Los Angeles-based painter June Edmonds takes inspiration from the multiple inflections of the vesica pisces. Known for her large, abstract paintings depicting vibrant energetic wheels and neutral flags, Edmonds draws upon her meditation practice and American history — often highlighting the undertold chronicles of Black Americans — to create works that slow the viewer down, encouraging us to contemplate the myriad energies (and histories) coursing all around us. 

Nine years ago, June Edmonds made a painting that, if not an immediate turning point in the 40-year development of her work, nonetheless signaled a direction that has lately come into full flower. “Gee’s Jungle” (2012) is included in the aptly titled survey “June Edmonds: Full Spectrum,” at Loyola Marymount University’s Laband Art Gallery in Westchester. The painting is composed of about a dozen mandala-like geometric disks of saturated color — the full spectrum — rendered in short, thick strokes of dense paint, each laid on with controlled concentration.

The post-pandemic era can offer rewarding challenges, as I found out when engaging in my first Zoom interview. I spoke with painter and educator June Edmonds on the occasion of her current 40-year retrospective at the Laband Gallery, Loyola Marymount University, and a simultaneous solo show at Luis De Jesus Los Angeles. 

June Edmonds is known for large-scale, dynamic abstract paintings that pay homage to African American figures and historical events. The concurrence of her 40-year survey, June Edmonds: Full Spectrum at Laband Art Gallery, Loyola Marymount University and an exhibition of her recent work, Joy of Other Suns, at Luis De Jesus Los Angeles is perfectly timed - during the current renaissance of Black art - for overdue critical recognition of her constantly evolving aesthetic style. The survey is accompanied by a 64-page catalogue with essays by Dr. Jill Monitz and Laband Art Gallery Director, Karen Rapp, that will be launched at the gallery in November and ensure her position in African-American art history. 

A brand new exhibit has graced the Laband Art Gallery, "June Edmonds: Full Spectrum", which displays her best works from the past 40 years. The exhibit ranges from her first-ever oil painting to her most recent American flag collection –– but all pieces emphasize her commitment to Black positivity. For the past four years, Karen Rapp has been directing and curating the Laband Art Gallery for students and Westchester locals alike. “I became aware of June’s work a few years ago through her American flag paintings series for which she has received much acclaim. I wanted to present this 40-year survey of her career because she has been making stunning works from a Black feminist perspective that speak to everyone,” said Rapp.

The vibrant, curvilinear abstractions of June Edmonds have a backstory. Calling to mind travel routes and topographical mapping, her latest works explore race, history, and the Great Migration, paying tribute to Black female pioneers and early Southern California landowners. This gallery exhibition coincides with “June Edmonds: Full Spectrum,” a 40-year survey of Edmonds at Laband Art Gallery at Loyola Marymount University in Los Angeles. Edmonds also recently installed a mural in La Jolla, Calif., and she is giving the Russell Lecture at the Museum of Contemporary Art San Diego on Oct. 27.

Full Spectrum is a 40-year survey of the work of Los Angeles-based artist June Edmonds, who has spent her career “centering Black American experience.” The show spans early portraits of herself and other Black women, prefiguring contemporary painters of African-American domesticity like Jennifer Packer,through recent abstract compositions made up of hundreds of individual, distinct brushstrokes. Concurrently, Luis de Jesus will be staging a show of contemporary work by Edmonds, Joy of Other Suns, up through October 30.