CatharineClarkGallery

ARTISTS

  • Chester Arnold
  • Jen Bervin
  • Sandow Birk
  • Lenka Clayton
  • Arleene Correa Valencia
  • Timothy Cummings
  • Chris Doyle
  • Al Farrow
  • Ana Teresa Fernández
  • Ken Goldberg
  • Scott Greene
  • Julie Heffernan
  • Laurel Roth Hope
  • Andy Diaz Hope
  • Nina Katchadourian
  • LigoranoReese
  • Deborah Oropallo
  • Alison Saar
  • Stacey Steers
  • Stephanie Syjuco
  • Josephine Taylor
  • Masami Teraoka
  • Amy Trachtenberg
  • Katherine Vetne
  • Marie Watt
  • Wanxin Zhang
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    Sandow Birk

    Proposal for a Monument to the Free Sea from the series Imaginary Monuments, 2015

    Ink on paper

    60 x 42 inches unframed
    64 ¼ x 46 1/16 inches framed

    MORE about this artwork

    For the first time in this series, Birk draws upon documents from across eras and continents to portray a subject which affects countries and populations spanning the globe: the laws which govern the seas.  The lighthouse in the drawing portrays the 200 word Preamble from the United Nations Convention on the Law of the Seas (UNCLOS).  This document represents more than fourteen years of work and the cooperation of over 150 countries from all regions of the world, representing every political and legal system, and the spectrum of socioeconomic development.  UNCLOS defines the rights and responsibilities of nations with respect to their use of the world's oceans, establishing guidelines for businesses, the environment, and the management of marine natural resources.  The Convention, completed and opened for signature in 1982, replaced four 1958 treaties, and basically solidified long held, customary views of the uses of the sea.  UNCLOS entered into force in 1994, a year after Guyana became the 60th nation to sign the treaty.  Although the United States now recognizes UNCLOS as a codification of customary international law, it has yet to ratify it. 

     

    Fittingly, the base of the lighthouse draws from two historically important texts which, to this day, form the basis for the creation and interpretation of international and maritime law.  The first text dating to the 17th century is by Dutch jurist Hugo Grotius.  Grotius's 1604 treatise, De Jure Praedae Commentarius (Commentary on the Law of Prize and Booty) promoted the right of unobstructed navigation, and remains to this day one of the classic texts influencing the rule of law on the high seas.  Grotius’s book on international legal doctrine, Mare Liberum (1609) is generally recognized as a paramount element in the formulation and interpretation of contemporary international law.  The base of the lighthouse structure also contains a quote from President Woodrow Wilson’s speech “The Fourteen Points” given to the United States Congress in 1918, towards the end of World War I.  In it, he mentions (as point 2) that the seas must be free to all nations.  The “Fourteen Points” speech was the only explicit statement of war aims by any of the nations fighting in World War I, and eventually became the basis for the terms for Germany’s surrender at the end of the war. 

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    Kevin Cooley

    Still photograph of Fallen Water, 2015

    Multi-channel video installation

    Dimensions variable

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    Fallen Water explores questions about why humans are drawn to waterfalls and flowing water as a source for renewal.  Waterfalls imbue subconscious associations with pristine and healthy drinking water, but what happens when when the fountain can no longer renew itself? Is the water is no longer pure?  Cooley’s choice of subject matter strikes a deep chord with current social consciousness and anxieties about contemporary water usage and the drought crisis faced by the American West.  Cooley references Blake’s famous quote from The Marriage of Heaven and Hell as context for the diametric opposites of the current water conundrum:  our deep sense of entitlement to and dire dependence on this precious commodity, coupled with a pervasive obliviousness concerning the sources which supply it.  As a way to connect with his personal water use, Cooley hiked into the mountains to see firsthand the snowpack (or lack thereof), streams, and aquifers which feed the water sources supplying his Los Angeles home.  This installation is an amalgamation of videos made over numerous trips to remote locations in The San Gabriel Mountains, The Sierra Nevada Mountains, and locales as far away as The San Juan Mountains in Southwestern Colorado.

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    Kevin Cooley

    Installation of Fallen Water at Catharine Clark Gallery, 2015

    15 channel video

    MORE about this artwork

    Fallen Water explores questions about why humans are drawn to waterfalls and flowing water as a source for renewal.  Waterfalls imbue subconscious associations with pristine and healthy drinking water, but what happens when when the fountain can no longer renew itself? Is the water is no longer pure?  Cooley’s choice of subject matter strikes a deep chord with current social consciousness and anxieties about contemporary water usage and the drought crisis faced by the American West.  Cooley references Blake’s famous quote from The Marriage of Heaven and Hell as context for the diametric opposites of the current water conundrum:  our deep sense of entitlement to and dire dependence on this precious commodity, coupled with a pervasive obliviousness concerning the sources which supply it.  As a way to connect with his personal water use, Cooley hiked into the mountains to see firsthand the snowpack (or lack thereof), streams, and aquifers which feed the water sources supplying his Los Angeles home.  This installation is an amalgamation of videos made over numerous trips to remote locations in The San Gabriel Mountains, The Sierra Nevada Mountains, and locales as far away as The San Juan Mountains in Southwestern Colorado.

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    Kevin Cooley

    Fallen Water #1, Bridal Veil Falls, 2015

    Single-channel video

    Edition of 3 + 1 AP

    27 m, 55 s

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    Kevin Cooley

    Fallen Water #2, Tule River, 2015

    Single-channel video

    Edition of 3 + 1 AP

    28m, 32s

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    Kevin Cooley

    Fallen Water #3, Tule River, 2015

    Single-channel video
    Edition of 3 + 1 AP
    28m, 32s

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    Rob Carter

    Still images from Sun City, 2013

    Single-channel HD video

    Edition of 10 + 2AP

    8m, 39s

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    Sun City (2013) focuses attention on the town of Benidorm, Spain.  Out of all the transformations that the package holiday industry has made to the Mediterranean over the past fifty years, Benidorm represents a sea change: from sleepy fishing village to mini-Manhattan.  This extraordinary transformation forms the basis for this work, though the premise behind Benidorm’s growth is dramatically warped.  Sheltered by the mighty Puig Campana Mountain, Benidorm benefits from an extraordinary sun-rich microclimate.  The fantasy described is that the sun, not humankind, is responsible for the growth of the metropolis.  Through photographic reconstruction and collage of past and present imagery, the video suggests that people have been worshiping the sun in Beniform for thousands of years.  Stop motion animation describes the growth of the buildings as if they evolved like plants, grown by the sun itself.  Finally, this living town is transformed into something far more valuable than a tourist destination: a machine for harnessing the sun.  Benidorm is the ultimate solar power station, where energy value trumps that of beauty or pleasure.

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    Rob Carter

    Sun City, 2013

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    Single-channel HD video

    Edition of 10 + 2AP

    8m, 39s

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    Chris Doyle

    Surface Tension, 2015

    Single-channel video

    Edition of 5 + 2 AP

    Music by Jeremy Turner

    7 minutes

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    This video is an iteration of a 2015 public commission by Doyle at Wave Hill: A Public Garden and Cultural Center, in New York City.  His dramatic installation, The Lightening, a Project for Wave HIll's Aquatic Garden, was comissioned for Wave Hill's 50th Anniversary.  

     

    Chris Doyle's videos explore the way that human anxieties and collective attitudes about the environment are projected through representations of landscape.

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    Chris Doyle

    Installation view: The Fluid, 2014

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    Chris Doyle

    Installation view: The Fluid, 2014

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    Chris Doyle

    The Hudson River #1, 2014

    Melted ice and pigment on paper

    14 x 14 inches unframed
    17 x 17 inches framed

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    Chris Doyle

    The Hudson River #2, 2014

    Melted ice and pigment on paper

    14 x 14 inches unframed
    17 x 17 inches framed

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    Chris Doyle

    The Hudson River #3, 2014

    Melted ice and pigment on paper

    14 x 14 inches unframed
    17 x 17 inches framed

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    Chris Doyle

    The Hudson River #4, 2014

    Melted ice and pigment on paper

    14 x 14 inches unframed
    17 x 17 inches framed

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    Chris Doyle

    The Hudson River #5, 2014

    Melted ice and pigment on paper

    14 x 14 inches unframed
    17 x 17 inches framed

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  • SOLD

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    Chris Doyle

    Bright Canyon, 2014

    Multi-channel video

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    Bright Canyon debuted in summer 2014 across huge screens in Times Square in New York City.  For three minutes before midnight througout the month of July, the Square's colossal dizziness transformed into woodland scenes inspired by the Palisade Cliffs flanking the Hudson River.  Doyle's installation was part of the 2014 Times Square's Midnight Moment series.

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    Chris Doyle

    Bright Canyon installation in Times Square
    Time lapse video, 2014

    Multi-channel video

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    Scott Greene

    Deposition I: Polymurmuration, 2015

    Oil on canvas on panel

    54 x 28 inches

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    Scott Greene

    Deposition III: Plascade, 2015

    Oil on canvas on panel

    54 x 28 inches

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    Julie Heffernan

    Self-Portrait Between a Rock, 2015

    Oil on canvas

    68 x 66 inches

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    Nina Katchadourian

    Intimate Marine Signals, 2011

    C-print

    Edition of 5 + 2AP

    21 x 25 inches framed

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    Nina Katchadourian

    "Robinson Crusoe" from Sorting Shark, 2001

    Digital c-print

    Edition of 5

    12 ½ x 19 inches unframed
    13 ½ x 20 5/8 inches framed

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    Nina Katchadourian

    "The Secret Language of Dreams" from BookPace, 2002

    Digital c-print

    Edition of 5 + 1 AP

    12 ½ x 19 inches unframed
    13 ½ x 20 inches framed

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    Nina Katchadourian

    "Crocodiles and Alligators" from Family Gathering, 2013

    Digital c-print

    Edition of 5 + 2AP

    12 x 19 inches unframed
    13 5/8 x 20 1/8 inches framed

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    Nina Katchadourian

    "Polar Bear, Polar Bear, What Do You Wear?" from Family Gathering, 2013

    Digital c-print

    Edition of 5 + 2AP

    12 x 19 inches unframed
    13 5/8 x 20 1/8 inches framed

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    Nina Katchadourian

    Mystic Shark, 2007

    Video

    4 minutes, 35 seconds

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    Mystic Shark was shot in a hotel room in Mystic, CT, using a box of petrified teeth bought at the Mystic Seaport Museums gift shop. Mystic Shark tries to elicit sympathy through the awkward and sentimental anthropomorphism of this much-feared and almost mythically vicious creature. What is shown here might be a "behind the scenes" moment where the tough guy shark gets ready to do his job (maybe he works at the aquarium being a shark in a tank, but lives in a hotel down the road). He's a bit past his prime, but he is trying to live up to our expectations. In the end, he tries to look endearing, and implores us silently to just try to love him a little bit.

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    LigoranoReese

    Untitled, 2015

    Photograph printed on Moab Entrada Rag 290 with archival inks

    5 + 2AP

    44 x 40 inches unframed
    48 x 43 inches framed

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    LigoranoReese

    Video of the public art installation Dawn of the Anthropocene, 2014

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    On the morning of September 21, 2014, LigoranoReese installed a 3,000-pound ice sculpture of the words THE FUTURE at the intersection of Broadway and 23rd Streets at Flat Iron North Plaza in New York City. This public art work coincided with the U.N. Climate Summit and the People's Climate March--underscoring the necessity for immediate action to confront global warming.  The ice sculpture, which originally measured 21 feet wide and 5 feet tall, eventually melted away. During this process, LigoranoReese photographed and filmed the installation’s disappearance, posting it on the internet in real-time. The event combined many forms: sculpture, installation, performance, and internet media event.  Dawn of the Anthropocene was so named to describe the effect of humanity on the Earth’s systems. The term comes from Nobel prize scientist Paul Crutzen.  In his and other scientists’ view, humanity has entered an age when the power and impact of humans is as great, if not greater, than nature’s.

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    Masami Teraoka

    AIDS Series/Geisha in Bath, 2008

    Wood block print; 48 colors 34 blocks

    Edition of 75

    19 ½ x 13 ½ inches

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    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

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    Masami Teraoka

    Study for Sunset Beach, 1988

    Watercolor on paper

    3 x 10 ¾ inches unframed
    9 ¾ x 17 inches framed

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Miami

Miami Project Art Fair

December 01 – December 06, 2015

miami-project.com Catharine Clark Gallery presents work by several gallery artists, with water as a thematic thread.

  • Sandow Birk
  • Kevin Cooley
  • Rob Carter
  • Chris Doyle
  • Scott Greene
  • Julie Heffernan
  • Nina Katchadourian
  • Deborah Oropallo
  • LigoranoReese
  • Masami Teraoka
  • Wanxin Zhang
  • Exhibition Works
  • Exhibition Press Release (PDF)

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