DC -- Center for Contemporary Political Art -- No!Hate Show:
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Description of Pictures: October 16 - November ???, 2019
A national juried open call exhibition, The NO!HATE Show presents works of art by more than 40 American artists from every section of the country. Their work pictures or protests the politics of hate, deceit and disrespect for democratic principles that has turned Washington's notorious Swamp into a sea of sewage that smells of the corruption and abuse of power that led to the death of democracies in Latin America and Europe, in the not-so-distant past.
CCPArt hopes the art it presents will inspire and give comfort to those who agree with it --- and give pause to those who don't.
The NO!HATE Show was inspired by Martin Pearl, who stands vigil in front of the White House for several hours each day with a placard reading, "Hate won't make America great!" The exhibition's title pays tribute to Boris Lurie, who founded the NO!Art movement in1960 to protest the racism, anti-Semitism, misogyny and militarism he saw in the United States.
The NO!HATE Show is being underwritten by a generous grant from The Vradenburg Foundation, George Vradenburg, president
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CCPNOH_191025_283.JPG: David Siever
Antebellum 2019
CCPNOH_191025_291.JPG: David Siever's Historical Dioramas Offer a Rare Window into the Past
By Brian K. Mahoney
"Growing up, I played with Star Wars toys and GI Joe figures. I had the iconic D-Day GI Joe," says sculptor David Siever. "As I grew up and got older, I wondered, 'Where are my Spanish American War GI Joes? Where's the Mexican-American War GI Joes? Where are these narratives in history that are not the dominant narrative? What has been swept under the rug?'" Thus began Siever's journey from SUNY Purchase history major to graduate school at the Art Institute of Chicago and later, to create his own series of historical dioramas, or as Siever terms them "narrative dollhouse room-boxed vignettes." "I realized that I could just make my own toys," says Siever. "I call them 'inaction' figures. They're not really action figures, as they can't move." (All the figures in Siever's pieces are painted white, their lack of color a metaphor for their place among the ashes of history.)
Siever, the resident artist at the Crown Heights Library, employs history as an instrument of discovery, bringing history's footnotes to life in his work, whether it's the story of conjoined twins Chang and Eng's marital relations, an early failed ascent of Mt. Everest, or the assassination of William McKinley.
One historical event that caught Siever's attention was the Mexican-American War (1846-1848). Some things to know about the Mexican-American War: Mexico lost nearly half its territory as a result of its defeat in that conflict; it's the only major war in US history without a monument in DC; 13 years after the war ended, the start of the Civil War eclipsed the conflict, relegating it to the dustbin of history. "It's been sort of forgotten on two sides," says Siever. "Mexico chooses not to remember what is pretty much their greatest defeat. America chooses not to focus on a war, not unlike Iraq, that started with a presidential lie."
For To Arms! To Arms!, Siever researched letters home from American soldiers, filled with accounts of malaria and horrific injuries, like the retired soldier drinking in the foreground. On the back wall of the bare soldier's room is a reproduction of an actual Mexican-American War recruitment poster used by the US government. It reads: "To Arms! To Arms! Wanted: Men for Mexico." It's the only thing in the room with two arms.
"David Siever: Tiny Tragedies," a collection of the artist's narrative dollhouse room-boxed vignettes, is on display at Barrett Art Center in Poughkeepsie through May 18.
The above was from https://www.chronogram.com/hudsonvalley/david-sievers-historical-dioramas-offer-a-rare-window-into-the-past/Content?oid=8257561
CCPNOH_191025_294.JPG: David Siever
Artist Statement: Historical Consciousness
My art is inherently political and narrative, using the data of the past to comment on the present. My ceramic sculptures are inspired by historical events, even more so by the people that history has forgotten, the "footnotes" of history. The figures, while representational, are figurative; their lack of color pointing to their fading into the ashen white of obscurity. All history is construction, a story created to explain a given set of facts, and my sculptures are no different- they are personal interpretations, as much about me as the overt events depicted. History is often presented as the stories of heroes and heroic action – men pushing back jungles, conquering new lands, a sun that never set. Yet who reveres or even remembers the boys pointlessly massacred in the Philippines as punishment for an uprising against American troops, the first woman sent to the electric chair or, the fading strength of the failed polar explorer still proud to die for the glory of Britain. Through creating sculptures I hoped, however briefly, to bring these lost figures to life, to have them step out of the photographs, lithographs and letters that comprise their only record and let them reemerge in three dimensions. Desire, ambition and human cruelty form their center. While the subjects are often tragedies, they also contain the humor inherent in human frailty.
My sculptures are in small, like the lives they represent, almost the opposite of the heroic. They are also the exact size of the action figures I played with as a child, creating stories and imagining who I would become. Lying on the floor, manipulating the figures, I could enter their world, and they became the characters of my fantasies. Like their childhood counterparts, the sculptures, my "inaction figures" have entered the domain of dreams, a place far distant from their origins. Each roombox contains a vignette at once horrible familiar and funny. The sculptures are my attempt to find the universal emotions hidden inside the particular. I see myself as a visual storyteller, part of a long tradition of narrative sculpture.
CCPNOH_191025_344.JPG: Note the boxes are Aunt Jemima and Uncle Ben slave narrative products.
CCPNOH_191025_378.JPG: Products include Rhum Negrita, Uncle Remus brand Syrup, Little Black Sambo, National Geographic issue on Civil War Then and Now (April 2005 issue), Misty Salty, and Gone with the Wind
CCPNOH_191025_391.JPG: Dana Ellyn
Defending History (Betsy Ross Flag)
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2020_DC_CCP_Lurie: DC -- Center for Contemporary Political Art -- Boris Lurie in America (72 photos from 2020)
2019_DC_CCP_Walls: DC -- Center for Contemporary Political Art -- Walls of Demand: Marking the Parkland Anniversary with Art Exhibit (39 photos from 2019)
2019_DC_CCP_GBUT_190622: DC -- Center for Contemporary Political Art -- Event: Reception for The Good, The Bad & The Ugly and Yello Talk (39 photos from 2019)
2019_DC_CCP_GBU: DC -- Center for Contemporary Political Art -- The Good, The Bad & The Ugly (Multiple visits) (280 photos from 2019)
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2019 photos: Equipment this year: I continued to use my Fuji XS-1 cameras but, depending on the event, I also used a Nikon D7000.
Trips this year:
a four-day jaunt to Massachusetts (Boston, Stockbridge, and Springfield) to experience rain in another state,
Asheville, NC to visit Dad and his wife Dixie,
four trips to New York City (including the United Nations, Flushing, and the New York Comic-Con), and
my 14th consecutive San Diego Comic-Con (including sites in Utah).
Number of photos taken this year: about 582,000.
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