FOG Fair 2024 | Booth 108

Preview Gala January 17, 2024 Celebrating 10 years | fogfair.com

Booth 108 | Fort Mason Center January 18–21, 2024.

248 Utah St, San Francisco, CA 94103 | cclarkgallery.com | @cclarkgallery | 415.399.1439

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FOG FOCUS 2024 | FOG DESIGN+ART Catharine Clark Gallery 248 Utah Street San Francisco, CA 94103 Gallery History: Established in 1991, Catharine Clark Gallery exhibits contemporary art in all disciplines. In response to each exhibition, the gallery curates changing presentations of video and time-based genres within a dedicated media room. Catharine Clark Gallery serves as the primary dealer for an acclaimed roster of international artists, including Stephanie Syjuco, Marie Watt, Nina Katchadourian, Jen Bervin, Lenka Clayton, Arleene Correa Valencia, Sandow Birk, Masami Teraoka, and Wanxin Zhang.

The gallery also co-publishes and distributes original multiples with Mullowney Printing, including projects by Alison Saar, Marie Watt, Masami Teraoka, and Sandow Birk. Catharine Clark Gallery is a member of the Art Dealers Association of America (ADAA).

The gallery's program has garnered critical attention from the New York Times, Artforum, Art in America, i-D/Vice, SF Chronicle, Hyperallergic, and Vogue, among other publications. Works by gallery artists are held in the permanent collections of dozens of major international institutions including the Tate, Whitney Museum of American Art, Metropolitan Museum of Art, Museum of Modern Art, San Francisco Museum of Modern Art, Fine Arts Museums of San Francisco, J. Paul Getty Museum of Art, Los Angeles County Museum of Art, the Hammer, San Jose Museum of Art, the Pennsylvania Academy of Fine Arts, Walker Art Center, Portland Art Museum, and the Blanton Museum of Art, among many others.

In 2016, Catharine Clark founded BOXBLUR, an initiative to bring visual and performing art into dialogue within the gallery.

Artist and performer collaborators include Rufus Wainwright, Catherine Galasso, Benjamin Freemantle, Angelo Greco, Adji Cissoko, Michael Montgomery, Emma Lanier, Cauveri Suresh, Margaret Jenkins Dance Company, Monique Jenkinson/Fauxnique, Indira Allegra, Kambui Olujimi, Jen Bervin, and Shimon Attie, among many others. In 2023, Catharine Clark Gallery doubled its space and established EXiT, a jewel box art boutique that reimagines the museum or gallery gift shop as a space to lounge, explore, and engage. Its unique inventory features artist multiples, books, homewares, gifts, and unique objects.

Located within San Francisco's emerging DoReMi arts district (comprised of adjoining neighborhoods Dogpatch, Potrero Hill, and the Mission), Catharine Clark Gallery is situated in proximity to leading arts venues such as California College of the Arts (CCA), the CCA Wattis Institute for Contemporary Arts, the Museum of Craft and Design and Minnesota Street Project, as well as several contemporary fine art galleries.

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MASAMI TERAOKA: Biography

MASAMI TERAOKA was born in 1936 in Onomichi, Hiroshima, Japan. He graduated in 1959 with a Bachelor of Arts in Aesthetics from Kwansei Gakuin University, Hyogo, Japan.

Teraoka continued his education in the United States, earning a Bachelor of Arts (1964) and a Master of Arts (1968) from Otis College of Art and Design, California.

Teraoka’s work integrates reality with fantasy, humor with social commentary, and the historical with the contemporary. Teraoka’s early paintings often focus on the meeting of East and West evident in series that began in the 1970s such as “McDonald's Hamburgers Invading Japan,” “New Views of Mt Fuji,” and “31 Flavors Invading Japan.” The works on paper that define this period of his career often reflect the impact of economic and cultural globalization. While sexuality is a recurring subject in his work, his representation of sex shifted from positive depictions of free-love in the 1970s and early 1980s, to concern for the spread of HIV through unprotected sex in his work of the mid-1980s. The medium during this period shifted from watercolor on paper to watercolor on canvas, enabling him to work at a large scale to address the enormity of the social and health crises.

Teraoka’s narrative paintings of the 1990s until today engage in social and political commentary and critiques of the Catholic Church, its patriarchy and its sexual abuse scandals, hypocrisy in American politics, and social and political repression in Russia under Vladimir Putin’s leadership. His work of this era is rendered in oil on panel, inspired by gilded Renaissance triptychs. He continues in the vein of a narrative approach like that of his earlier, ukiyo-e inspired work, but he renders in a more western inspired style with a baroque flair that references European ecclesiastical art. In 2017, Teraoka produced an adaptation of William Shakespeare’s The Tempest in collaboration Viktoria Naraxsa of Russian activist collective Pussy Riot, which premiered at the Honolulu Museum of Art, Hawaii. Since their collaboration, Viktoria has been featured as a protagonist in Teraoka’s paintings, interacting with Pope Francis, Vladimir Putin, and Teraoka’s former collaborator, the geisha Momotaro.

Teraoka’s work has been the subject of more than 70 solo exhibitions, including the 2017 solo survey Floating Realities: The Art of Dr. Masami Teraoka at California State University, Fullerton. Teraoka’s work has also been featured in solo exhibitions at the Whitney Museum of American Art (1979), New York; Arthur M. Sackler Gallery at the Smithsonian Institution (1996), Washington, DC; Asian Art Museum (1997), California; Yale University Art Gallery (1998), Connecticut; New Albion Gallery (2012), New South Wales, Australia; and Honolulu Museum of Art (2015), Hawaii, amongst other venues. Teraoka’s work was also exhibited at the RISD Museum, Rhode Island, along with a catalogue; Cedar Street Galleries, Hawaii; Art Gallery at New South Wales, Australia; and Katonah Museum of Art, New York in 2022, as well as the Albuquerque Museum, New Mexico in 2019, many of which continue into 2023.

In 2023, Teraoka’s iconic folding screen titled Makiki Heights Disaster (1988), a center-piece of his “AIDS Series,” was acquired by the National Gallery of Australia, Canberra, where it will be exhibited in the fall of 2024. In 2022, the gallery presented Masami Teraoka: The Last Swan Lake, his most recent exhibition there.

His work is represented in more than 50 public collections worldwide, including the Tate Modern, London, United Kingdom; Metropolitan Museum of Art, New York; San Francisco Museum of Modern Art, California; Fine Arts Museums of San Francisco, California; Arthur M. Sackler Gallery at the Smithsonian Institution, Washington, DC; Hirshhorn Museum and Catharine Clark Gallery | cclarkgallery.com | 4

Sculpture Garden, Washington, DC; Archives of American Art at the Smithsonian Institution, Washington, DC; Los Angeles County Museum of Art, California; Crocker Art Museum, California; Honolulu Museum of Art, Hawaii; Walker Art Center, Minneapolis; Hood Museum of Art at Dartmouth College, New Hampshire; the Jordan Schnitzer Museum of Art at the University of Oregon; Gallery of Modern Art, Scotland, United Kingdom; Center for Contemporary Graphic Art and Tyler Graphics Archive Collection, Fukushima, Japan; National Gallery of Victoria, Australia; and Blanton Museum of Art at the University of Texas at Austin, among others. The Fine Arts Museums of San Francisco, California, Library of Congress, Washington, DC, Cantor Arts Center at Stanford University, California, and The Museum of Fine Arts, Houston, Texas, acquired woodblock prints of McDonald’s Hamburgers Invading Japan/Tattooed Woman and Geisha III (2018). The latter institution also added 31 Flavors Invades Japan/Today’s Special (1982) to its collection.

In 2015, the artist was awarded the Lee Krasner Award by the Pollock-Krasner Foundation in recognition of outstanding lifetime artistic achievement. In 2019, the Whitney Museum of American Art, New York, acquired a major work by Teraoka, Los Angeles Sushi Ghost Tales/Fish Woman and the Artist I (1979) in celebration of the 40th anniversary of the artist’s solo museum exhibition. In 2016, Teraoka was awarded an Honorary Doctor of Fine Arts from Otis College of Art and Design, California.

Teraoka’s work has been featured in multiple publications, including three monographs: Waves and Plagues, published by Chronicle Books in 1988, Ascending Chaos: The Art of Masami Teraoka 1966 – 2006, published by Chronicle Books in 2006, and Floating Realities: The Art of Masami Teraoka, published by California State University, Fullerton in 2018.

Paintings from Teraoka’s “Two Suns” series that reflect the impact on Teraoka as a child that witnessed the atomic explosion associated with the bombing of Hiroshima, are currently being exhibited alongside sculptures by Al Farrow and video works

by Zeina Barakeh, in an exhibition titled What’s at Stake at the Schneider Museum of Art in Ashland, Oregon.

The artist lives and works in O‘ahu, Hawaii, and has been represented by Catharine Clark Gallery since 1998.

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Masami Teraoka AIDS Series/Mother and Child, 1990 Watercolor on unstretched canvas; unique 108 x 84 inches $200,000

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Masami Teraoka AIDS Series/Father and Son, 1990 Watercolor on unstretched canvas; unique 108 x 84 inches $200,000

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Masami Teraoka Venice Snow Scene/Sushi Turn, 1979 Watercolor on paper, mounted as a scroll; unique Sheet: 50 x 14 inches Scroll: 90 x 17 1/2 inches $125,000

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Masami Teraoka New Views of Mt Fuji/ Waterfall Contemplation II, 1979 Watercolor on two sheets of paper; unique Sheet: 11 x 55 inches Frame: 14 x 58 inches $125,000

Masami Teraoka 31 Flavors Invading Japan/French Vanilla IV, 1979 Watercolor on two sheets of paper; unique Sheet: 11 x 55 inches Frame: 14 x 58 inches $125,000

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Masami Teraoka Wave Series/Tattooed Woman at Waimanalo Bay, 1984 Watercolor on paper; unique Sheet: 28 3/4 x 40 5/8 inches Frame: 31 3/4 x 43 5/8 inches $125,000

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Masami Teraoka Tampon Series/Woman and Assistant, 1982 Watercolor on paper; unique Sheet: 28 3/4 x 40 5/8 inches Frame: 31 3/4 x 43 5/8 inches $125,000

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Masami Teraoka AIDS Series/Geisha in The Iris Pond, 1987/2023 Watercolor, acrylic, and gouache on paper Sheet: 41 x 29 inches Frame: 44 1/2 x 32 1/2 inches $65,000

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Masami Teraoka Australian Series/Ayer's Rock Fantasy, 1989 Watercolor on paper; unique Sheet: 22 1/4 x 30 inches Frame: 24 3/4 x 32 1/2 inches $40,000

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Masami Teraoka 31 Flavors Invading Japan (Macadamia), 1978/2023 Five-color hand-printed relief print with oil-based lithography and etching inks on handmade Hamada Kozo from a polymer relief plate and an original zinc key plate. Edition of 50 + 12 APs + 1 OKTP + TPs. The original zinc key plate was produced in 1978 by Ron McPherson of La Paloma Press. Three impressions with handcoloring were completed in 1978, corresponding to three different flavors of ice cream: Cherry, Pistachio, and Peach. The edition as originally conceived was not realized by Ron McPherson but was later realized by Paul Mullowney, Master Printer of Mullowney Printing, as approved by the artist and Ron McPherson. In 2023, the original zinc key plate was translated into a polymer relief plate and editioned. Printed by Mullowney Printing, Portland, OR. Published by Catharine Clark Gallery, San Francisco. Image: 11 x 7 1/2 inches; Sheet: 13 x 9 1/2 inches $7,500 unframed

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Masami Teraoka AIDS Series/Geisha in Bath, 2008 A woodblock print in 46 colors from 34 blocks of carved, laminated Cherry wood. Printed by Satoshi Hishimura on Echizen Kizuki Hosho, 100% Kozo paper made by Ichibe Iwano who bears the title National Living Treasure. The blocks were carved by Motoharu Asaka and published in a numbered edition of 75 (originally proposed as an edition of 200, but in 2010, Teraoka changed the numbered edition size to 75), plus proofs. Signed and numbered on the verso.

Sheet: 20 3/8 x 13 13/16 inches; Image: 18 3/8 x 12 3/4 inches $8,500 unframed

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Masami Teraoka Sarah and Octopus/Seventh Heaven, 2001 Twenty-nine-color woodcut made from hand-carved blocks of cherry wood printed on Hosho paper. Numbered edition of 200 plus proofs. (Editioning is not completed as of winter 2006, but will not exceed 200 in the numbered edition.) Signed and numbered in pencil on the verso. Carved and printed by Tadakatsu Takamizawa, Ukiyo-e Research Center, Tokyo, Japan.

Published by Masami Teraoka.

Sheet and image: 10 3/8 x 15 5/8 inches Edition of 200 + proofs $3,500 unframed

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Masami Teraoka McDonald's Hamburgers Invading Japan/ Tattooed Woman and Geisha III, 2018 A woodcut in 43 colors from 37 blocks of laminated cherry wood carved by Motoharu Asaka. Printed by Satoshi Hishimura (Tokyo) and Keizo Sato assisted by Makoto Nakayama (Kyoto) on Echizen - Kizuki Hosho paper made by Ichibei Iwano, who bears the title National Living Treasure.

Edition of 85 + 20 proofs Sheet and image: 12 1/18 x 18 1/2 inches $8,500 unframed

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Masami Teraoka 31 Flavors Invading Japan/Today's Special, 1980-82 Thirty-five-color woodcut printed from hand-carved blocks of cherry wood with natural dyes and with additional hand-coloring on handmade Hosho paper. Numbered edition of 500, plus 33 proofs. Signed and numbered in pencil on the verso. Carved and printed under the direction of Tadakatsu Takamizawa by Hanpei Okura and Kanjiro Sato respectively at the Ukiyo-e Research Center in Tokyo, Japan. Published by Space Gallery, Los Angeles, California.

Sheet and image: 11 1/16 x 16 9/16 inches Proofs available: $3,500 - $4,200 unframed

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WANXIN ZHANG: Biography WANXIN ZHANG was born in Changchun, China, and spent his formative years in the 1970s under Mao's regime. After the Cultural Revolution in 1976, he was part of the first generation of Chinese students to receive a formal art education. In 1985 he graduated from the LuXun Academy of Fine Art with a degree in sculpture. In 1992, after Zhang established his art career as a sculptor in China, he emigrated to the United States to continue his development and to study at the Academy of Art University in San Francisco. In 2006, Zhang received a Virginia A. Groot Foundation Grant and in 2004, he was awarded the Joan Mitchell Foundation Painters and Sculptors Grant.

Zhang's work has been featured in solo museum exhibitions at the University of Wyoming Art Museum (2006), the Fresno Art Museum in California (2007), the Alden B. Dow Museum of Science and Art in Michigan (2008), the Arizona State University Museum (2010), the Bellevue Arts Museum (2011), and the Peninsula Museum of Art (2015), and in 2019, Zhang’s work was the subject of a mid-career survey exhibition titled Wanxin Zhang: The Long Journey at the Museum of Craft and Design in San Francisco. The exhibition was accompanied by a monographic catalogue. In 2021, Zhang’s work was featured prominently in an exhibition titled This Present Moment: Crafting a Better World.

In 2023, Montalvo Arts Center acquired Color Face (2012-2013) for the museum’s permanent collection after featuring the work in the exhibition Claiming Space. In 2021, The Renwick Gallery at the Smithsonian American Art Museum and the American Museum of Ceramic Arts acquired Zhang's Warrior with Colored Face for their permanent collection. Also in 2021, the Berkeley Art Museum and Pacific Film Archive acquired Zhang's sculpture Special Ambassador (2011) for its permanent collection. In 2020, the Cantor Arts Center acquired Rainbow Rock I for its permanent collection through the Asian American Arts Initiative.

In 2022, Zhang had a solo exhibition of new work titled Witness at Catharine Clark Gallery in San Francisco. Other major presentations of Zhang's works have included the 22nd UBC Sculpture Biennial in Japan (2007), the Taipei Ceramics Biennial in Taiwan (2008), the Da Tong City 2nd International Sculpture Biennial in China (2013), and the inaugural Anren Biennial in China (2017). In 2017, the Asian Art Museum, San Francisco, acquired multiple "brick" works from Zhang's Wall series for the museum’s permanent collection as part of its commitment to expanding its collection of contemporary art. In 2020, the Crocker Art Museum, Sacramento, acquired Teapot Without Handle (2016) for its permanent collection and it has since been exhibited there as part of a permanent collection show.

In 2024, Zhang’s work titled Waiting (2021) will be included in an exhibition at the Legion of Honor commemorating its centenary. The work was recently acquired for the Fine Arts Museums of San Francisco through the Arneja Family Fund.

Zhang lives and works in San Francisco, California, and has been represented by Catharine Clark Gallery since 2013.

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Wanxin Zhang My Mandarin Tutor, 2020 High-fired stoneware with glazes 97 x 46 x 33 inches $158,000 Catharine Clark Gallery | cclarkgallery.com | 21

Wanxin Zhang Two Treasure II, 2010 High-fired stoneware with glazes 28 x 12 x 8 inches $14,000 Catharine Clark Gallery | cclarkgallery.com | 22

Wanxin Zhang With Young, 2010 Stoneware with glaze and decal 41 x 12 x 13 inches $42,000 Catharine Clark Gallery | cclarkgallery.com | 23

Wanxin Zhang Man With a Gas Mask, 2011 High-fired stoneware with glazes 27 x 10 x 11 inches $14,000

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Wanxin Zhang A Warrior With A Black Hand, 2012 High-fired stoneware with glazes 46 x 20 x 15 inches $48,000

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Wanxin Zhang Pink Tripper, 2015 Stoneware with glaze and decal 25 x 8 x 8 inches $14,000

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Wanxin Zhang Disciple #3, 2017 High-fired stoneware with glazes 21 x 17 x 12 inches $14,000

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Wanxin Zhang Disciple #14, 2017 High-fired stoneware with glazes 21 x 16 x 10 inches $14,000

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Wanxin Zhang Disciple #16, 2017 High-fired stoneware with glazes 20 x 18 x 12 inches $14,000

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Wanxin Zhang Disciple #1, 2017 High-fired stoneware with glazes 20 x 15 x 10 inches (approximate) $14,000

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Wanxin Zhang Disciple # 26, 2022 High-fired stoneware with glazes 22 x 17 x 15 inches $14,000

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Wanxin Zhang Tank Man (A 30-year Anniversary Memory), 2019 High-fired stoneware with glazes 23 x 10 x 7 inches $12,000

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Wanxin Zhang Tank Man (Waiting Maquette), 2022 Glazed and unglazed porcelain 10 x 6 x 3 inches $4,500

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Wanxin Zhang Rock #4, 2021 High-fired stoneware with glazes 18 x 9 x 9 inches $9,800

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Wanxin Zhang Rock #5, 2021 High-fired stoneware with glazes 18 x 14 x 12 inches $9,800

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Wanxin Zhang Rock Study (Green), 2018 High-fired stoneware with glazes 16 x 12 x 9 inches $9,800

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Wanxin Zhang An Ambassador, 2022, High-fired stoneware with glazes 46 x 16 x 13 inches $48,000

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Wanxin Zhang Debutant, 2023 High-fired stoneware with glazes 27 x 10 x 7 inches $14,000

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Wanxin Zhang Self Portrait, 2018, High-fired stoneware with glazes 26 x 8 x 9 inches $14,000

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Wanxin Zhang Night Watcher, 2012 High-fired stoneware with glazes 28 x 11 x 8 inches $14,000

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Wanxin Zhang Dinner of the Summit, 2023 High-fired stoneware with glazes 20 x 17 x 6 inches $9,800

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Wanxin Zhang Jade Cock, 2019 High-fired stoneware with glazes 7 x 4 x 3 inches $1,600

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Wanxin Zhang Skull Study #9, 2021 High-fired stoneware with glazes 6 x 3 x 3 inches $1,200

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Wanxin Zhang Tank Man Study, 2022 High-fired stoneware with glazes 10 x 6 x 4 inches $4,500

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Wanxin Zhang Warrior Study #25, 2022 High-fired stoneware with glazes 8 x 3 x 3 inches $1,400

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Wanxin Zhang Warrior Study (Black Head), 2022 High-fired stoneware with glazes 10 x 4 x 3 inches $3,800

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Wanxin Zhang Warrior with Orange Color Coat, 2023 High-fired stoneware with glazes 10 x 4 x 3 inches $3,800

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Wanxin Zhang Witness #26, 2019 High-fired stoneware with glazes 28 x 11 x 8 inches $12,000

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