• July 08, 2014

    Moving Party and Sale at Walter Robinson's Studio
    July 13
    4 - 6 pm

    Right after the World Cup finals this Sunday, don't miss this opportunity to score some fantastic additions to your art collection. Join us this weekend at Walter Robinson's studio for a farewell party and studio sale. 

    Sunday, July 13
    4:00 - 6:00 pm
    Walter Robinson's Studio
    2241 Quesada (@ Industrial ) San Francisco, CA 94124

  • July 01, 2014

    The Portland Mercury

    Column: Sold Out 

    "Dazzle Camouflage"

    By Marjorie Skinner 

    Stephanie Syjuco

     

    THE MUSEUM of Contemporary Craft's Fashioning Cascadia exhibit is the gift that keeps on giving. In addition to the backbone of its contents, which present a moving picture of the modern history and challenges of apparel design and manufacture in the Pacific Northwest, there are additional contributions from a series of world-class artists and academics visiting from outside the community.

    This week brings a visit from San Francisco artist Stephanie Syjuco, whose current work in fashion involves the history and use of dazzle camouflage—the WWI-era practice of painting confusing graphic patterns on battleships to throw off enemy aim—as it relates to present-day surveillance technology and fashion. Next week she'll be hosting a two-day workshop for those with the time and inclination: Participants will use remnants of mass-produced textiles to re-imagine ethnic prints, designing and sewing garments intended to confuse the eye, and then they'll be captured in a final photo shoot.

    If the workshop seems like too much of a commitment, Syjuco will also be laying out some of these concepts in a free lecture at the museum on Thursday. If earlier programming is any indication, you can expect to have your mind slightly blown for the occasion, which also happens to be perfectly timed to coincide with the current mania for pattern mixing. Craft Perspectives Artist Talk: Stephanie Syjuco, Museum of Contemporary Craft, 724 NW Davis, Thurs June 12, 6:30-8 pm, free; Dazzle Camouflage Workshop: Design, Sew, and Disguise, Museum of Contemporary Craft, Fri June 20-Sat Jun 21, 10 am-5 pm, $175 (plus $75 lab fee), registration at pnca.edu. 

    Meanwhile, there are some big changes underway yet again in Portland's vintage clothing scene. Eden and its attached bridal salon Eve in Eden have announced that they are closing at the end of this month. Owner Cindy Rokoff is taking a job at Swift in lieu of running the shop, which in addition to vintage clothing has been keeping magpies gawking with an impressive array of apothecary products, books, jewelry, art, antiques, and more, and will be dearly missed. Days later it was announced that Lulu's Vintage is also pulling up Portland stakes after first landing on SW Morrison way back in 2001. The shop has since moved to W Burnside, and will remain online, but its brick 'n' mortar location will reopen way the heck up in Spokane, Washington.

    Luckily, new shops in Portland tend to open in more abundance than ones that close, and designer Michelle Lesniak's open house and trunk show (see "This Week's Style Events," this page, for details) seems to be an indication of her intention to open as a retailer this fall, though Lesniak is cagey about specifics. Another silver lining, too: Eden and Lulu's are having mega-sales until the doors are closed. Eden, 221 NW 11th, edenportland.com; Lulu's Vintage, 916 W Burnside, lulusvintage.com

  • June 24, 2014

     

    Join us in July at Walter Robinson's studio for a farewell party and studio sale (more like a mid-career survey exhibition of Walter's work from mid 1980s to present!).  

    Sunday, July 13
    4:00 - 6:00 pm
    Walter Robinson's Studio
    2241 Quesada (@ Industrial ) 
    San Francisco, CA 94124

        

  • June 18, 2014

    Join us at Catharine Clark Gallery this Saturday, June 21 from 6:30-8:30pm for a unique performance and live auction to benefit the Museum of Performance + Design.

    The evening will feature a live dance performance at the gallery, in which Smith will create a new work—fixing forever a few moments of his dancing life.  The ballet master Parrish Maynard of the San Francisco Ballet will be giving the class during which Damian will create his action drawing.  This work will be made available to the public through live auction to benefit the restoration and preservation of materials for the archives of the Museum of Performance + Design. David Wiegand, San Francisco Chronicle Executive Datebook Editor, has generously offered to donate his time as the auctioneer of this unique work generated by Smith's performance.  Other action drawings by Damian Smith will be on exhibit and available for purchase to benefit the Museum. 

    Damian Smith at the barre 

     

    Video from the Museum’s collection featuring Muriel Maffre, as well as an archival dance score, video, and audio commentary of In the Mountain/On the Mountain (1981) by Anna Halprin will be featured as part of the exhibit. A rarely viewed original dance score by Halprin will be unfolded for the first time in several decades and presented during the course of the evening.  Work by Josephine Taylor and Kara Maria, who will be also be present at this event, will be on display as part of the group exhibition, Incarnate

  • May 27, 2014

    Swine and Swill

    Swine and Swill was an amazing evening of food, wine, debate and discussion about the ways in which food, wine, art and design intertwine.  Guests dined at Michael Goldin's tables arranged throughout the gallery space, the walls lined with artwork by Deborah Oropallo.  Amaryll Schwertner of Boulettes Larder provided the food and, with Adam Clark, deftly roasted and carved a pig raised on Oropallo and Goldin's Novato-based farm. David Burns and Austin Young, the current collaborative partnership of Fallen Fruit, exhibited their work in the media room, and were among a panel of speakers including Kitty Morgan, John Cumbers, and Ted Purves. Wine was provided by Ladd Cahoon of De Novo Wines. Photographs by Rita Harowitz.

    Amaryll Schwertner, daughter Sita and cooking staff preparing food in the gallery lobby

    Adam Clark and Michael Goldin roasting the pig on the sidewalk outside 248 Utah Street

    Deborah Oropallo with her work, Ample (2013), Acrylic on canvas, 71 x 94 inches

    Panel discussion with John Cumbers & Austin Young and David Burns of Fallen Fruit

    View from outside the gallery

    Table settings crafted by SWERVE, Michael Goldin's design enterprise located in Berkeley, CA

    Artist Deborah Oropallo and designer Michael Goldin

    Catharine Clark speaks with Kitty Morgan, SF Chronicle Assistant Managing Editor of Food & Wine

    Adam Clarke getting ready to carve, with Thomas Moller and Matt Berstein, the curatorial staff at The Battery, in the background.

    Cheese crafted at Oropallo and Goldin's Novato based dairy

    Catharine Clark and dinner guests

  • May 13, 2014

    Check out these two slide shows from SF Art Examiner Greg Flood featuring work by Al Farrow and Masami Teraoka.

     

    Slide show 2

    Slide show 3

  • May 12, 2014

    Kenneth Baker review of Deborah Oropallo | Milk Made

    online review

  • May 09, 2014

    Preview Slideshow of artMRKT 2014 in the Examiner

    Stay tuned for more previews in the coming week leading up to opening night on Thursday, May 15th!

  • April 25, 2014

    Guggenheim Awards

     

    Catharine Clark Gallery is proud to announce that three of our gallery artists have been awarded Guggenheim Fellowships.  Chris Doyle and Stacey Steers received awards in the field of film and video, and Stephanie Syjuco in the field of fine art. Congratulations to these hard-working and talented artists!

    In its ninetieth annual competition for the United States and Canada, the John Simon Guggenheim Memorial Foundation has awarded 177 Fellowships (including one joint Fellowship) to a diverse group of 178 scholars, artists, and scientists, of which only 96 were awarded for creative arts. Appointed on the basis of prior achievement and exceptional promise, the successful candidates were chosen from a group of almost 3,000 applicants.

     

    Stephanie Syjuco
    Raiders: International Booty, Bountiful Harvest (Selections from the A____ A__ M______)
    2011
    Archival Epson photo prints mounted on laser-cut wood
    Dimensions variable

     

     

    Chris Doyle
    Pledge
    2013
    Watercolor on paper
    32 x 32 inches

     

    Stacey Steers
    Collage from the film "Night Hunter"
    2011
    Hand worked collage
    5 1/2 x 7 1/2 inches

  • April 15, 2014

    News and events at Catharine Clark Gallery

    Current Exhibition | Deborah Oropallo : Milk Made
    Media Room:  Fallen Fruit | Fruit Machine
    Opens Saturday, April 12, 2014
    Extended through May 31


    Deborah Oropallo
    Americana
    2014
    Wall installation, pigment prints, collage on paper
    81 x 38 inches

     

    Fallen Fruit (Austin Young, David Burns, Matias Viegener)
    Fruit Machine
    2009
    Video, Edition of 3 + 3AP
    Dimensions variable
     

     

     

    If you haven't had a chance to see this exhibition, it's a must-do this weekend! Printmaking from San Diego to Seattle at Sonoma State University closes this weekend, Sunday, April 13. The exhibit includes work by several of our gallery artists including Anthony Discenza, Sandow Birk, Deborah Oropallo, and Masami Teraoka.

     

    Current and upcoming exhibitions

     

    Group exhibition: Andy Diaz Hope | Re: Collection
    The Museum of Art and Design
    New York, New York
    April 1 - September 7, 2014
     

     

     

    Solo exhibition: Andy Diaz Hope | Beautiful Void
    Catharine Clark Gallery NYC
    May 8 - May 11, 2014

     

    Group exhibition: Kara Maria |  Around the Table: Food Creativity, Community
    San Jose Museum of Art
    San Jose, California
    November 9 - April 20 , 2014

     

    Group exhibition: Sandow Birk, Anthony Discenza, Deborah Oropallo and Masami Teraoka  |  West Coast Ink: Printmaking from San Diego to Seattle
    Exhibition dates: March 13 - April 13
    University Art Gallery, Sonoma State University
    Sonoma, California

     

    Group exhibition: Kara Maria, Sandow Birk and Stephanie Syjuco: Initial Public Offering: New Works from SJMA's permanent collection
    Exhibition dates: March 1 - September 7
    San Jose Museum of Art
    San Jose, California

     

    Solo exhibition: Stephanie Syjuco  | FREE TEXTS
    Opening: March 8, 2014, 7-10pm
    Artist talk: April 12, 2014
    Exhibition dates: March 5 - March 29, 2014
    Ulrich Museum of Art
    Wichita, Kansas

     

    Group show: Stephanie Syjuco | Alien She
    Exhibition traveling to Vox Populi, Pittsburg, Pennsylvania March 7 – April 27, 2014
    Yerba Buena Center for the Arts, San Francisco, California, Opening October 17, 2014

     

    Group exhibition: Chris Doyle | Taking Time
    Opens April 4, 2014
    Curated by Lawrence Rinder
    The Cube at the Sheldon Museum of Art
    Lincoln, Nebraska

     

    Group exhibition: Chris Doyle | Beyond Earth Art
    Through June 8
    Johnson Museum of Art
    Cornell University, Ithaca, NY

     

    Solo exhibition: Sandow Birk | American Qur'an
    March 10 - April 14, 2014
    Kittredge Gallery, University of Puget Sound
    Tacoma, Washington

     

    Solo exhibition: Masami Teraoka | Inversion of the Sacred/The Cloisters Last Supper/Triptych Series
    March 15 - May 3, 2014
    McKinney Avenue Contemporary
    Dallas, Texas

     

    Group exhibition: Nina Katchadourian | Face to Face, Wall to Wall
    March 20 - August 24, 2014
    Yellowstone Art Museum
    Billings, Montana

     

    Group exhibition: Nina Katchadourian | Seat Assignment
    Opens March 17, 2014
    Gund Gallery, Kenyon College
    Gambier, OH

     

    Group exhibition: Nina Katchadourian | Seat Assignment
    Opens April 4, 2014
    Cecilia Brunson Projects
    London, United Kingdom

     

    Solo exhibition: Chester Arnold | 5th Annual Art of Painting in the 21st Century 2014
    Through April 12, 2014
    John Natsoulas Center for the Arts
    Davis, California

     

    Group exhibition: Chester Arnold | Environmental Impact
    Through May 4, 2014
    Kalamazoo Institute of Arts
    Kalamazoo, Mississippi

     

    Group exhibition: Kara Maria | ICA: On The Road
    The Club VIP Lounge, Norman Y. Mineta International Airport
    San Jose, California
    Through April 30, 2014

     

    Solo exhibition: Travis Somerville |  American Rhetoric
    Beta Pictoris Gallery
    Birmingham, Alabama
    April 4 - May 30 , 2014

     

    Group exhibition: Ken Goldberg and Kal Spelletich
    The Battery
    San Francisco, California
    Opens April 22 , 2014
     

     

    Workshop and Debate
    Stephanie Syjuco | Valuing Labor in the Arts: A Practicum
    UC Berkeley Arts Research Center, Berkeley, California.
    April 19, 2014

     

     

    Acquisitions

    Congratulations to Masami Teraoka on the Denver Art Museum's recent acquisition of three woodblock prints to the permanent Asian art collection: 

    31 Flavors Invading Japan/Today’s Special (1982)
    Sarah and the Octopus/Seventh Heaven (2001)
    AIDS Series/Geisha in Bath (2008)


    Masami Teraoka
    Sarah and Octopus / Seventh Heaven
    2001
    29 color woodblock print on Hosho paper
    Edition of 200
    10 3/8 x 15 5/8 inches

     

     


    Please consider supporting the Kala Institute's 40th Anniversary Auction & Gala. This will be a fantastic event featuring a week-long exhibition of works by an eclectic mix of talented artists and culminating in a lively Gala Auction and Birthday Party for Kala on Saturday, April 26th. Kala has supported many Catharine Clark Gallery artists and continues to provide opportunities for upcoming artists and the greater community of the East Bay. A fun and festive event for a great cause!  For more information and to purchase tickets.

  • April 04, 2014

    Deborah Oropallo | Milke Made

    Media Room:  Fallen Fruit | Fruit Machine

     

    Join us this Saturday, April 12, from 3:00-5:00 pm for an opening reception with Deborah Oropallo and artists Austin Young and David Burns of the art collective, Fallen Fruit. 

    Deborah Oropallo, Gravid, 2013, Acrylic on canvas, 71 x 94 inches

     

  • March 18, 2014

    Daily Serving

    Walter Robinson: Sic Transit Gloria Mundi at Catharine Clark Gallery

    by Maria Porges

     

    Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Maria Porges reviews Walter Robinson: Sic Transit Gloria Mundi at Catharine Clark Gallery in San Francisco.

     

    Walter Robinson. Exodus, 2014; Wood, fiberglass, taxidermy, glass, leather, sand
    75 x 63 x 20 in. Courtesy Catharine Clark Gallery.

     

    What are we to think about an Egyptian funerary boat powered by oars, piled improbably high with miniature, candy-colored shipping containers? San Francisco artist Walter Robinson has become well known for this kind of humorous, slightly disturbing disjuncture: a combination of conceptually and visually loaded elements, exquisitely realized and presented as a fait accompli. The title of Robinson’s solo show, Sic Transit Gloria Mundi, unites a vivid group of paintings, sculpture, and unsettlingly surreal installations. Loosely translated, this Latin phrase means “Thus passes the glory of the world,” reminding us not only of the fleeting nature of our existence here on earth, but that, as Douglas Huebler once said, “Things are only things.” Despite what the ancient Egyptians believed, we can’t take them with us when we go.


    Robinson is a skilled maker, creating seamless combinations of ingenious, highly crafted parts and found materials (historically, there have been less of the latter, more of the former). This show represents a departure in that more than half of the pieces shown are two-dimensional canvases, painted in the handsomely idiosyncratic palette that has characterized his work for decades. The themes of these pictures include clowns, pets, and a variety of bucolic landscapes, based on motifs taken from paint-by-number images popular in Robinson’s childhood.


    In a spectacular series representing the four seasons, these themes are combined in ways that can only be described as somewhere between humorously dreamy and nightmarish (depending, of course, on how you feel about clowns). In Four Seasons (Winter) (2013), an Emmett Kelly look-alike in the foreground gazes pensively into the distance, while skaters skim across the ice behind him, their faces simplified to robotic dots. In the panel that represents spring, a geisha wanders across a bridge behind a different mournful red-nosed figure.


    Rather than alluding to the seasons as a one-way journey, representing the ages of man, these pictures seem more to be reminders of the cyclical passage of time. The wheel goes around, year after year, though we can witness it only so many times. The centerpiece of the show, Exodus (2014), is an amalgam of memento mori: a saddled warthog-cum-pack-mule carrying a giant (functional!) hourglass, one hoof embedded in a human skull. The exodus referred to is not only Robinson’s own imminent, lamentable departure from the Bay Area, it is the steady loss of members of the creative class who can no longer afford to live here.


    Walter Robinson: Sic Transit Gloria Mundi is on view at Catharine Clark Gallery through March 29, 2014.


    Maria Porges is an artist and writer whose critical writing has appeared in many publications, including Artforum, Art in America, Sculpture, American Ceramics, Glass, and a host of other now-defunct art magazines. An Associate Professor at California College of the Arts in the Graduate Program in Fine Arts, she likes to topiarize unsuspecting shrubbery and read out loud.

     

    http://dailyserving.com/2014/03/walter-robinson-sic-transit-gloria-mundi-at-catharine-clark-gallery/

  • March 04, 2014

    The opening reception on Saturday, March 1 for Walter Robinson's solo exhibiton Sic Transit Gloria Mundi went smashingly. Visitors to CCG navigated their way around Robinson's vibrantly colored sculptures arranged througout the gallery floor space.  Large-scale acrylic paintings and book pieces are displayed on the gallery walls.                           

     

                

     

     

     

     

    Guests enjoyed refreshments and had the opportunity to hear Walter discuss his new work.

     

     

     

     

  • February 21, 2014

    In anticipation for Walter Robinson's upcoming exhibition at Catharine Clark Gallery, Allison Stockman, marketing associate at CCG, and I payed a visit to Walter's studio in San Francisco's Excelsior neighborhood. In addition to Allison scoring a beautiful old beachcomber bike during our outting, we also had the opportunity to ask Walter a few questions about what he has been working on recently. 

     

    Q: What was the inspiration for your recent work? Can you explain the title Sic Transit Gloria Mundi? 

     

    A: The work in this show is a personal response to events in my life. Over the past few years, I have had to help others through serious health crises and end of life issues. In retrospect, I think paint by numbers came to me as a healing tool – many people I have talked to did paint by numbers as children when sick at home.  The first in the series (4 Seasons/Winter) came directly from a dream where I was painting a “paint by numbers” painting that had only shades of red. The red landscape has the oxygen-starved emotional tenor of climate weirdness.
    At the same time, I was making sculptural objects that dealt with similar issues.  The connecting thread was mortality.  When I compare the arc of my own life and the trajectory of American history/economy/ environment during the same period, the graph is similar.
    Sic Transit Gloria Mundi translates as “Thus passes the glory of the world”.  Basically, our attachments to worldly things mean nothing in the end.

     

    Q: Your new works of clowns and landscapes, inspired by paint by numbers kits, have a melancholy humor to them. Did you use these kits as a boy and is there a particular motivation for using this imagery?

     

    A: The hobo clown was also a slightly menacing mid century personality.  They represent the outsider, someone who is free to travel and critique society.  I started the series with a monochromatic landscape and then came to the idea of introducing a figure from the same period in them.  They exist in the same time bubble.  In the past, all of my work has contained humor, sometimes melancholic.

     

    Q: Often artists working in such a diverse range of materials as you do will have their work fabricated in part or whole. How involved are you with the production of your work and how important is that to you?

     

    A: I have always been a designer/builder.  Drawing, visualizing, researching, engineering, making models and maquettes are all part of my brain/hand problem solving process.  I occasionally have things fabricated by others, and then I provide drawings, jpegs, etc. 

     

    Q: Text, which can figure prominently in your work, is notably absent in your most recent pieces-was this a conscious decision on your part?

     

    A: Not a conscious decision.  Text did not fit into my focus for this show. There are a few new pieces I am working on that include text, but not in the same puzzle form as past work.

     

    Q: Your assemblage work incorporates a diverse range of materials. Do your source your materials from a particular place?

     

    A: My sources vary.  I have always collected vintage things.  I find things on eBay, flea markets and sometimes on the streets in my studio neighborhood.  There are a few things in the show that repurpose parts from some of my older pieces.  There is some purging of collected worldly goods going on.  Thus passes the glory of the world.

     

    -Christopher Bernu, 2014 Spring Intern

     

    Walter Robinson's upcoming exhibition Sic Transit Gloria Mundi runs March 1-29, 2014

    Reception: Saturday, March 1, 4:00-6:00pm

    Media Room: John Slepian | Art Is Not An Object (Sculpture)

  • February 11, 2014

    KQED interviews Stephanie Syjuco about the Mission Local Bus Contest

     

     

    Mission Local Announces Tech Bus Design Contest Winner
    By Christian L. Frock (excerpt), Feb 07, 2014
    Read the full article

    "...Last October, Mission Local, an online news outlet specific to San Francisco's Mission District, announced its unofficial contest, challenging artists to create designs to decorate the white commuter buses that shuttle tech workers between San Francisco and Silicon Valley. A cash prize of $500, supplied by an anonymous donor, was offered for the winning design, to be selected by the Mission Local editorial staff. The initial contest announcement was straightforward: "If you live or work in the Mission, you're no stranger to the buses run by Google, Facebook, Apple, Yahoo, and Genentech... Don't they look like big canvases just waiting to be painted on?" Contestants were simply encouraged to make the buses "beautiful," with submissions due by the end of December. Judging by the entries posted online, some artists approached the buses as directed, proposing largely decorative designs, while others saw the contest as an opportunity to offer cultural critique about what the buses have come to represent.

    And then things got complicated...
    San Francisco-based artist Stephanie Syjuco saw the Mission Local contest as a way to further dialogue around what the buses have come to represent. Since it called upon artists to work on spec -- another point of contention: essentially asking artists to work for very little return -- to beautify the same symbols of pervasive change that have displaced many in the creative community, why not use the contest itself as a platform for dialogue?

    Stephanie Syjuco, Public Comfort, 2013

     

    Syjuco offered to facilitate the design of submissions by other artists through an open call on her Facebook page, and invited descriptions of "the bizarre, the biting, the critical, the crazy." Participants posted descriptions and Syjuco, with her assistant Johanna Friedman, created mock-ups based on their understanding of the desired image; the pair ultimately supplied design support for more than fifty submissions.
    By her own estimate, about half of those who offered ideas genuinely wanted to submit, while the other half just tossed ideas out for fun. For her part, Syjuco emphasizes that she "took all comers," even if she didn't always like or understand the relayed descriptions. The point was not to facilitate only the ideas she favored, but to create the platform for a diversity of voices. This kind of open collaboration is on par with Syjuco's larger body of work, which regularly critiques capitalism and aims to create participatory platforms "for other people's voices in difficult situations."
    Read more



    Upcoming in February and March 2014: openings and exhibitions

    Current Exhibition | Nina Katchadourian : Two Libraries: Recently Sorted Books
    Through February 22, 2014
    Media Room:  Nina Katchadourian | In A Room Full of Strangers

     

    Upcoming Exhibition | Walter Robinson: Sic Transit Gloria Mundi
    Opening Reception: Saturday, March 1, 4:00-6:00pm
    Exhibition dates:  March 1 - March 29, 2014
    Media Room: John Slepian | Art Is Not An Object (Sculpture)

     

    Group exhibition: Travis Sommerville |  In the Seance Room: Acquisition Highlights from 2003-2013
    Museum of Contemporary Art San Diego
    San Diego, California.
    Through February 23, 2014

     

    Group exhibition: Chester Arnold | Environmental Impact
    February 22 - May 4, 2014
    Kalamazoo Institute of Arts
    Kalamazoo, Mississippi
     

     

    Group exhibition: Deborah Oropallo | Wild and Wooly
    On exhibit through February 21, 2014
    New Art Center, Newtonville, MA
     

     

    Solo exhibition: Kambui Olujimi | List Projects
    On exhibit through February 23, 2014
    The List Visual Arts Center at MIT, Cambridge, MA
     

    Group exhibition: Kambui Olujimi |  mnemonikos: Art of Memory in Contemporary Textiles
    Through February 22, 2014
    The Jim Thompson Art Center
    Bangkok, Thailand

     

    Group show: Stephanie Syjuco | Jigsaw Youth
    Through February 16, 2014
    Miller Gallery at Carnegie Mellon University
    Pittsburgh, Pennsylvania,
    Exhibition traveling to Vox Populi, Pittsburg, Pennsylvania March 7 – April 27, 2014;
    Yerba Buena Center for the Arts, San Francisco, California, Fall 2014.
     

    Group exhibition: Stephanie Syjuco |  Capp Street Project
    Opening: February 18, 2014, 8:00pm
    CCA Wattis
    San Francisco, CA
     

    Group exhibition: Kara Maria and Stephanie Syjuco |  Initial Public Offering: New Works from SJMA's permanent collection
    Opening: March 1, 2014
    Exhibition dates: March 1 - September 7
     

    Solo exhibition: Masami Teraoka | The Cloisters Last Supper/Triptych Series
    Opening March 2014
    McKinney Avenue Contemporary
    Dallas, TX
     

    Group exhibition: Walter Robinson and Stephanie Syjuco | Multiply and Conquer
    Opening: March 8, 2014, 7-10pm
    Exhibition dates: March 5 - March 29, 2014
     

    Group exhibition: Chris Doyle | Beyond Earth Art
    Through June 8
    Johnson Museum of Art
    Cornell University, Ithaca, NY
     

    Group exhibition: Chris Doyle | Taking Time
    March 14 - June 14, 2014
    The Cube at the Sheldon Museum of Art
    Lincoln, Nebraska
     

    Lecture: Nina Katchadourian: Washington State University
    February 25
    The Washington State Fine Art Department is very excited for Nina Katchadourian to present a public lecture on February 25 along with graduate studio visits and critiques on February 26, 2014
     

    Lecture: Chester Arnold: The Eye of the Mind is a Drone Beyond Time and Space, San Jose State University, San Jose, California.
    February 11
    Arnold will discuss the role of imagination and memory in contemporary painting, amidsty the madness of the world at large, and that of the art world today. 

    Stayed tuned for ticket sales for
    SWINE and SWILL
    a dinner at Catharine Clark Gallery on
    Sunday, May 4, 2014
    in collaboration with Deborah Oropallo, Michael Goldin, Amaryll Schwertner of Boulettes Larder, and Ladd Cahoon of De Novo Winery

  • February 04, 2014

    "Books do furnish an artwork," by Kenneth Baker

     

    January 30th, 2014

    San Francisco Chronicle

     

    "New York artist Nina Katchadourian has filled the Catharine Clark Gallery with photographs representing two episodes in her ongoing project “Sorted Books.” It proceeds by her finding and ordering books so that their titles form phrases or poetic expressions neither anticipated nor intended by authors or publishers.
    The Clark Gallery hosted an event on the opening day in which people from various disciplines, within and beyond the arts, were invited to speak briefly about books, as objects, that have with special meaning for them.

    Katchadourian and I spoke at the gallery after that event.

     

    Q: Can you remind me how this project got started?

    A: In 1993, when I was a graduate student at UC San Diego, studying with people like Allan Kaprow and Eleanor and David Antin, their work had a lot of interest in looking at the world. And a lot of us graduate students were similarly trying to work in non-art situations, so to speak. So we went to a small house in Half Moon Bay for a week, where there was an undergraduate student we all knew whose parents had agreed to let us live for a week with them and make art with what we found in the house. And I ended up spending a lot of time with this couple’s books. They had a lot of books and what came back to me in looking at them was a thought I’d once had in a library, looking for a book and reading titles and thinking that it would be really amazing if these titles came together to form a really long poem or sentence. Then I thought I could just make that happen… So I started taking books off the shelves and composing with them, sequencing the titles so these poems, stories and so on started to take shape. I never imagined I would be making them 20 years later. And I never thought that they would be in photographic form…"

     

    Full article: link

  • January 17, 2014

    Opening Reception:  Friday, January 24, 5-9pm & Saturday, January 25, 1-3pm

    ARTIST TALK: Tuesday January 28, 7pm at 401 Tunnel Ave

    Recology

    Art studio and gallery: 503 Tunnel Ave, San Francisco, CA 94134

     

    Join us at Recology for the opening of Stephanie Syjuco's exhibit, Modern Ruins (Popular Cannibals) in San Francisco, CA.  Syjuco is a current artist-in-residence at Recology, one of the most progressive waste management providers on the west coast, focusing on resource re-use and ecosystem sustainability.  Recology's artist-in-residence program, which has hosted over 100 artists since 1990, provides Bay Area artists with access to discarded materials, a stipend, and a large studio space at the Recology Solid Waster Transfer and Recycling Center.  The artists' studios are located on-site at Recology's 47-acre facility located west of Highway 101 near Candlestick Park, and is also home to a three-acre sculpture garden containing work by former artsits-in-residence.  In this exhibit, Modern Ruins (Popular Cannibals), Syjuco takes beloved archetypes of modernist furniture and reproduces them dump-style to explore a range of ideas related to production, consumption, class and economies.  These works continue her investigation of copies and counterfeits, while also examining modernism's promise of utopian progress and the reality of that vision today. 

     

    Work in progress: "Modern Ruins (Popular Cannibals)," at Recology Artist in Residence Program, San Francisco, Dec. 2013. Review in Squarecylinder Magazine.

  • December 07, 2013

    Catharine Clark Gallery

    at Miami Project 2013

    Booth #403

     

     

    We are in the midst of an incredibly busy and exciting time for the gallery and our artists! Sales thus far include:

     

    Travis Somerville's drawings on cotton sacks, American Dream I and II; Nina Katchadourian's video, In a Room Full of Strangers *SOLD OUT; Julie Heffernan's print, Intrepid Scout Leader; Paul Rucker's sculpture, September 15, 1963 from Soundless Series; leonardogillesfleur's lenticular, A Quema Ropa; and Ligorano/Reese's comissionable fiber optic tapestry, IAMI, sold to three collections including 21C in Louisville.

     

    On Friday, we took collectors on a walk-through with Nina Katchadourian at Art Basel at the Warehouse to view the Marguiles collection of Lavatory Self Portraits in the Flemish Style.

     

    More news and updates to come soon!

     

    Articles by BlouinArtINFO and Miami Herald:

    Miami_Herald___13_things_you_better_not_miss_at_Basel_2013.pdf

    Serious_Business_at_the_Miami_Project__2013.pdf

     

     

     

     

    Booth #403

     

     

     

     

     

     

     

  • December 07, 2013

     

    Miami Herald (online) Posted:  12/06/2013 20:59

    With so much art swirling around the downtown-Miami Beach axis this week, it’s hard to know where to start. This year, the art itself feels especially interesting --- and yes, even worth braving the traffic! Here are a few of our must-see choices.

    But first, this survival tip: Get to the fairs early, park your car and take taxis or shuttles around town.

    1.  Miami Project art fair, Northeast First Avenue at 29th Street, in Midtown; 11 a.m. to 7 p.m. Saturday, till 6 p.m. Sunday; $25.

    In its second year, Miami Project is securing ground as the most-cutting edge fair without succumbing to sensationalist tendencies. The work feels fresh, different and exciting, yet the layout of the ubiquitous Art Week tent is orderly and easy to navigate. What might strike the visitor the most is the number of galleries from the Midwest and West -- another truly refreshing change  from the East Coast- and Euro-centric rosters of almost all the other fairs. It’s a new and welcome voice added to the satellite fair universe.

    Full article PDF: Miami_Herald___13_things_you_better_not_miss_at_Basel_2013.pdf

  • October 11, 2013

    Catharine Clark Gallery at Texas Contemporary 2013

    Booth 307

    October 11-13

    Fair Hours

    Friday, October 11, 2013 - 11:00am to 7:00pm

    Saturday, October 12, 2013 - 11:00am to 7:00pm

    Sunday, October 13, 2013 - noon to 6:00pm

     

    Pictures from Houston

    Booth #307 at Texas Contemporary ready for opening night!

    Booth #307 Ready for Opening Night!

     

     

    Nina Katchadourian |  Sorted Books

     

     

    Titus Kaphar at Texas Contemporary

     

     

    Venue Space: Hall A

     

     

    Catharine Clark with Max Fishko (left), fair organizer and Paul Kopeikin (right), art gallerist from LA.  

     

     

    Catharine Clark with gallery staff member Alex Case

     

    Titus Kaphar| Vague Re-collections

  • August 06, 2013

    Archival Insights: Julie Heffernan

     

    As an intern for the gallery this summer, I have found myself meandering through the rooms of towering archival bins; each bin fronting a meticulously labeled name of one of the many artists represented by the gallery over the years. Tasked with the organization of Julie Heffernan’s archives, I slid the bin off the metal shelf and entered the paper history of her career.

     

     

    Archival bins are organized boxes of primary sources— a paper trail of the imprint an artist has left on the art world. Heffernan creates paintings alive with magical realism, where fairy tale landscapes mix with the interior workings of her dream-like outlook. Her work is expansive and complex, and is often presented on a monumental scale. Within, the viewer finds an interwoven multitude of painted vignettes packed with intricate and deliberate details, as seen in Heffernan’s Intrepid Scout Leader, 2011.

     

    Julie Heffernan. Intrepid Scout Leader, 2011. Archival pigment print, museum board, glass jewels, metal fittings, gold leaf, PVA glue, acrylic handwork. 36 x 27 inches.

     

     

    The stoic male figure in this print grounds me in the composition, a role Heffernan’s figures often play, but soon my gaze wanders to the detailed mini-worlds beyond the centrality of her protagonists. The backpack made of coiled rope holds miniatures of opened and closed doors, gilded hanging ornaments, and watchful jungle animals. The folded turf on which the figure sits is sliced along the midsection to expose a stratification of layered earth. Inside, I see a mysterious interior of a dark marble rotunda, above which stands an ancient world of earthen temples and rich river beds. Viewing Heffernan’s work feels like a never-ending game of Where’s Waldo.

     

    The paper contents of Heffernan’s archive do not compare to physically viewing her paintings— and how can they, because paintings are meant to be experienced in person, with the textures of the medium and the reality of the scale presented in front of the viewer. However, archives should not be negated by thismere comparison because they do serve a purpose, which is to maintain a permanent record of an artist’s career and past accomplishments.

     

     

    Flipping through the files of Heffernan’s archive, labels such as “artist, institution, and client correspondence,” “financial inventory,” “press archive” and “inventory, lists, consignments” come to the forefront. The “press archive” folder contains art magazines and articles that have featured Heffernan’s work, while the “invitations” folder houses many pamphlets from the artist’s group and solo exhibitions. One invitation mentions Heffernan’s artist residency at the LUX back in 2008, when the artist painted a five-by-six-foot oil painting from start to finish over the course of three weeks. Another pamphlet with a title both in English and Japanese recalls Heffernan’s one-person exhibition at the Megumi Ogita Gallery in Tokyo, Japan. Unique to paper archives is the tangibility present in both of these folders; as I held these reminders of early exhibitions, it was as if I held the physical byproduct of the artist’s past accomplishments. 

     

    The correspondence folders also tell the story of how these Heffernan exhibitions came to fruition and the art world players who contributed to her career. Email printouts from the artist and her dealers show the constant communication required when preparing for a solo exhibition. Registrars contribute to the dialogue, as well as assistant directors, gallery owners and the artist herself.

     

    Julie Heffernan. Self-Portrait as Tender Mercenary, 2006. Oil on canvas. 91 x 68 inches.

     

    The back and forth between artist and galleries demonstrates the need for proper packaging and wrapping, estimates and loan agreements, in addition to working titles that kept constantly revolving and changing. In one email related to a 2006 solo exhibition at Catharine Clark Gallery, the artist makes a request for a slide detail of Self-Portrait as Tender Mercenary, 2006, to highlight the “animals at her feet.” Since this work is displayed on the invitation for the show, both artist and gallery clearly saw it as a standout image. If I hadn’t seen Heffernan’s request for a detail shot, I might have focused on the shimmering chandelier, fighting soldiers or capitol building set ablaze rather than the pile of animals at the central figure’s feet. Archived correspondence as such contributes a certain perspective to the understanding of an artist’s work, and if it weren’t for the archives, these brief pockets of information would have been overlooked. 

     

    Archives tell the tale of an artist’s career -- who they are, where they have gone, and sometimes what they will do next. When researching an artist, archival records provide alternative information about the artist that can yield new insights on familiar pictures.

     

     

    Julie Heffernan’s work is currently on display at the Palo Alto Art Center.

     

     

    Feibi McIntosh
    University of Southern California, 2015

  • August 03, 2013

    Interview With Masami Teraoka

     

    Click this link to view an interview with Japanese American artist Masami Teraoka, whose work was recently featured in the group exhibition "All You Need Is LOVE: From Chagall to Kusama and Hatsune Miku" at the Mori Art Museum, Tokyo.

     

    The show featured artists working in a wide range of styles, from Marc Chagall's romanticized, dreamlike compositions to the unbashed pop aesthetic of such mega artists as Jeff Koons and Damien Hirst.

  • July 30, 2013

    San Francisco Galleries Migrate Toward New Hub After SFMOMA Closure

     

    With the temporary closure of SFMOMA for its massive renovation, San Francisco’s gallery scene is shifting away from its traditional downtown hub to the Potrero Hill neighborhood, which offers larger spaces in former manufacturing buildings and proximity to another major institution. Four recently relocated galleries are planning simultaneous fall season openings on September 7 in their new Potrero Hill digs.

     

    Brian Gross Fine Art, Catharine Clark Gallery, Jack Fischer Gallery, and George Lawson Gallery have all recently moved to within a few steps of one another on Utah Street and Potrero Avenue, the San Francisco Business Times reports, just across the freeway from the California College of the Arts and its Wattis Institute.

     

    The neighborhood is already home to Steven Wolf Fine Arts, Hosfelt Gallery, which moved in last year, the artist-run space Southern Exposure, and the local offices of Bonhams & Butterfields.

     

    “The industrial buildings are a natural fit for galleries and arts institutions that value the setting for presenting and creating art,” Catharine Clark Gallery spokesperson Ariel Rosen told the Business Times. “With SFMOMA closing, the energy is moving elsewhere. And there’s already a vibrant design community here, so it’s a good place to be.”

     

    Benjamin Sutton for ARTINFO's In the Air Blog

  • July 23, 2013

    Studio Visit with Deborah Oropallo

     

    The high-pitched murmurs of chickens clucking, the pitter-patter of Nigerian dwarf goats circling around the hay-filled pen, and a faint scampering of a baby calf frightened by the engine of the car pulling into the dirt driveway. When the staff of the Catharine Clark Gallery embarked on a studio visit to the farm and residence of Bay Area artist Deborah Oropallo, these sounds filled the fresh Northern Californian air of this barnyard sanctuary.

     

    A baby calf greets visitors to the farm

     

    Situated in the picturesque landscape of Marin County, Oropallo’s studio embodies her technology-based art process while reflecting the rural, quirky setting. Inside her work space, visitors find large desktop computers, inkjet printers and airbrush equipment alongside stuffed prop geese nestled beneath the drawing table. Roaming the premises, one might see one door leading to this studio, and another that opens to reveal a goat cheese-making room. All the while, the view from the window stretches out to reveal an orchard of fruit trees and blooming shrubs.

     

    The cacophony of farm animals insinuates itself into Oropallo’s canvases. Daily routines in farm life, from milking cows to feeding pigs, appear in her mixed media pieces. Unique in its own right, the artist’s process begins with Photoshop; using a mix of her own and found photographs, Oropallo blurs and layers images of farm animals before effacing certain color pigments from the digital images to generate a ghost-like effect. In partnership with Magnolia Editions, the artist oversees the creation of the final work using flatbed printers and large pieces of canvas.  She uses an airbrush tool to fix any problem areas before calling the work complete. 

     

    Studio shot of the artist's space 

     

    This layering of images produces a dissolving and blur-like impression, which remains a continual theme in her career as an artist. The compositions in this current work juxtapose images of fleshy cows arranged on top of bare ligaments and pink-toned muscles, revealing the inner skeletal components of the farm animal. Her work sheds light on the complex narrative of the “farm to table” process, bearing witness to the cycle of human consumption of meat products.

     

    One of the artist's work in progress

     

    Whether one sees in Oropallo’s work a rejoicing in informed food consumption or a disturbing reminder of the original source of packaged meat, a visit to the artist’s studio and farm provides insight and a much-need break from the bustle of the urban inner-city.   

     

    Feibi McIntosh
    University of Southern California, 2015

  • July 17, 2013

    What is the link between Venice and the Great Wall of China, or between Ile Saint-Louis in France and a man barbecuing?

     

    Kara Maria’s "Hotel Stationary Drawings" illustrate some scenes that seem to come from an amateur vacation photo album. Admittedly including a humorous note, this series pushes the viewer towards deeper reflection. Indeed, for the observer, the material used in this work is inseparable from the imagery. This relationship might seem obvious. When talking about the series, the artist admits that the pictures do not match the locations of the hotels advertised on the stationary.  The combination of the stationary and images from other places reminds us how different trips, places, visits and events tend to blur together over time in our lives and minds.


    Kara Maria. I-5 2012. Graphite on hotel stationary. 11 x 8 1/2 inches.

     

    “I-5” (2012) illustrates a man taking a break in a rest area. He looks toward the horizon and the wind off the highway catches his hair. The moment is peaceful and produces a feeling of freedom and escape that is in direct contradiction with the utilitarian nature of the rest stop. We don’t expect such an image of quiet meditation amidst so many comings and goings. The ephemeral nature of the atypical material used in this series underscores the brief moment immortalized by the artist.

     

    Kara Maria gives importance to these snapshots taken during her own travels through the act of drawing them in pencil. This approach relates to her method of working, which often starts with a photograph, as in her “Breast Portraits”. However, Maria’s universe is very large. From representation to abstraction, the artist explores a lot of directions and brings us with her in an interesting and endless reflection.

     

    By Alain Pittet

  • June 28, 2013

    Archival Insights: Masami Teraoka


    During my summer internship at Catharine Clark Gallery, I have had the fortunate opportunity to assist with archiving the papers of Masami Teraoka, in preparation for their donation to the Smithsonian Archives of American Art. Teraoka’s archive contains a diverse array of media that reflects his prolific career from 1973 to the present. The vast range of the archive's chronology and contents, from sketchbooks to sales receipts, printing plates to videos, and newspaper clippings to a monograph entitled “Ascending Chaos: The Art of Masami Teraoka 1966-2006” (2007), materializes the many entangled processes of idea, experimentation, exhibition, and sale, from which art arises in an artist’s life. Additionally, the archive makes manifest the various factors, such as the aesthetics of cultural tradition, the performative nature of identity, the pressures of modernization, and the memory and mythology of place, that have driven Teraoka’s profound artistic output and evolution.

     

    Masami Teraoka, “AIDS Series/Geisha in a Bath”, 2008.

     

    I am grateful to have learned about Masami Teraoka and the visual complexity of his paintings and prints. I am most drawn to his early and mid-career work that visualizes social issues, such as AIDS and westernization, in the ukiyo-e woodblock print aesthetic. Teraoka’s appropriation of traditional Japanese “pictures of the floating world” with contemporary concerns functions to ground the imagery in our current milieu of globalization, with figurative narration of intercultural bewilderment. Despite his evolution from watercolor and prints in the ukiyo-e style to later oil paintings that adopt the pastiche form of Medieval altarpieces, the fluctuating subject in Teraoka's work, be it a geisha or a nun, performs the dichotomy of liberation (frequently erotic) and limitation (often cultural and linguistic), and consequently subsumes the inherent theatricality of his assembled identities. Perhaps the most thrilling moment in the archival process was finding two carved printing plates from 1977, depicting an image from the “31 Flavors Invading Japan” series. It was exciting to have direct exposure to Teraoka's facture and insight into his process of printing black line contours before using watercolor to paint the picture plane, bestowing agency to his characters that in turn construct narratives of performed social commentary and dissent, aptly fitting his self-named aesthetic of Masami-za, or “the narrative art theater of Masami”.

     

    Masami Teraoka, Printing Plate from “31 Flavors Invading Japan” Series, 1977.

     

    I was initially overwhelmed by the immense scale of Masami Teraoka’s archive. Amidst decades of papers that seemed to frequently defy the logics of chronological organization, it can be easy to lose perspective on how an archive signifies the development of career, art, and influence. How can one distinguish between junk and gem, detritus and treasure? Why might the archive be necessary in our current state in which information can be rapidly accessed? Many questions arose throughout the archiving process, yet I have come to realize that in the contemporary moment dominated by the excess of the internet, the extensive flow of global capital, and the incomprehensible speed of technological innovation, the archive exists in suspension between threatened extinction and digitized propagation. However, alongside the artwork itself, the archive remains the most integral and dynamic source for contextualizing art, interpreting culture, and rendering history intelligible for the future.

     

    Carlos Kong

    Cornell University '15

  • June 27, 2013

    Andy Diaz-Hope and Laurel Roth Studio Visit

     

    Syringe needles and red gel capsules glittered amongst Swarovski crystals, lighting Andy Diaz-Hope and Laurel Roth’s apartment and studio. All around oddities attracted your attention: hypodermic needles disguised as airplanes flew overhead, pigeon-mannequins wearing crochet suits perched on side tables and mirror sculptures refused to reflect the viewer, drawing you in like a black hole. 

     

     

     

     

     

    Sharing a space has evidently influenced both Roth and Diaz-Hope. From Roth’s exquisite peacock made entirely of hair clips to Diaz-Hope’s series of crocheted balaclavas, it is clear that both artists have a compelling sense of humour. Sharing a studio also seems to have been fruitful: last year the two completed a collaborative project entitled Allegory of the Prisoner’s Dilemma, the culmination of five years works that finished the pair’s triptych of tapestries.

     

     

     

     

    Seeing Diaz-Hope and Roth’s work within the context of their studio was insightful; their appreciation of playfulness in art is apparent, but so too is their aesthetic eye. Overlooking the roofs of the Mission and amid the margaritas and salsa that accompanied the conversation on the deck, it was universally agreed that Diaz-Hope and Roth share an inspiring environment.

     

    Figgy Guyver

  • June 26, 2013

    A Closer Look at Timothy Cummings' A Painting Lesson

    Painting Lesson, 2011. Acrylic on linen panel.12 x 8 inches unframed, 13 x 9 inches framed.

     

    The figures in Timothy Cummings' work look like they’ve been extracted from a Botticelli altarpiece and transplanted into a kid’s dream, or a sort of apocalyptic Eden. It’s all very paradoxical. His subjects all seem to be at that awkward age between childhood and maturity. The inquisitive gaze that falls on the viewer is ambiguous. Is the figure aware of his (or her?) sexuality; is his cocked head just innocently observing?

     

    Critical perception of Timothy Cummings’ work has often focused on his lack of official training. Painting Lesson, a smaller canvas for Cummings, seems to be a playful response to the media’s tendency to highlight this particular aspect of his biography. The rainbow-hued silhouette that dominates the left side of the canvas evokes lessons learned in preschool painting class, as does the impasto pallet at the top of work. Yet reflected in the rainbow silhouette is a finely painted and brocade-clad figure that offers a counterpoint to the more abstract forms. The finesse of the figure defiantly shows: “who needs formal training?”

     

    The juxtaposition of various styles makes this Cummings piece stand out from his usual repertoire. His other works completed in the same period such as A Rare Flower or Clairvoyant are more conventionally ‘complete’; they have the Renaissance luminosity of Caravaggio’s masterpieces Bacchus, or Boy Bitten by a Lizard, and share the same homoerotic appeal. Yet everything in Painting Lesson seems to be a veritable pastiche of styles, even the literal canvas is pasted together creating a sort of quilt-like surface. The decision to leave areas of the canvas raw and the gobs of paint preserved as a palette above the subjects’ heads make the piece seem unfinished. Yet, as the name might suggest, Painting Lesson seems to pose an answer to some of those perpetual dilemmas facing artists. "When is my piece complete?" is confronted by the direct gaze of the figure who defiantly declares ‘Right now’. It’s quite a rebellious painting.

     

    Whether you’re interested in work reminiscent of historical masterpieces, are a fan of Cumming’s masterful ability to synthesize disparate styles, or you just want something to celebrate today’s historic overruling of Proposition 8, Cumming’s pint-sized painting is a unique choice from his wide repertoire.

     

    Timothy Cummings will be showing new work in August at the Transart Institute in Sao Paulo, Brazil.

     

    Figgy Guyver

  • June 22, 2013

    Opening Reception

    <em>Sky is Falling: Paintings by Julie Heffernan</em>

    Palo Alto Art Center

     

    Installation view of Sky is Falling: Paintings by Julie Heffernan

     

    Last night the Palo Alto Art Center opened Julie Heffernan's mid-career exhibition Sky is Falling: Paintings by Julie Heffernan. The exhibition runs through September 1 and then will travel to the Crocker Art Museum in Sacramento, California. The opening reception included a walk through with the artist, as well as a conversation between Heffernan and acclaimed writer Rebecca Solnit, who wrote the essay for the exhibition's catalog.

     

    Installation view of the exhibition

     

    Installation view of the exhibition

    Julie Heffernan beginning her artist-led tour of the exhibition

     

    Julie Heffernan walking the rapt crowd through the private tour.

     

    Julie Heffernan finishing up the exhibition tour.

    Preceding the artist-walk through, guests were invited to listen to a conversation between Julie Heffernan and writer Rebecca Solnit.

    Writer Rebecca Solnit and Julie Heffernan in conversation at the opening, topics ranging from dangerous beauty, the environment, and emergencies.

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    Palo Alto Art Center
    Address: 1313 Newell Road, Palo Alto, CA

  • May 25, 2013

    Julie Heffernan opens at the Palo Alto Art Center June 22!

     

    Self-Portrait of Boy with Growth, 2011. Oil on canvas. 77 ¼ x 66 inches

     

    Sky is Falling: Paintings by Julie Heffernan

    Palo Alto Art Center

    June 22, 2013 – September 01, 2013

    Address: 1313 Newell Road, Palo Alto, CA

     

    Opening Reception June 21 | 7-9pm

     

    “What we imagine we can manifest”—Julie Heffernan

    Julie Heffernan draws from a rich art historical tradition of still lifes, landscapes, and portraiture to create her lush canvases. With traditional techniques she creates very topical representations that address climate change, consumption, and globalization. This exhibition will feature a wide range of paintings produced within the past ten years and is accompanied by a catalogue with an essay by Rebecca Solnit.

    Raised in the San Francisco Bay Area, Julie Heffernan now lives and works in New York. Her work has been exhibited widely throughout the United States and is included in numerous national and international collections, including the Columbia Museum of Art in South Carolina and the Virginia Museum of Fine Art in Richmond. A traveling retrospective of her work was organized by the University Art Museum, University of Albany in 2006.

  • May 18, 2013

    artMRKT Panel Discussion | May 18, 2013

     

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    Beyond Bay Lights: What is the role of cities and cultural institutions in creating visibility for the digital arts?

     

    The crowd and panelists at the event.

     

    Beyond Bay Lights: What is the role of cities and cultural institutions in creating visibility for the digital arts?

    Open to All Fair Attendees
    Saturday, May 18th | 11:30AM - 12:30PM | Discussion Theater

    Artists, curators, gallerists, city officials and collectors will discuss making, collecting, selling, exhibiting, maintaining, and supporting new media in contemporary art. What is the role of the city relative to tech companies and artists working with technology as a medium? What are the unique issues facing artists making work using digital technology? What are the issues facing collectors and exhibiting institutions relative to new and time based media? What role do cultural organizations play in creating visibility for the field? Panelists include artists Anthony Discenza, Laurie Frick and George Legrady; collector Ron Casentini; Catharine Clark of Catharine Clark Gallery; Jay Nath, Chief Innovation Officer for the Mayor’s Office of the City of San Francisco and Ceci Moss, Assistant Curator at YBCA. The panel will be moderated by Joel Slayton, Executive Director of ZERO1.

     

    Joel Slaton, Executive Director of ZERO1, moderating the panel, which also featured Catharine Clark of Catharine Clark Gallery; Ceci Moss, Assistant Curator at YBCA; artist Laurie Frick; collector Ron Casentini; artist George Legrady; artist Anthony Discenza; and Jay Nath, Chief Innovation Officer for the Mayor’s Office of the City of San Francisco.

     

    The panelists and attendees engaged in discussion.

  • May 16, 2013

    Catharine Clark Gallery at artMRKT SF 2013 | Booth 601

     

    Installation view

    Installation view of Catharine Clark Gallery's booth 601! L to R: Andy Diaz Hope and Laurel Roth Allegory of the Prisoner's Dilemma, Walter Robinson Capitol Hill Billy, Sandow Birk Monument to the Constitution of the United States.

     

    Catharine Clark Gallery announces our participation in artMRKT San Francisco  2013, at Fort Mason Center from May 16 – 19, 2013. In Booth 601, Catharine Clark Gallery will feature an exhibit on the subject of human rights, with the newest Sandow Birk etching Universal Declaration of Human Rights as the centerpiece of the exhibition. The 2013 artMRKT San Francisco is relocated to Fort Mason and opens to the public May 16 – 19. Click here to read the full press release.

    artMRKT Fair at Fort Mason: Hours

    Thursday, May 16 ArtCare Award for Excellence in Civic Arts Patronage 5 – 6pm
    Opening Night Preview Reception 6 – 8pm
    Opening Night Party 8 – 10:30pm
    Friday, May 17 11am - 7pm 
    Saturday, May 18  11am – 7pm
      Panel on New Media 11:30am
    Sunday, May 19 Noon – 6pm

     

    Installation view of booth 601. L to R: Travis Somerville C.D.P., Chester Arnold Sic Transit Gloria Mundi, and Titus Kaphar Attic.


    Entrance to booth 601!

  • May 14, 2013

    Nina Katchadourian Sorted Books Events | May 10-12, 2013

    Catharine Clark Gallery, New York

     

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    Friday, May 10 | Opening Reception, Veronica Roberts and Nina Katchadourian in conversation

    Installation view of Nina Katchadourian's Sorted Books exhibition.

     

    Thank you all who came out for Nina Katchadourian's Sorted Books monograph release and solo exhibition at Catharine Clark Gallery, New York!

     

    Nina Katchadourian and Veronica Roberts in conversation, Friday May 10.

     

    The audience on Friday, May 10!

     

    Rapt attention while Nina and Veronica were conversing!

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    Saturday, May 11 | Cocktail Reception

     

    Katie Clark, Travis Somerville, and longtime friend!

     

    Guests enjoying the event!

     

    Nina Katchadourian entertaining guests.

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    Sunday, May 12 | Open House Book Signing, Brunch, and Book Show and Tell

     

    The crowd on Sunday, enjoying Nina's work.

     

    A lovely brunch spread by Catharine Clark.

     

    Nina Katchadourian introducing the Book Show and Tell!

     

    Kambui Olujimi sharing his book Wayward North (and many personal vignettes!)

     

    Nion McEvoy presenting his book selection. We had such a fanstastic selection of "show and tellers!"

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    Thank you all for the continued support at our New York space!

  • May 06, 2013

    Nina Katchadourian Sorted Books Monograph Release and Solo Exhibition

    May 10-12, 2013

    Catharine Clark Gallery, New York

     

     

    New York, NY: Catharine Clark Gallery announces the release of Nina Katchadourian’s monograph Sorted Books, published by Chronicle Books, with a series of events May 10-12 at Catharine Clark Gallery, New York. Coinciding with Frieze Art Fair and celebrating the release of the publication, Catharine Clark Gallery, New York, presents a solo exhibition of the most recent addition to Katchadourian’s “Sorted Books” series, titled “Once Upon a Time in Delaware/In Quest of the Perfect Book,” originally commissioned by the Delaware Art Museum. The book release events and exhibition are open to the public May 10-12. Read the full press release here.

     

    Public Hours
    Friday, May 10 Opening Reception 5:30–8:30pm
      Nina Katchadourian and Veronica Roberts in Conversation 7pm
    Saturday, May 11 Cocktail Party 6-9pm
    Sunday, May 12 Open House Book Signing 10am-2pm
      Brunch 10am-12pm
      Book “Show and Tell” with Nina Katchadourian and selected participants 11am

     

    Sorted Books is currently available through Catharine Clark Gallery or Chronicle Books for $25.

     

    Installation view of Nina Katchadourian's Sorted Books series "Once Upon a Time in Delaware/In Quest of the Perfect Book."

  • May 03, 2013

    Catharine Clark Gallery Now Open By Appointment Only

     

    Moving out

     

    Catharine Clark Gallery will move to 248 Utah Street in the Summer of 2013, to a space designed by Los Angeles based Tim Campbell. This new location is within the neighborhood of the San Francisco Design Center and Showplace Square. Catharine Clark Gallery will add to the emerging cultural character of the Potrero Hill, which currently includes California College of the Arts (CCA), the CCA Wattis Institute for Contemporary Arts, and the Museum of Craft and Design.

     

    Catharine Clark Gallery will be closed to the public from April 21 – June 30, but open for appointment in San Francisco during this time. The gallery’s grand opening on Utah Street will be announced in July 2013. Catharine Clark and staff have several extra-mural programs planned for April, May, and June. For more information about programming or artists, please contact gallery staff: 415.399.1439 or 415.519.1439, or visit: www.cclarkgallery.com

     

    Alex Case and Eric Lendll packing everything up!

     

    Stephanie Smith and Ariel Rosen moving our flat files out of the gallery!

  • May 01, 2013

    EntryThingy Blog and Podcast

     

    Art of the Call Podcast: Catharine Clark, Catharine Clark Gallery in San Francisco, California


    Here's another Art of the Call video podcast where we ask directors, artists and curators to talk about the call for entry process.

     


     

    In this video, Catharine talks about:

    - Emerging vs professional artists

    - Juried shows

    - Legitimate space for art

    - Selecting art for a gallery

    - Choose and be chosen

    - What's important for artists

  • April 20, 2013

    Closing Reception
    Saturday, April 20  |  3-6pm

    Travis Somerville: A Great Cloud of Witnesses
    Paul Rucker: Sounds Like... and Proliferation
    Media Room: Question Bridge: Black Males
                          Chris Johnson, Hank Willis Thomas, Bayeté Ross Smith, and           Kamal Sinclair

     

    Installation view of Travis Somerville's "A Great Cloud of Witnesses"

    Please join Catharine Clark Gallery to celebrate the closing of our final exhibition at 150 Minna Street! The afternoon will feature a cello performance by exhibiting artist Paul Rucker and catalogue sale. Thank you for your continued support, we look forward to seeing you Saturday!

     

    Paul Rucker. Still from Water from the series Sounds Like... 2010. Single-channel video, digital print. Edition of 15. 24 x 36 inches unframed

     

    "Sonic Interpretation" Performance by Paul Rucker
    Saturday, April 20  |  4:30pm

    With cello and electronics, Paul Rucker will perform live at Catharine Clark Gallery, inspired by the artwork on view.

    In light of Travis Somerville's associated "Meet the Artist" event at the Crocker Art Museum, Paul Rucker will begin his concert at 4:30pm, following an introduction to his artwork on view at 4:15pm.


    Meet the Artist: Travis Somerville
    Saturday, April 20  | 1 - 3pm
    Crocker Art Museum

    ____________________________________________________________

    Catharine Clark Gallery will be open by appointment April 21 – June 30 in San Francisco. The grand opening will be in July at 248 Utah Street. Catharine Clark and staff have several extra-mural programs planned for April, May, and June.

    Upcoming at CCG NY:
    Nina  Katchadourian: Sorted Books Monograph Release
    May 10 - 12

    Upcoming Art Fair:
    artMRKT San Francisco 2013
    May 16 - 19

    For more information about programming or artists, please contact gallery staff: 415.399.1439 or 415.519.1439, or visit: www.cclarkgallery.com.

     

     

  • April 12, 2013

    Catharine Clark Gallery at SEVEN April 11-14!

     

    Coinciding with the Dallas Art Fair, Catharine Clark Gallery is participating in SEVEN at Dallas Contemporary, showing work by Walter Robinson, and "Winter in America" by Kambui Olujimi and Hank Willis Thomas in the video room.

     

    "Tower" by Walter Robinson

     

    Pilot by Walter Robinson

     

    Walter Robinson and Jaime Brunson at SEVEN, in front of two "Eye Chart" works

     

    Video Room installation from SEVEN, featuring "Winter in America" by Kambui Olujimi and Hank Willis Thomas.

     

    Installation of "Winter in America" by Kambui Olujimi and Hank Willis Thomas

  • March 27, 2013

    Ken Goldberg

     

    Making Art Out of Earthquakes
    Berkeley's Ken Goldberg explores how to help people understand the physical realities of a geologically active world.

    GEOFF MANAUGH & NICOLA TWILLEY
    MAR 25 2013, 3:22 PM ET


    The Hayward Fault runs through the center of the UC Berkeley campus, famously splitting the university's football stadium in half from end to end. It has, according to the 2008 Uniform California Earthquake Rupture Forecast, a thirty-one percent probability of rupturing in a magnitude 6.7 or greater earthquake within the next thirty years, making it the likeliest site for the next big California quake.

    Nonetheless, for the majority of East Bay residents, the fault is out of sight and out of mind--for example, five out of six Californian homeowners have no earthquake insurance.


    The Hayward Fault trace superimposed onto a map of the University of California, Berkeley, campus, as seen in theUSGS Hayward Fault Virtual Tour


    Meanwhile, three-quarters of a mile north of Memorial Stadium, and just a few hundred yards west of the fault trace, is the office of Ken Goldberg, Professor of Industrial Engineering and Operations Research at Berkeley.

    Goldberg's extensive list of current projects includes an NIH-funded research initiative into 3D motion planning to help steer flexible needles through soft tissue and the African Robotics Network, which he launched in 2012 with a Ten-Dollar Robot design challenge.

     


    A robot from the "10 Dollar Robot" Design Challenge organized by the African Robotics Network


    Alongside developing new algorithms for robotic automation and robot-human collaboration, Goldberg is also a practicing artist whose most recent work, Bloom, is "an Internet-based earthwork" that aims to make the low-level, day-to-day shifts and grumbles of the Hayward Fault visible as a dynamic, aesthetic force.

     


    Screenshot of Bloom, 2013, by Ken Goldberg, Sanjay Krishnan, Fernanda Viégas, and Martin Wattenberg

    Venue stopped by Goldberg's office to speak with him about Bloomand the challenge of translating invisible seismic forces into immersive artworks.

    Our conversation ranged from color-field art and improvisational ballet to the Internet's value as a vehicle for re-imagining the relationship between sensing and physical reality. The edited transcript appears below.
    • • •


    Nicola Twilley: When did you start working with seismic readings in an artistic context, and why?

    Ken Goldberg: Well, I had just finished grad school, I had started teaching at USC in the Computer Science department, and I was doing art installations on the side. And I was building robots.

    I had just completed an installation for the university museum when I stumbled onto this, at the time, brand new thing called the World Wide Web. My students showed me this thing and I realized: this is the answer! The Web meant that I didn't have to schlep a whole bunch of stuff to a museum and fight with all their constraints and make something that, in the end, only 150 people would actually get out to see. Instead, I could put something together in my lab and make it accessible to the world. That's why we--I worked with a team--started developing web-based installations.
     

    The Telegarden, 1995-2004, networked art installation at Ars Electronica Museum, Austria. Co-directors: Ken Goldberg and Joseph Santarromana Project team: George Bekey, Steven Gentner, Rosemary Morris Carl Sutter, Jeff Wiegley, Erich Berger. (Robert Wedemeyer)


    We actually built the first robot on the Internet, as an art installation. It got a lot of attention--tens of thousands of people were coming to that. Then we did a second version called The Telegarden, which is still the project I'm probably best known for. It was a garden that anyone online could plant and water and tend, using an industrial robotic arm, and it was online for nine years. I actually just found out that there's a band called Robots in the Garden, which is exciting.

    What was really interesting to me about The Telegarden was this idea of connecting the physical world, the natural world, and the social world through the Internet. I was interested in the questions that come up when the Internet gives you access not just to JSTOR libraries and to digital information, but also to things that are live and dynamic and organic in some way.

    That really drove my thinking, and my colleagues and I began to do a lot of research in that area. I registered some patents and won a couple of National Science Foundation awards, formed something called theTechnical Committee on Networked Robots, and wrote a lot of papers. From the research side of it, there are a lot of interesting questions, but, from the art side, it also led to a series of projects that look at how such systems were being perceived, and how they were shaping perception.

    I worked with Hubert Dreyfus on a philosophical issue that we call "telepistemology," which is the question of: what is knowledge? What counts as objective distance? In other words, people were interacting with this garden remotely, and that raised the question of whether or not, and how, the garden was real, which is the fundamental question of epistemology.

     


    The Telegarden, 1995-2004, networked art installation at Ars Electronica Museum, Austria. Co-directors: Ken Goldberg and Joseph Santarromana Project team: George Bekey, Steven Gentner, Rosemary Morris Carl Sutter, Jeff Wiegley, Erich Berger. (Robert Wedemeyer)


    Epistemology has always been affected by technologies like the telescope and the microscope, things that have created a radical shift in how we sense physical reality. As we started thinking about this more, we became interested in how the Internet is causing an analogous shift, in terms of, hopefully, reinvigorating skepticism about what is real and what is an artifact of the viewing process. I edited a book on this for MIT Press that came out in 2000.

    In the middle of all that, then, I moved here and met someone from the seismology group. They agreed to give me access to this live data feed of movements on the Hayward Fault, a tectonic fault that cuts right through the center of Berkeley--in fact, right through the middle of campus, not far from here. I was really interested in this idea of connecting to something that was not just the contained environment of a garden, but something much more dynamic and naturally rooted and global.

    I guess I should add, as well, that a big factor for me was when I moved up here and became intrigued by the total amnesia and denial that people here have about their seismic situation. I would ask people, "What do you have in your earthquake kit?" And they would reply, "What? What are you talking about?" Now, of course, twenty years later, I don't have an earthquake kit, either. [laughs]

    Manaugh: I think that's quite a common scenario. When we first moved out to California, we bought several gallons of water, a few boxes of Clif Bars, extra flashlights, and even earthquake insurance, and the native Californians I knew here just looked at us like we were paranoid survivalists, hoarding ammunition for Doomsday.

    Goldberg: It was that sort of reaction that got me thinking a lot about how people are not conscious of the fault, or about earthquakes, in general, and I began wondering how you could make that more visually present. Also, the old seismograph was an interesting visual metaphor for me. Everyone recognized that form, but I wanted to play with it. I thought we could make a live, web-based version, which you can actually still see online.

    Twilley: What form did that take?

    Goldberg: The very first version was just a simple trace across a black screen. It was called Memento Mori and it was meant to be super-minimalist. In fact, when I showed it to the seismologists, they said, "Oh, where's the grid? How can we quantify this without a scale?" I had to say, no, no, it's not about that. We're just showing a sense of this--a visible signal. We actually wanted people to make an analogy with a heart monitor.
     

    Screenshot from Memento Mori, 1997-ongoing, Internet-based earthwork (Ken Goldberg in collaboration with Woj Matuskik and David Nachum)


    What's also interesting is that the trace mutates quite a bit. You come in at different times of the day and the signal is very different. It's sort of like the weather. The fault has different moods. When there is an earthquake, people will see big swings of activity with rings, because it goes on for days and days afterward. In fact, when there's a big earthquake in Turkey, you can pick it up here. It strikes the earth and then a signal comes around at the speed of sound, and then it goes all the way around again, and you get these echoes for weeks. Very small echoes can go on for months. And, every time there is a tremor, we get a huge spike in traffic.

    I also liked the idea of making a long form artwork, like Walter De Maria's Earth Room, online.

    Manaugh: Like a seismic Long-Player?

    Goldberg: Exactly.

    Part of this, I think, is that as an engineer, I'm really intrigued by the challenge of how you make the system stay on. A lot of times we have robotic projects, but they work once or twice, and then that's it. I feel like that's deceiving, because people may see them, or watch a video, and then they take away a certain sense of what robotics is. You have to be careful, because it sets false expectations. The kind of robotics in which you really build a system that can stay online and also take the kind of abuse that happens over the Internet is quite a challenge. I'm very big on this issue of reliability and robustness.

    In any case, we put the Memento Mori system online and, after a year or two, Randall Packer, a composer here, approached me and said, "What about adding an auditory component?"

    The actual signal frequency is too low--it's inaudible. If you just attach a speaker to it, nothing comes out. What you want to do is use it to trigger sounds, so that, essentially, the signal becomes like a conductor's baton, triggering this orchestra of sounds. Through that process of sonification, you can create a very auditory experience that's still driven by the seismic signal.

    Twilley: So you could be using the signal to trigger a laugh track if you wanted to?

    Goldberg: Exactly--the sounds don't have to be notes. Packer did it with a lot of natural sounds, like waterfalls and lightning and thunder--things like that--so it was very earthly. But by no means does it have to be musical. In fact, that's where we are now with Bloom, which is my most recent project.

    We renamed the new auditory version Mori. We got a commission to do a project in Tokyo, at the ICC. They actually gave us a good amount of funding, so we ramped up and built this whole seismic installation with an acoustic chamber that was about fifteen feet square and had extremely powerful subwoofers underneath the plywood floor.

    The whole idea was that you could walk in and you could lie on the floor. We amplified the signal a lot, and there was this real sense of immersion, like you were essentially inside the earth. What was important is that it was live.

    Obviously, you could do this prerecorded, but it was essential to us that this signal was coming directly from the earth in real-time.

     


    Mori Seismic Installation, 1999-ongoing, Ken Goldberg, Randall Packer, Gregory Kuhn, and Wojciech Matusik. Photo taken at the Kitchen, New York City, April 2003. (Jared Charney)


    That was started in 1999, and, as it traveled around Japan and then to the The Kitchen in New York, we got closer and closer to the one-hundredth anniversary of the 1906 earthquake. I got this idea that I wanted to do a performative version. I wanted to do it in a very big space where everybody could experience it together at the time of the one-hundredth anniversary.

    About a year before the anniversary, by chance, I was seated at a table next to a dancer--actually, the dancer--from the ballet. She was the principal dancer at the San Francisco Ballet--Muriel Maffre. After a couple of drinks, I got the courage up to ask her, "Would you ever consider dancing to the sound of the earth?" Amazingly, she said yes.

    So Muriel, who is just an astounding artist and performer, took this on as a project. The idea was quite radical--that she would take a live seismic signal and respond to it on stage. And it's improv, because you don't know what's going to happen. We worked together for about a year, and we convinced the ballet to actually perform it in the opera house. It was about a week before the actual anniversary, in the end. She performed it on stage and it was about three minutes long. She did a phenomenal job. It was just a beautiful thing.


    Muriel Maffre performing Ballet Mori, image via Ken Goldberg.


    Twilley: How did you connect the signal to her, on stage?

    Goldberg: We connected to the signal via the Internet, and we did the sonification right there on site, feeding it into their speaker system. She was just responding to the sound on stage.

    What's so interesting about how the ballet works is that they do all these rehearsals and, then, when they actually set up for the performance, it all has to be done that same afternoon. There's no advance set up, because the space is in so much demand. You only have a few hours to get the whole thing tuned.

    In this case, we were really cranking it--telling them to just turn up the volume. It was amazing to watch this old opera house, which actually was destroyed in the 1906 earthquake and then rebuilt, start to vibrate. That was actually a big concern--were light fittings and so on going to fall?

     


    Ruins of City Hall and the Majestic Theater in San Francisco, following the 1906 earthquake.

     


    Manaugh: That reminds me of the artist Mark Bain, who actually got permission to install a massive acoustic set-up in a condemned building in the Netherlands; it got so loud, and the bass frequencies he was using were so extreme, that the building risked collapse--which, of course, was the entire point of Bain's performance--but the organizers had to shut it down.

    Goldberg: The facilities guys actually said to me, "We don't want to drop the chandelier on people's heads! What if there's a spike in the earth's motion that would cause the sound levels to blow up?" I don't know if that's even feasible, but we put a clip on it so, if there was a sudden event, the system wouldn't be overwhelmed.

    From there, I went on to do a limited series of the original Memento Mori piece that collectors could purchase. There was an artist's edition that would always be publicly available, but people who bought their own edition got their own version that they could label, and that included some private data. But, in the course of developing that, I started thinking, why does it have to be so grim? When I originally conceived it, I was really into the minimalist aesthetic. It was just black and white and about mortality. But I started thinking: why? It started seeming very dark.

    So I started thinking about what else this signal could be used to generate, something that would be more visually stimulating and more engaging. That's what gave rise to my new project, Bloom. Bloom is meant, in some sense, to invoke something that's more natural and organic. It still references mortality, but in a much more positive way. Maybe it's because I'm getting a little older or something like that!


     

    Screenshot of Bloom, 2013, by Ken Goldberg, Sanjay Krishnan, Fernanda Viégas, and Martin Wattenberg.


    Bloom is basically the idea that all flesh is grass, and that we can look at natural plant growth and organic material as outgrowths of the Earth. The seismic signal is a representation and reminder of this organic substrate, so I thought: let's use it to trigger the growth of forms. I'm just going to play it for you. [launches beta version of Bloom]

    Manaugh: What are we actually seeing right now? What scale of seismic activity do these blooms represent?

    Goldberg: What you're seeing right now is just normal variation. For example, when a big truck goes up Hearst Avenue, which is not far from the seismometer, there's a signal from that. And then, at any given time, there are actually lots of tremors going on around the world, so you're picking up all the echoes of those. It's actually really rich to try to do signal-processing in order to extract signals from the noise, because there are also resonant elements from, for example, the beating of the surf on the California coast.

    There's actually a huge amount of information coming through here. What's interesting is that this display is so different to what earth scientists are used to looking at. They study plots and seismographs, and so on. We're actually going to have a meeting with them to talk about their perceptions of this and how they respond to it. My sense is that they probably won't find it that valuable, because there's no real scientific benefit to it--although it would be interesting to see if someone who really understands the signal could look at this thing for a while and actually start to read it.
    For us, it's really more of an abstraction.
     

    Screenshot of Bloom, 2013, by Ken Goldberg, Sanjay Krishnan, Fernanda Viégas, and Martin Wattenberg.

     

    Twilley: Can you explain how the blooms' particular colors and forms are generated?

    Goldberg: The blooms are triggered from left to right, so there's still this idea of temporal progression, and they are triggered depending on whether the signal is switching. The relative size of each bloom is generated by the size of the signal change. The color choices come from a feed from Flickr--a search for flower images to pull up a data set that we can use to source the color variations.

    I'm working with these two wonderful data visualization folks, Martin Wattenberg and Fernanda Viégas. They are amazing: Martin has a Math PhD from Berkeley and went off to work at IBM. He's done a huge number of these visualizations for data of all kinds--most famously, for baby name data. All of his interfaces are just fantastic and we've been friends for a long time. He then started working with someone I knew from MIT, Fernanda, who is a painter by training. The two of them started to do all these amazing projects with IBM, and they had their own lab, which they eventually took private. Then they got bought by Google, but Google seems to give them pretty free rein to do whatever they want. We started working on this about a year ago.


    Mysteries: Afloat, 2000 (Kenneth Noland)


    I should also explain the reference to Kenneth Noland. I'll confess to you--I didn't really know his work when I began this project. I gave a talk to some art historians, and they said, "Oh, it's so nice that you're referencing Kenneth Noland in this way!" I was like, "Who?" They were a little horrified. [laughter]

    Noland was a New York color-field painter, whose work is a lot like what we had started generating with Bloom--so I dedicated the project to him. We wanted to play with that reference. What's amazing is that he passed away just a year ago.

    Screenshot of Bloom, 2013, by Ken Goldberg, Sanjay Krishnan, Fernanda Viégas, and Martin Wattenberg.


    In any case, we're still fine-tuning things, including the fades and the way that the colors are derived from the data and how it's going to be installed in the gallery and so on. The experience in the museum is always more immersive and hopefully more dramatic than it is online. The ideal situation for me is that you would come in on a kind of balcony and you could look down twenty or thirty feet and see all of the colors blooming there below you.


    Bloom installed at the Nevada Museum of Art


    Bloom is currently on display at the Nevada Museum of Art, Venue's parent institution, through June 16, 2013.

  • March 21, 2013

    Catharine Clark Gallery

    Upcoming Exhibitions and Art Fairs

    _______________________________________________________________

      

    Walter Robinson. Untitled, 2013. Wood, polychrome, brass, 104 x 75 x 36 inches                         

     

    Upcoming Art Fair                         

    SEVEN at Dallas Art Fair                

    April 12-14, 2013                             

     

    Featuring work by                          

    Walter Robinson                             

                                                                

                                                               

    Fair Hours                                         
    Friday, April 12-Sunday,                 

    April 14 11am-6pm

                                                                

    Opening Reception                       
      Friday, April 12 8pm-12am          

                                                             

    Luncheon and Panel Discussion

    Saturday, April 13 12:30-2pm

     

    SEVEN at Dallas Contemporary
    161 Glass Street
    Dallas, TX 75207
    http:/www.seven-miami.com

    ________________________________________________________________________

     

    Nina Katchadourian. Tittlebat Titmouse from Once Upon a Time in Delaware/In Quest of the Perfect Book, 2012. C-print, Edition of 5 + 2AP, 12 1/2 x 15 inches unframed

     

    Catharine Clark Gallery, New York

    Nina Katchadourian: Sorted Books Monograph Release

     

    May 10-12, 2013

     

    Friday, May 10
      Opening Reception 6-9pm
      Nina Katchadourian in conversation with Veronica Roberts 7pm


    Saturday, May 11
      Cocktail Reception 6-9pm

     

    Sunday, May 12
      Brunch 10am-12pm
      Book “Show and Tell” with Nina Katchadourian 11am
      Open House Book Signing 12-4pm


    Catharine Clark Gallery, New York
    313 W 14th Street, 2F, Between 8th + 9th Ave
    M: 415.519.1439
    www.cclarkgallery.com

  • March 12, 2013

    FLAVORWIRE

     

    Playful Book Spine Poetry by Nina Katchadourian

    By Emily Temple on Mar 11, 2013 8:45am


    Nina Katchadourian has been working on her Sorted Books project for over 20 years, rummaging through libraries and personal collections, and organizing the books she finds into legible clusters, which may come out funny, poignant, or even beautiful. “The final results are shown either as photographs of the book clusters or as the actual stacks themselves,” she writes, “shown on the shelves of the library they were drawn from. Taken as a whole, the clusters from each sorting aim to examine that particular library’s focus, idiosyncrasies, and inconsistencies — a cross-section of that library’s holdings.” Earlier this month, selections from Katchadourian’s project were published by Chronicle Books in a volume entitled Sorted Books, filled with assembled literary poetry and enough deliciously destroyed spines to satisfy any visually hungry book nerd. After the jump, check out a few of our favorites from the book, and if you’re intrigued, head here to learn more.

     

    Photo Credit: Nina Katchadourian/Chronicle Books

  • March 07, 2013

    Ligorano/Reese's public ice sculpture, Morning in America, featured yesterday on the The Rachel Maddow Show!

     

     

     

     

    A clip from the time lapse video of the work begins at 4:32 seconds. Audio overlay is Senator Bernie Sanders speech.

    For more information click here:  Morning in America  or Ligorano/Reese

     

  • March 01, 2013

    Travis Somerville featured in a Sacramento Bee article about his solo exhibition at the Crocker Art Museum, opening Sunday, March 3!

     

    Crocker welcomes the noise of a new sculpture

    By Ed Fletcher
    Published: Tuesday, Feb. 26, 2013 - 12:00 am | Page 1B


     

    Museums – much like libraries – are places where voices are hushed and noise minimal.

     

    That was not the case Monday as a new sculpture by Sacramento artist Gerald Walburg was carefully positioned outside the Crocker Art Museum by a steel sledgehammer.

     

    "Bang, bang, bang, bang, bang," rang out over the hum of a boom truck's engine and the roar of chain saws from a nearby tree-trimming crew as Walburg and his assistant Jeff Farley attempted to slide the immense sculpture over four bolts before turning it to lock it in place.

     

    "That piece will exist when this building is torn down," Walburg said after finishing the installation of his 1,000-pound, 10-foot-high nickel-bronze statue that he named "Sakti No. 15."

     

    Walburg, a former professor at California State University, Sacramento, said it's the 15th in a series of sculptures he has done inspired by Indian temples. His more famous Sacramento work is "Indo Arch," which extends over the walkway between the Downtown Plaza and Old Sacramento.

     

    Walburg said he leaves it to viewers to form their own interpretations of his works.

     

    "I'm not trying to tell a story," he said.

     

    He said he starts with a series of shapes suspended by cranes in his work space. He manipulates them, rotates them and spins them until he finds the relationship he likes, and then he welds them together. Walburg took no compensation for the artwork.

     

    The museum also welcomed a new indoor exhibit, "Rebirth of a Nation: Travis Somerville's 1963"

     

    The mixed media installation by the San Francisco artist was born out of his Southern upbringing and pushes viewers to reassess race relations in America.

     

    Somerville said much of his art tries to make sense of growing up in Georgia in a white family active in the Civil Rights movement.

    "We were very much outcasts," Somerville said

    .

    One of his work pairs a familiar image of Martin Luther King Jr. and the Nike swoosh; it is Somerville's statement about the "commodification" of King's image.

     

    Another piece takes the viewer inside a small cabin, seemingly plucked from the woods. Inside, the walls are papered with newspapers of the era. Images of blackface and the sound of a burning cross confront those inside, said Somerville.

     

    He said his work aims to spark discussion on race and racism. He dismissed the idea that the election of President Barack Obama means the United States is in a post- racial era.

     

    The exhibit of Somerville's work opens Sunday.

     

  • February 28, 2013

    Travis Somerville: Installation video of 1963 at the Crocker Art Museum

     

    Travis Somerville is busy preparing for his opening at the Crocker Art Museum Rebirth of A Nation: Travis Somerville's 1963 (as well as at Catharine Clark Gallery)! Watch this short video of Somerville installing his wonderful installation, 1963, which is the center point of his installation, and was recently acquired by the Crocker Art Museum!

    Follow the link: http://youtu.be/TiEUq8B5tYw

    Travis Somerville 1963

    Travis Somerville, born 1963. 1963, 2009
    Installations with found objects and video; 117 x 116 x 214  inches. Crocker Art Museum, Crocker Art Museum Purchase with funds provided by Deborah and Andrew Rappaport, 2011.78

     

    Rebirth of a Nation: Travis Somerville's 1963 runs March 3 – May 5, 2013

     

  • February 21, 2013

    Berkeley Art Center presents their Spring Artist Lecture Series:

     

    Stephanie Syjuco
    Saturday, February 23, 4pm

     

    The Counterfeit Crochet Project (2006–present): Diana's Dior

     

    Stephanie Syjuco is a conceptual artist on the cutting edge of social practice. Her strategies include use of common materials, the public domain, social networking, intervention, collaboration and humor to investigate themes of authenticity, consumption, value and labor. Her recent projects include creation of the artist-collaborative: Shadow Shop at SFMoMA in 2010, and Free Texts: An Open Source Reading Room at this year's ZERO1 biennial.

    $10 general admission, free for BAC members and students. RSVPs are strongly encouraged by calling 510.644.6893 or e-mail annw [at] berkeleyartcenter.org

     


  • February 19, 2013

    Opening March 2: Travis Somerville A Great Cloud of Witnesses

     

    Preview of works by Travis Somerville, whose solo exhibition A Great Cloud of Witnesses opens March 2 from 5-7, preceded by a panel discussion from 3:30-5pm.

     

     

    For more information about this exhibition, please read our press release or contact info@cclarkgallery.com

  • February 15, 2013

    Sandow Birk and Elyse Pignolet at the SF Jazz Center

    Watch the time-lapse video of Sandow Birk and Elyse Pignolet creating the murals for the San Francisco Jazz Center! 

    Catharine Clark visited Birk and Pignolet on site at the Jazz Center in early January, and took this snapshot of one the murals in progress!

     

    Click here to read a Q&A with artist Sandow Birk, on ARTINFO

     

     

  • February 08, 2013

    Nina Katchadourian

    Publisher's Weekly

     

    Sorted Books

    Nina Katchadourian. Chronicle, $22.95 (176p) ISBN 978-1-4521-1329-

     

    Nina Katchadourian Sorted Books

     

    When conceptual artist Katchadourian began stacking books to create playful expressions with their titles in the early 1990s, print had few challengers. Two decades later, with tablets and e-readers prevalent, the artist’s “delicate conceptual game with the horizontal and the vertical,” as Brian Dillon describes in his introduction, feels particularly relevant. The New York–based artist has assembled and photographed her stacks, or “clusters,” at private homes and museums, and even at playwright August Strindberg’s library in Stockholm. They recall everything from graffiti lifted from public bathroom stalls (“Repeat After Me/ Are You Confused?/ Are You Confused?”), to pure Imagist poems (“Sketches From a Hunter’s Album/ Rivers and Mountains/ Antlers in the Treetops/ Running Dog/ Some Trees/ Vanishing Animals”). When they are most effective, the book spines form lucid images that involve the viewer in a pithy narrative, such as the mock-noir cluster: “Trouble is My Business/ Money Under the Table/ Blood on the Dining-Room Floor/ Downcast Eyes/ Guilty.” With some exceptions, Katchadourian’s stacks possess an understated sophistication; they are true to the intimate nature of books and yet reveal their dramatic features and unexpected potential. And they suggest that print is becoming, as she believes, “more beautiful, more tactile, and more materially compelling.” Color photos. (Apr.)


    Reviewed on: 02/04/2013

  • February 07, 2013

    Speaking Directly: Interview with Tony Discenza

    February 7, 2013

    Written by Bean Gilsdorf

     

    Tony Discenza’s text-based work is concise yet absurd: the tone is often matter-of-fact while the content is speculative and fanciful. The appropriated formats of a street sign or a book’s teaser page provide an internal logic that holds the tension of this paradox quite neatly; obviously, I’m a fan, so I asked him to chat with me about his recent projects. Discenza’s solo and collaborative work has been shown at numerous national and international venues, including The New York Video Festival, the Museum of Modern Art (NY), Whitney Biennial (2000), and the San Francisco Museum of Modern Art. Discenza will be presenting a project for the Kadist Art Foundation on their Twitter feed (@ Kadist_AF) on February 18, 2013. Don’t miss it.

     

    Tony Discenza, TRANSPORTED, 2010. Vinyl on aluminum, 30 x 24 inches

     


    Bean Gilsdorf: Your practice shifted from representational, image-based work to language-and-text based work, was there a particular catalyst for the change?


    Tony Discenza: The change was gradual. The whole time I was doing all the video work, which started in the late 90s and continued for about 10 years, I had a sort of shadow practice. I was working in law firms, an office environment where there is a lot of down time. I did a lot of [art] thinking and working while sitting in front of a computer and being in a cubicle. A lot of that work took the form of writing—text, fragments, collecting bits of things—but I never really had a sense of what to do with it. It accumulated, but to a certain extent I had stuck myself with this narrative that I was a video artist. I did reach a point around 2007 or 2008 where I was feeling kind of burnt out on the work that I was doing in video. The things that had fueled it didn’t feel as relevant anymore because of huge shifts in the way that we watch things, and I was burnt on the logistical obstacles, I felt that I rarely got to present the work in the way that I wanted…

    BG: How did you want to present it?

    TD: Not in very complex ways; for example, in having a darken-able space in an exhibition or having reasonable soundproofing, having a good projector—just things to ensure that the work was presented well. I wasn’t at a point where I was able to say, “You either show it this way or don’t show it at all.” So I started looking at all this other stuff that I was doing, and some of the questions I was exploring overlapped between video and text. I was given the opportunity to do a solo show in my gallery in 2010 and I wanted to show divergent work, something that almost looked like a group show, a range of approaches and tones, to bring the humor out. I wanted more play.

    Tony Discenza, Teaser #3, 2010. Lightbox with Duratrans, 30 x 40 inches

     

    BG: Out of curiosity, what were you doing in a law firm?

    TD: I was a paralegal. It was a job I fell into after college.

    BG: I find that very interesting, considering that the practice of law is to create definitions and strictures with language. Being around that environment for so many years, how could you not be influenced?

    TD: Yeah, I worked in offices for 18 years, and it’s had a huge impact on the way I work with things that are language based: iterative structures, making lists, reports, documents…they all seeped into my thinking.


    BG: And how did it feel to present that first body of text-based work?

    TD:Up to the point of the show it was very nerve wracking. I second-guess myself a lot, and part of me kept saying, “People are not going to be able to deal with this shift.” Once it was done I felt very satisfied because it looked more like the kind of show that I was interested in at that time. There was video in the show, but also print work, light boxes, an audio installation, a generative text piece, etc. The works were divergent but interconnected.

    Tony Discenza, A Report on Recent Developments within the Category of the Ineffable, 2012. Dymo labeling tape, dimensions variable

    Tony Discenza, A Report on Recent Developments within the Category of the Ineffable (detail), 2012. Dymo labeling tape, dimensions variable

     

    BG: Since we’re on the topic of exhibitions, I want to talk about the way that context frames the work. When you go into a gallery and you see a text-based art object, the tendency is to first look at it as though you’re beholding any other visual object. You notice the color, scale, texture, and then only after—and I think that’s really due to the context of the gallery—do you allow yourself to be a reader instead of a viewer. How do you feel about the difference in the way that the work is approached?

    TD: I wrestle with the visual form and presentation of the text, partly because I know that I am influenced by existing text-based work and partly because there’s a broad but finite range of ways to present text. There are only so many things you can do with it that will hold people, yet you don’t want to tread too much on someone else’s aesthetic. I tend to look for ways in which the content of the text really remains the most important part. There are always design and aesthetic considerations, but you can try to signal that those considerations are of lesser importance. Using a lowest-common-denominator font, like Helvetica for example, as I’ve done with the wall pieces and light boxes. Every font is loaded with a set of associations and baggage, but because Helvetica is so widely used it’s a way of saying the font is not that important. I want the visual presentation to be stripped down, but I think there’s always a little bit of a surrender to the decorative with text-based work because you have to present it in some way, and you don’t want it to look terrible.

    Tony Discenza, A Master at Work, 2012. Inkjet on found paper, 7 x 4 inches

     

    BG: How do you decide the format or delivery system for whatever text you’re using? How do you decide if it should be a book page or a street sign or wall vinyl?

    TD: With the signage pieces, so much of that is about using a preexisting system for delivery. It became a way of taking fragments and bits of text that I collected—weird, playful, snarky, mysterious—and using an existing form…just inserting other kinds of utterances into a textual field situated outside in the world, because then you stumble on them by chance. The book pages started because I had a collection of pulp novel book pages, and originally the project was going to be re-presenting those. So often the delivery is an appropriation of a particular form.

    Tony Discenza, Pulps series, 2012. Inkjet on found paper, each approx. 7 x 4

     

    BG: And some of the text is by you, some is appropriated, and some is a mix?

    TD: Increasingly the text is not appropriated. The appropriative gesture is a first step, but the processing that the material undergoes really takes it far away from the source. Even when I start with appropriated texts, they undergo a process of rewriting and revision, so it’s not like the integrity of the source material is maintained. It’s the same with the book pages, they originally began with an excerpt of text from a pulp novel on its own, but I felt like that wasn’t quite enough. In the final pieces, the text is actually unique. It’s more that that the forms are appropriated, like the street signs or the form of the commercial light box. I use the initial [text] appropriation as a kind of prosthesis for myself, to allow myself a practice of writing that, if I came at it cold, would be too intimidating.

    BG: And when you are doing the writing for these pieces, do you find that you have a particular voice or character?

    TD: If there’s a place where my own voice comes through most directly it’s in some of the street sign pieces. I think the sensibility of those pieces, the kind of ebb and flow between sarcasm and a strange evocative space that’s both ominous and funny, is maybe closest to me speaking directly.

  • February 05, 2013

    SAVE-THE-DATES

    TRAVIS SOMERVILLE AT CATHARINE CLARK GALLERY AND THE CROCKER ART MUSEUM

     

    A Great Cloud of Witnesses at Catharine Clark Gallery

    March 2 – April 13, 2013

    Opening Saturday, March 2

    Panel Discussion from 3:30 - 5pm, featuring Diana Daniels, Travis Somerville, Alison Bing, Matt Gonzalez, and Jeff Dauber

    Reception from 5 - 7pm

    Travis Somerville. Fall of Spring, 2013.  Pencil on found chairs; Approximately 58 x 34 x36 inches

     

    For his 2013 solo exhibition at Catharine Clark Gallery, Travis Somerville continues his exploration of historical memory. How is it that certain stories reduced to sound bites and repeated ad nauseam become the collective truth? Through imagery that invites an investigation into the impact of iconographic legacy and the current state of human rights, Somerville critically examines the continued cultural implications of the Civil Rights movement. By bringing appropriated material from the past into dialogue with imagery from today’s “post racial” society, the artist makes complex montages that appose imagery from a bygone era with that of contemporary news stories on the subject of immigration, child labor in Uzbekistan, and Arab Spring uprisings. The resulting works are confrontational and serve as a springboard for conversations about multiculturalism, truth, and the lasting power of images.

     

    Somerville’s work has been included in numerous museum exhibitions: the University of Georgia, de Saisset Museum at Santa Clara University,  Florida A&M University, the Laguna Art Museum, the Smithsonian Institution, San Francisco Arts Commission, the Fine Arts Museums of San Francisco and the Los Angeles County Museum of Art, among others. Somerville’s work was recently exhibited in Newtopia: The State of Human Rights, an international show of 70 contemporary artists whose work is dedicated to an investigation on the state of human rights. The exhibition was held at various prominent cultural institutions in Mechelen, Belgium and was curated by Katerina Gregos.  His solo exhibition, titled Rebirth of a Nation and curated by Diana Daniels, will open at the Crocker Art Museum in March, 2013. Somerville has exhibited with Catharine Clark Gallery since 1996. For more information, visit http://www.cclarkgallery.com/

     

     

    Rebirth of a Nation: Travis Somerville’s 1963

    Crocker Art Museum , March 3 –May 5, 2013

    Reception Saturday, March 23 from 2:30 - 4:30pm

    Travis Somerville, born 1963. 1963, 2009.  Installations with found objects and video; 117 x 116 x 214  inches. Crocker Art Museum, Crocker Art Museum Purchase with funds provided by Deborah and Andrew Rappaport, 2011.78

     

    Rebirth of A Nation: Travis Somerville’s 1963 is a tightly focused exhibition that showcases the Crocker Art Museum’s newly acquired, mixed-media installation 1963, along with four large-scale paintings and a site-specific wall drawing. A three-dimensional construction measuring 7 feet high and 12 feet wide, 1963 examines a volatile and pivotal year in American history through sculpture, video, painting, and collage. Somerville, who regards himself as a history painter, has created a rich tapestry of social documents, political detail, and popular culture artifacts. Wallpapered with randomly culled sheets of period newspapers, Somerville's structure is meant to be entered and viewed from within and out. It serves simultaneously as a collage, time capsule, and provocation. Somerville's critique of the visual artifacts of racism in the United States is personal. Born in 1963, he was raised in Georgia by activist parents who participated in the Civil Rights movement. He aims with 1963 to make visceral the conflict and violence that confronted the fight for equal treatment under the law in that decade.

     

    Rebirth of a Nation: Travis Somerville’s 1963 will be accompanied by a 20-page catalogue with full-color reproductions written by Diana L. Daniels, the exhibition’s curator. For more information, visit http://www.crockerartmuseum.org/

  • January 26, 2013

     

    Punch Card at Catharine Clark Gallery

     

    Allegory of the Prisoner's Dilemma, 2012

    Andy Diaz Hope and Laurel Roth. Allegory of the Prisoner's Dilemma, 2012. Jacquard tapestry. Edition of 8 + 2 AP. 106 x 76 inches. Image courtesy of Catharine Clark Gallery.


    At the opening of the group show “Punch Card” at Catharine Clark Gallery, artist Andy Diaz Hope said he and co-creator Laurel Roth wanted to make Jacquard tapestries that reflected Victorian enthusiasm for science. Emulating the political secrets coded in the 16th century “The Unicorn Tapestries,” Diaz Hope and Roth designed, digitized, and commissioned three works that triumph human accomplishment in “hard disciplines.” “Allegory of the Prisoner’s Dilemma” shows the succession of architectural achievement from when humans lived in caves into the future, when we reach the singularity (when artificial intelligence exceeds human intelligence). I’d like to think the outcome of the singularity/the cumulus clouds at the top of “…the Prisoner’s Dilemma” spire will be one ecstatic rave, but let’s not kid ourselves; the future will be dystopian. Human societies are the prisoners and the warden offered scientific knowledge and technological advancement as our Faustian bargain. The works in “Punch Card” venerate the glories of biology and technology, while acknowledging that a lot of those advancements amount to a deal with the Devil.


    Syjuco. Pattern Migration, 2010

    Stephanie Syjuco. Coverlet from Pattern Migration, 2011. Wool, loomed by Peggy Hart. Edition of 3. 96 x 72 inches. Image courtesy of Catharine Clark Gallery.


    Stephanie Syjuco’s wool “Coverlet” and plastic bags were originally woven for her show “Pattern Migration” at the Columbus Museum of Art. In an interview with the museum, Syjuco said she was inspired by the outsourcing of manufacturing in America, a nineteenth century coverlet from the museum’s collection, and insanely cheap plaid plastic bags that are generally regarded as immigrant’s luggage (Columbus Museum). Syjuco recreated the plastic plaid in wool on a handloom and a commissioned old industrial loom in New England. She also commissioned the 19th-century coverlet design printed on plastic from Beijing. “Pattern Migration” is a story of America’s bygone days of American industry for an exploitative outsourcing system, and the ways that the advancement of the loom—which is highly mathematical—obviated the jobs of craftsmen. The Industrial Revolution was humanity’s deal with the Devil in that first-world countries got their wish, in bountiful inexpensive clothes, while developing countries destroy their environment and sacrifice their people in pursuit of economic development.


     

    Andy Diaz Hope and Laurel Roth. Allegory of the Infinite Mortal, 2010

    Andy Diaz Hope and Laurel Roth. Allegory of the Infinite Mortal, 2010. Jacquard tapestry. Edition of 8 + 2 AP. 106 x 76 inches. Image courtesy of Catharine Clark Gallery.


    “Punch Card” refers to the jacquard loom that uses card stock with rectangular holes in it—producing chads—to control the loom and “correspond one-to-one to components of the design” (Catharine Clark). The same system was used for early computer programs. The jacquard loom’s punch card represents the upbeat of technological advancement, and, because the holes directly correspond to single colors of thread, it’s pixilation. Diaz Hope and Roth’s tapestries are true to the punch card in their digitally mapped designs, it’s just in another language. Up close, the tapestries have a blocky warp and weft of pink, white, and yellow threads; from a distance, they combine to the recognizable color of skin.


    Sperber. After Warhol I, 2008

    Devorah Sperber. After Warhol 1, 2008. Thread spools. Edition of 5. 42 x 25 x 66 inches. Image courtesy of Catharine Clark Gallery.


    Devorah Sperber’s instillations dominate Catharine Clark’s galleries. Sperber is known for translating iconic images upside down, pixelated in spools of colored thread with an acrylic orb on a stand in front of them. Looking into the orb re-orients the Mona Lisa or Superman right-side-up and reduces its size beyond the point of visible pixelation, but you don’t need it to—the images are so omnipresent that you can easily recognize them upside down and abstracted into blocks of color. For a child, this is a fun optical trick. For an adult, it seems that the wonders of optics and visual language are being squandered on the same old things. Spectacularly, the gestalt effect would fill in and complete an unfamiliar image in my brain, even upside down. The pieces are a reminder of the price we’ve paid for gaining the ability to stamp out a million Mona Lisa keychains. The immense capacity for our brains to take in and play with new visual experiences is wasted on a modern world with a rigid visual vocabulary of repeating images and objects.

     

    Intellectually cohesive art exhibits are rare, though plenty would have you think they have it together. “Punch Card” is united by criticality of technological advancement, Sperber’s and Diaz Hope/Roth’s optical gestalt effects, and in the neglected medium of textiles—and it’s a group show. It is conceptually taught without making a (futile) neat conclusion, but the evidence amounts to a vaguely queasy feeling that glorious technology has taken some very wrong turns. Catharine Clark credited her gallery’s marketing associate Stephanie Smith and registrar Juliann Crisp for coming up with the artists in “Punch Card” on short notice. They pulled off a curatorial hat trick that leaves the viewer wanting an alternative to the uncompromisingly positive history of technological advancement and a more measured (though probably less optimistic) prospectus for the future.



    Punch Card is on view at Catharine Clark Gallery through February 23, 2013.




    -Kendall George

  • January 23, 2013

     

    Travis Somerville Interviewed by Art.College.Radio

     

    Travis Somerville Old Pal of Mine

    Travis Somerville. Old Pal of Mine, 2011-12

     

    On January 21, Martin Luther King Day, Travis Somerville was interviewed on Art.College.Radio on a program celebrating the tenth anniversary of Whiteness, A Wayward Construction at the Laguna Art Museum. California curator Tyler Stallings is also featured. 

    Click here to hear the full podcast. 

     

  • January 18, 2013

    Opening January 19 at Catharine Clark Gallery from 3-5pm

    Group Exhibition: Punch Card

    Viewing Room: A Selection of Works by Masami Teraoka 1979-2013

     

    Please join us for the opening of Punch Card in the main gallery space, and A Selection of Works by Masami Teraoka 1979-2013 in the viewing room!

     

    Devorah Sperber, Mona Lisa

    Devorah Sperber. After the Mona Lisa 8

     

    Punch Card examines the ways artists are merging technology and traditional textiles to redefine and repurpose craft, each uniquely forming their own “digital stitch” as they merge art historical and contemporary references. The exhibition title, Punch Card, refers to the mechanics of the jacquard loom, suggesting the loom as a precursor for contemporary digital practices. Predating computer pixilation and CNC mechanic precision, the 19th century punch cards guide the design of jacquard weaving: cards of individually punched holes correspond one-to-one to components of the design, combining to form intricate patterns. Whether weaving digitally, pixel by pixel, like Andy Diaz Hope and Laurel Roth, with fiber optic thread in Fifty Different Minds by Ligorano/Reese, or directly on commercially produced photographs, as in Nina Katchadourian’s Paranormal Postcards, the artists in this exhibition are openly exploring the possibilities between hand and machinery in the digital era.

    _______________________________________________________________________________

    Masami Teraoka. New Waves Series/Full Moon Review

    Masami Teroka. New Waves Series/Full Moon Review

     

    Presented in our viewing room is A selection of works by Masami Teraoka 1979-2013, an intimate exhibition that spans Masami Teraoka's career, from early works on paper and woodblock prints to a recent jacquard tapestry based on an original watercolor. Teraoka has consistently subverted traditional imagery with contemporary culture, and will continue to explore the correlated relationship between time, history, and culture in the years to come.

  • January 18, 2013

     

    Four Distinctive Gallery Exhibitions Open This Week

    By Alex Bigman on January 16, 2013

     

    A good group exhibition brings the voice of the curator alongside those of the artists. Here are three that promise this and more, plus a special solo show for good measure.

    Devorah Sperber Superman
    Devorah Sperber; Superman

    Punch Card, at Catharine Clark Gallery

    For this thematically cohesive group show, Catharine Clark Gallery brings together seven artists exploring the art of textile design and tapestry-making as conceptual forebears of the digital world. That is, they are putting the "net" back in networking. The group, which includes Andy Diaz Hope, Laurel Roth,  Nina Katchadourian, Devorah Sperber, Stephanie Syjuco and collaborative duo Ligorano/Reese, weave a complex web of cultural and art historical references ranging from Géricault's "The Raft of Medusa," to the Warholian Pop Art grid, to real-time Twitter data.

    Punch Card runs from January 19 through February 23 at Catharine Clark Gallery, 150 Minna Street. Opening Reception: Saturday, January 19 from 3 - 5 pm

  • January 03, 2013

    Chester Arnold's exhibition A Pilgrim's Progress chosen as SF Gate's "Bay Area arts pick!"

    Chester Arnold "The Legacy of Henry King"

    Chester Arnold. "The Legacy of Henry King," 2012; Oil on linen; 56 x 46 inches

    Bay Area Arts picks, Dec. 27

    Published 3:03 pm, Wednesday, December 26, 2012

    MUSIC
    San Francisco Chamber Orchestra: Benjamin Simon conducts the orchestra in "Dial M for Music," a program highlighted by the world premiere of Harold Meltzer's Sinfonia Concertante for Violin and Viola. Also on the program are Mozart's work of the same name and Mendelssohn's Sinfonia No. 9 in C. Violinist Scott St. John and violist Sharon Wei are the soloists.
    3 p.m. Sunday, Herbst Theatre, 401 Van Ness Ave., S.F. 8 p.m. Monday. First Congregational Church, 2345 Channing Way, Berkeley. 3 p.m. Tuesday. First Palo Alto United Methodist Church, 625 Hamilton Ave. Free. (415) 692-3367. www.sfchamberorchestra.org.

    ART
    Chester Arnold: A Pilgrim's Progress: Think Paul Bunyan before John Bunyan. Despite his show's title, Arnold's darkly comic vision of Gold Rush dead-enders points toward no saving destination. His allegory of lessons never learned evokes the futility of the artistic life, while his paintings in their exuberance make its temptations plain.
    11 a.m.-6 p.m. Tuesday-Saturday. Through Jan. 12. Catharine Clark  
    Gallery, 150 Minna St., S.F. (415) 399-1439   
    www.cclarkgallery.com.

    THEATER
    Big River: TheatreWorks' fine revival of the Roger Miller musical adaptation of Mark Twain's "The Adventures of Huckleberry Finn" comes to the end of its tuneful run this weekend. James Monroe Iglehart 's Jim anchors Robert Kelley's strong production
    8 p.m. Thursday (Dec. 27)-Saturday, 7 p.Sunday, 2 p.m. Saturday-Sunday. Lucie Stern Theatre, 1301 Middlefield Road, Palo Alto. $23-$73. (650) 463-1960. www.theatreworks.org.

    Brava's New Year's Eve Comedy Fiesta: Marga Gomez rings in the new year headlining a gala comedy blowout with her Funny Lady Friends as a benefit for Brava Theater Center. Featured comics include Aundre the Wonderwoman, Pippi Lovestocking, Lydia Popovich and Eloisa Bravo.
    9 p.m. Monday. Brava Theater Center, 2781 24th St., S.F. $30-$50. (415) 641-7657. www.brava.org.

  • December 21, 2012

    Please join the Catharine Clark Gallery staff for our annual Holiday Party, on Saturday December 22 from 3-5pm!


    Walter Robinson Forest, 2008

    Walter Robinson. Forest, 2008; MDF, epoxy, metalflake; 84 x 62 x 1 inches

     

    We cordially invite you to the Catharine Clark Gallery’s annual holiday party honoring collectors, patrons, and artists with whom we have had the pleasure of working in 2012.

     

    A Note from Catharine Clark:

    It is my pleasure to introduce two people who have joined the gallery’s staff in recent months, Alex Case and Stephanie Smith. Alex is the gallery’s preparator and Stephanie the assistant to the director and in charge of marketing and media relationships. Alex and Stephanie will be joining Juliann Crisp (registrar), Kayleigh Henson (accountant), and me in continuing to develop the artists careers and the relationships with collectors, institutions, art going public and the press.

    2012 has been a year of changes: global, political, professional, personal. We welcome most of them, like the re-election of Obama; and are saddened by others, like climate change made more tangible through hurricane Sandy. Our hearts go out to the many people in the arts who have lost artwork, exhibition spaces, studios, archives and exhibition opportunities.

    As the year comes to a close and we acknowledge the many changes that it has brought, we want to celebrate the positive role the arts play in building community and sustaining us through good times and bad. We are honored to be working with a strong group of artists, many of whom are looking forward to museum exhibitions in coming months.

     

    Chester Arnold
    2013 solo exhibition at American University’s Katzen Arts Center 

     

    Sandow Birk and Elyse Pignolet
    Commissioned tile-murals at the new San Francisco Jazz  Center

     

    Adam Chapman
    Included in the Portraiture Now: Drawing on the Edge exhibition at the Smithsonian National Portrait Gallery, Washington D.C.             

     

    Timothy Cummings
    2013 exhibition at Transarte in Sao Paolo, Brazil; currently in a show at Nancy Hoffman Gallery         

                                                        

    Anthony Discenza
    Included in an exhibition at the San Francisco Museum of Modern Art in 2012, and received the Alumni New Works Award from the Headlands Center for the Arts

     

    Andy Diaz Hope
    2012 Artist Fellowship at the de Young Museum with Laurel Roth, where they completed their third, collaborative tapestry Allegory of the Prisoner’s Dilemma

     

    Chris Doyle

    Upcoming exhibition at the Bentonville 21c Museum, Bentonville, Arkansas in 2013

     

    Al Farrow

    Solo show at Aeroplastic, Brussels, Belgium in 2012

     

    Ken Goldberg

    Upcoming exhibition at the Nevada Art Museum in 2013

     

    Scott Greene

    Scott Greene was included in Albuquerque Museum of Art’s exhibition Miniatures & More exhibition in 2012

     

    Charles Gute

    Charles Gute was acquired by the Twitter Collection in 2012; Boston University’s 808 Gallery included Charles Gute’s work  In its show On/Sincerity; Gute will be featured in the Catharine Clark Gallery New York space in March 2013

     

    Julie Heffernan

    Julie Heffernan was included in a show at the Oklahoma City Museum of Art in 2012; Heffernan’s work is the subject of a traveling show opening at the Palo Alto Art Center in 2013

     

    Nina Katchadourian

    Nina Katchadourian’s Sorted Books will be released by Chronicle Books in February 2013;  Katchadourian had a solo exhibition at the Delaware Art Museum in 2012

        

    Ellen Kooi

    Ellen Kooi will be included in the 21c Museum Cincinnati’s exhibition  in 2013; Kooi had a solo exhibition at Catharine Clark Gallery in 2012

     

    leonardogillesfleur

    leonardogillesfleur will also exhibit at the 21c Museum Cincinnati’s inaugural exhibition in 2013        

                                                       

    Ligorano/Reese

    Ligorano/Reese created Morning in America, temporary monuments in Tampa, Florida and Charlotte, North Carolina; Ligorano/Reese also exhibited at the Portland Art Museum in 2012

     

    Kara Maria
    Included in exhibition at the San Francisco Museum of Modern Art Artist Galley in 2012; Maria had an exhibition at the Pratt Manhattan Gallery, curated by Eleanor Hartney

     

    Kambui Olujimi

    Kambui Olujimi was included in an exhibition at Dodge Gallery and had a solo exhibition at apex art in 2012

     

    Travis Somerville

    Travis Somerville has a forthcoming solo show at the Crocker Art Museum and at Catharine Clark Gallery in March 2013          

                                      

    Stephanie Syjuco

    Stephanie Syjuco was commissioned by the 2012 ZERO1Biennial to create FREE TEXT: The Open Source Reading Room;she was awarded a 2013 Artist in Residency at Recology, San Francisco

     

    Walter Robinson

    Galerie Zidoun in Luxenbourg presented a solo exhibition of Walter Robinson’s work; Robinson showed at the San Jose Museum of Art in 2012

     

    Josephine Taylor

    21c Museum Cincinnati will prominently feature Josephine Taylor in their inaugural exhibition OFF-SPRING: New Generations

     

    Masami Teraoka

    In 2013, Masami Teraoka will exhibit at the Japan Society, Mori Art Museum, and at the National Portrait Gallery in 2014

     

    Carlos and Jason Sanchez
    2012/2013 exhibition at  21c Museum Cincinnati; 2012 Carlos and
    Jason Sanchez’ work was acquired by the SF Museum of Modern Art in 2012

     

    Lincoln Schatz

    Lincoln Schatz piece The Network launched this week at the Smithsonian’s National Portrait Gallery

  • December 07, 2012

    Catharine Clark Gallery - Miami Project - Booth 403
    Chris Doyle
    Nina Katcahdourian

     


    Hello from a bustling Miami! It's been a great first few days of the Miami Project - www.miami-project.com.

     

    We opened on Tuesday with 3000-person strong crowds and robust sales. People are really loving the Fair. Feedback from our exhibitors has been equally positive. Things are selling!
    In its first edition, this fair has established itself as the premier marketplace for primary market work. We think Greg Kucera said it best, "This is a terrific fair - what you will see for the most part is art by significant artists from all over the globe being offered in the primary market."

     

    Our friends at Quint Contemporary Art sold Mel Bochner's "Head Honcho" painting to a U.S. Collector for $78,000 and Fredericks & Freiser sold two large paintings by Brooklyn-based artist, Justin Craun. At Rena Bransten Gallery, Vic Muniz's "Summer in the City, After Edward Hopper", 2011 was acquired by a US Private Collection, and Catharine Clark Gallery sold two pieces by Chris Doyle to 21c and two of Nina Katchadourian's heralded "Seat Assignment" photographs to a private US collector. Greg Kucera Gallery Inc. sold Dan Webb's large carved wood sculpture to an important Swiss collector for $22,000 as well as two paintings by Margie Livingston and two works by Vic Haven. Richard Heller Gallery has been doing well with several artists' works including Devin Troy Strother, whose "30 Something Niggas on Linen" sold on opening night; Marion Peck's "Horsey" which sold to a US collector in the $30,000 range; and David Jien's "Cubby Controller". Forum Gallery sold several works by renowned American realist Robert Cottingham, and Hampton-based gallerist Eric Firestone Gallery reported over $100,000 in sales for Tseng Kwong Chi's photographs from the "Downtown New York" series.

     

    We're getting the VIPs too. Seen in the aisles: the Whitney's Prints and Drawings curator, Carter Foster, Mint Museum director Kathleen Jameson, Des Moines Art Center Curator, Gilbert Vicario, and collector Beth Rudin De Woody. Some famous faces are purchasing as well, including Pop star Usher scooped up Andrew Lewicki's "Louis Vuitton Waffle Maker" from Charlie James Gallery and Sean Diddy Combs bought two gold flag paintings by Andrew Schoultz.

     

    We look forward to seeing you all throughout the weekend. Come find us and say hello - the Fair is located at NE 29th Street and NE 1st Avenue in the heart of Miami.

     

    Miami Project exhibitors:

    • ACME.  Los Angeles
    • Allegra LaViola Gallery  New York
    • Angles Gallery  Los Angeles
    • Blythe Projects  Los Angeles
    • boltax gallery  New York
    • Brian Gross Fine Art  San Francisco
    • Carroll and Sons  Boston
    • Catharine Clark Gallery  San Francisco
    • CB1 Gallery, LLC  Los Angeles
    • Charles A. Hartman Fine Art  Portland
    • Charlie James Gallery  Los Angeles
    • Cirrus Gallery & Cirrus Edition LTD  Los Angeles
    • Coagula Curatorial  Los Angeles
    • Conduit Gallery  Dallas
    • Cooper Cole  Toronto
    • Daniel Weinberg Gallery  Los Angeles
    • David Shelton Gallery  Houston
    • DC Moore Gallery  New York
    • DCKT Contemporary  New York
    • DNA  Provincetown
    • Eli Ridgway Gallery  San Francisco
    • Eric Firestone Gallery  East Hampton
    • FOLEYgallery  New York
    •  • Forum Gallery  New York
    • Fouladi Projects  San Francisco
    • Fredericks & Freiser  New York
    • Gallery 16  San Francisco
    • gallery km  Los Angeles
    • Gallery Paule Anglim  San Francisco
    • Gary Snyder Gallery  New York
    • Greg Kucera  Seattle
    • Gregory Lind Gallery  San Francisco
    • Haines Gallery  San Francisco
    • HALSEY MCKAY GALLERY  East Hampton
    • Inman Gallery  Houston
    • jack fischer gallery  San Francisco
    • Jen Bekman Gallery  New York
    • HALSEY MCKAY GALLERY  East Hampton
    • Inman Gallery  Houston
    • jack fischer gallery  San Francisco
    • Jen Bekman Gallery  New York
    • Kai Heinze Berlin  Berlin
    • Kopeikin Gallery  Los Angeles
    • Larissa Goldston Gallery  New York
    • lesley heller workspace  New York
    • Mark Borghi Fine Art  New York
    •  • Marty Walker Gallery  Dallas
    • Marx & Zavattero  San Francisco
    • Morgan Lehman  New York
    • Muriel Guepin Gallery  Brooklyn
    • NOMA Gallery  San Francisco
    • Patricia Sweetow Gallery  San Francisco
    • PDX CONTEMPORARY ART  Portland
    • Pentimenti Gallery  Philadelphia
    • Peter Mendenhall Gallery  Los Angeles
    • Platform Gallery  Seattle
    • Quint Contemporary Art  La Jolla
    • Rena Bransten Gallery  San Francisco
    • RH Gallery  New York
    • Richard Heller Gallery  Los Angeles
    • Richard Levy Gallery  Albuquerque
    • Romer Young Gallery  San Francisco
    • Steven Zevitas Gallery  Boston
    • The New Wall Gallery  Mexico
    • Traywick Contemporary  Berkeley
    • Visual Arts Gallery/SVA  New York
    • Walter Maciel Gallery  Los Angeles
    • William Campbell Contemporary  Fort Worth
    • ZieherSmith  New York
    • 101/Exhibit  Miami / Los Angeles

     

    FAIR HOURS
    • Tuesday, Dec. 4th: 5:30PM - 10:00PM
    Miami Project Preview
    • Wednesday, Dec. 5th: 11:00AM - 5:00PM
    • Thursday, Dec. 6th: 11:00AM - 7:00PM
    Private MOCA Event - 7:00PM - 10:00PM • 
    Friday, Dec. 7th: 11:00AM - 8:30PM
    • Saturday, Dec. 8th: 11:00AM - 7:00PM
    • Sunday, Dec. 9th: 11:00AM - 6:00PM

     

    We look forward to seeing you!

  • December 06, 2012

    Please join Catharine Clark Gallery at the Miami Project Art Fair in Booth #403!

     

     

    Art Fair: Miami Project
    December 4-9, 2012
    Miami's Midtown / Wynwood Art District

     

    In Booth 403, Catharine Clark Gallery will present solo exhibitions by Chris Doyle and Nina Katchadourian. Click here to download your complimentary VIP Pass to the Miami Project. We look forward to seeing you there!

     

    Miami Project Fair Hours
    • Tuesday, Dec. 4th: 5:30PM - 10:00PM  Miami Project Preview
    • Wednesday, Dec. 5th: 11:00AM - 5:00PM
    • Thursday, Dec. 6th: 11:00AM - 7:00PM
    •  Friday, Dec. 7th: 11:00AM - 8:30PM
    •  Saturday, Dec. 8th: 11:00AM - 7:00PM
    •  Sunday, Dec. 9th: 11:00AM - 6:00PM

     

    Learn more about the Miami Project

     

     

  • November 27, 2012

    Pre-order Nina Katchadourian's Sorted Books before its release in February 2013 by Chronicle Books.

     

    Sorted Books

     

    Sorted Books
    By Nina Katchadourian, Introduction by Brian Dillon
    8 x 6 in, in; 176 pp, 80 full-color photographs pp;
    Hardcover
    Published in February, 2013
    ISBN 9781452113296
    ISBN10 1452113297
    Release date: February 2013
    $ 25

  • November 24, 2012

    Chester Arnold reviewed by Kenneth Baker in the San Francisco Chronicle, November 24, 2012

  • October 29, 2012

    Join us for the opening reception of Chester Arnold: A Pilgrim's Progress on Saturday, November 3, 3-5pm

  • September 15, 2012

    Ed Osborn "Night-Sea Music" on view at SFMOMA

     

    Osborn_NightSeaMusic_1998

    Ed Osborn, Night-Sea Music, 1998; installation; mixed media, electronics, and sound, dimensions variable; Collection SFMOMA, Society for the Encouragement of Contemporary Art Fund purchase; © Ed Osborn

     

    Collection View: Night-Sea Music

    September 1 - November 4, 2012

     

    San Francisco Museum of Modern Art

    151 Third Street (between Mission + Howard)

    San Francisco CA 94103

     

    http://www.sfmoma.org/explore/collection/artwork/103184

  • September 04, 2012

    Ligorano/Reese (Nora Ligorano and Marshall Reese)

    Middle Class Ice Sculpture will Melt down at the Democratic National Convention

    View livestream of the ice sculpture here: http://bit.ly/MH1qe8

     


    Charlotte: Marshall Park, Tuesday, September 4, 2012 / 11:30AM-3 PM – optimum viewing time
    A large ice sculpture of the words Middle Class will melt today at the Democratic National Convention in Charlotte, N.C. The work is by artists Nora Ligorano and Marshall Reese. The sculpture they will install weighs over 2,000 pounds and measure 15 feet wide. Individual letters are 4 feet tall. Watch the livestream of the ice sculpture here: http://bit.ly/MH1qe8


    Last week, the first public performance of this piece was held at the Republican National Convention.
    The artists call these sculptures “temporary monuments.” After unveiling them, Ligorano and Reese let them melt away and film their disappearance, which can take anywhere from 6 to 24 hours. The dates for the conventions, “do not bode well,” Reese says, “for the sculptures’ survival.” “They may disappear,” Ligorano adds, “even faster than usual. It’s a tossup whether, that’s due to economic or climatic conditions.”

    As the sculptures disintegrate, the artists document their destruction, creating still and moving images of broken words and letters. Ligorano and Reese launched a dedicated website www.meltedaway.com, to which they will upload stills and video clips throughout the event with written commentary. “We see the website as a new type of documentary form,” Ligorano says, “incorporating words, still images and video.”

    This is the third public ice sculpture Ligorano/Reese have done. In 2008 they installed ice sculptures of the word Democracy at the conventions in Denver and St. Paul. On the 79th anniversary of the Great Depression, the same year, they melted down the word Economy on Foley Square, New York City, in front of the NY State Supreme Court building.

    The artists are naming this year’s installations at the conventions after Ronald Reagan’s 1984 campaign. “’Morning in America,’” Reese says, “was a brilliant soft-sell advertising pitch with images of Americana almost as if Norman Rockwell had drawn the storyboards. 30 years later, one wonders if it really was the dawning or a new age or more like an eclipse into darker times. Certainly the Middle Class hasn’t fared well during that time.”

    Follow @melted_away on Twitter for the latest updates on the sculptures.

    LIGORANO/REESE

    Nora Ligorano and Marshall Reese have collaborated as Ligorano/Reese since the early 80's. Their artwork examines contemporary trends in society and the media through the manipulation of images and sound from print, television, the Internet, and radio. Their installations, limited edition multiples and artists books have been exhibited at Jim Kempner Fine Art, Kent Gallery, the Beall Center, the Cleveland Museum of Art, The Portland Art Museum, Museum fur Angewandte Kunst (MAK) in Frankfurt, Germany, MIT MediaLab, Museum of Arts & Design, the New York Public Library, San Jose Institute of Contemporary Art, the Neuberger Museum of Art, and Lincoln Center. They have received fellowships and funding from the Jerome Foundation, The Puffin Foundation, NYFA, NYSCA, the NEA, Art Matters and have been artists in residence at the MacDowell Colony, Montalvo Arts Center, and Djerassi Resident Artists Program. They are represented by Catherine Clark Gallery and Jim Kempner Fine Art.

  • July 27, 2012

    Please note that Catharine Clark Gallery is open in August!

    We will be open to the public through August 25 and by appointment August 26 - September 1.

     

    Join us September 8 for the opening reception of the solo exhibition of artist Chris Doyle.

  • July 17, 2012

    Group exhibition opens this Saturday

    Reception Saturday, July 21, 4-6pm with remarks at 5pm


    Group Exhibition of Alumni of the Artist in Residence Program at Recology San Francisco

    Works by Donna Anderson Kam, Terry Berlier, Lauren DiCioccio, Barbara Holmes, Scott Kildall, and Abel Rodriguez

    Media Room: Lynn Marie Kirby in collaboration with public school student Bartek Rost and SFartsED/International Orange: The Bridge Re-Imagined

     

    July 21, 2012 – August 25, 2012

     

  • July 03, 2012

    Stephanie Syjuco: Artist Talk at di Rosa, presented with KQED Education
    Thursday, July 12 at 7:00 PM

     

    Stephanie Syjuco - International Orange

     

    KQED Education and di Rosa come together to celebrate artists from the di Rosa collection that have also been featured on KQED’s popular art series Spark. The lectures are free for educators; $5 for di Rosa Members; $10 General. To reserve a seat call 707.226.5991 x27. For more information, visit http://www.dirosaart.org/category/events-upcoming/.


    San Francisco-based conceptual artist Stephanie Syjuco believes that politically engaged art can also be fun. Often dealing with issues of globalization and outsourcing, Syjuco's work intersects with some of the most heated debates of the 21st century but does so in a ways that are often surprising and playful.


    For the 75th anniversary of the Golden Gate Bridge, Syjuco created an expansive shop of souvenirs produced in a monochrome palette: the memorable orange hue of the Golden Gate Bridge. Working with the same paint used to keep the bridge looking fresh, Syjuco's installation features all things reddish-orange: teacups, jewelry, postcards and tchotchkes that are surprisingly not for sale, but presented together as a conceptual art installation.


    Teachers can join KQED Education staff for a free arts and media workshop focused on Syjuco’s work from 5:30-6:30 before the lecture. To register for the workshop, send an email to: ArtsEd@KQED.org.

     

  • June 27, 2012

    This Friday, 5-8pm: de Young Reception for Andy Diaz Hope and Laurel Roth

    Andy Diaz Hope and Laurel Roth - de Young Artist Fellows

     

    Andy Diaz Hope and Laurel Roth - de Young Artist Fellows

     

    For more info, go to http://eepurl.com/m-YvL

  • June 20, 2012

    Walter Robinson's mixed media composition, Image Not Available is now available as a limited edition T-shirt.
    It will premier Saturday, June 23rd, at Sequoia Tees--an online gallery of limited edition art T-shirts designed by artists. To see the shirt, visit the link beginning this Saturday: http://sequoiatees.com/

     

    Walter Robinson

  • June 16, 2012

    Catharine Clark Gallery presents a solo exhibition of photography by Ellen Kooi and in the Media Room is Lauren Kelley’s single-channel video, "Upside" - http://eepurl.com/mM3j1

  • May 22, 2012

    Due to its overwhelming popularity, Nina Katchadourian's solo exhibition Seat Assignment has been extended through June 9th, 2012.

     

    In addition to dozens of online press, including The New Yorker, Huffington Post, Rachel Maddow, KQED, Daily Serving, Daily Mail, MSN, Boing Boing, The Guardian (UK), and others, the series had been reviewed in the San Francisco Chronicle, The Art Newspaper, and other papers.

     

    For images and more information, visit the exhibition page.

     

    Nina Katchadourian

  • May 15, 2012

    Join us this week, May 17–20, for artMRKT San Francisco, the Bay Area contemporary and modern art fair held at the Concourse Exhibition Center in San Francisco’s SOMA Design District. The gallery will present works in painting, sculpture, drawing, photography, and new media. Register for your Complimentary VIP Passes, courtesy of Catharine Clark Gallery, at www.art-mrkt.com/sf/tickets/clark.


    artMRKT San Francisco 2012
    Catharine Clark Gallery
    BOOTH 401

    Concourse Exhibition Center
    620 7th Street at Brannan
    San Francisco, CA

    VIP Reception Hours: 

    Thur, May 17, 6-8pm
    Opening Night Benefit Preview Reception
    (Preview ticket purchase required)

    Thur, May 17, 8-10pm
    Opening Night Party
    (VIP Pass required)

    Regular Fair Hours:

    Fri, May 18, 11-7pm
    Sat, May 19, 11-7pm
    Sun, May 20, Noon-6pm

  • May 09, 2012

     

    Join San Francisco Art Institute for a conversation with art critic Roberta Smith and SFAI President Charles Desmarais this Friday, May 11, 4-5pm, hosted at Catharine Clark Gallery.

     

    Roberta Smith

     

    http://www.sfai.edu/event/ny-times-critic-roberta-smith-conversation-charles-desmarais

  • April 25, 2012

    Our Email is Back Online!

     

    Catharine Clark Gallery was temporarily experiencing some technical issues with our email server.

     

    If you sent an email to anyone at the gallery between Saturday (4/21) and Tuesday (4/24), we likely did not receive it, so please re-send.

     

    Even though the server is back online, some of you may continue to receive bounce messages. If you are concerned that we did not receive your email, you can call the gallery Tuesday through Saturday at 415-399-1439.

     

    Thank you for your patience while we worked out the bugs!

  • April 23, 2012

    Catharine Clark Gallery is temporarily experiencing some techical issues with our email server. Please excuse us while we work out the bugs. If you have an urgent need, please contact Catharine Clark at 415-519-1439 or call the gallery Tuesday through Saturday at 415-399-1439. Thank you for your patience.

  • April 21, 2012

    Welcome to the new Catharine Clark Gallery website. Re-designed by local team MacFadden & Thorpe to coincide with the gallery's 21st Anniversary exhibition and celebration. Keep checking in as we add new content each week!

  • February 18, 2012

    Catharine Clark Gallery’s 21st Anniversary is featured on VisitYerbaBuena.org
    www.visityerbabuena.org

  • February 18, 2012

    Walter Robinson will have a solo exhibition at Galerie Zidoun in Luxumborg from March 1st to April 21st 2012
    www.galeriezidoun.com