E/AB Fair 2020

CATHARINE CLARK GALLERY BOXBLUR MULLOWNEY PRINTING E/AB Fair 2020

CATHARINE CLARK GALLERY, BOXBLUR, AND MULLOWNEY PRINTING At the 2020 (online) E/AB Fair, Catharine Clark Gallery, BOXBLUR, and Mullowney Printing present works by Sandow Birk, Julie Heffernan, Julia Goodman and Michael Hall, Masha Kechaeva, Deborah Oropallo and Andy Rappaport, Alison Saar, Stephanie Syjuco, Masami Teraoka, Katherine Vetne, and Wanxin Zhang. Media represented will include direct gravure, etching, letterpress, linocut, lithograph, woodcut, and photogravure.

Catharine Clark Gallery and Mullowney Printing began their collaborative relationship with the release of Sandow Birk's "Ten Leading Causes of Death in America,” a suite of chine-collé, direct gravure etchings published in 2004. In 2011, Mullowney and Clark began copublishing Birk's large-scale gravure series titled "Imaginary Monuments,” several of which were exhibited at the E/AB Fair in 2018 and 2019. In 2019, they formalized their partnership and co-publish, release, and promote editions created at Mullowney Printing. In 2020, Mullowney Printing collaborated with BOXBLUR, an initiative at Catharine Clark Gallery to bring visual and performative practices into dialogue within the gallery. The suite of works produced for A LIVE: artists reconsider the broadside in the 21st century was presented at the gallery as a live letterpress event in February 2020. We are presenting the suite of images for the first time at E/AB 2020.

After becoming a Master Printer at Crown Point Press in San Francisco, Paul Mullowney founded and managed studios in Ouda, Japan and on Maui, Hawaii. He has taught at Pacific Northwest College of Art and San Francisco Art Institute and has delivered numerous printmaking workshops in the United States and Japan. Named after his grandfather's commercial print studio founded in the early 1900s in Minneapolis, Mullowney Printing was founded in San Francisco in 2011.

Catharine Clark studied the history of art at the University of Pennsylvania prior to founding Catharine Clark Gallery in San Francisco in 1991. She has studied the history and techniques of printmaking and has exhibited artist's multiples since the gallery's inception. In 2016 she founded BOXBLUR, an initiative that brings works by visual and performing artists into dialogue within the non-proscenium-based setting of the gallery. BXOBLUR is fiscally sponsored by Dance Film SF.

http://online.eabfair.org/viewing-room/catharine-clark-gallery-and-mullowney-printing#tab:thumbnails;tab-1:slideshow;tab-2:thumbnails;enlarge-1:true

STEPHANIE SYJUCO Stephanie Syjuco was born in Manila, Philippines in 1974. She creates large-scale spectacles of collected cultural objects, photographs, and installations that investigate the political effects of economies and empire.

Syjuco lives and works in Oakland, California and is an Associate Professor of Sculpture at the University of California at Berkeley. She received an MFA from Stanford University and a BFA from the San Francisco Art Institute.

Currently, Syjuco’s work is currently presented in a solo exhibition titled The Visible Invisible at the Blaffer Art Museum, Houston. It was the subject of a monographic exhibition titled Rogue States at the Contemporary Art Museum St. Louis in 2019. In 2018, her work was part of Being: New Photography 2018 at the Museum of Modern Art, New York, New York; Public Knowledge at the San Francisco Museum of Modern Art, California; and This Site is Under Revolution at the Moscow Museum of Modern Art. Syjuco has also participated in Entre, Dentro, Fuera/Between, Inside Outside at the Twelfth Havana Biennale, Cuba (2015); the Asian Art Biennial 2015 at the National Taiwan Museum of Fine Arts, Taichung, Taiwan; Shadow$hop: Local Art for Mass Distribution at the San Francisco Museum of Modern Art, California (2010); 1969 at P.S.1/MOMA, New York, New York (2009); and Political Nature at the Whitney Museum of American Art, New York, New York (2005). Syjuco’s work is represented in the collections of 21c Museum Hotels, Louisville, Kentucky; Berkeley Art Museum and Pacific Film Archive, California; Fine Arts Museums of San Francisco, California; McEvoy Foundation for the Arts, San Francisco, California; Milwaukee Art Museum, Wisconsin; Museum of Modern Art, New York, New York; Pennsylvania Academy of the Fine Arts, Philadelphia; Saint Louis Museum of Art, Missouri; San Francisco Museum of Modern Art, California; University of Kentucky Art Museum, Lexington; and the Whitney Museum of American Art, New York, New York, among many others.

In 2019 Syjuco was the recipient of a Smithsonian Artist Research Fellowship. Other awards have included a Guggenheim Fellowship (2014), and a Joan Mitchell Painters and Sculptors Award (2009). In 2008, she was featured in Season 9 of the acclaimed PBS documentary series Art21: Art in the Twenty-First Century.

Since 2013, she has exhibited with Ryan Lee Gallery in New York and since 2008, she has been represented

by Catharine Clark Gallery, where she will have her next solo exhibition in the spring of 2021.

Syjuco’s new print project is based on research that the artist conducted during a Smithsonian Artist Research Fellowship, in which images of the “Filipino Village” at the 1904 St Louis World’s Fair, which were archived as “ethnographic materials,” are reedited through crumpling and folding to deny their imagined function as anthropological evidence, and to reveal their structure as inherently fabricated.

Stephanie Syjuco, Title TBA, 2020. Photogravure printed on gampi mounted on Somerset black 280 gram cotton rag; re-edited photograph of Filipinos from the 10904 St. Louis World’s Fair. Printed by Harry Schneider in an edition of 20 plus 8 proofs. Image: 16 x 20 inches; Sheet: 22 x 30 inches. Co-published by BOXBLUR, Catharine Clark Gallery, and Mullowney Printing, San Francisco, CA and Portland, OR. $3,500 (pre-publication) for individual prints. $15,000 (pre-publications) for the full suite of 5 prints.

ALISON SAAR Alison Saar was born in 1956 in Los Angeles, California. She grew up in an artistic environment with her mother, the artist Betye Saar, and her father, who was an illustrator and art conservationist. Through her sculptures, drawings, and prints, Saar explores the subjects of racism, sexism, ageism, and the challenges of being bi-racial in America.

Saar studied studio art and art history at Scripps College in Claremont, California, receiving a BA in art history in 1978. In 1981 she earned an MFA from the Otis Art Institute in Los Angeles. In 1983, Saar became an artist-in-residence at the Studio Museum in Harlem, incorporating found objects from the city environment into her practice. Saar completed another residency in Roswell, New Mexico, in 1985, which augmented her urban style with Southwest Native American and Mexican influences.

Saar’s approach encompasses a multitude of personal, artistic, and cultural references that reflect the plurality of her own experiences and background. Her artworks incorporate found objects and materials such as rough-hewn wood, antique, tin ceiling panels, nails, shards of pottery, glass, and urban detritus.

The resulting figures and objects become powerful totems that reflect on gender, race, heritage, and history.

Copacetic, published in 2019, is a suite of eight multi-block linocuts on handmade Hamada Kozo, backed with Sekishu Kozo, based on images created in 2018 at the 125th Street subway station in New York City.

Saar expanded her original project, Hear the Lone Whistle Moan, and created Copacetic, a panoramic scene of imagined dancers, singers, musicians, and patrons enjoying Harlem’s heyday of the 1930s and 40s. Copacetic (the installation) comprises 24 laminated glass panels installed throughout the four glass shelters along the platforms. The upper windows are inspired by the Harlem-125th Street Station’s wrought iron work and designs from the African diaspora. The glass panels were adapted from Saar’s artwork, which as she explains, “gives a nod to the work of the many great African American artists of the Harlem Renaissance that have used the same medium in their practice, such as Elizabeth Catlett, Hale Woodruff and Aaron Douglas.” Saar’s palette of deep reds, blues and yellows introduces a vibrant graphic quality to the platform’s shelters, illuminated by the rising and setting sun over Harlem. Saar’s projects at the Harlem-125th Street Station encourage preservation of Harlem’s great legacy and celebrate its rich history.

Saar has been awarded a John Simon Guggenheim Memorial Foundation Fellowship and two National Endowment Fellowships. She has exhibited at many galleries and museums, including the Hirshhorn Museum and Sculpture Garden and the Whitney Museum of American Art. Her work is included in the collections of the Hirshhorn Museum and Sculpture Garden, the Metropolitan Museum of Art, and the Whitney Museum of American Art, among other institutions. She currently resides in Los Angeles, CA and is represented by LA Louver.

Alison Saar, Eclipse. Direct gravure and aquatint etching with gampi chine colle on Somerset 300 gram paper. 18 x 18 inches unframed. Printed by Erin McAdams, Keisha Mrotek, Harry Schneider, and Max Valentine un an edition of 15 plus 6 artist proofs. Signed and numbered on the recto in pencil. Published

by Mullowney Printing, San Francisco, CA, Portland, OR. $1,200

Alison Saar, Girl with a Pearly Earring, 2018. Soft ground, aquatint and spit bite etching on gampi chine collĂŠ backed with Somerset 300 gram paper. Printed as an edition of 15 plus 6 artist proofs. Signed and numbered 2/15 on the recto in pencil. Published by Mullowney Printing, San Francisco. Sheet: 15 x 12 inches. $1,000

Copacetic Alison Saar, Copacetic. Suite of eight multi-block linocuts on handmade Japanese Hamada Kozo paper, inked by hand and editioned on Mullowney Printing's Dufa Manual Offset Lithography Press. Portfolio design and construction by Erin McAdams. The eight linocuts come in a linen portfolio, signed and editioned on a colophon page. An interior page bears a quote by Langston Hughes. Printed by Erin McAdams, Harry Schneider, Max Valentine, and assisted by Wendy Liu in an edition of 20, plus 5 artist proofs. Signed and numbered on the colophon page in pencil. Published by Mullowney Printing, San Francisco. Portfolio size: 20 1/2 x 18 3/4 inches. Each print: 19 1/2 x 18 inches unframed. $15,000 for the suite NOTE: EDITIONS 1 - 15/20 SOLD AS PORTFOLIO SUITE; EDITIONS 16 - 20 ARE SOLD SEPARATELY.

Paradiddle Diddle from “Copacetic,” 2019

Torch Song from “Copacetic,” 2019

Hepcat from “Copacetic,” 2019

Table for Two from “Copacetic,” 2019

Hooch n’ Haint from “Copacetic,” 2019

Shebop from “Copacetic,” 2019

Syncopatin’ from “Copacetic,” 2019

Jitterbug from “Copacetic,” 2019

The Broadside in Action. A LIVE Letterpress Experience Working in collaboration with Mullowney Printing principal and master printer Paul Mullowney, and assisted by master printers Erin McAdams, Harry Schneider, and assistant Wendy Liu, artists gave artists the opportunity to interpret the role, function and meaning of the printed single sheet broadside in the 21st century. Viewers were also given the opportunity to witness printmaking in action to learn about technique and possibilities for art making on a letterpress.

A portfolio of 6 letterpress prints Edition of 50 plus proofs 20 x 15 inches each Portfolio: $600 Individual prints: $100 Co-published by BOXBLUR, Catharine Clark Gallery, and Mullowney Printing Invited artist collaborators: Julie Heffernan Julia Goodman and Michael Hall Masha Kachaeva Deborah Oropallo and Andy Rappaport Katherine Vetne Wanxin Zhang

From left: Together Forever by Wanxin Zhang; DISARM by Deborah Oropallo and Andy Rappaport; Dependent by Julia Goodman and Michael Hall

From left: Public Sale by Katherine Vetne; road sign poetry/the future is here by Masha Kechaeva; Hotheads by Julie Heffernan

MASAMI TERAOKA 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. After moving to Lose Angeles, Teraoka continued his education in the United States, earning a Bachelor of Art (1964) and a Master of Arts (1968) from Otis Art Institute in Los Angeles, California.

Teraoka’s works integrate reality with fantasy, humor with social commentary, and the historical with the contemporary. His early paintings focus on the meeting of East and West, and series such as McDonald's Hamburgers Invading Japan address the impact of economic and cultural globalization. In response to the AIDS crisis, Teraoka began producing works as a means of addressing major social crises such as AIDS Series/Ghost Cat and Condom (1989/2002/2019). In the 1990s, Teraoka’s narrative paintings turned toward addressing social and political issues such as sexual abuse in the Catholic Church, hypocrisy in American politics, and social repression in Russia under Vladimir Putin’s leadership. Teraoka’s newest gravure with Mullowney Printing, Geisha and Madonna (2020), articulates a relationship between sexual freedom and individual liberty in contrast to the Catholic Church’s dogma against non-procreative physical intimacy.

Teraoka’s work is represented in more than 50 public collections worldwide, including the Tate Modern; the Metropolitan Museum of Art; the San Francisco Museum of Modern Art; the Fine Arts Museum of San Francisco; the Arthur M. Sackler Gallery, Smithsonian Institution; the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution; Archives of American Art, Smithsonian Institution; the Los Angeles County Museum of Art; the Crocker Art Museum; the Walker Art Center; the Hood Museum of Art, Dartmouth College; the Jordan Schnitzer Museum, University of Oregon; and the National Gallery of Victoria, among others. In 2016, Teraoka was awarded an honorary doctorate from Otis College of Art and Design. His work has been featured in multiple publications, including 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 CSU Fullerton in 2018. In 2023, Teraoka’s work will be the subject of a major touring retrospective, organized by the Jordan Schnitzer Museum of Art. Teraoka lives and works in Waimanalo, Oahu, Hawaii, and has been represented by Catharine Clark Gallery since 1998.

AIDS Series/Ghost Cat and Condom

Masami Teraoka, IDS Series/Ghost Cat and Condom, 1989/2002/2019. Single plate black ink impression of the key plate from the AIDS Series/Geisha and Ghost Cat. Direct gravure copper plate etching printed on gampi and backed with Sekishu Kozo (Key plate started in 1989 by Brian Shure and Evelyn Lincoln at Smalltree Press and never completed at that time. Later published by Tokugenji Press, Ouda, Nara, Japan as a numbered edition of 35 plus 18 proofs and 1 O.K.T.P. Only 10 impressions from the numbered, color edition are printed; of the remaining 25 impressions in black ink, only 4 were approved by the artist and by Paul Mullowney for publication in 2019.The 4 black ink impressions were retitled and editioned by the artist in a numbered edition of 4. The remaining edition, as of this printing, have not been fulfilled.) Three trial proofs remain available: TP1, TP2, TP3. Published by Mullowney Printing, San Francisco, CA and Portland, OR. 27 1/2 x 20 inches. $6,500

Masami Teraoka, AIDS Series/Ghost Cat and Condom, 1989/2002/2019; TP1.

Masami Teraoka, AIDS Series/Ghost Cat and Condom, 1989/2002/2019; TP2.

Masami Teraoka, AIDS Series/Ghost Cat and Condom, 1989/2002/2019; TP3.

Masami Teraoka, Geisha and Madonna, 2020. Three plate, three color direct gravure etching on handmade Hamada Kozo printed chine collĂŠ backed with Somerset satin white 300 gram paper, trimmed bleed.

Printed by Erin McAdams, Wendy Liu, and Harry Schneider in an edition of 35 plus 10 proofs. Signed and numbered on the verso in pencil. Co-published by Catharine Clark Gallery and Mullowney Printing, San Francisco. Publication date January 2020. Sheet and image: 11 3/4 x 17 inches. $3,800

SANDOW BIRK Sandow Birk was born in Detroit, Michigan and raised in Orange County, California. He is a graduate of the Otis College of Art and Design, Los Angeles, California. His work largely reflects on the politics of contemporary life and borrows liberally from art (and literary) history for its compositional, textual, and conceptual framework. He is a painter, sculptor, printmaker, filmmaker and installation artist, and his projects are often expansive in scope, reinterpreting great works of literature, religious texts, and foundational documents.

Birk’s work is exhibited internationally in museums and galleries. It is in institutional collections including the San Francisco Museum of Modern Art, the Fine Arts Museums of San Francisco, the Los Angeles County Museum of Art, the J. Paul Getty Museum, the Lucas Museum of Narrative Art, the Metropolitan Museum of Art, the New York Historical Society Museum, the Harvard Art Museum, the Addison Gallery of American Art, the Crocker Art Museum, Biblioteca Nazionale Centrale di Roma, Italy, and Stadtisches Kunstmuseum, Reutlingen, Germany, among other collections.

The release of the book American Qur’an published by W. W. Norton & Company in 2015, coincided with a traveling solo exhibition at Catharine Clark Gallery, the Orange County Museum of Art, and the Jordan Schnitzer Museum of Art at the University of Oregon, Eugene.

Birk has received numerous grants and fellowships including an NEA Travel Grant to Mexico City, a Guggenheim Fellowship, a Fulbright Fellowship to Rio de Janeiro, a Getty Fellowship, a City of Los Angeles Fellowship, and an Artist Research Fellowship at the Smithsonian Institution in Washington, D.C. He has been an artist in residence at the Cite Internationale des Arts in Paris, the Ballinglen Arts Foundation in Ireland, the Montalvo Center for the Arts in Saratoga, California, and the Alila Villas Soori, in Bali, Indonesia. In 2014, he was named a United States Artist Knight Fellow.

Birk often collaborates with Elyse Pignolet. He has been represented by Catharine Clark Gallery since 1994.

Copper plates used for Excavating the Foundation of the Unfinished Temple of Human Rights in the series “Imaginary Monuments,� 2015

Excavating the Foundation of the Unfinished Temple of Human Rights is the third gravure in Sandow Birk’s “Imaginary Monuments” series, an on-going project of gravures (and works on paper) that combine significant legal and iconic foundational texts with depictions of imagined shrines or architecture memorializing (sometimes ironically) the ideals portrayed in the canonical documents. In Excavating the Foundation of the Unfinished Temple of Human Rights, Birk draws inspiration from The Equal Rights Amendment (ERA), a proposed bill to the United States Constitution designed to guarantee equal rights for women. Originally written in 1923, the amendment passed both houses of Congress in the 1970s but failed to be ratified by enough of the states to become law.

In Excavating the Foundation of the Unfinished Temple of Human Rights, Birk considers proposals for women’s rights throughout US history, beginning with the Declaration of Rights and Sentiments, written by Elizabeth Cady Stanton in 1848. Her text becomes the “foundation” of the Temple of Human Rights, which is imagined as a multi-leveled pyramid reaching towards the sky and proposing “Rights for All.” The next level of the pyramid displays text from the Lucretia Mott Amendment, the first attempt at passing women’s equality legislation, which was proposed to Congress every year from 1923 through 1942. In 1942, it was slightly altered into the Alice Paul Amendment, which was also proposed at every session of Congress from 1943 through 1972, without success.

The next level of the pyramid contains the text of the Civil Rights Act of 1964, which some claim usurped the need for an amendment specifically for women’s rights. However, many still felt the rights of women needed more clarification, and the Equal Rights Amendment was proposed and passed by Congress in 1972. However, in the image, you can see that the level of the pyramid containing the ERA is a thin facade, signifying its incompleteness, having never been ratified. Perched atop the pyramid and above the ERA level, stands a Gay Right’s flag on a rickety flagpole. The flag suggests that perhaps the newly won rights of homosexuals is on shaky ground, as well. Gay Rights have perhaps overshadowed the ongoing battle for women’s rights? The whole structure is imagined as a temple—a Mayan pyramid, being rediscovered in the jungle of forgetfulness, with the foundational texts for the cause portrayed in the process of being excavated.

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. Printed as an edition of 25 plus 8 proofs. Signed and numbered 11/25 on the recto in pencil. Co-published by Mullowney Printing and Catharine Clark Gallery, San Francisco. 62 x 44 inches unframed; 65 1/2 x 48 inches framed. $15,000

The Declaration of Independence is one of the foundational documents of the United States. It informs the country’s self-image as a nation of rebellious individuals who boldly fought for liberty from oppression and who, in so doing, created a new form of government.

While the ideals of the Declaration of Independence (and Constitution) are awe inspiring, they nonetheless overlook the fact that several million people in the United States were confined to slavery during the very writing of the document that espoused freedom from tyranny.

As part of the ongoing “Imaginary Monuments” series (2007 - present), Sandow Birk has created a fourth gravure in the project: The Proposal for a Monument to the Declaration of Independence (and a Pavilion to Frederick Douglass). This image proposes a monument to the text of the Declaration of Independence replete with all the ironies about whose freedom it protects therein (the Pavilion to Frederick Douglass).

The composition of the main structure that houses the Declaration’s text is rendered in a neoclassical style reminiscent of the Capitol and other government buildings from the period in Philadelphia and Washington, D.C. Suspended from the upper portion of the cracked and worn neoclassical architecture is a heavy bar and chain holding a sign inscribed with a passage written by Thomas Jefferson decrying slavery. This text was omitted from the final draft of the Declaration of Independence. And in fact, here, it remains outside of the main monument, engraved on a plaque that inauspiciously hangs overhead, casting a shadow of shackles and chains—accoutrements of the slave trade—onto the Declaration’s text.

Birk’s gravure further reminds us of the era’s paradoxical approach to issues of freedom and slavery in a second structure—the so-called pavilion—rendered across from the neoclassical monument. Enshrined on this rock-like memorial or pavilion are texts excerpted from the abolitionist, Frederick Douglass’, July 5, 1852 speech, “The Meaning of the Fourth of July to the Negro,” which critiques how freedom is unequally distributed to people of color.

Also depicted in the composition are other images that refer to the history of American slavery and racism, including a lynching tree and a stepping stone from which slaves were auctioned off on the streets of Fredericksburg, Virginia, among other places in the then new nation.

The two architectural components of the proposed monuments—the neoclassical building and the pavilion —face each other across a body of water that encircles the Declaration monument, serving as a metaphor for the ocean that separates the United States from England, and representing the chasm between the idea of freedom for all versus for some.

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. Printed as an edition of 25 plus 8 proofs. Signed and numbered 11/25 on the recto in pencil. Co-published by Mullowney Printing and Catharine Clark Gallery, San Francisco. 44 x 61 inches unframed; 49 x 66 ½ inches framed. $15,000

Monument to the Constitution of the United States was developed initially as a large-scale drawing during Birk’s artist research fellowship at the Smithsonian in the spring of 2007. He made two extended visits to Washington DC spending a total of eight weeks there and using an office-sized space as a studio at the Archives of American Art. During his first visit he researched the work of Thomas Nast and other political cartoonists and illustrators from the Civil War era. Examples of these artists’ drawings are in the collection of the Museum of American History. Helena Wright assisted Birk with access to Nast’s images, sharing with him the artist’s original drawings and plates. The Nast’s satirical approach to politics influenced some of his choices about how to depict various aspects of the Constitution in his own drawing.

Since he was a temporary resident and therefore also a tourist in DC, he visited the National Archives and saw the Declaration of Independence and the Constitution. He was struck by the connection between the historical documents, the colonial era, and the actors in DC in period costume: tri-corner hats, likenesses of Ben Franklins, and town criers, etc. This experience led him to thinking about the Constitution as a living document that greatly impacts our lives rather than as an historical artifact. The relationship between historical ideas and their practical application in our contemporary lives has been a theme explored throughout much of Birk’s work. Seeing the historical documents also made him realize that he had not read the Constitution nor thought about it in depth. So he purchased a book on the document and read it ultimately using the text for the work titled Monument to the US Constitution. The dialogue between text and image in artwork is not something new to his practice. It has been an interest since his early collaborations with graffiti artists in the early 1990s and more recently in projects such as The Divine Comedy and the American Qur’an.

As he began thinking about the idea of an illustrated version of the Constitution, he remembered a book about Albrecht Durer’s epic woodblock print The Triumphal Arch of Maximilian that depicts a fictional monument. The idea of a fictional monument was appealing to him since he would be drawing a fictional monument on paper. By fortunate coincidence he learned that the National Gallery in Washington DC has one of the few full-size prints of Albrecht Durer’s Arch in their collection. By special arrangement, he was able to view it in their storage; its scale and detail were impressive and influenced his choice to work large and with detailed illustration in his own drawing.

Sandow Birk: Monument to the Constitution of the United States in the series “Imaginary Monuments,” 2011-2012. Direct gravure etching on nine copper plates printed on nine sheets of handmade gampi paper, joined and backed with sekishu kozo paper. Printed as an edition of 25 plus 8 proofs. Signed and numbered 19/25 on the recto in pencil. Co-published by Mullowney Printing and Catharine Clark Gallery, San Francisco.

48 x 63 inches unframed; 65 1/4 x 52 ¼ inches framed. $27,000