BOXBLUR

BOXBLUR BOXBLUR is an initiative to bring works by visual and performing artists into dialogue. The project is fiscally sponsored by Dance Film SF, a 501c3.

Donations are tax-deductible. For more information on BOXBLUR programming, please contact: Catharine Clark or Anton Stuebner [email protected]

Tomorrow the big day: come see our 2025 opening exhibition, “Rope and Revolver: Artists Respond to Frederic Remington’s ...
18/01/2025

Tomorrow the big day: come see our 2025 opening exhibition, “Rope and Revolver: Artists Respond to Frederic Remington’s ‘The Broncho Buster.’” Join us from 3 - 5pm (remarks at 4pm) as we celebrate artists Sandow Birk, Michael Goldin, Charles Lee, Deborah Oropallo, Andy Rappaport, Stephanie Syjuco, and Wanxin Zhang.

Learn more about the exhibition via our bio. Thanks to Deborah Oropallo for these terrific moments with exhibition works by Michael Goldin (slide 1) and Wanxin Zhang (slide 2)!

Catharine Clark Gallery is closed for the holiday break, reopening on January 2 for the final weeks of our solo exhibiti...
29/12/2024

Catharine Clark Gallery is closed for the holiday break, reopening on January 2 for the final weeks of our solo exhibitions with Julie Heffernan, Wanxin Zhang, and TT Takemoto.

Up next: “Rope and Revolver,” a group exhibition opening January 18 with work by Sandow Birk, Charles Lee, Deborah Oropallo - with a new video in collaboration with Andy Rappaport and new sculptures in collaboration with Michael Goldin -, Stephanie Syjuco, and Wanxin Zhang.

Catharine Clark Gallery in Booth C25 (Miami Beach) is featuring a solo presentation of Arleene Correa Valencia’s work. ...
03/12/2024

Catharine Clark Gallery in Booth C25 (Miami Beach) is featuring a solo presentation of Arleene Correa Valencia’s work. We are proud to be sharing her newest large scale mixed media pieces with textiles, painting, and embroidery on Amate paper at Untitled Art, Miami Beach. The booth presentation coincides with Arleene’s solo exhibition at the Utah Museum of Fine Arts in Salt Lake City. The museum produced a catalogue—her first—for the exhibit. Join us this week at the fair between Tuesday, December 3 and Sunday, December 8 (from 11-7; Sun 11-5) to meet the artist and view her extraordinary works on the subject of family, borders, love, migration, sacrifice, and divided lives, in person. Many thanks to and for their help in getting our booth ready for the opening tomorrow. And thank you to the crew at Untitled, whose hard work has resulted in a gorgeous fair.

Next week in Miami: Catharine Clark Gallery returns to Untitled Art, Miami Beach () with a solo booth presentation of ne...
28/11/2024

Next week in Miami: Catharine Clark Gallery returns to Untitled Art, Miami Beach () with a solo booth presentation of new work by Mexican-born artist Arleene Correa Valencia (), a follow-up to her acclaimed debut at The Armory Show in 2023.

View our full booth preview and press release via the link in our bio, and visit us at Booth C25 December 4 - 8 (with a preview day on December 3) to see these powerful works in person.

Arleene Correa Valencia is an emerging contemporary artist interested in migration, family, and the visibility/invisibility of undocumented people in the United States. Born in Michoacán, Mexico, Correa Valencia fled with her family to the United States at age three and grew up in Napa Valley. The prolonged experience of separation when her father left to find work made a profound impact on Correa Valencia’s childhood and outlook. Her artistic practice continues to explore the grief, anxieties, and fears of repeated separation alongside the joys of reunited life together.

The gallery’s presentation at Untitled Art, Miami Beach features a new series of portraits that capture the complex experience of migration across the Mexico-United States border. The figures are embroidered and painted on handmade Amate, a traditional paper made with tree bark by expert artists and collaborators in Mexico. Each portrait includes reflective fabrics and discarded clothing that closely mimic original family photographs, stitching together the story of Correa Valencia’s family over the past three generations.

Correa Valencia’s presentation runs concurrently to her major solo museum exhibition, “salt 16: Arleene Correa Valencia,” at the Utah Museum of Fine Arts ().



Pictured: artist photo of Arleene Correa Valencia; Arleene Correa Valencia, “1967 / I’m Sorry They Hurt You Dad,” 2024. Acrylic, textiles and thread on Amate paper made by Jose Daniel Santos De La Puerta. 60 x 48 inches.

Holiday Hours This Week:The gallery is closed Wednesday - Friday, reopening on Saturday for regular gallery hours and ho...
27/11/2024

Holiday Hours This Week:

The gallery is closed Wednesday - Friday, reopening on Saturday for regular gallery hours and holiday shopping in EXiT (11am - 6pm).

Pictured: Marie Watt, installation of jingle clouds in the series “Telegraph,” 2024.

Warming up and getting ready for tomorrow’s concert.Just 7 tickets remain!BOXBLUR proudly presents: “Whether You Fall: A...
22/11/2024

Warming up and getting ready for tomorrow’s concert.

Just 7 tickets remain!

BOXBLUR proudly presents: “Whether You Fall: An Intimate Concert and Visual Conversation with Tracy Bonham, singer-songwriter, and Julie Heffernan, painter”

Date and time: November 23rd, 8pm - 10pm
Tickets: $100, benefitting BOXBLUR

Visit the link in our bio to buy your tickets!

“Raise your hand if you’re still processing the 2024 election. You’re not alone.In all major events in my life, I have c...
22/11/2024

“Raise your hand if you’re still processing the 2024 election. You’re not alone.

In all major events in my life, I have come to appreciate how a little tradition and ritual can help contextualize and understand them in the larger scheme. Days where we honor the dead, commemorate history and come together in community settings are important in good times, and perhaps even more necessary in confusing times. Such continuity is helpful when things are uncertain; federal elections themselves are part of that cycle of normalcy every four years.

Having a sense of humor at these times is also helpful, and as such, one of my new favorite election-season traditions is finding out where in the Bay Area Nina Katchadourian’s “‘Monument to the Unelected’ will show up.“

Thank you to and for this feature on Nina Katchadourian’s timely election-cycle project, “Monument to the Unelected” (2008 and ongoing). We were honored to collaborate with our partners at to co-present the project across seven venues nationwide, including locally at and at . This year, longtime Minnesota Street Project team member added the new sign to ’s installation at the Project to commemorate his particiption as a first time voter. Thank you, Segfred, for your commitment to this project and to being part of the ongoing story of “Monument to the Unelected.”

Read the full story via the 🔗 in our bio.

Photo: in front of ’s installation at . 📸:

Sunday, November 11: Final day at Paris Photo—see you in booth D39 before 7pm. Grand Palais, Paris. Booth photos feature...
10/11/2024

Sunday, November 11: Final day at Paris Photo—see you in booth D39 before 7pm. Grand Palais, Paris. Booth photos feature friends, colleagues, family, collectors, artists, gallerist, and the spectacular work of Joel Daniel Phillips and Stephanie Syjuco—two artists mining archives to very different ends. .books

From : Because this country has never fully reckoned with its past, and here we are again today… I started working on th...
06/11/2024

From : Because this country has never fully reckoned with its past, and here we are again today… I started working on these in the aftermath of the 2016 election. Then they stood for almost 6 months across from the White House in DC, at the Smithsonian , physically haunting the area.

“The Visible Invisible (Plymouth Pilgrim, Antebellum South, Colonial Revolution),” 2018. The figures are wearing garments that represent iconic moments in American history fabricated out of green chroma key backdrop material. Chroma key is a visual effects technique commonly used in digital post-production, allowing a video or image editor to superimpose new backgrounds behind a subject. By calling attention to the removable backdrop and using it as a material to recreate historical costumes, The Visible Invisible questions how American history itself has been fabricated, manipulated, and constructed—in essence, functioning as a projection screen for convenient (and inaccurate) narratives.

The mythology of the country’s founding by the Plymouth Pilgrim (at the expense of Native peoples and their sovereignty), the democratic ideals of the American Revolution of 1776 (which only granted citizenship to free white men) and the romanticism of the Antebellum South (the seat of Confederacy and an economy based on slavery and white supremacy), is explored via hand-made construction. Far from being historically accurate, the garments have been produced using commercial sewing patterns for theatrical plays, re-enactments, and Halloween festivities, further highlighting the distance between an authentic past and convenient American narrative.

Draped behind the costumed figures is a large backdrop featuring an image from Syjuco’s Chromakey Aftermath (2019) series—photographs that reconstruct the physical aftermath of protests against the far-right and witnessed by the artist in 2017. The photographs feature images of chroma key green fabric and objects. These images bridge the historical re-enactments of The Visible Invisible with contemporary struggles of unreconciled American identity.

[Photo taken at booth at Untitled Miami 2019.]

All art fairs begin more or less the same way—gather badges and setup information, visit with dear friends and colleague...
03/11/2024

All art fairs begin more or less the same way—gather badges and setup information, visit with dear friends and colleagues (here I’m pictured with Lisa Chadwick ❤️), wait for the crates of art to be delivered, make sure the carefully planned installation will work in the booth IRL, adjust, and then install the artwork in the booth—but few fairs are in as glorious a setting as the Grand Palais in Paris. We, at Catharine Clark Gallery, have the great privilege of presenting the work of Joel Daniel Phillip’s and Stephanie Syjuco in this glorious art nouveau, newly renovated, architectural setting (scroll to see it!). If you are in Paris this week, please visit us in booth D39. If you aren’t, we promise more pictures. Many thanks to the CCG Team and for an expertly organized shipment and to for all the needed support and along the way!

02/11/2024

Do not accept any friend requests from CathErine Clark (incorrect spelling of my first name, which is CathArine), but with a photo that is me. They are impersonating me. They are using the image you see here, but again, with the incorrect spelling of my name. If you are following me here (correct spelling), you are following the actual Catharine Clark.

Catharine Clark Gallery and Hashimoto Contemporary () are pleased to announce joint representation of Tulsa-based artist...
30/10/2024

Catharine Clark Gallery and Hashimoto Contemporary () are pleased to announce joint representation of Tulsa-based artist Joel Daniel Phillips (). Phillips has been represented by Hashimoto Contemporary since 2014, when his work opened the gallery’s original San Francisco location on Sutter Street with the exhibition “I Am Another Yourself.” The gallery has since presented seven solo exhibitions of Phillips’s work across their San Francisco, Los Angeles, and New York City locations.

Catharine Clark Gallery debuted Phillips’s work at EXPO Chicago in April 2024, showcasing paintings from his “Killing the Negative” series alongside works by Sandow Birk, Stephanie Syjuco, and Marie Watt. In November 2024, Catharine Clark Gallery will present a new body of work by Phillips in France at the Grand Palais for Paris Photo 2024 (Booth D39). The two galleries are excited to collaborate and look forward to collectively growing Phillips’s career.

Read the full announcement via the 🔗 in our bio.
Welcome to the gallery’s roster, Joel! 🎈 🎉 🥂

Pictured:
“Killed Negative #104,” 2024
Oil on raw canvas
50 x 40 inches

“Killed Negative #105,” 2024
Oil on raw canvas
50 x 40 inches

“Killed Negative #93 / After Unknown Photographer,” 2023 (detail)
Oil on circular panel
46 1/2 x 46 1/2 inches

“Killed Negative #65 / After Carl Mydans,” 2023 (detail)
Charcoal, graphite, ink on paper
Sheet: 52 1/2 x 70 inches

Photo of the artist in his studio

All images courtesy of , , and .

A plethora of miniatures! Thank you, Chester, for this incredible drop-off of small paintings in advance of a special ...
29/10/2024

A plethora of miniatures! Thank you, Chester, for this incredible drop-off of small paintings in advance of a special presentation in December, a callback to our much loved “curbside exhibitions” during the pandemic (as reviewed by for ).

Zoom in to see the incredible details 🔎 of houses, highways, and street scenes. Some panels are as small as a postage stamp!

🏠 🛣️ 🌳

DM for details and pricing.

We are thrilled to announce that Marie Watt is the recipient of the 2024 Fellowship. Congratulations, on this major re...
17/10/2024

We are thrilled to announce that Marie Watt is the recipient of the 2024 Fellowship. Congratulations, on this major recognition!

Pictured:
Marie Watt
“Crossing,” 2024
Tin jingles, polyester twill tape, polyester mesh, steel, ham radio tower
125 x 78 x 28 inches
On view in the solo exhibition “Marie Watt: Telegraph” at through November 16, 2024

📸:

Repost from :
When I received the amazing news that I was to be the recipient of the 2024 Ellis-Beauregard Artist Fellowship it took me a few long seconds to process what I had heard. I had applied over six months previous and put it out of my mind, thinking it was a long shot. This is an incredible, rare, generous award that artists need and deserve. I am honored by the opportunity to have my work seen by this amazing, globally-minded, and community-engaged jury. I am humbled and thrilled, shocked and elated, by this recognition. I also look forward to the opportunity to have a solo exhibition at the Center for Maine Contemporary Art. I love that this institution began with a group of community-engaged, scrappy, spirited artists and art champions. The fact that two artists, Joan Marie Beauregard and John David Ellis, created this artist foundation understanding the ways it could benefit the lives of artists, arts organizations, and the community is also incredibly inspiring. Similar to the spirit of this award, I believe that art and life are deeply connected and that this legacy calls back to our ancestors and forward to future generations. The dance of being an artist is sometimes difficult, but I’ve been doing it long enough that I find trust in the process.

Photo:

Behind the scenes! We love an installation in-progress, and ’s brilliant “Monument to the Unelected” (2008 and ongoing)...
16/10/2024

Behind the scenes! We love an installation in-progress, and ’s brilliant “Monument to the Unelected” (2008 and ongoing) requires a high level of ingenuity and sign hanging dexterity across its many sites. A special thanks to the team at , especially , , , and Minnesota Street Project Art Services for their stellar work in bringing Katchadourian’s work to San Francisco and the MSP campus in Dogpatch. Check it out on the Minnesota Street fence between 24th and 25th Streets!

This year’s nationwide partner venues are:
Roots Community Health Center, Oakland, CA
The di Rosa Center for Contemporary Art, Napa, CA
Minnesota Street Project, San Francisco, CA
SMoCA, Scottsdale, AZ
Center for Art and Dance, St. Olaf’s College, Northfield, MN
Home of Abrahamson Family Collection, Madison, WI
Grand Central Arts, Santa Ana, CA

“Monument to the Unelected” is a series of plastic election signs bearing the names of every major-party candidate who ever ran for the office of president and lost. It was created for the Scottsdale Museum of Contemporary Art in 2008, and has been exhibited during every presidential election cycle since then. These are not historical signs; each sign made for this project has been designed to look contemporary, even if it advertises a candidate from a previous century. Many of the signs borrow directly from real election signs the artist has observed and documented in different parts of the country. Like familiar political lawn signs, these signs are printed on corrugated plastic using the same commercial production methods. (Caption continues in comments)

Thank you, , for these moving words on , her work, and her amazing sculpture, “Dwelling” (2006). We are so honored that ...
14/10/2024

Thank you, , for these moving words on , her work, and her amazing sculpture, “Dwelling” (2006). We are so honored that has given the work such a perfect home, and what a thrill to see it on view in the powerful exhibition of the same name, alongside recent acquisitions of work by and , among many other great artists.

“Dwelling: New Acquisitions” is on view at in the Pigott Family Gallery. Don’t miss it. An added thanks to , , , and the rest of team Cantor for the thoughtful stewardship of Marie’s work.

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Congratulations to @marie_watt_studio on the opening of “Storywork: the Prints of Marie Watt,” on view at @printcenternewyork through May 18, 2024. Featuring multiples and sculptures from the @schnitzerfoundation, the exhibit is a comprehensive survey of key works by the acclaimed artist. Congratulations, Marie!

Our @fogfair booth is fully installed and lit! Join us at Booth 108 January 17 - 21, 2024 at the Fort Mason for this extraordinary presentstion of works in dialogue by Masami Teraoka and Wanxin Zhang. @masamiteraoka @wxzhang25

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