![SKYLAR FEIN Special Offer [interior view], 2016](https://img.artlogic.net/w_1010,h_580,c_limit/exhibit-e/5493565707a72c7342335013/dadf4c4c508ca9e97da35c351818e8ad.jpeg)
![SKYLAR FEIN Rawhide [interior view], 2016](https://img.artlogic.net/w_1010,h_580,c_limit/exhibit-e/5493565707a72c7342335013/6c075f86bad3c6ee0eade7d98fd8c82d.jpeg)
![SKYLAR FEIN Thank You Call Again [interior view], 2016](https://img.artlogic.net/w_1010,h_580,c_limit/exhibit-e/5493565707a72c7342335013/8302a80ee3f2a683f35b02732ddcaea2.jpeg)
![SKYLAR FEIN Bell System [interior view], 2016](https://img.artlogic.net/w_1010,h_580,c_limit/exhibit-e/5493565707a72c7342335013/1006747db3e63fc5018a7554756cfdef.jpeg)
![SKYLAR FEIN Pepsi-Cola [interior view], 2015](https://img.artlogic.net/w_1010,h_580,c_limit/exhibit-e/5493565707a72c7342335013/679e0b5aef436ae613d9e9d2be92451a.jpeg)
![PAUL VILLINSKI, Vector [left], 2015](https://img.artlogic.net/w_2020,h_1160,c_limit/exhibit-e/5493565707a72c7342335013/f388ee4402abfdce20166109efe46b25.jpeg)
Tony Dagradi
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 Metsys' Moneylenders, 2013
archival pigment print
large: 36 x 36 inches, edition of 3, 2 APs
medium: 24 x 24 inches, edition of 5, 2 APs
small: 17 x 17 inches, edition of 7, 2 APs
E2 - KLEINVELD & JULIEN
Ode to Millais' Ophelia, 2013
archival pigment print
large: 24 x 36 inches, edition of 3, 2 APs
medium: 16 x 24 inches, edition of 5, 2 APs
small: 11 x 17 inches, edition of 7, 2 APs
E2 - KLEINVELD & JULIEN
Ode to Corbet's the Sleep, 2013
archival pigment print
large: 24 x 36 inches, edition of 3, 2 APs
medium: 16 x 24 inches, edition of 5, 2 APs
small: 11 x 17 inches, edition of 7, 2 APs
E2 - KLEINVELD & JULIEN
Ode to Fragonard's the Bolt, 2013
archival pigment print
large: 24 x 38 inches, edition of 3, 2 APs
medium: 16 x 24 inches, edition of 5, 2 APs
small: 11 x 17 inches, edition of 7, 2 APs
E2 - KLEINVELD & JULIEN
Ode to Rigaud's Louis XIV, 2013
archival pigment print
large: 36 x 24 inches, edition of 3, 2 APs
medium: 24 x 16 inches, edition of 5, 2 APs
small: 17 x 11 inches, edition of 7, 2 APs
E2 - KLEINVELD & JULIEN
Remaking Marat, 2013
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 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
E2 - KLEINVELD & JULIEN
Ode to Titian's Venus of Urbino, 2011
archival pigment print
large: 24 x 36 inches, edition of 3, 2 APs
medium: 16 x 24 inches, edition of 5, 2 APs
small: 11 x 17 inches, edition of 7, 2 APs
E2 - KLEINVELD & JULIEN
Ode to the Pinching D'Estrées Sisters, 2011
archival pigment print
large: 24 x 35 inches, edition of 3, 2 APs
medium: 16 x 20 inches, edition of 5, 2 APs
small: 13 x 19 inches, edition of 7, 2 APs
E2 - KLEINVELD & JULIEN
Ode to Hayez's the Kiss, 2011
archival pigment print
large: 36 x 24 inches, edition of 3, 2 APs
medium: 24 x 16 inches, edition of 5, 2 APs
small: 17 x 11 inches, edition of 7, 2 APs
MARGARET EVANGELINE
Coiled Fuses 1, 2017
oil on canvas
60 x 60 inches
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
SKYLAR FEIN
Special Offer, 2016
painted aluminum, homasote, rubber
24 x 24 x 5 inches
SKYLAR FEIN
Special Offer [interior view], 2016
painted aluminum, homasote, rubber
24 x 24 x 5 inches
SKYLAR FEIN
Rawhide, 2016
painted aluminum, homasote, rubber
24 x 24 x 5 inches
SKYLAR FEIN
Rawhide [interior view], 2016
painted aluminum, homasote, rubber
24 x 24 x 5 inches
SKYLAR FEIN
Thank You Call Again, 2016
painted aluminum, homasote, rubber
24 x 24 x 5 inches
SKYLAR FEIN
Thank You Call Again [interior view], 2016
painted aluminum, homasote, rubber
24 x 24 x 5 inches
SKYLAR FEIN
Bell System, 2016
painted aluminum, homasote, rubber
24 x 24 x 5 inches
SKYLAR FEIN
Bell System [interior view], 2016
painted aluminum, homasote, rubber
24 x 24 x 5 inches
SKYLAR FEIN
Pepsi-Cola, 2015
painted aluminum, homasote, rubber
27 x 24 x 5 inches
SKYLAR FEIN
Pepsi-Cola [interior view], 2015
painted aluminum, homasote, rubber
27 x 24 x 5 inches
BONNIE MAYGARDEN
///Surface, 2016
enamel on pleather and neon lighting
46 x 28 x 3 inches each
BONNIE MAYGARDEN
Charged, 2017
Acrylic on panel
20h x 16w inches
BONNIE MAYGARDEN
Tuesday, 2017
acrylic on canvas
24h x 18w inches
BONNIE MAYGARDEN
Here Again, 2017
acrylic on canvas
48h x 60w inches
BONNIE MAYGARDEN
Logo, 2017
acrylic on panel
24h x 24w inches
BONNIE MAYGARDEN
Particles and Pixels, 2017
acrylic on panel
24h x 24w inches
BONNIE MAYGARDEN
Vicarious I, 2017
acrylic on canvas with artist-made oak frame
11h x 14w inches
BONNIE MAYGARDEN
Vicarious II, 2017
acrylic on canvas with artist-made oak frame
24h x 24w inches
TI-ROCK MOORE
Tough Under Fire, 2017
mixed media
84 x 12 x 16 inches each;
84 x 175 x 16 complete installation
Six clear acrylic columns mimic the antebellum architecture characteristic of the 19th-century plantation home. Focusing on linkages between the enslavement of Africans and contemporary capitalism, this work interrogates the history and symbolic implications of the “Master Lock,” which was originally created to protect military equipment post-World War I. The very name of the padlock company and their one-time slogan “Tough Under Fire” conjure both the trajectory of how slavery established the precedent for the societal mechanisms that strengthen capitalism, as well as the enslavement to capitalism that contemporary Americans must endure to achieve even a tenuously minimal standard of living.
TI-ROCK MOORE
Gazing, 2017
archival pigment print
40 x 27 inches
42.25 x 29.5 inches framed
Limited Edition of 10, 2 AP's
French sculptor Auguste Rodin originally conceived The Poet, inspired by Dante, to sit atop The Gates of Hell. But when an enlarged version of the work was exhibited separately as The Thinker, it was transformed into a singular work of monumental humanity. Deriving inspiration from the original, contemporary curator and writer Nicolas Brierre Aziz is positioned high above the audience, forcing the onlookers into the position of admirer looking up at this literally elevated subject, while allowing Aziz as the subject of the gaze to actively engage with the expectations placed upon him by the spectacle. That this thinker is a young black intellectual further complicates the assumptions within contemporary society made about youth, gender, and ethnicity as it relates to aspirational thought and the potential for leadership.
TI-ROCK MOORE
Gazing, 2017
image from performance with Nic Brierre Aziz during A Burning House exhibition at Jonathan Ferrara Gallery (August 2017)
French sculptor Auguste Rodin originally conceived The Poet, inspired by Dante, to sit atop The Gates of Hell. But when an enlarged version of the work was exhibited separately as The Thinker, it was transformed into a singular work of monumental humanity. Deriving inspiration from the original, contemporary curator and writer Nicolas Brierre Aziz is positioned high above the audience, forcing the onlookers into the position of admirer looking up at this literally elevated subject, while allowing Aziz as the subject of the gaze to actively engage with the expectations placed upon him by the spectacle. That this thinker is a young black intellectual further complicates the assumptions within contemporary society made about youth, gender, and ethnicity as it relates to aspirational thought and the potential for leadership.
TI-ROCK MOORE
Gazing, 2017
image from performance with Nic Brierre Aziz during A Burning House exhibition at Jonathan Ferrara Gallery (August 2017)
French sculptor Auguste Rodin originally conceived The Poet, inspired by Dante, to sit atop The Gates of Hell. But when an enlarged version of the work was exhibited separately as The Thinker, it was transformed into a singular work of monumental humanity. Deriving inspiration from the original, contemporary curator and writer Nicolas Brierre Aziz is positioned high above the audience, forcing the onlookers into the position of admirer looking up at this literally elevated subject, while allowing Aziz as the subject of the gaze to actively engage with the expectations placed upon him by the spectacle. That this thinker is a young black intellectual further complicates the assumptions within contemporary society made about youth, gender, and ethnicity as it relates to aspirational thought and the potential for leadership.
TI-ROCK MOORE
"New Wars. New Stories. New Heroes.", 2017
archival inkjet print of time based performance featuring Nicolas Brierre Aziz at Beauregard Plinth - New Orleans
Edition of 10, 2 AP's
"New Wars. New Stories. New Heroes." seeks to combat the illegitimate foundations of a paradoxical nation.
156 long and short years ago, Pierre Gustave Toutant-Beauregard, commonly referred to as P.G.T. Beauregard, would become the first prominent General of the Confederate States Army. This distinction would come as a result of him leading the Confederate army to victory in the first major battle of the Civil War - The First Battle of Bull Run (referred to by the Confederate Army as the Battle of First Manassas).
Due to confusion that was experienced on the battlefield with some officers between the American and Confederate flags, Beauregard believed it to be imperative that the Confederacy establish a more distinctive ensign moving forward - and the result would be what is recognized today as the Confederate flag. This red banner with the blue St. Andrew’s cross would become, and still exist as, one of the most world’s most literal manifestations of white supremacy.
54 years after his victory, a statue commemorating Beauregard would be unveiled in New Orleans and exist for another 100 years until the City Council voted 6-1 to remove it and three other Confederate monuments. It would take nearly two years for its actual removal and it, along with the other empty monument locations, now remain as empty and highly controversial public spaces.
Despite the City of New Orleans’ heightened regulation of the space, artists (Ti-Rock Moore, Nicolas B. Aziz) chose to collaborate on a work of art that would reimagine our country’s past, present and future. "New Wars. New Stories. New Heroes." is a time-based piece that utilizes the power of space and insignia to ignite new dialogue and deconstruct a representation that continues to impede the intended ideals of this nation. Through the reclaiming of this land and the literal dismantling of the Confederate face of oppression, "New Wars. New Stories. New Heroes." seeks to combat the illegitimate foundations of a paradoxical nation.
TI-ROCK MOORE
White Mirror, 2017
neon and metal
36h x 60w inches
While July 4, 1776 marked the intended inception of a new nation where “all men are created equal,” this phrase would prove to be a key identifier of American illegitimacy. White Mirror, references the popular science fiction anthology series Black Mirror, while illustrating the dire distress of this nation and the unanticipated consequences of white supremacy. The upside down positioning of the American flag is an explicit representation of alternate reality and paradoxical identity. The neon white signals the strength of white supremacist ideals within the American fabric and prompts the viewer to question the country’s current climate.
ADAM MYSOCK
I Saw a Headline Once, 2017
acrylic on panel
8 x 6.5 inches
after: "The Gossips" by Norman Rockwell, 1948
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
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
ADAM MYSOCK
Idle Hands, 2017
acrylic on panel
6.5 x 8 inches
after: "And In His Eyes I Saw Death" by Ejnar Nielsen, 1897
ADAM MYSOCK
Where the Snow in Snow Globes Came From, 2016
acrylic on panel
6 x 7.75 inches
ADAM MYSOCK
Imaginary Enemies, 2015
acrylic on panel
4 x 8.5 inches
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).
MICHAEL PAJÓN
She Contained Multitudes, 2017
mixed media collage on panel
29.25h x 24w inches
MICHAEL PAJÓN
Where Is Your Treasure?, 2017
mixed-media and hand-cut collage on panel
26.25h x 29.75w inches
MICHAEL PAJÓN
In Their Madness and Their Blindness, 2017
mixed media collage on antique book cover
18.5h x 15.5w inches
MICHAEL PAJÓN
An Appetite for Flesh & Bone, Lies and Cowardice (Hellmouth), 2017
mixed media collage on antique book covers
26 x 19 inches
MICHAEL PAJON
The Folly of Prometheus, 2017
mixed media collage on antique book covers
13 x 52 inches
MICHAEL PAJON
The Folly of Prometheus (detail), 2017
mixed media collage on antique book covers
13 x 52 inches
MICHAEL PAJON
The Folly of Prometheus (detail), 2017
mixed media collage on antique book covers
13 x 52 inches
MICHAEL PAJON
The Folly of Prometheus (detail), 2017
mixed media collage on antique book covers
13 x 52 inches
MICHAEL PAJÓN
Minor Infestation, 2017
mixed media collage on antique book covers
20 x 16 inches
MICHAEL PAJON
She Perched Upon the Ruins of Men, 2016
mixed media collage on antique book cover
10 x 13 inches
ANASTASIA PELIAS
Sade, 2016
oil stick on Arches paper
59.5 x 57 inches
ANASTASIA PELIAS
Stevie, 2016
oil stick on Arches paper
61 x 57 inches
GINA PHILLIPS
Jason and Manami, 2016
fabric, thread, paint
69 x 32 inches
GINA PHILLIPS
Joy and Ferdinand, 2016
fabric, thread, paint
51 x 31.5 inches
GINA PHILLIPS
Joe Cabral and the Crow, 2016
fabric, thread, paint
61 x 32 inches
GINA PHILLIPS
Maybelle, 2015
fabric, thread, paint
43.5 x 28 inches
NIKKI ROSATO
Untitled (Merged), 2015
hand cut road map
62 x 62 inches
NIKKI ROSATO
Untitled (Merged) IV, 2015
hand cut road map
framed dimensions: 71.5 x 71.5 inches
NIKKI ROSATO
Untitled (Object) XI, 2017
hand-cut road map
42.25h x 34.25w inches
NIKKI ROSATO
Untitled (Self Portrait), 2013
hand cut road map
16h x 16w x 14d inches
CARLTON SCOTT STURGILL
Branded Rose (Pink), 2017
Ralph Lauren button down shirts, aluminum wire, floral tape
dimensions vary upon installation
PAUL VILLINSKI
Fallen, 2015
steel, aluminum (found cans), wire soot, Flasche
62.75 x 113.25 x 9.5 inches
PAUL VILLINSKI
Legacy VI, 2016
antique carved wood and plaster frame, aluminum (found cans), wire, steel, gold leaf
20.5 x 22.5 inches
PAUL VILLINSKI
Vector [left], 2015
found aluminum cans, wire, Flashe
84 x 60 x 6 inches
PAUL VILLINSKI
Empire II, 2014
antique carved frame, aluminum (found cans), wire, steel, soot, flashe
17 x 15.5 x 6.25 inches
