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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  • INQUIRE

    Kara Maria

    She Will Hang the Night with Stars (detail), 2015

    Acrylic on canvas

    26 x 26 inches

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    Kara Maria

    She Will Hang the Night with Stars, 2015

    Acrylic on canvas

    26 x 26 inches

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    Kara Maria

    Large Matters in Small Kingdoms, 2016

    Acrylic on canvas

    26 x 26 inches

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    Kara Maria

    Large Matters in Small Kingdoms, 2016

    Acrylic on canvas

    26 x 26 inches

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    Kara Maria

    Red Tail Hawk, 2015

    Acrylic on digital print on canvas

    30 ½ x 46 ¼ inches

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  • SOLD

    Kara Maria

    African Elephant, 2015

    Acrylic on canvas

    12 x 12 inches

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    Kara Maria

    Red Tail Hawk (detail), 2015

    Acrylic on digital print on canvas

    30 ½ x 46 ¼ inches

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  • SOLD

    Wanxin Zhang

    A Sculptor's Hand Out, 2016

    High-fired clay with glaze

    14 x 5 x 41 inches

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    Wanxin Zhang

    Red Flower Face of Mao, 2011

    High-fired clay with glaze

    10 x 8 x 5 inches

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    Wanxin Zhang

    Where is Mao Head, 2016

    High-fired clay with glaze

    12 x 5 x 61 inches

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  • SOLD

    Wanxin Zhang

    Year of 1966, 2016

    High-fired clay with glaze

    12 x 5 x 61 inches

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    Wanxin Zhang

    Yin-Mao, 2015

    High-fired stoneware
    with glaze

    20 x 8 x 8 inches

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  • SOLD

    Wanxin Zhang

    Mao with His Shadow, 2016

    High-fired clay with glaze

    14 x 6 x 8 inches

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    Wanxin Zhang

    Rainbow Warrior, 2016

    High-fired clay with glaze

    12 x 5 x 5 inches

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  • SOLD

    Wanxin Zhang

    #26 Year's Tank Man, 2016

    High-fired clay with glaze

    21 x 8 x 8 inches

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    Wanxin Zhang

    My Fifty Five Finger Stamps, 2016

    High-fired clay with glaze

    16 x 4 x 4 inches

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    Wanxin Zhang

    Mao with Small Feet, 2016

    High-fired clay with glaze

    12 x 4 x 4 inches

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    Wanxin Zhang

    Summer of 1992, 2016

    High-fired clay with glaze

    3 x 4 x 8 inches

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    Wanxin Zhang

    Untitled, 2016

    High-fired clay with glaze

    13 x 4 x 5 inches

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    Wanxin Zhang

    Where is my Kingdom?, 2011

    High-fired clay with glaze and decals

    12 x 3 x 4 ½ inches

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    Wanxin Zhang

    Two Treasures, 2010

    High-fired clay with glaze

    26 x 11 x 9 inches

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  • SOLD

    Wanxin Zhang

    Mao Was Artist, Too, 2010

    Historic Mao from the artist’s family with glaze

    12 x 4 x 4 inches

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    Wanxin Zhang

    Black and White Landscape, 2008

    High-fired clay with glaze

    16 x 13 x 8 inches

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    Wanxin Zhang

    Red with Black of Mao, 2006

    High-fired clay with glaze

    14 x 5 x 41 inches

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  • SOLD

    Wanxin Zhang

    Small Skull, 2002

    High-fired clay with glaze and decals

    6 x 3 x 4 inches

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    Walter Robinson

    Fruits de Mer, 2013

    Wood, polychrome, brass

    104 x 75 x 36 inches

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    Walter Robinson

    Bridge, 2010

    Wood, MDF, plaster, epoxy, metalflake

    44 x 60 x 15 ¾ inches

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  • SOLD

    Walter Robinson

    Las Amazonas, 2008

    MDF and epoxy

    Each disc: 18 x 1 x 1 inches

    Complete installation: 40 x 40 x 1 inches

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    Chris Doyle

    Stills from the video Circular Lament, 2016

    Animated video

    Edition of 5 + 2 AP

    5:44 minutes

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    Chris Doyle

    Currency #1–30, 2011

    Archival inkjet prints

    Editions of 20

    3 ½ x 6 ½ each

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    Chris Doyle

    Surface Tension, 2015

    Single-channel video

    Edition of 5 + 2 AP

    Music by Jeremy Turner

    7 minutes

    MORE about this artwork

    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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    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

    Molokai Lookout Point/Writing Giant Octopus Waves, 2007

    Watercolor on paper

    10 1/4 x 30 inches

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    Masami Teraoka

    Namiyo at Hanauma Bay, 1985

    Key stone impression, lithograph

    Edition of 150

    25 x 36 inches unframed

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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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    Masami Teroka

    Space Los Angeles, January 12 - February 16, 1985. New Wave Series/Tattooed Woman at Sunset Beach, 1984

    Poster

    24 3/4 x 17 1/2 inches

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    Masami Teraoka

    Hawaii Snorkel Series/Miko and Rental Snorkel, 1985

    Watercolor on paper

    17 1/8 x 24 3/8 inches

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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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Seattle

Seattle Art Fair

August 04 – August 07, 2016

  • Sandow Birk
  • Chris Doyle
  • Masami Teraoka
  • Wanxin Zhang
  • Exhibition Works
  • Exhibition Press Release (PDF)

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