ART MARKET SAN FRANCISCO

Booth 101

April 27 – May 1, 2016

KATRINA ANDRY

The Jungle Bunny Gave You Fever. The Only Cure is to Fuck the Bunny. She Wants It., 2011

digital media and color woodcut reduction print on coventry linen rag

62.75 x 43 inches

Edition of 6


This is a stereotype of the Jungle Bunny; the hypersexual, exotic creature from another land. The aspect of being hypersexual was often used from the 1400-1940s as a reason as to why raping women of color wasn’t seen as a crime against humanity. They wanted it obviously. The term “jungle fever”, as if being involved with a person of color implies that you’ve been stricken with some sort of disease because it’s not natural for two people from different ethnic backgrounds to “love” one another. There can only be a feverish lust between the two of them, no true actual feelings of love. How could you love a Jungle Bunny? This piece confronts the stereotype of women of color being lascivious, hypersexual, animalistic, exotic beings.

KATRINA ANDRY

Mammy Complex: Unfit Mommies Make for Fit Nannies, 2011

digital media and color woodcut reduction print on coventry linen rag

62.75 x 43 inches

Edition of 6


This is a stereotype of the Mammy. The Mammy is a natural caregiver. She’s happy serving others. She’s especially happy watching other people’s children. While the Mammy is seen as being a natural caregiver, on the other side of that coin - as a black woman, she is also seen as needing instruction or being incapable of raising her own children. This piece is all about the stereotype that black women in black communities are incapable of raising their own children, and that they are faulted for the crime and poverty that often run rampant in urban black communities. It is thought that incapable, single black moms are the reason there are poorly behaved black children that turn into poorly behaved black adults. This sentiment is felt throughout the black community by black women. When I was in NYC in 2009, and even here in New Orleans, most of the nannies I would see were black or brown minorities. It’s funny how these women are seen as perfectly capable of watching and caring for other people’s children, but not their own. To put it in historical context, black slave women were often separated from their children on the auction block, though some were often called to be nursing maids and nannies to the white children that lived in the “big house.” Separating the black woman’s children from her was seen as not cruel because it was believed that black women were callus towards their own children, and held a different set of feelings than white people had towards theirs. 

ANITA COOKE

Strata (Core Sample I), 2015

canvas, acrylic paint, thread, pva glue

30 x 24 inches

ANITA COOKE

Strata (Core Sample II), 2015

canvas, acrylic paint, thread, pva glue

30 x 24 inches

ANITA COOKE
Totally Cellular (Circular Motion), 2015
canvas, acrylic paint, thread, pva glue
30 x 24 inches

ANITA COOKE
Windswept (Ohio Field in Winter), 2015
canvas, acrylic paint, thread, pva glue
30 x 24 inches

MARGARET EVANGELINE
Sunday Morning 1, 2014
gunshots on powder-coated stainless steel
46 x 46 inches

MARGARET EVANGELINE
Delta Marl, 2013
oil on canvas
60 x 60 inches

RICHELLE GRIBBLE
Overview, 2015
acrylic, chalk, ink, lava gel, and rubber bands on panel
96 x 144 inches

PETER KRAUSKOPF
ALTES BILD, B 010714, 2014
oil on canvas
​22 x 19 inches

PETER KRAUSKOPF
B090414, 2014
oil on canvas
19.5 x 17.75 inches

SVEN KRONER
Atelerfenster Lörick, 2014
acrylic on canvas
59 x 86.75 inches

SVEN KRONER
Untitled, 2013
acrylic on canvas
35.5 x 59 inches

BONNIE MAYGARDEN
Spectrum I, 2015
acrylic on canvas
48 x 48 inches

BONNIE MAYGARDEN
Simulation I, 2015
acrylic on canvas
48 x 48 inches

BONNIE MAYGARDEN
Dark Daze II, 2016
acrylic on canvas
36 x 24 inches

BONNIE MAYGARDEN
Grayscale II, 2016
acrylic on canvas
36 x 24 inches

BONNIE MAYGARDEN
Ultra Light III, 2016
acrylic on canvas
36 x 24 inches

BONNIE MAYGARDEN
Ultra Light II, 2016
acrylic on canvas
36 x 24 inches

ROSEMARY SCOTT-FISHBURN
When You Tried to Catch Me, 2015
archival prints on polyester and acrylic
​11.5 x 17.5 x 4 inches

ROSEMARY SCOTT-FISHBURN
The Dream Became Solid, 2015
archival prints on polyester and acrylic
​11.5 x 17.5 x 4 inches

ROSEMARY SCOTT-FISHBURN
I Wanted You to Find Me, 2015
archival prints on polyester and acrylic
11.5 x 17.5 x 4 inches

MARNA SHOPOFF
Echoing Reflections, 2016
oil, ink, and acrylic gouache on canvas
24 x 47 inches

MARNA SHOPOFF
A Brief History of Blue, 2016
oil, ink, and acrylic gouache on canvas
14 x 42 inches
triptych

MARNA SHOPOFF

All Shades of Blue, 2015

oil and ink on canvas

37.5 x 34 inches

MARNA SHOPOFF
The Inbetween, 2016
oil, gouache, and ink on linen
32 x 18 inches

MARNA SHOPOFF
Fragments and Layers, 2016
oil, ink, and acrylic gouache on canvas
24 x 38 inches

MARNA SHOPOFF
Above and Below, 2016
oil, ink, and acrylic gouache on canvas
40 x 30 inches

MARNA SHOPOFF
Every Little Thing, 2016
oil and acrylic gouache on canvas
14 x 14 inches

MARNA SHOPOFF
Overlay, 2016
oil, ink, and acrylic gouache on canvas
29.5 x 11.5 inches

PAUL VILLINSKI

Vector [right], 2015

found aluminum cans, wire, Flashe

84 x 60 x 6 inches

PAUL VILLINSKI

Compass [right], 2015

found aluminum cans, wire, Flashe

48 x 48 x 6 inches

PAUL VILLINSKI
Vessel II, 2014
powder coated steel, found aluminum cans, wire, Flashe
40 x 23 x 7 inches
 

PAUL VILLINSKI

Belt, 2015

discarded liquor bottles, belts, rivets

27 x 8 x 1.5 inches

installation variable

PAUL VILLINSKI

Empire II, 2014

antique carved frame, aluminum (found cans), wire, steel, soot, flashe

17 x 15.5 x 6.25 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

MONICA ZERINGUE
Absence and Presence, 2015
graphite and hand-sewn beads on primed linen
​60 x 60 inches

MONICA ZERINGUE
Cusp, 2015
acrylic, hand-sewn gold plated beads and wallpaper on linen
​13.75 x 13.75 inches

MONICA ZERINGUE
Perching on this silver minute of evening, 2015
graphite and beads 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
Nocturne, 2015
oil and hand-sewn glass bead on linen
​12 x 12 inches