The selected works presented in this exhibition engage viewers with visual and socio-political examinations in the search for potential truth. The exhibition presents an amalgamation of artists’ viewpoints during this boiling point in history, evoking a sense of questioning and dissatisfaction.
Shalom Neuman’s “Bullshit” (2015) is a bright, seven-foot, multicolored LED light fusionist artwork. The original inspiration for the exhibition, “Bullshit,” is a blunt reaction quoting Donald fusionist artworks, inspired by Franz Kafka’s novel “Amerika,” display a seamless integration of found object painting and sculptural elements. The archetypes in Neuman’s “Amerika” are created from colorful everyday discarded objects. Combining color, motion, and sound into a multi-disciplinary multi-sensory extravaganza, Neuman aims at appealing to more than just the visual sense. Neuman’s “Amerika” series reflects and comments on a contemporary world in disarray.
Dale William’s charcoal and ink drawing, “The Ogre Bloated with The Blood Of Truth,” (2020) depicts a grotesque, infantile Donald Trump. Baby Trump’s small hands drip with blood while his disheveled hair blows in a dark stormy void. Street artist Dee Dee is represented with her mixed media “Sign O’ The Times” (2020) depicting a woman of color with caution tape over her mouth and one arm slung in an American flag. Utilizing these loaded symbols, Dee Dee addresses issues of race, injury, and censorship. Dee Dee’s artworks are found as outdoor murals across the globe. Scot Borofsky is a classically trained artist who became the most visible street artist in the East Village in the 1980’s. Borofsky references graphic symbols and lines used in the earliest pre-Columbian art in combination with the use of ancient artistic motifs and figurative designs. Borofsky’s collage,“Sugar Baby,” includes the imagery of the skull, as Borofsky puts it, “through a prism of drawing styles in a multitude of media- figurative studies.” NYC graffiti and text-oriented street artist Al Diaz (SAMO©…) collaborates with underground street artist Jilly Ballistic in “Please Practice Social Spiritual and Emotional Distancing.” (2020) Using an alphabet of letters created from collaged Wet Paint MTA signage, Diaz responds directly to the current political climate and our leaders’ mishandling of the coronavirus pandemic. Directly underneath, in conversation with Al Diaz’s text, Jilly Ballistic’s wheat pasted apocalyptic figure in a full body fallout shelter suit further emphasizes the paranoia of our current situation. In his two photo montage works, “The Caviar of Racism,” and “Deja Vu Sign of The Times,” Thomas Clark makes references to the Black Lives Matter movement.
New York street artist Bob Dombrowski is featured in protruding, enamel painted, cut sheet metal sculptures. From being hung on lampposts in Thompson Square Park and across Manhattan in the 1980’s, Dombrowski’s work has been featured across the city within the gallery and on the street. Dombrowski worked in many mediums throughout his life; focusing as equally on Avant Garde music and cultivating an artistic community of street artists in New York City, as he did on his iconic metal lamppost structures. Bob Dombrowski was born on February 16, 1944, in Buffalo, New York and passed away late last year in Wildwood, Georgia.
Noah Becker’s series of ink drawings, created in 2020 during the quarantine, depict figures in bleak dystopian landscapes. The emptiness of the landscapes draws a chilling parallel to the isolation many experienced during the global shutdown.
Artists have fearlessly explored media forms to investigate their roles and identities in a world characterized by injustice and crisis. The exhibition invites gallery-goers into the realm of politics through observation and encourages a discussion on the important topics of our times