CatharineClarkGallery

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  • INQUIRE

    Alison Saar

    Copacetic, 2019

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    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

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    Alison Saar

    Paradiddle Diddle from “Copacetic” , 2019

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    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

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  • SOLD

    Alison Saar

    Torch Song from "Copacetic", 2019

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    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

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    Alison Saar

    Hepcat from "Copacetic", 2019

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    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

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    Alison Saar

    Table for Two from "Copacetic", 2019

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    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

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    Alison Saar

    Hooch n’ Haint from “Copacetic” , 2019

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    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

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  • SOLD

    Alison Saar

    Shebop form "Copacetic", 2019

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    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

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    Syncopatin' from "Copacetic" , 2019

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    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

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  • SOLD

    Alison Saar

    Jitterbug from "Copacetic", 2019

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    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

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    Masami Teraoka

    Geisha and Madonna, 2020

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    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

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    Sandow Birk

    Proposal for a Monument to the Declaration of Independence (and a Pavilion to Frederick Douglass), 2018

    Direct gravure etching from two copper plates on two sheets of gampi paper, joined, and backed with sekishu kozo paper

    Edition of 25 + 2AP

    44 x 61 1/2 inches unframed

    MORE about this artwork

    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.

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    Deborah Oropallo and Andy Rappaport

    Video documentation of FLOOD, 2019

    Three-channel video with two-channel sound; installation configurations vary.
    *Click video to play

    Edition of 3 + 2AP

    20:23 minutes

    oropallo-and-rappaport-flood-video-2019
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    Brad Brown and Lytle Shaw

    Mash Notes, 2019

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    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

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    Alison Saar

    Girl with a Pearly Earring, 2018

    Signed and numbered on the recto in pencil. Published by Mullowney Printing, San Francisco.

    Soft ground, aquatint and spit bite etching printed chine colle gampi on Somerset.

    Edition of 15 plus 6 artist proofs

    Sheet: 15 x 12 inches

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  • SOLD

    Alison Saar

    High Cotton II, 2018

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    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

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  • SOLD

    Sandow Birk

    Monument to the Constitution of the United States,

    Direct gravure in black ink on nine (9) white handmade gampi panels backed with handmade kozo paper to form a single work on paper. Co-published by Paul Mullowney and Catharine Clark Gallery.

    Edition of 25 + 8 proofs

    48 x 63 inches

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    Sandow Birk

    Universal Declaration of Human Rights, from the series Imaginary Monuments, 2013, Edition of 25 + 8 proofs

    Direct gravure etching on four copper plates printed on four sheets of handmade gampi paper, joined and backed with sekishu kozo paper

    MORE about this artwork

    This print, the second work in the Imaginary Monuments series, is the representation of a fictional monument to the United Nations’ Universal Declaration of Human Rights—a document intended to solidify the belief in and commitment to basic human rights for all people. The historic pillar or column inscribed with the entire (legible) text of the United Nations’ document is based on the 1871 monument to Napoleon’s victory at the Place Vendôme in Paris. It is shown in a state of decay, as if its foundation were crumbling. The teetering pillar is supported by a makeshift system of pipes, scaffolding, and bamboo, and enclosed behind security fencing, making it inaccessible. The encircling cityscape spans the breadth of the globe, from the floating slums of Asia and shantytowns of Latin America and Africa in the foreground, to a skyline of iconic skyscrapers from international cities.

     

    Co-published by Mullowney Printing and Catharine Clark Gallery, San Francisco

    Medium: Direct gravure etching on four copper plates printed on four sheets of handmade gampi paper, joined and backed with sekishu kozo paper

    Edition 25 + 8 proofs

    Dimensions: 62 ½ x 48 inches unframed, 66 x 53 inches framed

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    Greg Niemeyer and Roger Antonsen

    Network Paradox Scroll, 2019

    Published by Mullowney Printing, San Francisco
    Photogravure and direct gravure etching made from 26 copper plates on gampi paper, joined and backed four times with sekishu kozo paper

    Edition of 6 + 4AP + HC

    Image: 16 x 212 3/4 inches
    Sheet: 19 1/2 x 216 1/4 inches

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    Sandow Birk

    Excavating the Foundations of the Unfinished Temple of Human Rights from the series Imaginary Monuments, 2015

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    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

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    Sandow Birk and Elyse Pignolet

    American Procession (Left Panel), 2017

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    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 paper. 

    Printed by master printer Paul Mullowney, assisted by Harry Schneider, Erin McAdams, Keisha Mrotek and Max Valentine. Printed and published b6y Mullowney Printing, San Francisco.

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    Sandow Birk and Elyse Pignolet

    American Procession (Right Panel), 2017

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    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 paper.

    Printed by master printer Paul Mullowney, assisted by Harry Schneider, Erin McAdams, Keisha Mrotek and Max Valentine. Printed and published by Mullowney Printing, San Francisc

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    Sandow Birk and Elyse Pignolet

    American Procession (Colophon), 2017

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    Woodcut from 4 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. 

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

    Panel 3 (Central Panel/Colophon) Dimensions: 48 x 72 inches

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    Josephine Taylor

    The Cult: "Coming Down", 2019

    Published by Mullowney Printing, San Francisco

    Direct gravure on gampi

    Edition of 10 + 3AP

    15 x 11 1/2 inches framed

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    Josephine Taylor

    April Wine: "Rock Myself to Sleep", 2019

    Published by Mullowney Printing, San Francisco

    Direct gravure on gampi

    Edition of 10 + 3AP

    15 x 11 1/2 inches framed

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    Josephine Taylor

    Bowie "China Girl" , 2019

    Published by Mullowney Printing, San Francisco

    Direct gauvre on gampi

    Edition of 10 + 3AP

    15 x 11 1/2 inches framed

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    Josephine Taylor

    Erasure "Love to Hate You", 2019

    Published by Mullowney Printing, San Francisco

    Direct gravure on gampi

    Edition of 10 + 3AP

    15 x 11 1/2 inches framed

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    Josephine Taylor

    Suicidal Tendencies "Institutionalized" , 2019

    Published by Mullowney Printing, San Francisco

    Direct gravure on gampi

    Edition of 10 + 3AP

    15 x 11 1/2 inches framed

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    Josephine Taylor

    Sonic Youth: "Bull in the Heather", 2019

    Published by Mullowney Printing, San Francisco

    Direct grauvre on gampi

    Edition of 10 +3AP

    15 x 11 1/2 inches framed

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    Josephine Taylor

    Song for Love--Extreme, 2019

    Published by Mullowney Printing. 

    Photograuvure printed chine colle gampi on Somerset

    Edition of 10 + 3AP

    19 1/2 x 15 inches framed

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    Sandow Birk

    The Ongoing Construction of the Monument of the Immigrant Nation, 2019

    Ink, acrylic, pencil, colored pencil on paper.

    60 x 42 inches

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    Josephine Taylor

    Punk Rock Girl - The Dead Milkmen, 2019

    Published by Mullowney Printing

    Photogravure printed on chine colle gampi on Somerset

    Edition of 10 + 3 AP

    19 x 15 inches framed

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    Josephine Taylor

    Sometimes Always - The Jesus and Mary Chain, 2019

    Photogravure printed chine colle gampi on Somerset

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    Josephine Taylor

    Gone Daddy Gone - The Violent Femmes, 2019

    Published by Mullowney Printing

    Photogravure printed chine colle gampi on Somerset

    Edition of 10 + 3AP

    19 1/2 x 15 inches framed

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SF

The Master Printer, the Artist, and the Publisher: Mullowney Printing and Catharine Clark Gallery Present a Survey Exhibition of Co-Publication Since 2011

February 22 – March 15, 2020

  • Mullowney Printing
  • Sandow Birk
  • Masami Teraoka
  • Josephine Taylor
  • Exhibition Works
  • Exhibition Press Release (PDF)

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