Jonathan L. Clark At Smith Andersen North

Jonathan L. Clark
Jonathan L. Clark

GATOR TIME: Gulf Variations is an exhibition debuting a new series of photographs by Jonathan L. Clark. Made between 2016 and 2018, these dramatic large-scale color prints reflect Clark’s interest in the interplay between the man-made and natural worlds. In a sequence of more than eighteen photographs, Clark’s painterly images depict a condominium tower reflected in the waters of a secluded bayou on Florida’s Gulf Coast. Over several years, the artist returned to the same spot, documenting the building’s mirrored image as it shifted with the light of day, movement of water, and the occasional curious alligator. Clark states, “The interplay of substance and reflection becomes a dialogue with nature, creating ever-changing metaphors of reality that the camera alone can capture and preserve.” The resulting photographs, diversely abstract and contemplative, plumb the ambiguous qualities of the reflected image.

A limited-edition artist’s book crafted by the photographer entitled Gulf Variations will be available for purchase at the gallery.

JONATHAN L. CLARK is a photographer based in the San Francisco Bay Area whose work also encompasses the creation of books using letterpress, gravure, and digital printing techniques.

GATOR TIME: Gulf Variations
Recent Photographs by Jonathan L. Clark

Exhibition Dates: APRIL 21 – JUNE 9, 2018
Opening Reception: April 21, 2018 from 6pm – 8:30pm

Smith Andersen North
20 Greenfield Avenue
San Anselmo, CA

DEBORAH ROBERTS At Luis De Jesus Los Angeles

Image: Deborah Roberts, Girl in charge, 2018, mix media on paper, 30 x 22 in / 76.2 x 55.8 cm.
Image: Deborah Roberts, Girl in charge, 2018, mix media on paper, 30 x 22 in / 76.2 x 55.8 cm.

Deborah Roberts creates powerful and visually arresting collages that explore the complexities of girlhood, self-image, popular culture, and the legacies of racism. In Fragile but Fixable, Roberts continues to address the traumas, challenges and vulnerabilities faced by young Black girls at adolescence, a critical time when they are building their individual identities and their minds are easily influenced by White racial standards of beauty and the myths, clichés, and stereotypes of Black identity proliferated through the media, as well as the real-life abuse and violence that some of them experience in public and in private.

Combining found photographs, painting, text, and drawing, Roberts constructs her prismatic subjects from a myriad of sources, including images of young girls, radical and historical figures, and contemporary female role models – from Rosa Parks and Michelle Obama to Gloria Steinem and Willow Smith – altered beyond recognition to create a portrait that adheres to a more universal standard that is inclusive of women of color. Each work is an amalgamation of several or more figures, a reflection of the complexities of identity and race, and a metaphor for the way we construct our own complicated subjectivities from multiple sources. Often featuring extra appendages – diplomatically shaking hands, boxing, praying, supporting or affectionately embracing each other – their gestures convey a range of emotion and communication while their multi-faceted faces, etched with the weight of their former context, extort a new fearless archetype. The heroines in Fragile but Fixable are finding themselves, some expressing vulnerability, all possessing strength, and through a process of collective identification and healing these fractured “everygirls” are made whole.

“My work is about being empowered as a Black woman by taking responsible for your image and controlling how that image is being circulated in the world,’ says Roberts. ‘It’s about having the courage to fight against assumptions and perceptions that others may have, and the power those societal assumptions still hold. It’s also about celebrating differences, while embracing your own.”

Deborah Roberts (b. 1962, Austin, TX) received her MFA from Syracuse University.

Exhibition Dates: May 12 – June 16, 2018
Artist Reception: Saturday, May 12, 2018 from 6pm – 8pm

Luis De Jesus Los Angeles

Last Days to See John Beech At Anglim Gilbert Gallery

John Beech, Intra #35 (Closed Painting), 2018, Oil enamel, pencil, canvas, metal stretcher bars, 71 x 70 x 2 1/8 in.
John Beech, Intra #35 (Closed Painting), 2018, Oil enamel, pencil, canvas, metal stretcher bars, 71 x 70 x 2 1/8 in.

With reverence for materials and process, John Beech creates sculptures and paintings incorporating reworked elements from his studio with basic building materials like plywood, plaster, and metal brackets. For the artist, paint has broader implications than simply as a liquid vehicle for color. Rediscovered, repurposed remnants from other projects gain new life. Beech pulls from discarded scraps to build his Utiles, sculptures that tower upwards from a base on casters with particular intent yet unclear utility. Intra Paintings manipulate the liquidity of paint and its’ drying to generate abstract images as two paintings are pressed together and then pulled apart repeatedly. In the same series, but with the subtitle Closed Paintings, the paint itself is the mechanism binding together the double canvas compositions.

Beech further pushes the inherent qualities of paint and the idea of repurposing the discarded in a series of paintings. He includes dried scrapings from paint cans and uses plywood scraps as tools to apply paint, later leaving them stuck in the painted surface as additional layers of depth and visual information.

John Beech is a British-born American who studied art at UC Berkeley and has lived and worked in New York since 1996.

John Beech: Under Way
Exhibition Dates: Through April 21, 2018

Anglim Gilbert Gallery
1275 Minnesota Street
San Francisco, California

Radical Matriarchs At Johansson Projects

Radical Matriarchs:  image courtesy of Casey Orr
Radical Matriarchs: image courtesy of Casey Orr

Radical Matriarchs brings together the work of Bay Area artists and wives Lena Wolff and Miriam Klein Stahl. For this exhibition you are invited to an intimate extension of Stahl and Wolff’s home, offering a glimpse into their lives together as artists, as a couple, as activists, and members of a broader community.

The exhibition features years of ephemera and selections of their private art collection, a well as modular furniture by local woodworker Nobuto Suga. Elements from their home are paired with paper collages and wood sculptures by Wolff that form an interplay of repeated interconnected cosmic symbols found in the patterns of 18th and 19th century American quilts. Linked to craft, female creative production, and folk art, her work adapts and upholds the American quilt as a formidable predecessor to geometric abstraction, minimalism, Op art, feminist art, as well as an emblem of democracy at large. Alongside Wolff’s pieces, Miriam Klein Stahl’s original papercuts from the New York Times bestselling children’s books Rad Women A-Z and Rad Women Worldwide populate the walls, celebrating the lost, incomplete or untold stories of countless women throughout time.

Together Wolff and Stahl have been a steady force in the arts, activist, and queer community of the Bay Area for over two decades. More recently, since the 2016 presidential election, they have placed their home at the intersection of these communities, providing a space for political activism and feminist meetings every month which take the name of Solitary Sundays. The duo is also behind the Oakland/Berkeley Stands United Against Hate posters, made in collaboration with designer Lexi Visco. This is the first time Wolff and Stahl have exhibited in a two-person show that focuses not just on their work but their lives together as artists and a couple.

Formed by Wolff in the summer of 2017, FUTURE CHORUS is an ensemble of over 25 artists, musicians, and friends who sing original and cover songs that are incantations to the forces that drive transformative socio-political movements -calls to love, empathy, resolve and the determination required to upend political disaster.

RADICAL MATRIARCHS: Featuring: Lena Wolff & Miriam Klein Stahl
Artist Reception: April 6, 2018 from 5pm – 8pm performance by FUTURE CHORUS at 6:30pm

Johansson Projects
2300 Telegraph Ave
Oakland, CA 94612


Pedro Maia, still from Value, 2017 - 18, courtesy the artist
Pedro Maia, still from Value, 2017 – 18, courtesy the artist

An evening of moving image, sound and performance that brings together artists whose work reflects on the physical effects of psychological experiences. The event is part of PS/Y’s Hysteria, a combined arts programme which explores health and illness in contemporary society, focusing on issues of gender, race and cultural identity.

The programme includes the premiere of a new moving image commission by composer Visionist (Louis Carnell) & filmmaker Pedro Maia, presented with a live score, as well as work by artists Imran Perretta & Paul Purgas and Last Yearz Interesting Negro / Jamila Johnson-Small.

Booking is essential.

This event has been curated by Mette Kjaergaard Praest for research, public engagement group, PS/Y. Supported by Wellcome Trust and Arts Council England.

When: Friday, April 13, 2018 T 7pm
Where: Clore Studio, £7/£5 Conc

South London Gallery
65-67 Peckham Road
London, SE5 8UH