Marlon Mullen, 30 x 22".
Market Value $4,000 / Opening Bid Starts at $1,000
Marlon Mullen bases his paintings on found photographic images - mostly from lifestyle, news and contemporary art periodicals - which the artist uses as a departure point for his subsequent work. In the process of developing a painting Mullen's original magazine pages usually become obscured, or literally abstracted, where an image is subsequently reduced to a graphic schema of interlocking colors and forms. Mullen's works lives within the multiple histories of 20th century modernism, while remaining highly personal. Mullen's work was included in the 2019 Whitney Biennial in New York as well as in SFMOMA's SECA Art Awards exhibition. Although Marlon Mullen creates his work at NIAD Art Center, he is represented exclusively by JTT in New York and Adams and Ollman in Oregon.
Untitled (D8803) by Billy White. Mixed media on Braille paper, 2020. 11 x 11."
Fair Market Value $600 / Opening Bid Starts at $400
"With graphic marks and emphatic colors, White conjures portraits that are celebratory and personal. Muscular and energetic brushstrokes coalesce to form complex images that are more emotional than representational. White's subjects include his family and himself, as well as iconic figures -- many of them African-American -- from the worlds of film, television, music, sports, and art history. Captured in profile and at the front of the picture plane, each figure appears isolated, their likeness reduced to essential elements and forms assembled with bold lines and gestures. Often with unexpected shifts in perspective, the resulting works are psychologically-charged depictions of the human form." - Exhibition Announcement, Billy White, Adams and Ollman, Portland, OR.
Billy White has been creating at NIAD Art Center since 1994. He is represented exclusively by SHRINE in New York.
Untitled (Dirty Pink Bone Holder), 12x15x4", Ceramic with resin. Fair market value $3,500. Starting bid $1,500.
Based in Oakland, CA, Sahar Khoury works mostly with found or rejected materials to produce sculptures and installations in paper/textile mache, concrete, ceramic, steel, and silk-screen. Recently Khoury's work has been presented at SFMOMA as a recipient of the SECA Award, and at OMCA, Wattis Institute, BAM/PFA, Rebecca Camacho Presents, and CANADA (NY).
Untitled by Alicia McCarthy, 24x24", Acrylic and enamel on resin.
Fair Market Value $4,500. Starting Bid $0.
Alicia McCarthy transforms found wood surfaces into bursts, geometric blocks of color, and woven patterns often emphasized by text and spray paint. Collections including works by McCarthy include MIMA Brussels, Facebook, and Oakland Museum of California, and recent exhibitions include Wexner Center for the Arts, SFMOMA, BAM/PFA, and Jack Hanley Gallery.
It is Possible, With Dedicated Work by Lukaza Branfman-Verissimo. Black gesso, flashe, colored pencil on panel, 2021. Diptych, 11x14" each panel.
Fair Market Value $2,000 / Opening Bid Starts at $600
Lukaza Branfman-Verissimo (she/her/they/them)is an artist, activist, educator, storyteller & curator who lives/works between Ohlone Land [Oakland, CA] and Powhatan Land [Richmond,VA]. Their work has been included in exhibitions and performances at Konsthall C [Stockholm, Sweden], Deli Gallery [Long Island City, NY], EFA Project Space [New York City, NY], Leslie Lohman Museum for Gay & Lesbian Art [New York City, NY], STNDRD [Steuben, WI], San Francisco State University Gallery, Signal Center for Contemporary Art [Malmo, Sweden], Yerba Buena Center for the Arts [San Francisco, CA] and Berkeley Art Museum and Pacific Film Archive [Berkeley, CA], amongst others. For the past 5 years, Lukaza has been the Lead Curator at Nook Gallery, collaborating with over 80+ artists, writers, performers & musicians, in a gallery located in their apartment kitchen. They are currently getting their MFA from Virginia Commonwealth University in Richmond, VA.
We Are Getting Played by Cliff Hengst. Acrylic on wood, 2021. 9 x 11".
Fair Market Value $500 / Opening Bid Starts at $150
Rogue Agent by Scott Hewicker. Acrylic on canvas, 2016. 14" x 11".
Fair Market Value $925 / Opening Bid Starts at $150
From the series Heads of State which exhibited at NIAD in the summer of 2016. This series explored the connections of abstraction and portraiture to reveal the political and psychological underpinnings of various complex emotional states. Scott Hewicker is an artist and writer from San Francisco. He is represented by Gallery 16. He has exhibited at Deitch Projects, New York, Republic Gallery, Vancouver, BC, Galleri Christina Wilson in Copenhagen, and is currently exhibiting in Portland, OR, at Helen's Costume Int'l. He's been the recipient of a New Langton Arts Bay Area Award, and received an Artadia grant in 1999.
Fair Market Value $300 / Opening Bid Starts at $50
- Four tea towels with a new drawing by NIAD artist Saul Alegria. Silkscreened by NIAD facilitator Bill Zindel. 20 x 20" each, 100% cotton.
- Marlon Mullen monograph, published by JTT Gallery.
- Felicia Griffin feature in Wolfman Quarterly.
- Alt-Text As Poetry Workbook Set by Shannon Finnegan and Bojana Coklyat. Coil-Bound Book Box Set, 2020. 6 x 9".
- 4-Zine packets with pinback buttons by NIAD Studio Artist Heather Hamann.
- Tote by Jason Powell-Smith.
- Series of NIAD greeting cards .
- NIAD apron.
Artworks included in this tote span collaborative, printmaking, and social practices between NIAD artists and NIAD's wider community.
Untitled (100 Days of Drawing) by Rumi Koshino. Watercolor on Paper, 2015-2016. Two drawings, 7x10.25 and 10.25x7".
Fair Market Value $300 / Opening Bid Starts at $100
Rumi Koshino is an interdisciplinary artist and educator based in San Francisco. Her intuitive process of making art is informed by everyday experiences as well as social, emotional, and political climates that surround it. She has exhibited her work in the cities along the West Coast and Japan; including the Catherine Person Gallery and Vignettes in Seattle; Right Window in San Francisco; and Sweeney Kay Gallery and The Chetwood in Oakland. Rumi's collaborations include The Wing Luke Museum and Prairie Underground Clothiers in Seattle. She recently
published a limited-edition art book, Solo Walks -The First 100 Days, from RITE Editions. Rumi will be a resident artist at AGA Lab in Amsterdam in 2021. She holds a BFA and MFA from the University of Washington.
Float by Erin McCluskey Wheeler. Original painted paper collage on panel. 18 x 24".
Fair Market Value $450 / Opening Bid Starts at $150
Erin has a BA in studio art and art history from Beloit College, and an MFA from California College of the Arts. Erin works in paper (found, painted, printed, and cut) to create abstract graphic collage art. Erin associates landscapes and colors with people in her life and while the work is abstract and open ended, it comes from a place of personal symbolism and meaning. Erin teaches at Richmond Art Center, Arts Benicia, and the 92nd Street Y in New York City. In 2018-2019, she was Artist in Residence for the El Cerrito Recycling Center. Her artwork is licensed and sold through West Elm, Samsung, and Minted. She is represented by Jen Tough Gallery and Roaring Artist Gallery. Erin curated multiple shows and exhibited at NIAD frequently, and is a substitute studio facilitator. erinmwheeler.com and on Instagram @erinmwheeler.
(Leaf, Spiderweb, Bone, Pot, Bone, Spiderweb, Leaf) by Simon Tran. Acrylic on wood panel, 2020. Diptych, 8.5 x 8.5" each panel.
Fair Market Value $450 / Opening Bid Starts at $225
Simon Tran aka ghost ghost teeth, a father, educator, and artist born in Long Beach CA and now resides in Menlo Park. He received a BA in Art Practice at U.C. Berkeley. Simon has shown at various spaces including Berkeley Art Museum, Oakland Museum of California, NIAD, and The Compound Gallery. He has created murals in Oakland, Berkeley, Seattle, and Los Angeles. His work is in the Capital One Collection. Currently Simon is the Artist in Education Program Coordinator at SoEx and is the gallery manager at Berkeley Art Center.
"My work is about reconfiguration, resistance, and a hearty bowl of soup. There are sensibilities in my work stemming from a confluence of seemingly disparate influences including post-punk, my family, anime, retro video games, Vietnamese- American culture, the Vietnam War, and mysticism as an act of defiance towards colonial rule. I make reference to the human body through painting organic shapes. A swaddled child or a contorted figure may inhabit the compositional landscape along with patterns that stop, start, and overlap. Color is a strong influence on my work. I combine nostalgic colors that reshapes memories. There is no resolve in the narration of my work, instead there are slow builds that lead to chunky riffs that wormhole into hard-edged noise, all loopy-loopy and stuff. The composition is complicated by these layers of personal narrative mixed with processing a cultural history.
What I Think About When I Smell Eucalyptus by Kari Simonsen. Acrylic on Canvas, 2019. 30 x 24".
Fair Market Value $450 / Opening Bid Starts at $225
"When I was a kid, my mom would always point out the eucalyptus trees to me and say, "Do you smell that? That's eucalyptus. This scent always reminds me of the house I grew up in." Kari Simonsen is a Burmese-Norwegian-American artist. She uses her background in philosophy and language to create small pieces within which reside worlds of thoughtful exercises in translation, understanding, and reiteration. She writes in thread, acrylic and ink, the familiar and recurring shapes and patterns found in the environment around her.
A Hand Prayer to Tracy Chapman (Helped Me to Find My Brothers) by Veronica De Jesus. Pen on color photo print with paper objects placed gently on top, 2021. 21 x 32".
Fair Market Value $3,200 / Opening Bid Starts at $1,200
Veronica is a visual artist raised in several American cities. She illustrates life as an American, in all its varied splendor. Drawing on pop culture icons, sports, heroes and villains, and more, she draws our complex world into focus. Her Memorial Drawings, an ongoing series of illustrations complemented with text, honor the many people who have influenced our collective culture and reflect on loss and mourning. Her work also explores identity and the ways we hide and reveal elements of our personalities. Her work has been shown in galleries in San Francisco, Berkeley, Los Angeles, and Atlanta. She has a BFA from San Francisco Art Institute and an MFA from UC Berkeley. Recently, she was the Head Arts Facilitator and Gallery Manager at UCPLA Washington Reid Gallery where she worked together with artists, staff and community to build exhibitions, curriculum to create more public dialogue around place, space and identity. She has also worked with Liberate Collective offering a Youth Justice Art Workshop Series in LA, as well as doing projects with Boys and Girls Club and Mercy Housing in San Francisco for ReImagine week, a creative project surrounding loss and dying, offering more dialogue and more community support.
Magnesia by Kelly Ording. Acrylic on Dyed Paper, 2019. 24 x 23.5", framed.
Fair Market Value $3,000 / Opening Bid Starts at $1,000
Based in Oakland, California, Kelly Ording has exhibited her work both in the U.S. and Internationally since graduating from the San Francisco Art Institute in 2000. In addition to her works on paper, canvas and collages, Ording has created several large scale public works and murals. Her public works and murals can be seen in San Francisco's landmark Clarion Alley, the Palega Park Recreation Center in San Francisco, Genentech, the Emeryville Center for Community Life, as well as other locations throughout the Bay Area and Internationally. She has completed residencies at the Facebook Analog Research Laboratory, Menlo Park and Kala Art Institute, Berkeley. Ording recently completed a large-scale paving project on Ocean Avenue in conjunction with the San Francisco Art Commission and the San Francisco Department of Public Works. She was the recipient of the 2020 Kala Art Institute Master Artists Award. Her work is included in several collections; such as the San Francisco Museum of Modern Art collection, the San Francisco Arts Commission Public and Civic Art Collection, the Alameda County Collection, JP Morgan Chase Collection and the Ellie Mae Collection, to name a few. She currently devotes all her time to her artwork and her family with fellow artist, Jet Martinez.
Isn't This Still Life by Woody De Othello. Color sugarlift aquatint and spitbite aquatint, 2021. 29.5 by 22.75 inches. Courtesy of Paulson Fontaine Press.
Fair Market Value $1,500 / Opening Bid Starts at $700
Woody De Othello constructs intentionally wonky, anthropomorphized sculptures of common artifacts of domestic life-tables, radiators, flower vases, lamps, television sets-in glazed ceramic, bronze, wood, and glass. Othello infuses his work with humor, whimsy, and touches of African "Nkisi," a belief system in which spirits inhabit everyday objects. In both his sculptures and works on paper, Othello imbues these static household objects with movement and emotion-they are often stretched or slumped over, seemingly overcome by gravity. He received a BFA from Florida Atlantic University, Boca Raton and an MFA from the California College of Arts, San Francisco. He was included in the 33rd Ljublijana Biennial of Graphic Arts in Ljublijana, Slovenia, and has recently exhibited with Karma, New York (2019); Jessica Silverman Gallery, San Francisco, California (2018); Quality, Oakland, California (2016); and UFO Gallery, Berkeley, California (2016). In 2019-2020, Othello was the subject of a one-person exhibition at the San Jose Museum of Art, California.
And hot off the press: Woody De Othello featured in the San Francisco Chronicle.