BOOTH 344
CATHARINE CLARK GALLERY was founded in 1991 and represents the careers of Chester Arnold, Jen Bervin, Sandow Birk, Lenka Clayton, Arleene Correa Valencia, Timothy Cummings, Andy Diaz Hope, Chris Doyle, Al Farrow, Julie Heffernan, Laurel Roth Hope, Nina Katchadourian, LigoranoReese, Deborah Oropallo, Stacey Steers, Stephanie Syjuco, Josephine Taylor, Masami Teraoka, Amy Trachtenberg, Katherine Vetne, Marie Watt, and Wanxin Zhang. Since 2002, the Gallery has programmed media and video works that coincide with each changing exhibition in a dedicated black box theater.
In 2016 the Gallery established BOXBLUR, an initiative for the production and presentation of performance. BOXBLUR is a fiscally sponsored project of Dance Film SF, whose films are screened in the Gallery as part of the SF Dance Film Festival. In 2023 with the expansion of the Gallery, EXiT, an art book and artist-made gift store and lounge, was founded. The creative projects featured in EXiT draw upon the Gallery’s relationships with artists and community organizations, such Arion Press, Crow’s Shadow, Moonlight Press, Mullowney Printing, Open Editions, Radius Books, and others who support artists through publications. The Gallery is in a 9,200 square foot, former door factory in the Potrero Hill neighborhood of San Francisco, California.
For EXPO CHICAGO 2024, Catharine Clark Gallery presents the work of Sandow Birk, Joel Daniel Phillips, Stephanie Syjuco, and Marie Watt. Their artworks delve into American history, leveraging diverse mediums and approaches to dissect and reframe the visual archives of the past.
With varied approaches and media, the selected works reflect on the historical record and question what it means to be an American, through expansive artistic vocabulary: drawing and gravure for Birk, painting for Phillips, photography and video for Syjuco, and textile and beading for Watt. Through their respective mediums and rigorous practices, the artists invite conversation about truth-telling, the complexities of American identity, visibility/invisibility, and the accessibility of historical narratives. The works on view serve as a dynamic platform for contemplation and engagement with the multifaceted dimensions of our collective narratives.
Approximately 62 1/2 x 48 inches. Co-published by Mullowney Printing, Portland, OR and Catharine
SANDOW BIRK
For EXPO CHICAGO, the Gallery showcases Sandow Birk’s direct gravure etchings from the “Imaginary Monuments” series, which depict historical texts housed within imagined monuments honoring, enshrining, or critiquing the text’s topic. Birk is an American artist, who studied at Otis Art Institute in Los Angeles and American College in Paris/Parsons School of Design, and is based in Long Beach, California. His work engages with historical narratives largely conveyed through drawing, painting, and printmaking, and with subjects as diverse as poverty, the Qur’an, soccer, works of literature, historical texts, surfing, and the prison-industrial complex. The works in “Imaginary Monuments” generally incorporate multiple, iconic documents, conveying in words and through architectural images the complex and sometimes conflicting histories and realities behind subjects such as the judicial system, incarceration, capitalism, trade, immigration, slavery, freedom of speech, treaties, systems of government, social justice, and civil rights. Classically trained as a painter, Birk’s work borrows compositions and approaches from political cartoonists such as Thomas Nast, Honore Daumier, William Hogarth, and R. Crumb; and historical painters and printmakers, like George Bellows, Emanuel Leutze, Eugene Delacroix, and Albrecht Dürer.
Monument to the Constitution of the United States (2011–12), the first gravure in “Imaginary Monuments,” is based on a drawing by the same title created while Birk was a Smithsonian Artist Research Fellow in Washington, DC in 2007. After viewing Albrecht Dürer’s Triumphal Arch of Emperor Maximilian I (1514), then on view at the National Gallery of Art, Birk created first monument drawing, which is now in the collection of The Metropolitan Museum of Art. It faithfully reproduces the articles of the Constitution, the Bill of Rights, and the amendments (as of 2012). Birk’s visual interpretations of these texts, whether realized as a drawing or gravure, illuminate the Sandow
ideas in the articles of the Constitution, while also showing how US citizens, the government, and the courts have applied and interpreted the texts across time. Birk also reveals the Constitution as an evolving document by representing the monument as a building under construction and leaving space for future amendments.
Universal Declaration of Human Rights (2012) i) is the second gravure in “Imaginary Monuments.” The source text is the Universal Declaration of Human Rights, drafted in Paris on December 10, 1948, and considered the “magna carta of human rights.” Birk’s transcription encircles a leaning and towering column resembling the obelisk in the Place Vendôme in Paris. It is propped up by scaffolding and foregrounds a skyline of skyscrapers and shacks. The original Universal Declaration was proclaimed by the United Nations General Assembly as a common standard of achievements for all peoples and all nations. For the first time, it defined the fundamental human rights to be universally protected. Birk’s monument suggests that at this point in history, given the contrast between the lofty buildings (monuments to wealth and power) and crumbling favelas (monuments to poverty and income inequality), human rights may require some support. Works from “Imaginary Monuments” are in the collections of SFMOMA, Metropolitan Museum of
Birk, Universal Declaration of Human Rights from the series “Imaginary Monuments,” (detail) 2013. Direct gravure etching on four copper plates printed on four sheets of handmade gampi paper, joined and backed with sekishu kozo paper. Edition of 25 + 8 proofs. Clark Gallery, San Francisco, CA.Art, LACMA, Portland Art Museum, and the Detroit Institute of Arts, among other institutions. Two new drawings in the “Imaginary Monuments” series debut at EXPO CHICAGO.
Birk’s work is represented in the collections of the Art Gallery of Ontario; Autry Museum of the American West; Biblioteca Nazionale Centrale di Roma; Crocker Art Museum; Crystal Bridges Museum of American Art, the Detroit Institute of Arts; di Rosa Art Preserve; de Young Museum, Fine Arts Museums of San Francisco; Hammer Museum; J. Paul Getty Museum; Jordan Schnitzer Museum of Art; LACMA; Laguna Art Museum; The Library of Congress; Lucas Museum of Narrative Art; The Metropolitan Museum of Art; New York Historical Society; New York Public Library; Norton Museum of Art; Portland Art Museum; SFMOMA; Societa Dantesca; and Stadtisches Kunstmuseum, among others.
Birk has published with Mullowney Printing, Tamarind Institute, W.W. Norton, Chronicle Books, and most recently with Arion Press on the publication Pooh, in which the artists re-imagines through pen and ink drawings the character of Christopher Robbins as an elderly, unhoused person living in Los Angeles and reflecting on his childhood. Birk has been represented by Catharine Clark Gallery since 1994.
JOEL DANIEL PHILLIPS
The gallery presents new paintings from Joel Daniel Phillips’s “Killing the Negative,” a series of drawings and paintings accompanied by writings from noted poet and educator Quraysh Ali Lansana. Phillips is an American artist living in Tulsa, Oklahoma, whose work centers on questions of truth and historical amnesia—the veracity of the stories we tell ourselves about our collective pasts. His work has been selected three times for the Outwin Boochever Portrait Competition at the Smithsonian National Portrait Gallery, Washington, DC. The works in “Killing the Negative” respond to a subset of the Farm Security Administration’s (FSA) foundational commissioned photographs made during the Great Depression. The collaboration explores intersections of representation, truth, and power by re-contextualizing archival material. They walk the line between describing a shared, forgotten history, current questions of race, class, labor and compensation, land ownership, stratified socioeconomics, and ecological protection, and prophesying a terrifying, future.
For the series “Killing the Negative,” Phillips responded to what is not as known about the process by which the photographs made under the FSA were selected for publication. Through a deep dive into the archive, Phillips learned about who made the choices and what happened to the images (the negatives) for the photographs that were deemed unworthy of publication. The head of the FSA in this era was Roy Emerson Stryker (b. November 5, 1893 –d. September 27, 1975). It was he who “killed” images he felt were unsuitable for publication by punching a hole in the original negative. The current political debates about race, class, labor, compensation, land ownership, socio-economic stratification, and ecological protection resonate deeply with issues of that era embedded in the original censored FSA photographs.
This discovery of a “killed negative” led Phillips and poet Quraysh Ali Lansana into a multiyear collaborative project and book: Killing the Negative: A Conversation in Art & Verse, with introductory essays by Susan Green, Marcia Manhart Endowed Associate Curator for Contemporary Art & Design at the Philbrook Museum of Art, and Erica X. Eisen. Contributing poets include US Poet Laureate, Joy Harjo; North Carolina Poet Laureate, Jaki Shelton Green; Randall Horton; Rose McLarney; Ken Hada; Moheb Soliman; and Candace G. Wiley. The project is an ekphrastic rejoinder to FSA Director Stryker’s once little-known practice of destroying the photographs he found unappealing. As an ongoing collaboration, “Killing the Negative” addresses the gaps in the narrative left by censorship, introducing new images and words into the spaces created by Stryker’s hole punch. Within the project, Stryker’s destructive editing process serves as a larger commentary on truth and the accuracy of the historical record, highlighting the flaws in our reliance on this record and emphasizing the power that a single individual had in shaping the collective understanding of an entire nation. The writers contribute interventions of text, sound, and breath, giving voice to the subjects of these damaged negatives. In each collaboration, poet and artist work together to fill the void left by heavy-handed government-directed practices, creating an entirely new conversation about power, representation, and the shaping of America’s history.
Phillip’s work has been in notable museum exhibitions at the National Portrait Gallery, Washington, DC; Orlando Museum of Art; Joel Daniel Phillips: It
Joel Daniel Phillips, Killed Negative #97 / After Unknown Photographer, 2024. Oil on canvas. 72 x 52 inches. COVER: Killed Negative #100 / After Unknown Photographer, 2024. Oil on Canvas. 72 x 52 inches. Sandow Birk, Proposal for a Monument to Frederick Douglass and His Belief in Photography, 2024. Ink on paper. Sheet: 24 x 20 inches; Frame: 28 x 24 inches.Felt Like The Future Was Now, Philbrook Museum of Art, Tulsa; The Outwin 2016: American Portraiture Today, Tacoma Art Museum; Art Museum of South Texas, Corpus Christi; Charcoal Testament: Drawings by Joel Daniel Phillips, Fort Wayne Museum of Art; Dorothea Lange’s America, Gilcrease Museum, Tulsa; Ackland Art Museum, Chapel Hill; Western Art Pavilion Inaugural Exhibition, Denver Art Museum. Museum collections: Smithsonian National Portrait Gallery, Washington, DC; Philbrook Museum of Art, Tulsa; Phillips Collection, Washington, DC; Ackland Art Museum, Chapel Hill; Urban Nation Museum for Urban Contemporary Art, Berlin; West Collection, Oaks; Gilcrease Museum, Tulsa; 21c Museum Hotels, Louisville; Crocker Art Museum, Sacramento; Fort Wayne Museum of Art; Denver Art Museum. Select pieces from “Killing the Negative” are in the collection of 21c Museum Hotels, the Philbrook Museum of Art, and the Crocker Art Museum.
Phillips has been an artist in residence at Ramfjord’s Kunstkollectiv, Oslo, Norway, a recipient of The Jaunt travel project, Morocco, and is currently a Fellow at the Tulsa Artist Fellowship in Oklahoma. EXPO Chicago is the first presentation of his work with Catharine Clark Gallery.
Sheets: 20 x 16 and 16 x 20 inches;
Frames: 21 1/2 x 17 1/2 and 17 1/2 x 21 1/2 inches.
STEPHANIE SYJUCO
Key photographs and video works by Stephanie Syjuco from the series “Block Out the Sun” (2019–2022) and other works on colonized and colonizer are presented in the booth for EXPO CHICAGO. Syjuco was born in the Philippines and lives in Oakland, California. She works in photography, sculpture, installation, handmade and craft-inspired mediums, digital editing, and archive excavations. She is the recipient of a 2014 Guggenheim Fellowship Award, a 2020 Tiffany Foundation Award, and a 2009 Joan Mitchell Painters and Sculptors Award, and is featured in the PBS documentary Art21: Art in the Twenty-First Century. She holds a BFA from the San Francisco Art Institute and an MFA from Stanford University. Her work from a 2019-20 Smithsonian Artist Research Fellowship and from earlier research in The Missouri Historical Society inform the videos and photographs presented in the booth.
“Block Out the Sun” was born out of Syjuco’s research, leading up to her 2019 solo exhibition Rogue States, at the Contemporary Art Museum in St. Louis, Missouri. There, Syjuco reviewed images in local archives, libraries, and historical societies, searching for photographic documentation of a faux Filipino village created for the 1904 St. Louis World’s Fair. As a newly acquired colony of the United States at the time, Filipino culture was showcased for the American public via a living “human zoo,” filled with 1200 imported “natives” performing dances and rituals. These displays served a dual purpose: as entertainment and as ethnographic pedagogical tools for justifying racial hierarchy and white supremacy. After seeing numerous images of this spectacle, it struck Syjuco that the photos, while historical, also serve to constantly reinscribe and reify the power dynamics of the time. Although factual (this indeed “happened”), the effect of viewing these staged
ethnographic images could also serve to perpetuate racist stereotypes, despite attempts to frame them as outdated or a relic of their time. These images, unfortunately, still speak for a culture.
Institutional repositories, archives, and museums are tasked with housing cultural collections, framing historical narratives, and creating research opportunities for future generations. These archives are also rife with omission, racial bias, and a subjective eye toward what should be collected and preserved for posterity. How does one “talk back” to an archive and attempt to potentially re-narrate its documents and images? By physically blocking the images with her hands, Syjuco attempts a direct way of intervening with an archive, and thwarting the viewer’s ability to fully consume the people and faces on display, as well as performing an act of protection. Over a century after the original photos of the Filipino Village were taken, Syjuco’s body, sitting in the archives, becomes both a temporary shield and a marker of defiance, while at the same time acknowledging that the images remain. Works from this body of work and related series are in the exhibition Going Dark: The Contemporary Figure at the Edge of Visibility at the Guggenheim Museum in New York, NY and Don’t Forget to Call Your Mother at The Metropolitan Museum of Art, New York.
Solo museum exhibitions for Syjuco include the forthcoming Stephanie Syjuco: After/Images at the Frye Art Museum, Seattle (opening June 2024); Stephanie Syjuco: Blind Spot, MSU Broad Art Museum, East Lansing; Stephanie Syjuco: White Balance/Color Cast, Anderson Collection at Stanford University; Stephanie Syjuco: Double Vision, Amon Carter Museum of American Art, Fort Worth; Stephanie Syjuco: Image Trafficking, Wadsworth Atheneum Museum of Art, Hartford; Stephanie Syjuco: The Visible Invisible, Blaffer Art Museum, Houston; Vanishing Point (Overlay), Baltimore Museum of Art. Her work is in more than 35 museum Collections: Museum of Modern Art, New York; The Metropolitan Museum of Art, New York; J. Paul Getty Museum of Art, Los Angeles; Los Angeles County Museum of Art; Berkeley Art Museum and Pacific Film Archive; The Cantor Art Center, Stanford; Fine Arts Museums of San Francisco; Smithsonian American Art Museum, Washington, D.C.; Walker Arts Center, Minneapolis; Milwaukee Art Museum;
Above: Stephanie Syjuco, Block Out the Sun (Shadow), 2022 Right: Block Out the Sun (Shield), 2022 Pigmented inkjet prints. Editions of 8 + 2AP.Pennsylvania Academy of the Fine Arts, Philadelphia; Saint Louis Museum of Art, Missouri; MSU Broad Art Museum, East Lansing; San Jose Museum of Art; and San Francisco Museum of Modern Art.
In March of 2024, Radius Books released Stephanie Syjuco: The Unruly Archive. Syjuco has been represented by Catharine Clark Gallery since 2008, where she currently has a solo exhibition, Dodge + Burn, a survey exhibition of work from 2004 – present.
MARIE WATT
Marie Watt was born in Seattle and lives in Portland, Oregon. She is a member of the Seneca Nation of Indians and has German and Scottish ancestry. She makes multifaceted work drawing from history, biography, post-war abstraction, and Iroquois proto-feminism and holds an MFA from Yale University, and degrees from Willamette University and the Institute of American Indian Arts. Like Birk, Phillips, and Syjuco, Watt makes artworks that consider visibility and invisibility relative to the historical record. Featured in the booth for EXPO CHICAGO, is a textile titled Placeholder (Relations) (2024), a monumental wall-based, beaded blanket which deepens the conversation on truth-telling particularly concerning misrepresented and largely invisible citizens—Native American women and girls, who have gone missing without explanation or follow up from law enforcement—the missing sisters whose voices are not heard. Placeholder (Relations) debut presentation is at EXPO CHICAGO, while a related work is currently on view in Marie Watt: LAND STITCHES WATER SKY at the Carnegie Museum of Art in Pittsburgh, PA.
Through an interdisciplinary approach, Watt’s work addresses the interaction of the arc of history with the intimacy of memory using materials such as blankets, steel, wood, and beads to refer to Indigenous practices and the transmission of personal and collective stories from one generation to another. Through collaborative actions, she instigates multigenerational and cross-disciplinary conversations that create a lens and conversation for understanding connectedness to place and one another. Placeholder (Relations) also anticipates a forthcoming work that will be featured in her solo exhibition at Catharine Clark Gallery in the fall of 2024.
Watt’s work has been featured in numerous museum exhibitions, notably Storywork: The Prints of Marie Watt, Print Center, New York; To Take Shape and Meaning: Form and Design in Contemporary American Indian Art, North Carolina Museum of Art, Raleigh; Montalvo Art Center, Saratoga; Considering Kin: Sharing the Same Breath, John Michael Kohler Art Center; How to Survive, Anchorage Museum; Daughter/Mother/Ancestor: Threads of Connection, Indianapolis Museum of Art; Indian Theater: Native Performance, Art, and Self-Determination since 1969, Hessel Museum of Art, Bard College; Making Their Mark, The Shah Garg Foundation, New York; Soft Power, Tacoma Art Museum; Converge45, Portland; Sun Drinks White, Nerman Museum of Contemporary Art, Overland Park; The Land Carries Our Ancestors at the National Gallery of Art in Washington, D.C.; Making Knowing: Craft in Art, Whitney Museum of American Art, New York. Her work is represented in more than three dozen museum collections, such as the Albright-Knox Art Gallery, Buffalo; Crystal Bridges Museum of American Art, Bentonville; Denver Art Museum; Cantor Arts Center, Stanford; Metropolitan Museum of Art, New York; National Museum of the American Indian, Washington, D.C.; Tia Collection, Santa Fe; Forge Project, Taghkanic; Gochman Family Collection, New York; Portland Art Museum; Renwick Gallery, Smithsonian American Art Museum, Washington, D.C.; Seattle Art Museum; Tacoma Art Museum; Whitney Museum of American Art, New York; Yale University Art Gallery, New Haven.
Watt has exhibited with Catharine Clark Gallery since 2019, where she will have a second solo exhibition from September 21 – November 16, 2024. In 2025, her work will be presented in a mid-career survey at the Speed Art Museum in Louisville, Kentucky.
Marie Watt, Placeholder (Relations), 2024. Reclaimed wool blanket, Czech seed beads. 63 x 135 inches.
Killing the Negative: A Conversation in Art & Verse
Quraysh Ali Lansana & Joel Daniel Phillips 2023, Left Field Books
Joel Daniel Phillips will be present in the Catharine Clark Gallery Booth 344 from 12pm – 2pm on Saturday, April 13, and available to sign and personalize book orders.
Buy now through EXiT
Catharine Clark Gallery
Bradley McCallum
Retreat (Road to Ajdabiya, Libya, April 1, 2011, 12:00pm), 2024
Oil on linen, toner on silk, with augmented reality video 59 x 87 1/4 x 3 1/2 inches
EXPO CHICAGO Special Projects 2024
Fallen (Mutassim the Fourth Son of Gaddafi, Sirte, Libya, October 20, 2011), 2024
Oil on linen, toner on silk, with augmented reality video 43 1/4 x 41 3/4 x 3 1/2 inches
EAST ENTRANCE
BradleyMcCallum:InescapableTruths showcases two paintings with AR activations selected from his larger exhibition currently on view at Northwestern University Library and Dittmar Gallery. McCallum’s work is dedicated to the memory of American journalist James Foley and it is drawn from his reportage of the pro-democracy uprisings known as the Arab Spring.
“This exhibition is especially timely, as the wars in Ukraine and Gaza continue to unfold and we are reminded of the essential role that journalists serve in reporting on conflicts, ” McCallum said. “The title Inescapable Truths is a reference to the undeniability of human suffering and the essential role of journalism to reliably communicate these stories.”
https://sites.northwestern.edu/inescapabletruths/
April 13, 2024 | 10:00am–11:30am: Coffee reception and walkthrough with Bradley McCallum at Dittmar Gallery, Norris Center (first floor), Northwestern University, Evanston, IL
Inescapable Truths remains on view through May 7 at Dittmar Gallery and June 14 at University Library. University Library (fourth floor): 9 am – 6 pm, Monday – Saturday. Dittmar Gallery, Norris University Center: 10 am – 10 pm, every day.
Sandow Birk
Proposal for a Monument to Frederick Douglass and His Belief in Photography, 2024.
Ink on paper.
Sheet: 24 x 20 inches; Frame: 28 x 24 inches.
$ 8,500 framed
In the drawing, Proposal for A Monument to Frederick Douglass and His Belief in in Photography, Birk proposes a monument built to celebrate Frederick Douglass’s views on photography. Photography was in its infancy during Douglass’s lifetime, and he came to see it as a great tool for both leveling the status of people in society - as photographs were accessible to all, rather than just the wealthy - and as important in shaping national culture as it let the population see themselves as others see them. As he wrote, “picture making (photography) fundamentally shapes what it means to be human”. During his lifetime, Douglass so believed in the power of photography that he had himself photographed whenever he could, and he became the most photographed person in the United States for a time, and thus made himself very famous and renowned. In this monument, Douglass is seen sitting for a photograph, while the base of the monument is ringed by some of his portraits. The top of the monument features a pole of surveillance cameras and an arm holding a cell phone taking a “selfie”. These contemporary uses of photography as oppressive surveillance tool and self-aggrandizing ego boosters stand in sharp contrast to the powerful potential for good that Douglass imagined.
Sandow Birk
Proposal for a Monument to Injustice in Grant Park (The Chicago Eight), 2024
Ink on paper.
Sheet: 24 x 20 inches; Frame: 28 x 24 inches.
$ 8,500 framed
In the drawing Proposal for a Monument to Injustice in Grant Park (The Chicago Eight), Birk plays on the trope of the plinth and pedestal form often found in historical monuments. In this instance, he proposes the erection of a new monument commemorating “Injustice” in Grant Park, the site of the anti-Vietnam War protests that eventually ended with the arrest of eight political activists who became known as the Chicago Seven. (The “eighth” was Bobby Seale, who was later dropped from the group of defendants). The prolonged trial of the activists was a gross overreach of political injustice and became a shameful part of American history. In Birk’s proposal, a gravestone for “Justice” lies in the ground before the statue, which features the standing figures of all eight of the defendants. The base of the monument is decorated with excerpts from the trial’s transcript, while the midsection of the monument features a bas relief of activists and the riots incited by the police. In the distance, Birk depicts Anish Kapoor’s famous “bean” sculpture, as well as the Conrad Hilton Hotel, the site that hosted the 1968 Democratic National Convention, where the aforementioned protests took place.
Universal Declaration of Human Rights from the series “Imaginary Monuments,” 2013
Direct gravure etching on four copper plates printed on four sheets of handmade gampi paper, joined and backed with sekishu kozo paper. Edition of 25 + 8AP. Co-published by Mullowney Printing and Catharine Clark Gallery, SF.
Sheet: 64 x 49 inches: Frame: 68 x 53 inches. $ 15,000 unframed; $ 19,000 framed CLICK
Catharine Clark Gallery
Direct gravure in black ink on nine (9) handmade gampi panels backed with handmade kozo paper to form a single work on paper. Edition: 25 + 8 AP. Co-published by Mullowney Printing and Catharine Clark Gallery, SF.
Sheet: 48 x 63 inches; Frame: 52 1/4 x 65 1/4 inches.
$ 28,000 framed
Catharine Clark Gallery
*Also available
Sandow Birk
Excavating the Foundation of the Unfinished Temple of Human Rights in the series “Imaginary Monuments”, 2015
Direct gravure etching on two copper plates printed on two sheets of gampi paper, joined and backed with sekishu kozo paper. Edition of 25 + 8AP. Co-published by Mullowney Printing and Catharine Clark Gallery, SF.
Sheet: 61 1/2 x 44 inches: Frame: 65 1/2 x 48 inches
$ 15,000 unframed; $ 19,000 framed
CLICK HERE FOR A HIGH RESOLUTION IMAGE
Catharine Clark Gallery
*Also available
Sandow Birk
White Out: A Monumental Arch to American History in the series “Imaginary Monuments,” 2021
Direct gravure etching on twenty-four copper plates printed on sheets of gampi paper, joined and backed with sekishu kozo paper. Printed by Paul Mullowney and Harry Schneider, assisted by Alejandra Arias Sevilla. Signed and numbered on the recto in pencil. Co-published by Mullowney Printing, Portland and San Francisco, and Catharine Clark Gallery, San Francisco.
Edition of 10 + proofs.
Sheet: 102 x 72 inches.
$ 25,000 unframed
Catharine Clark Gallery
*Also available
Sandow Birk
Proposal for a Monument to the Declaration of Independence (and a Pavilion to Frederick Douglass) in the series
“
Imaginary Monuments” , 2018
Direct gravure etching on two copper plates printed on two sheets of gampi paper, joined and backed with sekishu kozo paper. Co-published by Mullowney Printing and Catharine Clark Gallery, San Francisco.
Edition of 25 + 8 proofs.
Sheet: 44 x 61 inches.
$ 15,000 unframed; $ 19,000 framed
Catharine Clark Gallery
Killed Negative #97 / After Unknown Photographer, 2024
Oil on Canvas
72 x 52 inches
$ 16,000
[Archive Text: “Untitled.” Original 35mm nitrate negative by Unknown Photographer dated between 1935 and 1942. Courtesy of the Library of Congress.]
62 x 56 inches
$ 16,000
[Archive Text: “Untitled photo, possibly related to: Farmer, Irwinville Farms, Georgia.” Original 35mm Nitrate negative by John Vachon dated May, 1938, courtesy of the Library of Congress]
72 x 52 inches
$ 16,000
[Archive Text: “Untitled photo, possibly related to: Wife of a prospective client, Brown County, Indiana. Husband and wife will be resettled on new land when their property has been purchased by the government.” Original 35mm nitrate negative by Theodor Jung dated October,1935. Courtesy of the Library of Congress.]
72 x 52 inches
$ 16,000
[Archive Text: “Untitled.” Original 35mm nitrate negative by Unknown Photographer dated between 1935 and 1942. Courtesy of the Library of Congress.]
*Also available
Joel Daniel Phillips
Killed Negative #13, 2023
A lithograph from three plates printed on Somerset satin cotton rag paper.
Signed and numbered edition of 50.
28 1/2 x 21 1/4 inches.
$ 250
[Archive text: “Untitled photo, possibly related to: Agricultural laborer who lives at "Eighty Acres," Glassboro, New Jersey. Original Nitrate negative by Arthur Rothstein dated October, 1938, courtesy of the Library of Congress.”]
Catharine Clark Gallery
$ 8,000 framed
*Also available
Stephanie Syjuco
Block Out the Sun (Shelter), 2023
Pigmented inkjet print.
Edition of 8 + 2AP.
Sheet: 16 x 20 inches; Frame: 17 1/2 x 21 1/2 inches.
$ 8,000 framed
*Also available
Stephanie Syjuco
Block Out the Sun (Trace), 2023 Pigmented inkjet print
Edition of 8 + 2AP
Sheet: 20 x 16 inches; Frame: 21 1/2 x 17 1/2 inches
$ 8,000 framed
Stephanie Syjuco
Afterimages (Obstruction of Vision), 2021
Photogravure printed on gampi mounted on Somerset black 280 gram cotton rag; re-edited photograph of an ethnological display of Filipinos from the 1904 St. Louis World’s Fair. Printed by Paul Mullowney and Harry Schneider in an edition of 20 plus 8 proofs. Co-published by BOXBLUR, Catharine Clark Gallery, and Mullowney Printing, San Francisco, CA and Portland, OR.
Note: Crumpled/folded gampi is proud by 1/8” from back mounted layer of Somerset.
Image: 16 x 20 inches; Sheet: 18 x 24 inches; Frame: 20 1/4 x 26 1/4 inches.
$ 6,000 unframed; $7,000 framed; Suite of five: $35,000
Catharine Clark Gallery
Stephanie Syjuco
Afterimages (Interference of Vision), 2021
Photogravure printed on gampi mounted on Somerset black 280 gram cotton rag; re-edited photograph of an ethnological display of Filipinos from the 1904 St. Louis World’s Fair. Printed by Paul Mullowney and Harry Schneider in an edition of 20 plus 8 proofs. Co-published by BOXBLUR, Catharine Clark Gallery, and Mullowney Printing, San Francisco, CA and Portland, OR.
Note: Crumpled/folded gampi is proud by 1/8” from back mounted layer of Somerset.
Image: 16 x 20 inches; Sheet: 18 x 24 inches; Frame: 20 1/4 x 26 1/4 inches.
$ 6,000 unframed; $7,000 framed; Suite of five: $35,000
Catharine Clark Gallery
*Also available
Stephanie Syjuco
Afterimages (Interruption of Vision), 2021
Photogravure printed on gampi mounted on Somerset black 280 gram cotton rag; re-edited photograph of an ethnological display of Filipinos from the 1904 St. Louis World’s Fair. Printed by Paul Mullowney and Harry Schneider in an edition of 20 plus 8 proofs. Co-published by BOXBLUR, Catharine Clark Gallery, and Mullowney Printing, San Francisco, CA and Portland, OR.
Note: Crumpled/folded gampi is proud by 1/8” from back mounted layer of Somerset.
Image: 20 x 16 inches; Sheet: 24 x 18 inches; Frame: 26 1/4 x 20 1/4 inches
$ 6,000 unframed; $7,000 framed; Suite of five: $35,000
Catharine Clark Gallery
*Also available
Stephanie Syjuco
Afterimages (Field of Vision), 2021
Photogravure printed on gampi mounted on Somerset black 280 gram cotton rag; re-edited photograph of an ethnological display of Filipinos from the 1904 St. Louis World’s Fair. Printed by Paul Mullowney and Harry Schneider in an edition of 20 plus 8 proofs. Co-published by BOXBLUR, Catharine Clark Gallery, and Mullowney Printing, San Francisco, CA and Portland, OR.
Note: Crumpled/folded gampi is proud by 1/8” from back mounted layer of Somerset.
Image: 16 x 20 inches; Sheet: 18 x 24 inches; Frame: 20 1/4 x 26 1/4 inches
$ 6,000 unframed; $7,000 framed; Suite of five: $35,000
Catharine Clark Gallery
*Also available
Stephanie Syjuco
Afterimages (Deflection of Vision), 2021
Photogravure printed on gampi mounted on Somerset black 280 gram cotton rag; re-edited photograph of an ethnological display of Filipinos from the 1904 St. Louis World’s Fair. Printed by Paul Mullowney and Harry Schneider in an edition of 20 plus 8 proofs. Co-published by BOXBLUR, Catharine Clark Gallery, and Mullowney Printing, San Francisco, CA and Portland, OR.
Note: Crumpled/folded gampi is proud by 1/8” from back mounted layer of Somerset.
Image: 20 x 16 inches; Sheet: 24 x 18 inches; Frame: 26 1/4 x 20 1/4 inches
$ 9,000 unframed; $10,000 framed; Suite of five: $35,000
Catharine Clark Gallery
*Also available
Marie Watt
Vivid Dream (Liberty), 2023
Photogravure on gampi with calico fabric prints of Indigenous trade cloth, collage, string, and silver leaf
Edition of 10 + Proofs
Sheet: 31 1/2 x 19 inches; Frame: 34 1/2 x 22 1/8 inches
$ 4,500 unframed; $ 6,000 framed
*Also available
Marie Watt
Vivid Dream (Blossom), 2023
Photogravure on gampi with calico fabric prints, collage, string, silver leaf.
Edition of 15 + Proofs
Sheet: 18 x 14 inches; Frame: 21 x 17 1/4 inches
$ 3,500 unframed; $ 4,450 framed
*Also available
Marie Watt
Horizon: Ancient and Young Observer (V.1), 2023 Woodcut on Sekishu kozo. Printed by Harry Schneider, assisted by Alejandra Arias Sevilla and Lori Linton.
*Also available
Marie Watt
Horizon:
VIDEOS
Stephanie Syjuco
Block Out the Sun, 2021
Single-channel video with sound. Edition of 3 + 2AP; 3/3.
5:09 minutes looped
$ 20,000
Stephanie Syjuco
Ornament + Crime (Villa Savoye), 2013 Single-channel video with sound Edition of 5 + 2AP.
22:41 minutes
$ 15,000
Empire/Other, 2013
Single-channel video with sound Edition 3 + 2AP
3:09 minutes looped
$ 10,000
Stephanie Syjuco
Stephanie Syjuco: The Unruly Archive
2024
Radius Books
StephanieSyjuco:TheUnrulyArchive is the artist’s first monograph, weaving together her research-based practice with a substantial array of visual source material. Bound in a unique format with different types of paper, the pages are cut and layered to simulate the process of physically excavating folders in an archive.
Artist talk and book signing on May 4, 2024 from 1 – 3 PM in EXiT at 248 Utah St, San Francisco, CA, 94103
Buy now through EXiT
Stephanie Syjuco
Cowboy 2023
MCA Denver
Buy now through EXiT
Stephanie Syjuco Uncontained 2023
CCA Wattis Institute of Contemporary Art
Catharine Clark Gallery
$ 70
$ 75
$ 20
Museum
Stephanie Syjuco The International Orange Commemorative Store (A Proposition), 2012 $ 20
Marie Watt
Storywork: The Prints of Marie Watt 2022
Jordan Schnitzer Family Foundation
Marie Watt
Each/Other: Marie Watt and Cannupa Hanska Luger 2021
Denver Art Museum $ 30
Marie Watt
An Indigenous Present 2023
DelMonico Books
Catharine