TONY DAGRADI
The Embalmer's Helper, 2018
hardcover book, acrylic varnish
11.50h x 7.50w x 1d in
TONY DAGRADI
Number Please..., 2018
hardcover book, acrylic varnish
10.25h x 7.50w x 1d in
TONY DAGRADI
Tea Ceremony #007, 2019
hardcover book, acrylic varnish
10.25h x 7.50w x 1d in
TONY DAGRADI
Butterflies and Balloons #005, 2019
hardcover book, acrylic varnish
10.25h x 7.50w x 1d in
TONY DAGRADI
The Pedicure, 2018
hardcover book, acrylic varnish
10.25h x 7.50w x 1d in
TONY DAGRADI
View of Mount Fuji, 2018
hardcover book, acrylic varnish
10.25h x 7.50w x 1d in
TONY DAGRADI
The Dark Knight, Vol. 8, 2019
printed matter on paper, reclaimed books
10.50h x 7w in
TONY DAGRADI
Iron Man, 2019
hardcover book, acrylic varnish
13h x 9.50w x 1.25d in
TONY DAGRADI
The Wild Ones (triptych), 2016
hardcover book, acrylic lacquer
9.50h x 20.50w x 1.25d in
TONY DAGRADI
Black Panther, 2019
hardcover book, acrylic varnish
13.50h x 9.50w x 1.25d in
TONY DAGRADI
Heads Up - Ultimate Spiderman, 2018
hardcover book, acrylic varnish
11.50h x 7.50w x 1d in
TONY DAGRADI
What Do You Mean He's Gone - Watchmen, 2018
hardcover book, acrylic varnish
10.50h x 7w x 1d in
TONY DAGRADI
Batman, 2018
printed matter on paper, reclaimed book, acrylic varnish, Greatest Batman Stories 1938-83 (excerpts)
11.75h x 16.50w x 2.50d in
TONY DAGRADI
Watchmen, 2016
hardcover book, acrylic varnish
10.50h x 7w in
TONY DAGRADI
Superman...!, 2018
hardcover book, acrylic varnish
10.50h x 7w x 1d in
TONY DAGRADI
Ascension - Watchmen, 2018
hardcover book, acrylic varnish
10.50h x 7w x 1d in
E2 - KLEINVELD & JULIEN
Ode to Grant Wood's American Gothic, 2016
archival pigment print
36h x 31.25w in
edition 1 of 3
E2 - KLEINVELD & JULIEN
Ode to Wyeth's Christina's World, 2017
Archival Pigment Print
24h x 36w in
edition 1 of 3 with 2 APs
E2 - KLEINVELD & JULIEN
Ode to Rockwell's Freedom of Speech, 2017
Archival Pigment Print
36h x 25.75w in
edition 1 of 3 with 2 APs
E2 - KLEINVELD & JULIEN
Ode to Rockwell's Triple Self-Portrait, 2017
Archival Pigment Print
36h x 26w in
edition 1 of 3 with 2 APs
E2 - KLEINVELD & JULIEN
Ode to Whistler's Arrangement in Grey and Black No. 1, 2014
archival pigment print
32h x 36w in
edition 3 of 3 with 2 APs
SKYLAR FEIN
Rawhide, 2016
painted aluminum, homasote, rubber
24h x 24w x 5d in
SKYLAR FEIN
Our Lady of Unimaginably Small Victories (lighted sign), 2019
latex on plaster and wood, acrylic, light kit
15.50h x 39.50w x 3.50d in
SKYLAR FEIN
Smoke Ziggurats for Good Health (cigarettes), 2019
acrylic on plaster and wood
25h x 15w x 5.50d in
SKYLAR FEIN
I Have a Reason for Everything I Do (Red), 2019
acrylic on gypsum panel, aluminum, mirror
32h x 16w in
SKYLAR FEIN
Art World Taxonomy (set of books), 2019
acrylic on plaster and wood
26h x 29w x 12d in
SKYLAR FEIN
Maximum Occupancy (workplace safety sign), 2019
acrylic and spraypaint on plaster and wood
29h x 20w in
SKYLAR FEIN
Max's Kansas City, 2016
painted aluminum, homasote, rubber
24h x 24w x 5d in
SKYLAR FEIN
Happiness Is, 2015
painted aluminum, homasote, rubber
24h x 24w x 5d in
SKYLAR FEIN
Sisters of Barbarity (lighted sign), 2019
latex on plaster and wood, acrylic, light kit
31h x 40.50w x 3.50d in
SKYLAR FEIN
Days Since Last Catastrophic Failure, 2019
acrylic on plaster and wood
28h x 12w x 3d in
SKYLAR FEIN
I Have a Reason for Everything I Do (Black), 2019
acrylic on gypsum panel, aluminum, mirror
32h x 16w in
SKYLAR FEIN
White Flag for Franklin Rosemont (large), 2019
acrylic on plaster and wood, ink, encaustic
framed: 34h x 54w in
SKYLAR FEIN
Today's Risk of Diabolical Faggotry, 2019
latex on wood
Sign: 39h x 48w inches
Spare sign holder: 25h x 5.5w x 5d inches
edition 3/5
KAT FLYN
Checkers, 2018
assemblage: original 1960's Black Panther poster, 1960s Black Power pins, George Wallace pins, old checkers board, celluloid Uncle Sam
25h x 30w x 2d in
KAT FLYN
The Wall, 2018
assemblage sculpture: wall remade from old wood bench, acrylic painted American flag face, Uncle Sam National Security Bank, vintage rubber family, White Power pin
30h x 12w x 8d in
KAT FLYN
Lady Parts, 2018
assemblage sculpture: hand carved breasts on top of cash register shaped case with hips, containing antique bustle (not shown), bunny manual 1968 (copy - 1 of 5), hard plastic doll, sexy deck of cards and brothel coins in old cashier's box
19h x 15w x 11d in
KAT FLYN
No Artificial Colors, 2018
assemblage sculpture: old box with racist wallpaper on door, 3 racist stereotype dolls, 2 stereotyped dish towels on rack, cabinet card
25h x 18w x 5d in
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
KAT FLYN
Camptown Racists, 2017
assemblage sculpture: Farrier box made into stands, hand-made wood horse & jockeys, wooden racially stereotyped figures
18h x 24w x 14d in
KAT FLYN
Land of Opportunity, 2017
assemblage sculpture: wood handmade truck and Uncle Sam driver, small hand painted racist caricature skittle pins
9h x 16w x 9d in
KAT FLYN
Last Lily Foot, 2016
assemblage sculpture: antique jewelry box reconstructed into a rickshaw, Antique Chinese puppet head, bisque doll arms, old and young women photos with bound feet, museum artifact of bound foot in cloth, antique "lily foot" shoe, carved stone, photo of 20th century girl in drawer, Victorian fan
22h x 9w x 9d in
KAT FLYN
Birthmark, 2016
assemblage: old painted wood peg doll, child Victorian boot, cabinet card photo, old fabric wallpaper
13h x 13w x 4d in
JAMMIE HOLMES
Bus Stop At The White House, 2019
acrylic and oil pastels on canvas
60h x 48w x 1.50d in
JAMMIE HOLMES
Untitled, 2019
acrylic and oil pastels on canvas
60h x 48w x 1.50d in
JAMMIE HOLMES
To Feed A Nation, 2019
acrylic and oil pastels on canvas
60h x 48w x 1.50d in
JAMMIE HOLMES
My Room in Heaven, 2019
acrylic and oil pastel on canvas
48h x 48w in
JAMMIE HOLMES
You Should Be Happy, 2019
acrylic and oil pastel on canvas
48h x 36w in
ADAM MYSOCK
Better Alone Than in Bad Company, 2016
acrylic on panel
framed: 9h x 9w in
ADAM MYSOCK
If He Wasn't Handsome, Would He Still be Super?, 2016
acrylic on panel
framed: 9h x 10w in
ADAM MYSOCK
I Saw a Headline Once, 2017
acrylic on panel
framed: 10h x 8.50w in
ADAM MYSOCK
Our Legacy of Engagement, 2017
acrylic on panel
framed: 10h x 8.50w in
ADAM MYSOCK
a selection from How Did We Get Here? series, 2018
acrylic on panel
framed: 2.68h x 2.38w in
ANASTASIA PELIAS
Remnant, 1995
oil on canvas
60h x 60w in
ANASTASIA PELIAS
Big Link (blue, white, black), 2004-2005
oil on canvas
63h x 56w in
ANASTASIA PELIAS
Washed (red, yellow, blue), 2008
oil on canvas
72h x 72w in
ANASTASIA PELIAS
Ritual Devotion Two (madder root tone, prussian paris blue), 2013
oil on canvas
diptych, 72h x 144w in
GINA PHILLIPS
Joy and Ferdinand, 2016
fabric, thread, paint
51h x 31w in
GINA PHILLIPS
Saint-Christophe-en-Brionnais, 2017
appliqued fabric and thread on acrylic underpainting
26.50h x 59w in
GINA PHILLIPS
Jason and Manami, 2016
fabric, thread, paint
69h x 32w in
GINA PHILLIPS
Conversion Van, 2008
fabric, thread, acrylic paint
40h x 38w in
PETER SARKISIAN
Flowerhater, 2019
gypsum cement, wood, video projection, audio
9.50h x 14w x 4d in
edition 4 of 10
Flowerhater depicts a country farmer at war with a patch of wild-flowers. Pushing an old lawnmower, he cuts the flowers down only to see them sprout back up in a pattern of perpetual rebirth. In the end, he loses the battle and collapses to the ground amidst a body-outline of colorful perennials.
This work is the latest example of Peter’s ongoing effort to re-contextualize the cinematic image in spatial terms. Peter’s performance was filmed and projected using a unique angular perspective technique of his own conception, resulting in a new kind of viewing experience in which his figure appears to rise up from the cinematic landscape.
PETER SARKISIAN
Flowerhater, 2019
gypsum cement, wood, video projection, audio
9.50h x 14w x 4d in
edition 4 of 10
Flowerhater depicts a country farmer at war with a patch of wild-flowers. Pushing an old lawnmower, he cuts the flowers down only to see them sprout back up in a pattern of perpetual rebirth. In the end, he loses the battle and collapses to the ground amidst a body-outline of colorful perennials.
This work is the latest example of Peter’s ongoing effort to re-contextualize the cinematic image in spatial terms. Peter’s performance was filmed and projected using a unique angular perspective technique of his own conception, resulting in a new kind of viewing experience in which his figure appears to rise up from the cinematic landscape.
DIRK STASCHKE
Flux #8, 2018
ceramic
32h x 24w x 4d in
DIRK STASCHKE
Vanitas Vase 7, 2019
ceramic
22h x 11w x 11d in
DIRK STASCHKE
Vanitas Vase 9, 2019
ceramic
16h x 11w x 11d in
DIRK STASCHKE
Vanitas Vase 5, 2019
ceramic
13h x 13w x 13d in
DIRK STASCHKE
Vanitas Vase 8, 2019
ceramic
22h x 10w x 10d in
PAUL VILLINSKI
Vector (left), 2015
aluminum (found cans), wire, soot
84h x 60w x 6d in
PAUL VILLINSKI
Essence, 2019
Aluminum (found cans), steel, rivets, enamel
72.50h x 48w x 48d in
PAUL VILLINSKI
LP Vinyl Bird Installation (about 50 elements)
vinyl LP records, stainless steel wire, LP record covers
PAUL VILLINSKI
Feather, 2017
aluminum (found cans), wire
79h x 37w x 6d in
PAUL VILLINSKI
Diaspora, 2010
vinyl LP records, turntable, record covers, wire
99h x 168w x 9d in
After a successful first year and ten years of exhibiting at various satellite shows, JONATHAN FERRARA GALLERY returns to Art Miami 2019. This year's booth focuses on expressions of Americana, highlighting artworks that reflect & critique contemporary socio-political issues.
