Catharine Clark Gallery | UNTITLED, ART Miami Beach 2021 Nina Katchadourian, Stephanie Syjuco, Lenka Clayton, Jen Bervin, Ana Teresa Fernández, and Bradley McCallum Mon, Nov 29, 2021 – Sat, Dec 4, 2021 Booth A56 NINA KATCHADOURIAN | Noguchi, 2021 (“Sorted Books” project, 2010 – ongoing) In a 1962 interview, Isamu Noguchi said, “I always work with whatever medium is at hand. I don’t believe in sticking to one medium.”2 This has been my approach as well, and I’ve found that deliberately working with the limitations of the materials at hand has been productive for me. My ongoing project “Sorted Books” began in 1993 as an experiment that I undertook with a group of fellow graduate students in 1993, when we took over a friend’s parents’ house in the small coastal town of Half Moon Bay, in California, and made art for a week using only what we found in the house. I got interested in the couple’s books and spent a week rearranging them on the bookshelves. The basic rules of engagement have remained the same through many iterations of the project ever since: I limit myself to a particular collection of books and by organizing them into clusters so that the titles can be read in sequence, I construct phrases, stories, poems. I think of the project as a form of portraiture. Both through the books Noguchi collected and his writings about his own work, I was keenly aware of his own intense attention to what materials communicate. The most common misunderstanding about the “Sorted Books” project is that it’s only about language, and merely about the arranging of words. There is an absolutely elemental importance to engaging the books as physical objects: to consider height, width, heft, color, typeface, texture, gloss, damage, dust jacket. These things communicate in different ways than language can, and to me they are as big as part of how the images are “read” as the words on the spines or covers. I’ve seen paperbacks that are so banged up and mangled from reading that they look like they’ve been eaten alive, in fact, a reflection of the voracious way in which I imagined they had been handled. (Perhaps the most extreme example I’ve encountered was in the personal book collection of William S. Burroughs, where a medical thriller paperback titled Nerve had been shot through the cover, the bullet still lodged inside). I’ve also encountered libraries where the books have been treated so carefully that you wonder if they’ve ever been opened—or, perhaps, the books are there to serve a future moment when one might be needed as reference. Noguchi’s books are kept in his two homes, in Long Island City, New York, and Mure, Japan. Adding to the complexity, during this project I was in Berlin, Germany. From my studio there, I worked with snapshots of the book spines from both book collections, pinning up color prints of them on a large wall. In this simulated library, I used my usual method: reading the book spines over and over, transcribing onto index cards the titles I thought might be useful, and then spending a great deal of time composing potential book clusters using the index cards. I sent some preliminary groupings to Kate Wiener, assistant curator, who pulled those books from the Long Island City shelves and sent me back snapshots. Since the books in the Mure library couldn’t travel, we ordered secondhand copies, matching the editions exactly, and worked with those books in Long Island City as well. The photo shoot was an eight-hour long Zoom session in Long Island City, with Kate and photographer Frank Oudeman arranging the books and making small tweaks based on my feedback as they screen-shared images I scrutinized in Berlin.
Nina Katchadourian How to Wrap Five More Eggs in the series “Noguchi,” 2021 C-print Edition of 8 + 2AP 13 5/8 x 20 1/8 inches framed Editions 1 – 5: $3,800; Editions 6 – 8: $5,800
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Nina Katchadourian Light on America in the series “Noguchi,” 2021 C-print Edition of 8 + 2AP 13 5/8 x 20 1/8 inches framed Editions 1 – 5: $3,800; Editions 6 – 8: $5,800
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Nina Katchadourian Man in the Holocene in the series “Noguchi,” 2021 C-print Edition of 8 + 2AP 13 5/8 x 20 1/8 inches framed Editions 1 – 5: $3,800; Editions 6 – 8: $5,800
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Nina Katchadourian The Drama of the Gifted Child in the series “Noguchi,” 2021 C-print Edition of 8 + 2AP 13 5/8 x 20 1/8 inches framed Editions 1 – 5: $3,800; Editions 6 – 8: $5,800
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Nina Katchadourian The Joy of Sex in the series “Noguchi,” 2021 C-print Edition of 8 + 2AP 13 5/8 x 20 1/8 inches framed Editions 1 – 5: $3,800; Editions 6 – 8: $5,800
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Nina Katchadourian This is Japan in the series “Noguchi,” 2021 C-print Edition of 8 + 2AP 13 5/8 x 20 1/8 inches framed Editions 1 – 5: $3,800; Editions 6 – 8: $5,800
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Nina Katchadourian This Time of Morning in the series “Noguchi,” 2021 C-print Edition of 8 + 2AP 13 5/8 x 20 1/8 inches framed Editions 1 – 5: $3,800; Editions 6 – 8: $5,800
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Nina Katchadourian Whale Sound in the series “Noguchi,” 2021 C-print Edition of 8 + 2AP 13 5/8 x 20 1/8 inches framed Editions 1 – 5: $3,800; Editions 6 – 8: $5,800
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Nina Katchadourian What Is Modern Sculpture? in the series “Noguchi,” 2021 C-print Edition of 8 + 2AP 13 5/8 x 20 1/8 inches framed Editions 1 – 5: $3,800; Editions 6 – 8: $5,800
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STEPHANIE SYJUCO | Native Resolution, 2021 Native Resolution expands on the artist’s research into the problematic construction of American history and concurrent histories of photography that inform deeply biased structures foregrounding whiteness as a normative subject. Borrowing from the visual language of photography, anthropology, and museum archives, Native Resolution examines how these disciplines go hand-in-hand with producing and proliferating images and documents of exclusion, generating a skewed collection that mirrors an American imagination built on ethnographic record and cultural Othering. In technological terms, “native resolution” refers to the inherent amount of information in a digital image, a terminology that Syjuco also employs to consider how the American record, when looking outside of itself, is inherently a low-resolution, incomplete endeavor. At turns deflecting the viewer’s gaze or redirecting it onto the act of viewing itself, the works on view question the ability of the archive and photography itself to be neutral cultural narrators. By extension, Syjuco rephotographs national archives and institutional records as a means of examining how photography and imaging technologies created permanent historical value through flawed forms of knowledge.
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Stephanie Syjuco Pileup (Brass Bells), 2021 Hand-assembled pigmented inkjet prints on Hahnemuhle Baryta Edition of 3 + 2AP 36 x 48 inches framed 2/3: $26,000 3/3 (only sold as a full set): $90,000
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Stephanie Syjuco Pileup (Eastman), 2021 Hand-assembled pigmented inkjet prints on Hahnemuhle Baryta Edition of 3 + 2AP 36 x 48 inches framed 2/3: $26,000; 3/3 (only sold as a full set): $90,000
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Stephanie Syjuco Pileup (Herbaria), 2021 Hand-assembled pigmented inkjet prints on Hahnemuhle Baryta Edition of 3 + 2AP 36 x 48 inches framed 2/3: $26,000 3/3 (only sold as a full set): $90,000
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Stephanie Syjuco Overlay, 2021 Pigmented inkjet print on Hahnemuhle Baryta mounted on 3mm E-Panel Edition of 3 + 2AP 34 x 27 inches $15,000
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STEPHANIE SYJUCO | Afterimages, 2021 The physically manipulated photogravures in the series “Afterimages” are based on visual research that the artist conducted at historical museums in St. Louis and during a 2019 Smithsonian Artist Research Fellowship. In this response, ethnographic images of a “Filipino Village” on display at the 1904 St Louis World’s Fair are reedited through crumpling and folding to deny their imagined function as anthropological evidence, and to reveal their presentation as inherently fabricated. By utilizing the traditional medium of photogravure, Syjuco furthers her exploration of how photography and early imaging forms are linked with the production of American colonial history. Special thanks to Contemporary Art Museum St. Louis and The Luminary for supporting the initial research for this project.
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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. Image: 20 x 16 inches Sheet: 24 x 18 inches Note: Crumpled/folded gampi is proud by 1/8” from back mounted layer of Somerset Individual photogravure: $4,500 Suite of five photogravures: $18,000 Framing: $900 per panel
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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. Image: 16 x 20 inches Sheet: 18 x 24 inches Note: Crumpled/folded gampi is proud by 1/8” from back mounted layer of Somerset Individual photogravure: $4,500 Suite of five photogravures: $18,000 Framing: $900 per panel
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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. Image: 16 x 20 inches Sheet: 18 x 24 inches Note: Crumpled/folded gampi is proud by 1/8” from back mounted layer of Somerset
Individual photogravure: $4,500 Suite of five photogravures: $18,000 Framing: $900 per panel
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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. Image: 16 x 20 inches Sheet: 18 x 24 inches Note: Crumpled/folded gampi is proud by 1/8” from back mounted layer of Somerset Individual photogravure: $4,500 Suite of five photogravures: $18,000 Framing: $900 per panel
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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. Image: 20 x 16 inches Sheet: 24 x 18 inches Note: Crumpled/folded gampi is proud by 1/8” from back mounted layer of Somerset Individual photogravure: $4,500 Suite of five photogravures: $18,000 Framing: $900 per panel
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LENKA CLAYTON | Typewriter Drawings (2012 – ongoing) Clayton’s typewriter drawings are illustrated works on paper entirely rendered with a portable 1957 Smith-Corona Skyriter typewriter that draw on her archival research into forgotten art “histories.” In this latest grouping, completed in 2021, Clayton realized typewriter drawings from an ongoing series based on time spent in museum archives. Clayton writes: This collection was made from my experience being artist-in-residence at the archives of the Metropolitan Museum of Art in New York City. Over five days in 2018 I read many documents including – breathlessly – the entire file of letters of complaint. There were complaints about soldiers wandering the exhibition halls aimlessly (would a special map help?); the lack of benches to rest on; that benches later installed to rest on were being occupied by sleeping individuals who were showing the tops of their stockings; the improper labelling of everything; the unexpectedly high price of cheese in the cafeteria; and, most heartbreakingly, a large collection of letters from occupants of wartorn Europe asking the museum for help, for food, and for shoes (size 36 and 39). There were also several letters offering bodies of children (a pretty corpse), and husbands (high up in the banking sector), to be potentially installed in purpose-built niches. These in response to an unfounded rumor that the museum was seeking to exhibit human remains. Amongst all these hopeful human messages are the mechanics of collecting and disposing, preserving and forgetting. The paper shredder vs. the flat file. The existence of an archive is permission to forget. These drawings are moments from my time in the archives, remembered three years, and one global pandemic later.
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Lenka Clayton 4:01pm in the Archives (09/09/2021) in the series "Typewriter Drawings," 2021 Typewriter ink on paper, rendered with a portable 1957 Smith-Corona Skywriter typewriter Sheet: 11 5/8 x 8 1/4 inches Frame: 14 3/4 x 11 3/4 inches $4,000 framed
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Lenka Clayton Bored Archivist (09/01/2021) in the series "Typewriter Drawings," 2021 Typewriter ink on paper, rendered with a portable 1957 Smith-Corona Skywriter typewriter Sheet: 11 5/8 x 8 1/4 inches Frame: 14 3/4 x 11 3/4 inches $4,000 framed
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Lenka Clayton A Complaint from 1974 (09/03/2021) in the series "Typewriter Drawings," 2021 Typewriter ink on paper, rendered with a portable 1957 Smith-Corona Skywriter typewriter Sheet: 11 5/8 x 8 1/4 inches Frame: 14 3/4 x 11 3/4 inches $4,000 framed
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Lenka Clayton Empty Recycling Bins in Paper Conservation (09/29/2021) in the series "Typewriter Drawings," 2021 Typewriter ink on paper, rendered with a portable 1957 Smith-Corona Skywriter typewriter Sheet: 11 5/8 x 8 1/4 inches Frame: 14 3/4 x 11 3/4 inches $4,000 framed
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Lenka Clayton Not Archived (09/30/2021) in the series "Typewriter Drawings," 2021 Typewriter ink on paper, rendered with a portable 1957 Smith-Corona Skywriter typewriter Sheet: 11 5/8 x 8 1/4 inches Frame: 14 3/4 x 11 3/4 inches $4,000 framed
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Lenka Clayton Nothing in the Museum (08/22/2021) in the series "Typewriter Drawings," 2021 Typewriter ink on paper, rendered with a portable 1957 Smith-Corona Skywriter typewriter Sheet: 11 5/8 x 8 1/4 inches Frame: 14 3/4 x 11 3/4 inches $4,000 framed
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Lenka Clayton Sculpture by Security Guards (09/22/2021) in the series "Typewriter Drawings," 2021 Typewriter ink on paper, rendered with a portable 1957 Smith-Corona Skywriter typewriter Sheet: 11 5/8 x 8 1/4 inches Frame: 14 3/4 x 11 3/4 inches $4,000 framed
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Lenka Clayton Space for the Future (09/19/2021) in the series "Typewriter Drawings," 2021 Typewriter ink on paper, rendered with a portable 1957 Smith-Corona Skywriter typewriter Sheet: 11 5/8 x 8 1/4 inches Frame: 14 3/4 x 11 3/4 inches $4,000 framed Catharine Clark Gallery | cclarkgallery.com | 30
Lenka Clayton The Least Important Side of the Most Important Document (09/28/2021) in the series "Typewriter Drawings," 2021 Typewriter ink on paper, rendered with a portable 1957 Smith-Corona Skywriter typewriter Sheet: 11 5/8 x 8 1/4 inches Frame: 14 3/4 x 11 3/4 inches $4,000 framed
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JEN BERVIN | Close Reading (2021) and The Dickinson Composites (2008) Close Reading (2021) is a constellation of works by Jen Bervin that poetically respond to sheltering-in-place during a time of human loss on an unprecedented scale. Bervin reimagines the American poet Emily Dickinson’s late fragments and manuscript drafts in magnified textile forms that draw upon the formal characteristics of their source materials and manuscripts, realized as stand-alone works or as mirrored diptychs that represent the front and back of a page. Dickinson’s penciled writings are sewn into hand-dyed cotton batting with silver-metallic thread, a process that evokes the velocity and brilliance of Dickinson’s compositions. Bervin describes these tactile, meditative works as “threshold texts that draw on the particulars of Dickinson’s language and script in order to offer the space for careful, sustained attention, and for close looking and close reading, to contemplate how poets touch poems and, by extension, readers in the space of a poem.” Catharine Clark Gallery also presents work from Bervin’s composites of Dickinson’s variant system in a series of quilts titled The Dickinson Composites. Each work from The Dickinson Composites Series is a visual composite of the variants found in one of Dickinson’s fascicles or a bundle of poem manuscripts that are bound to essentially form a little book. Dickinson created forty fascicles in her lifetime. Bervin has realized four quilts to date and the project is ongoing.
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Jen Bervin The Dickinson Composites Series (The Composite Marks of Fascicle 38), 2008 Cotton batting, muslin, and hand-dyed silk thread 72 x 96 inches $45,000
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Jen Bervin Close Reading 76 “Sloth,” 2021 Cotton batting, muslin, mull, silver thread 48 x 30 inches $20,000
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Jen Bervin Close Reading 769 “ ‘Tumultuous privacy of Storm,’ ” 2021 Cotton batting, muslin, mull, silver thread 43 1/2 x 27 3/4 inches $20,000
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Ana Teresa Fernández | Borrando la Frontera (2011/2021) Artist Ana Teresa Fernández set an enormous ladder against the border wall separating Playas de Tijuana from San Diego’s Border Field State park, and using a generator and a spray gun, she started painting the bars a pale powdery blue. While wearing a little black cocktail dress. And black pumps. Known for her exploration of women’s strength and sensuality in the process of performing labor, her provocative images of women bent over mopping floors, ironing shirts, or dragging long locks of wet hair along the floor, reveal the ambivalence of femininity: Sensual and edgy, willful but polite, powerful yet vulnerable, strong enough to do manual labor, yet beautiful in heels. Fernández’s project to “erase the border” situates the sensual/laboring female body in the specific context of the U.S.-Mexico border, a site where personal, national and gender histories intersect. Born in Tampico, Mexico, Fernández learned the lessons of femininity as a young girl: “Los hombres quieren a una dama en la mesa, y a una puta en la cama” (“Men want a lady at the table, and a whore in the bed”) is a statement I heard at fifteen, and it still lingers in my ears. For contemporary women, it is often difficult to reconcile the ubiquitous images of virgin and whore in our culture: clean vs. dirty. It is a fine line that becomes the point of demarcation for women to dance around. Through performance-based paintings, I explore territories that encompass these different types of boundaries and stereotypes: the physical, the emotional, and the psychological” (The New York Optimist). For a woman born in Mexico, the border is a powerful symbol. Projecting a future in the north, Ana Teresa Fernández’s own journey—crossing the Tijuana-San Diego border to study and build her career— mirrors the route north taken by millions of women who have come from southern and central Mexico to work in the maquiladoras and make a better life for themselves and their families. Thus, the border is a site of utopian possibility. Yet, at the same time the border wall is an aggressive reminder of the violent subjugation of Mexico through the instruments of NAFTA and the Merida Initiative and resulting drug war. Erasing the border, then, reminds us of the power of utopian visions, of dreams and the imagination. I was delighted when, late in the afternoon, a jogger came running from far down the beach and told us that he thought for a moment that part of the wall had come down. The twinkle in his eye said it all. Someday this wall will fall. By Jill Holslin
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Ana Teresa Fernández Borrando la Frontera (Erasing the Border) 01, 2011/2021 Pigmented inkjet print on Hahnemuhle Photo Rag Baryta Small: 20 x 30 inches unframed Edition of 10 + 1AP $4,500 unframed | Framed impression at UNTITLED: $4,900 framed (20 3/4 x 30 3/4 inches framed) Medium: 30 x 40 inches Edition of 5 + 1AP $8,500 unframed Large: 48 x 72 inches Edition of 5 + 1AP $12,000 unframed
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Ana Teresa Fernández Borrando la Frontera (Erasing the Border) 02, 2011/2021 Pigmented inkjet print on Hahnemuhle Photo Rag Baryta Small: 20 x 30 inches unframed Edition of 10 + 1AP $4,500 unframed Medium: 30 x 40 inches Edition of 5 + 1AP $8,500 unframed Large: 48 x 72 inches Edition of 5 + 1AP $12,000 unframed
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Ana Teresa Fernández Borrando la Frontera (Erasing the Border) 03, 2011/2021 Pigmented inkjet print on Hahnemuhle Photo Rag Baryta Small: 20 x 30 inches unframed Edition of 10 + 1AP $4,500 unframed Medium: 30 x 40 inches Edition of 5 + 1AP $8,500 unframed Large: 48 x 72 inches Edition of 5 + 1AP $12,000 unframed
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Ana Teresa Fernández Borrando la Frontera (Erasing the Border), 2011 Single-channel video with sound Edition of 5 + 1AP 3:38 minutes $9,500
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Bradley McCallum | Of Light (2020/2021) Confined to his home studio during the global pandemic, artist Bradley McCallum started to examine and dissect the unfolding crises in America. Cutting, ripping, pasting, overlaying different images, and adding textured materials, collage became a way to reflect on the fragments of daily life and offer a visual diary of contemporary events. The Covid pandemic was a major stress test and a giant wake-up call. In many ways the country failed to come together under a life-threatening global emergency revealed historic weaknesses and major blindspots rooted in persistent racism, poverty, hunger, lack of access to health care, education and income security, and growing inequalities and injustices on almost every front. “Selecting, cutting, and rearranging these pre-made news images” says the artist “was an immediate form of processing and understanding a traumatic life experience as it unfolded.” Collage provided a language with which to navigate the stress and chaos, and to find structure, beauty, and hope. Of Light encompasses more than a 100 artworks that capture and processes the crises, revealing an arc of intimate, emotional, and challenging moments. Loss and death, are refined through images, textures, and associations. We see flowers at a public memorial, a figure with a raised fist backlit by a roaring fire, a couple holding onto each other for dear life; each seemingly banal situation finds its place within the larger narrative. But there are also poignant moments of individuals and communities coming together, marching, grieving, overcoming, bridging divides, remembering, healing, helping: fragments of profound compassion, scattered moments of light and love. Visually the collages preserve the memories of the first raw images of the pandemic but through his unique process of layering a silk image over a media image, McCallum hints at the process of memory that takes over, reshaping, and even distorting actual events. His focus on human gestures, interactions, and characters in these elaborate double images, conveys a shared history and sense of public identity. A prolific visual storyteller, McCallum’s project raises questions about intimacy and public experience, the role of the artist as witness, and recorder, of a society in crises, but most important, about what future generations in America will inherit.
Catharine Clark Gallery | cclarkgallery.com | 41
Bradley McCallum America’s Conversation (After images by: Simbarashe Cha, Bill Clark, Angela Weiss, Demetrius Freeman, Jacquelyn Martin, Victor J. Blue, Eze Amos, Jim Lo Scalzo, Stephen Maturen, Brittany Murray, Doug Mills, Victor J. Blue, Justin Wan, Erin Schaff from The New York Times, Associated Press, Zuma Press, Shutter Stock, Getty Images and AP), 2021 Newsprint on acid free paper, and UV print on silk 84 3/16 x 18 1/8 x 2 3/8 inches $18,000 framed
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Bradley McCallum Of Light, 2020 Single-channel video Edition of 5 + 2AP 32:00 minutes Editions 1 + 2: $4,500 Editions 3 + 4: $6,500 Edition 5: $8,500
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