CatharineClarkGallery

Suite of eight multi-block linocuts on handmade Japanese Hamada Kozo paper, inked by hand and editioned on Mullowney Printing's Dufa Manual Offset Lithography Press. Portfolio design and construction by Erin McAdams. The eight linocuts come in a linen portfolio, signed and editioned on a colophon page. An interior page bears a quote by Langston Hughes. Printed by Erin McAdams, Harry Schneider, Max Valentine, and assisted by Wendy Liu in an edition of 20, plus 5 artist proofs. Signed and numbered 6/20 on the colophon page in pencil. Published by Mullowney Printing, San Francisco.

Portfolio size: 20 1/2 x 18 3/4 inches

Each print: 19 1/2 x 18 inches unframed

Multi-block linocut on handmade Japanese Hamada Kozo paper, inked by hand and editioned on Mullowney Printing's Dufa Manual Offset Lithography Press. Printed by Erin McAdams, Harry Schneider, Max Valentine, and assisted by Wendy Liu in an edition of 20, plus 5 artist proofs. Signed and numbered on the recto in pencil. Published by Mullowney Printing, San Francisco.

Sheet: 19 1/2 x 18 inches

21 x 19 1/2 inches framed

Multi-block linocut on handmade Japanese Hamada Kozo paper, inked by hand and editioned on Mullowney Printing's Dufa Manual Offset Lithography Press. Printed by Erin McAdams, Harry Schneider, Max Valentine, and assisted by Wendy Liu in an edition of 20, plus 5 artist proofs. Signed and numbered on the recto in pencil. Published by Mullowney Printing, San Francisco.

Sheet: 19 1/2 x 18 inches

21 x 19 1/2 inches framed

Multi-block linocut on handmade Japanese Hamada Kozo paper, inked by hand and editioned on Mullowney Printing's Dufa Manual Offset Lithography Press. Printed by Erin McAdams, Harry Schneider, Max Valentine, and assisted by Wendy Liu in an edition of 20, plus 5 artist proofs. Signed and numbered on the recto in pencil. Published by Mullowney Printing, San Francisco.

Sheet: 19 1/2 x 18 inches

21 x 19 1/2 inches framed

Multi-block linocut on handmade Japanese Hamada Kozo paper, inked by hand and editioned on Mullowney Printing's Dufa Manual Offset Lithography Press. Printed by Erin McAdams, Harry Schneider, Max Valentine, and assisted by Wendy Liu in an edition of 20, plus 5 artist proofs. Signed and numbered on the recto in pencil. Published by Mullowney Printing, San Francisco.

Sheet: 19 1/2 x 18 inches

21 x 19 1/2 inches framed

Multi-block linocut on handmade Japanese Hamada Kozo paper, inked by hand and editioned on Mullowney Printing's Dufa Manual Offset Lithography Press. Printed by Erin McAdams, Harry Schneider, Max Valentine, and assisted by Wendy Liu in an edition of 20, plus 5 artist proofs. Signed and numbered on the recto in pencil. Published by Mullowney Printing, San Francisco.

Sheet: 19 1/2 x 18 inches

21 x 19 1/2 inches framed

Multi-block linocut on handmade Japanese Hamada Kozo paper, inked by hand and editioned on Mullowney Printing's Dufa Manual Offset Lithography Press. Printed by Erin McAdams, Harry Schneider, Max Valentine, and assisted by Wendy Liu in an edition of 20, plus 5 artist proofs. Signed and numbered on the recto in pencil. Published by Mullowney Printing, San Francisco.

Sheet: 19 1/2 x 18 inches

21 x 19 1/2 inches framed

Multi-block linocut on handmade Japanese Hamada Kozo paper, inked by hand and editioned on Mullowney Printing's Dufa Manual Offset Lithography Press. Printed by Erin McAdams, Harry Schneider, Max Valentine, and assisted by Wendy Liu in an edition of 20, plus 5 artist proofs. Signed and numbered on the recto in pencil. Published by Mullowney Printing, San Francisco.

Sheet: 19 1/2 x 18 inches

21 x 19 1/2 inches framed

Multi-block linocut on handmade Japanese Hamada Kozo paper, inked by hand and editioned on Mullowney Printing's Dufa Manual Offset Lithography Press. Printed by Erin McAdams, Harry Schneider, Max Valentine, and assisted by Wendy Liu in an edition of 20, plus 5 artist proofs. Signed and numbered on the recto in pencil. Published by Mullowney Printing, San Francisco.

Sheet: 19 1/2 x 18 inches

21 x 19 1/2 inches framed

Two block linocut and woodcut monotype, on Korean Chiri mulberry paper. Printed as a variable edition of 11. Signed and numbered 7/11 on the recto in pencil.

Sheet: 25 x 16 1/2 inches

Framed: 26 1/2 x 18 inches

Three plate, three color direct gravure etching on handmade Hamada Kozo printed chine collé backed with Somerset satin white 300 gram paper, trimmed bleed. Printed by Erin McAdams, Wendy Liu, and Harry Schneider in an edition of 35 plus 10 proofs. Signed and numbered OKTP on the verso in pencil. Co-published by Catharine Clark Gallery and Mullowney Printing, San Francisco. Publication date January 2020.

Sheet and image: 11 3/4 x 17 inches

Portfolio of twelve variable monotype images by Brad Brown with text by Lytle Shaw. Printed on Somerset satin white 300 gram paper by Erin McAdams, Wendy Liu, Harry Schneider, and Max Valentine in an edition of 10 plus 6 artist proofs. Portfolio by John DeMerritt Bookbinding, Emeryville, CA. Signed and numbered on the colophon recto. Published by Mullowney Printing, San Francisco.

Sheet: 12 x 22 inches

Portfolio: 13 1/8 x 22 1/2 x 1 inches

Woodcut from twenty carved plywood blocks. Hand-embellished with gold acrylic. Printed on gampi paper using a Dufa flatbed offset press. Sheets are joined and backed twice with sekishu kozo paper.

Printed and published by Mullowney Printing, San Francisco.

Full suite: edition of 6 + proofs
(Colophon is available in an edition of 12 + proofs)

Overall dimensions: 48 x 480 inches
Panel 1 (Procession of the Left): 36 x 204 inches
Panel 2 (Procession of the Right): 36 x 204 inches
Panel 3 (Central Panel/Colophon): 48 x 72 inches

As part of the ongoing “Imaginary Monuments” series (2007 - present), Sandow Birk has created a fourth gravure in the project: "Proposal for a Monument to the Declaration of Independence (and a Pavilion to Frederick Douglass)." This new image proposes a monument to the text of the Declaration of Independence replete with all the ironies about whose freedom it protects therein (the Pavilion to Frederick Douglass). The composition of the main structure that houses the Declaration’s text is rendered in a neoclassical style reminiscent of the Capitol and other government buildings from the period in Philadelphia and Washington, D.C.

Suspended from the upper portion of the cracked and worn neoclassical architecture is a heavy bar and chain holding a sign inscribed with a passage written by Thomas Jefferson decrying slavery. This text was omitted from the final draft of the Declaration of Independence. And in fact here, it remains outside of the main monument, engraved on a plaque that inauspiciously hangs overhead, casting a shadow of shackles and chains—accoutrements of the slave trade—onto the Declaration’s text.
Birk’s gravure further reminds us of the era’s paradoxical approach to issues of freedom and slavery in a second structure—the so-called pavilion—rendered across from the neoclassical monument. Enshrined on this rock-like memorial or pavilion are texts excerpted from the abolitionist, Frederick Douglass’, July 5, 1852 speech, What the Fourth of July Means to the Slave, which critiques how freedom is unequally distributed to people of color.

Direct gravure etching on two copper plates printed on two sheets of gampi paper, joined and backed with Sekishu Kozo paper. Printed as an edition of 25 plus 8 proofs. Signed and numbered 11/25 on the recto in pencil. Co-published by Mullowney Printing and Catharine Clark Gallery, San Francisco.

Image: 56 1/2 x 40 1/2 inches

Sheet: 62 x 44 inches

65 1/2 x 48 inches framed

"Together Forever" is a simple reflection of humanity. Especially in today's society, despite the political, ideological, geographical differences, humankind is working together to save lives and save the planet. We need to open our hearts and minds to each other and remember to focus on a better forever.

The letterpress print "DISARM" is based on a video titled “113..." (2019), an ambitious and immersive 7-channel video installation that documented and commemorated every high school mass shooting in the United States between the Columbine High School massacre in 1999 and the end of 2018. Employing aerial shots of football fields and surrounding neighborhoods of these schools, Oropallo and Rappaport evoke a different kind of American iconography — one that highlights, both visually and sonically, the contrast between the innocence and joy of youth and the horrors of gun violence.

The underlying map depicted in the letterpress print is the Columbine campus. The oval target shape is set over the oval football field. There have been 113 school shootings between April 20, 1999 and the end of 2018. That number of bullet holes dotted the page of the first print in the edition; with each subsequent edition, the artists removed the "shots," as a metaphor for both the repetition and the disarming of weapons.

"Dependent” is a collaborative letterpress broadside by Julia Goodman and Michael Hall, their first project produced as a family. As Goodman writes: "we designed this print with the heft of the 2020 election on our minds. In addition to everything already at stake, this is our first year voting as parents. Looking ahead, we realized our son, Irving, will not be able to vote for president until 2040."

Goodman and Hall’s powerful composition hopes to remind viewers as to why we keep fighting for those who we love, those who are most vulnerable, and those whose future we hope will be better than ours.

For this project, I wanted to create a broadside that advertises the imagined sale of Dianne Feinstein's San Francisco mansion, that takes place on the Ides of March. The home has been a site of protests in recent years. Recently, Feinstein was in the news distancing herself from her billionaire husband, who sold significant amounts of stock right before the Covid-19 crisis that began in mid-March. Feinstein's extreme wealth, gained in large part from property investments, raises questions about her ability to ethically govern in an area with a notorious housing crisis.

I'm interested in her as a complex character: she has one foot squarely rooted in conservative aesthetics of mainstream womanhood, and another deeply invested in accruing and maintaining her own power. Perhaps this contradictory combination, embodied in an iconic Democratic female political leader, re-enforces social and economic inequality rather than challenging it.