It’s hard to believe anything that our newly crowned POTUS says or tweets is actually part of reality, which is why R. Sikoryak’s integration of Trump’s quotes into fictional comic book covers makes perfect sense. In The Unquotable Trump, one of the artist’s newest projects, the President plays villain after villain in popular, pre-existing comic book series, each time rendered in the style of the original artist. Every quote emitting from the Donald’s mouth is drawn from real sentences he spewed during the 2016 presidential campaign, and Sikoryak has also recently began adding new covers with quotes from Trump’s presidency. Browsable on Tumblr, The Unquotable Trump is also published by Birdcage Bottom Books as a miniseries of 16 covers.
Pretty much every one of Trump’s greatest hits has made the cut so far, including his jabs at women, immigrants, African Americans, Muslims, the lousy media, and climate change, to name just a few subjects that ruffle his finasteride-boosted hair. Sikoryak’s take on H.G. Peter’s Wonder Woman salutes women’s reclaiming of Trump’s “nasty woman” outburst, with the superhero delivering a fierce blow to her offender; Bud Sagendorf’s Popeye is now “Pop-ojo,” pummeling through a not-so-great brick wall to cut Trump off from his blathering; and in “Super Sad,” a riff on Curt Swan and Stan Kaye’s strips, the President mounts a building, King Kong-style, as he whines about fake news to a startled Superman.
“The idea occurred to me right before the election,” Sikoryak told Hyperallergic. “Trump had said so many outrageous things during his campaign that I wanted to catalogue them. There wasn’t just one quote — it was all of his insensitive, arrogant, and/or divisive statements, combined. It was important to me to only use Trump’s actual quotes, I didn’t want to put any words in his mouth. Once Trump became the president-elect, I felt I had to do it.”
Each panel is action-packed, with all details illustrated faithfully to their original series. Such sincere dedication to storyline flings Trump’s sayings further into the realm of the absurd, transforming them into true punchlines in isolated panels usually home to narratives of the impossible. Yes, Sikoryak reminds us, Trump really did go on and on about the size of his hands; and yes, on his Inauguration Day, he really did talk about God not making it rain on his speech (that’s an alternative fact, by the way). All of this was difficult to digest when the angry man first said it, and while the jokes still sting in these covers, Sikoryak has proven that comics are truly the most fitting medium to consume Trump’s words: they relegate his voice to a world wholly scripted and fantastical, to one designed to entertain.
Artist Minouk Lim wants to offer a very different perspective on how one might deal with a grim history whose effects continue to be felt in the present.
This week: Should Washington have a national memorial for gun violence? Have cats used us to take over the world? What is Cluttercore? And more.
Organizers, artists, and land practitioners are holding public events at Iglesias Garden in a hub space supported by the Climate Justice Initiative, a project of Mural Arts Philadelphia.
The artist’s style blends aesthetic and cultural elements from Ghana, London, and New York’s graffiti scenes.
Workers told Hyperallergic that they were tired of meager pay and a lack of job security.
Jo Sandman / TRACES opens with a reception for the artist on June 3 at Black Mountain College Museum + Arts Center in Asheville, North Carolina.
Authorities say Jean-Luc Martinez helped facilitate the Louvre’s purchase of objects illegally pillaged during the Arab Spring.
The suspects attempted to take a Basquiat artwork valued at $45,000 from Taglialatella Galleries but instead made off with a half-empty bottle of whiskey.
Funding MFAs and all full-time graduate degrees, the Paul & Daisy Soros Fellowships for New Americans supports immigrants and the children of immigrants in the US.
From music and architecture to comedy and horror, these films showcase Ukrainian culture and its long-held ethos of resistance.
The artists showcased in Archival Intimacies examine the colonial trauma’s impact on Asian Americans and search for ways to overcome it.
Eiffel inadvertently paints its protagonist not as a great man worthy of scrutiny or praise, but as the Elon Musk of his day.