CatharineClarkGallery

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  • Chester Arnold
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  • Nina Katchadourian
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  • Deborah Oropallo
  • Alison Saar
  • Stacey Steers
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  • Masami Teraoka
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  • INQUIRE

    Andy Diaz Hope

    Geode #1, 2014

    Mirror, solder

    10 x 10 x 13 1/2 inches

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  • INQUIRE

    Anthony Discenza

    Teaser #10, 2013

    Duratrans, aluminum, Plexiglass, fluorescent lights

    24 x 30 x 5 inches

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  • INQUIRE

    Anthony Discenza

    Teaser #11, 2013

    Duratrans, aluminum, Plexiglas, fluorescent lights

    24 x 30 x 5 inches

    MORE about this artwork
    Working again with the linguistic meme of the elevator pitch, the Teaser series addresses similar issues as the companion work “Sometimes a Great Notion,” but here the combinations are more complex, forming a run-on construction intended to function as an individual, autonomous mental object. Using the text as a prompt, viewers are cued to imagine some undefined production suggested by the association of five disparate elements. The use of a commercial light box for presentation references mainstream advertising systems, as well as the appropriation of those systems by earlier conceptual artists.
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  • INQUIRE

    Anthony Discenza

    The Goddess Plague, 2012

    Inkjet on found paper

    7 x 4 1/4 inches unframed

    MORE about this artwork
    The Pulps series presents a collection of narrative fragments that appear to be lifted directly from the pages of various pulp novels. These “novels” are in fact imaginary constructions that mimic a variety of literary genres: Horror, mystery, science fiction, etc. In each fragment, an image or visual scenario is described or implicated. These brief excerpts from literary works that do not actually exist encourage viewers to visualize both this scenario, along with the larger narrative it possibly occupies.
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  • SOLD

    Anthony Discenza

    The Visage, 2012

    Inkjet on found paper

    7 x 4 1/4 inches unframed

    MORE about this artwork
    The Pulps series presents a collection of narrative fragments that appear to be lifted directly from the pages of various pulp novels. These “novels” are in fact imaginary constructions that mimic a variety of literary genres: Horror, mystery, science fiction, etc. In each fragment, an image or visual scenario is described or implicated. These brief excerpts from literary works that do not actually exist encourage viewers to visualize both this scenario, along with the larger narrative it possibly occupies.
    image description
  • SOLD

    Anthony Discenza

    A Master at Work, 2012

    Inkjet on found paper

    7 x 4 1/4 inches unframed

    MORE about this artwork
    The Pulps series presents a collection of narrative fragments that appear to be lifted directly from the pages of various pulp novels. These “novels” are in fact imaginary constructions that mimic a variety of literary genres: Horror, mystery, science fiction, etc. In each fragment, an image or visual scenario is described or implicated. These brief excerpts from literary works that do not actually exist encourage viewers to visualize both this scenario, along with the larger narrative it possibly occupies.
    image description
  • INQUIRE

    Anthony Discenza

    The Tomb, 2012

    Inkjet on found paper

    7 x 4 1/4 inches unframed

    MORE about this artwork
    The Pulps series presents a collection of narrative fragments that appear to be lifted directly from the pages of various pulp novels. These “novels” are in fact imaginary constructions that mimic a variety of literary genres: Horror, mystery, science fiction, etc. In each fragment, an image or visual scenario is described or implicated. These brief excerpts from literary works that do not actually exist encourage viewers to visualize both this scenario, along with the larger narrative it possibly occupies.
    image description
  • SOLD

    Sandow Birk

    Proposal for a Monument to the Emergency Medical Treatment and Active Labor Act (EMTALA)
    from the series Imaginary Monuments, 2014

    Ink on paper

    60 x 48 inches unframed

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  • SOLD

    Sandow Birk

    Wave World, 2014

    Ink on paper

    22 x 20 inches

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  • SOLD

    Nina Katchadourian

    "In a Room Full of Strangers" from Lavatory Self-Portraits in the Flemish Style, 2013

    Brightsign media players, monitors and wooden frames; Edition 5 + 2AP; 20 x 56 inches; 4:31

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  • INQUIRE

    Nina Katchadourian

    Lavatory Self-Portrait in the Flemish Style # 13, 2011

    Photograph

    10x8 inches

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  • SOLD

    Nina Katchadourian

    Lavatory Self-Portrait in the Flemish Style #8, 2011

    From the series Seat Assignment 

    C-print

    Edition of 8 + proofs

    13.333 x 10 inches

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  • INQUIRE

    Nina Katchadourian

    Lavatory Self-Portrait in the Flemish Style #2, 2011

    Photograph

    4/8

    13x10 inches

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  • INQUIRE

    Nina Katchadourian

    Lavatory Self-Portrait in the Flemish Style #6, 2011

    From the series Seat Assignment 

    C-print

    Edition of 8 + proofs

    13.78 x 10 inches

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    Stephanie Syjuco

    Dark Matter (Grey Cloud), 2013

    24 hoodies with black tags and labels, wooden hangers, metal stand

    72 x 33 x 33 inches

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    leonardogillesfleur

    Installation view of Self, 2011

    Faux-taxidermy of a puma using resin, glass, polyurethane, and discarded domestic Argentinean white goose feathers

    24 x 60 x 19 inches (sculpture)
    63 x 72 x 34 inches (installation)

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  • SOLD

    Walter Robinson

    Revisionary, 2014

    Mdf, epoxy, mirrored Plexiglas, vintage books, acrylic paint

    Glasses: 20 x 48 x 28 inches
    Books: 30 x 22 3/4 x 1 3/4 inches; 26 x 20 1/4 inches x 1 3/4 inches

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  • SOLD

    Walter Robinson

    Noblesse, 2014

    Vintage book cover, acrylic paint

    28 x 19 x 1 inches

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    Walter Robinson

    Exodus, 2014

    Wood, fiberglass, taxidermy, glass, leather

    75 x 63 x 20 inches

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  • SOLD

    Chester Arnold

    The Ascension Part 1: Half Way Up, 2014

    Oil on linen

    48 x 60 inches

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  • SOLD

    Chester Arnold

    Gulag 13 Study, 2013

    Oil on linen

    6 x 8 inches

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    Chester Arnold

    Holding Cell Study, 2013

    Oil on linen

    6 x 8 inches

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    Chester Arnold

    FIN, 2014

    Oil on panel

    6 x 8 inches

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  • SOLD

    Scott Greene

    Pup on a Slick, 2014

    Oil on canvas on panel

    26 x 36 inches

    MORE about this artwork

    "Pup On A Slick is an appropriation of an untitled dog painting by former President George W. Bush. His painting depicts a soft white colored terrier on a plain bright turquoise background. The dog is generic for the most part with nothing very remarkable about the image, except for a peculiar charcoal-like shadow that could not have been cast by the animal, and instead appears to ooze out from underneath the dog like a freeform oil slick.  Coined as Black Gold or Texas Tea, from the theme song for the TV show 'The Beverley Hillbillies,' this unexpected quality struck me as the perfect footnote for Bush’s deep connections to the oil industry, as well as his faux rancher cowboy personae. Once I identified his oily paint puddle in this way, I couldn’t get it out of my head." - Scott Greene

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  • SOLD

    Charles Gute

    @bobcephalopod from the series "Random Tweets Reformatted as Telegrams", 2013

    Letterpress and mixed media on vintage paper

    5 5/8 x 8 inches unframed
    7 1/2 x 9 5/8 inches framed

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  • SOLD

    Charles Gute

    @hanannanahh from the series "Random Tweets Reformatted as Telegrams", 2013

    Letterpress and mixed media on vintage paper

    5 5/8 x 8 inches unframed
    7 1/2 x 9 5/8 inches framed

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  • SOLD

    Charles Gute

    @prunes1979 from the series "Random Tweets Reformatted as Telegrams" , 2013

    Letterpress and mixed media on vintage paper

    5 5/8 x 8 inches unframed
    7 1/2 x 9 5/8 inches framed

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  • SOLD

    Charles Gute

    @radaprada from the series "Random Tweets Reformatted as Telegrams", 2012

    Letterpress and mixed media on vintage paper

    5 5/8 x 8 inches unframed
    7 1/2 x 9 5/8 inches framed

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  • SOLD

    Charles Gute

    @zackshack from the series "Random Tweets Reformatted as Telegrams" , 2013

    Letterpress and mixed media on vintage paper

    5 5/8 x 8 inches unframed
    7 1/2 x 9 5/8 inches framed

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  • INQUIRE

    Charles Gute

    @longliveallyson from the series "Random Tweets Reformatted as Telegrams", 2013

    Letterpress and mixed media on vintage paper

    7 1/2 x 9 5/8 inches framed

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  • INQUIRE

    Charles Gute

    @lapurrfekta from the series "Random Tweets Reformatted as Telegrams", 2013

    Letterpress and mixed media on vintage paper

    7 1/2 x 9 5/8 inches framed

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  • SOLD

    Stacey Steers

    Installation view: Night Hunter Cottage, 2011

    Sculpture with embedded video

    Edition of 5 + 2AP

    12 x 16 x 15 inches

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  • INQUIRE

    Masami Teraoka

    Marilyn Monroe/Bad Year, 1973

    Ink and watercolor on paper

    21 ¼ x 15 inches unframed
    24 ½ x 17 ½ inches framed

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  • INQUIRE

    Masami Teraoka

    AIDS Series/Condom Pillow Book, 1987

    Lift-ground etching, aquatint, and soft-ground counterproof chine collé on Kitakata backed with German Etching paper.

    Plate: 7 x 4 1/2 inches
    Sheet: 15 1/4 x 10 1/2 inches
    19 1/8 x 14 ½ inches framed

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  • INQUIRE

    Masami Teraoka

    AIDS Series/Geisha and the Geijin, 1987

    Lift-ground etching, aquatint, and soft-ground counterproof chine collé on Kitakata backed with German Etching paper.

    Edition of 52; Edition 21/52

    Plate: 7 x 4 1/2 inches
    Sheet: 15 1/4 x 10 1/2 inches
    19 1/8 x 14 ½ inches framed

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  • SOLD

    Masami Teraoka

    McDonald's Hamburgers Invading Japan/Burger and Chopsticks, 1974

    Ink and pencil on vellum

    24 x 18 7/8 inches unframed
    31 x 23 inches framed

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  • SOLD

    Masami Teraoka

    Woman on Bicycle, 1974

    Ink on vellum

    10 1/8 x 6 3/4 inches
    15 1/4 x 11 3/8 inches framed

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  • SOLD

    Masami Teraoka

    Breast on a Hollywood Hill, 1973

    Etching

    14 1/2 x 22 1/2 inches unframed
    22 1/2 x 26 3/4 inches framed

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  • SOLD

    Masami Teraoka

    Study for 31 Flavors Invading Japan, 1976

    Pencil on vellum

    2 3/4 x 2 3/4 inches drawing
    9 3/8 x 4 3/4 inches unframed
    17 x 13 inches framed

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  • SOLD

    Masami Teraoka

    McDonald's Hamburgers Invading Japan/Woman with Lantern, 1981

    Ink on paper

    21 3/4 x 14 3/4 inches unframed
    24 3/4 x 17 1/2 inches framed

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  • INQUIRE

    Masami Teraoka

    Study for AIDS Series/Oiran and Kite #1, 1988

    Watercolor on BFK Rives Paper

    22 1/4 x 14 3/4 inches unframed
    30 1/2 x 23 1/8 inches framed

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  • INQUIRE

    Masami Teraoka

    Ukiyo Sushi Meguir-Waiting for Sushi Delivery #2, 1981

    Black watercolor

    6 5/16 x 4 1/2 inches image
    15 1/4 x 10 1/2 inches unframed
    21 x 16 1/4 inches framed

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  • INQUIRE

    Masami Teraoka

    Ukiyo-e Series/ Study for Spring Women I, 1970-72

    Ink on paper

    13 1/4 x 13 1/4 inches unframed
    21 x 20 1/2 inches framed

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  • INQUIRE

    Masami Teraoka

    Ukiyo-e Series/Study for Spring Women II, 1970-72

    Ink on paper

    13 1/4 x 13 1/4 inches unframed
    21 x 20 1/2 inches framed

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  • SOLD

    Masami Teraoka

    Commodore Perry and Sushi Tray, 1982

    Ink and pencil on paper

    22 1/8 x 15 inches unframed
    25 1/2 x 18 inches framed

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  • SOLD

    Masami Teraoka

    Study for Sarah and Octopus, 2001

    Pencil and ink on paper

    11 x 17 inches unframed
    19 1/2 x 24 3/4 inches framed

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  • INQUIRE

    Josephine Taylor

    Toenails, 2014

    Colored ink and colored pencil on paper stretched on panel

    66 x 44 1/2 inches

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  • INQUIRE

    Deborah Oropallo

    Silkies and Eggs (two), 2014

    Acrylic on canvas

    26 x 20 inches

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  • INQUIRE

    Deborah Oropallo

    Silkies and Eggs (one), 2014

    Acrylic on canvas

    26 x 20 inches

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SF

artMRKT San Francisco 2014 Fort Mason Center

May 15 – May 18, 2014

  • Andy Diaz Hope
  • Deborah Oropallo
  • Sandow Birk
  • Chester Arnold
  • Nina Katchadourian
  • Al Farrow
  • Stacey Steers
  • Masami Teraoka
  • Josephine Taylor
  • leonardogillesfleur
  • Charles Gute
  • Exhibition Works

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