Eyeing the Black Risk Takers of Paulson Fontaine Press


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David Huffman’s Basketball Pyramid (2007) is showing at the Bedford Gallery.

Photo by David Huffman

The San Francisco Bay Area is known for its political liberalism and tolerance, two qualities that would seem beyond reproach, but not, unfortunately, in today’s political climate. The cynical scapegoating of various minorities by Fox News and its friends and allies in the White House is bad enough; what seems to be a clandestine targeting of black men by police forces, designed to punish and intimidate, is, it seems, Trumpian America’s equivalent of the mysterious Russian-journalist purge.

Berkeley’s Paulson Fontaine Press, a respected and established publisher of art prints, represents some of the best artists in the country—some of whom happen to be black—about whom Rhea Fontaine writes: “These are the people who are taking risks that others aren’t willing to take, saying things that other people aren’t willing to say, seeing things that other people are not seeing.”

The group exhibition, Personal to Political: Celebrating the African-American Artists of Paulson Fontaine Press, was assembled by the Bedford Gallery, and will travel around the country for the next four years, so others will see (if they choose to). Wide-ranging in its focus, it combines the graphic work—as well as paintings, sculptures, and quilts—of Edgar Arceneaux, Radcliffe Bailey, McArthur Binion, the Gee’s Bend Quilters (Louisiana and Mary Lee Bendolph, Loretta Bennett, and Loretta Pettway) of rural Alabama, Lonnie Holley, David Huffman, Samuel Levi Jones, Kerry James Marshall, Martin Puryear, Gary Simmons, and Lava Thomas.

The works combine aesthetic form with sociopolitical content in varying degrees. Martin Puryear’s elegant etching, depicting one of his minimalist sculptures, Untitled (State II) (2004), and Loretta Pettway’s bold, resonant color etching, Remember Me (2007), replicating one of her quilts, are on the abstract side. Radcliffe Bailey’s In the Garden (2003), Gary Simmons’ Starlite Theatre (2012), Kerry James Marshall’s Untitled (Handsome Young Man) (2010), David Huffman’s Basketball Pyramid (2007), and Lava Thomas’s Fictitious Self-Portrait (2006) examine and extol black culture and history. A catalogue is available. Personal to Political runs through June 24, Bedford Gallery, 1601 Civic Drive, Walnut Creek, BedfordGallery.org    

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