The Good, the Bad and the Ugly

Catalogue for Donald Trump political art exhibition at Center for Contemporary Political Art. timatseff.com

Catalogue for Donald Trump political art exhibition at Center for Contemporary Political Art. timatseff.com


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BODEN<br />

OUT OF<br />


ATSEFF<br />

<strong>The</strong> Seven Deadly Sins <br />

A Trump Dystopian Heptology<br />

RAVEN<br />


&<br />



"<br />

!<br />


lank page 1

Copyright@2019.<br />

Center for Contemporary Political Art. All rights reserved. No part of this<br />

catalogue can be reproduced without <strong>the</strong> permission of <strong>the</strong> publisher.<br />

Printed in USA<br />

<strong>The</strong> Center for Contemporary Political Art (CCPArt) is located at Ma<strong>the</strong>r Studios,<br />

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

Contact:<br />

202.412.2324<br />

charles@politicsartus.org<br />

Gallery Hours<br />

Monday - Thursday, by Appointment<br />

Friday - Sunday, Noon to 6pm<br />

Metro Accessible:<br />

Gallery Place & Metro Center<br />

No Fee for Programs,<br />

but DONATIONS are always welcome<br />

Visit us on Facebook<br />

Art for Sale:<br />

If you are interested purchasing a piece of art from <strong>the</strong> show, please email<br />

info@politicartus.org <strong>and</strong> include <strong>the</strong> artist’s name, <strong>the</strong> title or number of <strong>the</strong> work.<br />

CCPArt will connect you directly with <strong>the</strong> artist. CCPArt does not take a percentage<br />

or a fee. You <strong>and</strong> <strong>the</strong> artist are responsible for <strong>the</strong> sale <strong>and</strong> delivery arrangements.<br />

Charles Krause- Founder<br />

Keep Political Art Alive<br />

To donate, go to politicsartus.org <strong>and</strong> click <strong>the</strong> DONATE tab.<br />

Your support is greatly needed <strong>and</strong> appreciated to help advance <strong>the</strong> importance of<br />

political art <strong>and</strong> <strong>the</strong> dialogue that it provokes.




MAY 8 - JUNE 28<br />


<br />

THE<br />




ART<br />

916 G STREET NW WASHINGTON, DC 20001<br />

www.politicsartus.org<br />


Washington, DC 20001 / www.politicsartus.org


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

portrait of Donald Trump, Unafraid <strong>and</strong> Unashamed, alongside Tim Atseff’s nasty 7 Deadly<br />

Sins portraits of <strong>the</strong> President <strong>and</strong> Jim Boden’s chilling Out of Paradise collages.<br />

hat would have been a two-man show of<br />

Atseff <strong>and</strong> Boden’s work, titled, <strong>The</strong><br />

Grotesque in 21st Century Political Art,<br />

became a three-man show, <strong>The</strong> <strong>Good</strong>, <strong>The</strong><br />

<strong>Bad</strong> & <strong>The</strong> <strong>Ugly</strong>: Portraits of Our<br />

(Unindicted) Leader— possibly <strong>the</strong> first<br />

exhibition, anywhere, to present work by<br />

artists who both support <strong>and</strong> oppose <strong>the</strong><br />

most polarizing, divisive President in our<br />

country’s post-Civil War history.<br />

I first became aware of Julian Raven’s<br />

controversial portrait when several people<br />

sent me links to Will Sommer’s interview<br />

with <strong>the</strong> artist in <strong>the</strong> March 12 th (2019)<br />

editions of <strong>The</strong> Daily Beast. What Sommer<br />

reported was <strong>the</strong> simmering controversy<br />

over <strong>the</strong> massive 8’ x 16’ portrait of Our<br />

Leader, painted in 2015, which <strong>The</strong><br />

C<strong>and</strong>idate liked so much he had a copy<br />

made for Trump Tower, but which <strong>the</strong><br />

august Smithsonian National Portrait Gallery<br />

had refused to exhibit.<br />

After nearly two years of rejection by <strong>the</strong> Portrait Gallery, Raven<br />

did what no o<strong>the</strong>r artist is known to have ever done: he sued, arguing<br />

<strong>the</strong> Gallery had violated his First <strong>and</strong> Fifth Amendment rights by<br />

refusing to hang his Trump. According to Raven’s legal complaint,<br />

which <strong>the</strong> artist wrote <strong>and</strong> argued himself, <strong>the</strong> reasons Kim Sajet, <strong>the</strong><br />

Charles Krause, Founding Director of <strong>the</strong> Center for<br />

Contemporary Political Art.<br />

National Portrait Gallery’s director, had given<br />

him for not exhibiting Unafraid <strong>and</strong><br />

Unashamed were various. At one point, she<br />

said <strong>the</strong> painting was “too big;” at ano<strong>the</strong>r,<br />

“too political;” <strong>and</strong>, finally, “not very good.”<br />

After a recent adverse ruling by U.S.<br />

District Court Judge Trevor McFadden, who<br />

found that “<strong>the</strong> First Amendment simply does<br />

not apply to government art selection, no<br />

matter how arbitrary,” <strong>The</strong> Beast quoted<br />

Raven as saying he was prepared to appeal<br />

McFadden’s finding “all <strong>the</strong> way to <strong>the</strong><br />

Supreme Court” if <strong>the</strong> Portrait Gallery didn’t<br />

come to its senses <strong>and</strong> exhibit <strong>the</strong> portrait of<br />

its own accord.<br />

Perfect, I thought. Here was a political<br />

painting that had become a political football<br />

because it was deemed to be “too political.”<br />

Why not stir <strong>the</strong> pot <strong>and</strong> st<strong>and</strong> up for what we<br />

at CCPArt believe, which is that “too political”<br />

is a lame <strong>and</strong> even cowardly excuse for not<br />

exhibiting a work of art at any time, but especially in times like <strong>the</strong>se.<br />

By showing <strong>the</strong> Raven painting at CCPArt, fortuitously located just<br />

a block away from <strong>the</strong> Portrait Gallery, we‘d be tweaking two sitting<br />

ducks with one large canvas: our Established neighbor to <strong>the</strong> East for<br />

being un-democratic or too Democratic (take your pick) <strong>and</strong> Our<br />

Leader to <strong>the</strong> West for not knowing <strong>the</strong> difference between fine art

<strong>and</strong> <strong>the</strong> kind of Socialist Realist<br />

propag<strong>and</strong>a art Stalin would have<br />

loved.<br />

Whatever one thinks of <strong>the</strong><br />

painting, Raven’s lawsuit does raise<br />

legitimate questions about institutional<br />

bias (not to be confused with state<br />

censorship) akin to Banned in Boston<br />

morals censorship <strong>the</strong> Brahmin<br />

authorities used to exercise <strong>the</strong>re.<br />

I could see <strong>the</strong> poster for our<br />

exhibit before I’d even seen <strong>the</strong><br />

painting.<br />

Truth be told, I was surprised when<br />

Raven accepted <strong>the</strong> Center’s invitation<br />

to show Unafraid <strong>and</strong> Unashamed.<br />

And even more surprised when he told<br />

me why. Showing his painting along with <strong>the</strong> o<strong>the</strong>rs by Tim Atseff <strong>and</strong><br />

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

getting into, might help start a dialogue between Trump supporters <strong>and</strong><br />

opponents, he said.<br />

It was a dialogue, he added, which he thought was necessary <strong>and</strong> long<br />

overdue.<br />

<strong>The</strong> <strong>Good</strong>, <strong>the</strong> <strong>Bad</strong> <strong>and</strong> <strong>the</strong> <strong>Ugly</strong>: Portraits of Our (Unindicted) Leader<br />

is an unusual exhibit because, unlike most museum exhibitions in <strong>the</strong><br />

United States, it is being presented to encourage discussion <strong>and</strong> political<br />

debate in real time, when it’s needed. If <strong>the</strong> discussion <strong>and</strong> political<br />

debate leads to dialogue, so much better.<br />

<strong>The</strong> artists have agreed to talk about <strong>the</strong>ir art <strong>and</strong> <strong>the</strong> politics that<br />

motivated <strong>the</strong>m to create it.<br />

We’ll also invite o<strong>the</strong>rs---political scientists, ethicists, Constitutional<br />

experts—to talk about civic responsibility <strong>and</strong> <strong>the</strong> ethical, moral <strong>and</strong> legal<br />

duties <strong>and</strong> responsibilities, not only of common citizens, but of civil<br />

servants <strong>and</strong> military personnel when ordered to carry out <strong>the</strong> wishes or<br />

policies of a leader who may be ill-informed, psychologically unbalanced<br />

or who willfully orders government<br />

employees to violate <strong>the</strong> laws <strong>and</strong><br />

Constitution he has sworn to uphold<br />

<strong>and</strong> protect.<br />

We’ll also discuss censorship in<br />

<strong>the</strong> arts <strong>and</strong> Michael Cohen’s<br />

warning that this President may<br />

refuse to leave office when his term<br />

is up. What do we do? What if he<br />

orders <strong>the</strong> FBI to detain journalists<br />

or <strong>the</strong> editors, publishers <strong>and</strong><br />

producers of <strong>the</strong> “fake news” media<br />

he’s attempted to discredit <strong>and</strong><br />

blame for his missteps <strong>and</strong> failures.<br />

What if he suspends <strong>the</strong> writ of<br />

habeas corpus, which <strong>the</strong><br />

Constitution gives him <strong>the</strong> power to<br />

do?<br />

What if he signs an executive order making it a crime to question <strong>the</strong><br />

veracity or accuracy of Presidential statements, official government reports<br />

<strong>and</strong> <strong>the</strong> statistics underlying <strong>the</strong>m?<br />

Oh, you say, that’s unthinkable. I would say look closely at <strong>the</strong> paintings<br />

<strong>and</strong> collages in this exhibit because <strong>the</strong>y give us clues to a number of<br />

unthinkable things we should all be thinking about.<br />

Tim Atseff was for years a political cartoonist, a managing editor <strong>and</strong><br />

magazine editor at <strong>the</strong> Syracuse (N.Y). Post-St<strong>and</strong>ard. Jim Boden<br />

recently retired from Coker College in Hartsville, S.C., where he was a<br />

professor of fine arts. Julian Raven brings <strong>the</strong> perspective of an émigré<br />

born in Great Britain <strong>and</strong> educated in Spain who’s become a U.S. citizen.<br />

This exhibit, <strong>The</strong> <strong>Good</strong>, <strong>the</strong> <strong>Bad</strong> & <strong>The</strong> <strong>Ugly</strong>: Portraits of Our<br />

(Unindicted) Leader, demonstrates what we mean when we say THE<br />

CENTER FOR CONTEMPORARY POLITICAL ART aspires to be <strong>The</strong><br />

Art World’s Editorial Page.<br />

We’ll be exhibiting fine <strong>and</strong> graphic art that addresses real issues in real<br />

time, issues central to <strong>the</strong> survival of <strong>the</strong> country we once thought we lived<br />

in…for all to see.

TSEFF<br />

!<br />

7DEADLY<br />

SINS<br />

A<br />

TRUMP<br />








Art, in all its forms, is meant to be evocative <strong>and</strong> provocative. Its<br />

power is in <strong>the</strong> response—good, bad, beautiful, ugly. Drawn in,<br />

repulsed.<br />

My professional career was spent as a journalist. It's long been<br />

accepted that <strong>the</strong> unofficial motto of newspapers was to afflict <strong>the</strong><br />

comfortable <strong>and</strong> comfort <strong>the</strong> afflicted. I spent several of those years<br />

behind <strong>the</strong> drawing board as an editorial cartoonist. That was my job<br />

— expose hypocrisy <strong>and</strong> corruption by poking at public officials <strong>and</strong><br />

cultural conditions with <strong>the</strong> stroke of a sharp pen.<br />

<strong>The</strong> art of caricature <strong>and</strong> political cartooning has a long <strong>and</strong> rich<br />

history. We are all artistic animals. Artists have been exploiting <strong>the</strong><br />

faces of political <strong>and</strong> public figures in satire from <strong>the</strong> days of <strong>the</strong><br />

Cro-Magnon man scratching images on cave walls to Di Vinci,<br />

Daumier, Dali, Goya, Bacon, Nast <strong>and</strong> contemporaries like <strong>The</strong><br />

Washington Post’s Herblock or Oliphant. Enlarge a nose or jowl<br />

here <strong>and</strong> droop an ear-lobe or create tiny h<strong>and</strong>s <strong>the</strong>re. <strong>The</strong> idea is to<br />

take an imperfection, a character flaw, <strong>and</strong> apply a magnifying glass<br />

while still capturing <strong>the</strong> subject’s likeness.<br />

When <strong>the</strong> Center for<br />

Contemporary Political Art<br />

offered <strong>the</strong> opportunity to install<br />

my Deadly Sins series, I jumped<br />

at <strong>the</strong> chance. <strong>The</strong> chance to<br />

merge two “not<br />

normal” disciplines— my fine art<br />

with my political cartoon<br />

background into one hybrid<br />

presentation. A series of seven political cartoons on steroids. I<br />

guess <strong>the</strong>y could be called “Artoons”.<br />

Anyway, when I get an itch, I have to scratch it. Trump is my<br />

itch. For <strong>the</strong> past two years, I have felt like I’ve had a bad case of<br />

poison ivy. It has left me raw <strong>and</strong> scarred. Trump’s Tower of Babel<br />

drove me to daily to distraction. To vent, I took a detour back to<br />

political commentary as a form of <strong>the</strong>rapy, of coping.<br />

Trump <strong>and</strong> <strong>the</strong> feckless lemmings under his spell have been<br />

assaulting objective truth on a daily, hourly <strong>and</strong> an almost minuteby-minute<br />

basis. <strong>The</strong>y are complicit, corrupt, immoral <strong>and</strong> indecent,<br />

lacking a moral compass.<br />

What began as a private exploration of my own feelings of<br />

frustration, fear <strong>and</strong> helplessness in <strong>the</strong> smog of lies, degradation of<br />

civility <strong>and</strong> <strong>the</strong> rule of law resulted in this series of <strong>the</strong> Seven Deadly<br />

Sins. A Trump Dystopian Heptology. Trump demonstrates on a daily<br />

basis that he embodies each sin. His narcissism is full-throated,<br />

unabashed <strong>and</strong> butt-naked for all to see in plain sight.<br />

Perhaps this “Art of Deal” President never read Goe<strong>the</strong>’s Faust<br />

(1808). Faust, too, was a<br />

dealmaker. His Faustian<br />

bargain didn’t turn out so well<br />

for him ei<strong>the</strong>r. Wait!…“He<br />

never read”. Silly me.<br />

So, in <strong>the</strong> end, whe<strong>the</strong>r you<br />

share my art’s sensibilities, is<br />

not my business. You decide.

✓<br />

! "<br />

SINS<br />




✓<br />

✓<br />

✓<br />

✓<br />

✓<br />

✓<br />

GREED<br />

LUST<br />

SLOTH<br />

WRATH<br />

VANITY<br />

ENVY<br />









Trump, though art a paunchy, swag-bellied, boar pig.<br />

Trump’s reign of a two-scooped, fast-food, empty-caloried, engorged presidency is <strong>the</strong><br />

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

<strong>and</strong> insatiable hunger for attention <strong>and</strong> power closely parallels <strong>the</strong> authoritarian behavior of<br />

a Vladimir Putin or past oppressive <strong>and</strong> contemptuous tyrannts.<br />

Trump exemplifies a rude narcissism laced with a nihilistic delusion free of consequences<br />

<strong>and</strong> supported by spineless Congressional lemmings.<br />

"I can tell you I have <strong>the</strong> support of <strong>the</strong> police, <strong>the</strong> support of <strong>the</strong> military, <strong>the</strong> support of <strong>the</strong><br />

Bikers for Trump— I have <strong>the</strong> tough people, but <strong>the</strong>y don't play it tough -- until <strong>the</strong>y go to a<br />

certain point, <strong>and</strong> <strong>the</strong>n it would be very bad, very bad.”<br />

—Donald Trump, March 14, 2019

Oil, acrylic, <br />

police tape, <br />

emojis.<br />

48” x 60” <br />



GREED<br />

<br />

Trump, thou art a gilded, conniving, forked-tongued fraud.<br />

“My whole life I’ve been greedy, greedy, greedy. I’ve grabbed all <strong>the</strong> money I could get.<br />

I’m so greedy. But now I want to be greedy for <strong>the</strong> United States. I want to grab all that<br />

money. I’m going to be greedy for <strong>the</strong> United States.”<br />

—Donald Trump, January 21, 2016

Oil, acrylic, <br />

police tape, <br />

emojis flag <strong>and</strong><br />

plastic gold coins<br />

<strong>and</strong> shredded<br />

currency.<br />

48” x 60” <br />



LUST<br />

Trump, thou art a small-h<strong>and</strong>ed, orange-faced, flaccid, momma’s-boy.<br />

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

had surgery. I’ve just never needed it. Frankly, I wouldn’t mind if <strong>the</strong>re were an<br />

anti-Viagra, something with <strong>the</strong> opposite effect. I’m not bragging. I’m just lucky. I<br />

don’t need it. I’ve always said, ‘If you need Viagra, you’re probably with <strong>the</strong><br />

wrong girl’.”<br />

—Donald “POTUS Interruptus” August 11, 2015

Oil, acrylic, <br />

police tape, <br />

emojis.<br />

48” x 36” <br />



SLOTH<br />

Thou art a lazy, muddle-brained, slug.<br />


Oil, acrylic, <br />

police tape, <br />

emojis.<br />

48” x 36” <br />



WRATH<br />

Trump, Trump, thou thou art art a villainous, tickle-brained, bully-rag. bully-rag.<br />

“Get even even with with people. people. If If <strong>the</strong>y <strong>the</strong>y screw screw you, you, screw screw <strong>the</strong>m <strong>the</strong>m back back 10 10<br />

times as as hard. I I really believe it! it!”<br />

(Of (Of course, unless <strong>the</strong>y <strong>the</strong>y have have <strong>the</strong> <strong>the</strong> ability ability to to screw screw you you into into oblivion.<br />

<strong>The</strong> <strong>The</strong> weaker, <strong>the</strong> <strong>the</strong> better.)<br />

—Donald Trump, 2011

Oil, acrylic, <br />

police tape, <br />

emojis, flag.<br />

48” x 60” <br />



VANITY<br />

Trump, thou art, a beslubbering, motley-minded, lout.<br />

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

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

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

intelligent.” “And <strong>the</strong>n people say oh, is he a smart person? I’m smarter than all of<br />

<strong>the</strong>m put toge<strong>the</strong>r, but <strong>the</strong>y can’t admit it.” “My IQ is one of <strong>the</strong> highest — <strong>and</strong><br />

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

two greatest assets have been mental stability <strong>and</strong> being, like, really smart…. I<br />

went from VERY successful businessman, to top T.V. Star, to President of <strong>the</strong><br />

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

genius….<strong>and</strong> a very stable genius at that!”<br />

—Donald Trump, January, 2018

Oil, acrylic, <br />

police tape, <br />

emojis.<br />

48” x 60”<br />



ENVY<br />

Trump, Thou art a fawning, idle-headed, wagtail.<br />

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

strong head. Don’t let anyone think anything different. He speaks <strong>and</strong><br />

his people sit up at attention. I want my people to do <strong>the</strong> same.”<br />

—Donald Trump June 15, 2018

Oil, acrylic, <br />

police tape, <br />

emojis.<br />

48” x 60” <br />


BIO<br />

Tim Atseff is a native of Syracuse, N.Y. <strong>and</strong> a1970 graduate of <strong>the</strong> School<br />

of Art at Sou<strong>the</strong>rn Illinois University at Carbondale majoring painting. While<br />

at Sou<strong>the</strong>rn, Atseff began his s<strong>and</strong>box cartooning <strong>and</strong> illustration years at <strong>the</strong><br />

school’s newspaper, <strong>The</strong> Daily Egyptian.<br />

After graduation, Atseff returned to Syracuse to work for <strong>the</strong> afternoon<br />

newspaper, <strong>the</strong> Syracuse Herald-Journal. <strong>The</strong>re he served<br />

as an artist, <strong>the</strong> Art <strong>and</strong> Design Director, Editorial<br />

Cartoonist, Deputy Managing Editor <strong>and</strong> Managing<br />

Editor.<br />

As an Editorial Cartoonist, Atseff jabbed <strong>the</strong> powerful<br />

<strong>and</strong> bloated from <strong>the</strong> Nixon through <strong>the</strong> Reagan years.<br />

During that period, Atseff penned over 1500 local,<br />

national <strong>and</strong> international cartoons. Some appearing in<br />

<strong>the</strong> New York Times, Washington Post, Boston Globe as<br />

well as several political cartoon anthologies <strong>and</strong> o<strong>the</strong>r<br />

books.<br />

Atseff retired from <strong>The</strong> Post-St<strong>and</strong>ard, Syracuse's<br />

morning newspaper, in 2011 after 46 years of service. His<br />

responsibilities at <strong>The</strong> Post-St<strong>and</strong>ard were as Marketing<br />

<strong>and</strong> New Product Development Manager <strong>and</strong> finally as <strong>the</strong><br />

creator <strong>and</strong> editor of Central New York Magazine, CNY Business Exchange<br />

Magazine <strong>and</strong> Central New York Sports Magazine.<br />

During Atseff’s professional career, he served as president of <strong>the</strong> New<br />

York State Managing Editor’s Association, <strong>and</strong> on <strong>the</strong> national board of<br />

directors of <strong>the</strong> Associated Press Managing Editors Association where he<br />

chaired <strong>the</strong> committees of Foreign News, Ethics, Photo <strong>and</strong> Graphics, Sports,<br />

Innovation as well as chair of <strong>the</strong> group’s national convention in Atlanta.<br />

Atseff was also a member of <strong>the</strong> American Association of Editorial<br />

Cartoonists well as <strong>The</strong> Society for Newspaper Design where he had won<br />

GRAPHY<br />

over twenty national awards for newspaper design. In 2006, Atseff was<br />

inducted into <strong>the</strong> Syracuse Press Club Wall of Fame.<br />

Atseff’s community service includes <strong>the</strong> boards of <strong>the</strong> Boys <strong>and</strong> Girls<br />

Club, <strong>the</strong> Crouse Health Foundation <strong>and</strong> <strong>the</strong> Onondaga Historical<br />

Association.<br />

In <strong>the</strong> recent past, Atseff was named <strong>the</strong> "Community<br />

Trustee of <strong>the</strong> Year" by <strong>the</strong> civic <strong>and</strong> business group,<br />

Leadership Greater Syracuse, for <strong>the</strong> positive impact <strong>the</strong><br />

magazines he created had on <strong>the</strong> image of <strong>the</strong> Central New<br />

York region. He was also received <strong>the</strong> Onondaga Citizens<br />

League 2012 Civic Beautification Award for defining <strong>and</strong><br />

creating a public space <strong>and</strong> sculpture for Susan Atseff<br />

Memorial Park, also known as Salt Springs Park. <strong>The</strong> pocketpark<br />

was established in memory of his late wife Susan <strong>and</strong> <strong>the</strong><br />

caregivers who devote <strong>the</strong>mselves to comforting o<strong>the</strong>rs.<br />

Since his “rewirement” Atseff has designed <strong>and</strong> edited six<br />

table-top books- An Artist’s Life, Frank Townsend Hutchens,<br />

<strong>The</strong> Art of a Life, Dorothy Riester— A Memoir, <strong>and</strong> Kokum<br />

Lena of <strong>the</strong> First Nation Algonquin, <strong>The</strong> Hunt, A Lifetime of<br />

Pursing Big Game, Syracuse’s Gr<strong>and</strong> Hotel <strong>and</strong> Dancing in<br />

Two Realms. Most recently, he redesigned <strong>and</strong> helped publish <strong>the</strong> Onondaga<br />

Historical Association’s History Highlights magazine in his role as a board<br />

member.<br />

Throughout his professional career, Atseff worked in spurts on building a<br />

body of paintings. Previous shows of his paintings were held at <strong>the</strong> Everson<br />

Museum of Art in Syracuse, N.Y. <strong>and</strong> Xerox Center in Rochester, N.Y. He<br />

also had a show of his editorial cartoons at <strong>the</strong> Onondaga Historical Society.<br />

Atseff’s lastest spurt yielded <strong>the</strong> Seven Deadly Sins— A Trump Dystopian<br />


P A I N T I N G S<br />

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 ?<br />

Acrylic on <br />

canvas<br />

72” x 54” <br />

1970<br />

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

Acrylic <br />

on canvas<br />

39’ x 48” <br />

1973<br />

Acrylic <br />

on canvas <br />

50” x72” <br />

1982<br />

Acrylic<br />

on canvas<br />

36” x 48” <br />




“Stop those damn pictures! I don’t give a straw<br />

what newspapers say about me. My constituents<br />

can’t read, but damn it, <strong>the</strong>y can see pictures”.<br />

—“Boss” Tweed on cartoonist Thomas Nast, 1875<br />

<br />

Open season regardless of party affiliation.

Redact<br />

23” x 29” <br />

Mixed media on <br />

parchment<br />



Page 30<br />



<strong>Bad</strong> references <strong>the</strong> Trump Effect on our nation – internally <strong>and</strong> externally - unseating st<strong>and</strong>ards through<br />

misdirection <strong>and</strong> confusion. Actions taken, not in an iconoclastic manner, but by gas-lighting, fogging<br />

reality, altering facts, lying eyes, <strong>and</strong> deception. <strong>The</strong> result is a cynical nihilism, <strong>the</strong> reward of selfaggr<strong>and</strong>izement<br />

based on swamp fumes.<br />

Jim Boden in his studio.

C O L L A G E S<br />

Pillage Practice<br />

All collages in <strong>the</strong><br />

series are 9” x12” ,<br />

mixed-media on<br />

watercolor.<br />

OUT OF<br />


A Series<br />

<br />

Election Observer<br />

Hyena Herd

Kek Dike<br />

Spew<br />

Wall Building

Supreme Court<br />

Mining <strong>the</strong> Swamp<br />

Wall Security

Wall Improv<br />

Best Foot Forward<br />

Passport Control

Silencing Treatment<br />

Tread on This<br />

Feed ‘em Shit Early, <strong>The</strong>y’ll Develop a Taste For It

Loyalty Oath<br />

Grab a Pussy<br />

No Admittance

Plumbing <strong>the</strong> Swamp<br />

Medusa<br />

One to Ano<strong>the</strong>r

Leap of Faith<br />

Politician<br />

Tide Is In

Meager Diet<br />

Not Trafalgar Square<br />

Split House

Country Club Social<br />

Interior Scroll<br />


Unkek<br />

Narcissist Training<br />

Moo Cow

P A I N T I N G S<br />


Oil on canvas 7” x 5”—- 2016

Wall Building Oil <strong>and</strong> acrylic on canvas 12” x 16” — 2019 Traversing <strong>the</strong> Swamp Oil <strong>and</strong> acrylic on canvas 12” x 16” — 2019<br />

Swamp Free Fall Oil <strong>and</strong> acrylic on canvas 12” x 16” —2019<br />

Border Watch Oil <strong>and</strong> acrylic on canvas 12” x 16”— 2016

Jim Boden<br />

Professor Emeritus<br />

Art Department, Coker College, Hartsville, SC 29550<br />

<br />

Education<br />

1996 M.F.A., University of Cincinnati, Cincinnati, OH<br />

1974 B.S. Art Education, University of Minnesota, Minneapolis, MN<br />

<br />

Selected Solo Exhibitions<br />

2019: Selected Works, “ Waters Gallery, Florence Co Museum,<br />

Florence, SC<br />

Out of Paradise,” Cecelia Bell Gallery, Coker College, Hartsville, SC<br />

2017: “Out of Paradise,” Crema, Hartsville, South Carolina<br />

2015: “Recent Work,” Coker College, Hartsville, South Carolina<br />

2011: “Interrogate,” Art Mission <strong>and</strong> <strong>The</strong>ater, Binghamton, New York<br />

“Interrogate,” Lake George Art Center, Lake George, New York<br />

2008: “Spectators,” Hyman Fine Arts Center Gallery, Francis Marion<br />

University, Florence, South Carolina<br />

2003: “One Provocative <strong>and</strong> One Evocative Series,” Rabold Gallery,<br />

Aiken, South Carolina<br />

<br />

Selected Group Shows<br />

2019: “<strong>The</strong> <strong>Good</strong>, <strong>The</strong> <strong>Bad</strong>, <strong>The</strong> <strong>Ugly</strong>,” Center for Contemporary<br />

Political Art, Washington DC<br />

2018: “Art in <strong>the</strong> Age of Trump,” Center for Contemporary Political Art,<br />

Washington D.C.<br />

“Anonyme Zeichner 2018,” Galerie im Körnerpark, Berlin, Germany<br />

“Human Rights, Social Justice, & Environment Art Exhibition,” Lane<br />

Community College, Eugene, Oregon<br />

“Collage Garden,” Oxford College, Kathm<strong>and</strong>u, Nepal<br />

2017: “National Small Oil Painting,” MarkArts, Wichita, Kansas<br />

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

Berlin, Germany<br />

“10th Annual Human Rights Exhibition,” South Texas College, McAllen,<br />

Texas<br />

“SmallWorks 11,” 440 Gallery, Brooklyn, New York<br />

2014: “9th Annual Human Rights Exhibition,” South Texas College,<br />

McAllen, Texas<br />

“10th Anniversary of Regis Center for <strong>the</strong> Arts,” Univeristy of Minnesota,<br />

Minneapolis, Minnesota<br />

“<br />

701 CCA Biennial,” 701 Gallery, Columbia, South Carolina<br />

2010: “Unwrap Your Mind,” That Gallery, Hong Kong, China<br />

“Uncensored,” AndersonCreative, Canton, Ohio<br />

“5th Annual Human Rights Exhibition,” South Texas College, McAllen,<br />

Texas<br />

“Art of Conflict,” Reconciliation Project, Tarnish <strong>and</strong> Gold Gallery,<br />

Minneapolis, Minnesota<br />

2009: “MANU PROPRIA” International Drawing Triennial, Tallinn-Viinistu,<br />

Estonia <br />

2004: “National Small Painting Exhibition,” Wichita Center for <strong>the</strong> Arts,<br />

Wichita, Kansas<br />

2001: “International Drawing Biennale,” Polish Art Foundation,<br />

Melbourne, Australia<br />

<br />

Public Collections<br />

South Texas College, McAllen, Texas<br />

Polish Art Foundation, Melbourne, Australia<br />

Coker College, Hartsville, South Carolina<br />

Wright State University, Dayton, Ohio<br />

University of Cincinnati, Cincinnati, Ohio<br />

White Bear Lake Public Library, White Bear Lake, Minnesota<br />

Minnesota Education Association, St. Paul, Minnesota<br />

<br />

Selected Catalogues<br />

Defining <strong>the</strong> Art of Change: In <strong>the</strong> Age of Trump. Center for<br />

Contemporary Political Art, Washington DC, 2018<br />

National Small Oil Painting Exhibition, MarkArts, Wichita, Kansas, 2016<br />

ArtFields 2016, Lake City, South Carolina, 2016<br />

“Anonyme Zeichner 2015,” Kunstverein Tiergarten / Galerie Nord,<br />

Berlin, Germany, 2015<br />

ArtFields 2015, Lake City, South Carolina, 2015<br />

9th Annual Human Rights Exhibition, South Texas College, McAllen,<br />

Texas, 2014<br />

5th Annual Human Rights Exhibition, South Texas College, McAllen,<br />

Texas, 2010<br />

1st International Drawing Biennale, Polish Art Foundation, Melbourne,<br />

Australia, 2001<br />

Border to Border 6: Larson National Biennial Drawing Exhibition, Austin<br />

Peay State University, Clarksville, Tennessee, 1997

RAVEN<br />



8’ X 16’<br />



Being a visual ‘artist’ is an ongoing struggle both to<br />

master <strong>the</strong> pictorial language <strong>and</strong> to skillfully communicate<br />

through it.<br />

Art is capable of expressing <strong>the</strong> deepest of human<br />

thought, belief, emotion <strong>and</strong> experience. <strong>The</strong> generative<br />

power of art as a medium for <strong>the</strong> expression of truth makes<br />

art a transformational language that has <strong>the</strong> potential to<br />

change <strong>the</strong> very fabric of our human experience.<br />

My quest as an artist is to capture <strong>and</strong> express what I<br />

believe truly matters, what is truly inspired, whe<strong>the</strong>r by<br />

beauty or<br />

horror, ei<strong>the</strong>r<br />

positive or<br />

negative, by<br />

lending my<br />

h<strong>and</strong> to help<br />

push <strong>the</strong> broken<br />

down wagon of<br />

our humanity<br />

out of <strong>the</strong><br />

muddy ditch.<br />

My portrait<br />

of President<br />

Donald Trump—<strong>the</strong> anti-politician— was painted in<br />

August/September 2015 under an all-consuming fire of<br />

inspiration. <strong>The</strong> painting expresses my view that Trump is a<br />

natural born executive <strong>and</strong> change agent who is Unafraid<br />

<strong>and</strong> Unashamed to say what needs to be said, <strong>and</strong> to do<br />

what needs to be done, in order to make America great<br />

again!<br />

<strong>The</strong> painting exists in a totally unique art category, that<br />

of prescient presidential portraits. Its composition is<br />

dramatic <strong>and</strong> visionary, consisting of a layered symbolic<br />

narrative that also captures <strong>the</strong> <strong>the</strong>n-intense spirit of <strong>the</strong><br />

historic 2016 U.S. Presidential election campaign. A copy<br />

of <strong>the</strong> painting has hung in Trump Tower in New York City,<br />

since November of 2015. <strong>The</strong> painting was shown in <strong>the</strong><br />

Iowa Caucuses in 2016 <strong>and</strong> throughout <strong>the</strong> campaign.<br />

In June of 2016, it was shown in ‘<strong>The</strong> Art of Politics’ art<br />

show along with <strong>the</strong> Obama “Hope” poster <strong>and</strong> o<strong>the</strong>r<br />

political works by <strong>the</strong> nation’s premier political artists at<br />

Politicon in Los Angeles. This took place at <strong>the</strong> invitation<br />

of Yosi Sergant, <strong>the</strong> inspiration <strong>and</strong> patron behind <strong>the</strong><br />

Shepherd Fairey ‘Hope’ poster <strong>and</strong> former White House<br />

liaison for <strong>the</strong> arts under President Obama.<br />

<strong>The</strong> painting was featured in <strong>the</strong> national <strong>and</strong><br />

international media at <strong>the</strong> 2016 Republican National<br />

Convention in Clevel<strong>and</strong>. It was highlighted in an onscreen<br />

showing of <strong>the</strong> image as part of Lynne Patton’s convention<br />

speech <strong>the</strong> viral video “<strong>The</strong> Trump Family I Know.”<br />

Since December of 2016 <strong>the</strong> painting has been <strong>the</strong><br />

subject of a 1st Amendment Free Speech federal lawsuit<br />

against <strong>the</strong> Smithsonian National Portrait Gallery <strong>and</strong> its<br />

Director, Kim Sajet.<br />

Today, <strong>the</strong> most recognized pro-Trump painting<br />

continues its historic journey. In 2019, it was “<strong>the</strong> star of<br />

CPAC,” according to Will Sommer of <strong>The</strong> Daily Beast.<br />

Shown during <strong>the</strong> convention at National Harbor’s Gaylord<br />

Convention Center, <strong>the</strong> painting was celebrated with<br />

massive interactions by both attendees <strong>and</strong> <strong>the</strong> media.<br />

Following a second Daily Beast article in March<br />

about <strong>the</strong> Smithsonian lawsuit, <strong>the</strong> art world caught on to<br />

<strong>the</strong> story—creating a firestorm of internet articles, blogs,<br />

Facebook shares, memes, gifs, outrage, ridicule, volumes<br />

of hate mail <strong>and</strong> a subsequent twitter hysteria cycle.<br />

Shortly after <strong>the</strong> article was published, I was pleased<br />

to accept <strong>The</strong> Center For Contemporary Political Art’s<br />

invitation to show <strong>the</strong> painting in Washington D.C.. I<br />

viewed it as offering a much needed <strong>and</strong> timely opportunity<br />

to engage in a dialogue, long overdue in <strong>the</strong> arts, about<br />

President Donald Trump from intensely opposing political<br />

artistic opinions <strong>and</strong> expressions.<br />

Ironically, Unafraid <strong>and</strong> Unashamed will now be on<br />

display, one block from <strong>the</strong> Smithsonian National Portrait<br />

Gallery <strong>and</strong> six blocks from <strong>the</strong> White House, for all of<br />

Washington to see, <strong>and</strong> decide, what <strong>the</strong> real reasons were<br />

for <strong>the</strong> Portrait Gallery’s decision not to show it.<br />

Julian Raven’s Bio<br />

Julian Raven was born in<br />

Richmond Upon Thames in London,<br />

Engl<strong>and</strong> <strong>and</strong> raised in Marbella on<br />

<strong>the</strong> Mediterranean in Spain.<br />

Raven’s gr<strong>and</strong>fa<strong>the</strong>r was a<br />

painter by night <strong>and</strong> an engineer by<br />

day. His gr<strong>and</strong>fa<strong>the</strong>r’s love for art<br />

was expressed by devouring art<br />

history books <strong>and</strong> attending art<br />

classes at night.<br />

However, It was Raven’s<br />

ma<strong>the</strong>matics teacher in Marbella,<br />

who noticed Raven’s inclination<br />

towards fine art having observed him<br />

doodling. Impressed with Raven’s<br />

potential, <strong>the</strong> teacher introduced him<br />

to art master David Bodlak.<br />

Bodlak would have a profound<br />

influence on Raven. This creative<br />

relationship culminated in Raven’s<br />

acceptance into <strong>the</strong> Chelsea School<br />

of Art in London.<br />

Although <strong>the</strong> art school was<br />

heaven for artists, Raven’s bouts<br />

depression caused a premature<br />

departure from Chelsea.<br />

<strong>The</strong> need to survive financially led<br />

Raven into bar ownership <strong>and</strong> life in<br />

<strong>the</strong> fast lane where he bottomed out.<br />

Divine intervention turned him to<br />

become a missionary where he<br />

followed <strong>the</strong> breeze to <strong>the</strong> Americas.<br />

That was over 20 years ago.<br />

Raven now finds himself back at<br />

<strong>the</strong> canvas as an American citizen,<br />

on a journey that now embraces his<br />

faith, family, politics <strong>and</strong> art.<br />

Julian Raven lives in Elmira, New<br />

York with his wife <strong>and</strong> three<br />

teenaged children.<br />

For more information: www.julianraven.com<br />


Page 48<br />


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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<br />

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

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