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