LISA SANDITZ

Pizza Farm, 2014

oil on canvas

54h x 70w in

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LISA SANDITZ, Purple Mountains, 2015

LISA SANDITZ

Purple Mountains, 2015

oil on canvas

30h x 40w in

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LISA SANDITZ, Cheetoh Factory, 2013

LISA SANDITZ

Cheetoh Factory, 2013

oil on canvas

30h x 40w in

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LISA SANDITZ, Minnewaska, 2021

LISA SANDITZ

Minnewaska, 2021

oil on canvas

20h x 16w in

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MARNA SHOPOFF, Chroma, 2020

MARNA SHOPOFF

Chroma, 2020

oil on canvas

60h x 60w in

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MARNA SHOPOFF, Cyan, 2020

MARNA SHOPOFF

Cyan, 2020

oil on linen

55h x 70w in

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MARNA SHOPOFF, The Place Between, 2018

MARNA SHOPOFF

The Place Between, 2018

oil, ink, pan pastel on canvas

40h x 40w in

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MARNA SHOPOFF, 78, 2019

MARNA SHOPOFF

78, 2019

oil and ink on raw linen

22.50h x 22.50w in

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MICHAEL TOLE, The Concert, 2017

MICHAEL TOLE

The Concert, 2017

oil on canvas

48h x 72w in

 

The Concert appropriates and marries two disparate art historical references, Titian's, The Flaying of Marsyas, and Barbara Kruger's, You Construct Intricate Rituals Which Allow You to Touch the Skin of Other Men. This piece seeks to probe the source and nature of our discomfort with the nude male body. In our culture, the male body is rarely displayed as an object of beauty. When it is, it is automatically described as "homo-erotic," a term that implies that it appeals only to a niche audience, and denies its relevance or potential appeal to society as a whole. To avoid our discomfort, male nudity must always be contextualized into a narrative of fighting, dying, struggling, or making. There is no male equivalent to the beauty pageant.

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MICHAEL TOLE, A Coalition of Willing Goddesses Topples Mars, Commonly Known as A Death of Sardanapalus, 2018

MICHAEL TOLE

A Coalition of Willing Goddesses Topples Mars, Commonly Known as A Death of Sardanapalus, 2018

oil on canvas

60h x 44w in

 

A Death of Sardanapalus is a revisionist history in which I reimagine the fall of the last Assyrian king, famously portrayed by Delacroix. In my reimagining, far from being passive victims, Sardanapalus's concubines are about to perform a coup de gras, without him suspecting a thing.

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MICHAEL TOLE, The Rescue. Diana and her Acolytes, 2020

MICHAEL TOLE

The Rescue. Diana and her Acolytes, 2020

Oil Painting depicting a hunt.

48h x 72w in

 

This is a comic meditation on interventionism. 

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MICHAEL TOLE, Diana Contemplating the Sublimity of the Paleo Diet, 2018

MICHAEL TOLE

Diana Contemplating the Sublimity of the Paleo Diet, 2018

oil on canvas

40h x 30w in

 

This is a meditation on the curious relationship that has developed between contemporary body goals, the current perception of our "natural diet," and the impact that diet may have on our environment.

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PAUL VILLINSKI, Wave (right), 2017

PAUL VILLINSKI

Wave (right), 2017

found aluminum cans, white gold leaf, wire

60h x 144w x 7d in

unique, open edition

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PAUL VILLINSKI, Cincture, 2022

PAUL VILLINSKI

Cincture, 2022

wood frame, aluminum (found cans), stainless wire, Flashe

32h x 28w x 7.25d in

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PAUL VILLINSKI, Watts Plays Chopin, 2022

PAUL VILLINSKI

Watts Plays Chopin, 2022

vinyl records, wire

19h x 10w x 8d in

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PAUL VILLINSKI, I Dig Rock and Roll Music, 2022

PAUL VILLINSKI

I Dig Rock and Roll Music, 2022

vinyl records, wire

9.50h x 10w x 5d in

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Information

JONATHAN FERRARA GALLERY is proud to be selected to exhibit at Art Market San Francisco art fair for the sixth consecutive year. The gallery will present a diverse cross-section of its program, exhibiting new and recent works by eleven gallery artists. Please contact Gallery Director Matthew Weldon Showman at matthew@jonathanferraragallery.com to request passes to the fair.

 

Art Market San Francisco is the Bay Area’s premier art fair.  Now going into its tenth edition, Art Market San Francisco will feature eighty-five modern and contemporary art galleries from around the world. Following record breaking sales, city-wide partnerships, and attendance of over 28,000 visitors in 2019, the 2022 edition of Art Market San Francisco is pleased to present a significant selection of contemporary and modern artworks from returning Art Market exhibitors and exciting newcomers.

 

LOCATION

Fort Mason Center - Festival Pavilion
2 Marina Blvd.
San Francisco, CA 94123

 

HOURS

Select VIP Preview
Thursday, April 21, 2022 — 6:00pm to 7:00pm
Exclusive Entry for Select VIPs

 

Opening Evening
Thursday, April 21, 2022  — 7:00pm to 10:00pm
Exclusive Entry for Fair Pass Holders and Select VIPs 

 

Public Hours
Friday, April 22, 2022 — 11:00am to 7:00pm
Saturday, April 23, 2022 — 11:00am to 7:00pm
Sunday, April 24, 2022 — 11:00am to 5:00pm