So, it’s been 15 months since I wrote my last piece for Drawing in a Time of Fear & Lies. I was then an obsessed newcomer to the world of politics and I have Trump to thank for that. It has only gotten worse. Every day starts with a morning cappuccino with Linda and a recap of the news from the previous evening, then eight hours in the studio listening to MSNBC and CNN, then news again all evening.
Fifteen months ago, Trump was just beginning to embrace his new position of power but now he’s well into the dismantling of our democracy. My emotions are whipped around all day long. Mothers are torn away from their babies at the border. Families living good, productive lives here are sent back to “where they came from” — a place some of them hardly know. The reversal of all that Obama put in place to protect our environment. The destruction of an educational system that was once the best in the world. The attack on our press, which is treated like an enemy. Taking away our rights as he edges closer and closer to a dictatorship. And the lies. The constant lies. So that we can hardly find truth anymore. So many gut-wrenching changes. It’s all so painful and heartbreaking. It leaves me feeling outraged, frustrated, fearful, vulnerable, and wanting to jump out of my skin to rid myself of him.
Impending began with the big black shape at the top of the painting. One day, in a conversation about the president, that shape came to me and I said to myself, “That’s Trump!” Working from my unconscious and a surface full of deep scratch marks, shapes emerged and, by the time it was done, an abstracted figure was draping over a big, grayish ball-shape. All this impending doom is hanging over me (all of us) and over this ball filled with warmth, love and tenderness. I desperately need to protect all that is good from Trump.
I hope, if again next year I write another piece, this black cloud called Trump will be gone, gone, gone.
The close, careful, and subtle observation I found this year is representative of precisely why I continue to gravitate to this fair.
How do we counter stereotypes about Black mothers, while stressing the importance of memory, determination, love, and corporeality?
An expansive exhibition on Adeliza McHugh’s influential Candy Store Gallery celebrates the whimsical, irreverent aesthetic that put California’s Sacramento Valley on the art-historical map.
With two stellar retrospectives, one time-based installation, and several commissions by local artists, the Phillips Collection has dedicated its galleries to highlighting abstract work by Black artists.
As we begin a new year, a small moment on Queer Eye makes me think about the profound effect our stories can have on each other.
Each fellow in this 10-month intensive in New Haven, Connecticut, will receive studio or office space, subsidized housing, and a generous stipend.
Some have criticized the racist monument’s planned relocation to North Dakota, near land seized from Indigenous people.
A group called the Boriken Libertarian Forces toppled the monument hours before King Felipe VI of Spain’s visit.
Graduate students in the University of Denver’s Emergent Digital Practices program work on research with faculty who are engaged directly with their communities, both online and off.
Still resonating with relevance, William Gropper’s incisive cartoons in defense of the WPA go on auction at New York’s Swann Galleries together with other works by celebrated WPA artists.
Archeologists excavating in Nijmegen, the Netherland’s oldest city, found the bowl in pristine condition.
A pioneer of street photography, Levitt worked in the most crowded and poorest neighborhoods of New York searching for the theater of everyday life.