ART ON PAPER

BOOTH 201

Pier 36, New York City

March 8 - 11, 2018

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

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E2 - KLEINVELD &amp; JULIENOde to Van Eyck's Arnolfini Marriage, 2012

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

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E2 - KLEINVELD &amp; JULIENOde to Manet's Dejeuner sur l'herbe, 2011

E2 - KLEINVELD & JULIEN
Ode to Manet's Dejeuner sur l'herbe, 2011
archival pigment print
large: 20 x 30 inches, edition of 3, 2 APs
medium: 15 x 24 inches, edition of 5, 2 APs
small: 13 x 19 inches, edition of 7, 2 APs

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SKYLAR FEIN
Max's Kansas City, 2016
painted aluminum, homasote, rubber
24h x 24w x 5d in

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SKYLAR FEIN
Happiness Is, 2015
painted aluminum, homasote, rubber
24h x 24w x 5d in

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SKYLAR FEIN
Limelight, 2016
painted aluminum, homasote, rubber
24h x 24w x 5d in

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SKYLAR FEIN
Budweiser, 2015
painted aluminum, homasote, rubber
24h x 24w x 5d in

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ADAM MYSOCK
The Sun Will Probably Rise Again Tomorrow, 2017
acrylic on panel
8 x 6.5 inches

after: Eduard von Gebhardt's "The Raising of Lazarus", 1896

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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

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ADAM MYSOCK
Having Found the Lowest Threshold (St. George Slaying the Dragon), 2013
acrylic on panel
7.08 x 6 inches
after: Nicolas Poussin's Massacre of the Innocents (1629)

In the summer of 2013, the murder of Trayvon Martin dominated weeks of news cycles.
As if we needed more of such news, the city of New Orleans had its own slate of what I
referred to as “murdered minors.” The whole phenomenon reminded me of the biblical
Massacre of the Innocents, the story in which Herod orders the execution of all young
males in Bethlehem to avoid the loss of his throne to a newborn king. I began questioning
what justification could possibly defend these modern slayings, and it quickly dawned on
me that it never seemed to take much for the killers to justify their actions.
Sometimes it was a simple as the victim wearing the wrong kind of clothing.
Nicolas Poussin’s The Massacre of the Innocents has always been my favorite depiction of
the aforementioned biblical tale, but much like the killing of youths that seemed to characterize
that summer, it had never been a settled image for me. I decided to experiment with it,
to see what changes I had to compel in order for the actions depicted to feel reasonable.
Having Found the Lowest Threshold (St. George Slaying the Dragon) was the result.
The women and children had to be from another world—they had to be aggressive—
in order for the soldier’s actions to feel “okay.” Sadly, those two criteria could be met simply
by giving them another skin color and a different vision than the one holding the weapon.

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ADAM MYSOCK
So Abram departed, as the LORD had spoken unto him;
and Lot went with him: and Abram was seventy and five
years when he departed out of Haran, 2011
acrylic on panel
16 x 14 inches

This piece began with two stories about striking a rock to get water – that of Moses from Exodus and that of the S.S. Minnow of Gilligan’s Island. In Exodus, Moses responds to the thirsty complaints of the wandering Israelites – he strikes a rock with his staff and water pours out (seen here in the background to the right from Abraham Bloemaert’s Moses Striking the Rock). In Gilligan’s Island, the S.S. Minnow strikes a rock and water pours in. In both, the rock/water combination serves as both reminder of death (dehydration or drowning) and the instrument for the affirmation of life. The main image for this piece, Winslow Homer’s Basket of Clams, offers another look at striking a hard surface in order to establish a relationship between life and death – the idea of tapping an opened clam on the shell to see if it will close (a sure sign it’s alive and edible).

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ANASTASIA PELIAS
Sade, 2016
oil stick on Arches paper
59.5 x 57 inches

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ANASTASIA PELIAS
Chilli, T-Boz, Left-Eye (TLC), 2016
oil stick on Arches paper
61 x 57.25 inches

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ANASTASIA PELIAS
Pensacola (Daddy), 2016
oil stick on Arches paper
30 x 22 inches

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ANASTASIA PELIAS

Irma, 2018

oil stick and gesso on Arches paper

64h x 51.50w in

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NIKKI ROSATO
Untitled (Self Portrait), 2013
hand cut road map
16h x 16w x 14d inches

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NIKKI ROSATO
Untitled (Object) XI, 2017
hand-cut road map
42.25h x 34.25w inches

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NIKKI ROSATO

Maggie: St. Mary's County, MD (Negative), 2016

watercolor on paper

30h x 22w in

Framed: 34h x 26.50w in

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NIKKI ROSATO
Untitled (Object) X, 2017
hand-cut road map
26h x 24.50w inches

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NURHAN GOKTURK
The Grande Salon with Tapestry, 2017
lithograph and watercolor on paper
12.5 x 17.25 inches

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NURHAN GOKTURK

Overview Salon, 2017

lithograph and watercolor on paper

17.25h x 12.50w in

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NURHAN GOKTURK
Council of Ministers (Muses Salon), 2017
lithograph and watercolor on paper
12.5 x 17.25 inches

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NURHAN GOKTURK
The Corner Salon, 2017
lithograph and watercolor on paper
17.25 x 12.5 inches

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LAURA TANNER GRAHAM
Decorative Borders, 2017
ink drawing and thread on hand cut mylar
45.25h x 37.25w x 2.50d inches

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LAURA TANNER GRAHAM
Lithotomy, 2017
ink drawing and thread on hand-cut mylar
24.75h x 22.75w in

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LAURA TANNER GRAHAM
Info-Red | Infra-Structure, 2017
ink drawing on hand cut mylar
26.75h x 26.25w x 2.50d inches

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LAURA TANNER GRAHAM
Low Front III, 2017
ink drawing on hand-cut mylar
Framed: 57.50h x 29.50w in

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CARLTON SCOTT STURGILL
Branded Rose (Pink), 2017
Ralph Lauren button down shirts, aluminum wire, floral tape
dimensions vary upon installation

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CARLTON SCOTT STURGILL
Garden of Earthly Delights (detail), 2016
mixed media installation
12 x 9 x 12 feet

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CARLTON SCOTT STURGILL
Seven Decorating Schemes (Shelf), 2014
paint chip sample mosaics on panel, vintage mirror frames and shelf brackets, wood door frame
12 x 48 x 9 inches

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CARLTON SCOTT STURGILL
friday night fun couple for couple and select singles - mw4mw - 3637 - CINCINNATI, 2012
paint chip sample mosaic on panel and vintage mirror frame
19h x 31w in

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RACHEL BURCH WILLIAMS
Eye XX (after Carlo Dolci Madonna), 2017
oil on board
16h x 16w inches

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RACHEL BURCH WILLIAMS
Eye XVII (after Ingres), 2017
oil on board
16h x 16w inches

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RACHEL BURCH WILLIAMS
Eye XVIII (after Ingres, Countesse d'Haussonville), 2017
oil on board
16h x 16w inches

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RACHEL BURCH WILLIAMS
Eye XXI (after Antonello de Messina, Christ at the Column), 2017
oil on board
16h x 16w inches

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Information

JFG @ ART ON PAPER - BOOTH 201
in conjunction with NYC Armory Week
8 - 11 March
Pier 36 - 299 South Street, NYC 10002

JONATHAN FERRARA GALLERY is proud to return to Art on Paper at downtown Manhattan's Pier 36 in March of 2018. Art on Paper's medium-driven focus lends itself to significant projects - unique moments that have set the fair apart and established an important destination for the arts in New York City.
Selected to exhibit among eighty international galleries featuring top modern and contemporary paper-based art, JFG will exhibit works by: E2 - Kleinveld & Julien, Skylar Fein, Adam Mysock, Anastasia Pelias, Nikki Rosato, Nurhan Gokturk, Laura Tanner Graham, and Carlton Scott Sturgill.