![](//photos1.blogger.com/blogger/4865/1912/320/Desk%20toss.jpg)
The two artists currently showing at
Catherine Clark Gallery address the public sphere, often by means of intervention. In Packard Jennings’s work, corporations are a favorite target, as they are in this show. One series of pigment prints employs the graphic style of instructional pamphlets to depict a revolt by corporate workers. The action starts with a man throwing over his desk (photo above, from gallery website). Other images in the 16-part sequence show general mayhem, toilets used as crop farms, and a hippyesque nirvana for the final panel (photos below, from gallery website).
![](//photos1.blogger.com/blogger/4865/1912/320/Office%20revolt.jpg)
![](//photos1.blogger.com/blogger/4865/1912/320/Toilet%20farm.jpg)
![](//photos1.blogger.com/blogger/4865/1912/320/Hippy%20end.jpg)
The graphics are engaging, but what sort of critique is this? You could read it as satire on naïve dreams of revolution, with the final panel as a grungy Sixties dead end. But Jennings is usually taking potshots from the Left, not picking apart the Left’s weaknesses. Maybe it's just a riff designed to refresh awareness of the artificial, locked-down atmosphere of corporate life—and the potential for subversive action. I gather that Jennings is planning to send copies of the images to corporate addresses. For this purpose, he has placed a receptacle in the gallery where visitors can deposit postage-paid return envelopes from junk mailings.
![](//photos1.blogger.com/blogger/4865/1912/400/Dulzaides%20med.jpg)
The other artist, Felipe Dulzaides, has been placing photographic billboards around San Francisco that reproduce details of the area in which they are placed. I enjoy seeing these around town but the photo documentation presented in this show seems a bit flat (example above). Also on view is a video by the artist that I did not have time to absorb on the first visit.
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