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Art 17 th



Friday, October 25, 2013 City View at Metreon



an N IO

G O L A T A dC

170 works of modern and contemporary art donated by artists, galleries and collectors Buy tickets or become a sponsor online at Benefiting the UCSF Alliance Health Project

17 th


Invitation Pr e d vi &

Chambord Serving cocktails all evening


LuScious Libations From some of the Bay Area’s finest wineries


ne nLi O e ts th cke i g ew y t s.or d i ra o bu f t ar . w w w


Fabulous Food From the Bay Area’s finest dining establishments

Friday, October 25, 2013 City View at the Metreon City View at the Metreon 135 Fourth Street @ Mission Street, San Francisco

Silent Auction: 5:30pm–10:00pm Live Auction Starts: 7:00pm Tickets $100 online only until October 15 / $125 after October 15 Online ticket and sponsorship buyers will be entered into the dinner-for-two at Garibaldis Restaurant raffle Tickets and Information 415-502-7276 or

Scan the QR code to go directly to the ticket page.

Art for AIDS 2013

Heartfelt thanks to all of our partners, donors, and corporate sponsors. Corporate Sponsors Gold Hill Physicians Medical Group Whitney B. Davis, Zephyr®

Silver The Bob Ross Foundation UCSF/SFGH Department of Psychiatry

Corporate Contributors

Contributing Galleries

Contributing Collectors

Allen/Loeb Associates

Andrea Schwartz Gallery ArtHaus ArtZone 461 Gallery Chandler Fine Art and Framing Chandra Cerrito Contemporary Corden Potts Gallery Dialecto Elins Eagle-Smith Gallery Gallerie Citi George Billis Gallery Hackett Mill Gallery Hang Art Gallery Lost Art Salon Paul Thiebaud Gallery Paulson Bott Press Shooting Gallery Slate Contemporary Gallery Stephen Wirtz Gallery Trillium Graphics Vessel Gallery

Hon. Susan Breall L. Scott Garcia Kurt Glowienke Knack Design Loretta Siegel Rick Stone Tom Weidlinger and Jan Camp

El Rio KKR Asset Management Olsen & Partners, CPA Twin Peaks Tavern

Bronze AIDS Healthcare Foundation Pharmacy Dublin Nissan Levi Strauss & Co. Opes Advisors Pacific Union International Community Fund Silva Watson Moonwalk Fund UCSF/SFGH Office of the Dean West Builders Inc. Zephyr Real Estate®

Jackie Cuneo

Mortgage Advisor Noe Valley Branch


Food & Beverage Sponsors Big Bottom Market Bisou French Bistro Boon Eat & Drink Castle Rock Winery Chambord Flavored Vodka Dolores Park Cafe Garibaldis Schulzie’s Bread Pudding Whole Foods Market Zico Beverages, LLC

Silva Watson Moonwalk Fund

Framing Back to the Picture Michael Thompson Fine Art Framing Paul Mahder Gallery Sterling Art Services Underglass Custom Framing and Gallery

Media Sponsors 7x7 The Advocate Magazine Asterisk SF Art Enthusiast

O u r

P a r t n e r s

a n d

S po n so r s

   Art for AIDS 2013

Heartfelt thanks to all of our individual sponsors. Individual Sponsors Diamond

Emerald cont.


Garnet cont.

James W. Dilley, MD and Jorge Morales

Susan and David Lewis in memory of Martin Hagan and Raymond Penoyer

Barbara Adler, LMFT and Michelle Cataldo, LCSW

Edward Machtinger and Willie Ablao

Ned Moran

Jay Allen and Angelo Di Pietrantonio Michelanne Baker and Beth Chase

Jamie Moran, LCSW in memory of T. Kerrigan Black

Michael and Dorian Beckler

Wayne Muesse

Larissa Belsky in honor of Judy Ahrens

Joanna Plachutin

Rick Brown

Jack Su

Scott Glave and Kenneth Shedd



Doug Case Kenneth W. Pearce

RUBY Philip De Carlo L. Scott Garcia George Harrison, MD Kate Shumate

Al Baum and Robert Holgate Andrew Chandler Emily and Erin Conley Shirley E. Cookston DK Haas and Trish Tunney Dee Hampton

Emerald Julie Armistead and Fred McNear in memory of James Porter, Jr. Beaux Alexander Hon. Susan Breall Judy Ichelson Camp James and Lynn Fitzwater Constance Goodyear and Barry Baron John Hurley

Judith Ahrens

Constance Hiatt in memory of Sally Van Doren Yan Liu Brandon Miller Stephan Ouellette Douglas Schmidt and Stephen Martin Lori Thoemmes and Susan Weigle Matthew Turner

Rob Marks and Saul Rosenfield

Shane Snowdon

Patty Cummings

Mark Wiesen and Petrus Phoa

Milton Estes, MD in memory of Thomas Steel

Scott Williams

Marshall Feldman and Scott C. Staub Dexter Fidler and Rose Hauer


Gregg Gerst

Karen Borst Joshin Bruguera Anna Chretien Karim Kentfield Thomas Mulvey

Murtuza Ghadiali Gary Hacker Vicki and Scott Kahn Georg Krammer Frank M. La Fleur Adam Lowe

As of August 20, 2013

Bridget Wagner Diane B. Wilsey

Exclusive Collectors Reception To be held at a brilliant San Francisco Location

Friday, September 27, 2013 • 6:00–9:00 pm Hosted by James Bacchi, Gallerist • Gary Hacker, Collector Matthew MacCaul Turner, Designer Tom O’Connor, Art Advisor • Michal Venera, Artist

Meet artists, collectors, and other distinguished art enthusiasts while sipping cocktails and enjoying delectable hors d’oeuvres. Get the inside scoop into this year’s exceptional works from industry professionals and artists, while we view highlights of the upcoming 17th annual Art for AIDS auction. $175 includes admission to Alliance Health Project’s Art for AIDS October 25, 2013 at the Metreon’s City View $50 for Collectors Event only RSVP by September 23, 2013 to: Jose Portillo, 415 502-7276


Art for AIDS Guide Art for AIDS I n v i tat i o n . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . inside front cover and page 1 Event Partners and Sponsors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Benefiting UCSF Alliance Health Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Art Buyer’s Glossary. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 How to Bid / Auction Rules. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Live Auction—7:00 to 8:45 pm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Silent Auction—Yellow Section Drawings & Prints

Closes at 6:45 pm. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Silent Auction—Red Section Photography

Closes at 7:00 pm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Silent Auction—Blue Section Mixed Media & Sculpture

Closes at 9:00 pm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Silent Auction—Purple Paintings

Closes at 9:15 pm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Silent Auction—Certificate Auction (not in catalog) Section closes at 9:30 pm Artist Statements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Art will be ready for pick-up 30 minutes after the close of each section. 4

Art for AIDS Invitation and Catalog Published Annually, Issue #17 Issue Date: October 2013 UCSF Alliance Health Project Box 0884, SF, CA 94143



his year’s auction presents 170 works of art in the mediums of painting, drawing, sculpture, prints, photography, glass, and more. Our event connects the art world—a community deeply aware of the epidemic’s toll—with one of the nation’s leading HIV prevention and care organizations, the UCSF Alliance Health Project. The 17th annual Art for AIDS brings together an unprecedented gathering of contemporary art from some of the finest artists, galleries, and collectors in the Bay Area. We hope you find the piece that speaks to you. Savor the food and beverage artistry as well. Each morsel and pour will be prepared to enhance your art-viewing experience. Our full-color, pre-event catalog allows you to admire all the art, read the artist statements, and select pieces to bid on. The Invitation has the ticket-buying information you’ll need and you can go to our website,, to view complete images of the art. The team at the Alliance Health Project thanks you for your support of Art for AIDS. We thank the many sponsors, event partners, artists, donors, and galleries who give so generously, and the dozens of volunteers who give their time, expertise, and resources to help build and run this event. Together, we are a community that makes a difference! ART FOR AIDS PLANNING COMMITTEE Judy Ahrens ■ Beaux Alexander ■ James Bacchi ■ Michael Beckler ■ Andrew Chandler ■ Jackie Cuneo ■ Phil De Carlo ■ Meghan Gillespie ■ dk haas ■ Wade Hampton ■ Paula Hoyer ■ Julian Munoz ■ Rachel Swann ■ Matthew MacCaul Turner

Art for AIDS Jury DeWitt Cheng, Chair ■ Charles Anselmo ■ James Bacchi ■ Hon. Susan Breall ■ Andrew Chandler ■ Brennan Cox ■ L. Scott Garcia ■ dk haas ■ Wade Hampton ■ Paula Hoyer ■ Matt McKinley ■ Tom O’Connor ■ Nico van Dongen ■ Mike Yochum

Art for AIDS AUCTIONEER Patrick Walsh

AHP Community Advisory Board Kate Shumate, Chair ■ Judy Ahrens, Vice-Chair ■ Doug Case, Secretary ■ Hon. Susan Breall ■ Patricia Cummings PsyD ■ Philip De Carlo ■ Emily Drabant, PhD ■ L. Scott Garcia ■ Murtuza Ghadiali, MD ■

Art for AIDS 2013 Dedicated to Sally Van Doren The Alliance Health Project (AHP) lost a friend, board member, and generous supporter on December 19, 2012, when Sally Van Doren, PharmD, died unexpectedly in Cuzco, Peru. Sally had recently learned of a serious medical condition and wished to see Machu Picchu before she became too ill to travel. Sally loved AHP, was an ardent supporter of Art for AIDS and is in our thoughts as we continue our mission of serving those with HIV. In memory of her many years of leadership and dedication to the LGBTQ and HIV-affected communities, the AHP Community Advisory Board created the Sally Van Doren Legacy Fund ( sally-van-doren). All donations in her memory will support direct client services. We miss you, Sally!

Yan Liu ■ Kobi Mar, PsyD ■ Ken Pearce ■ Shane Snowdon


Benefiting HIV/AIDS Services All proceeds from Art for AIDS benefit the UCSF Alliance Health Project (AHP), one of the nation’s premiere HIV/ AIDS service organizations. Founded in 1984 as the AIDS Health Project, AHP has been an international model for HIV prevention, testing and counseling, and a broad range of mental health services for people with HIV. AHP assists nearly 8,000 San Francisco clients every year and provides continuing education and support to front-line professionals nationwide. In 2010, AHP took responsibility for much of the city’s outpatient mental health care for lesbian, gay, bisexual, transgender and queer (LGBTQ) clients. To reflect this change, and fulfill a longterm interest to serve the uninsured and underinsured LGBTQ community with their mental health needs, AHP became the Alliance Health Project. Our mission is to support the mental

health and wellness of the LGBTQ and HIV-affected communities in constructing healthy and meaningful lives. AHP offers LGBTQ-affirming mental health services, substance use counseling, and peer support to individuals, couples, and groups. We also provide free HIV testing and HIV support services. We rely on your generosity and participation in Art for AIDS to support our HIV/AIDS programs. While affiliated with UCSF, AHP receives no program funding from the university and, instead, a combination of grants and contributions from corporations, private foundations, government contracts and individual donors, like you, fund our programs. Have fun, bid on art and help support our clients living with and at risk for HIV. We thank you for your support. n

Art Buyer’s Glossary T o help you make a more informed decision regarding your art purchase we offer the following industry vernacular. We hope it provides the information you need to enjoy the silent & live auction-bidding process! This catalog provides: artist’s name, an image of the piece, title, medium, edition number, dimensions, retail value (provided by donor), minimum bid, and “buy it now” price. The descriptions may not cover all of the materials and techniques employed by the artist.

Paintings may include oils, acrylics,

enamels, watercolors, and oil stick (and others) applied to canvas, linen, paper, board or panels, glass or other material.

Drawings may include pastels, charcoal, ink, pen, pencil, marker and oil stick (and others) applied to canvas, linen, paper, board or panels, glass or other material.

These definitions may prove useful:

Mixed Media pieces may include oils, acrylics, enamels, watercolors, pastels and charcoal, ink, pen, pencil, marker and oil stick (and others) applied to canvas, linen, paper, board or panels, glass or other material.

Sculpture may be constructed from

Prints—the general term for works that

metal, stone, wood, glass, plastic, or other materials.


are produced in “multiples,” that is, using techniques that can result in more than

one copy of the artwork—may include lithographs, silk screens, etchings or drypoints (among others). Photographic prints may be cibachrome or gelatin silver prints. Computers, scanners and laser printing have broadened the range of print techniques. Terms such as Lassengraphs, Iris prints, Giclée prints (and others) refer to these reproduction processes supervised by artists and technicians to assure a final product that will aptly represent the original. Adding value to these latter processes, as well as to traditional prints, is the inclusion of an artist signature, numbering, and limited editions of works. We avoid prints that are photographs of work originally created in another medium. n

How to Bid / Auction Rules LIVE AUCTION: Begins at 7:00 pm. At registration, each guest will have received a unique bid number, printed on the back of their catalog. To bid in the live auction, hold up your catalog with the number facing the auctioneer. By bidding in the auction, each bidder agrees to the auction rules. The auctioneer will announce the number of the winning bidder. An auction monitor will provide the winning bidder with a bid sheet, identifying the lot and the winning bid. This will facilitate payment and pickup of your piece(s). Absentee bids may be made on live auction items (see instructions below). Successful bidders must pay for items and make arrangements for pickup at the checkout area no later than the conclusion of the event, estimated to end at 10:00 pm. A bid acknowledged by the auctioneer PAYMENT AND PICKUP: Providing credit card information in advance significantly

is a legal contract to purchase the item. The auctioneer reserves the right to reject any bid which is merely a fraction advance over the previous bid. SILENT AUCTION: Silent auction artwork is divided into different “color sections”—yellow, red, blue, and purple—in the auction hall and in this catalog. The section closing times are listed on the back of this catalog and at the start of each section. To bid, please clearly print your full name, phone number, bidder number, and bid amount on the bid sheet, which is on the table in front of the corresponding art. Each new bid must be written on the first available line of the bid sheet, in the increment specified, and noted in a dollar amount (no cents). If more than one person is bidding on the same piece when a ­section is closing, please find an auction monitor. The monitor will give each bidder a card on which to write one final from the other bidder(s). The purchaser may then present those payments to

speeds up the Cash Out process. Our staff

the cashier at the time of check out.

will take an imprint of your credit card,

CONDITIONS: All artwork is sold “as is.”

and present you with your unique bidding number and event catalog. Your credit card will not be charged unless you are the

winning bidder in the silent or live auctions. All sales are final and no exchanges are permitted. Please pay for your artwork after you receive a winning bid sheet from the auction monitor. Follow signs to the CASH

Art for AIDS and the UCSF Alliance Health

Project make no representation or warranty

with respect to the artwork being auctioned. Contributions to Art for AIDS and the

UCSF Alliance Health Project (UCSF/AHP) are tax deduc­tible to the extent allowed

by law. UCSF/AHP is a 501(c)(3) charitable organization (Tax ID #94-6036493).

OUT area. We accept: Visa, MasterCard,

Unless otherwise noted, all goods and

to the UCSF Alliance Health Project); or

of the auction date. Delivery of items occurs

American Express, Discover or check (payable

services must be claimed within five (5) days

cash. Credit card purchases will appear

at the purchaser’s expense, unless otherwise

of California San Francisco.” All artwork

expense if not picked up by the established

on your statement as “GG *University

stated. Items will be stored at purchaser’s

must be paid for and picked up by the end

date or if alternate shipping arrangements

of the evening. (Allowances can be made for large pieces and Absentee Bidders.) Auction items will be awarded to one purchaser only. A purchaser who wishes to split the payment for an auction item must collect the individual payments

Items will be ready for pick-up 30 minutes after the section closes or the winning bid is announced.

sealed bid. The monitor will determine who has placed the highest bid and award the piece to that bidder. BUY IT NOW! If you wish to purchase a piece outright, which will close bidding for that piece, clearly print your full name, phone number, bidder number, and the BUY IT NOW! amount on the bid sheet for that piece of art. Enter the BUY IT NOW! price on the first available line of the bid sheet. Notify an auction monitor, and he or she will close bidding for that piece. A BUY IT NOW! bid must be equal to or greater than the BUY IT NOW!! price. If bidding has exceeded the BUY IT NOW! price, then no BUY IT NOW! bid will be accepted and the auction item will be awarded to the highest bid submitted prior to the section closing. The first person to submit a BUY IT NOW! bid will be awarded the auction item if the BUY IT NOW! price was not exceeded in the regular bidding.

are not made. UCSF/AHP reserves the right to add or withdraw, without notice, items to and from the auction. UCSF/AHP has attempted to describe and catalog all items correctly, but all items are offered “as is, where is.” Values set forth of auctioned items are e­ stimates received from the donor or other sources and have not been verified. UCSF/AHP neither warrants nor represents, and in no event shall be responsible for, the correctness of the descriptions, authenticity, authorship, provenance or conditions of the items. No statement made in this catalog or made orally at the auction or elsewhere shall be deemed such a warranty for tax purposes or the fair market value. Each person issued a bid number ­(bidder) assumes all risks and hazards related to the auction and the items obtained at the auction. Each bidder agrees to hold harmless from any ­liability UCSF/AHP, its elected and appointed officials, members and employees, the auctioneer, event ­organizers, sponsors and/ or volunteers connected with the auction. n 7

Art for AIDS 2013   

Li ve Auct io n Please go to the gallery at to view the complete image.

501 Jeanne Hauser

502 Squeak Carnwath

503 Diana Lee

Woman Revolutionary Archival Pigment Print Mounted on Gator Board 36" x 24" Value: $800 Minimum Bid: $250

Donated by Paulson Bott Press

Donated by ArtZone 461 Gallery

Wish Color Aquatint Etching 7" x 8" Value: $1,300 Minimum Bid: $450

Contemplation Black and White Scratchboard 14" x 11" Value: $3,000 Minimum Bid: $1,000

504 Jylian Gustlin

505 Pamela Merory Dernham

506 Greta & Manu Schnetzler

Athena 3 Mixed Media on Paper 22" x 30" Value: $3,300 Minimum Bid: $1,000

Donated by Vessel Gallery

Desert Lizard Long Exposure Night Photography 2/15 30" x 40" Value: $950 Minimum Bid: $325


The Thrill of the Moment Powder Coated Steel Wire on Wood Panel 35"W x 27"H x 4"D Value: $3,750 Minimum Bid: $1,250

Art for AIDS 2013

Begins at 7:00 pm

507 Daniel Phill

508 Robin Denevan

509 Kristine Mays

Donated by George Billis Gallery and the Artist

Forest Submerged Decanted Oil on Aluminum 42" x 14" Value: $3,200 Minimum Bid: $1,000

Ethel’s Best Friend Wire Sculpture 31" x 43" x 6" Value: $1,800 Minimum Bid: $600

510 Catherine Mackey

511 Charles Anselmo

512 Sue Averell

Evening at the Ramp #1 Oil and Mixed Media on Wood Panel 19" x 29" Value: $3,100 Minimum Bid: $1,050

malecon #19, Cuba Archival Ultrachrome printed on Epson Archival Matte Paper 3/9 36" x 44" Value: $3,100 Minimum Bid: $1,050 CharlesAnselmo/index.html

Little Red Acrylic on Streched Canvas 24" x 24" Value: $2,800 Minimum Bid: $950

REBEL Acrylic and Mixed Media on Panel 28.5" x 32" Value: $3,200 Minimum Bid: $1,075


Art for AIDS 2013   



513 Michael Kenna

514 Lucky Rapp

515 Hung Liu

Donated by the Artist and the Stephen Wirtz Gallery

I Left My Heart Gesso, Plaster, Print, Ink, Viny, Nails, Resin on Canvas 18" x 18" Value: $1,200 Minimum Bid: $400

Donated by David Salgado—Trillium Graphics

Seaweed Farms, Study 5, Xiapu, China, 2010 Sepia Toned Silver Gelatin Print 7.875" x 7.5" Value: $2,500 Minimum Bid: $850

Untitled (Visage Study) Archival Pigment Prints in Resin Layers 13.5" x 14.5" Value: $6,000 Minimum Bid: $2,000

516 Meadowwood Napa Valley True luxury in Napa Valley, offers golf, tennis, croquet, hiking, swimming, fitness, spa, wine education and a Michelin three-star restaurant ... on a private estate. Enjoy one night’s lodging for one couple, including dinner for two in the Grill at Meadowood (up to $65). *Lodging is available Sunday–Thursday during November through July only.

Value: $930 Minimum Bid: $310

517 Tim Yankosky

518 Maxine Solomon

519 Ferris Plock

Donated by George Billis Gallery

Bahar Oil on Canvas 29" x 23" Value: $2,500 Minimum Bid: $850

Donated by Shooting Gallery SF

Long Time Gone, 2012 Vintage Tape Rulers, Nails 11" x 10" Value: $875 Minimum Bid: $300 10

Feed the Kings Acrylic and Gold Leaf on Panel 24" x 30" Value: $1,800 Minimum Bid: $600



   Art for AIDS 2013

520 Jock Sturges

521 Paul Gibson

522 Rex Ray

Lea et Raphaëlle; Montalivet, France 2012 Epson Digital Pigment Print 35" x 44" Value: $5,600 Minimum Bid: $1,875

25/25 Monoprint 3/4 32" x 20" Value: $3,700 Minimum Bid: $1,250

Untitled Mixed-Media Resin Panel 16" x 24" Value: $2,400 Minimum Bid: $800

Li ve Auct io n 7:00–8:45 pm

523 Helen Breznik

524 William Theophilus Brown

525 David Smith Harrison

Carmella Mobile photograph, 4/15 15.5" x 23" Value: $1,700 Minimum Bid: $575

Donated by Hackett Mill

Donated by Anonymous

Unititled (Nude) Mixed Media on Paper 8.5" x 11" Value: $2,400 Minimum Bid: $800

Royal Palm with Turish Design Etching, Trial Proof 15.75" x 17.75" Value: $1,500 Minimum Bid: $500 11

Art for AIDS 2013   

Silent Auction—YELLOW Section closes at 6:45 pm Drawings & Prints Please go to the gallery at to view the complete image.

601  Jesse Allen

602  Don Anderson

603  David Avery

604  Jonathan Barcan

Donated by Chandler Fine Art

Triptych: III Views of Elizabeth II Pencil, Colored Pencil and Lace on Bristol Value: $500 Minimum Bid: $175 BUY IT NOW! $650

Safe, Clean, Cheap—Phaethon in the 21st Century Etching 14" x 15" Value: $675 Minimum Bid: $225 BUY IT NOW! $900

Flooded #30 Walnut Ink on Paper 36" x 22" Value: $1,800 Minimum Bid: $600 BUY IT NOW! $2,350

Joyful Plant Pigment Print on Hahnemuhle Paper 12" x 9" Value: $500 Minimum Bid: $175 BUY IT NOW! $650

605  Linda Colnett

606  Antonio Cortez

607  Rob Delamater

608  Kim Frohsin

Shreds #2 Limited Edition Archival Epson 6880 Print 4/10 18.25" x 19.75" Value: $575 Minimum Bid: $200 BUY IT NOW! $750

I Ching Rings C Archival Pigment Print on Paper 1/8 + 2AP 15" x 15" Value: $600 Minimum Bid: $200 BUY IT NOW! $800

Donated by Lost Art Salon

Donated by Paul Thiebaud Gallery

Primitive Forms III Monotype on Paper 12" x 14" Value: $595 Minimum Bid: $200 BUY IT NOW! $775

Prudence in Extase Stabilo Pencil, Ink Wash on Paper 8.5" x 14" Value: $1,850 Minimum Bid: $625 BUY IT NOW! $2,425


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   Art for AIDS 2013

609  Thomas Gardner

610  Sheila Ghidini

611  Katie Gilmartin

612  Jesse Gottesman

Red Montparnasse Inkjet Print 1/10 17" x 15" Value: $600 Minimum Bid: $200 BUY IT NOW! $800

Donated by Chandra Cerrito Contemporary

The Fog Viscosity Linocut 11.5" x 15" Value: $700 Minimum Bid: $250 BUY IT NOW! $925

Riding the Line No. 6 Aquatint 35" x 42" Value: $3,000 Minimum Bid: $1,000 BUY IT NOW! $3,900

Returning Leaf Graphite drawing with beeswax on Paper Value: $1,150 Minimum Bid: $400 BUY IT NOW! $1,500 sheilaghidiniprojectspace. com/home.html

613  Hilla Hueber

614  David Humphrey

615  Joe Illick

616  Eric Joyner

Nature Finds V Colored Pencil on Water Color Paper 8" x 8" Value: $500 Minimum Bid: $175 BUY IT NOW! $650

Figure Acrylic and Pencil on Mylar 9" x 12" Value: $1,700 Minimum Bid: $575 BUY IT NOW! $2,210

Abraham Lincoln Woodcut 1/20 22.25" x 15" Value: $500 Minimum Bid: $175 BUY IT NOW! $650

Blues Machine Giclee 24" x 32" Value: $550 Minimum Bid: $200 BUY IT NOW! $725

617  Mike Kimball

618  John Kraft

619  Leslie Lowinger

620  Michael Markowitz

Oakland Sentinels Linoleum Block Print on Arches BFK A/P 10 Proofs 36" x 36" Value: $1,100 Minimum Bid: $375 BUY IT NOW! $1,450

Sausalito II Digital Assemblage and Illustration 1/1 48" x 28" Value: $1,200 Minimum Bid: $400 BUY IT NOW! $1,575

Shopping Bag People and Mountains Etching 2/4 22.5" x 16.5" Value: $800 Minimum Bid: $275 BUY IT NOW! $1,150

Untitled 18" x 24" Value: $800 Minimum Bid: $275 BUY IT NOW! $1,050


Art for AIDS 2013   

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Art will be ready for purchase and pick-up 30 minutes after the close of this section.

621  Liz Maxwell

622  Frances McCormack

623  Diane Olivier

624  Fernando Reyes

Donated by The Artist and Hang Art Gallery

Donated by Elins Eagle-Smith Gallery

Male Torso Pastel on Paper 17" x 23" Value: $925 Minimum Bid: $325 BUY IT NOW! $1,225

The Model Eight (8) Plate Color Etching 1/20 27.75" x 19.5" Value: $650 Minimum Bid: $225 BUY IT NOW! $850

Horizon #10 Monotype, 18" x 26" Value: $1,150 Minimum Bid: $525 BUY IT NOW! $1,500

Underground Print with Handwork 1/1 11.5" x 14.5" Value: $1,250 Minimum Bid: $425 BUY IT NOW! $1,625

625  Trevor Southey

626  Kim Thoman

Donated by Kurt Glowienke

Venus #4 Permanent Pigment Print 1/7 12.75" x 34" Value: $1,100 Minimum Bid: $375 BUY IT NOW! $1,450

Lifting Lithograph 33" x 22" Value: $1,600 Minimum Bid: $550 BUY IT NOW! $2,100


Art for AIDS 2013

Silent Auction—RED Section closes at 7:00 pm Photography Please go to the gallery at to view the complete image.

627  Astrid Allard

628  Daniel Berman

629  Michelle Brandemuehl 630  Maria Budner

Homage to Egon Schiele Solarized Print 1/3 19" x 21.5" Value: $2,200 Minimum Bid: $750 BUY IT NOW! $2,875

Night Light Digital Photography 2/15 30" x 30" Value: $3,000 Minimum Bid: $1,000 BUY IT NOW! $3,900

Seadiver 4 - Color Print on Archival Paper 23" x 14" Value: $500 Minimum Bid: $175 BUY IT NOW! $650

Pisces I Digital Print 3/3 14" x 18.25" Value: $700 Minimum Bid: $250 BUY IT NOW! $925

631  Monica Denevan

632  Frank Doring

633  Eszter and David

634  John Fitzsimmons

Donated by L. Scott Garcia

Outbuildings #2, Shaker Village of Pleasant Hill Pigment Print on Photo Rag 43" x 30" Value: $1,200 Minimum Bid: $400 BUY IT NOW! $1,575

Keisha Tattoo Digital Print on Archival Photo Rag 35" x 27" Value: $1,700 Minimum Bid: $575 BUY IT NOW! $2,225

Mare Island Three Cranes Photography and Antique Molding 16" x 22" Value: $650 Minimum Bid: $300 BUY IT NOW! $850

Against the Current, Burma 2006 Silver Gelatin Print, edition 9/25 15" x 15" Value: $950 Minimum Bid: $375 BUY IT NOW! $1,250


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Art will be ready for purchase and pick-up 30 minutes after the close of this section.

635  Susan Friedman

636  David Hudak

637  Jennifer B. Hudson

638  Wayne Killinger

Mystical Orpheo Archival Pigment Print 24" x 30" Value: $1,800 Minimum Bid: $600 BUY IT NOW! $2,350

The Phantom of the Lava (Gamma Infinity) #1 Selenium Toned, Silver, Gelatin Print 9.25" x 7" Value: $600 Minimum Bid: $200 BUY IT NOW! $780

Donated by Corden Potts Gallery

Conservatory of Flowers RC Print 1/2 10.5" X 13.5" Value: $600 Minimum Bid: $200 BUY IT NOW! $800

Legacy (from the series MEDIC) Archival Pigment Print 2/10 9.75" x 9.75" Value: $700 Minimum Bid: $250 BUY IT NOW! $925

639  Myles Kleinfeld

640  Hap Leonard

641  Jesus Marez

642  Rocky McCorkle

Koi Fish Shot with 24 Megapixal High End Commerial Camera with Laptop 18" x 14" Value: $800 Minimum Bid: $275 BUY IT NOW! $1,050 http:/

Ditched Series—Deere Photo, printed on watercolor, mounted on wood and covered with resin, 2013 33.5" x 21.5" Value: $600 Minimum Bid: $200 BUY IT NOW! $800

Sweeping Victory’ - 2012 London Olympics Print on Silk Chiffon stretched in frame 25.5" x 14.5" Value: $750 Minimum Bid: $250 BUY IT NOW! $975

79. The Leading Man Large Format Photo 36" x 24" Value: $1,000 Minimum Bid: $350 BUY IT NOW! $1,300



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Art will be ready for purchase and pick-up 30 minutes after the close of this section.

643  Youssef Nabil

644  Kelly Nicolaisen

645  John Nieto

646  Mustafa Önder

Mohamed with Closed Eyes Lambda Color Print 21" x 31.5" Value: $2,400 Minimum Bid: $800 BUY IT NOW! $3,125

Peacock Lady Archival Enhanced Matte UV Coated Print 18" x 28" Value: $850 Minimum Bid: $300 BUY IT NOW! $1,125

Untitled E-Surface Paper with Lustrecoating (UV Protect) 1/15 8" x 8" Value: $500 Minimum Bid: $175 BUY IT NOW! $650

Donated by Knack Design

647  Ken Probst

Donated by Anonymous

Michael Prince Wipes Model’s Foot After Break, San Francisco 1993 Edition 2/5 Silver Gelatin Print 12" x 8"

Jerry Sits on Desk, SF 1996 Edition 3/5 Silver Gelatin Print 12" x 8"

Sold as a set of three with “Por ne graf ik” (Pornographic), 106-page book in clamshell box, value: $100

Renew the EAGLE Photograph 14" x 21" Value: $1,200 Minimum Bid: $400 BUY IT NOW! $1,575

Art will be ready for purchase and pick-up 30 minutes after the close of this section. Rudolph Watches Joey on Monitor, SF 1994, Edition 3/5 Silver Gelatin Print 12" x 8" Value: $3,600 Minimum Bid: $1,200 BUY IT NOW! $4,700


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648  Jon Rendell

649  Ron Moultrie Saunders 650  Ginni Savalli

651  Chris Schiavo

Seated Tulips Photo, printed on Kodak Metallic Endura color paper. Artist’s Proof 32" x 21" Value: $1,450 Minimum Bid: $500 BUY IT NOW! $1,900

Pincushions_2 Pulses Reversed Photogram-Sepia Toned Gelatin Silver Print 8" x 10" Value: $600 Minimum Bid: $200 BUY IT NOW! $800

Clown - White Series Chromeogenic Print 1/15 5.25" x 7" Value: $950 Minimum Bid: $325 BUY IT NOW! $1,250

Low Tide Toned Silver Gelatin in Darkroom 12.75" x 13" Value: $900 Minimum Bid: $300 BUY IT NOW! $1,175

652  Bhanu Sharma

653  Ralph Singer

654  Terry Thompson

655  Trish Tunney

Ships of the Desert Refueling Photograph 20" x 15" Value: $1,200 Minimum Bid: $400 BUY IT NOW! $1,575

Grain Elevators near Calgary Archival Pigment Print 2/25 10" x 19" Value: $1,500 Minimum Bid: $500 BUY IT NOW! $1,950

Donated by ArtZone 461 Gallery

Pacific Atlas Limited Edition Giclee on Canvas 36" x 24" Value: $750 Minimum Bid: $250 BUY IT NOW! $975

Clown Chromogenic Print on Fuji Crystal Archive, 14" x 21" Value: $500 Minimum Bid: $175 BUY IT NOW! $650

656  Frank Van Duerm

657  Michal Venera

658  Pep Ventosa

659  Donna J. Wan

Untitled Color Photograph, 1/20 16" x 21" Value: $1,250 Minimum Bid: $425 BUY IT NOW! $1,625

Woman Sky Photograph 37" x 45" Value: $1,000 Minimum Bid: $350 BUY IT NOW! $1,300

Market Street, One Composite of dozens of photographs 18" x 24" Value: $850 Minimum Bid: $300 BUY IT NOW! $1,125

At the Beach Photograph on Pigment Inkjet 25" x 20" Value: $1,250 Minimum Bid: $425 BUY IT NOW! $1,625


Art for AIDS 2013

Silent Auction—BLUE Section closes at 9:00 pm Mixed Media & Sculpture Please go to the gallery at to view the complete image.

660  Jose Maro Alvarado

661  Michael Beckler

662  Rick Begneaud

663  Jan Camp

Ian transparente Gum Arabic and Lithographic Ink on Aluminum 36" x 48" Value: $1,800 Minimum Bid: $600 BUY IT NOW! $2,350

in the Beginning Mixed Acyclic and Epoxy 30" x 30" Value: $1,125 Minimum Bid: $375 BUY IT NOW! $1,475

Muse Plea Pigment Transfer, Acrylic, Fabric and Graphite 18" x 18" Value: $2,800 Minimum Bid: $950 BUY IT NOW! $3,650

Donated by the Artist and Tom Weidlinger

664  Pamela Merory Dernham 665  Patrick Dintino Balancing Act, 2013 Lighting Gel on Paper 18" x 24" Value: $1,250 Minimum Bid: $425 BUY IT NOW! $1,625

Donated by Andrea Schwartz Gallery

Mandala Bling Junk Mail and Wrapping Paper Collage on Panel with Resin 10" x 8" Value: $900 Minimum Bid: $300 BUY IT NOW! $1,175

Winter Oil Painted Black and White Silver Print on Aluminum 13" x 17" Value: $1,600 Minimum Bid: $550 BUY IT NOW! $2,100

666  Jennifer Ewing

667  Kat Flyn

Focus Spirit Boat Paper, String, Wood, and Plastic 42" x 10" x 9" Value: $500 Minimum Bid: $175 BUY IT NOW! $650

Saturday’s Child Assemblage 17" x 15" x 3" Value: $600 Minimum Bid: $200 BUY IT NOW! $800


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668  Rebecca Fox

669  Jane Grimm

670  dk haas

671  Olivia Harkness

#205 Welded Steel, Linseed Oil, Patina, Lacquer 8" x 9.5" Value: $800 Minimum Bid: $275 BUY IT NOW! $1,050

Coral VI Ceramic on Wood 16" x 16" Value: $950 Minimum Bid: $325 BUY IT NOW! $1,250

17th Street Drypoint Etching Monoprint with Encaustic 11" x 14" Value: $500 Minimum Bid: $175 BUY IT NOW! $650

Five Guys Burgers and Fries Print and Paint on Wood 33" x 47" Value: $1,200 Minimum Bid: $400 BUY IT NOW! $1,575

672  Phillip Hua

673  Philippe Jestin

674  Byron B Kim

675  Lisa Knoop

Donated by the Artist and Hang Art Gallery

A Spin in Style Resin and Paper on Wood 11.5" x 13.75" Value: $700 Minimum Bid: $250 BUY IT NOW! $925

Willful Wood, Paper, Steel 3"W x 18"H x 6D Value: $1,800 Minimum Bid: $600 BUY IT NOW! $2,350

San Francisco Moments Printed Photographs on Panel With Resin (edition of 50) 8 4" x 4" x 1.5" pieces Value: $520 Minimum Bid: $200 BUY IT NOW! $700 Portfolio.html

Eagle Among Blossoms Pigmented Ink and Packaging Tape on Dibond Panel 32" x 40" Value: $1,500 Minimum Bid: $500 BUY IT NOW! $1,950


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Art will be ready for purchase and pick-up 30 minutes after the close of this section.

676  Marc Lambrechts

677  Reddy Lieb

678  Derek Lynch

679  Sanda Manuila

Donated by ArtHaus

The Demolition Panel is fused with Photographic Imagery and Enamels 20" x 20" Value: $1,200 Minimum Bid: $400 BUY IT NOW! $1,575

Donated by Gallerie Citi

Dismay Oil and Mixed Media on Wood 24" x 17.75" Value: $850 Minimum Bid: $300 BUY IT NOW! $1,125

Untitled Etching with Collage and hand work 20" x 26" Value: $1,650 Minimum Bid: $550 BUY IT NOW! $2,150

California Pigment/Acrylic on Aluminum 24" x 24" Value: $2,500 Minimum Bid: $850 BUY IT NOW! $3,250

680  Beverly Mills

681  Leslie Morgan

682  Kevin P. Mosley

683  Annie O’Dorisio

Haunted Sanctuaries #20 Black and White Collage 11.5" x 17.5" Value: $850 Minimum Bid: $300 BUY IT NOW! $1,125 com/Home.html

Hello from Trash Beach, USA Hand Tinited Black and White Photo with Assemblage Frame 30.5" x 31.25" Value: $1,000 Minimum Bid: $350 BUY IT NOW! $1,300

Butterick 18 Acrylic, Enamel, Leaf & Paper on Glass 36" x 16" Value: $900 Minimum Bid: $300 BUY IT NOW! $1,175

Too Piece Pen and Ink, Wool on Heavy Paper 30" x 22" Value: $900 Minimum Bid: $300 BUY IT NOW! $1,175


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684  Matt Pipes

685  Silvia Poloto

686  Mark D. Powers

687  Gail Ragains

The Long Search Continues Oil Painting on Multiple Layers of Resin 16" x 13.5" Value: $650 Minimum Bid: $250 BUY IT NOW! $850

Bud Series - Tulip Mixed Media on Panel 8" x 48" Value: $1,800 Minimum Bid: $600 BUY IT NOW! $2,350

Subject, Verb, Object 1 Archival Ink on Found Limestone 12" x 24" Value: $1,100 Minimum Bid: $375 BUY IT NOW! $1,450

Donated by the Artist and Hang Art Gallery

Single Figure #1 Mixed Media on Paper 22" x 30" Value: $1,000 Minimum Bid: $350 BUY IT NOW! $1,300

688  Matt Ritchie

689  Michael Smith

690  Charles H. Stinson

691  Marcia Stuermer

Donated by Susan Breall

Going down, down Sculpture and Acrylic on Skateboard top: 7.5" x 13" Bottom: 7" x 14.5" Value: $1,000 Minimum Bid: $350 BUY IT NOW! $1,300

Untitled Encaustic on Wood 24" x 24" Value: $500 Minimum Bid: $175 BUY IT NOW! $650

Yoga Pose Cast Bronze 7" x 5.5" Value: $1,000 Minimum Bid: $350 BUY IT NOW! $1,300

Burnt and Torn #2 Resin, Wood, Veneer, Carbon, Lighting 18" x 46" H x 4" D Value: $4,000 Minimum Bid: $1,000 BUY IT NOW! $5,200

692  Aaron Terry

693  Randy Titchenal

694  Stephen C. Wagner

695  John Wood

Out The Jungle In Screenprint and Acrylic Paint 24" x 30" Value: $500 Minimum Bid: $175 BUY IT NOW! $650

Plexiglass, Mirror, Sandblast and Paint 9" x 9" x 2" Value: $500 Minimum Bid: $175 BUY IT NOW! $650

Enrique Endangered Mixed Media on Shooting Target 12" x 21" Value: $750 Minimum Bid: $250 BUY IT NOW! $975

Not Quite a Safe Haven Oil Pastel, Pigment Silk, Crayon, Graphite on Paper Mounted on Panel 21.25" x 21.25" Value: $1,500 Minimum Bid: $500 BUY IT NOW! $1,950


Art for AIDS 2013

Silent Auction—PURPLE Section closes at 9:15 pm Paintings Please go to the gallery at to view the complete image.

696  Lisa Alonzo

697  Jhina Alvarado

698  Leonard Baskin

699  Jennifer Berkowitz

The Sky is Falling Acrylic and Molding Paste on Canvas 36" x 48" Value: $4,300 Minimum Bid: $1,450 BUY IT NOW! $5,600

Sitting by the Pool Oil and Encaustic on Panel 16" x 20" Value: $1,500 Minimum Bid: $500 BUY IT NOW! $1,950

Donated by Loretta Siegel

The Philosopher Watercolor on Paper 25" x 18" Value: $2,200 Minimum Bid: $750 BUY IT NOW! $2,875

Mission Rooftops #1 Oil on Canvas 22" x 28" Value: $600 Minimum Bid: $200 BUY IT NOW! $800

700  Susan Bostrom-Wong

701  Johnny Botts

702  Blair Bradshaw

703  Adam Hunter-Caldwell

Untitled Oil on Panel 12" x 16" Value: $500 Minimum Bid: $175 BUY IT NOW! $650

New Girl in Town Acrylic and Epoxy on Wood 36" x 36" Value: $2,400 Minimum Bid: $800 BUY IT NOW! $3,125

TBD Oil on Panel and Board 2: 12" x 20" Value: $1,500 Minimum Bid: $500 BUY IT NOW! $1,950

The Art of Painting Oil on Canvas 18" x 24" Value: $800 Minimum Bid: $275 BUY IT NOW! $1,050 23

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704  Ed Calhoun

705  Ricardo Carbajal Moss 706  Michael Chearney

Striae 8 Oil and Graphite on Canvas 39.25" x 39.25" Value: $1,850 Minimum Bid: $625 BUY IT NOW! $2,425

Cherry on a Throne Arcylic and Gold Leaf on Canvas 12" x 19" Value: $2,800 Minimum Bid: $950 BUY IT NOW! $3,650

Donated by George Billis Gallery

Song of the Soul Acrylic and Resin on Canvas 24" x 24" Value: $2,500 Minimum Bid: $850 BUY IT NOW! $3,250 Michael_Chearney.html

707  Sidnea D’Amico Pile Up 3 Acrylic, resin on Board 5" x 20" Value: $700 Minimum Bid: $250 BUY IT NOW! $925

708  Daniel Diaz-Tai

709  Peter Dimick

710  Emily Drabant Conley

711  Fong Fai

Subconscious N 281 Oil Paint on Wood Panel 30" x 20" Value: $1,200 Minimum Bid: $400 BUY IT NOW! $1,575

Donated by the Artist and Hang Art Gallery

Abundance Acrylic and Resin on Canvas 24" x 24" Value: $800 Minimum Bid: $275 BUY IT NOW! $1,050

Season 2012 Acrylic on Canvas 24" x 24" Value: $1,200 Minimum Bid: $400 BUY IT NOW! $1,575

Untitled Acrylic on Canvas 44" x 46" Value: $1,950 Minimum Bid: $650 BUY IT NOW! $2,550

712  Matthew Frederick

713  Ken Gorczyca

714  Sophia Green

715  April Hankins

Donated by the Artist and ArtHaus

Potted Tulips Acrylic on canvas 16" x 20" Value: $600 Minimum Bid: $200 BUY IT NOW! $800

Personal: It Is About You It Is About Me Oil on Canvas 36" x 36" Value: $1,200 Minimum Bid: $400 BUY IT NOW! $1,575

Rosewater Oil on Canvas 24" x 24" Value: $1,350 Minimum Bid: $450 BUY IT NOW! $1,775

Summer Lake Oil on Panel 20" x 20" Value: $1,200 Minimum Bid: $400 BUY IT NOW! $1,575 24

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716  John Hunt

717  Michelle Jader

718  Martine Jardel

719  Michael Kerbow

Donated by Rick Stone

Look Before Oil on 2 Acrylic Panels 12" x 28" Value: $1,400 Minimum Bid: $475 BUY IT NOW! $1,825

Site #60 Oil on Canvas 18" x 18" Value: $600 Minimum Bid: $200 BUY IT NOW! $800

Blue Swarm Oil on Canvas 13" x 13" Value: $900 Minimum Bid: $300 BUY IT NOW! $1,175

Lucy Oil on Board 24" x 28.5" Value: $2,500 Minimum Bid: $850 BUY IT NOW! $3,250

720  Katy Kuhn

721  Kristin Kyono

722  Carol Ladewig

723  Katja Leibenath

To Be Enough Monograph on Archival BFK Paper 24" x 30" Value: $850 Minimum Bid: $300 BUY IT NOW! $1,125

Shelter Acrylic on Panel 24" x 12" Value: $600 Minimum Bid: $200 BUY IT NOW! $800

Slate Contemporary Lunar Phases 2013, Weeks 31,32, and 33 Acrylic/Gouache on Canvas Panels (3) 12"W x 36"H x 1.5"D Value: $1,200 Minimum Bid: $400 BUY IT NOW! $1,575

Standing Figure Study #3 Oil on Canvas 18" x 24" Value: $900 Minimum Bid: $300 BUY IT NOW! $1,175

724  Kay Marshall

725  Alan Mazzetti

726  Michael McConnell

727  Heidi McDowell

Interim Acrylic and Collage on Board 16" x 16" Value: $650 Minimum Bid: $225 BUY IT NOW! $850

Telegraph Acylic on Panel 18" x 18" Value: $900 Minimum Bid: $300 BUY IT NOW! $1,175

Forgotten Pieces of the Game Watercolor on Paper 22" x 30" Value: $1,100 Minimum Bid: $375 BUY IT NOW! $1,450 michaelmcconnell.prosite. com/79177/gallery

Donated by ArtZone 461 Gallery

Clouds 2 Oil on Canvas 20" x 14" Value: $1,000 Minimum Bid: $350 BUY IT NOW! $1,300 25

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728  John Melvin

729  Kenney Mencher

730  Erika Meriaux

731  Carolyn Meyer

Untitled Oil on Canvas 30" x 30" Value: $2,500 Minimum Bid: $850 BUY IT NOW! $3,250

Twinky and Flaco Cruising the Rambles Oil on Masonite Panel 11" x 14" Value: $1,000 Minimum Bid: $350 BUY IT NOW! $1,300

Landmarks Oil on Linen 18" x 24" Value: $1,300 Minimum Bid: $450 BUY IT NOW! $1,700

O Sole Mio (My Sun) Oil on Panel 24" x 12" Value: $1,950 Minimum Bid: $650 BUY IT NOW! $2,550

732  Marcia Middleton

733  Wendy L. Miller

734  Sonja Navin

735  Hadley Northrop

Primordial Provocateur Oil on Panel 24" x 24" Value: $1,510 Minimum Bid: $500 BUY IT NOW! $1,975

Late Afternoon Oil on Canvas 24" x 16" Value: $600 Minimum Bid: $200 BUY IT NOW! $800

Donated by ArtZone 461 Gallery

Mystery Caravan Oil on Canvas 10" x 10" Value: $500 Minimum Bid: $175 BUY IT NOW! $650

Lake Oil on Canvas 30" x 15" Value: $1,200 Minimum Bid: $400 BUY IT NOW! $1,575

736  David Ohlerking

737  Charli Ornett

738  Monique Passicot

739  Kristina Quinones

LV Arts District Oil on Masonite 29" x 24" Value: $750 Minimum Bid: $250 BUY IT NOW! $975

String Theory Encaustic on Woon Panel 24" x 24" Value: $800 Minimum Bid: $275 BUY IT NOW! $1,050

The Important X’s Oil on Linen 12" x 12" Value: $1,800 Minimum Bid: $600 BUY IT NOW! $2,350

Rest Acriylic poured on Panel 12" x 12" Value: $600 Minimum Bid: $200 BUY IT NOW! $800


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740  Robert Reed

741  Ryan Reynolds

742  David Rose

743  Rachel Sager

Big Blue Oil on Canvas 30" x 40" Value: $1,500 Minimum Bid: $500 BUY IT NOW! $1,950

Suburban Night Electrified Oil on Canvas 20" x 24" Value: $3,000 Minimum Bid: $1,000 BUY IT NOW! $3,900

Stripes 140 Acrylic on Board 19" x 24" Value: $554 Minimum Bid: $200 BUY IT NOW! $725

Donated by the Artist and Hang Art Gallery

Hometown 2 Oil on Canvas 30" x 12" Value: $600 Minimum Bid: $200 BUY IT NOW! $800

744  Doug Shoemaker

745  Patricia Sonnino

746  Monika Steiner

747  Kirsten Tradowsky

Marina Morning Original Watercolor 30" x 22.75" Value: $1,900 Minimum Bid: $650 BUY IT NOW! $2,475

Tidepool 0.3 Feet October 4 Oil on Canvas 12" x 12" Value: $950 Minimum Bid: $325 BUY IT NOW! $1,250

Calena II Oil on Wood 12" x 12" Value: $600 Minimum Bid: $200 BUY IT NOW! $800

Donated by the Artist and Hang Art Gallery

Majorette Oil on Canvas 22" x 28" Value: $1,150 Minimum Bid: $400 BUY IT NOW! $1,500

Art will be ready for purchase and pick-up 30 minutes after the close of this section. 748  Elena Zolotnitsky Second Impression Oil on Panel 12" x 12" Value: $3,300 Minimum Bid: $1,000 BUY IT NOW! $4,300 27

Art for AIDS 2013  

Artist Statements Astrid Allard

Allard’s portfolio numbers more than 1,400 photographs. She skillfully recomposes reality in a very personal, surrealistic style, somewhere beyond Magritte and Man Ray. Her poetic universe, in black and white, where social commitment and even utopia have found a place, is built by means of successive layering enhanced by solarization. Her work has been exhibited worldwide. Public and private collections include Provincial Museum Voor Moderne Kunst, Belgium; The Vatican Collection; Bibliotheque Nationale, Paris; the New Orleans Museum of Art, and the Museum for the National Monument in New York.


Allen has been a highly visible staple of the Bay Area art community for over forty years and continues to expand the breadth of his work. Allen’s richly detailed techniques create a visual maze for viewers to follow throughout his entire work, weaving a spiritual portrait of a place. Allen’s personal mythologies denote symbolism to each individual plant, creature, and earth form in his pieces, creating complex visual narratives. Allen takes most of his imagery from the landscapes of Kenya, where he was born and raised. Allen graduated from St. Edmund Hall in Oxford, England and holds a degree in modern languages. Allen cites the two years he spent living in Milan after he graduated as a fundamental period to his development as a painter. He moved to the United States to teach language at Stanford University and has now left that position to pursue painting full time.

Lisa Alonzo

Lisa Alonzo (b. 1984) grew up in Colfax, CA. She received her BFA in 2008 from the Academy of Art University in San Francisco. Alonzo currently lives and works in the Bay Area. Lisa Alonzo’s thickly saturated self-portraits address the outgrowth of narcissism in popular culture. Spurred by the over-sharing of personal information through online social activity, Alonzo responds to her generations’ aim to present their appearance in a desirable and consumable form. Her current work takes final shape in the utmost product of consumption—cake— through a process of digital photography, pointillistic brushwork and innovative paint application using a pastry tip.

Jhina Alvarado

In my series, titled “Forgotten Memories,” I use oil paints to depict the untold stories from long forgotten photographs. I paint these images on wood panels using a considerable amount of white space with the images cropped out of their environment, creating a sense of unbalance and emphasizing the need to focus on the individual’s memory, rather than the whole picture. I blend the white areas from the images with the negative spaces of the panel to


create tension and abstraction of each delineated line. Since many memories are shared, the identity of the person within each memory is inconsequential. The eyes are blocked out so that the viewer can take part of each memory as if it were their own. The painting is then covered in encaustic wax to add an antique photo look and dream-like feel to each piece. Because many memories are unclear and somewhat “fuzzy,” the wax also obscures the images as if the viewer, themselves, were trying to recall a past event, yet could not remember all of the details.


In 1944, I learned to draw by tracing pictures of bathing beauties from magazines. Pretty girls still delight me and I continue to trace and copy. I now strive, however, to fashion a visual idiom where design governs yet cuteness lingers in lines and shapes that garner whimsy, sometimes adding a touch of color. I like the simplicity of pencil on paper. Each drawing should look easily accomplished despite that my getting it right was earnest work. Photographs inspire me. Life is too quick for my wondering eye. I was raised in Detroit and have lived in San Francisco since 1964.


Anselmo is a fine art photographer working in the Bay Area and Philadelphia. He works on photographic projects in Cuba, New Orleans and the San Francisco area, developing film-based portfolios prompted by the forgotten urban landscape. He actively exhibits his work, operates a large format fine art digital printing service, and regularly conducts photography workshops to Havana, Cuba. While currently working on a photographic book and video documentary describing his experiences in the Havana arts community, he also curates United States exhibitions of black and white images by well-known contemporary Cuban photographers. He is a Visiting Lecturer at the Havana School of Creative Photography and Cuba’s San Alejandro Academy of Fine Art. He is represented by PHOTO Fine Art Photography in Oakland, California.


Avery continues to explore the expressive and technical possibilities inherent in black and white line etching in his studio in San Francisco. His work is included in the collections of the Library of Congress, the Fogg Museum at Harvard University, the New York Public Library, the Achenbach Foundation for the Graphic Arts, and the Stanford University Library among others, and has been noted in the New York Times. This work was inspired by the depiction of the fall of Phaethon by 17th century engraver Hendrik Goltzius.

Sue Averell

My life is more than just good, it’s a dream come true. Growing up on the beautiful Southern California beaches I had a great childhood filled with sunny days, a wonderful family and great friends. I always knew I would be an artist. Figuring out the path to get there wasn’t always easy. In my late 20s I began to work in print production and graphic design. In 1999, after renting a space at Hunter’s Point Shipyard, my style began to take shape. Maybe it was the seclusion of the space or not having to worry about spilling paint on the floor—whatever it was I began to find my muse. My style continues to evolve and it is this evolution that inspires me to continue to grow and explore as an artist.


For the past 12 years I have immersed myself in the vibrant San Francisco Bay Area creative scene where I have exhibited and curated arts/music events in a rich variety of locations. Over the course of this past year, I have exhibited at the Today Museum Printmaking Center in Beijing, China, been named one of San Francisco’s top 20 Artists by “Asterisk Magazine,” and have been nominated to apply for the prestigious SECA award through the SF MOMA. As a dedicated Painter/Printmaker/Illustrator I have exhibited internationally, including shows in Oakland, San Francisco, Philadelphia, Beijing, Montreal, Toronto, Hawaii, and Florence, Italy. To find more of my work visit

Leonard Baskin

Leonard Baskin, who first gained recognition for his monumental woodcuts in the 1950s, enjoyed an artistic career that spanned the better part of the twentieth century and encompassed major accomplishments as a sculptor, printmaker, illustrator and bookmaker. He pursued a multiplicity of art forms with equal dedication and vigor, and also created discrete cycles and series that tended to be exhibited or published as self-contained units. Numbered among his works are sculpture commissions for the Franklin Roosevelt Memorial in Washington, DC, and the Holocaust Memorial in Ann Arbor, MI. Baskin attended the Yale University, and between 1953 and 1974, taught art at Smith College in Northampton, MA, where he met British poet Ted Hughes, with whom he forged a lifelong friendship and collaborated on some thirty books. Baskin moved with his family to England, which brought him into closer proximity to Hughes. In 1983, Baskin returned with his family to the United States, and he became a Visiting Professor of Printmaking at Hampshire College in Leeds, MA. Baskin died in Northampton in 2000.

Michael Beckler

My pieces are colorful forms influenced by my interest in patterns, geometric shapes and shadows that are graphic yet free flowing, creating three dimensional feelings through the use of bright acrylic paints, epoxy, glass and paper. At first glance, the finished pieces may look arbitrary; for the most part, they are and then again they are not. It’s a yin-yang sort of style. I modify the flow of the mixtures— acrylic paints with varying additives (slowing or accelerate the drying process) combined with the curling process of the epoxy to create different affects. Because there is a lot of chemistry involved with this process, varying conditions always creates interesting outcomes. It’s these arbitrary outcomes that add interest to each piece. Some past exhibits include: Fourth St Gallery (Berkeley, CA), North Point Gallery (San Francisco, CA), Room Gallery (Mill Valley, CA) & recently selected for the BOLD show at O’Hanlon Center of the Arts (Mill Valley, CA).

Rick Begneaud

Using scraps of fabric in my work began as an inspiration from my travels to West Africa. As I walked past discarded, gorgeous, sun-faded pieces of cloth I wanted to collect them all. I sought out small tailor shops to ask for their scraps. This confounded most shop owners, as they wanted to sell me their wares that were already creations, such as shirts or a Grand Boubou. I just wanted the scraps that were lying around on the floor. Blending these scraps of fabric into my work was natural to me. They provide me with an intimacy that bonds me to an undiscovered place. Unwitting forms and patterns can share space with one another, or they run for cover. I work with indefinable boundaries that I am not looking to find.

Jennifer Berkowitz

After nearly three decades of designing award-winning graphics for television and film, Jennifer Berkowitz has returned to fine art. Three years in Paris helped ease the transition, especially after her paintings and drawings were exhibited in numerous shows there. Now, Jennifer lives and works in San Francisco, where she paints at Workspace, a converted French laundry. She is also designing the packaging, animation, and overall design of a DVD series on silent film for the National Film Preservation Foundation.

Daniel Berman

Daniel Berman is a TV series creator, producer/director, DP, editor, photographer and founder of the Mobile Photo Awards. His specialties include multi-camera live music, nature programming and documentaries. Berman owns a company that he’s produced several programs for, including a 39 part series on great botanical gardens seen on Discovery Channel, a set of 39 hours on legendary

a r t i s t jazz musicians called SOLOS: the jazz sessions, and a 39 part series of rock concert specials called Beautiful Noise. Berman has worked directly with musicians such as Levon Helm, Sonic Youth, Bill Frisell, Billy Bragg, Steve Earle, Mickey Hart, Feist, Brad Mehldau, and My Morning Jacket among dozens of others. He also works as a freelance photographer and a creative consultant. Follow @ reservoir_dan to access his Twitter and Instagram account, or search from him on YouTube, Flickr or check out his website:

Susan Bostrom-Wong

Why I make art: To explore and symbolize my inner life. To startle myself about what I don’t know. To hold the opposites of beauty and pain, destruction and creation. To transform the viewer through feeling and a new visual vocabulary. To feel awe about the ordinary. To create a transcendental quality that moves one to think and feel beyond the surface of life. To remember the dead. To move paint around the canvas. To play and get messy. To lose track of time and space and fall into a reverie.

Johnny Botts

Johnny grew up in Wisconsin and Minnesota, which he left for better weather in San Francisco. He is a rocket scientist by day and painter by night. He studied Design Engineering to earn a BS, and Business Administration to earn an MBA. But he has always been creative, and has been painting regularly since 2005. Johnny paints playful cartoon robots using simple shapes and bold happy colors. He paints on reclaimed materials in addition to canvas. He shows his work in San Francisco galleries, restaurants, cafes, art fairs, and San Francisco Open Studios. If you want a pocket-sized version of his work, you may find it in Art-O-Mat vending machines scattered throughout the United States.

Michelle Brandemuehl

Michelle Brandemuehl is a visual artist who studied painting and photography at University of Wisconsin Madison and Florence. Later she began focusing on photography as a way to communicate her surroundings in response to her shyness. She pursued freelance graphic design which supported her passion to travel the world and photograph. Brandemuehl chooses off-the-beaten-track locations and subjects to photograph, interested in seeing the unseen. Brandemuehl has worked as a freelance photographer for Yoga Journal and Alice Roche Jewelry. A photo taken on a solo road trip through Turkey was chosen for the Editor’s Favorite List for 2012 for National Geographic travel portrait photo contest.

Helen Breznik

If you have an iPhone, you’ve likely taken a photo or two. Maybe you’ve used an app like Instagram to enhance and share pictures. Some iPhoneographers use five or more apps to brighten, mute, saturate, blur, or otherwise enhance your images, spending countless hours refining them. iPhoneography

is an up-and-coming mobile art form that’s catching the eyes and talents of iPhone-toting artists worldwide. Helen Breznik of Toronto uses her iPhone to create dreamy self-portraits. This piece was shot on an iPhone 4 and enhanced using Juxtaposer, an app that lets you combine multiple pictures into photomontages quickly and easily, as well as Color Lake, a water effects app. “iPhoneography has truly opened the door to new possibilities of image-making, allowing me to work more freely and spontaneously without the need to sit myself down at a computer,” Breznik says.

William Theophilus Brown

(1919–2012) was an American artist, who became prominent as in the Bay Area Figurative Movement. He received his BFA from Yale University in 1941, and traveled to Paris in 1942, where he studied under Fernand Leger and Amedee Ozenfant. In New York he studied of Abstract Expressionism, and befriended Rothko and de Kooning. In 1952 he began graduate study in painting at the University of California in Berkeley, where he received his MFA. He met the young painter Paul Wonner, who would become his life partner. They fell in with Richard Diebenkorn, whose paintings were already drawing attention, along with Elmer Bischoff and James Weeks, they began introducing the human figure into their paintings. At a time dominated by abstract painting, Brown and these other artists combined abstract and figurative painting, evolving into what became known as the Bay Area Figurative Movement. In 1956, Brown gained national attention when three of his paintings appeared in Life magazine. Brown had his first solo exhibition at the San Francisco Museum of Modern Art in 1957. He was now an artist whose paintings are widely admired and collected. Until his death in 2012, just a few weeks before his 93rd birthday, Brown’s mind and wit remained razor sharp. He continued to be a fully committed practicing artist involved in a range of artistic activities, including three museum and gallery exhibitions the last year of his life. “I paint three or four hours every day,” he said a few months before his death. “I like to work. I think it’s the secret to staying alive and interesting and as vital as you can be.” He also participated in regular group drawing sessions with a model and sat in with the San Francisco Collage Collective. As he did throughout his life, he played classical piano with considerable skill, often accompanied by a violinist. Theophilus Brown was an artistic giant, pursuing his work with dedication, focus and inspirational fortitude.

Adam Hunter Caldwell

Adam Hunter Caldwell graduated from the California College of Art with a double major in Fine Art and Illustration in 1998. Post-graduation found Caldwell explored various avenues in the arts— illustration, storyboarding, and concept art—but he did not feel at home with commercial work. In 2001, he began teaching full-time at the Academy of Art University in San Francisco, which allowed him to work without any con-

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straints and experiment in various forms of drawing, collage, and multi-media work. He shows at Shooting Gallery and White Walls Gallery in San Francisco.

Jan Camp

By the early age of five, Camp believed there was something within her committed to living her life as an artist. She started her artistic life as a painter. She was introduced to photography at the University of Massachusetts in Amherst, where she worked in photographic services shooting, printing, and supervising work-study students. Photography proved to be more than a job for her. Camp has worked in graphic design, film, video, interactive video, and publishing. She has raised a family. She built Iris Arts and Education Group, Inc. in Berkeley, CA, a nonprofit organization to critique work in progress, including visual art, documentary video, literary and performance art. Her still life photographs are spawned from the concerns and circumstances of her own life and society as a whole. She shifts the viewer’s awareness to help the viewer think about things differently. “I start with ideas,” she explains. “If I observe in my friends and in society—repeatedly—a certain idea that I want to work with, I look to my own life and my close personal circumstances and think about how this idea manifests itself for me. How do I personally see it in the world.”

Ricardo Carbajal-Moss

Bob was my younger brother. He was the smart one of us three boys. He wrote and directed plays and taught English at a University in Mexico City. He was good to all people and animals. He loved our parents more than you could imagine. He once told me that 2 x 2 was no longer 4. This was before he disclosed to the family that he was gay. His tenderness towards me culminated one day in Mexico City when we both improvised a 10-minute long jazz blues combination. He played the recorder and I played the harmonica. This two person musical delight blew our minds. It was and is still my fondest memory of this giant in the arts. He was my younger brother but I will always consider him my big friend. AIDS took him away and if my contribution to this auction can take away the suffering from just one person, then I will know that Roberto is still here with me in my heart.

Squeak Carnwath

After receiving an MFA from California College of Arts and Crafts in 1977, she began exhibiting her work in the San Francisco Bay Area where she continues to live and work. Carnwath taught at the University of California from 1982 to 2010; she is Professor Emeritus at the University of California, Berkeley. Carnwath’s work is exhibited widely and is in the collections of major institutions such as the San Francisco Museum of Modern Art and The Brooklyn Museum. In 2009, The Oakland Museum of California organized a large survey of Carnwath’s work, Squeak Carnwath: Painting is no Ordinary Object. Her work is shown at several galleries including

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John Berggruen Gallery in San Francisco, CA. Carnwath has received numerous awards including the Society for the Encouragement of Contemporary Art (SECA) Award from San Francisco Museum of Modern Art, two Individual Artist Fellowships from the National Endowment for the Arts, a Guggenheim Fellowship, and the Award for Individual Artists from the Flintridge Foundation. In 1996, Chronicle Books published Squeak Carnwath: Lists, Observations, & Counting, a survey of Carnwath’s work. In conjunction with her 2009 exhibition at the Oakland Museum of California, the museum published Squeak Carnwath: Painting is no Ordinary Object.

Michael Chearney

Chearney’s process involves great physicality, a full engagement of mind and body. The paint flies, drips, swirls, and is cajoled into its existence, its being. He feels the energy channel through to the canvas and beyond. There is no separation between the studio, the canvas, and his body. With their intricate patterns and textures, and overall impressionistic overtones, the canvases suggest for me both a micro and macro cosmic view. Each pieces vibrates with its own frequency of color and its own unique non-verbal field of communication, and at the same time, as a body of work, these paintings speak as one, a meditation on interconnection and harmony.


The shredded paper came to me as packing material in a box with something I ordered. Thinking of all the trees that we cut down to make paper products many of which are shredded to shield identities, I was prompted to begin a series entitled “Shreds” which I have developed over the last three or four years. It includes digital prints as well as tree sculptures made from shredded catalogs, grocery bags, comic strips, credit cards offers, and even Braille paper which was donated to me by the Lighthouse for the Blind (my way of returning the paper to trees). In this particular piece, I took some of the hospital shreds and glued them to a board which I then scanned into my computer and transferred the scan to Photoshop where I LABORIOUSLY added the quotes about trees, then superimposed them onto a photograph of trees from the Presidio. I print the works on an inkjet Epson Stylus Pro 7880, and limit each to only 10 prints. Born in Texas, I began my professional art career in the 1980s when I attended the San Francisco Art Institute and received a MFA degree from Summit University. My work has been exhibited in the United States as well as Hong Kong, Paris, Mexico, Japan, Korea and Italy. I was nominated for the San Francisco Museum of Modern Art SECA award, and the United States Art in Embassies Program selected my paintings for exhibition.

Antonio Cortez

Antonio Cortez uses the language of mathematics to formulate complex geometries that are visually compelling


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and physically arresting. With this project Cortez brings full circle an education in Materials Science Engineering and a passion for Visual Arts. Cortez was born in Caracas, Venezuela. After finishing college he moved to the United States In 1995 he earned a Graduate Certificate in Administration from Harvard University. Cortez pursued his interest in visual arts with studies at The School of the Museum of Fine Arts Boston, Emerson College and New England School of Photography. In 2008 Cortez relocated to San Francisco to advance his career in fine arts.

Sidnea D’Amico

D’Amico was born in Brazil. Her main mediums are painting and mixed media, and have been included in group exhibitions around California, Italy, Dubai and Greece. She was nominated to represent Brazil in Dubai Art Symposium in 2008 where she won third prize in painting and was recently invited to represent United States/Brazil in the second Symposium of International Art in Serbia. “My work imbues movement, life, color and the intimate vision of different corners of a bustling city. I am inspired both by large scale urban architectural elements as well as subtle street influences.”

Rob Delamater

My pieces are created using the medium of linoleum block printmaking, which was popularized by Picasso and Matisse in the 20th Century. I use a combination of formal aesthetics and improvisational techniques to achieve multi-level prints, which layer natural forms and semitransparent inks. Each piece is hand-printed on archival paper at my studio in San Francisco.

Monica Denevan

Denevan’s intimate portraits depict the male figure within a spare yet textured place. Returning annually to the same villages in Burma, Denevan photographs fishermen and their families, integrating expressive gestures of form with the natural environment. Denevan was born in San Francisco. Scott Nichols Gallery in San Francisco, Tao Evolution in Hong Kong, and Capital Culture in London represent her work.

Robin Denevan

This latest body of work, Works on Steel, is based on sketches from my flights above the Amazon basin. I use steel sheets so that I can work on a smooth and consistent surface. The sheets are sanded, sometimes primed and submerged in several gallons of mineral spirits. I pour oil paint into the solution and mix it until it is cloudy. Over the period of several days the particles of oil color precipitate and leave sediment on the steel surface. After the oil has completely separated from the mineral spirits I repeat the process with another color. I will sometimes sand or manipulate the surface after the bath. This painting is sealed with a protective finish and mounted on a magnetic substrate.


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Daniel Diaz-Tai

San Francisco resident Daniel Diaz Tai has a BFA in graphic design and MFA in (non-figurative) painting from the Academy of Art University. Diaz-Tai’s work can be found throughout the United States, Europe, South America and Asia. Diaz-Tai says, “A continuous dialogue between subconscious writing and spontaneous movement manifested through non-representational images inspires my artwork. My multicultural background as a male Asian-Latino growing up in Venezuela, China and the United States has had a significant influence in my creative development. Although I grew up moving around between Venezuela, Shanghai, Jakarta, Hong Kong and the United States, I identify with Latino customs and traditions. However my multicultural background can be easily perceived in the expressions of my art. My primary intention is for the viewer to relate to the movement of my writing, I accomplish this by creating my own script allowing the viewer to interpret the writing by reading its fluidity.”


Peter Dimick’s paintings are part of an ongoing search for imbalance. He is inspired by random events and imagery from film and print. He overlaps his own sketches with layers of paint as he searches for the perfect imperfect stage of the painting. Deconstruction and rebirth play a large role in his work. He destroys and reworks the colors, shapes and materials themselves. He piles drawings on top of each other and finds new images among the disorder. He cuts finished paintings into pieces and sews them back together and paints with anything from knives to the back of his fingers. On a daily basis he is challenged by the lack of guidelines in art and enjoys discovering new ways to approach his painting; whether he starts with a drawing, a blank canvas or pieces of canvas sewn together. His differing approaches are evident in his wide variety of styles from abstract to realism. He was born in Berlin, VT and attended the University of Vermont as a studio art major. He currently lives in San Francisco but has lived and sold work in Miami, Seattle, Chicago and New York.


Born in San Francisco, Patrick Dintino grew up during the transition of the Bay Area from orchards and open fields to the business parks of a booming Silicon Valley. His paintings and collage reflect the blurred boundaries of this changing ideological landscape. The color pulsations and patterns of ephemera express the impact on our psyche of the multitude of images and persuasive influences of popular culture. Patrick says, “I want to translate an experience energetically. With blends of color and space I can identify a unique and timely ideal or desire in a visceral engagement.” His paintings explore the complex dance of environment and technology, and our inescapable connection with the information age. His col-

lages are junk mail and wrapping paper resined on panel, a repackaging of mass consumer materials into abstract motifs. Patrick resides in the East Bay and attended California College of Arts and Crafts in San Francisco and Oakland, where he currently teaches. He helped create Sol LeWitt: A Retrospective at SFMOMA, was a finalist for SFMOMA’s SECA award, and received the Pollock/ Krasner Foundation Grant. He has shown in museums nationally and in galleries and collections internationally.

FRANK DÖRING Born in and raised near Frankfurt, Germany, I received my post-secondary education in Germany (Freiburg and Berlin, MA) and in the United States (Princeton University, PhD). I subsequently worked for four years as a cognitive science researcher at the École Polytechnique in Paris, France, then for five years as a philosophy professor at Johns Hopkins University and the University of Cincinnati. During this time, I came to realize that my research interest in probabilistic epistemology didn’t sit particularly well with my obligations in the classroom. I decided to forsake academic fame and fortune for the vagaries of a freelance career in photography. My main subjects are landscape (urban as well as rural), architecture, and people.

Eszter and David

David Matheson & Eszter Marosszeky are a team in every way. They are fortunate to enjoy a diverse array of clients, from hotel/resort companies including Vicerory Hotels, SBE, Voyagers Resort and QT Hotels to major home wares companies such as Williams Sonoma Inc. and Pottery Barn, as well as editorial clients including Architectural Digest, In Style, and San Francisco magazine.


I work with the theme of boats and the spirits that use boats to journey through life. For me, a boat is symbolic of identity; it is made for one passenger and that person must find his or her way to access the light within. The boat also facilitates the journey, taking the individual’s spirit from one world to another. For the Art for AIDS auction I have chosen Bark, made of natural materials; paper, gauze, string and palm bark that serves to represent my series, Spirit Boats, a body of work to commemorate the life of my father.

Fong Fai

Fong Fai studied art in the New Asia College and the Hong Kong Academy of Art in Hong Kong. During one of his solo exhibition in 1974, he was voted as one of the six leading artists in Hong Kong. He owned an art gallery (Fong’s Art Gallery) and also taught at the Oriental Arts Institute in Hong Kong. His artworks were exhibited at many art galleries in Asia, Australia, and North America. Later, Fong Fai was invited to exhibit his paintings in Hawaii and San Francisco, where he fell in love with this beautiful country and decided to stay. Today his work continues

to appear in exhibitions the United States and Asia. His work is included in many public and private collections. Throughout the years, Fong Fai’s artwork has transformed from realistic to semi-abstract, to totally abstract and finally evolved to his own style. He thinks that art is a visual link between the artist and the viewer. “I like to paint abstract art, it is a reality that does not exist, a product of thought, momentary feelings, a poem, a melody . . . all that could be my inspiration to create. Artists’ works are often inseparable from their cultural background. I’m no different. Eastern influence constantly guides my path. With the touch of my brushes and the color palette, I attempt to capture on canvas that non-existent image.”

John Fitzsimmons

With my fine art photography I concentrate on capturing relics of our Industrial past—some rotten, rusted, and abandoned; others still in use but clearly left over from an earlier mechanical age; and others still majestically intact but not longer in use, like the three WW II cranes in this photograph. I also have these works uniquely framed with molding from old abandoned houses to emphasize the age of the items and scenes that are shown.

Kat Flyn

I am an assemblage artist. Instead of “found” objects I use “saved” objects in my work. These artifacts, often saved by someone their entire life, show aspects of our American cultural history, a history that many do not know. Often this shared history includes poverty, racism, inferior roles for women, war & child abuse. These Americana artifacts - an old used toy, a saltshaker or broken gun draw the viewer in to witness our contemporary culture’s subconscious prejudices.


Rebecca Fox lives and works in San Francisco and has been creating welded steel sculpture for over sixteen years. Her work has been exhibited at the SFMOMA Artists Gallery and was selected for ArtSpan’s Selections 2010. In 2009 she created a heart for the public art project Hearts in San Francisco and her heart was displayed in Union Square and Mission Creek Park. Her work has been featured on the national television shows Superscapes and Sugar Dome. Rebecca’s work has produced an extensive following of collectors, and her work is included in over 100 private collections throughout the United States.

Matthew Frederick

Matthew Frederick presents an unconventional and amusing spin on the genre of landscape painting. Inspired by his life amid Northern California’s scenic countryside, Frederick looks within the landscape to capture and exaggerate the whimsical shadows and shapes cast from surging hills, majestic oak trees and gaping valleys. His compositions are rendered with a resplendent color palette of generous applications of paint and undulating brushwork, lending to a compelling

a r t i s t emulation of the patterns and sensations inherent in nature. His work is shown in commercial galleries, universities, and public exhibitions on the East Coast, California, and Hawaii. He is included in many prominent collections around the world. Frederick currently works in his studio in the Mission District of San Francisco.

Susan Friedman

Susan Friedman is an award-winning documentary filmmaker and photographer, currently on the faculty at the University of California, Santa Cruz. Friedman has been a still photographer for many years and has had one-woman shows both nationally and internationally. Between 2007-2010, Friedman had shows of her new work at San Francisco Museum of Modern Art Café Museo, Spur Gallery in Portola Valley, SF MOMA Artist’s Gallery and IWOLK Gallery. Her still work is collected by the Museum of Modern Art in New York, the Oakland Museum, and the Bibliotheque Nationale in Paris. Susan currently works with mixed media and collage.

Kim Frohsin

thereafter I assumed care of Chrysalis Print Studio in SOMArts, where I teach printmaking classes and create my prints.

Sheila Ghidini

Ghidini was born in Connecticut. She attended Hartford Art School, University of Hartford and did graduate work at Cranbrook Academy of Art. She completed an MFA in sculpture at the University of California, Berkeley, receiving the Sylvan and Pam Coleman Memorial Fellowship. She was an artist-in residence at The Headlands Center for the Arts and The American Academy in Rome. She has received grants from the Wallace Alexander Gerbode Foundation, the Krasner-Pollack Foundation, the San Francisco Arts Commission, the Marcelle Labaudt Memorial Fund, Rockefeller Foundation and the Connecticut Commission on the Arts. She has taught art since 1974, most recently at University of California, Berkeley, California College of Arts, San Francisco State University and University of California Extensions.


I’m a painter/printmaker.

I enjoy capturing the spirit of nature with bright paint. I enjoy crafting color in my garden with spring bulbs. Together, painting and gardening allow me to experience the presence and fullness of springtime. “City Tulips” is an acrylic after glow of anticipation, bright blossoms—capturing clay cold color—creating joy, the essence of my San Francisco garden. Knife painting is mandatory for me, because my nature—my spirit—is imbedded in the swirls of thick paint, which will remain—as a moniker—long after the tulips and I have returned back to the soil.

Paul Gibson

Jesse Gottesman

Froshin created this work during a live figure/modeling session with one of the Bay Area’s most giving, strong amazing Muses, “Prudence”. Since this was made, Froshin has become a happy mother to a young son. This work is very “vital” in both the pose she took, and its verve and fluidity. It’s fitting for this auction in its overall emotive quality: to celebrate life by reaching out and upward!

Thomas Gardner

Paul’s style reveals the hidden life and energy of ordinary objects. He approaches the subjects of his work with imagination and a sense of rediscovery. Paul graduated from the Art Center College of Design and received his MFA from the National Academy of Design. His work has been featured in numerous group and solo exhibitions, including the National Building Museum in Washington, DC and solo shows at the Andrea Schwartz Gallery and American Institute of Architects.

Katie Gilmartin

My checkered past includes stints as a miserable graduate student, buoyant union organizer, fabulous faux drag queen, bona fide sex researcher, and deeply engaged college professor. I began printmaking at an early age, with delight in the simplicity and productivity of the potato stamp. In grade school I participated in the creation of my first mural, an outlandish dragon whose vast mouth was the entrance to the school library. Failing to recognize this as a cautionary premonition, I abandoned all such frivolousness and for over a decade taught cultural studies with an emphasis on the study of gender and sexuality. In 1998 I fell back in love with printmaking and interned with Debora Iyall. Soon

In my images the beauty of danger, of being immersed in, but not diminished by nature, is revealed by the intensity of color, the heft of shaped forms, and the play of line. These images are abstractions, which at times visually referenced with dark stormy seas and landscapes. Moreover, they are meant to evoke the emotion and spirituality I experience when standing before a storm—clarity, vibrancy, and sensitivity. The large scale of these works is made even more so since the image bleeds off the side edges allowing it to expand beyond the picture plane. This body of work consists of aquatint etchings in which the image is made by washing hydrochloric acid (Dutch mordant) against a copper plate. The image is printed on paper using handmixed inks made from raw pigments.

Sophia Green

“Personal: It Is About You It Is About Me” This work is from a series of definitional paintings. The series provides a framework and visual map for the consideration of abstract intellectual and emotional ideas with the paint medium imparting a subtext. Words and language are intrinsic to our cultural and individual psyche and possess fluidity of meaning. Words evolve, get co-opted, shift, and are nuanced by individual perspective. This work

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addresses the willing or unwilling erosion of the personal, and questions which meaning, if any, is absolute and what constitutes shared understanding.

Jane B. Grimm

Jane B. Grimm is a native San Francisco ceramic sculptor. She started her career as a jewelry designer and manufacturer in New York City. Her jewelry has been seen in Harper’s Bazaar and Vogue magazines and sold in department stores and boutiques in the United States and Europe. Upon returning to San Francisco, she received her MFA in Ceramics with High Distinction from CCAC, having studied with Viola Frey and Art Nelson. Her sculptures have been exhibited nationally and internationally in museums and galleries. Her commissions include those for Lucent, Neiman Marcus and Wachovia Bank.

Jylian Gustlin

Jylian Gustlin is a native Californian and grew up in the San Francisco Bay Area. The technology explosion of Silicon Valley has shaped her and her art reflects her in-depth knowledge of that technology. Gustlin uniquely combines the effects of modern technology with traditional techniques. Working with two-part epoxy resin, oil and acrylic paints, charcoal, wax, gold leaf, pastel and graphite on board, Gustlin draws, paints, and scratches on her surfaces. For the last several years, Jylian Gustlin has been working on a series of paintings, both abstract and representational, that are based on the Fibonacci mathematical theories. She continues to explore science and mathematics and how it intersects with the arts.

dk Haas

dk haas brings her drawings and photos to life with the combination of encaustic medium, carbon transfer, and paper or fabric. Inspired by the birds in her back yard, dk began drawing and photographing birds for this series in 2009 and has enthusiastically created hundreds of small pieces. Her work can be seen in San Francisco at Studio Gallery, City Art Gallery, Collage Gallery, and Open Studios in the Mission.

April Hankins

Loosely improvisational, my work is direct and unpredictable. I work on two or more paintings simultaneously. A color will come to mind and I’ll make a calligraphic mark. In response, the next stroke occurs to me. Contemplating what is already there I wait for the awareness of the next step. Brush strokes and color move the eye over the canvas like choreography. Very much like a dance I feel where the next step, the next mark should be. Insight can be rapid and exciting, other times requiring patience. I work until information no longer comes, the movement and the painting complete.

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Jeanne Hauser

Photography has been a passion of mine ever since my early 20s when I bought my first camera. I was first drawn to the medium as an art form when I began shooting in black and white and developing and printing my own photos. It is a magical experience to watch an image appear as if out of nowhere, looking the way I visualized the scene when I shot it, or maybe even better than that. When working in the darkroom or out shooting, I lose myself in the moment. I become totally mindful, blocking out the world around me, and completely focused on the image I’m trying to create. I resisted the digital revolution at first, but now shoot with a digital camera when traveling. I carry my Holga and shoot with film for black and white. I’m grateful to have the mixed perspectives gained from working with analog and digital photography and integrate both into the final output of my imagery. This image is part of a series of shots taken at the Shanghai antiques market, which is filled with thousands of vintage items, curios and knick knacks. These colorful ceramic figurines fascinated me and were the perfect subject for a series that at the outset seemed playful and fun, but with further contemplation evoked mixed emotions as to the dual realities of what they represent.

Olivia Harkness

My recent work embraces the beauty within sadness, as well as darkness that can be found in beauty and innocence. The characters I use are usually veiled in masks and lack color, creating a dark and shadowy energy. These figures are typically cast upon lively floral fabrics, wooden windows, pressprinted wallpapers, and other found materials associated with safety and purity. This contrast of imagery creates a subtle sense of duality I often feel in my own life and see in the world.

Philip Hua

Phillip Hua lives and works in San Francisco. His work has been exhibited locally and nationally at Cornell Museum of Art and History, Florida; California Museum of Photography; Coos Art Museum, OR; Marin Museum of Contemporary Art, CA; Los Angeles Center for Digital Art, Urban Institute for Contemporary Arts, MI; Center on Contemporary Art, WA; and Micaela Gallery and Hang Art Gallery, where he is represented. He teaches digital media at the Academy of Art University. Hua’s work explores the complicated relationship between the economy and the environment. His digitally-printed-meets-hand-painted images of nature are created through a process of printing and painting on segmented portions of individual financial newspaper stock market pages, after which he laboriously covers each individual page with packaging tape and assembles them to create a complete work. His process imitates the manufacturing and commoditization of nature, creating a product and packaging it up for consumption. Hua’s imagery is


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influenced by Chinese brush painting, depicting scenes of birds, fish, and trees as subjects. But his materials and process suggest a more subversive critique of the impact that commerce and manufacturing have on the fragile eco system.

David Hudak

Nine years ago, having just turned sixty, I began taking black and white photography courses at City College San Francisco to pursue a lifelong fascination with photography. Studying the zone system (including film testing, ISO determination, and plus and minus developments) as well as other advanced darkroom techniques, I pre-visualize each image after scanning each scene with a spot meter. I also use another technique called gamma infinity used in low light situations. It requires a very long development time. This years image is a gamma infinity. Experimenting with paper, developer and toner combinations, there is an array of possibilities available. It’s an adventure. There is no digital manipulation in any of my work, only film and darkroom.

Jennifer B. Hudson

Medic is a sensitive, intricate glimpse into human relationships during times of need and recovery, and a heartfelt exploration of sacrificial love. The work began wholly on one sentence whispered by my husband while we endured a deeply unsettling time together. He held my hand, lay close to me and said softly, “I just wish I could take the pain from your body and put it into mine.” I have been fortunate to know incredible love all my life, but at that moment I became suddenly and intensely aware of the magnificent power that exists between people who care for one another. When I was anxious and fighting to fall asleep each night I began to invent miracle machines: contraptions that heal, deliver hope, legacy and remedy and redemption. Each image from medic is a thoughtful invention, strange and tender, revealing facets of the delicate human heart. In ten isolated chambers we are witness to emotional happenings, exchanges, confrontations and life decisions. Medic is a dark and sentimental collection of stories about great tests in life, purpose and the most painful, but also the most glorious times to love.

Hilla Hueber

Born and raised in Germany, I lived in Munich most of my life before moving to San Francisco in 1997. I took up drawing and painting to stay grounded, find focus, and an outlet for my creativity. I began the series of colored pencil drawings as a study in seeing. I am constantly reminded of the beauty that surrounds us when I am walking on the beach or hiking in the hills on the Peninsula. I pick rocks, feathers, cones, leaves and pieces of wood, off the ground because of their interesting texture or shape. I group them, change the grouping until it feels right and I feel tempted to begin a drawing. Grouped together these items form little still lives, often quite delicate and unassuming. These small items lend


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themselves to being drawn realistically, which entails giving them the color they had when found. Using colored pencil has two advantages: It is always an exciting lesson in observing how the one color you want can be built up with many layers of different colors, creating a new color that will only exist in this little study.


David Humphrey is an artist, living and working in New York and is represented by the Fredericks Freiser Gallery in New York. Humphrey’s paintings are in several permanent collections, including the Metropolitan Museum of Art, New York, the Carnegie Institute, and the Museum of Fine Arts, Boston. Humphrey is also a celebrated art critic. He wrote a column for Art Issues from 1989–2002 and has also contributed to Art in America and Flash. In 2009, Periscope Press published Blind Handshake, an anthology of his writing on art. He is a Senior Critic at the Yale University School of Art.

Joe Illick

Joe Illick’s woodcuts first went on display in San Francisco during the summer and fall of 2005. Selections of the same were displayed at Herbst Hall in San Francisco City Center in conjunction with the City Arts and Lecture presentation on the American presidency in June 2007. In the winter of 2007/2008 the Presidential Woodcuts were displayed at the Institute for Governmental Studies, University of California, Berkeley. In November 2008, these woodcuts appeared in the library shared by San Jose State University and the City of San Jose. Illick says of Abe Lincoln: “Grew up in a cabin. Honest Abe did. Studied by firelight when he was a kid. Became a lawyer when he was a man. Elected president, the first Republican. Known for learning, wit, and truth. Killed at Ford’s Theater by John Wilkes Booth. These are facts but there is more: He presided over the Civil War. Though many men went to their graves, He saved the Union, and freed the slaves.”

Michelle Jader

I worked for nearly 10 years as a marketing consultant before following my heart and earning an MFA from the Academy of Art University. Originally from Minnesota, I’ve lived in San Francisco for over 6 years and work out of my studio in the Mission. I explore moments when we willingly and unwillingly dive into the next phase of our life. These transitions include the sense of falling, lack of control, and the feeling that anything is possible. To capture these feelings, I paint a series of images on semi-transparent, acrylic panels. Having different layers of images provide an exciting way for me to paint motion, change and our slightly-shielded vulnerability.

Martine Jardel

Jardel was born in Paris. She lived and worked in Yemen, Columbia, Burma, Canada and La Reunion before settling in San Francisco. She received a BFA from San Francisco Art Institute and an MFA from SFSU. “I have always been interested in the process of painting so I leave a large part to accidents and randomness. I use palette knives and rags: layering, dripping, and scratching paint to create surfaces that embody a sense of time. Often the first choice of a dominant color is a hint to a mood or an atmosphere. In this painting the soothing blue color is challenged by the fragmented horizon which seems lost into watery depths.”

Philippe Jestin

I produced this work with a reproduction plate of a portrait by Francois Clouet called “Head of a man” combined with resin. The overlaying drawing is cut out in the reproduction plate and then cut in a thick paperboard, these two are glued together and mounted on a wood panel. In the recess the cut out is then glued directly to the wood panel. The overlaying drawing is created like a shallow receptacle filled with colored translucent resin. Originally from France, Philippe has lived in Hayes Valley since 1995. He is currently with UGallery. He has produced works with wood, metal, paper, wire and charcoals. One common material to many of these works is the resin which is applied with different casting techniques, often born out of experimentation and necessity to bring forth the initial idea.

Eric Joyner

Eric grew up in California in the 1970s. Like many kids of that time, he enjoyed reading comics, playing sports, and making gunpowder . . . wait. Gunpowder? Oh, that’s right. This is the 1970s we’re talking about. Kids were doing all sorts of dangerous things back then, and nobody ever blinked an eye. After high school, Joyner attended the Academy of Art in San Francisco. Later, under the influential teaching of Francis Livingston, Kazuhiko Sano, Bill Sanchez, and Robert Hunt, he began to work professionally as an artist. It wasn’t until 2002 that Joyner realized something was missing from his paintings, that his lusciously rendered protagonists might need something to contend with . . . perhaps a nemesis. Shortly thereafter, which watching the movie “Pleasantville,” in which Jeff Daniels’ character paints a still life of donuts; Joyner’s ultimate vision took shape. With thoughts of donut inventor Wayne Thiebaud’s miraculous pastries always close at hand, it wasn’t difficult for Joyner to envision a battle scene of robots retreating from 300 foot-tall donuts. The rest, as they say, is history.

Michael Kenna

Michael Kenna is one of the most renowned and accomplished photographers working today. Born in 1953 in Widnes, Lancashire, England, Kenna spent seven years in seminary studies at Upholland College prior to pursuing a life of art

making. He began art studies at Banbury School of Art in Oxfordshire, and attended the London College of Printing, training to be a commercial photographer. Kenna followed his passion for his personal work and moved to the United States in the late 1970s. Major retrospectives of Kenna’s work were presented last year at the Moscow Museum of Modern Art, Moscow, Russia, and the Miyanomori Art Museum, Sapporo, Hokkaido, Japan, as well as in 2009 at the Bibliothèque Nationale de France, which then traveled to the Palazzo Magnani Museum in Reggio Emilia, Italy. Kenna’s prints are included in many public collections including the National Gallery of Art, Washington, DC; the San Francisco Museum of Modern Art; the Shanghai Art Museum; the Tokyo Metropolitan Museum of Photography; the Museum of Decorative Arts, Prague; and the Victoria and Albert Museum, London. Kenna currently lives and works in Seattle, WA. He has photographed for 40 years, and has more than 50 published books and monographs.

Michael Kerbow

My art xplores the way in which we engage with our surroundings and the possible consequences our actions have upon the world in which we live. Through my work I attempt to question the rationale of our choices, and try to reveal the dichotomy that may exist between what we desire and what we manifest. Recently my work has focused upon the mechanisms that power our society and examines how they may influence the construct for a possible future.

Byron B Kim

My work in sculpture and mixed media began during graduate studies in architecture to explore how different materials could mechanically be joined together. These studies began to develop into a kind of specialized language, a language in which the vocabulary and grammar was very much derived by my view of materials, how they should relate to each other and how they can communicate the particular issue or concept that is being considered. Currently, my work has been focused on the re-presenting of materials that are generally viewed as ordinary or undesirable to reveal an unexpected depth and/or beauty.

Mike Kimball

Mike Kimball is an artist in love with the city. He is best known for his paintings and prints of urban landscapes that seem to inhabit the worlds of both representation and abstraction simultaneously. The subjects of his artwork have been the urban environments of San Francisco, Los Angeles, New York, Tokyo and Osaka. “Whenever I look at the city, I end up seeing it in terms of patterns and textures and layered geometry. Its all in plain sight if you think to look for it.” says Kimball. His artwork focuses on the underlying geometric abstraction of the architecture and design found in the urban landscape, as well as the curious effect that time and chaos has on that geometric order as it moves towards disorder and entropy.

a r t i s t Kimball has exhibited his work both nationally and internationally. He is a member of the California Society of Printmakers and the Los Angeles Printmaking Society. He is also a twotime recipient of the Yozo Hamaguchi scholarship for printmaking excellence. In 2004, Kimball was an artist-in-residence at the KALA institute in Berkeley, CA. In 2005, Kimball was an artist-in-residence at the Centrum Franz Masereel studios in Kasterlee, Belgium, where he auditioned a series of six serigraph prints. Kimball lives and works nearby in his painting studio in the South of Market area of San Francisco. Before coming to California, he lived for many years in Albuquerque, NM, where his art was influenced by the region’s high desert landscape and luminous blue skies.

Myles Kleinfeld

Myles Kleinfeld attended the Rochester Institute of Technology, School of Photographic Arts and Sciences, where he studied with such noted photographers as Walker Evans and Bea Nettles. He moved to San Francisco after being recruited as a producer of graphics and production in film and television. The curators of the Guggenheim Museum, San Francisco Museum of Modern Art, Queens Museum of Art, Sacramento Crocker Museum, San Jose Museum of Art, Fresno Museum of Art, and others have accepted Kleinfeld into juried shows. His work is based on having the viewer experience his art without the distractions of theme and other elements of traditional photography. The literal presence of his work is not intended to symbolize anything.

Lisa Knoop

My work investigates themes of inheritance within society, nature, the family and the self. Of particular interest to me is how experience and time act upon each of us to make us who we are, each addition and subtraction making up the whole. Working in various media—painting, drawing, photography, and mixed media—I explore and re-present artifacts of this journey. inheritance noun 1. a: the act of inheriting property; b: the reception of genetic qualities by transmission from parent to offspring; c: the acquisition of a possession, condition, or trait from past generations 2. something that is or may be inherited 3. a: tradition; b: a valuable possession that is a common heritage from nature 4. obsolete : possession

John Kraft

Artist John Kraft was born in Los Angeles in 1967. Apple selected John as a Featured Artist and his art has been included in Better Homes and Gardens, The Artful Home and Modern Painters. His art has received coverage by the San Francisco Chronicle, Los Angeles Times and MacWorld UK. Shelley Esaak of profiled John as an “Artist You Should Know.” He is also a member of CITY ART Gallery in San Francisco.

John was a participating artist in Heroes & Hearts 2010. John’s heart was sponsored by the Stanley S. Langendorf Foundation and later purchased by San Francisco mayoral candidate, Joanna Rees. All proceeds went to the San Francisco General Hospital Foundation.

Katy Kuhn

My art isn’t about reproducing what I see in the world, but rather bringing spontaneity, energy and authenticity to each painting, for that work to have a life of its own. I am a fourth generation Californian and have lived in the San Francisco Bay Area most of my life. I am drawn to the rugged and colorful landscapes I grew up with. My work often reflects water, rocks, earth and movement. I see the world in beautiful yet ambiguous terms and try to capture through texture, mark-making, and vague references to things concrete and/or experiential.


Kristin Grahn Kyono is a San Francisco artist who specializes in mixed media painting and printmaking. Kyono’s work has appeared in group exhibitions at San Jose Institute of Contemporary Art, O’Hanlon Center for the Arts, SomArts Gallery, 111 Minna, and California Modern Gallery. In 2007, Kyono received a Juror’s Choice award at ArtSpan’s Spring Benefit Show. Kyono earned an MFA from Academy of Art University in San Francisco and a BA in Studio Art and Sociology from Whitman College in state of Washington. In addition to painting, Kyono also works as an educator at the Contemporary Jewish Museum in San Francisco.


Belgian artist Marc Lambrechts’ first solo exhibition in the United States, at Tibor De Nagy in New York City, introduced compelling and energizing possibilities for abstraction in the 90s. Lambrechts infuses his work with the energy of expressionist gesture; lines veer off in every direction and create asymmetrical patterns, like a city that has outgrown its orderly model and is bursting with new, unpredictable life. Exhibitions include The Aldrich Museum of Contemporary Art, New York, Campo and Campo, Belgium. Tibor De Nagy Gallery, New York, and, ArtHaus, San Francisco.

Carol Ladewig

Carol Ladewig received a BA from the University of California, Berkeley, and her MFA from the California College of Arts, where she received a 1991 Barclay Simpson Award and Exhibition. Her work has been exhibited at the Lucy Berman Gallery, Kala Art Center, Berkeley Art Center, Museum of Los Gatos, Ute Stebich Gallery, and BGH Gallery, and is currently represented by Slate Contemporary. Ladewig’s work is held in public and private collections in the United States and Europe, including the Packard Foundation, SAP America, and Alameda County. She has been an instructor in Diablo Valley College’s Art Department since 2001.

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Diana Lee

Diana Lee was the winner of Best In Show Gold in the Masters division, and was also awarded People’s Choice, at the 2013 International Society of Scratchboard Artists show in Vancouver, Canada. In March 2009, Diana joined a select group of featured artists, including Claybord inventor Charles Ewing, in an international show of scratchboard art in Indianapolis. Sponsored by Ampersand, the company that manufactures scratchboard, the Indianapolis show was one of the first ever to focus specifically on the scratchboard medium. In March 2010, Lee was featured in an issue of The Artist’s Magazine. The International Society of Scratchboard Artists in 2011 selected Lee as one of only nine scratchboard artists in the world to have the title Master Scratchboard Artist.Lee has produced commissioned illustrations for magazines and books. Lee says, “My works are not photographs, they are scratchboard art. Scratchboard art is a form of direct etching using a sharp, pointed tool to scratch out an image. Most of my scratchboard artwork can take well over 100 hours of scratching to be completed. Scratchboard gives me the ability to create amazing detail and, when combined with color, it creates a spectacular effect.”

Katja Leibenath

Leibenath is an artist who lives and works in San Francisco. She works in oil, photography and mixed media. Born and raised in Germany, she moved to the Bay Area in 2001.

Hap Leonard

We are intimate with our couches; we associate them with rest and healing. These are their last moments, unclouded by coffee tables or living room sets; the couches stand alone, showing their unique style and personality. Each one has its own story with only hours left to tell the tale before the city trucks come and turn them into matchsticks, tick tock. A few years ago I saw a couch in Dolores Park and took a photo with my phone. As I thought about the couch in the middle of the park and the people that carried it there I started reflecting on what stories that couch could tell. Soon after I began to notice the other, previously invisible, couches strewn about the city. As a backdrop, San Francisco fills in the blanks of each story and offers its own flavor.

Reddy Lieb

For many years, I have been working with recycled glass to create conceptual and functional art. I continue to use these materials in creating installations. I was awarded a residency at the Sanitary Fill Company, where I created pieces based on the theme “Demeter’s Dilemma,” mythological interpretations of our wasteful consumer society and the necessity of bringing Demeter’s feminine consciousness into the world. I received my MFA from the California College of the Arts in San Francisco, in 2004.

   Art for AIDS 2013

Hung Liu

The piece being auctioned was part of the exhibition Summoning Ghosts: The Art of Hung Liu (Oakland Museum of Art, March 16–June 30, 2013)—the first comprehensive survey of the artwork of Hung Liu—one of the most prominent Chinese painters working in the United States today. Featuring approximately 80 paintings, as well as personal ephemera such as photographs, sketch books, and informal painting studies from private and public collections around the world, the exhibition celebrated Liu’s career accomplishments and included work completed in China before she arrived in the U.S. Born in Changchun, China, in 1948, a year before the creation of the People’s Republic of China, Liu lived through Maoist China and the Cultural Revolution. Trained as a social realist painter and muralist, she came to the United States in 1984 to attend the University of California, San Diego, where she received her MFA. One of the first people from mainland China to study abroad and pursue an art career, she moved to Northern California to become a faculty member at Mills College in 1990, and has continued to live and work in the Bay Area. She has exhibited internationally at premier museums and galleries, and her work resides in prestigious private and institutional collections around the world. Hung Liu lives in Oakland and is a tenured professor in the Art Department at Mills College.

Leslie Lowinger

Leslie Lowinger was born in New Orleans, grew up in Detroit, lived in New York for 15 years, and San Francisco for the last twelve. Her work has been shown at: Dolby Chadwick Gallery in San Francisco, Foundation 3.14 in Norway and Fashion Moda, New York. She has received an NYSCA Independent Artist’s Grant and is the collection of the DIA Foundation. She is a member of Graphic Arts Workshop a printmaking cooperative in San Francisco and is currently on the board of directors of ArtSpan which organizes the citywide open studios. She said, “My etchings often examine cities and people in cities. These are generally places I have lived including New York, Germany, and San Francisco. Ruysdael, Jaques Callot, other artists of the 18th Century, and Japanese prints, among other things, have influenced my work greatly. To collect information for my prints I make drawings on the street and in public places such as hotels.”

Derek Lynch

My work focuses on dissecting and rearranging forms derived from the architecture of San Francisco to create new perspectives on our environment. The outcome can be whimsical and yet it offers a serious sociopolitical commentary on the changes to our urban landscape. My perception of reality and how I interpret it was shaped by the implications of the housing scandals of the last decade. I am attempting to combine these observations to create a compilation of connective awareness.


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a r t i s t

In 2006, I began working with polymers submersed in ink, pencil markers, acrylic paint, and archival pigment. My use of these materials has become a prominent feature of these works. I attended the School of the Visual Arts in New York City in the early 80’s with artists such as Keith Haring and Kenny Scharf. As a musician, my band played at CBGB’s in 1986 & 87 at the Christmas special as the ’Special Guests’, and after the performance in 1987 we performed live on WFMU radio. My film debut was at the Castro Theater in San Francisco, BAM in Berkeley, CA, and The Kitchen in New York City in 2000.

Catherine Mackey

My work is about the urban experience and the old industrial structures which can be found on the outskirts of cities—places where things get made, stored, and distributed: factories, steelworks, dockyards, and warehouses. The architectural style employed in these buildings is utilitarian and shuns the decoration of civic and commercial structures. This interest has led me to look at the waterfront structures which can be found around San Francisco and New York. In this work I play with the contrast between the brutality of the architecture and the softness of the water in which it is reflected. In “Evening at the Ramp #1” the evening sun hits the side of a large ship which sits in dry dock on the East side of San Francisco. The stillness of the water makes it difficult to discern the line between solid and reflection. Warm Orange wraps around a disused, ramshackle pier throwing it into silhouette. The reflections at the bottom of the painting tell us about the ship’s funnels which lie outside the picture plane.

Sanda Manuila

Very early in my life I realized that I had the perspective of an outsider. Because I was born in a Romanian family in Geneva, Switzerland, the eccentric tendencies of my parents often clashed with the principles of the Calvinist society we lived in. My friends called me “Paprika Feet.” Later on in California, while working on my MA in contemporary Latin American fiction, I experienced instant recognition. I was reading novels that were describing what I had been observing for years: magic realism. Raised in a Cartesian society where only a pragmatic attitude was acceptable, I succumbed to the irrationality of the reality described by Latin American writers. Since then, I have been concerned with the disparate interpretations of a reality, which displays the paradox of two conflicting perspectives, one based on a rational view of reality and the other on the acceptance of the unusual as prosaic reality. The distant past is present in every moment and the future has already happened. In order to represent the connection between reality and illusion, I use my emotions and thoughts to construct meaning, applying oil paint and glazes layer after layer. By adding multiple impressions of light, I create inner landscapes from which exude a metaphorical quality.


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Jesus Marez

She [Olympics gold medalist, Gabby Douglas] had the strength of steel and the flight of a gazelle. Her poise, as well as that of rest of the ’Fab Five’ were an electrifying spectacle. After some tumbles and almost bone crunching falls off the beam they made every bit of this an unexpected favorite among the Olympics events.

Michael Markowitz

California artist, Michael Markowitz, has been drawing and teaching since the early 1990s. His approach to the creative process is “. . . opening up to the moment so it has the power to transform you. The whole value of art is to learn and engage in the process.” San Francisco artist and teacher Michael Markowitz is immersed in the world of the figure. For nearly 20 years he has run one of the largest private figure drawing studios in the Bay Area, 23rd Street Studio. Michael is much more concerned with the process of making the pieces than he is with displaying his work—which makes this opportunity to purchase a piece quite unique.

Jose Maro Alvarado

I am an artist working in San Francisco and living in Sonoma County. I do sculpture, drawing, painting and lithography. I was born in Texas and I come from a migrant farmworker background. I graduated from University of California, Santa Barbara with a degree in Fine Arts with an emphasis in Painting and Printmaking and received a teaching credential from CSU San Francisco. I have been doing gum arabic paintings on aluminum and lithographic ink. The meaning of the work has many levels but the most obvious is renewal, transformation, something dying to be born again; the cycle of life, both physically and symbolically.

She is represented by Hang Gallery and SFMOMA Artists Gallery in San Francisco. Interests in nature, mathematics, cosmology and the wonders of outer space are what motivate her work.

Kristine Mays

A native San Franciscan, Mays has developed a way of expressing human form with hundreds of pieces of wire. Her sculptures become something familiar both physically and emotionally as the human form emerges. In creating garments out of wire, the essence of the person wearing the garment as the invisible occupant is revealed among the sculpted folds and shapes. Mays has exhibited all over the San Francisco Bay Area and Northern California during the past 15 years. With an eclectic group of collectors, her work hangs in many Bay Area homes and numerous private collections throughout the United States.


Mazzetti has been a visual artist all his life—beginning with Graphic Design, then Illustration, and exhibiting his fine art since 1996. A native Californian, his most recent paintings reflect his knowledge and love of the land he knows best. Manzzetti says, “Making an image of something is a deeply satisfying way to know and appreciate it. Re-presenting the forms, textures and colors of the surrounding scenery I pass through regularly has led to a renewed perception of it. Seeing it from a new perspective, I am challenged to recreate that image as a good painting. For me, that means one that is true to its subject, unique in its making, and meaningful to both the artist and the viewer. A personal experience becomes universal, and everyone sees something in a new way.”

Michael McConnell

Kay Marshall’s work is very much driven by the process of painting, printing and collage. It reflects her interest in memory, impermanence, and the relationship between order and chaos. She has an extensive exhibition history including exhibitions at 199 Fremont Street, San Francisco, Berkeley Art Center, Marin MOCA and Branch Gallery, Oakland. Purchase awards include those from the Alameda County Arts Commission and Shippensburg University, Shippensburg, PA. In 2009, she received a Vermont Studio Center residency grant. Her work is in private collections in the United States and Europe. She received her BS in Art from the University of Wisconsin, Madison.

Michael McConnell was born in Michigan and studied art at the Columbus College of Art and Design, focusing in printmaking. He creates visual narratives that examine loneliness, responsibility, and choice. In his work the innocence and vulnerability of children and animals is constrained. The stories unfold in the space between memory and nostalgia, and focus on the tension between youth and maturity. In the sculptures, composed of discarded stuffed animals sewn over taxidermy forms, he observes how childhood and adulthood circle one another. Michael is represented by Braunstein/ Quay Gallery in San Francisco, and has shown nationally in Nashville, Santa Fe, and New York City to name a few.

Liz Maxwell

Rocky McCorkle

Kay Marshall

After earning a BS from University of California, Berkeley, Liz Maxwell studied art in summer sessions and weekend classes at California College of Arts and Crafts. She has been painting for 35 years, and has been a (nearly) full-time artist since retiring from two previous careers. She has been involved with ProArts in Oakland for over 30 years. Her work has been shown in many exhibitions in the Bay Area and across the country.

McCorkle is an internationally exhibited photographer who currently has work on display at Yerba Buena Center for the Arts in San Francisco as well as at the Digital International Photography Exhibition in San Diego, where he won the Award of Excellence. He won first place in Photographer’s Forum College Annual, published in the summer 2006/ May issue. He was recently inducted into

Nikon’s Emerging Photographers Hall of Fame and currently has work on display at the Carnegie Museum in Kentucky.

Frances McCormack

Frances McCormack is Chair of the Painting Department at the San Francisco Art Institute. Her work grows out of influences—including Diebenkorn, Matisse, and Charles Burchfield—involving visual form and its capacity to carry meaning. Her paintings and prints have been in numerous solo and group shows. She has researched the history of desert and walled gardens of the Near East and their associations with the idea of Paradise, worked in Rome at the American Academy, and in Spain at the Alhambra. The Elins Eagles-Smith Gallery, San Francisco and the R.B. Stevenson Gallery, La Jolla represent her.

Heidi McDowell

Rooted in the tradition of landscape painting, my work explores our contemporary relationship to the landscape and how digital media and car culture shapes it. Due to the quick, cheap and easy nature of digital cameras, we have the ability to collect and store large numbers of images with little incentive to edit. This work continues my investigation of light in the landscape as seen through the lens of a camera. I incorporate digital artifacts, dust on the sensor, reflections in the car window and other “aberrations” found in photographic source material into my paintings, to celebrate the way in which these otherwise unwanted mistakes highlight the colors and textures of the natural world. In fact, they cause me to look again at moments in the landscape that might otherwise be forgotten. Arrested motion and surprising color in the photo reference allow me to be highly specific about light conditions in the paintings. Rendered realistically, they provide a familiar frame of reference from which to view unfamiliar things. My aim, however, is not solely to reproduce a photograph. Oil painting has its own “artifacts” and unpredictable process related effects that bring more life to the image. Rough painterly marks are often enough to indicate detail, and each medium mixed with the paint adds its own unique texture to the painting’s surface. Combined, the digital and painterly effects clarify and enhance the experience of seeing, allowing us to slow down and take a longer look.

John Melvin

My paintings generally depict scenes of people living in and enjoying San Francisco. My family is the most important part of my life so I am drawn to scenes of children and parents. I have twin grandsons so I use them as subjects for many of my works. Finally, I am very fond of the movement of paint on a canvas—so much so that sometimes the scene in my painting merely becomes a medium for laying down paint.

a r t i s t Kenny Mencher

Citing literature, television, film, and stage drama, as major influences on his work, Mencher’s objective is to present a figurative composition divorced from its context that forces viewers to create their own interpretation of the narrative. By combining calligraphic gestural brushstrokes with passages of tight traditional glazing techniques, Mencher’s work explores the thread of human connection that is woven into our experiences. Collaged from posed photographs and pop culture, Mencher’s paintings are frozen moments in a play. The figures in his paintings are character actors caught up in the action.

Erika Meriaux

Erika Meriaux is a self-taught French artist. She spent her childhood moving often and discovering foreign countries where she could be exposed to cosmopolitan life. She started painting at 22 and human representation is a central focus in her work. Before leaving France she participated in various group and solo shows, as well as studying psychology for two years. In 2000, she moved with her family to the Bay Area and since then has participated in various shows in San Mateo, Palo Alto, Burlingame, Carmel, Berkeley, Oakland, and San Francisco where her studio is located. She is a figurative painter, using oil on canvas, and her current body of work is contemporary reinterpretation of Greek myths. Pamela Merory Dernham My inspiration has always been the human figure; to probe the subtleties of our relationships to each other. I continue to evolve in the direction of abstraction as I play the forms of the body against each other to suggest physical and psychological tensions. My work has been extensively exhibited in the Bay Area, including a solo show at the di Rosa Preserve and group exhibits at CCA, San Jose Institute of Contemporary Art and the Bedford Gallery in Walnut Creek. It is in the collections of Rene di Rosa, Gillian Anderson, Bob Wilkinson, Robin Lail and Tom Peters.

Carolyn Meyer

Carolyn Meyer is inspired by her daily navigation through Bay Area traffic during her commute to work each morning. She is not concerned with realism, but rather with conveying the emotional rush she experiences watching morning light rise over modern expanse of the bay. Her toothsome paint application reveals her commitment to the combination of traditional techniques with modern subject matter, painting cityscapes and roadways in the thick impasto of the old masters.

Marcia Middleton

The potencies of nature, especially environments invisible to the naked eye, fascinate me. These colorful, abstract paintings explore the evocative energy of the swimming microscopic world locked in a drop of water.

Wendy L. Miller

I began painting in 1996. My background is in fashion and costume design, theatre, dance and interior design. I have taken

extension classes in painting at the San Francisco Art Institute and City College of San Francisco, but I am primarily self-taught. Most of my work has been imaginary landscapes. These are informed by my childhood in Michigan, travels in the West, summers in Maine and more than thirty years living in Northern California. Since each piece is an archetype and not a specific place the viewer is able to invest it with their own memories. My materials, texture, found objects and images also influence me. I have painted on found and abandoned books and done a series of portraits based on found photographs. I love exploring the emotional resonance of color, or lack thereof.

Beverly Mills

My series “Haunted Sanctuaries” focuses on the secrets that are kept in the very places meant to protect us. We have seen the damage caused by secrets in the home, churches and schools. We must risk our own comfort and speak out. I’ve chosen black and white collage as the expression. I like the starkness of this palette contrasted with the sinuous, toxic world of secrets.

Leslie Morgan

I retired from the field of Psychology and re-entered the Art World after moving from Key West to San Francisco. Photography has always been my favorite medium but in an attempt to salvage some old family photos I began painting on them. Using this old art form, I have transformed it into my own unique hybrid. I have also been obsessed with water after moving from Keys and joining a Synchronized Swimming team. Almost all of my pieces have something to do with water and eco-art related to the preservation of our waters.

Kevin P. Mosely

I prefer to put my work together on window sashes, because there’s an easily missed narrative in old woodframed windows. People observed their environments through these windows, while their environments observed them through the outside of the glass. Having been looked through from both sides, these windows have their own stories to tell. My work is about making new narratives and creating the beginning of a window’s new history. Light is essential to the process and product of my work; light helps break through the rigidity imposed by my use geometric shapes. I use layers of reflective materials that add to and alter the light already reflecting from the glass. The pieces are, put simply, a series of layers: pattern, shine, reflection and color, all intended to draw viewers closer, to examine, and to see themselves reflected in and from the work.


“Magical light is the most important thing that I use when creating my black & white and color photographs, photoetchings and photogravures. Light gives my images life and spirit. I strive to capture a moment of indescribable beauty and

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magic that exists within us.” Ron Moultrie Saunders is a San Francisco-based photographer, landscape architect and teacher who has been creating cameraless photographs since 1998. Saunders has been an artist in residence at Kala Art Institute in Berkeley, CA, since 2008, and is the recipient of a commission from the San Francisco Public Library for its Bay View Branch (installed in 2012). His work is held in private collections in the United States, Canada, and Europe. 

Youssef Nabil

Nabil was born in 1972 in Cairo and currently lives and works in New York. He observes his life as if he were in a cinema, witnessing every minute of his own movie. In so doing, he has created an imaginary reality that reflects the fantasies and flamboyance of Egyptian movie stars in the cosmopolitan pre-revolutionary years in Cairo. Nabil’s distinctive technique of hand-colouring silver gelatin photographs removes the blemishes of reality and recalls the heyday of Egyptian film. Nabil disrupts prevalent notions of colour photography and painting, as well as assumptions about the type of aesthetics associated with art and those identified with popular culture. His particular medium evokes a sense of longing and nostalgia and allows his photographs to flicker between our time and another era. Nabil’s work has been presented on numerous solo and group exhibitions at venues including the British Museum, London; Centro de la Imagen, Mexico City; North Carolina Museum of Art, North Carolina; BALTIC Centre for Contemporary Art, Newcastle; Museum of Photography; Thessaloniki, Mathaf Arab Museum of Modern Art; Doha, Nathalie Obadia Gallery, Paris; Galeria Leme, São Paulo; FotoFest Houston, Texas; Centre de Cultura Contemporánea de Barcelona; Institut du Monde Arabe, Paris; Kunstmuseum, Bonn; The Third Line Gallery, Dubai; Galerist, Istanbul; Centro Andaluz de Arte Contemporáneo, Sevilla; Aperture Foundation, New York and La Maison Européenne de la Photographie in Paris.

Sonja Navin

Navin studied architecture at the University of Michigan and received both her undergraduate and graduate degree there. Since then, she has moved to San Francisco, where she has had both solo and group exhibitions of her artwork all over the city. Navin says, “My work strives to capture a point in time, that when manipulated through the process of paint, reveals an instant that would have passed unnoticed. It is somewhere between representation and abstraction that an image expresses what I cannot with words. “I started painting as a way to record and study places. This evolved naturally from my work as an architect. Eventually, the figure found it’s way into my painting. My paintings are personal narratives or visual diaries. I can communicate in a language of my own making.”

   Art for AIDS 2013

Kelly Nicolaisen

Kelly Nicolaisen crosses boundaries as she composes the world into a colorful still life. Her style playfully blurs the line between portrait and landscape and the figures she photographs become characters in the fantasy of their surroundings. Her bold hues and attention to space make for striking compositions that turn everyday life into a surreal experience. Captivated by the strangeness of reality she is inspired to perpetuate humor with her camera in her own voice. Kelly Nicolaisen lives in San Francisco where many of her works are created, drawing on the city as a vast wealth of inspiration. She received a BA from the Academy of Art University in San Francisco. She also holds an associates degree in marketing and advertising.


There’s an energetic match that’s unique to every photographer and his or her work. Because most of my images are fleeting moments of life, they are a certain testament, or reflection of my attitude on life, a pathway to my beliefs, often with the people and places that make it worth living. Since childhood, my favorite toys have often been electronic devices and I’m finding a new level of curiosity and excitement in merging some of my images with the tools made available through these devices. I’ve been a resident of San Francisco since 1995 and have remained fascinated by the diversity in our ever-changing city.

Annie O’Dorisio

From a space of illusion, sculptural and architectural overtones appear, beginning a dimensional departure. The imagined shapes become something real with the addition of wool to pen and ink drawings. The shapes and patterns end up being quite masculine. The wool serves as a way to add sculptural dimension as well as being a vehicle of warmth. Through this method, I have created a language between the two mediums that is formal yet natural. I establish an unfamiliar relationship between form and materials in an unknown space by suggesting a shape that previously only existed as a thought held in anticipation.

David Ohlerking

David Ohlerking was born in Omaha, NE. He moved to various different countries in his childhood and spent a large portion of his life in the Philippians, where he went to elementary school. In the Philippians, Ohlerking saw elements of Chinese artwork, which helped shaped his art today. “I try to create characatures out of little marks in my paintings. Trees and windows always have the same appearance and shape. I try to follow some Chinese art rules,” Ohlerking said. Philadelphia is the city where Ohlerking began his painting career, and it remains Ohlerking’s favorite city today.


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a r t i s t

Diane Olivier

“My love for drawing began in childhood and I’ve been at it ever since. I did some painting but quickly returned to the dance on paper, which is my first love. I work in all drawing materials, traditional and non-traditional, with a special emphasis on pastels. The drawings can vary in size from ten feet to as small as four inches. My work can be divided into landscapes, figures and books (sketchbooks and transformed books).” Diane got her MFA at University of California Berkeley. She currently teaches at City College of San Francisco, and her most recent exhibitions were a solo show at the Dorothy Weiss Gallery in San Francisco and a group exhibition at the Brooklyn Museum in New York.

Mustafa Önder

Mustafa Önder was born and raised in Istanbul, Turkey. In 1995, he earned a BFA degree in Photography from Mimar Sinan Fine Arts University in Istanbul. He worked for several years as the photo editor for a leading Turkish publication before transitioning to freelance photography in 2000. Mustafa’s work has been showcased in numerous Turkish and international publications. Mustafa’s fine art photography has been featured in solo exhibitions, group shows, as well as auctions in New York, Istanbul, San Francisco, London, Beijing, Geneva and other international cities. Many of his images and photographic series have received awards in international photo competitions, including the IPA (International Photography Awards), Renaissance Photography Prize and Px3 (Prix De La Photographie Paris). Mustafa currently lives in Brooklyn, NY.

Charli Ornett

My work explores the tension between the definite and the amorphous; that place where a hard edge or line meets the soft and yielding. In both art and life I think this border between land and sky, sleeping and waking, curiosity and certainty, is where we are most alive and can see most clearly. Working with molten wax and pigment, I build up layers and textures then scrape the cooled paint back to reveal the hidden history of place and form. By layering translucent tints over opaque my process draws the gaze into the depths of the painting, allowing it to become a window to an inner landscape.

Monique Passicot

Monique Passicot was born in Buenos Aires, Argentina and received her Diplome de Francais Superieur at the Alliance Francaise in Paris, France. She currently lives and works in San Francisco. She is a member of the National Association of Women Artists and Signature Member of the Colored Pencil Society of America. She has received numerous awards for her work and had many exhibitions, including recently a solo show at the Solomon Dubnick Gallery.


S t a t e m e n t s


Daniel Phill was born in Tacoma, Washington, earned a BFA degree at the San Francisco Art Institut,e and completed his MFA at Stanford University. The artist works with acrylic and mixed media on canvas and on paper. Many of his abstract paintings have naturally evolved into allusive representations of botanical imagery. Daniel Phill lives and works in San Francisco. Exhibitions of his paintings have been held at: Woodside/Braseth Gallery; Foster/White Gallery; John Pence Gallery; Berkeley Art Center; Bradford Campbell Gallery; Smith Andersen Editions; Eleonore Austerer Gallery; San Diego Museum of Art; SFMOMA Artists Gallery; George Billis Gallery; Karan Ruhlen Gallery; Studio Shop Gallery; Marie Park Fine Art; Ramey Fine Art; William Havu Gallery, as well as other venues. His paintings have been reviewed or published in: ARTnews Magazine; Art in America Magazine; New York Sun; California Home+Design Magazine; New Yorker; Los Angeles Times; Art & Antiques Magazine; Who’s Who in the West; and Artweek, among others. His work is in public and private collections, such as: Fine Arts Museums of San Francisco; Haggerty Museum of Art, Milwaukee, WI; de Saisset Museum, Santa Clara, CA; Tucson Museum of Art; Citigroup; Clear Channel; Ernst & Young; First USA Bank; GTE; Kimberly Clark Inc.; Nordstrom; Pfizer Inc.; Sharper Image; Sprint; Stanford University; and US Department of State.

Matt Pipes

My current work deals with the cycle of creation and decay. Each painting is painted over layers of underpainting, dissolved in solvent washes and separated by layers of clear resin. As each layer is covered over a memory of it still transmits, (although sometimes just barely) to the final layer. These images for me speak to the longing for substance and permanence even with the knowledge that everything is temporary. This struggle to want to hold on, while having to let go has been a constant struggle in my life path, and this process is in part a meditation and attempt to find meaning and peace within the chaos.

Ferris Plock

Ferris Plock is a San Francisco-based artist who lives within the city with his wife, Kelly Tunstall (Plock’s partner in the artistic duo KeFe), and two children. Plock brings a dedicated focus to his work that is paired with a wild sense of originality. Through a variety of mediums including acrylic, watercolor, spray paint, India ink, gold or silver leaf, and collage Plock creates highly detailed works, often character-based paintings on wood panel, that combine contemporary pop culture with the aesthetic of Japanese ukiyo-e woodblocks. Widely accomplished and with a diverse range of artistic interests, Plock has created illustrations for many high-profile clients, has been involved in solo and group exhibitions both nationally and abroad. Plock shows at the Shooting Gallery and White Walls Gallery among others.

Silvia Poloto

Brazilian-born Silvia Poloto works in a range of visual disciplines. She is known for her lively abstract canvases and mixed-media sculptures. Recognized for her dynamic compositions and color sensibility, Poloto exploits a vibrant visual vocabulary of boldness and subtlety. Her work has been exhibited throughout the United States and abroad, including United Arab Emirates, France, Spain, Jordania, Italy, Romania, Croatia, Bulgaria, Turkey, Greece and China. In the Bay Area, her work has been featured in exhibitions at the Yerba Buena Center for the Arts, the Italian American Museum, and the DeYoung Museum, where she was an artist-in-residence. Poloto’s work appears in more than 80 institutional and corporate collections and more than 900 private collections around the world.

Mark Powers

A lifelong artist working with ink on paper, in 2012 I began working with stone slabs and variously shaped soapstone. My works are mostly non-representational, evolving from automatism toward some form of surrealist narrative. My first drawing on stone, “Subject, Verb, Object 1,” intentionally relies upon the natural variegation of the limestone slab as object or subject in the narrative, depending upon how one interprets the piece. My work has appeared in solo and group shows at galleries such as The Foundry in Washington, DC, Off The Avenue Gallery in Dearborn, MI, and Focus and ACT galleries in Detroit. 

Ken Probst

An American born in Switzerland, Ken Probst garnered respect as a young photographer for his regular contributions to the New York Times Magazine called ’Backstage.’ Some of the more popular photo essays were the American Ballet Theater troupe floating above the sands of South Beach, and the Japanese Kabuki Theater principals, never before seen out of costume, applying their porcelain white makeup prior to a performance. From the beginning of his career, Ken sensed that portraits should strive to reveal the essential humanity in each of us. In a major project entitled ’Por ne graf ik’—composed of over 100 black and white images—Ken spent three years testing his backstage approach in an extreme environment, the sets of Falcon Studios and other production companies. What greater challenge then to document porn actors engaged in their craft and simultaneously humanize them? These performers are neither glorified nor demonized; they are simply revealed as human. The limited edition book published by Twin Palms Publishers, Santa Fe, NM, 1998 contains 60 of these photographs including the three offered here.

Kristina Quinones

Kristina Quinones’ paintings are an exploration of control and uncertainty. Quinones believes that in her work, as in life, exists a relationship between beings. While the initial control is necessary for the relationship to begin taking its form,

it is the surrendering of control and the acceptance of uncertainty that indicates that a meaningful interaction has taken place. Kristina Quinones received her BA in Printmaking from the University of Connecticut in 2001 and then moved to California. In 2005 she received her MFA in Printmaking from the San Francisco Art Institute. Quinones received her Affiliate Award from the Headlands Center for the Arts in 2010 and 2011.

Gail Ragains

Gail Ragains approaches each painting as an open-ended improvisation. Beginning with the structure of the figure or landscape she intuitively reacts to the paint, stripping away the non-essentials to give a loose interpretation of form and movement. Ragains draws on her experience as a massage therapist to inform the handling of her subjects. Through her physical application and erasure of paint Ragains expresses human emotion through minimal means. She has been painting since the early 1990’s and has exhibited widely in the San Francisco Bay Area. She lives and works in Redwood City.

Lucky Rapp

My work explores the synthesis of language and the human experience. I strive to create pieces that provokes an emotional consciousness, moving with the language through the lens of their own experience. I submerse whimsical elements within the pieces, distorting the expectation of perfection versus flawed. Connecting with the sense that in the imperfection and mutability of language, comes new interpretation and a sense that there is continual movement and sentimental interaction built into the discourse of language. It is through this shared textual exchange that we can find connection to language within the medium of my work. I live and work in San Francisco’s Mission District.

Rex Ray

Born in Germany in 1956, Ray lives and works in San Francisco. In 1988, he received a BFA from the San Francisco Art Institute. For two decades, his paintings, collages, print works, and photography have been exhibited in numerous one-person exhibitions and museum shows including the San Francisco Museum of Modern Art, the San Jose Museum of Modern Art, the Yerba Buena Center for the Arts, and Gallery 16, in San Francisco. He is also an accomplished graphic designer with a client list that includes Apple, Sony Music, and The New Museum of Contemporary Art, New York, NY.

Robert Reed

“Process and improvisation drives my recent oil and mixed media paintings. Cellar or satellite images chosen for their color and complexity inform the initial compositions, but I depart from the source imagery and a painting takes on a life of its own. Building upon material phenomena and accident, I consciously incorporate unpredictable elements into the work, creating structure and beauty

a r t i s t from chaos and uncertainty. Partly a meditation on light and form within macroscopic and microscopic worlds, my work is an intuitive reaction to the process of painting itself: an inward search for presence and immediacy.”

Jon Rendell

Photographer Jon Rendell has been based in San Francisco for 18 years. His current project is a photo-a-day blog, called “25’ RADIUS.” 25’ RADIUS refers to the size of his apartment. Each day of 2013, he is publishing a photo taken from within the confines of his abode so that he pushes himself to find inspiration in unexplored compositions and natural light. Jon’s photos are published monthly in Scene 4 (an international arts magazine), and his work is currently on exhibition at the French Consulate of San Francisco. The photo “Seated Tulips” comes from the January 9 post of this blog,

Fernando Reyes

For Fernando Reyes, art was a second career. Reyes spent 17 years banking in San Francisco before he decided to go to the School of the Art Institute of Chicago, where he received his BFA in 1997. He returned to San Francisco after his studies and has remained in Oakland since 1998. Reyes says, “Every “Body” tells a story. My figurative works explore dreams, reflections, thoughts, and memories that translate into narrative depictions through the use of body language. Whether depicting a single figure or through the juxtaposition and overlapping of multiple figures which appear at first glance to be abstract, each piece stimulates an engaging dialog with the viewer. I express and communicate an idea, emotion or thought using a common thread of assured and sensual lines creating artworks that are peaceful to joyful, sensual to sexual, alluring to provocative.” Reyes has had many solo and group exhibitions featuring the nude figure. Nieto Fine Art in San Francisco, Susan Street Fine Art in Solano Beach, SFMoma Artist Gallery and Warnock Fine Art in Palm Springs are galleries that represent his work.

Ryan Michael Reynolds

I choose to paint the places along the periphery of public spaces—a footpath, a freeway, a park or a street corner. I make paintings that capture the process of the visual experience. This includes the immediacy of seeing but also the changes that occur throughout the days and years that form our collective impressions. Through the process of observation and recording, I focus on the elements of time, space, and light as seen in a changing shadow, a ship unloading cargo, a moving person, or a sky set against the more permanent objects of the built and natural environment.

Matt Ritchie My name is Matt Ritchie. I usually hang my work under matt136. I live in Hayward, CA with my wife and son. I spend my time making things and skateboarding. I switch between mediums a lot

and can never seem to stick to any one thing. I have a BA in Fine Art and have worked as an artist. I have had a ton of shows recently and have more booked. To see more of my work go to http:// If you would like to know what makes me tick artistically check out this short documentary that my friend made about my work: the-art-of-matt-ritchie.htm

David Rose

The current Stripe Series was originally started as an exercise to get me painting in a more hard-edged style but it led to the discovery of color relationships, surface texture and depth of field. In fact, I began to see bands or strata in everything around me, from sky, sea and sand to streets and sidewalks. The stripes have become metaphor and the evolution of this one series best illustrates my method of making art: what starts as experimentation usually leads to the investigation of deeper existential meaning. David Rose graduated with a BFA in painting and drawing from San Jose State University in 1992.

Rachel Sager

Rachel Sager has been drawing and painting for over 20 years. She was born in Hollidaysburg, PA, but spent most of her youth in Wichita, KS. She received her BFA at the Tyler School of Art in Philadelphia, PA, though her studies were conducted in the studios of Florence, Italy, Edinburgh, Scotland, Antigua, Guatemala and San Francisco. Rachel can be seen in the Emmy Award winning documentary, Sketching the Silk Road. Showing internationally, Rachel currently resides in San Francisco working as a painter and filmmaker.

Ginni Savalli

Savalli is a San Francisco Bay Area photographer best known for using her unique toning and printing techniques to explore landscape and figure subjects. “I convey a sense of warmth in my images using distinctive brown toning techniques in the darkroom. This effect is not achievable with commercially available materials, so I must formulate my own toning recipes and techniques,” Savalli says. The end results are truly individual hand-made photographs. Savalli’s work has been shown in numerous locations in the San Francisco Bay Area, including solo, group, and juried exhibits.

Chris Schiavo

Schiavo is a multimedia artist born and based in New York City. She works in film, photography, installation art, drawing and sound pieces, often incorporating all mediums simultaneously to create experimental films, theater and performance art. She is a founding member and the Visual Director of the Collective Opera Company in NYC. Her work is in the collections of the Museum of Modern Art, New York, and the Metropolitan Museum of Art, New York, and is shown in galleries and film festivals around the world.

S t a t e m e n t s

Greta & Manu Schnetzler

Greta and Manu are long-time residents of Potrero Hill where they have exhibited their work with other “Hill” artists in the annual group exhibit and local venues. They have also exhibited in solo and group exhibitions, including the annual Open Studios-SF exhibit, frequently with Studio Nocturne. Their work is in private and corporate collections in the United States and Europe. They are active in the community and frequently donate prints and photographic services to benefit local nonprofit organizations. They enjoy looking for inspiration together. Michael Yochum of SF Art News, wrote in 2012, “For photographers, Manu and Greta Schnetzler the night is an adventure. Not all places are equally transformed by the night. It takes night eyes to see the potential for magic and mystery in a place that seems quite mundane in the daytime. Photography is uniquely qualified as an art form to capture the emotion that the qualities of night evoke. We always feel that there is something unseen just outside of our perception; and, the camera actually captures a piece of that.”

Bhanu Sharma

Photography has been a passion and creative outlet for Bhanu since childhood, when his father introduced him to his first camera, a Nikon FM2, when he was eight years old. Since then capturing each intriguing, magical and inspiring moment has been a beautiful experience. Bhanu loves the innovations in technology that introduce new possibilities but it’s the subjects and his emotional connections with them that make it interesting and rewarding.

Doug Shoemaker

Doug Shoemaker was born in Flint, MI. He earned his BS in Architecture at Lawrence Technological University, studied at the painting and drawing at the Cranbrook Academy of Art, and also attended the Fort Mason Art Center in San Francisco for printmaking. Shoemaker says, “Through transparent watercolor and gouache on paper, my work explores mundane and ordinary objects and places in both the urban land and, at times, the suburban environment. Sunlight, deep shadows, rich texture and deep color often form the primary elements of each composition. Painting in a ’realist’ or ’photo-realist’ manner, I rely heavily on strong organizational composition, balance, symmetry and sense of architectural reality. I’m interested and fascinated with how light and shadow through the passage of time crosses over a surface or object and can redefine that composition. These elements all interest me to create meaningful art where the ordinary becomes complex, memorable and poetic.”

   Art for AIDS 2013

Ralph Singer

Ralph Singer grew up and was educated in New Jersey and in New York City, and, like many artists from the urban East before him, he has found his inspiration and his voice in the landscape of the American West. Some years ago I asked a cousin what he remembered of me when we were both much younger. The one thing he remembered was that I always had a camera with me. I started taking workshops and classes in black & white photography and darkroom techniques. The more I learned the more obsessed I became. I always wanted to be out in nature and the more I looked the more I refined my vision. I went from landscapes to male nudes in the landscapes—always trying to meld the two—to balance them or to contrast them. As digital photography emerged, I gradually transitioned from the darkroom to the computer, and then from a film camera to a digital camera. And when, 15 years ago, I retired from Oral Surgery, I carried my innate order and structure and attention to detail to my evolving passion.


Drawing is of central importance to me. I am fascinated with the magic of drawing. I also consider drawing to be a very personal, searching process, and a tool for developing my powers of observation and memory. My approach to printmaking relies very much on drawing. I am attracted to the infinite possibilities of impressing ink onto paper and I find the unique textural characteristics of prints to be stimulating, seductive, and full of subtlety and nuance. My prints evolve and develop slowly. This gradual process allows me to become very involved with the subject. Because of this intense and continual observation, I feel I am able to make a sensitive, and intimate statement about the subject. I am naturally attracted towards realism and approach my work knowing that both conscious and unconscious influences will impart its direction. I have enormous respect for the art of the past—particularly for the great draftsmen and artists of the Italian Renaissance.

Maxine Solomon

An image forms in my mind and the seed of a painting is sown. As the image takes shape on the canvas it also takes control of the process and the outcome. The painter Richard Diebenkorn summed it up well, “I can never accomplish what I want. Only what I would have wanted had I thought of it in the first place.” The combination of quiet glazes with active brushstrokes helps to capture a moment in time, leaving the viewer to wonder if the image is merely an abstract painting or a colorful landscape. Delve deeper within the layers of paint to find hidden images and meanings or merely travel within these layers to see an intricate and textured surface—a choice left to the viewer. As I work, each painting speaks to me not only of the beauty of our world but also of its ecological endangerment—it’s preservation as well as its withering away.


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a r t i s t

Patricia Sonnino

“For the past few years I have been studying and painting tide pools, rivers, and streams. The water movement results in constant mutation. Light refracts and becomes color; the surface is alternately transparent or impenetrable, moving or still, littered with leaves and flotsam or purely crystalline. The paintings seek to document a moment of seeing without capture, they are about seeing through surface turbulence to wonders beneath but just for an instant. Sonnino recently exhibited at the GRO in Point Reyes Station, CA, at the Sanchez Center for the Arts in Pacifica CA, the LUX Center for the Arts in Lincoln, Nebraska, the SFMOMA Artists Gallery in San Francisco, the Garage Gallery and the Berkeley Art Center in Berkeley, CA. She has also exhibited at the Herman Miller and the Big Pagoda Gallery in San Francisco. Sonnino earned a BA and an MA from Washington University in Saint Louis and has taught design at the Boston Architectural Center.

Trevor Southey

Trevor Southey was born in Rhodesia, Africa (now Zimbabwe) in 1940. His African heritage can be traced to European colonists who settled in Cape Town, South Africa in the 17th century. In 1965, he migrated to the United States, retaining an abiding sense of his African and British origins. Southey’s formal training includes two years at the Brighton College of Art in Sussex, England; a year in Durban, South Africa; and two degrees obtained from Bingham Young University (1967 and 1969). He taught at the university through 1977 and has since pursued his career independently, although he remains deeply interested in art education, giving occasional workshops particularly in drawing. Southey’s work is included in numerous private collections in the United States and throughout the world, ranging from that of actress Brook Shields to Senator and Mrs. Orrin Hatch. His work is also included in a wide variety of institutional and corporate collections. His media include drawing, printmaking, painting, stained glass and sculpture.

Monika Steiner

I have been profoundly interested in the unseen aspects of life, reading about metaphysics, meditating, becoming fascinated by how abstract art expresses what can’t be understood by the eyes and mind yet can be clearly felt. I am attracted to spheres because they are nature’s most efficient shape—their elegance conjuring entities as massive as planets to the shape of sub-atomic particles. Born in Switzerland, Monika Steiner currently resides in the San Francisco Bay Area where she received her BFA degree from Sonoma State University. Her work has been shown nationally and internationally in galleries, museums, and public exhibitions.


S t a t e m e n t s

Charles Stinson

I started making art as a very young child. I practiced yoga postures starting in my young teens. Moving from Texas to San Francisco allowed me to deepen my practice of both. I have taught yoga to elderly and disabled people, and I spend as much time as possible working in my art studio. I plan to continue practicing yoga and making art until my last breath. The piece in this show is one of an ongoing series of sculptures depicting classical yoga asanas (meaning postures or forms). Sculpting the series entails knowledge of the external visual form, and also appreciation of the internal feeling while in the pose.

Marcia Stuermer

Marcia Stuermer is a San Francisco artist who is renowned for her unconventional use of materials and unique artistic translations. Stuermer’s scientific inquiry of the underlying energy and beauty in nature directs her distinctive alchemy in both her studio artwork as well as her site-specific, public installations. Stuermer says, “I use translucent resin as a primary medium in my work to ’sample’ moments in time and create evocative investigations of emotion, thought and memory in a type of conceptual freeze-framing. Scientific inquiry of the underlying energy, patterns and processes of nature directs much of my work. “My most recent body of work simultaneously focuses on translations of the ubiquitous barcode of our contemporary consumer-based milieu in combination with the microscopic, cellular underpinnings of life as we know it.”

Jock Sturges

Jock Sturges was born in New York City in 1947. He earned his MFA from the San Francisco Art Institute. His work is in the collections of major institutions including the MET and the MOMA in New York City, the Bibliotheque Nationale in Paris, the Frankfurt Museum of Modern Art, and the San Francisco Museum of Modern Art. His work is published in numerous monographs, including “Jock Sturges, New Work 1996–2000.” ”My grandest ambition for my work is that it reifies the model, repeats her back to herself, that it, acknowledges, affirms, approves and encourages. While it takes skill and practice to get this right, luck is even more important. On this day I was as lucky as I could ever hope to be.”

Aaron Terry

Aaron Terry grew up as a kid with no electricity or running water in the woods of upstate New York until fate brought his family to Philadelphia, where he grew into the city as a young adult. Aaron Terry’s work consists of mixed media projects from printmaking to performance, that often depict the “urbanyetti,” an alter ego or hero character. This re-occurring character activates the notion that stories and mythologies are full of subtleties and complex ingredients drawn from cultural references, contemporary media, and individual persuasion. He is interested in the collision of the

urban and rural, and questioning the practice of social alter egos that often define behavior on a grand scale. Terry’s work has been shown in Buenos Aires, Argentina; Philadelphia; Portland, Oregon; and the Bay Area. He lives in the redwood groves of Canyon, CA. He holds an MFA from the San Francisco Art Institute and teaches at the California College of the Arts and the San Francisco Art Institute.

Terry Thompson

I am an artist living and working in San Francisco. I was born and raised in the Bay Area, and received my MFA from San Jose State University after working several years in Silicon Valley as an equipment engineer. Creating with my hands was my favorite aspect of that life, and this is true in my art life. For many years my paintings focused primarily on old signage that had somehow avoided the wrecking ball—signs that had lived. I see these signs as historically and emotionally charged metaphors for standing the test of time. This new work reveals that I have been a fan of Pop Art for many years. My work has also been branching out to include photography. My photographs explore the interplay of form, color, pattern, and texture within the context of the city. I try to find the beauty in the often overlooked.

Randy Titchenal

I’ve been working on plexiglas for a number of years. I’ve had a number of ideas that I’m developing around the concept of a frozen moment in time using word and object imagery. I just let the ideas take me where they want to go, whether the words make use of visual puns or veer into more quiet and introspective studies.

Kristen Tradowsky

The past is my playground. I find historical remnants and give them a new life in our contemporary world. I go to estate sales and move through rooms that one family occupied for decades, searching through piles of photographs of people I have never met. Walking the San Francisco city streets I see old theaters and buildings that glow under the residue of ever changing ads and construction. I am interested in how one place possesses many moods and the unseen gritty elements of the familiar imagery of life. Time manipulates a place and in turn makes it richer, painting these places and figures are my way of time travel.

Trish Tunney

Trish Tunney has been voraciously making pictures since she acquired her first camera in 1979. Her photography is about shadows and contrast so she seeks the directional light of early day or evening where colors are at their most exaggerated. Drawn to bits of urban decay, Trish endeavors to reveal the beauty overlooked by the casual viewer. Her “found object” aesthetic prevents her from manipulating the scene either before or after the capture. Trish enjoys success as a fine art and commercial

photographer. You may see her work in San Francisco Bay Area galleries and she has private collectors worldwide.

Frank Van Duerm

My photographic eye is a window to the nuance of time and space. Throughout my life I have used the lens to create a space within space where time is but a fleeting moment, never to be repeated. The complexity of my images are not created in the darkroom. They are created as a whole at one moment in time. There is an aura of mystery that allows for a unique view of the world we live in.

Michal Venera

Venera is a master photographer based in San Francisco. His vibrant and technically brilliant photographs span commercial success via portfolios including interiors and lifestyle images for exclusive clients like Pottery Barn and Sunset magazine. This photograph graces the cover of the new book, Hidden Alcatraz, which focuses on the current state of the island fortress, presenting a unique collection of nearly one hundred images taken over a four-year period by 34 photographers, including Steve Fritz, Deborah Roundtree, Robert Dawson, Alex Fradkin, and Thom Sempere, with the cover photo by Venera. These photographers were granted unprecedented access, even staying overnight in the main cellblock. The resulting pictures highlight the eerie, almost supernatural mood of the former prison, and evoking the extreme isolation and despair of inmates whose only remaining traces are suggestions of blood spatters and scratches on the walls. Hidden Alcatraz includes a foreword by actor Peter Coyote, who was present during the 1971 occupation by members of the American Indian Movement.

Pep Ventosa

In my work I like to explore the nature of the photographic image, the different ways it can take shape; photographs not singularly recorded by the camera. Market Street, One is an image created by blending together separate shots of different lamps along Market Street. Ventosa’s work has exhibited in the United States and throughout Europe. He received the Grand Prize in the American Icon Competition and honors at the Px3 Prix de la Photographie Paris; London International Creative Competition; International Photography Awards, Photography Masters Cup; and International Color Awards. Born in Vilafranca del Penedès, Barcelona, Spain, Ventosa now lives in the Bay Area.

Stephen C. Wagner

Stephen C. Wagner has studied art since the age of six, and has been selling his work since Junior High School. He obtained his BFA from the University of Texas, Arlington in painting and graphic communication. Stephen’s work uses a complex technique of layering paint on glass. He also makes mixed media works in dark tones with metallic pigments. In both the color abstractions and the mixed-media pieces, Stephen works in

Art for AIDS 2013

series. Stephen has exhibited and sold his artwork in galleries in London, Chicago, Dallas, Beverly Hills, Santa Monica, Laguna Beach, San Francisco, San Diego, Seattle, New Orleans, Palm Springs, and Kauai. His artwork is included in the permanent collections of the Riverside Art Museum, the Museum of the Living Artist, Johnson & Johnson and Kaiser Permanente.

Donna J. Wan

Donna J. Wan was born in Taiwan and lives in the San Francisco Bay Area. She received her BA from Stanford University and MFA from the San Francisco Art Institute. Her work has been shown at numerous venues including the New Mexico Museum of Art, RISD Museum of Art, Klompching Gallery, Gallery 1401 at the University of Arts, and Gallery Carte Blanche. She was a Magenta Foundation Flash Forward 2007 Emerging Photographer and a 2012 Critical Mass Top 50 Finalist. She has won several awards, including the CENTER’s 2012 Project Launch honorable mention, 2012 APA/Lucie Foundation Scholarship grant, 2013 Kolga Award, and the CENTER’s 2013 Gallerist’s Choice Award 3rd Place. Her work has been published in Fraction Magazine, Flak Photo, Lenscratch, Forward Thinking Museum, Time Out, Conscientious, PDN and La Journal De La Photogra-

phie. Her work is in the collection of the Pulitzer-Prize winning author Richard Ford, artist Thomas Kellner and the Pilara Foundation.

John Wood

John Wood earned his MFA from Cranbrook Academy of Art in Michigan. He has since lived and worked in New York City, Utah, Florida, Michigan, and California. In addition to producing his own art, he has inspired many through mural projects with children of all ages in Utah, New York and California. He has taught at Cranbrook Academy Museum, through the NEA Artist-in-Education Program, and as head of the fine arts department at Judge Memorial Catholic High School in Salt Lake City. The Bay Area has been John’s home for the past 10+ years and making art continues to be the central focus of his life. John Wood has been represented in California by: San Francisco Museum of Modern Art Artists Gallery, Hallway Bathroom Gallery, Big Pagoda Company, Oakopolis Creativity Center, Cecile Moochnek Gallery, K. Imperial Fine Art, and Hyde Street Gallery.

Tim Yankosky

Materials are often the driving force and inspiration behind the works of art that I create. I have always been drawn to the functional wear and patina of vintage and found objects. Recently, vintage measuring tapes and their cases have captured my attention and I enjoy the challenge of repurposing these old objects for a journey in which they were never intended for. I create a new environment for these objects to “live on” in a new form of being, by way of contemporary works of art. I hopefully impart to them longevity, by featuring them in this unsuspected new function. My works of art are often derived from my tempestuous childhood and the feeling of being trapped in circumstances that I could not escape from. Often I am telling a personal narrative that plays out in my head while creating. In this latest series, working predominantly with measuring tapes, I am dealing with my own issues of being “measured” and judged by others.

Elena Zolitnitsky

Beauty is my inspiration. Over the past few years my art has become increasingly personal and intimate, focusing more on the raw physicality of painting. My favorite medium is oil paint, either on canvas, board or on heavy paper. I use a lot of gold leaf. It increases my spectrum of flatness and brings in more drama in shape. As I build layer upon layer of contrasting hues and textures, I am driven more by my pursuit of the formal concerns of painting instead of by my desire to relate a narrative. Yet I remain always a figurative artist, one who feels a special affinity for the craft, subtlety, and peace of Flemish art and the art of Balthus. My goal is to create paintings that are both well-crafted and probe deeply into the mystery of the medium itself, widening the spectrum of that which is portrayed. Painting for me is the magic act, when the combination of oil paint, a bit of imagination and a lot of heart create something alive that other people can relate to on emotional level. And that is what art does, I think—it transforms energy of labor into feelings.


Art for AIDS 2013


Art for AIDS 2013


Art for AIDS 2013

The UCSF/SFGH Department of Psychiatry is proud to support

Art for AIDS


Art for AIDS 2013

Silva Watson Moonwalk Fund Congratulations to the Alliance Health Project


Art for AIDS 2013

Thanks to all the Art for AIDS sponsors, event partners, donors and guests. Alliance Health Project offers LGBTQ-affirming mental health services including crisis services, psychiatry, psychotherapy, substance use counseling, and peer support to individuals, couples, and groups. We also provide free HIV testing and counseling services. For more information, call 415-476-3902 or visit us at


Art for AIDS 2013


Art for AIDS 2013














Art for AIDS 2013

Proud to Sponsor

Th e

Art for AIDS

l a t Dea i sp o n’s O H f f i ce at San Francisco General


Art for AIDS 2013

Call 415-502-TEST

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11/15/12 3:07 PM

Art for AIDS 2013

Rachel Swann Is Proud to Sponsor Art for AIDS An Auction Benefitting the UCSF Alliance Health Project The Art of Real Estate There is an art to this business and my practice reflects that. In fact, a home in and of itself is like a fine piece of art. It reflects your sensibilities and represents a significant investment. Price, neighborhood and style are all important considerations. Call me today to find that masterpiece!

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Art for AIDS 2013


Art for AIDS 2013


At the most important moments in our life, knowing we can rely on our community makes a world of difference. Thank you UCSF Alliance Health Project for bringing creativity, compassion and strength to San Francisco for over 30 years.

Jackie Cuneo

Mortgage Advisor

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Help when you make the most important financial decisions of your life. Opes Advisors is licensed by the CA Bureau of Real Estate 01458652 and NMLS 235584. Equal Opportunity Lender. Opes Advisors is a registered investment advisor with the Securities and Exchange Commission (SEC). Š2013 Opes Advisors, Inc. All rights reserved.


Art for AIDS 2013

Having toured the world, Whitney now helps others own a little piece of one of its most beautiful cities. Like Whitney Baxter Davis, you can travel the world and never find a city quite like San Francisco. Unique neighborhoods. Breathtaking views. Remarkable people. Who wouldn’t want to own a piece of San Francisco? Whether it’s your first home or just your latest, you’re making a sizeable investment. Whitney takes pleasure in helping people find and purchase the home of their dreams, in the city they love. And as a longtime resident of the City himself, Whitney is honored to have had the opportunity to support the Art for AIDS Auction for the past 13 years.

Whitney Davis has been a sponsor of Art for AIDS for the

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ArtforAIDS.pdf 1 8/7/2013 11:50:09 AM









Section Closing Times Drawings & Prints


Photography 7:00pm Mixed Media & Sculpture 9:00pm Paintings 9:15pm Certificates 9:30pm

ucsf Alliance Health Project Box 0884, San Francisco, CA 94143 Phone 415-476-3902  n

Art for AIDS 2013 Catalog  
Art for AIDS 2013 Catalog  

Showing all art, sponsors, and info about San Francisco’s premiere charity auction.