111:, Born in Harlem, New York, Clark immigrated to Canada in 1968 and subsequently made Toronto her home. The questions of identity formation and their connection to our points of origin fuel her practice. Clark explores how history, memory, and identity—both individual and collective—have established the familial and artistic lineages that shape her work.
157:(1992), for the series of the nineteen black painderd filled series of nineteen black-painted cigar boxes filled with mementoes "are like a… residue, not that they’re leftovers, but the people they evoke are here." Following these works, Clark continued to create photographic and sculptural installations, exhibiting
144:(1989) being among her most well known images from this period. In these works, Clark repurposes family photographs, snapshots and negatives from her own documentary work, juxtaposing them with texts recalled from her childhood or appropriated from literature. Commenting on this pairing, Clark has said:
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Clark began exhibiting her work in the early 1970s in both New York and
Toronto; early group exhibitions include shows at The James Van DerZee Institute in New York City and at Harbourfront Centre in Toronto in 1975 and the Oakville Art Gallery in 1979. In 1974, she had her first two solo exhibitions
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neighborhood of New York City, Clark immigrated to
Toronto, Canada in 1968, leaving the United States during a turbulent period of protest and social change. Both cities influence her work, and Clark notes that upon first moving to Toronto, "It was both the discovery of the unfamiliar and memory of
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Best known for her photo etchings and sculptural assemblages, Clark's practice excavates her personal experiences to investigate themes of black diasporic identity, exile and memory work. She began developing her early photography work through the
Baldwin Street Gallery of Photography, co-founding
177:, "a personal lament for her homeland and the erosion of the values that shaped her identity." Made from bits of rusted metal that she collected from highways, this iconic work is Clark's rendering of the American flag as symbol of social disintegration.
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I know I have violated the photos by adding text and by editing out parts of the images when I wipe the etching plates, but they aren't about photography or printmaking. The images have become symbols of the people who have said these things to
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in Ottawa, part of the biennale Le Mois de la Photo à Montréal 1999. While living in Paris, Clark's work was also included in Le Mois de la Photo à Paris in 1994. She also had her first major solo show in a professional gallery,
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The Women's
Photography Co-op there in the early 1970s. Since then, her work has been exhibited in New York, Paris, Toronto, Montréal, Kiev and Quito, Ecuador.
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While Clark continued to participate in exhibitions throughout the 1980s, in the 1990s, her work was included in two major group exhibitions:
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In addition to regularly presenting her work over the past five decades, Clark has taught fine art courses at several institutions including
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the known that captured my imagination." After the move, Clark completed first a BFA in 1988 and then two years later, an MFA. at
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In the mid-2000s, Clark participated in two further significant group exhibitions; in 2005, her work was presented in
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Resource Centre (WARC) in Toronto in 2000. Then in 2004, Clark produced the mixed-media work
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Studio in Paris annually from 1993 to 1996. She has also received multiple grants from The
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Artist-in-Residence program from 1996 to 1997. Prior to that, she was also awarded The
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Hanna, Deirdre, "Minimalism meets with sentiment in poignant Family
Secrets boxes,"
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installation made its debut. Four years later, Clark had a second key solo show,
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Exhibition
Catalogue. The Robert McLaughlin Gallery, 2005. Retrieved 2017-02-06.
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Scissors, Paper, Stone: Expressions of Memory in
Contemporary Photographic Art
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Catalogue (North York: Koffler Centre of the Arts, 1994), p. 3.
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Clark began making her large photo etchings in the 1980s, with
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Blache, Pierre, Marie-Josée Jean and Anne-Marie Ninacs (eds.)
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Le Souci du document: Le Mois de la Photo à Montréal 1999
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for the Arts, and in 2007, she was a jury member for the
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Exhibition Catalogue (Toronto: The Power Plant, 1992).
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2016 Interview with the Artist on AGO Art Matters Blog
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Just the Facts? Contemporary Documentary Approaches
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257:in 1990, where the
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374:Langford, Martha,
343:Galerie du Jour –
259:Formative Triptych
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44:American, Canadian
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