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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 University of Virginia researchers wrote that the data “provides compelling evidence that these symbols are associated with hate.”
We are waiting for spectacle and when the quotidian, yet incongruous actions occur I wonder whether there is any real payoff coming.
Hear from Holly Jean Buck, Carolina Caycedo and David de Rozas, Simon Denny, Elizabeth Hoover, Renee Kemp-Rotan, Joseph Kunkel, and more at this free public event.
Tanega’s approach to mark-making comes across as stream of consciousness, as if she’s engaged in a conversation with herself.
Starting Monday, readers can borrow one of 50 rare and out-of-print titles, mailed to them completely free of charge, from Saint Heron Library.
EFA Open Studios offers a portal into the creative habitats of over 65 artists working in Manhattan’s longest-running studio program, including Dannielle Tegeder, Wafaa Bilal, Cui Fei, and Anina Major.
This is Yuskavage’s great gift, turning upside down our settled ways of thinking and seeing and, with ease, transforming the vulgar and ridiculous into the sublime.
51 international publishers and galleries showcase their latest editions in prints and artists’ books at this free public fair, which is fully online this year.
While hardly about the pandemic, or any of the other crises so afflicting us, all are invoked in this exhibition, which is also often tender and profoundly soulful.
These glowing, dynamic artworks reproduce something of Bosch’s chaotic energy, but on an immersive, multi-sensory scale.
This week, addressing a transphobic comedy special on Netflix, the story behind KKK hoods, cultural identity fraud, an anti-Semitic take on modern art, and more.