good, bad ugly catalogue pdf

twcny56179

political art gallery catalogue

GOOD BAD&UGLY

PORTRAITS OF OUR (UNINDICTED) LEADER

THE THE THE

BODEN

OUT OF

PARADISE

ATSEFF

The Seven Deadly Sins

A Trump Dystopian Heptology

RAVEN

UNAFRAID

&

UNASHAMED

CENTER FOR CONTEMPORARY POLITICAL ART, Washington, DC


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lank page 1


Copyright@2019.

Center for Contemporary Political Art. All rights reserved. No part of this

catalogue can be reproduced without the permission of the publisher.

Printed in USA

The Center for Contemporary Political Art (CCPArt) is located at Mather Studios,

916 G. Street, NW, Washington, DC and is a not-for-profit 501(c)3.

Contact:

202.412.2324

charles@politicsartus.org

Gallery Hours

Monday - Thursday, by Appointment

Friday - Sunday, Noon to 6pm

Metro Accessible:

Gallery Place & Metro Center

No Fee for Programs,

but DONATIONS are always welcome

Visit us on Facebook

Art for Sale:

If you are interested purchasing a piece of art from the show, please email

info@politicartus.org and include the artist’s name, the title or number of the work.

CCPArt will connect you directly with the artist. CCPArt does not take a percentage

or a fee. You and the artist are responsible for the sale and delivery arrangements.

Charles Krause- Founder

Keep Political Art Alive

To donate, go to politicsartus.org and click the DONATE tab.

Your support is greatly needed and appreciated to help advance the importance of

political art and the dialogue that it provokes.


THE GOOD, THE BAD AND THE UGLY

PORTRAITS OF OUR (UNINDICTED) LEADER

ATSEFF RAVEN BODEN

MAY 8 - JUNE 28

CAN WE AGREE TO DISAGREE?


THE

CENTER FOR

CONTEMPORARY

POLITICAL

ART

916 G STREET NW WASHINGTON, DC 20001

www.politicsartus.org

THE CENTER FOR CONTEMPORARY POLITICAL ART

Washington, DC 20001 / www.politicsartus.org


FOUNDER’S FOREWORD

I must admit I had mischief on my mind when I invited Julian Raven to exhibit his massive

portrait of Donald Trump, Unafraid and Unashamed, alongside Tim Atseff’s nasty 7 Deadly

Sins portraits of the President and Jim Boden’s chilling Out of Paradise collages.

hat would have been a two-man show of

Atseff and Boden’s work, titled, The

Grotesque in 21st Century Political Art,

became a three-man show, The Good, The

Bad & The Ugly: Portraits of Our

(Unindicted) Leader— possibly the first

exhibition, anywhere, to present work by

artists who both support and oppose the

most polarizing, divisive President in our

country’s post-Civil War history.

I first became aware of Julian Raven’s

controversial portrait when several people

sent me links to Will Sommer’s interview

with the artist in the March 12 th (2019)

editions of The Daily Beast. What Sommer

reported was the simmering controversy

over the massive 8’ x 16’ portrait of Our

Leader, painted in 2015, which The

Candidate liked so much he had a copy

made for Trump Tower, but which the

august Smithsonian National Portrait Gallery

had refused to exhibit.

After nearly two years of rejection by the Portrait Gallery, Raven

did what no other artist is known to have ever done: he sued, arguing

the Gallery had violated his First and Fifth Amendment rights by

refusing to hang his Trump. According to Raven’s legal complaint,

which the artist wrote and argued himself, the reasons Kim Sajet, the

Charles Krause, Founding Director of the Center for

Contemporary Political Art.

National Portrait Gallery’s director, had given

him for not exhibiting Unafraid and

Unashamed were various. At one point, she

said the painting was “too big;” at another,

“too political;” and, finally, “not very good.”

After a recent adverse ruling by U.S.

District Court Judge Trevor McFadden, who

found that “the First Amendment simply does

not apply to government art selection, no

matter how arbitrary,” The Beast quoted

Raven as saying he was prepared to appeal

McFadden’s finding “all the way to the

Supreme Court” if the Portrait Gallery didn’t

come to its senses and exhibit the portrait of

its own accord.

Perfect, I thought. Here was a political

painting that had become a political football

because it was deemed to be “too political.”

Why not stir the pot and stand up for what we

at CCPArt believe, which is that “too political”

is a lame and even cowardly excuse for not

exhibiting a work of art at any time, but especially in times like these.

By showing the Raven painting at CCPArt, fortuitously located just

a block away from the Portrait Gallery, we‘d be tweaking two sitting

ducks with one large canvas: our Established neighbor to the East for

being un-democratic or too Democratic (take your pick) and Our

Leader to the West for not knowing the difference between fine art


and the kind of Socialist Realist

propaganda art Stalin would have

loved.

Whatever one thinks of the

painting, Raven’s lawsuit does raise

legitimate questions about institutional

bias (not to be confused with state

censorship) akin to Banned in Boston

morals censorship the Brahmin

authorities used to exercise there.

I could see the poster for our

exhibit before I’d even seen the

painting.

Truth be told, I was surprised when

Raven accepted the Center’s invitation

to show Unafraid and Unashamed.

And even more surprised when he told

me why. Showing his painting along with the others by Tim Atseff and

Jim Boden, which I sent him images of to be sure he knew what he was

getting into, might help start a dialogue between Trump supporters and

opponents, he said.

It was a dialogue, he added, which he thought was necessary and long

overdue.

The Good, the Bad and the Ugly: Portraits of Our (Unindicted) Leader

is an unusual exhibit because, unlike most museum exhibitions in the

United States, it is being presented to encourage discussion and political

debate in real time, when it’s needed. If the discussion and political

debate leads to dialogue, so much better.

The artists have agreed to talk about their art and the politics that

motivated them to create it.

We’ll also invite others---political scientists, ethicists, Constitutional

experts—to talk about civic responsibility and the ethical, moral and legal

duties and responsibilities, not only of common citizens, but of civil

servants and military personnel when ordered to carry out the wishes or

policies of a leader who may be ill-informed, psychologically unbalanced

or who willfully orders government

employees to violate the laws and

Constitution he has sworn to uphold

and protect.

We’ll also discuss censorship in

the arts and Michael Cohen’s

warning that this President may

refuse to leave office when his term

is up. What do we do? What if he

orders the FBI to detain journalists

or the editors, publishers and

producers of the “fake news” media

he’s attempted to discredit and

blame for his missteps and failures.

What if he suspends the writ of

habeas corpus, which the

Constitution gives him the power to

do?

What if he signs an executive order making it a crime to question the

veracity or accuracy of Presidential statements, official government reports

and the statistics underlying them?

Oh, you say, that’s unthinkable. I would say look closely at the paintings

and collages in this exhibit because they give us clues to a number of

unthinkable things we should all be thinking about.

Tim Atseff was for years a political cartoonist, a managing editor and

magazine editor at the Syracuse (N.Y). Post-Standard. Jim Boden

recently retired from Coker College in Hartsville, S.C., where he was a

professor of fine arts. Julian Raven brings the perspective of an émigré

born in Great Britain and educated in Spain who’s become a U.S. citizen.

This exhibit, The Good, the Bad & The Ugly: Portraits of Our

(Unindicted) Leader, demonstrates what we mean when we say THE

CENTER FOR CONTEMPORARY POLITICAL ART aspires to be The

Art World’s Editorial Page.

We’ll be exhibiting fine and graphic art that addresses real issues in real

time, issues central to the survival of the country we once thought we lived

in…for all to see.


TSEFF

!

7DEADLY

SINS

A

TRUMP

DYSTOPIAN

HEPTOLOGY

THE CENTER FOR

CONTEMPORARY

POLITICAL ART

WASHINGTON, DC


ARTIST’S STATEMENT

Art, in all its forms, is meant to be evocative and provocative. Its

power is in the response—good, bad, beautiful, ugly. Drawn in,

repulsed.

My professional career was spent as a journalist. It's long been

accepted that the unofficial motto of newspapers was to afflict the

comfortable and comfort the afflicted. I spent several of those years

behind the drawing board as an editorial cartoonist. That was my job

— expose hypocrisy and corruption by poking at public officials and

cultural conditions with the stroke of a sharp pen.

The art of caricature and political cartooning has a long and rich

history. We are all artistic animals. Artists have been exploiting the

faces of political and public figures in satire from the days of the

Cro-Magnon man scratching images on cave walls to Di Vinci,

Daumier, Dali, Goya, Bacon, Nast and contemporaries like The

Washington Post’s Herblock or Oliphant. Enlarge a nose or jowl

here and droop an ear-lobe or create tiny hands there. The idea is to

take an imperfection, a character flaw, and apply a magnifying glass

while still capturing the subject’s likeness.

When the Center for

Contemporary Political Art

offered the opportunity to install

my Deadly Sins series, I jumped

at the chance. The chance to

merge two “not

normal” disciplines— my fine art

with my political cartoon

background into one hybrid

presentation. A series of seven political cartoons on steroids. I

guess they could be called “Artoons”.

Anyway, when I get an itch, I have to scratch it. Trump is my

itch. For the past two years, I have felt like I’ve had a bad case of

poison ivy. It has left me raw and scarred. Trump’s Tower of Babel

drove me to daily to distraction. To vent, I took a detour back to

political commentary as a form of therapy, of coping.

Trump and the feckless lemmings under his spell have been

assaulting objective truth on a daily, hourly and an almost minuteby-minute

basis. They are complicit, corrupt, immoral and indecent,

lacking a moral compass.

What began as a private exploration of my own feelings of

frustration, fear and helplessness in the smog of lies, degradation of

civility and the rule of law resulted in this series of the Seven Deadly

Sins. A Trump Dystopian Heptology. Trump demonstrates on a daily

basis that he embodies each sin. His narcissism is full-throated,

unabashed and butt-naked for all to see in plain sight.

Perhaps this “Art of Deal” President never read Goethe’s Faust

(1808). Faust, too, was a

dealmaker. His Faustian

bargain didn’t turn out so well

for him either. Wait!…“He

never read”. Silly me.

So, in the end, whether you

share my art’s sensibilities, is

not my business. You decide.



! "

SINS

GLUTTONY

VIRTUES

TEMPERANCE







GREED

LUST

SLOTH

WRATH

VANITY

ENVY

CHARITY

CHASITY

DILIGENCE

PATIENCE

HUMILITY

KINDNESS


GLUTTONY GREED LUST SLOTH WRATH VANITY ENVY

GLUTTONY

Trump, though art a paunchy, swag-bellied, boar pig.

Trump’s reign of a two-scooped, fast-food, empty-caloried, engorged presidency is the

personification of a craven, digital depravity that stirs our worst national ideals. His excesses

and insatiable hunger for attention and power closely parallels the authoritarian behavior of

a Vladimir Putin or past oppressive and contemptuous tyrannts.

Trump exemplifies a rude narcissism laced with a nihilistic delusion free of consequences

and supported by spineless Congressional lemmings.

"I can tell you I have the support of the police, the support of the military, the support of the

Bikers for Trump— I have the tough people, but they don't play it tough -- until they go to a

certain point, and then it would be very bad, very bad.”

—Donald Trump, March 14, 2019


Oil, acrylic,

police tape,

emojis.

48” x 60”

2019


GLUTTONY GREED LUST SLOTH WRATH VANITY ENVY

GREED


Trump, thou art a gilded, conniving, forked-tongued fraud.

“My whole life I’ve been greedy, greedy, greedy. I’ve grabbed all the money I could get.

I’m so greedy. But now I want to be greedy for the United States. I want to grab all that

money. I’m going to be greedy for the United States.”

—Donald Trump, January 21, 2016


Oil, acrylic,

police tape,

emojis flag and

plastic gold coins

and shredded

currency.

48” x 60”

2018


GLUTTONY GREED LUST SLOTH WRATH VANITY ENVY

LUST

Trump, thou art a small-handed, orange-faced, flaccid, momma’s-boy.

“I think Viagra is wonderful if you need it, if you have medical issues, if you’ve

had surgery. I’ve just never needed it. Frankly, I wouldn’t mind if there were an

anti-Viagra, something with the opposite effect. I’m not bragging. I’m just lucky. I

don’t need it. I’ve always said, ‘If you need Viagra, you’re probably with the

wrong girl’.”

—Donald “POTUS Interruptus” August 11, 2015


Oil, acrylic,

police tape,

emojis.

48” x 36”

2019


GLUTTONY GREED LUST SLOTH WRATH VANITY ENVY

SLOTH

Thou art a lazy, muddle-brained, slug.

EXECUTIVE TIME!


Oil, acrylic,

police tape,

emojis.

48” x 36”

2019


GLUTTONY GREED LUST SLOTH WRATH VANITY ENVY

WRATH

Trump, Trump, thou thou art art a villainous, tickle-brained, bully-rag. bully-rag.

“Get even even with with people. people. If If they they screw screw you, you, screw screw them them back back 10 10

times as as hard. I I really believe it! it!”

(Of (Of course, unless they they have have the the ability ability to to screw screw you you into into oblivion.

The The weaker, the the better.)

—Donald Trump, 2011


Oil, acrylic,

police tape,

emojis, flag.

48” x 60”

2018


GLUTTONY GREED LUST SLOTH WRATH VANITY ENVY

VANITY

Trump, thou art, a beslubbering, motley-minded, lout.

“You know, I’m, like, a smart person.” “I am a really smart guy.” “I’ve been known

as being a very smart guy for a long time.” “I have a very good brain and I’ve said

a lot of things.” “I’m intelligent. Some people would say I’m very, very, very

intelligent.” “And then people say oh, is he a smart person? I’m smarter than all of

them put together, but they can’t admit it.” “My IQ is one of the highest — and

you all know it! Please don’t feel so stupid or insecure; it’s not your fault.” “My

two greatest assets have been mental stability and being, like, really smart…. I

went from VERY successful businessman, to top T.V. Star, to President of the

United States (on my first try). I think that would qualify as not smart, but

genius….and a very stable genius at that!”

—Donald Trump, January, 2018


Oil, acrylic,

police tape,

emojis.

48” x 60”

2018


GLUTTONY GREED LUST SLOTH WRATH VANITY ENVY

ENVY

Trump, Thou art a fawning, idle-headed, wagtail.

“Hey, he’s head of a country (Kim Jong Un). And I mean he is a

strong head. Don’t let anyone think anything different. He speaks and

his people sit up at attention. I want my people to do the same.”

—Donald Trump June 15, 2018


Oil, acrylic,

police tape,

emojis.

48” x 60”

2019


BIO

Tim Atseff is a native of Syracuse, N.Y. and a1970 graduate of the School

of Art at Southern Illinois University at Carbondale majoring painting. While

at Southern, Atseff began his sandbox cartooning and illustration years at the

school’s newspaper, The Daily Egyptian.

After graduation, Atseff returned to Syracuse to work for the afternoon

newspaper, the Syracuse Herald-Journal. There he served

as an artist, the Art and Design Director, Editorial

Cartoonist, Deputy Managing Editor and Managing

Editor.

As an Editorial Cartoonist, Atseff jabbed the powerful

and bloated from the Nixon through the Reagan years.

During that period, Atseff penned over 1500 local,

national and international cartoons. Some appearing in

the New York Times, Washington Post, Boston Globe as

well as several political cartoon anthologies and other

books.

Atseff retired from The Post-Standard, Syracuse's

morning newspaper, in 2011 after 46 years of service. His

responsibilities at The Post-Standard were as Marketing

and New Product Development Manager and finally as the

creator and editor of Central New York Magazine, CNY Business Exchange

Magazine and Central New York Sports Magazine.

During Atseff’s professional career, he served as president of the New

York State Managing Editor’s Association, and on the national board of

directors of the Associated Press Managing Editors Association where he

chaired the committees of Foreign News, Ethics, Photo and Graphics, Sports,

Innovation as well as chair of the group’s national convention in Atlanta.

Atseff was also a member of the American Association of Editorial

Cartoonists well as The Society for Newspaper Design where he had won

GRAPHY

over twenty national awards for newspaper design. In 2006, Atseff was

inducted into the Syracuse Press Club Wall of Fame.

Atseff’s community service includes the boards of the Boys and Girls

Club, the Crouse Health Foundation and the Onondaga Historical

Association.

In the recent past, Atseff was named the "Community

Trustee of the Year" by the civic and business group,

Leadership Greater Syracuse, for the positive impact the

magazines he created had on the image of the Central New

York region. He was also received the Onondaga Citizens

League 2012 Civic Beautification Award for defining and

creating a public space and sculpture for Susan Atseff

Memorial Park, also known as Salt Springs Park. The pocketpark

was established in memory of his late wife Susan and the

caregivers who devote themselves to comforting others.

Since his “rewirement” Atseff has designed and edited six

table-top books- An Artist’s Life, Frank Townsend Hutchens,

The Art of a Life, Dorothy Riester— A Memoir, and Kokum

Lena of the First Nation Algonquin, The Hunt, A Lifetime of

Pursing Big Game, Syracuse’s Grand Hotel and Dancing in

Two Realms. Most recently, he redesigned and helped publish the Onondaga

Historical Association’s History Highlights magazine in his role as a board

member.

Throughout his professional career, Atseff worked in spurts on building a

body of paintings. Previous shows of his paintings were held at the Everson

Museum of Art in Syracuse, N.Y. and Xerox Center in Rochester, N.Y. He

also had a show of his editorial cartoons at the Onondaga Historical Society.

Atseff’s lastest spurt yielded the Seven Deadly Sins— A Trump Dystopian

Heptology.


P A I N T I N G S

J U S T P A S S I N G T H R O U G H , B U T T O W H E R E ?

Acrylic on

canvas

72” x 54”

1970

A S A M P L I N G O F P R E V I O U S W O R K …


Acrylic

on canvas

39’ x 48”

1973

Acrylic

on canvas

50” x72”

1982

Acrylic

on canvas

36” x 48”

2009


POLITICAL

CARTOONS

“Stop those damn pictures! I don’t give a straw

what newspapers say about me. My constituents

can’t read, but damn it, they can see pictures”.

—“Boss” Tweed on cartoonist Thomas Nast, 1875


Open season regardless of party affiliation.


Redact

23” x 29”

Mixed media on

parchment

2019


ODEN


Page 30

Blank


ARTIST’S STATEMENT

Bad references the Trump Effect on our nation – internally and externally - unseating standards through

misdirection and confusion. Actions taken, not in an iconoclastic manner, but by gas-lighting, fogging

reality, altering facts, lying eyes, and deception. The result is a cynical nihilism, the reward of selfaggrandizement

based on swamp fumes.

Jim Boden in his studio.


C O L L A G E S

Pillage Practice

All collages in the

series are 9” x12” ,

mixed-media on

watercolor.

OUT OF

PARADISE

A Series


Election Observer

Hyena Herd


Kek Dike

Spew

Wall Building


Supreme Court

Mining the Swamp

Wall Security


Wall Improv

Best Foot Forward

Passport Control


Silencing Treatment

Tread on This

Feed ‘em Shit Early, They’ll Develop a Taste For It


Loyalty Oath

Grab a Pussy

No Admittance


Plumbing the Swamp

Medusa

One to Another


Leap of Faith

Politician

Tide Is In


Meager Diet

Not Trafalgar Square

Split House


Country Club Social

Interior Scroll

Salesman


Unkek

Narcissist Training

Moo Cow


P A I N T I N G S

FOUNDING FATHERS SERIES

Oil on canvas 7” x 5”—- 2016


Wall Building Oil and acrylic on canvas 12” x 16” — 2019 Traversing the Swamp Oil and acrylic on canvas 12” x 16” — 2019

Swamp Free Fall Oil and acrylic on canvas 12” x 16” —2019

Border Watch Oil and acrylic on canvas 12” x 16”— 2016


Jim Boden

Professor Emeritus

Art Department, Coker College, Hartsville, SC 29550


Education

1996 M.F.A., University of Cincinnati, Cincinnati, OH

1974 B.S. Art Education, University of Minnesota, Minneapolis, MN


Selected Solo Exhibitions

2019: Selected Works, “ Waters Gallery, Florence Co Museum,

Florence, SC

Out of Paradise,” Cecelia Bell Gallery, Coker College, Hartsville, SC

2017: “Out of Paradise,” Crema, Hartsville, South Carolina

2015: “Recent Work,” Coker College, Hartsville, South Carolina

2011: “Interrogate,” Art Mission and Theater, Binghamton, New York

“Interrogate,” Lake George Art Center, Lake George, New York

2008: “Spectators,” Hyman Fine Arts Center Gallery, Francis Marion

University, Florence, South Carolina

2003: “One Provocative and One Evocative Series,” Rabold Gallery,

Aiken, South Carolina


Selected Group Shows

2019: “The Good, The Bad, The Ugly,” Center for Contemporary

Political Art, Washington DC

2018: “Art in the Age of Trump,” Center for Contemporary Political Art,

Washington D.C.

“Anonyme Zeichner 2018,” Galerie im Körnerpark, Berlin, Germany

“Human Rights, Social Justice, & Environment Art Exhibition,” Lane

Community College, Eugene, Oregon

“Collage Garden,” Oxford College, Kathmandu, Nepal

2017: “National Small Oil Painting,” MarkArts, Wichita, Kansas

2015: “Anonyme Zeichner 2015,” Kunstverein Tiergarten / Galerie Nord,

Berlin, Germany

“10th Annual Human Rights Exhibition,” South Texas College, McAllen,

Texas

“SmallWorks 11,” 440 Gallery, Brooklyn, New York

2014: “9th Annual Human Rights Exhibition,” South Texas College,

McAllen, Texas

“10th Anniversary of Regis Center for the Arts,” Univeristy of Minnesota,

Minneapolis, Minnesota


701 CCA Biennial,” 701 Gallery, Columbia, South Carolina

2010: “Unwrap Your Mind,” That Gallery, Hong Kong, China

“Uncensored,” AndersonCreative, Canton, Ohio

“5th Annual Human Rights Exhibition,” South Texas College, McAllen,

Texas

“Art of Conflict,” Reconciliation Project, Tarnish and Gold Gallery,

Minneapolis, Minnesota

2009: “MANU PROPRIA” International Drawing Triennial, Tallinn-Viinistu,

Estonia

2004: “National Small Painting Exhibition,” Wichita Center for the Arts,

Wichita, Kansas

2001: “International Drawing Biennale,” Polish Art Foundation,

Melbourne, Australia


Public Collections

South Texas College, McAllen, Texas

Polish Art Foundation, Melbourne, Australia

Coker College, Hartsville, South Carolina

Wright State University, Dayton, Ohio

University of Cincinnati, Cincinnati, Ohio

White Bear Lake Public Library, White Bear Lake, Minnesota

Minnesota Education Association, St. Paul, Minnesota


Selected Catalogues

Defining the Art of Change: In the Age of Trump. Center for

Contemporary Political Art, Washington DC, 2018

National Small Oil Painting Exhibition, MarkArts, Wichita, Kansas, 2016

ArtFields 2016, Lake City, South Carolina, 2016

“Anonyme Zeichner 2015,” Kunstverein Tiergarten / Galerie Nord,

Berlin, Germany, 2015

ArtFields 2015, Lake City, South Carolina, 2015

9th Annual Human Rights Exhibition, South Texas College, McAllen,

Texas, 2014

5th Annual Human Rights Exhibition, South Texas College, McAllen,

Texas, 2010

1st International Drawing Biennale, Polish Art Foundation, Melbourne,

Australia, 2001

Border to Border 6: Larson National Biennial Drawing Exhibition, Austin

Peay State University, Clarksville, Tennessee, 1997


RAVEN

DONALD TRUMP:

UNAFRAID & UNASHAMED

8’ X 16’

2015


ARTIST’S STATEMENT

Being a visual ‘artist’ is an ongoing struggle both to

master the pictorial language and to skillfully communicate

through it.

Art is capable of expressing the deepest of human

thought, belief, emotion and experience. The generative

power of art as a medium for the expression of truth makes

art a transformational language that has the potential to

change the very fabric of our human experience.

My quest as an artist is to capture and express what I

believe truly matters, what is truly inspired, whether by

beauty or

horror, either

positive or

negative, by

lending my

hand to help

push the broken

down wagon of

our humanity

out of the

muddy ditch.

My portrait

of President

Donald Trump—the anti-politician— was painted in

August/September 2015 under an all-consuming fire of

inspiration. The painting expresses my view that Trump is a

natural born executive and change agent who is Unafraid

and Unashamed to say what needs to be said, and to do

what needs to be done, in order to make America great

again!

The painting exists in a totally unique art category, that

of prescient presidential portraits. Its composition is

dramatic and visionary, consisting of a layered symbolic

narrative that also captures the then-intense spirit of the

historic 2016 U.S. Presidential election campaign. A copy

of the painting has hung in Trump Tower in New York City,

since November of 2015. The painting was shown in the

Iowa Caucuses in 2016 and throughout the campaign.

In June of 2016, it was shown in ‘The Art of Politics’ art

show along with the Obama “Hope” poster and other

political works by the nation’s premier political artists at

Politicon in Los Angeles. This took place at the invitation

of Yosi Sergant, the inspiration and patron behind the

Shepherd Fairey ‘Hope’ poster and former White House

liaison for the arts under President Obama.

The painting was featured in the national and

international media at the 2016 Republican National

Convention in Cleveland. It was highlighted in an onscreen

showing of the image as part of Lynne Patton’s convention

speech the viral video “The Trump Family I Know.”

Since December of 2016 the painting has been the

subject of a 1st Amendment Free Speech federal lawsuit

against the Smithsonian National Portrait Gallery and its

Director, Kim Sajet.

Today, the most recognized pro-Trump painting

continues its historic journey. In 2019, it was “the star of

CPAC,” according to Will Sommer of The Daily Beast.

Shown during the convention at National Harbor’s Gaylord

Convention Center, the painting was celebrated with

massive interactions by both attendees and the media.

Following a second Daily Beast article in March

about the Smithsonian lawsuit, the art world caught on to

the story—creating a firestorm of internet articles, blogs,

Facebook shares, memes, gifs, outrage, ridicule, volumes

of hate mail and a subsequent twitter hysteria cycle.

Shortly after the article was published, I was pleased

to accept The Center For Contemporary Political Art’s

invitation to show the painting in Washington D.C.. I

viewed it as offering a much needed and timely opportunity

to engage in a dialogue, long overdue in the arts, about

President Donald Trump from intensely opposing political

artistic opinions and expressions.

Ironically, Unafraid and Unashamed will now be on

display, one block from the Smithsonian National Portrait

Gallery and six blocks from the White House, for all of

Washington to see, and decide, what the real reasons were

for the Portrait Gallery’s decision not to show it.

Julian Raven’s Bio

Julian Raven was born in

Richmond Upon Thames in London,

England and raised in Marbella on

the Mediterranean in Spain.

Raven’s grandfather was a

painter by night and an engineer by

day. His grandfather’s love for art

was expressed by devouring art

history books and attending art

classes at night.

However, It was Raven’s

mathematics teacher in Marbella,

who noticed Raven’s inclination

towards fine art having observed him

doodling. Impressed with Raven’s

potential, the teacher introduced him

to art master David Bodlak.

Bodlak would have a profound

influence on Raven. This creative

relationship culminated in Raven’s

acceptance into the Chelsea School

of Art in London.

Although the art school was

heaven for artists, Raven’s bouts

depression caused a premature

departure from Chelsea.

The need to survive financially led

Raven into bar ownership and life in

the fast lane where he bottomed out.

Divine intervention turned him to

become a missionary where he

followed the breeze to the Americas.

That was over 20 years ago.

Raven now finds himself back at

the canvas as an American citizen,

on a journey that now embraces his

faith, family, politics and art.

Julian Raven lives in Elmira, New

York with his wife and three

teenaged children.

For more information: www.julianraven.com

www.thetrumppainting.com


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T h e C e n t e r f o r C o n t e m p o r a r y P o l i t i c a l A r t

W a s h i n g t o n , DC

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