The CCA Wattis Institute, one of San Francisco's most progressive arts organizations, is pleased to present Wattis Collectibles, a finely curated program of limited edition works. This series, conceived in conjunction with the Wattis exhibition and residency program, affords an opportunity to own works by some of today's most internationally significant emerging and established artists.
For the Fall of 2011, we are pleased to announce four new works in our Limited Editions Program. On the occasion of More American Photographs (October 4 – December 17, 2011), Larry Clark, Sharon Lockhart, Catherine Opie, and Collier Schorr have created new photographs that directly correlate to their commissions in the exhibition. You may purchase these works individually, or the entire More American Photographs Portfolio at a discounted price. These new works are available on a first come first serve basis.
For direct sales, additional information or to be added to the Wattis Collectibles mailing list, please contact Micki Meng at mmeng@cca.edu or 415.703.9521. Proceeds directly support the ongoing realization of the Wattis' exhibition program.
Allen, South Dakota, Median Income $7,578: United States Post Office, August 1, 2011, (Cancelled by Jens Hoffmann, August 16, 2011), Fisher Island, Florida, Median Income $236,238: United States Post Office, August 23, 2011 (Cancelled by Jens Hoffmann, August, 26, 2011)
Sharon Lockhart’s anthropological sensibility leads to months and even years spent working with the same community. For More American Photographs, Lockhart spent time with cattle ranchers and attended cattle auctions in Tulare County. Lockhart captures the vast expanses of Central California, using the baron and wilted landscape to convey the hardships of a community where agriculture was once the main source of revenue.
Larry Clark is well-known for his controversial oeuvre, from his 1995 cult film Kids to his photographic body of work providing candid forays into American subcultures. Teenage drug users, underage sex, dysfunctional families, skateboarders, hustlers and surfers are all subjects that Clark has turned his lens to.
Catherine Opie’s documentary photographs primarily focus on the idea of community and serves as an ongoing investigation into the identity of contemporary America. For More American Photographs, Opie draws from stores in her immediate geographic area to cultivate feelings of both connection and disconnection.
Opie has had more than twenty solo exhibitions since 1989 including a mid-career survey at the Solomon R. Guggenheim Museum, New York.
In Young Rider, Collier Schorr continues her exploration of the point at which masculinity collides with adolescence’s tenderness and fragility. This work expresses the image of a youthful cowboy in waiting, capturing a sense of innocence surrounded by grim reality. Her images present two visions of America that exist simultaneously: the privileged desire for fame and fortune met with its underbelly, the imminent drive for survival.
Based on the artist’s 2007 project of the same name, in which the height of exhibition visitors was marked on the gallery wall by museum attendants, Measuring the Universe repeats this performance in the collector’s home. For the period of one year, the owner of this edition will mark the height and name of each visitor to their home, along with the date, on a large paper against the wall and at the end of the year the work will be framed. This edition is produced on the occasion of the artist’s participation in the exhibition Passengers at the Wattis Institute, 2008.
The Wattis Institute is pleased to announce a new edition on behalf of Kris Martin's Spring 2011 Capp Street residency. Martin's conceptual practice centers on the fragility of the human condition; his frequent use of the readymade — from boulders to texts by Dostoyevsky to common nails — alludes to the poignancy inherent in everything that surrounds us. This particular piece continues his exploration of temporality and alludes to the contradictory ideas of transparency and weight, endurance and permeability.
On behalf of the 2010 two-part exhibition Low Life Slow Life, Paul McCarthy has created a special limited-edition print based on a work that appeared in the second of his two exhibitions: an image of Mickey Mouse painted over by hand with black house paint while it was hanging in the gallery. This new work continues McCarthy's perverse fascination with the world of Walt Disney.
Yinka Shonibare's newly commissioned work Jim's Escape (2010) is a series of 25 handmade kites, Victorian in design and crafted from carved wood and batiked fabric. Five of the kites are available for purchase on a first-come, first-served basis and will be delivered at the close of the exhibition.
Taking the form of a late 1970s promotional concert poster, this screen-print has been conceived by Tim Lee on the occasion of the artist's Capp Street Project residency. Printed on reflective mirrored paper, the viewer sees oneself reading the poster. Lacking a defined top or bottom, the poster functions similarly to Lee's new photographs produced while a Capp Street Project artist-in-residence at the Wattis Institute.
