Art and Bombs



Part I

Phong and Sarah Nguyen Break into Blossom 2017 with Justin Shaw

As our horrifying President falls for the bullying of North Korea with threats, I am revisiting some important art work that addresses the topic of nuclear war and nuclear pollution. In Seattle, a current exhibition at the Wing Luke Museum of the Asian Pacific Experience called “Teardrops that Wound: The Absurdity of War” gives us stunning references to the bomb by descendants of survivors.

“The undetonated bomb is half sunken and surrounded by fallen cherry blossoms.”It is inspired by a chapter in Phong’s book “Einstein saves Hiroshima.” Phong imagines “icons of history make a different choice” it suggests a far different outcome from the death and destruction of dropping the bomb

Yukiyo Kawano Sad Tale of Tanuki

Yukio Kawano suggests the imaginary creatures of mythology in this “Little Boy” created from kimonos from Fukushima sewn with the artists own hair.


Part II History


2001: PLUTONIUM, MARCH 28, 1941,

Ann Rosenthal and Stephen Moore addressed this topic for many years and in many formats. They visited the sites of the tests, of the development of plutonium in Hanford Washington ( now being touted as part of the new Manhattan Project National Historical Park) and they went to Japan to the cities where the bombs were dropped.







Here is a review I wrote of their work from 1995. It is still important today “Nuclear Bombs, Nuclear History and Postmodern Politics”  first published Reflex Magazine, 1994 – 1995, Seattle ( I cut out the postmodern politics section, but you can read it on my website)


After a burst of attention following the television “docudrama’ simulating the aftermath a nuclear attack “The Day After, (aired by ABC November 1982) and the disastrous accident at Chernobyl (April 25, 1986) nuclear power is currently “out of fashion” as a publicized subject for political art. But as the risk of nuclear components in the hands of terrorists continues, as do the health hazards of its production and storage, nuclear power is still an issue and a presence that we cannot afford to forget.


The recent (1995)uproar in Congress and among veterans’ groups over an exhibition at the Smithsonian Institution in honor of the fiftieth anniversary of the dropping of the bomb reveals, atomic bomb history and nuclear power is still a carefully edited story. Ann T. Rosenthal and Stephen Moore in their installation  have produced a reminder, in response to that same anniversary, of the ongoing presence and dangers of contemporary nuclear power as well as a roadmap of that edited history.


“Infinity City” overlays and juxtaposes cultural artifacts in many media as a metaphor for the multi-layered and ambiguous presence of atomic and nuclear power in our lives and in history. It avoids the predictable quick hit cliches-there are very few mushroom clouds and they are small, encompassed in other imagery. The emphasis is much more subtle. It asks us to use our intellect as much as our emotions.
The exhibition has several parts.

The first part, “Tricity Trinity” marks a US map with the atomic triangle, the Pentagon, Los Alamos Scientific Laboratory, and the Hanford Nuclear Reservation. Invoking the latter are blown-up blue line prints of tight rows of the lethal, leaking waste storage tanks at the Hanford Plutonium Plant. The waste tanks are paired with the orderly suburban houses of nearby Hanford, Washington, a community built after obliterating the preexisting community.


The second part of the show “Eternity Ignored” includes manipulated photographs of the abandoned runways at the military base at Tinian Island in the north Mariana Islands (halfway between New Guinea and Japan).

An eerie antithesis to a South Sea paradise, the wide, empty runways have small signs landscaped with flowers that mark the deep pits used only once, for loading the huge atomic bombs Little Boy and Fat Man onto B 29 planes. The site is striking, according to the artists, for its lack of historical documentation, its air of a military ghost town. That sense of the horrific transformed into the trite and the obscure is captured in their understated images.

The third part of the exhibition is titled “Target Japan.” It includes paintings invoking Japanese scrolls that overlay an aerial photo of Hiroshima Ground Zero with the very young men of the crew of the B 29 and the current Peace Park at the site.  . . .

Marking the back of the exhibition, and metaphorically casting its presence over the entire show, is a full scale black outline of Little Boy.


But for Ann Rosenthal and Stephen Moore these objects are only a point of departure. They are hoping to generate awareness, questions and even activism. On a table are books such as “Nuclear Culture”, “Missile Envy”, and “The Day the Sun Rose Twice”, as well as clippings about the current health problems from the plutonium production plant at Hanford. A news article details an exuberant Tri Cities near Hanford as the recipient of huge clean up funds that are ensuring the economic survival of the city for years to come.


The artists want to not only reach people with the subject, but give them possibilities for expressing their feelings within the exhibition itself. They provided an area for adding a work of art or a written statement. One such piece was by a Japanese student who remembered, in a stirring drawing, the shock of visiting the Hiroshima Peace Museum as a child.


Residents of Eastern Washington State commented that they have relatives who are downwinders from Hanford, relatives who helped build the bomb, relatives who fought in the war.


Most believe that dropping the bomb ended the war and saved lives. These responses add more layers to the cultural history of atomic and nuclear power and make the exhibition more effective than the use of a more controlled, didactic approach.


The artists have on ongoing involvement with the subject. They believe that “the atomic bomb changed our whole perception of reality and the future.” In 1982 they created several performances in Los Angeles as part of a group of six artists called UNARM. The group focused on the death and horror from just one nuclear detonation and sought to “raise the public awareness of the irreparable consequences, both physical and psychological, of the folly of nuclear proliferation.”


. . . . .

Rosenthal and Moore communicate by undermining a simple and dominant cultural myth – that American technological brilliance solves problems, wins wars, and of course “makes everything all right.” Underlying it is our knowledge that technology is actually destroying the planet both physically and psychically, in the microcosm and the macrocosm. Infinity City presents fragments of the invisible presence and history of the largest and most obvious psychic and physical manifestation of that destruction and of the misplaced values of our culture, atomic and nuclear energy.


Note: This article was written in 1994. The project continued for many years. Stephen Moore died in 2006, but Ann Rosenthal continues to be actively engaged with opposition to nuclear weapons.

See Ann’s own discussion of her work.


Part III “It is Heavy on my Heart” (2002)

Artist’s Statement Gail Tremblay

Gail Tremblay Lung and Diaphragm Tumors in a case of Epithelial Mesithelioma with embedded sound


“I first became aware of the effects of nuclear pollution on reservations in the late 1960’s and early 1970’s when I began reading about rising cancer rates on the Navajo reservation. Because piles of radioactive dust and rock (tailings) from uranium mining had never been cleaned up by the corporations who did the mining, people living in areas on the reservation where the mining was done were suffering from the health problems associated with long term cumulative effects of radiation exposure.


Next, I heard about the effects of the Nuclear Testing of Atomic Bombs in Nevada on the health of the Shoshone peoples there. Then I heard about the negative health effects on Yakama and Coleville people caused by radioactive emissions and spills from the power plants at Hanford Nuclear Reservation where the earliest reactors were used to enrich uranium and create plutonium for the first nuclear bombs.


During the long period of the Cold War when several countries were testing nuclear weapons, people around the Arctic were exposed to large doses of nuclear fallout, and I began to hear stories about the health effects on Inupiat and Inuit peoples. Because indigenous people in all these places hunt and/or fish and gather local plant foods also exposed to radiation, native people concentrated much higher rates of radiation in their bodies than many non-native people in surrounding areas.


People who lived a less tradition life style and bought food in grocery
stores that was shipped in from less contaminated areas would still suffer from health problems, but generally there exposure levels were lower unless they grew and raised their own food.

At the same time, the U.S. government supported corporations like General Electric to develop Nuclear Power Plants, and this policy generated an incredible nuclear waste problem. U. S. officials eventually decided to look to reservations to create Monitored Retrievable Storage (MRS) facilities to house that waste while a permanent storage facility was built.

During the 1990’s, large amounts of money was paid to several tribal governments to do feasibility studies. When people in the various tribal communities being studied learned that their reservations were being considered, movements to stop MRS sites from being built divided communities into factions where large numbers of people didn’t want to risk radioactive contamination if an accident occurred. The U.S. government targeted reservations because they are by treaty sovereign nations and U.S. citizens in surrounding communities and states have no control over them. Many communities are still feeling the negative effects of this U.S. policy in their relationships and on their lives.


Current U.S. nuclear policy calls for building a permanent storage facility at Yucca Mountain, a place where much of the early testing of Atomic Bombs was done. Yucca Mountain lies on an earthquake fault and both the Shoshone people and millions of non-Indian citizens of the state of Nevada oppose this policy. Current U.S. Nuclear Posture Statements also call for the building of new nuclear power plants that will create more nuclear waste,the development of new, small nuclear weapons for use in “limited” nuclear wars, and the testing of these new weapons. One wonders how many more people
will suffer from rising cancer rates, birth defects and other health
problems related to nuclear pollution if such a policy is implemented.


Such policies are dangerous for all people on the planet, not just future enemies of the United States government, the only country to use nuclear weapons in war. But for people in indigenous nations who are most likely to be impacted by future mining, testing, or waste disposal, current nuclear policy statements are plans by the U.S. government to commit more, possibly genocidal, international crimes against humanity. It is immoral when a government endangers the right of peoples in nations inside their boundaries
to a healthy life practicing their traditional life ways on this planet,
Mother Earth, who has sustained life for countless generations. In the face of such policies, it is time for all Americans to stand up for the health of the planet and the health of all the beings on it. One needs to think about rising cancer rates among friends and relatives and to chose leaders who will make policies that are not quietly killing the people one loves.
Decisions that are not good for people being born Seven Generations in the future are bad decisions. No one should choose leaders who make bad decisions.

Gail Tremblay

Deborah Faye Lawrence: A Strumpet of Justice tells it like it is




In the window of Bonfire Gallery in the Panama Hotel, we see DeeDeeLorenzo (the artist’s alter ego) crying. She wears her signature flag dress, but now in somber dark shades, as she surveys the shambles of disheveled flags around her.


That sadness sets the tone for the cries or even screams in “Strumpet of Justice.”

In the title piece a determined female, plays an accordion emblazoned with a heart in the midst of  stars in a blue field, cut from flags. According to the artist, “a strumpet is a slovenly woman, a strumpet of justice puts aside lovelinesss in her efforts to change the world.”


We are immediately immersed in resistance on every wall as we enter the Bonfire Gallery. Flags surround us, but these flags do not wave in loyal patriotic gestures. Rather they speak to the artist’s strong message of opposition to what is happening in the world.

Lawrence has included some of her more crucial older works, particularly her two part Assassination Day Trays 2004 which recalls a personal experience on the day of Martin Luther King’s assassination.

Leonard Peltier Tray 2000 “honors the Native American activist who has spent most of his life in U.S. prisons” as the artist explains.


Also about Native Americans, American Amnesty Tray declares amnesty for white people by Indians.


But many of these works are recent or even just created in response to our current horrifying political situation.


Several themes appear repeatedly including feminism, concern for the planet, corporate exploitation, gun fanaticism, and manipulation of language. Sometimes the artist defiantly exposes evils, such as the ongoing destruction of the planet by corporations.

In Targeting the American Dream, 2011 * shown here in a detail) the target painted on the elk dominates a landscape littered with corporate logos and set in a centrifugal arrangement of flag stripes.




See How We Are, 2011 echoes the simplistic children’s book Dick and Jane but what we “See” are Corporate Logos everywhere.






On the theme of feminism, Eighty Words, (2014) declares that no matter how many crude expressions insult women, they still defy them all with an exuberant energy and solidarity.   Under the Banner, 2014 documents the many ways that a woman’s body can be occupied by corporate poisons.


The manipulation of language, always a favorite of the artist appears in Original Pledge, which documents the sources of the Pledge of Allegiance as written by Ralph Bellamy, a utopian thinker of the 19th century. Revisionism explains in detail how documents and prinicples have been “rewritten to the advantage of dictators,”


Finally, intersecting with her opposition to gun fanaticism is the manipulation of the second amendment which Lawrence spells out ( literally and figuratively) in two works on gun fanaticism, Open Carry 2016,  ( detail above) and NRA Sweepstakes. 2016.


But without question, a small recent work hits the nerve of our present moment most precisely. Called Ear Wax, it depicts a large ear on a yellow ground. The text around the outside describes the “overabundance of orange ear wax” that came out of her ear which is explained : “Fact: My body’s special defense system protects me from the foul deceptions which issues relentlessly from D.C.”

This work captures our bodily nausea and horror as we observe the arrogant and wanton efforts to destroy everything that we hold precious: our planet, our bodies, our diversity, our freedom, our basic belief in opportunity and health care for all. But as the Strumpet of Justice, Deborah Faye Lawrence, tells us, we can and must resist in every way that we know how. Pick your issue and get involved! We cannot afford to withdraw or give up. Our future is on the line.

Thank you Deborah for your inspiring work.


Immigration: Hopes Realized, Dreams Derailed The exhibition,the poetry and the music



Spaceworks Gallery Tacoma, June 20 – August 17, 2017 M – F 1-5

950 Pacific Ave. #205
Tacoma, WA 98401

(Entrance on 11th St.)

Third Thursday until 9PM. Multimedia Program August 17

Entrance Shot by Scott Story, Bioluminous, all photos with astericks by Scott Story


Only one mile from this gallery, in the toxic, industrial zone of Tacoma, the Northwest Detention Center, holds hundreds of detainees in a warehouse. Run by the for-profit corporation GEO, the government (that is us) pays more than 100. 00 for each bed occupied each night. The detainees do all the work of the center for $1. per day. They are treated like criminals, but they have committed no crimes. Crossing a border with correct visas is a “malum prohibitum” wrong only because the law prohibits it, not because it is morally wrong. (malum in se). It is a civil offence. People who have crossed borders without papers are escaping violence, and simply seek to support their families in safety. To get legal papers in Mexico or in the US is virtually impossible. The DREAM act first supported by President Bush in 2005 provided the crucial “path to citizenship” but it failed in the Senate in 2010.


But behind these facts and statistics are the personal stories of mothers, fathers, children, aunts, uncles, grandmothers and friends who live in fear every time they wake up in the morning, but resolutely go to work, care for their families, and maintain hope.

Children’s drawing created in response to question How have immigration laws affected you at a May Day booth organized by Susan Platt and Raul Sanchez

Children live in fear. Youth live constricted lives because they lack social security numbers, drivers’ licenses, even library cards. The Delayed Action for Childhood Arrivals (DACA) has given some of them a way forward, but the program can be cancelled at any moment.

At the same time, the deportation of parents make orphans and exiles of thousands of citizen children every year. Here is a pyramid of anxieties as illustrated in the book by Luis Zayas Forgotten Citizens, Deportation, Children and the Making of American Exiles and Orphans. The illustration is by researcher Joanna Dreby.


Hardworking families saving money from two or three minimum wage jobs lose it all to an unsavory lawyer. Savings for a college education goes to enable a deported father to return to his home and family. The vivid book by Roberto Gonzales Lives in Limbo Undocumented and Coming of Age in America describes these events as he follows children into young adulthood.

Eduardo Trujillo performing his poetry*

But there are also success stories, stories of resistance, of defiance, of courage. These are even less reported in the media, more frequently stories we don’t hear.



“Immigration, Hopes Realized, Dreams Derailed” suggests some of those stories of courage, of defiance, of perseverance, of hope and dreams, as well as including the dark side of immigration, most specifically here in Tacoma, at the Northwest Detention Center itself.


Ricardo Domingez poster at entrance*

The artists, poets, activists, and musicians in this exhibition and programming shed light on our current immigration policies, its damage to individuals and families, its injustice, its corporate roots, its absurdities and the courageous individuals who resist.


We include painting, sculpture, drawing, collage, glass art, film, photography, and video as well as poetry, music and spoken word. The works range from heartfelt to playful, from interactive to informative, from poetic to didactic. The artists, poets and performers include undocumented immigrants, former detainees, current detainees, DACAs, college students, self- taught artists, and professional artists.





At the entrance to the gallery, you see a painting by Blanca Santander, Esperanza Abandonada (Abandoned Hope)  depicting a doll impaled on the other side of a barbwire fence. Its poignant image of a child who has lost her beloved doll, crossing the line into another place, a child who has left behind childhood, familiar languages and culture, as well as a life close to the land, speaks directly to the hardships of fleeing home to enter an unknown place.


Tatiana Garmendia 3 Joses ( center) and A Green and Peaceful Neighborhood ( left and right) 2017*

In an alcove just to the right is the installation of the work of Tatiana Garmendia. Pale pencil portraits and texts  drawn on distressed handkerchiefs honor three generations of men in her family: grandfather, father and son (her brother).  We feel the tearing of family as the artist distressed the surface of the handkerchiefs. Her pale writing and drawing on the white background suggests holding onto a disappearing memory.  But she brings them to us through her poetic invocations.


The handkerchiefs are framed on both sides by embroidered doilies mounted on drone shots of a suburban neighborhood. On each doily the artist carefully embroidered brief searing references to a nighttime raid based on her own experience in Cuba, but as she states, “it can happen anywhere, anytime. Geographical differences and generational distance between persecuted groups vanish in light of human suffering.”

Maria de Los Angeles Undocumented 2016

Indeed, this emotional trauma is echoed in the drawing in the main gallery by

Maria De Los Angeles, “Undocumented,” in which we see a family trying to protect themselves and resist an invasion by ICE officials who spout off nationalist clichés. De Los Angeles, an artist who is undocumented, bravely explores the nightmares of detention raids in her work.

Maria de Los Angeles Holding Everything Up, 2016

She also honors those who work in her small drawing Holding Everything Up:  a man and a woman balance on a ball, as they struggle to support a floor that holds up oblivious party goers.




The video viewing room includes several videos, two by Tatiana Garmendia.

Tatiana Garmendia Still from video Border Crossing

In Border Crossing, 2015, the artist lies almost naked face up, with eyes staring, as we hear a partially coherent series of phrases “the mouth of the border has nothing to say; my border is a mouth; you crossed with nothing to say; why did you cross my home,” and many more variations on these words taken from Reza Mohammadi’s poem “You Crossed the Border.”  The motionless body is spotlighted from above, as though a surveillance airplane has found her.


Viewing the Unravelling*

Garmendia’s animation The Unravelling, 2017 functions as both a prose poem and a visual journey that dramatically tells of her father’s arrest and her mother’s grieving.

Detention Nation an activist artists’ collective based in Houston, present their installation Sin Huellas (Without a Trace), through the video by Brenda Cruz-Wolf. Sin Huellas recreates the inside of a detention center, with lined up bunk beds and toilets conveying the complete lack of privacy in these facilities. Videos, letters and artwork document the horrifying day-to-day experiences of detainees.

The Wall, by Hide and Seek Productions, is an animation of a grandmother and her grandson fleeing a flaming city, and their struggles to survive and escape a refugee camp next to a wall.

Finally, Think Like a Scientist: Boundaries, gives us the photographer Krista Schlyer who spent the last seven years documenting the environmental effects of the U.S./Mexico border wall, and biologist Jon Beckmann, who studies how man-made barriers influence the movement of wildlife.  The video combines animation and film to highlight the huge ecological impacts of a dividing wall on animals that traditionally migrate through this border territory.



Clarita Malla left, MalPina Chan prints on wall, Pavel Bahmatov central display*


Inside the gallery, we immediately face the stunning work of Pavel Bahmatov, purses, boxes, and other objects, created when he was detained in the Northwest Detention Center(NWDC). Using ramen wrappers and dental floss, Bahmatov weaves together objects of great beauty. He speaks of alleviating the immense boredom of detention by making these objects. Bahmatov was abruptly moved to the Dalles in Oregon this spring. He is currently at a County Jail, an even worse environment that the Northwest Detention Center.

Detail of hats by Clarita Malla*

Currently in the NWDC Filipina Clarita Malla creates woven scarves and hats as her ongoing separation from her family and her grandchildren endlessly stretches from one hearing to the next, from one month to the next.

MalPina Chan A Nation of Immigrants in Pursuit of Happiness, 2017(left) and Underneath it all, we are all the same, 2017 (right

MalPina Chan, in her subtle layered works, speaks of the hypocrisy of our policies compared to our rhetoric, as well as pointing out that “we are all the same” in a dramatic count of the bones, organs, and amount of water in every human.


Deborah Faye Lawrence Game of the Occupied States

Deborah Faye Lawrence’s intense bright red “tv dinner tray” collage Game of the Occupied States, (“Buy and Sell from Coast to Coast”) provides a chilling image of a police state with surveillance towers punctuating a border fence around the whole country. Criss-crossing the country are tanks, soldiers, and transports run by prison companies.

Janice LaVerne Baker, Immigration, 2014

Janice La Verne Baker quietly conveys the anxiety of confrontation with immigration officials,

while Arni Adler speaks to the same subject in Ushering In ( above right) and the Welcoming,( above right) painted in direct response to outpouring of protest to the “muslim ban” that the current administration attempted to introduce in January.

Devin Reynolds’ bold paintings provide an historical as well as a humorous reference to the unavoidable fact that racism underlies the entire subject of immigration, from the first white settlers to the present day.

Pam Orazem*

Pam Orazem amusingly caricatures the power games of the manipulators of immigration policy.


Andrea Eaton’s silkscreen print Guadalupe Garcia,




Marilyn Montufar*

Marilyn Montufar’s photograph Dani (one of a series following Dani’s life) both refer to women who face the challenges of deportation. Montufar’s small portraits on glass pay homage to two of the many women who have lost their lives in Juarez, Mexico as they attempted to make a living at the maquiladora factories on the border.

Christian French INS Game*


Christian French invites us to play a board game. He suggests the constant back and forth of the Naturalization process, with one step forward, and two steps back. The original of this work is embedded in the floor of the old INS (Immigation and Naturalization Service) building in Seattle, that has been transformed into artists’ studios. The fact that that center included Naturalization whereas the Northwest Detention Center serves, with only a few lucky exceptions, as a way station to deportation, tellingly exposes the shift in our policies to increasingly draconian approaches.

David Long painting mural*


David Long’s

mural partners

with our video “Sin Huellas” (without a trace). He gives us the words of the Hunger Strikers demands at the NWDC. We see the terrible conditions the detainees are subjected to when we read this letter. None of their demands have been met.

Nearby the writings and drawings by children created in a May Day project with Raul Sanchez and myself in 2016, speak loudly to the trauma of immigration policy as it strikes the young.


Ricardo Gomez created a group of sculptures from found shoe shine boxes. As we open each box, called Portrait of a Migrant, we see our face reflected back from a mirror inside.  We all migrate, he says, we all move from one place to another, adjust to new cultural contexts.

In Two Sides of the Wall, he simply placed a saw diagonally across a labyrinth game, with workers made from Lego pieces on each side.


The interactive poster, Where do your ancestors come from? Invites us to add our own information going back four generations.




Last, Gomez in collaboration with Angie Tamayo assembled the Mi-gra-tion book in a flip flap format, here embroidered by a Woman’s Collective in Oaxaca. Migrants tell their stories. As we “flip-flap” through the three part texts and photos, we hear shared experiences in many voices.

There are two groups of work in the exhibition First there are selections from the 2012 Migration Now portfolio (organized by Justseeds/CultureStrike).

Installation Migration Now*

Viewing Migration Now*

The Migration Now portfolio created by nationally known artists includes reference to many aspects of the immigration crisis, including corporations profiting from the detention centers and the devastating impact of immigration policies on indigenous peoples, families, children, LGBTQ, and Muslims. Some confront the environmental catastrophe of the wall, reinforcing our video Think Like a Scientist: Boundaries


Migration Now Portfolio artists, sponsored by Justseeds /CultureStrike: Lalo Alcaraz, Santiago Armengod, Felipe Baeza, Jesus Barraza Melanie Cervantes, Raoul Deal, Emory Douglas, Molly Fair, Art Hazelwood Ray Hernandez, Nicolas Lampert, Josh Mac Phee, Dylan Miner, Oscar Magallanes, Colin Matthis, Fernando Martí, Oree Originol, Favianna Rodriguez, Roger Peet, Shaun Pete Yahnke Railand, Julio Salgado, Silfer and Janay Brun, Meredith Stern, Mary Tremonte, Erik Ruin, Kristine Virsis, Ernesto Yerena

Viewing Arni Adler and student portfolio

Second there is the group of posters by Beverly Naidus’ students from the class “Art & Global Justice,” at the University of Washington, Tacoma. Here is a selection of them

Cassandra Green My Dream was an Illusion

Josephine Green Fenced In

Leni Reinwald

Karla Gonzalez La Jaula D’Oro

Krystal Hedrick Practice Resistance

Art and Global Justice Project artists, taught by Beverly Naidus, artist/writer/activist and associate professor of interdisciplinary arts, UW Tacoma: Diana Algomeda, Fazeema Bano, George Camacho, Emily Clouse, DA James Christian Flores, Karla Gonzalez,  Cassandra Green, Josephine Green, Ryan Hanley, Krystal Hedrick, Natalie Lawrence, Wesley Scott, Carolyn Reed, Levi Reinwald



July 20

Smokey Wonder, hip-hop free form DJ, Mr. Wonder seeks to unify today’s music with that of the past, creating interesting and unique sonic compositions glo’d up with scratches, beat juggling, mixing, and blending techniques to rock the party.

Ricardo Gomez, Associate Professor at the University of Washington Information School, and faculty affiliate with the Latin American & Caribbean Studies Program and the UW Center for Human Rights. He specializes in social dimensions of the use (or non-use) of communication technologies, especially in community development settings. He will be presenting selections from migrant stories included in Fotohistorias, and Mi-gra-tion.


Eduardo Trujillo, passionate refugee who seeks for a way to bring peace of mind to those incarcerated and or in fear of deportation. Eduardo brings hope to people through music and spoken word.

David Garcia, artist from Walla Walla, writes multicultural poetry to express his ideas and to give hope to people.

Raúl Sanchez, bilingual poet, an interpreter, translator, a 2014 Jack Straw Fellow, Poetry on Buses judge, a TEDx participant, human rights advocate and a mentor for the PONGO program in the Seattle Juvenile Detention Center

Maiah Alicia Merino, Mexican-American Indigena writer, writes poetry, prose, short stories and plays.  Maiah weaves culture, language, present and past to bring vibrant characters to life–speaking life into the shape of the stories.

Marcus Berley, poet, has written a dozen volumes of poetry, mostly in the short, simple style developed over the centuries in China and Japan.  For the past 5+ years he has worked professionally as a psychotherapist, primarily with children and adolescents.

Anna Bálint, poet, is the author of Horse Thief, a collection of short fiction spanning cultures and continents and two earlier books of poetry. She recently edited Words from the Café, an anthology of writing from people in recovery.

Here is Scott Story’s vimeo about the performance evening.


August 17

Tello and the Invisibles. The new song or La Nueva Cancion, of Latin America is a musical movement that has its roots in folk music and expresses the concerns, hopes and struggles of the people. It is music with a social message. Not necessarily protest music, but music that speaks of love, hope, justice and equality.  La Nueva Cancion is the voice of human rights. It is music by the people for the people.

Maru Mora Villalpando, Bellingham, Wa, Bellingham, Wa, is community organizer, founder of Latino Advocacy, member of the National Campaign Not One More Deportation and co-founder of NWDC Resistance

Gabriella Gutiérrez y Muhs, Ph.D. is the author of several collections of poetry, including the recently released The Runaway Poems, addressing the epidemic of runaway youth.  The daughter of immigrant farmworkers from Durango Mexico, Gabriella Gutiérrez y Muhs has represented the United States abroad as a Chicana poet, in several countries.

Marcos Martinez is Executive Director of Casa Latina, a worker center in Seattle, WA. Casa Latina serves immigrant Latinx day laborers and domestic workers through employment, education and community organizing. Marcos formerly served as Executive Director of Entre Hermanos, a nonprofit Latino LGBTQ community. Before moving to Seattle, Marcos spent 20 years working at community radio KUNM in Albuquerque, NM.

Rocio Lopez, daughter of Angelica Guillen, is reading poetry by her mother. Angelica Guillen, Professor of Composition and Literature, Skagit Valley College: 1992-2010. Cesar Chavez Human and Civil Rights Award in 2010.  Her heartfelt poetry comes from her life experiences as a Campesina for 18 years, working in Skagit Valley fields while living in a migrant labor camp outside LaConner, WA and her lifelong experience as a Latina woman.


Zhi LIN: In Search of the Lost History of Chinese Migrants and the Transcontinental Railroads


As we enter the exhibition “Zhi LIN, In Search of the Lost History of Chinese Migrants and the Transcontinental Railroads,” we face a large scale pale ink drawing of a wide railroad track that recedes rapidly into the distance in an empty, desolate landscape with the title “Golden Spike Celebrations-Chinese Workers’ Vantage Point of Andrew J. Russell’s Champagne Photo Site 2008.” Here we see the drawing with the artist posing in front of it.


In the drawing, there is no one in sight. And that of course is the point.

At Promontory Point Utah, on May 10, 1869, the transcontinental railroad connected the United States from one coast to the other. Andrew J. Russell memorialized the event in his iconic photograph “East Meets West at the Laying of the Last Rail.” In the photograph two engineers hang off the facing steam engines holding bottles of champagne, as the leaders of the two railroad lines shake hands.


The  Chinese workers who constructed the railroad from California to Nevada are nowhere to be seen.


Every summer that event is re-enacted. Every summer the exclusion of the Chinese workers continues.


The backbreaking work by Chinese Migrants in subzero winter storms and blazing summers, hacking tunnels through solid rock in Donner Pass, working twice as fast as other workers, losing their lives in the hazardous work and through the vigilante murders of those who stayed on, all of that history had been expunged, deleted, unrecorded.


Zhi Lin, Professor of Art at the University of Washington, has spent many years unearthing scanty records and material remains, as he followed in the workers steps and empathized with their experiences.


He thought carefully how he could make their history come alive. He did not want to simply create imaginary realistic portraits. The result is this extraordinary exhibition.


“Zhi LIN, In Search of the Lost History of Chinese Migrants and the Transcontinental Railroads,” ranges from almost abstract paintings that unscroll across long walls to tiny ink drawings.

Entirely filling one wall, a video projection of a slow moving steam locomotive moves toward a facing locomotive The engines stop with enough space for two engineers to hang off the front, as they clink their bottles. But in this film, we see the engineers from the back. Zhi Lin photographed the reenactment in 2014 from behind the trains. His film has the title “ ‘Chinaman’s Chance’ on Promontory Summit: Golden Spike Celebration 12:30 PM 10th May 1869, 2014.

The engines are in the forward plane of the film space, creating the effect of sitting directly on top of the 5 tons of rock ballasts, the supports for railroad tracks. The rocks are piled on the floor of the gallery space. Looking closely at the stones, we see names written in red. They suggest a giant graveyard for the Chinese workers with the materials of the construction of the track. But the names repeat over and over. The artist wrote the few names of Chinese workers that he found in railroad pay records, but he believes even those names, supposedly of leaders of groups of workers, were actually made up nicknames.


The film lays out the facts:

“During road construction, several thousand of [the  Chinese workers] were badly injured and disfigured, and at least 1,300 lost their lives.  The dead were never counted, nor have they been memorialized. From shallow graves along the roadbeds, some 12,000 pounds of bones, about 1,200 workers, were gathered and shipped back to China.”


Chinese migrants, originally drawn to the US by tales of golden mountains, often ended up working in mines. Their incredible work ethic and skill soon led them to be recruited for the excruciatingly difficult job of digging tunnels through solid rock in the Sierra Nevada what Charles Crocker, an owner of the Central Pacific Railroad referred to as “bone-labor.”


Lin forced himself to re-experience the conditions of these workers by revisiting the sites of their labor in the same weather conditions in which they worked:

“I descended deep valleys and icy tunnels, crossed rivers and streams, climbed snow hills, cliffs and summits, walked on flat-burned campgrounds and along railroad tracks and paid tributes to Chinese graveyards. I made a special trip … facing the winter elements.”

His delicate ink drawings of these sites ironically adopt the romantic approach to landscape practiced in Europe. This work (above) has the title “Railway Tunnels on Donner Summit, California – A Rectification to Albert Bierstad’t Donner Lake from the Summit” ( see Bierstadt below) which romanticizes the view and obscures the tunnel.


The next chapter of the story, The Chinese Exclusion Act of 1882, triggered vigilantes to expel the Chinese from communities in the Northwest and California, from Tacoma in 1885, Seattle in 1886 and from hundreds of other towns where racists burned entire neighborhoods and even massacred hundreds of people.

To honor these nightmarish tragedies, Lin turned to very long narrow almost abstract painting with titles like Snowstorm on the Cascade Summit Switchback” and “Sunset on Cascade” 2016. These intricate works on Chinese paper combine woodblock printing and painting; the closer we look, the more we see.

Lin anchored the abstractions with found objects and shapes as references to the vanished workers such as the frog fastenings on their jacket, or the ghostly outline of a worker carrying a pair of buckets on a long pole on his shoulders

First we see the large hieroglyphic, calligraphic drawing which suggests a figure, then the stunning gestural detail and finally the layered abstractions of the background.


The last component of the exhibition focuses on Tacoma itself, and the horrifying expulsion of the Chinese on a cold rainy day in November of 1885, driven out by hundreds of vigilantes, armed guards, including even the Mayor.


For this topic, Lin created a more traditional scroll in scale and style depicting the 197 Chinese workers, their elders and their children as they struggle down Pacific Avenue, on the way to the Lakeview Railway station.


In addition, small ink drawings meticulously record the details of the expulsions and subsequent burning of Chinatown. One drawing is inscribed in part: “Elderly and sick Chinese rode on the wagons, the rest followed on foot, wrapped in blankets, carrying possessions on their backs. Some Chinese walked barefoot on the muddy road, and many cried.”


Another states, “The station master sold 77 tickets to the Chinese who could afford the train to Portland. Others were loaded on boxcars on a freight train next morning. For several days woebegone Chinese could be seen walking south along the tracks. Among the Chinese, two elderly people died from exposure.”

Lin pursued detailed research to create these works and captions. In the exhibition we can glimpse one part of his research, a map that marks the Chinese businesses and homes in pink, prior to their destruction.


Lin’s training in both Eastern and Western art techniques and conceptual thinking enables him to draw on every style, and transform it to tell this story, so crucial to changing our understanding of the history of the US.


Congratulations to the Tacoma Art Museum for supporting the painful exposure of a part of the city’s history that had been forgotten. The exhibition continues until February 18, 2018. It is accompanied by an thoughtful and fully illustrated catalog.

Margaret Fuller 1810-1850-From Transcendentalist Philosopher to Investigative Journalist




**Last week, as I gazed out into the ocean at a sandbar just offshore from Point O’ Woods, Fire Island, I found it hard to believe that on July 19, 1850 Margaret Fuller, brilliant member of the Transcendentalist circle, feminist, and journalist, drowned there as her sailing ship lay aground in a raging storm.


I was standing on that beach because my brother, Alexander D. Platt, had organized Margaret Fuller Day in Point O’Woods to honor the memory of this extraordinary woman. The guest of honor was Megan Marshall who won the Pulitzer prize for her book Margaret Fuller A New American Life.   In addition we heard from two speakers on “Margaret Fuller’s 1844 Journal and its Unfolding Stories,” Finally we had a lively presentation on the shipwreck itself and the shortcomings of rescue techniques in 1850.


In these presentations, Fuller emerged as a pioneering feminist, philosopher, and journalist at a time in the 1830s and 1840s when women had little freedom to speak, write, or even think for themselves.Fuller planted the seeds for radical women in Boston that led to the feminist movement in the United States which began in earnest in 1848 at Seneca Falls.


Why did she drown off the coast of Point O’Woods?? Fuller had sailed from Italy where she had been reporting on the Italian revolution (note how extraordinary that fact alone is),  had fallen in love with an impoverished radical count, and had a baby out of wedlock. Fuller  was a radical women who ignored social mores, believed in the equality of the sexes, and pioneered fearlessly in everything she did.



But the sailing ships of the 19th century were fragile in the face of wild storms and to be shipwrecked was usually fatal.


She, her lover (possibly her husband) and her baby all drowned in the shipwreck caused by the incompetence of a substitute captain ( the captain had died of smallpox shortly after the departure from Italy.) The ship was a sailing ship, (steamboats  cost more and she was impoverished), it carried a marble statue by Hiram Powers of John Calhoun commissioned by the city of New Orleans and other marble. The marble cargo meant that the ship could not get off the sandbar where it had run aground, and it was gradually torn to pieces by a storm.

A few crew members swam ashore, the captain’s wife came ashore on a specially rigged line (as in Homer’s Life Line, a more organized version of that process) , but Fuller refused to leave the ship, her baby and her lover, she did not know how to swim. They all drowned. Meanwhile on shore scavengers ignored the stranded people and collected the ship’s cargo. At that time no manned lifeboats existed on the shore. (The image above is imaginary and apocryphal, reducing Fuller to a passive traditional woman.)

But the main story is Margaret Fuller herself and the context in which she developed. She was blunt, outspoken and brilliant at a time when few women spoke at all.  Her brilliance was the direct result of her education by her father, who taught her from a precocious age, and her own self education. She went from studying Latin at the age of six to exploring conditions for women in prisons as a journalist in the 1840s.


Margaret Fuller stood out among the free thinkers who congregated in Concord Massachusetts in the late 1830s and 1840s around Ralph Waldo Emerson. She was a dazzling presence among the men of the Transcendentalist circle, all of whom, had women to support them.


Thinking it would give us insights into that Transcendentalist circle (wonderfully described in Susan Cheever’s book American Bloomsbury) my husband and I went to an exhibition at the Pierpont Morgan Library “This Ever New Self, Thoreau and His Journals.” The exhibition honors the 200th anniversary of Thoreau’s birth.


What we learned is that Thoreau is the polar opposite of Margaret Fuller, suggesting the breadth of the transcendentalist movement. He was an introvert who spent a lot of time alone, looking at nature, recording its changes, supported financially most of the time, by the money of other people, as well as in his personal needs by his mother. Fuller was an extrovert and a single woman.   She had to support herself, and frequently she was supporting her family as well.


Still, before returning to Fuller, I want to mention that as a writer, I loved the Thoreau exhibition, even though he had little to do with Margaret Fuller.


The exhibition outlined his interests and his politics. Coming from an elite Harvard education, as did Emerson (but not Nathaniel Hawthorn or Bronson Alcott), Thoreau took the transcendentalist resistance to conventions the farthest, he shed all social expectations, almost all possessions, and  spent much of his time observing and recording the details of the natural world.  But he shared his amazing knowledge as a teacher ( Louisa May Alcott as a young girl was his pupil and had a crush on him), and,  in his well known writings.


The central idea of the Transcendentalists was that nature is the source of true spirituality, more than any God constructed by organized religion. But humans fail to recognize their mystical connection to nature in their distraction with material possessions. Emerson first developed this in his essay on Nature in 1836.   But Thoreau went much further in his immersion in the minutiae of nature itself. As a result of his detailed observations of birds, flowers, trees, insects and so much else, his journals are a useful reference today as climate change eliminates so many species, and the dates of seasonal blooming changes radically. (See Walden Warming, Climate Change comes to Thoreau’s woods, by Richard B Primack)


At the same time, he participated in the world. The exhibition highlighted Thoreau’s fervent defense of John Brown (an odd campaign for the peaceful men of Concord, which Susan Cheever finds horrifying and based on their naivete) , his disdain for a government that justified slavery, his assistance on the escape of slaves to Canada.


Another section addressed his knowledge of the indigenous people of Concord, the Wampanoag. He learned their language, he discovered their artifacts, he respected their beliefs. Indeed his perspective on nature is much closer to indigenous beliefs in the continuity between ourselves and the natural world, than that of the Enlightenment in which we are the conquerors of the natural world.


As a writer, I was most excited by his process: he  walked about with small scraps of paper on which he made notes, he then transferred these to a journal, from that journal he excerpted for lectures, and edited sections for books. (I kept thinking of my own utterly disorganized journals that hopefully no one should or will ever read).


Although Fuller of course knew Thoreau in Concord as she spent more and more time there with Emerson, as the editor of the

literary/philosophical magazine the Dial in 1840-42,  her main focus was philosophy, words, ideas, thoughts, literature, writing and above all conversation and social connections in the most positive sense of substantive friendships. She and Emerson had an intense relationship, although probably not a sexual one. ( as was also the case with Nathaniel Hawthorne).


She invited many women to contribute to the Dial, and wrote fervently on the equality of men and women ( see below).


As a critic, I particularly appreciated her writing on criticism, in this passage showing both her acerbic wit and her sharp insights:   “Essays, entitled critical, are epistles addressed to the public, through which the mind of the recluse relieves itself of its impressions. . . . Or they are regular articles got up to order by the literary hack writer, for the literary mart, and the only law is to make them plausible… Critics are poets cut down, says some one–by way of jeer; but, in truth, they are men with the poetical temperament to apprehend, with the philosophical tendency to investigate”


In other words to be a good critic you need to be a philosopher, poet and observer. I like that idea.


Most of the Transcendental group were entirely broke, most of the time. Ralph Waldo Emerson, who had inherited money from a young wife who died young, supported almost everybody.  Fuller edited the Dial without  pay – she supported herself with occasional teaching and “conversations,” held at a bookstore run by Eliza Peabody, another feminist and first female publisher in Boston. These all female conversations among the intelligentsia of Boston became a strong foundation of the suffragette movement.


Ralph Waldo Emerson suggested that Thoreau submit a piece to the Dial. Fuller rejected it with caustic words   “the thoughts seem to me so out of their natural order, that I could not read it through without pain. I never once felt myself in a stream of thought, but seem to hear the grating of tools on the mosaic.  “


Fuller had to make a living, so she boldly moved on to New York City to be the first female journalist for a major newspaper, invited by Horace Greeley, editor of the New York Tribune. She pioneered front page stories on orphan asylums and conditions in women’s prisons.  She convinced the newspaper to send her to Europe to cover the 1848 uprisings there and that is how she came to be on the sailing ship Elizabeth, after reporting on the Italian revolution. Thoreau himself went to look for her lost manuscript about the Italian revolution, but he came back without it.


But in the end, going to the beach at Point O Woods, a stunning expanse of uninterrupted ocean ( very different from our rocky cliffs and steep forests here on the west coast), all I could think of was how close to shore the sailing ship went aground, only 50 meters and how incredible that Margaret Fuller and her family drowned there, with scavengers standing on the beach.

In Point O Woods, a gazebo was erected in honor of Fuller, (the dynamic women’s committee wanted a library, but the men of Point O Woods only approved a gazebo. It washed out to sea a few years later.



But there are other memorials to Margaret Fuller in Boston and Cambridge, as detailed on this blog.


Her greatest monument though is her own writing. Women of the Nineteenth Century, expanded from her 1843 essay in the Dial advocating equality of the sexes “The Great Lawsuit: Man vs Men, Woman vs Women.” She was way ahead of her time in suggesting that “there is no wholly masculine male and no purely feminine woman.” Her letters reveal her deep friendships in My Heart is a Large Kingdom, her book Summer on the Lakes in 1843 on her trip on the great lakes (going on steamers from one place to another) marks a particular time and again her perceptions are far ahead of her contemporaries.


She describes staying on  Mackinaw Island where Chippewa and Ottowa tribes “are here to receive their annual payments from the American government. As their habits make travelling easy and inexpensive, neither being obliged to wait for steamboats or write to see whether hotels are full,  they come hither by thousands and those thousands in families, secure of accommodation on the beach and food from the lake. ” There follows a rant on the iniquities of so called Christian traders who offer the Indians rum in order to take advantage of them.


My local public library even had Life Without and Life Within, Reviews, Narratives, Essays and Poems, published by her brother in 1895. In it I found her review of Frederick Douglass’s newly published autobiography, Narrative of the Life of Frederick Douglass published by the Anti Slavery Office in Boston, 1845. “It is an excellent piece of writing and on that score to be prized as a specimen of the powers of the black race, which prejudice persists in disputing. We prize highly all evidence of this kind, and it is becoming more abundant.”


Fuller,  like all the Transcendetalists, immersed herself in German philosophy, and classical literature,  but she moved on to address the world as she saw it in the 1840s, a world of inequalities, of slavery, of exploitation. She courageously opposed in her life and in her writings, the oppressions of traditional social and religious practices and the repression of women.


I wish she were here today with her incisive writing. We need her fearless voice to address the ignorance and hypocrisy of our current leaders as they celebrate escalating oppression in the guise of “freedom.”


** I have been away from this blog since February because I had knee surgery.  I am still not going to large exhibitions, but here is my modest return.

Kerry James Marshall Maestro and Shaman


Kerry James Marshall. A stunning retrospective exhibition at the Met Breuer featured room after room of his magnificent paintings, filled with magnificent people who are very black, blacker than real African Americans to the point of being confrontationally black for a white museum audience. These black people are how white people see black people, all one shade of darkness, an absence in the landscape, a trope of fear, a criminal, a threatening presence. Black person coming? Time to cross the street.


But wait. These black people are simply living their lives, they are living in the housing developments that were built to provide a utopian future for impoverished people. The developments had lawns and playgrounds. The city has public parks to play in. That was enough wasn’t it? As in my photograph taken not far from the North end of Central Park in New York City, these were “wonderful communities”. So what are these people doing?


They are enjoying life, they are walking hand in hand, they are riding bicycles, they are celebrating Easter. But who are they looking at? Usually, not each other. Or if they do look at each other, their eyes also seem to look out toward us at the same time, as in the Wentworth Gardens painting “Better Homes, Better Gardens”. They seem on guard, as though these pastimes are somehow going to be taken away at any moment. They are frozen, not moving, not joyful, not relaxed. They live in the grip of a dream of life, a life free of surveillance, crime, dirt, broken elevators, overflowing washing machines, petty thieves, poverty, gangs, children who die, husbands who vanish or get shot, wives who die. No, none of those aspects of life are depicted here, but they lurk just under the surface.The surface paint patterns, suggesting overgrown flowers or fountains slightly out of control, are more like graffiti or something more generic, simple defacement.


Children have dates on them, the date of their death.


Fathers dig holes – are they graves? The lid of a picnic baskets becomes a shield. These people are striving for life, they are taking what is offered as much as they can, but it can disappear any minute. And the disappearance is because of who these people are staring out at, outsiders, white people, police, drug dealers. Invisible in these paintings, next to these ordinary people trying to live their lives, are all those threats. These are Kerry James Garden Series.


In his retrospective, racism, darkness, fear, death lurks behind every single painting, sometimes obviously, sometimes more subtly. Marshall honors African American as well as white heroes, he memorializes those who have died in the cause of freedom for slaves, or former slaves. He knows his history, and he honors those who died such as the Stono Group ( a little known slave uprising in 1739)and Nat Turner, much less lionized than the white John Brown.


Nat Turner with the decapitated head of his master shakes up a white viewer. We are used to dead “others” or historic long time ago dead, but here is a white “master” from the US decapitated by an uprising slave! Wow.


But Marshall confronts other prejudices. He gives us love. We white people do not think of African Americans as enjoying love amongst themselves because we are obsessed with their sexuality as a threat to us. The black white divide has always “swung” on that fear. Marshall not only gives us loving couples, he gives us eroticism, black naked women and men, he gives us romance.


Last he gives us art, he gives us art history, he brilliantly quotes our most famous historical icons, Winslow Homer, Edward Hopper, Edouard Manet, Diego Velazquez, not to mention more recent artists. He quotes styles, plays with decoration, minimalism, text, staging.  Much is made of his painting in the catalog for the Breuer exhibition. On and on they write about the paint, the paint, the paint. And the art historical references, and the contemporary references, almost always to white artists, as though that will legitimize the work.


But the central theme of Marshall is to correct an absence. Absence of the black body as subject, as human, as living, as romantic, in the history of art, in museums, in our lives. And the underlying sea of references, about which we could go on layering ideas all day, are the celebration of African religions, mysteries, symbolism, right on equal footing with all those nice white guy quotes. The integration of these two worlds is what Marshall seeks. ( This is the only mystical work included in our press images)


Part II

It was absolutely amazing to me that all the experts writing repeatedly in the catalog about the importance of A Portrait of the Artist as a Shadow of His Former Self 1980 never mentioned that it gives back to the white gaze what we see as white people, which is caricature, shadow, teeth, eyes. That is the reason for the title.

We do not see the person, the humanity, the complexity, the dignity (as suggested in the Charles White painting above, Marshall’s most important mentor).


The painting is  significant not as a portrait, but as a manifesto, an absolute expose of prejudice. Marshall’s black on black paintings of “invisible man” based on the Ralph Ellison book as he has said repeatedly, emphasize that inability of white people to see black at all as anything other than one single dark place. But as you look harder into these paintings many details emerge, subtleties, nuances. That is what we white people all need to do. (Notably our press packet included not a single one, the self portrait came from the internet)


In  Untitled (Studio), as Helen Molesworth points out, the artist is absent. The models are present, the act of making art is present. The wonderful vocabulary of references and styles is present.


The artist is present in the “untitled” portraits of artists, but again we see the caricature of white prejudice, the traditional portrait format is exaggerated, large torso, direct gaze, holding a giant palette, an irrefutable presence; but behind lurks a paint by numbers canvas. If we cannot see humanity in African Americans, we cannot see the enormous subtlety of their art either. So he gives us the artists and the paint itself, because we can understand that (and understand we do, endlessly reveling in those piles of paint on the palettes, wow, look, see, paint). And of course the artist had a lot of fun painting these works as well.


Marshall is a subtle, brilliant trickster. He has duped white eyes into looking at our own fears of darkness, with stunning paintings that elevate the humanity of the African American experience for us to see, embedded in delicious colors, textures and drawings, dizzying arrays of styles, all of it simply at the service of seducing us into actually seeing that African Americans are real people.


That is why Marshall is unique. Dozens of African American artists have presented African Americans in film, photography, painting, sculpture ( as seen for example in the 1994 exhibition “Representations of Masculinity in Contemporary American Art- note the omission of the work “black” from the title, although that is what the show exclusively presented). The Whitney held it just before Marshall emerged in the late 1990s. The work is subtle and sophisticated, in some cases, perhaps we can say it is cloaked, as in the work of Lorna Simpson for example, with all those backs and fragments, no faces.


But to what extent did white eyes face their own prejudices in looking at that work. Not at all. In fact often our expectations were reinforced when we saw criminals or large black sexual organs.


Marshall  leads us in through art history. He allows us to wallow in our old fashioned, comfortable modernist references. Look, there is Manet’s cat, or there is a skull out of Holbein!!! Flat paint samples play with space!!! But as we wander through these references, we cannot avoid the people, the life, the layers of experiences

For that reason, certainly, the two paintings of the  beauty parlors: De Style 1993 and  School of Beauty, School of Culture 2012 are the greatest gifts that Marshall has given us. They allow us white people into a place that is almost a sanctuary of black power, on a par with church (which he does not represent, although spirituality appears often). And as we roam through it, we white people suddenly realize we have never been here before, and we actually do not belong here. But we can acknowledge that here is real life, real culture, real people. And it is the white ideal that in the end is a mirage, an odd phenomenon, as the small children point out in School of Beauty. Here people really are living their lives on their own terms. No one looks out.



Benny Andrews: The Bicentennial Series predicts America Today *

Liberty ( Study for Trash no. 6) 1971 oil on canvas on painted fabric 78 x 39 3/4

In one of the most potent images in Benny Andrews Bicentennial Series from the 1970s, the Statue of Liberty sucks a lollipop as she sits on top of the stump of a dead tree. Naked men wearing only an army helmet and boots support the stump on a wagon.


Trash, the mural, in collection of Studio Museum, Harlem



In a final full scale mural, Liberty leads a succession of carts, one carrying a “war bitch,” as the artist describes her, and another, a giant penis topped by flowers.


Puller ( Trash Study no. 1,) 1971 oil on linen, 18 x 11 7/8″

Several men, one of them a convict in chains, strain to carry everything off to the garbage dump  “Trash,” is one in a series of murals by Benny Andrews painted during the years leading up to the Bicentennial in the early 1970s. His dark vision could have been painted yesterday.


On seeing excerpts from his Bicentennial series at the Michael Rosenfeld Gallery in January, I was stunned with the forcefulness of his comments on the abuses of our American institutions. Today, as we struggle against the escalating wave of white supremacist policies from Washington, D.C., they speak to us directly.


During the early 1970s Benny Andrews created BIG paintings as he put it, to provide his own perspective on the 200th anniversary of the Nation. BIG because the mainstream white artists at that time were working big, and he believed his work would stand beside them. He saw that preparations for the Bicentennial were devolving into clichés for African Americans like slave cabins, and great people, he knew there was more to the story than that.


He himself had grown up in a sharecropping family, picking cotton, and he followed an incredible journey, with the support of his family, to become a trained artist based in New York City. But he never forgot his roots in Georgia, the people he knew from his childhood, the strength of the people around him, their creativity, and their perseverance.


The vivid series of paintings, drawings, small studies and large works include six themes: Symbols (1970), Trash (1971), Circle (1972), Sexism (1973-74, War (1974),Utopia (1975).

Strummer (Study for Symbols), 1970 india ink on paper 18″ x 12″

His first large work, “Symbols,” paid homage to his roots. In the recent exhibition, we saw drawings for the large finished work now in the collection of the Ulrich Museum at Wichita State University. His spare linear style is as elegant as Ingres. For this first work, he went back to Georgia and sketched his home, his family, a bride and groom, musicians, and in the center of “tree of life.”  It appears to be children playing in the tree, but it also seems to be people “hanging” from the tree, clearly a reference to lynching. Nearby two people carry off a dead child.

Since Andrews family has mixed black and white heritage, but all were considered African American, he frequently suggested racial mixing. Even people who are white in his paintings reference his African American community in Georgia.  The artist pairs ordinary life, ordinary people, and nightmarish events; a semi-white man sits in judgement in the final “Symbols” mural, on the right. Andrews may be referring to an overseer, or a mixed race business man, his ambiguity is intentional.


He worked in dozens of separate sketches that he then puts together in a larger composition based on multiple panels. In “Symbols,” the space is complex as the imagery pushes forward or recedes into the background,  based on strong diagonals that terminate at a tree in the center. In later murals his figures seem to float in an indeterminate space, sometimes framed by viewers, or encircled by odd faceless people.

Collection Studio Museum Harlem Photo: Adam Reich


Trash(1971)  is full of anger and sarcasm. He painted it during the Attica prison uprising. By this time Andrews had already founded the Black Emergency Cultural Coalition, demanding Black curators and artists in New York Museums, but more important than that, he founded the first prison art program in the country. He was outraged at the failure of American institutions and Trash hauls them off to the junkheap, pulled by both a prisoner and another black man.


Liberty ( Trash Study no. 2) oil on linen 32 x22″

In the exhibition two studies presented just the Statue of Liberty, as she is disintegrating, in one (Study no 2 for Trash) she sits on top of a globe with the USA facing out, black and white people reaching out to encircle it and underneath propping it up are again the naked military indicated with hats and boots. These self sufficient paintings stand on their own. Also in the exhibition was “the Puller” the man hauling the trash wagon with the Statue of Liberty, braced against the weight. Behind him a black shadow echoes his silhouette.

Composition #9 for Trash, 1971 india ink on paper 24″ x 18″ /

Use of shadows is a crucial device in Andrews, they reinforce his imagery, creating a shadow layer, much as blacks experience their lives in a white world.


oil on twelve linen canvases with painted fabric and mixed media collage 120″ x 288″

Circle Study no 33 1972 india ink on paper 12×18″

The mural “Circle” , the only one included in the exhibition, fills one wall of the gallery. Sketches and smaller paintings fill the walls nearby. “Circle” focuses on a bed on which a black/white person sits impaled, his heart carved out and rising above him as a watermelon lifted by an odd pipe like shape (in earlier sketches it was a stove).


Around this tragic figure stand a circle of people both black and white who shake their fists, look horrified, or sit passively in chairs, as the torture unfolds before their eyes.

Tied and helpless, the man on the bed reminds us today of torture inflicted on prisoners in detention, but here the reference is certainly to the tortures of simply living in the US as a dark skinned man. Andrews is the visual partner to James Baldwin who lays bare with words the torture and injustice of living in the US for people of African descent.

Andrews uses fabrics glued directly on the canvas. Thus the bed is stained and dirty made with old cloth, the head is bandaged in an actual sheet/bandage, a dirty cloth wrapped around his genitals like a diaper. That physicality paired with fantastic imagery, a personal surrealism, that relies on the grotesque to warn us of dark realities, penetrates our hearts; the physical additions to the canvas, assembled from found objects and discarded dirty materials, strike into our eyes and into our souls, they rudely speak of poverty, of suffering.


Sexism Study no 24 1973 oil on canvas with painted fabric collage and rope 96 x 50 1/2″

Another work in the cycle “Sexism” appears in the exhibition with several large works. At the entrance to the exhibition we are immediately confronted by a figure covered in a tent like sheet. She appears to be rising from a bed, but she is still caught in the strings held down by odd detritus.


Sexism Study no 8 1973 oil on linen 24 x 22″

Another strange work Sexism Study no 8 appears to be a penis man holding an instrument of torture and wearing strange clawlike shoes. He looks like a rapist with primitive tools. This particular image did not appear in the final large mural


War Study no 3 1974 oil on two stretched linen panels with painted fabric collage 35 x 49 x 1″

War Study no 1, 1974oil and graphite with painted fabric collage 34 x 25 x 1 1/4″

“War” for which a large work was never completed, is featured in two poignant collage paintings,  one with a young man dragging a dead body. In  “Poverty,” a man with a pink bag tied over his head suggests torture and the impossibility of escape.

Poverty Study no 1-a for War 1974 oil on linen with painted fabric collage with rope 100 x 48 x 2″

Finally, Andrews created “Utopia”, but because he could see no redeeming feature in humans, he created a fantasy landscape without any people.

Utopia Study no. 8, 1975, oil on linen with painted fabric collage 40 x 60″


Along with his very large mural scale works, and his smaller collage paintings, Andrews draws, and draws and draws.



In this exhibition, these delicate linear studies for the larger works populated by strange creatures or bizarre settings, create a constant dialogue for us with the final murals giving us insight into his thinking. Frequently, he includes shadows for his outlined figures, suggesting even in the briefest encounter with paper, the shadow world still haunts his every move and that of every person of color.


“Surrealism can get out hand real fast, but then the black experience is so ridiculous that surrealism is the best way to express it. I’ve seen the same kind of work coming from prison artists. To get through an oppressive real life, the artists have to live a fantasy life. ”

— Benny Andrews


With the draconian new immigration expulsions declared by a president who has no restraints, the dark shadows are following every vulnerable person, whether they be transgender, disabled, young, old, latino, African American, Asian, Muslim, homeless or poor.


  • all works Credit Line: Estate of Benny Andrews/Licensed by VAGA, New York, NY; Courtesy of Michael Rosenfeld Gallery LLC, New York, NY
  • “America Today” is the title of a mural cycle by Thomas Hart Benton painted in 1929 including both the roaring 20s and references to the poverty of the Depression. It makes a telling comparison to Andrews work in its exuberance and celebratory atmosphere that features workers of all types.

The Spirit of Standing Rock



On the second night of our cross country train trip, we passed  through Minot, North Dakota. It was minus fifteen degrees. That is about two hundred miles north of Standing Rock and the ongoing resistance to the Dakota Access Pipeline (DAPL) still continuing in sub zero weather and blizzards. Now we have the escalation of tensions with the illegal orders coming from the White House. There is a renewed call to Activists to return to Standing Rock


Activism by artists is crucial to continue to highlight the situation.


Right before I left Seattle, I attended two exhibitions supporting the DAPL resistance. The resistance is encouraging a surge in contemporary native art and exhibitions supporting Standing Rock. In Seattle we also built eighty winter shelters known as “tarpees,” tepee-shaped but covered with heavy duty poly wrap and large enough to hold stoves with a long stove pipe going through the roof.


They were designed by Paul Cheyok’ten Wagner, the famous flutist who explained his name as “of a feeling to watch over, to care for the people and things that you love for many seasons.” Paul has been an inspiring and generous spiritual leader in Seattle at every  DAPL march and demonstration. Now he is also an architect. He is combining contemporary materials and traditional structures to create an entirely new type of tepee.



A fundraiser for the “water protectors,” at the new Sacred Hoop Cooperative Gallery at 55 Bell Street included ceramics, posters, beadwork, paintings, masks and graphic art.  One whole table was filled with writings about Standing Rock, poetry, and graphic books that dramatically told the story of the conflicts of whites and natives over several centuries.


But primarily, the event was about story telling by those who had just returned from Standing Rock. It continued for eight hours!. While I was there, the story being told was both personal and mythic, the storyteller, a large man who declared he was like a bear, had just returned from Standing Rock. He told of the spirit of shared purpose. In spite of the freezing temperatures, he gave away his warm coat and then nearly froze himself.  Then he told a mythic tale from the time when “humans had stopped listening” to nature and the animals stopped listening to each other. The story was punctuated with powerful drum beats that were both part of the story and kept us listening.


At Sacred Hoop, Robert “Running Fisher” Upham aka  “Harlem Indian” honored the theme of “water is life/ Mní Wi with a large collage that included the history of the Sioux Indians as text in the background.  This artist has also revived Indian Ledger drawings, the first descriptive images made by Indians in captivity in the 19th century.


Seattle Theater Group and John Feoderov, another Seattle based Native artist, organized a one night exhibition benefit for the Water Protector Legal Collective, the on-the-ground legal support team for Standing Rock. Both Native and non-Native artists from around the country exhibited artworks that addressed environmental issues and “connections between land, culture and identity.” One of the works above by Deborah Faye Lawrence dramatically pinpointed the location of the protests in a collage.


“Protect the Sacred,“ a stunning and complex exhibition curated by Asia Tail  (see image at top of post) at the Spaceworks Gallery open until February 16. (950 Pacific Ave. (Entrance on 11th St.)Mon – Fri / 1pm – 5pm, Third Thursday open until 9pm.) Tail, formerly on the staff of the Tacoma Art Museum, chose a cross section of 26 well-known and young Native artists to participate. She told me that hundreds of tribal affiliations were represented in the Seattle to Portland corridor, from the period of terminations, 1953-68 when the government took over valuable tribal land, and natives moved to urban areas. She herself is from an Oklahoma tribe.

Tail chose to focus on painting, sculpture, photography and installation. As we entered the door a large banner by Kaila Farrell-Smith” greeted us. A contrast to “Harlem Indian’s more realistic and text based homage, Farrell- Smith Mní Wičoní Banner, combines references to abstract basket patterns, and a political call to action “I explore the space that exists in-between the Indigenous and western worlds, examining cultural interpretations of aesthetics, symbols, and place. It is in this space I search for my visual language: violent, beautiful, and complicated marks that express my contemporary Indigenous identity.”


To some extent this idea permeates the entire exhibition. In work after work we see artists negotiating between native historical references and styles and contemporary approaches and content.

In the gallery, the photographs of Matika Wilbur, just back from Standing Rock, greets us first. Her subtle photographs always resonate with modernism combined with historical and Indigenous references, here in the hands of “Miss Helen, Last Carrier of the Lovelock Paiute Language,” 2016 we see a moving portrait as well as an homage.


Facing Wilbur’s photographs are two realistic watercolors by Yatika Starr-Fields. The artist usually paints intensely colored abstraction, but the impact of joining the protest at Standing Rock led him to record what he was actually seeing and provide a detailed description of the experience. “At the time this was painted, these two tipis were the northernmost structures in the whole Oceti Sakowin encampment. That day the air was alive with anticipation, and the scent of campfire smoke and sounds of all kinds echoed throughout the camp. With the setting sun casting its radiance on the changing colors of the distant fall trees and surrounding plains, the Missouri river seemingly created its own dominant horizon between past and present. This sacred hill – where burial grounds are present, and where many actions, prayers, and ceremonies take place – has been reclaimed as our own.”

Sara Stiestreem conceptual work celebrates rituals of basket weaving with rows of red circles and photographs of her hands in various specific actions. Fox Spears colorful abstractions could have been done by a white artist in the 1960s, but they are based on ancient basket patterns.



Marvin Oliver’s elegant work combines the best of native and contemporary expression


Erin Genia creates highly original ceramic sculptures with hard core messages like  Facing/Not Facing: Toxic Devastation From Oil, just above) or Mobile Spill Response (top images) and finally, not illustrated, (Mni Wiconi: Water is Life Oil is Death.

Next to Genia is the work of Samuel Genia, her fifteen year old son with a bold graphic statement.



Ryan! Feddersen’s interactive globe Micro Spill, plays on the idea of a snow globe, but when we pick it up we discover it has black magnetic particles that roll around, making a clear point about the despoliation of the land by industry.


I can’t enumerate all of the works. Suffice it to say that the exhibition takes time because it encompasses so many styles and ideas. Not all the artists specifically address the issues of extraction or its transportation. But they all tell us that contemporary native art is flourishing and provocative. All of the works are on sale and a percentage of the sale goes to support the DAPL resistance. This resistance will continue, as the bringing of our dreadful new President will only make the need for Standing with Standing Rock, and all other resistance to fossil fuel extraction and transportation absolutely crucial.


As the story teller at the Sacred Hoop gallery put it. “Stories Heal. Find your standing rock and pull yourself together.”

And let us give Winona La Duke the final word.



Maria De Los Angeles: Artist, Activist, Undocumented


The millions of people who turned out for the world wide Women’s March to protest the new administration and make a plan of action was a spectacular and inspiring event. I joined my two brothers for the huge rally on the Boston Commons, with its history as the birthplace of the American Revolution, center of the abolition movement, point of departure for Freedom Riders, and an ideal place for hundreds of thousands of people to gather.


But the inspiration and urgency of the speeches by politicians, Native Americans, Muslim activists, union workers, Planned Parenthood defenders, NAACP, youth with disabilities and LGBTQ,  was poignantly underscored by two meetings with Maria de Los Angeles, an extraordinary artist who is among the group of people most vulnerable under the new administration, those youth known as DACA, (Delayed Action for Childhood Arrival  I explain it below). See the image at the top of the post, of the young woman  surrounded by the anxieties of the situation.


I first met Maria de Los Angeles through “We make America” an informal group of artists making 100 Statues of Liberty in mourning, with tunic, torch and crown for the Women’s March in Washington, D.C. and New York City. The day after the election, she and Joyce Kozloff, (for whom she was working and who has a long history of art activism) called a meeting to decide what to do to build community and respond to the election as artists.

The result was “We Make America”, a title which suggests that we all contribute to what America is today. The verb “make” can also literally refer to contributions of workers, immigrants, and the act of making things. Perfect. The group started small, then ballooned when it was put on Facebook the next day.

When I went to photograph the making of the props for the Women’s March, Joyce pointed me to Maria as a primary organizer.

Maria told me immediately that she is a one of the thousands of DACA,  young people and twenty somethings who came here without papers as children and were given status under Obama to go to school and work legally. They are extremely vulnerable to losing that status any minute under the current administration.


Maria de Los Angeles was born in Mexico and came to California with her parents at the age of 11, growing up in Santa Rosa California. She went to Pratt on a fifty percent scholarship. Since she could not get loans as a DACA, she managed to fundraise the rest of it (these schools are insanely expensive). Then she got a full scholarship to Yale, where the professors encouraged her to question who she was and discover what she wanted to say. She talked about how difficult it was to find her voice in the midst of the fashionable “identity politics” that pigeonholed her as a successor to Frida Kahlo, dismissed her affinity with German Expressionism.


But she asserted herself and succeeded in finding her voice. Apparently there were about ten students of color in her class of 100, and most of them didn’t want to be pigeonholed or talk about race.


Last summer Pratt, where she now teaches, invited her to teach a course in Italy, giving her the opportunity to see the murals of Tintoretto in Venice, as well as the whole sweep of Italian Renaissance Art. The huge floating figures of Chagall in Lincoln Center also inspire her, as well as Siqueiros, the most radical of the Mexican muralists, who successfully paired radical politics with experimental media. I immediately saw her connection to Kathe Kollwitz, as an outspoken radical and a women addressing oppression expressed through dynamic linear drawings.


I recently saw an installation of her drawings and watercolors at Museo del Barrio where she is an artist in residence until the end of this week (January 28).

She draws with ink or watercolor on two types of paper, printmaking (which is manila) and drawing paper (which is white). In some works she draws figures on the lighter drawing paper, cuts them out and glues them onto the manila paper on which she also draws. The two tones create a dynamic that reinforces the primary theme of her work, the confrontation between ICE (Immigration and Customs Enforcement) officials and Latinos, the threat of a home raid, a work raid, a traffic stop, leading to detention and deportation, the constant terror of a family being torn apart.


But it is not a simplistic formula. Not all of the white people are cut out with white paper or all the Latinos in manila. That is of course because that is true in real life. In fact some ICE officials are Latinos (as seen in the Alex Rivera film, El Hielo), some Latinos are white skinned (as Maria herself). ( see also Alex Rivera’s other films and projects here)


But the two colors of paper create a tension, emphasize the sense of confrontation because of the fear and hostility that is escalating every day.


Sometimes there is also text, tiny words like “My America” “Our America” emerge in bubbles from the mouths of agents, or longer texts written around the edge of the drawing are filled with the racist taunts and the clichés of white people who fear immigrants.

Some of the works are purely drawing, some watercolors, some cartoon like. Some combine watercolor and drawing. Maria de los Angeles breaks through restrictions, and conventions, just as she would like to see the barriers between races break down.

A frequent motif is ICE agents swooping down from the sky on families trying to protect themselves. Families are represented by islands of emotional lines that suggests anguish, terror, and self-protection.

But sometimes salvation itself swoops down from the sky, to rescue someone from the agents on the ground.



Most of the drawings that I saw were created before the election. That means de Los Angeles has been making visible the ongoing tensions in the Latino community for a long time.


Another theme honors the almost invisible contributions of workers. That format depicts a group of workers, holding up the white world of privilege often precariously. In a You Tube interview she also spoke of all oppressions, she does not limit her activism to only immigration, she referred to the whole range of concerns we have today.

Maria de los Angeles also creates garments. She sews paper together, and paints them with confrontational slogans, such as “illegal” and “undocumented.”, then with friends does interventions, such as recent action at a Trump hotel. She boldly speaks to media about her status, and her fears for her own future and those of so many others.

She held up the heavy corrugated cardboard torch of the Statue of Liberty for eight hours during the women’s march in New York City, leading the contingent of “We Make America”.


Pay attention to what happens in the next week or so with the Immigration regulations. Protest any reversal of the small reforms, such as DACA, enacted by the Obama administration. As someone who has been following immigration issues for several years, I have been horrified by his huge number of deportations and detentions which includes putting families and children in detention. They were horrendous, but unfortunately the terrible procedures and facilities already in place are now going to get much worse. Research the facts on detention at the excellent Detention Watch Network and Not One More Deportation.

Maria de los Angeles is a courageous person. She has chosen to express the dark fears and nightmares of Latinos in her drawing as well as to publicly speak about her status. I don’t know of any other artist who has done so much work on this subject.


Now she wants to network with other artists, as well as the general public, to encourage them to understand the complexity of the immigration system, the impossibility of being documented as an undocumented person, and the possibilities for art to address these subjects. She sees art as a powerful tool that for her must bridge the huge gap between her background and the “art world.” Her public interventions are one type of bridge. Joining with others is another.

She is hoping that “We Make America” as a collaboration of activist artists will continue to produce art about immigration. The Statue of Liberty is our most public immigration statement, together with its famous poem by Emma Lazarus ( who spent her life fighting anti Semitism and supporting immigration before she died at the age of 28). It is as crucial today as it was when it was created.

The Artnauts: A Global Collective of Artists for Peace


I recently met the “Artnauts” a  collective of about 20 artists led by the dynamic George Rivera, a Professor of Art at the University of Colorado,  Boulder. Here you see him in the front and center of the members of the group who participated in their 20th anniversary celebration.



The Artnauts have been traveling the world since 1995, going to zones of conflict and offering art, communication, dialog, and mutual understanding. In their words: “The collective uses the arts as a tool for addressing global issues while connecting artists from around the world.” They have created exhibitions with local artists in Palestine, Bosnia, the Amazon, Colombia, Mexico, Guatemala, Peru, South Africa, Russia, China and many more. As they go to these places, they are also immeasurably enriched by the experience.



I was honored to be invited to speak at their anniversary exhibition at Red Line Gallery in Denver, Colorado.



Art and Social Change Land Culture and Memory Palestine 2008 and Signs of Globalization Guatemala 2009

The anniversary exhibition highlighted ten of their more recent exhibitions. These featured small works that could easily be transported.


Above you  see two themes that are repeated, the ongoing Palestinian crisis and the impact of climate change and globalization on indigenous cultures in Central and Latin America.


For many years George Rivera carried  huge boxes with large prints to venues around the world.rivera-artnauts-boxes-for-travel-1024x768



Identity Place and Memory Colombia 2015 and Diasporas of Being, Palestine 2015


Art and Ecology Guatemala 2009 Centers and Borders, China 2007 The Ecological Imperative Chile 2013 Art and Displacement Palestine 2011


An exhibition devoted to the poetry of Mahmoud Darwish 2014


Post Tractatus :Art in the Amazon 2008

In addition to the commemorative exhibitions, Linda Weintraub was invited to curate a special exhibition of new works by some of the Artnauts, “Rally ‘Round the Flag of Justice ” Here she is speaking about the exhibition (in front of a different exhibition about guns)



All of the works are critiques, with the flag as an abstraction, a metaphor, a source of irony. Of course, we immediately think of the US flag as the subject, but there were many types of flags.

trine-bumiller-bosnia-and-herzegovina-prayer-flags-for-peace-1024x768 bumiller-detail-of-flags

For example, Trine Bumuller, inspired by her Artnaut exhibition in Sarejevo last winter, created a tent like shape with Tibetan trine-detailprayer flags to honor the nightmare of the Bosnians;  on the flags she painted the image of the Sarajevo roses superimposed on photographs of the still visible ruins of the city or other images. Red “Sarejevo roses” were painted on sidewalks where sniper’s bullets landed.andrew-connolly-palestine



Andrew Connelly featured a queen size bed with the US and Israeli flags sewn together, “in bed together” and under the transparent sheet we could see the Palestinian flag barely visible.


The group has visited Palestine many times, and collaborated with Palestinian artists, most recently this summer in “Art and Resistance,” an exhibition for which I wrote a catalog essay.


Here we see George Rivera in front of his piece on Palestine/Juarez, with rubber bullets and a water bottle signifying the two borders.

He pointed out that the red triangle on the flag also signifies the wall on the two borders.

1009bAt the symposium accompanying the exhibition he said (on November 11, only three days after our “election”)

“In spite of what we have become on Tuesday, around the world, they love us a human beings.  The Artnauts affirm in this time people who stand up to injustice. “

He spoke of his own personal motivations for creating a collective that would stand up to injustice.

“I came out of intense racism in a small town in Texas. Art is a tool for addressing global issues, while connecting to artists around the world.


We seek to bring a sense or caring and humanity. The Artnauts stand for the intersection of critical consciousness and contemporary artistic practice.”


Faris Amazonia Consumers :Giant Amazonian Leech Grows up to 18″ and lives for 20 years off the blood of other creatures


Suzanne Faris Amazonia (detail)

One of the most fascinating locations that the Artnauts have travelled to is the Amazon river, where they collaborated with local tribes and communities. I am still trying to sort out the information about this and will revise my discussion when I learn more. Suzanne Faris’s amazing sculptural installation speaks to greed, consumerism and the gobbling of resources.



Beth Krensky Bethlehem Palestine Birth(Place) Home(land

Beth Krensky has created a long white truce flag shared between the Israelis and Palestinians. Made of white handkerchiefs baby t shirts, etc each olive pole that it hangs from is inscribed with a quote from a mother who has lost a child

Jerusalem mother:

“For me the struggle is not between Palestinians and Israelis,nor between Jews and Arabes. The fight is between those who seek peace and those who seek war. My people are those who seek peace”

Nablus mother:

I’ve known Israeli bereaved mothers for many years. The mothers’pain is similar, no matter if they are Israelis or Palestinians . . . the pain is seared into us and will be with us forever.”



Tony Ortega Mexico: Amenudo crossing -memory remains


Ortega detail warhol crossed with Menudo soup on logo


And on the theme of the Mexican border crossing Tony Ortega’s work included the theme of hybridity, crossing a “Warhol soup can” with a Mexican soup in an installation that included a hybrid flag and a water barrel providing water for border crossers.


Kim V Martinez Mexico and United States 7 steps forward 7 steps back

Kim V Martinez also spoke of the border crossing, its difficulties and its dangers, referring to those who died within one small area.


These are only a few of the artists represented by the collective and in the special exhibition. George Rivera has carefully published a catalog of each exhibition and deposited the archives with the Lilas Benson Latin American Collections at the University of Texas at Austin, so their legacy for future historians is assured. Amazingly enough, they have not received any reviews in the past 20 years in the United States!


The Artnauts are deeply committed to speaking through their art of injustice. They speak in many voices, directly, poetically, politically, metaphorically. They speak of peace, of land, of consumption, of greed, of death, of hope, of perseverance. It was truly inspiring to meet them in t he week of our disastrous election.


We can look to these artists and others as we plan our resistance to the national nightmare currently unfolding like a slow, long-lasting earthquake.