Group Screening

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Possession , 2011 Single Channel Video Edition Of 50 Dimensions Variable 6:30 Minutes Running Time © Courtesy of the Artist and Catharine Clark Gallery
Group Screening

248 Utah Street
Ground Floor
94103 San Francisco

November 3rd, 2012 - January 12th, 2013

Potrero District
Tue-Wed,Fri-Sat 11-6; Thu 11-7
film, screening, video-art


Presented in the Media Room is a selection of video artists previously exhibited at Catharine Clark Gallery: Aideen Barry, Erin Cosgrove, Anthony Discenza, and Lauren Kelley. Demonstrating the artistry and depth of new media, each piece varies in terms of subject matter, tone, and viewer engagement.

Aideen Barry is an international artist who has shown in many venues around the world, including The Irish  Museum of Modern Art, Dublin, Ireland; Kunsthall,  Vienna, Austria; Yerba Buena Center for the Arts,  California. Barry has done artist residencies at the Moltavo Arts Centre, California; Omi International Arts  Center, New York; Headlands Center for the Arts, California; Centre Cultural Irlandais, Paris; and NASA,  Florida. In 2007, she received her MA from the Institute of Art, Design and Technology IADT Dublin. Barry  lives and works in Belclare, Galway, Ireland. Aideen Barry’s performative film, Possession (2011), explores  the psychology of the contemporary Irish housewife: a protagonist quirkily possessed and haunted by her  obsessive compulsions and boredoms within the suburban house that confines her. Filmed in an agitated, shifting  style, the audience is confronted with darkly humorous reflection of neurosis and immobility as, for example, an  endless supply of baked goods are shoved into her helpless mouth.

Erin Cosgrove’s work has been included in solo and group exhibitions and screenings nationally and  internationally, including UCLA/Armand Hammer Museum of Art and Cultural Center, Los Angeles; Espace  Croisé Centre d’art Contemporain, Roubaix, France;  Museum of Modern Art,  New York; Santa Barbara  Museum of Art; and Wexner Center for the Arts, Columbus, Ohio, among others. Her work is included in the  collections of the Hammer Museum, and Museum of Contemporary Art, Los Angeles. Cosgrove studied at  University of Minnesota (BFA), and University of California, Los Angeles (MFA). She lives and works in  Altadena, California. In Defense of Ghosts (2011) satirizes the current basis of social and political order. Fusing  animation and performance, a professor passionately lectures the viewer of the importance of believing in ghosts,  as animated ghosts and caricatures of presidents of past dance on screen.

Anthony Discenza’s  works have been presented widely nationally and internationally, including at the San  Francisco Museum of Modern Art,  San Francisco; the Australian Center for the Moving Image, Melbourne,  Australia; the Whitney Museum of American Art, New York; the Getty Center, Los Angeles; and the University  of California, Berkeley Art Museum & Pacific Film Archive, Berkeley. His work has garnered critical attention  in Artforum, Artweek, and ArtReview, among other publications.  Discenza received his MFA from California  College of the Arts in 2000, and a BA in Studio Art from Wesleyan University. He lives and works in Oakland,  California and had his first exhibition  at Catharine Clark Gallery in 2004.  Anthony Discenza presents a  meditation on the culture of consumption and the drudgery of desire with Drift (2003). Visually, the piece is a  slowly shifting mosaic, constantly interchanging images of stereotypical houses; conceptually, it quietly  embodies the consumer ethos of restlessness and emptiness.

Lauren Kelley’s videos and photographs have been presented nationally at The Studio Museum in Harlem, New  York; New Museum, New York; Contemporary Arts Museum Houston, Texas; Johns Hopkins University,  Baltimore, Maryland; The Kitchen, New York; and Dodge Gallery, New York. Kelley received her MFA from  the School of Art Institute, Chicago in 1999, and currently lives and works in Houston, Texas. True Falsetto  (2011) is a short stop-motion film that wonderfully engages the viewer in its claymation artistry and its  compelling insight into states of desire, despair, and stagnancy. An invisible protagonist narrates his preparations  for a wonderful date that never occurs, as the video scans a lush picnic of delicately prepared, though  untouched, delicacies. Amid the dialogue of hope turned despair, bees and flies hum excitedly around the  food, ultimately succumbing to its seduction.


Catharine Clark Gallery will be closed from December 23, 2012 - January 1st, 2013 and will re-open January 2, 2013!