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ONLINE CATALOG    The art works in the Catalog are listed in the order they are listed on the Site Map: A1 - A2 > B1 - B3 . C1 - C5 > D1 - D4 > E1 - E9 > F1 - F6 > G1 - G9 > H1 - H9


The art works in the Catalog are listed in the order they are listed on the Site Map: A1 - A2 > B1 - B3 . C1 - C5 > D1 - D4 > E1 - E9 > F1 - F6 > G1 - G9 > H1 - H9

My Twitter has become so powerful that he can actually make my enemies tell the Truth by KAREN FITZGERALD (mixed media made from re-cycled American Government & Politics Today: The Essentials text book backed on wood & finished with resin, 12" x 48") 2016 / $4500    

I create art from common, everyday things—items we pass by and throw away.  I "make paint" by breaking these materials down, seeking out color and shape, and putting them back together again in ways that help tell stories about what we value and why it matters.  It's all about celebrating what we're made of.

The title of this piece is a quote from Donald Trump.  Its imagery, built as an abstract timeline with events and issues from hundreds of years of history making up the body of the eagle, mirrors many of our own feelings about the absurdity of campaigning and political coverage.  It's pro-America, with a nod to Clinton, who continues to play her part in government, as evidenced by her picture in an old college textbook.  Trump's face wasn't there.

Karen Fitzgerald

State Capture by KM RAMICH (assemblage, 30"W x 7'H x 13"D) 2016 / $4800

With a wink and a nod to rampant cronyism and bribery, the US is either well on its way to, or long past, becoming a political oligarchy. Citizens United opened the tap on a system primed for corruption. Politicians find themselves on either the receiving, or the short, end of huge sums of money with very long strings attached to platforms ranging from gun rights to fossil fuels; and the message is clear. Call it quid pro quo or pay-to-play, state capture is the order of the day. So, step right up and don't be shy; there are Congressmen to buy!

KM Ramich

On Deadly Attacks by Mary Hamill (assemblage made from book shelf and four books17" x 14" x 8") 2016 / $1000

On a small bookshelf rest four volumes: I. Deadly attacks (Right Wing); II. Deadly attacks (Jihad); III. Who are we?; IV. Where are we going? The first two volumes have prominent bookmarks, each one indicating the site of a deadly attack in the USA. (To date, hate-filled ideologues from abroad and domestically have caused comparable quantities of needless bloodshed.) Volumes III and IV are free of bookmarks: it is for the electorate now to help answer the questions of who we are and where we are going. It is for the electorate to shape our history going forward. One presidential candidate, Trump, fuels attacks with his vitriolic speech and behavior. The other, Clinton, at least respects a process of inquiry to refine these fundamental questions about who we are and a process of reason to shape responses as to where we are going.

Mary Hamill

David Robert Kamm, But who's counting, 2015 Mixed media 15x19.5x3"

Money = influence = power. In a culture that worships unbridled capitalism, everything is for sale and anything can be bought, even elections. While it can be argued that American politics have always been tainted by money, the Supreme Court’s Citizen’s United decision legalized a self-perpetuating cycle of political corruption that shattered any illusions of equality at the ballot box. Our system of checks and balances now clearly favors checks, especially very large checks written by those in the top 1% of income and wealth. We will never have a government of the people, by the people and for the people without campaign finance reform and changes that rebalance the economic system so all citizens share more equally in its risks and rewards.

David Robert Kamm

Joe Bravo, Feel the Bern, 2016 Acrylic on canvas 18x24" Printed Poster 18"x24" 

America is in a precarious political place this election season. Both presidential candidates are largely untrusted by the majority of Americans causing the electoral process to devolve into personalities rather then being issue driven. Although no longer in the running, i believe Bernie Sanders out of all the candidates had the most creative, practical solutions to the myriad of challenges facing this country. I wanted to paint an image to depict the fervor that Bernie inspired among his supporters and many Americans. His unofficial campaign slogan was “Feel the Bern”, so I used this as the catharsis to express the inspiration he brought us. in his speeches, Bernie often uses his fingers and hands to stress and state his positions. I added a flame to his right index finger to represent his ideas, enthusiasm, and vision. I took my painting and added some text to make it into a campaign poster and picket sign. The yellow and orange colors from the flame are duplicated in the “Feel the Bern” text to further emphasize his passion for the people. I feel Bernie Sanders is a great candidate for quality leadership this nation has overlooked, hopefully only temporarily.

Joe Bravo

C1 Michele Castegnetti, TRUMP for WWIII Poster

Michele Castegnetti, TRUMP for WWIII Poster

Nancy Ohanian, Trump Foreign Policy, 2016 Digital 13x19"

This selection is part of a larger poster series that speaks to a contemporary visual culture through their digital technique and style. Unaccompanied by words, the political posters break traditional picture/text boundaries while embracing concepts, formal design and political symbolism that often defines the genre. Their message lay exclusively in a visual aesthetic and symbolism.

The poster images push abstract political concepts to the edge of their perceptual translation. They depend upon exact juxtaposition of opposing imagery with fine discriminations between realism and symbolism, where a single mark or space influences meaning. Caricatures speak through effective design within a graphic context that adds depth and generous editorial detail.

Nancy Ohanian

Charles Seaton, Reagan Graphic design, 2016 29x29"

The Reagan graphic design piece represents how the Republican party, once the liberators of oppression, are now the oppressors of human rights and other social justice issues. It is our duty as rational, sensible people to remain vigilant during times that may diminish our freedoms.

Charles Andrew Seaton

Kalliope Amorphous, Resilient, 2016 Print 20x20"

Throughout my career, I have explored many different subjects as catalyst for exploring the underlying themes of my work-time, memory, duality, identity, and the passing of time. While I’m probably best known for my self-portraits and experimental work, my inspiration takes many forms and often comes from many unexpected sources.

This election season, I found myself extremely moved and inspired by Hillary Clinton in her campaign for the United States Presidency. When I photograph Hillary, I see all of the elements that have been at the core of my work. She embodies the complexity, depth, and resiliency that enraptures me and inspires me.

The images in this series intend to be the antithesis of the media’s portrayal of Hillary Clinton, which is part and parcel of the witch-hunt that she has withstood for over 25 years. I am capturing and portraying the Hillary that I see —a woman of extreme courage, strength, resiliency, and profound depth.

In this series of portraits, I seek out what I see as moments of pause, strength, and quiet complexity. In these images, I want the viewer to see the Hillary that I see when I say that “I’m With Her”.

Kalliope Amorphous

Michele Castegnetti, HILLARY AND BILL

Trudy Myrrh, 1936 Nicaragua, America Diptych, 2016 Acrylic with impasto, metallic and interference colors, 26X36"

I am 80 years old. In 1936 the year I was born, Central American oligarchs owned 90% of the land and grew rich from the labor of poverty stricken peasants. 80 years later in 2016, 400 American families on half the wealth of our population of 323,600,000. Poorly paid workers, mostly immigrants, working chicken factories. This is an industry notorious for worker accidents.

Anastasio Somoza came to power in Nicaragua the year I was born. He and his family owned most of that country, and misruled it. It provoked a revolution in 1979. United Fruit Company of the United States owned most of the fertile land in Honduras. All my young life I heard these “banana republics” being ridiculed. No more! I have watched with dismay policy changes that have exacerbated inequality in our country. It breaks my heart.

Trudy Myrrh

Debra Thompson, Newtown 26, 2015, 26X48” Ceramic faces, crayons, semi-automatic brass shells, aluminum cookie cutters, and encaustic on board.

Bushmaster AR-15, a military-style assault rifle was the weapon of choice by a killer with unaddressed psychological problems and easy access to weaponry at home. Adding to the confluence of dangerous parts, the highly profitable domestic arms industry markets and sells battlefield weapons with impunity and has fought legally against any regulation of firearms in general.

In 5 minutes, 154 rounds were fired, 20 elementary school children and 6 adults were slaughtered. The Newtown massacre at Sandy Hook Elementary was the deadliest shooting at grade school in U.S. history and the second-deadliest mass shooting by a single person in U.S. history. There will be more to follow.

As an American society, the situation begs us to question our core values: innocence and creativity versus calculation and destruction. And, to determine if the Constitutional intent of the Second Amendment really meant absolute unfettered access in all circumstances as many in the gun lobby would propose.

The Newtown 26 flag is a homage to the children and teachers who lost their lives at Sandy Hook Elementary and the families who endure.

The weaving of slightly melted crayons with high-caliber bullet shells intimates the seamless intertwining of two diametrically opposed thoughts: children and guns. These stripes alternate with ones containing ceramic, child-like faces that embody the school children who survived the physical wounds but not the mental. The ambiguity and lack of personalization allows them to be anyone's child. 20 penetrating brass shells intermix with the ghostly faces; they represent the children we all lost in the unclear nature of wax medium.

Fifty aluminum cookie cutter stars fill the flag field to represent all teachers in all fifty states. To complete the telling, six stars are removed and replaced by six penetrating shells in recognition of the six teachers who also lost their lives.

It was a bad day for America.

Debra Thompson

Joseph Lawrence, American Dream, 2015 Oil on Masonite 40x32"

This painting combines some visual themes that have been part of my artistic practice for several years.   

In this painting, the majority of the imagery comes from motifs used in board games such as Monopoly.

The top portion of this painting contains images of small houses which represent the fulfillment of middle-class American life.  There is also a pathway of colored squares descending from the horizon.  The pathway of colored squares in this painting is intended to be read as a road map of modern life.  Here, success depends on navigating the correct pathway, making wise decisions, and luck. 

The fifties-era housewife carrying a bag of groceries is meant to represent the era when the American middle class was most thriving.  I have placed the figure of the housewife in a precarious position because the housewife has become a relic.  In this economy, most women do not have the choice any alternative but to be employed to help outside the home. 

Joseph Lawrence

Debra Thompson, Bank Owned, 2012, 26x48" Engineered plywood, roofing felt, roofing nails, repossessed home owners keys, foreclosure sign and encaustic on board. 

The underlying causes of the 2008-10 housing bubble are complex. Factors include tax policy, historically low interest rates, lax lending standards, failure of regulatory over-site, combined with speculation that resembled casino gambling.

The construction industry, the domain of blue-collar workers, and the first-time buyer housing market, collapsed under the weight of predatory, high-risk bank loans. Leaving a segment of the population in a state of high unemployment and homelessness as the lending sources began several years of repossession. The federal government moved to support financial institutions and lending agencies in hopes of keeping some owners in their homes.  In the end, countless Americans’ gave up their keys.

The Bank Owned flag is made with construction materials typically used in home building: engineered plywood nails and screws and wax is used to show paint. The black stripes are cut from roofing felt and hammered in place with roofing nails that alternate with foreclosure notices from local newspapers. The flag is dramatically cut and angled to communicate the deconstruction of people’s lives. All are mounted on a saturated red flag with various dangling keys recovered from repossessed homes. 

The crash was not confined to any one American geographical region. Each of the fifty states is represented by the corresponding commemorative state coin screwed to the field with drywall screws.

Debra Thompson

Beth Grossman, Searching for Democracy, The Preamble, 2013 11x14" Photograph

Searching for Democracy is an "Act of Civil Obedience." Beth Grossman publicly scribes each word of the Constitution with a handmade quill pen onto a collection of 50 money bags discarded from banks during this recent Great Recession of 2008.

The artist is enacting this writing in public parks and streets to gather and engage the public in a dialog about the importance of reading and understanding our Constitution. By scribing on money bags, she calls attention to the influence that financial interests have on our elections, legislation and Constitutional interpretation.

Beth Grossman is a socio-political artist, who sees the visual as a way to create community dialog. Her art and participatory performances are comfortable points of entry into the ongoing dialog about interpretation of history and religion, our place in nature and the power of social beliefs. Grossman has collaborated internationally with individuals, communities, corporations, non-profits and museums in the US, Russia, China and Germany and Finland. She uses art and participatory performance as a creative force to stimulate conversation and focus attention on the environment, interpretation of history and civic engagement – all aimed at raising awareness, building community and encouraging public participation.

Nancy Ohanian, Gun Lobby, 2016 Digital 13x19"

This selection is part of a larger poster series that speaks to a contemporary visual culture through their digital technique and style. Unaccompanied by words, the political posters break traditional picture/text boundaries while embracing concepts, formal design and political symbolism that often defines the genre. Their message lay exclusively in a visual aesthetic and symbolism.

The poster images push abstract political concepts to the edge of their perceptual translation. They depend upon exact juxtaposition of opposing imagery with fine discriminations between realism and symbolism, where a single mark or space influences meaning. Caricatures speak through effective design within a graphic context that adds depth and generous editorial detail.

Nancy Ohanian

Barbara Mosher, Political Circus, 2016 Mixed media 37.75x49.75"

My art is filled with color. Sometimes joy and love, or beauty. Sometimes deep or heavy emotions show their way. Whatever the feeling I have when I pick up a brush or put my hands in the paint, I try communicate that to the world. I paint my abstracts through intuitive painting, usually only selecting the basic color palette to start, and morphing from there. I love color. I love every color and to see how they interact together is exciting to me. Light, dark, bright or muted, my eye is filled with wonder. I love circles and shapes and lines. To see how they relate and communicate is a wonderful discovery. Please join me on my journey. I live in awe of the world around me and hope to translate it for the world to see. I hope you see the emotion I am feeling while I create. It is me.

Barbara Mosher

Karen Gutfreund, The Whole World is Blind, 2016 Mixed media on canvas, 36 x 48" 

My work is art as activism. This “War” series of work is my reaction to the ongoing wars over the control of oil and natural resources within our consumer-based culture. I examine the juxtaposition of religious mantras and the resulting consequences of war and perceptions of freedom to obtain power over these resources. The layers of images with mixed meanings and text, often biblical with inferred morality, are meant to provoke the viewer’s visceral senses to evoke change. Then using hot political issues, I mix it up with text, pop culture images, stencils, and symbols to create works that are a combination of personal commentary, moral teachings, political outrage and social observation. These works reveal the layers and inner complexity of my dreams, nightmares and emotions and to confront who we are and where we are going in a culture of exile and alienation between race, religion and political dogma in our turbulent society.

The Whole World is Blind overtly states the Old Testament ideology “an eye for an eye”, portraying countries the US has bombed and images of our fallen soldiers that I wish to honor.  I ascribe to “an eye for an eye leaves the whole world blind” – a statement by Gandhi. There is nothing to be gained by ongoing wars. 

Karen Gutfreund

Melinda Harr-Curley If Donald Trump is President, 2016 3ftx4ft Acrylic

Through image and word, I challenge the viewer, and myself, to question how we each mirror and also manifest the collective consciousness of our country.  What role and responsibility do we individually bear for our own personal boundaries?  What we will accept; who will we turn away?  What do we feed with our practiced perspectives – our singular selves or our country’s walled-in collective fear? 

 Yesterday I am cleaver, so I wanted to change the world.

 Today I am wise, so I am changing myself.

-  Jalāl ad-Dīn Muhammad Rūmī

Marilyn Bachelor, 2016 Fear Itself, Watercolor, 24x18"

I chose black, gray, and red watercolors for their emotional impact: feelings of danger, fear of darkness, and symbolism of red. I want the viewer to feel uncomfortable and dislike what he or she sees in this painting. I choose a net of darkness to lead the eye to the outcome.

FDR warned us of dangers of fear….the greatest danger.  I worry that news, social media, and gun advocates promote our falling prey to that fear and fuel the need to protect ourselves with guns!

As a former nurse and teacher, I have witnessed the devastation of guns in the hands of careless, unstable and immature people fueled by fear and excitement. I am "afraid” this fear will lead to distrust between neighbors, friends, relatives. What is to prevent us from becoming vulnerable individuals, no longer united, available for destruction?

Marilyn Bachelor

Epiphany Knedler, The Rake's Progress 2016 Mixed media 14x11"

This mixed media piece began when I found an image in an old Christie’s catalogue with the title “Chelsea models of Hogarth’s dog ‘Trump’.  This began my thinking of the dirty tactics Donald Trump employs in the election game, like an animal. The title also includes worth, an amount Trump would be very upset with. I experimented with a few different images to create this final work.

Epiphany Knedler


Elena Wyatt, Black Matters, 2016 Mixed media 28x24" 

Everyone is biologically consisted of matter. We are matter, but does everyone matter? The black coated wood shavings symbolize the continued restraints put upon black lives through systematic racism. Our roots are filled with racism, yet we only trim our branches instead of replanting our roots.

Racial tensions have always been a struggle for the white majority to understand completely. This piece allows viewers to experience the complex layers of what it means to be black in America today. Minorities across America are striving for unity within our communities, this election year will either foster that idea or divide our nation even further.  

Elena Wyatt

Rozanne Hermelyn Di Silvestro, I have words, I have the best words , 2016 Direct Gravure, Monotype 10x20"

Trump: “I know words, I have the best words.”

Like a drama filled reality show gone bad, we continue to watch Donald Trump drown in his own “best words.” Our only hope is that he doesn’t pull us down with him. Every scene has been infused with his unscripted rants and overheated insults, daring someone to fight, in the interest of creating drama and ratings. Trump is not a politician but a salesman and a renegade of his own party. From the start of his campaign, Trump continues to wildly vacillate his positions and issues while attracting extremists of all kinds, flailing and sinking right before our eyes. 

Rozanne Hermelyn Di Silvestro

Anatol Zuckerman

This triptych is based on the ancient Greek myths that have been interpreted by many artists and writers during the past millennia. Recently, most famous of their works were displayed at “Las Furias” exhibition in Madrid’s Prada Museum.

1.   Tantalus was condemned to forever watch great feasts but not being able to eat and drink. He was punished for stealing food from gods for his son. 15% of Americans don’t have enough to eat and drink.

2.   Prometheus was chained to a rock for stealing fire from gods and an eagle pierced his liver as a punishment. The contemporary Prometheus was punished for stealing secret information from the world rulers and the eagle was replaced with a drone.

3.   Sisyphus was punished by gods for being more intelligent than they. He was condemned to forever roll a rock up to the top of a mountain only to watch it roll down every time he reached the top. Most American artists and workers including myself labor like Sisyphus.

In all three of my paintings “Las Furias” (mean old women of the Greek mythology) are substituted with contemporary policemen in riot gear and the Sisyphus’ rock becomes planet Earth.

Margi Weir, Bang! Bang! Digital ink print

Margi Weir, We Are All Targets

Since November of 2014, I have been working on a body of creative work titled “We are All Targets (in a society that worships guns)”.  It is based on the pattern of gun violence in America.  Violent deaths by gun seem to be escalating.  The school shooting at Columbine was an anomaly when it occurred.  That is not the case anymore.  School shootings occur almost once a month.  Citizens continue to arm themselves, with concealed carry permits making it legal to be so armed.  During the recent holidays, a 2 year old child shot his mother in a Walmart with her own legal handgun.  The recent massacre of innocents in a Charleston church only reaffirms that this issue, sadly, continues to be a timely one.
On a personal level, two of my closest friends were shot and killed in a shoot-out over a foreclosed house that took place just after Thanksgiving 2014 on the west side of Detroit.  It was written about in the Detroit Free Press as the “Foreclosure Killings”.  Everyone involved had a legal hand gun, nonetheless two people are dead and the third will be spending his life in prison.
My work/ creative research has always been about topics that are personal even if political.  It is often the only way that I can come to terms with things that anger me or frighten me.  I have become so horrified by the level of gun violence in this country that I must take a look at it through making work about it.  I don’t expect my work to change anything, but through a juxtaposition of images, I hope the viewer will come away with a continued questioning of their own.

Margi Weir

Michael Fischerkeller, Hope Turns to Despair (The-Next-Presidency) 2015 " Acrylic spray paint on canvas 36x38" 

In 2008 candidate Obama campaigned on the promise of “Hope and Change.”  Before that election his favorability ratings were well above 50 percent.  In contrast, both candidates in this year’s presidential election have unfavorable ratings above 50%.  This striking shift in the electorate’s perspective is captured in this artwork through a representation of a collective transition from hope to despair.  The two bookend figures – Hope and Despair - were appropriated from Evelyn Pickering De Morgan’s 1887 painting entitled Hope in the Prison of Despair.

Michael Fischerkeller

Michael Fischerkeller, Indifference (the-wealth-gap), 2015 Acrylic spray paint on canvas 36x48" 

This artwork speaks to the ever-increasing wealth gap in the United States. Prior to the 2014 State of the Union Address, it was reported that the top wealthiest 1% of American citizens possessed 40% of the nation's wealth whereas the bottom 80% owned 7%. During the post-2008 economic recovery, 95% of economic gains went to the top 1% net worth individuals. Wealth inequalities of this magnitude can have deleterious effects on societies as those at the lower rungs of the ladder perceive that opportunities for advancement become further out of reach. Imagery from Simon Vouet's Allegory of Wealth (1630-35) was appropriated for this piece where Wealth is shown coddling a wealthy businessman, with both of them looking down with indifference at a less well-off individual.

Michael Fischerkeller

Sally Edelstein, American Diversity Whitewash, (Detail) 2016 Collage 20x24"

"American Diversity Whitewash" In the great cultural cauldron of 20th century America there was one basic ingredient to being an American- Caucasian. Well apparently that old fashioned recipe for prejudice is still being used by some. "No 2 families are alike" announces the headline to this mid century ad, surrounded by a field of different color white paint chips.  Yes, there is great diversity in America ...that is as long as you are white, middle class and Protestant.

Sally Edelstein

KM Ramich, Breaking Point

Income inequality is the backdrop of an unfolding drama in which the cast of millions lose their financial footing & slip, unnoticed, beneath the stage of the middle class. The sardonic sub-plot is played by an elite 1%, fixated on their surging fortunes, and oblivious to the impending breaking point, already extracting wreckage from the masses. The dotted font mimics that of a scoreboard, recording the divergent economic paths dissecting America into haves & have nots, and notating the de facto disconnect between looming poverty and the American Dream. 

KM Ramich

G2 Janathel Shaw, Future Deferred

Janathel Shaw, Future Deferred

I see my work as a vehicle in conveying a narrative or idea. The work in this exhibit, although intimate in scope, hopefully touches on national and/or universal themes. They include equality, self actualization, anti-bigotry, spiritual examination, and feminist distress.

My ceramic sculptures also reveal my true love for the medium. I love the malleable quality and “messiness” of clay, which lends itself to the height of expressionism. It’s an art form that is never given its’ rightful due as a “fine art medium”; too often relegated to craft”.

My pieces are bold, weighty, a little disconcerting and reflective of what is occurring in our society; especially from an African-American scope. I’ve often been told to “not preach” through my art. Hell, I see myself as a “Griot” of sorts. It is my aim, on occasion, to emote and provide “food for thought”. I envision education as one of the roles that visual art can fulfill. Many of my heroes such as: Elizabeth Catlett, Robert Arneson, Frida Kahlo, and Augusta Savage embodied this exemplar.

I invite you to enjoy my work for its content and visual honesty. If this seems a little saucy, do forgive me. I like a little hot sauce with my meals.

Janathel Shaw

Julia Kim Smith, The Daily Pad Donald Trump's Whatever, 2015 Kotex tampon, blood 12x9"

Donald Trump’s genius is he appeals to the worst in us. He is racist, sexist, and dishearteningly popular. Asthe daughter of Asian immigrants, I am disgusted by his extremist views on Mexican and Muslim immigrants and his attack on the Khans, a Muslim Gold Star family. The Daily Pad: Donald Trump’s Whatever–a reference to Trump’s patronizing and dismissive remarks about Megyn Kelly–targets Donald Trump.

Through much of my work, I take on issues of racism, sexism, misrepresentation, and underrepresentation–by any means necessary. My projects take the form of new media, performance, video, film, photography, printmaking, and craft. 

Julia Kim Smith

Catherine Johnson, Games of Chance Sitting Ducks Acrylic on board 30x40"

I created the idea for this piece shortly after the Sandyhook shootings. It took a while to find the emotional space to actually create it.  My intention is to highlight the true victims of our inability to enact or enforce basic gun legislation.  I have worked for years as a public school teacher and know how precious and vulnerable our children are.  I would like our society to wake up and find a solution.

Catherine Johnson

Davis & Davis Hotspot, 2013 Photo 14.25"x9.5" 

In their series, The Brown Suit Chronicles, Davis & Davis depict the intra-office antics of a fictional, brown-clad, Wall Street tycoon, circa 1929. Using antique dolls and period sets, they chronicle their character's bumbling, psychopathic behavior in 29 color photographs.

This series was inspired by and is dedicated to Scott's late father, Russ Davis, who railed at Wall Street greed in letters and poems. Scott's maternal grandfather, a stockbroker during the Wall Street Crash of 1929, once advised Russ never to invest in the stock market, because, he said, "The game is rigged."

Davis & Davis

Jeanie Neyer, Lost #5 2016 Acrylic 10" x 10"

This painting, Lost #5, is part of a current series on the homeless which is titled, "Lost", followed by a number to identify them specifically.

In New York City, in the early 1980's, there were stacks of garbage shoved into the corners of buildings, piled against facades; a collection of miniature dumps, or so I thought. One day the garbage moved. It was a bag lady surrounded by her belongings. This was my introduction to the population of the homeless.

As time passes and that population grows, so does my body of work. The theme remains the same: homelessness. They are old and young, alone or in groups, hungry, disease ridden, filthy, smelly, exhausted, frightened. In a society that has neither time, interest or compassion for them, unfortunately, for most, they are an inconvenience and an eyesore.

Hillary Clinton addresses and will fight to improve the social ills of our country, including the issues of the homeless. She will govern with compassion, intelligence, and courage.

She needs our votes; she has mine!

Jeanie Neyer

Charles Seaton, Malcolm X, 2016 Graphic design 29x15"

The Malcom X graphic design piece reflects the ongoing struggle for truth in America. Misinformation is abundant as demagogues and fear mongers work to instill primal reactions in the populace for their own gain. In order to outshine the blackness of ignorance, education must be more accessible financially. We can then unite in common understanding in spite of the efforts of those who work day and night to divide us on surface-level differences.

Charles Andrew Seaton

Kalliope Amorphous, Hillary, 2016 Photographic print 16x20"

Michele Castegnetti, Je Suis DONALD Poster

Rosemary Lucket, 4 Con Man Caps, 2016 Mixed media, 23x23"

Candidate Donald Trump wears at least four cantankerous con man caps:

• a Nazi motorcycle helmet indicating power to round up undesirables for exportation and/r extermination;

• the KKK hood worn by supporters who favor white supremacy and violent treatment of people of color, different religious persuasion, etc;

• the fool’s cap indicating a misbehaving clown or trickster who is allowed to speak what normally goes unsaid;

• the red baseball cap declaring “make America great again” implying that the current Democratic administration has ruined life for white Americans and that this course of action must be reversed to reclaim an unnamed previous exclusive age that is preferred over today’s world of diversity. 

The puzzle for me is that he has an uncommonly large following who overlook or actually aspire to the bigotry, violence, misogyny, and xenophobia that he preaches.  Not only has he conned millions of people, but also the Republican Party who supports him with cash and state organizers.  That the media does not challenge what he says as they would for any other candidate in campaigns past and present is also beyond my capability to grasp. Perhaps they wear a dunce cap which this candidate also wears, and which indicates ignorance and shallow thinking.

Rosemary Lucket

Gary Aagaard, 2016 Race Odyssey, 2016 Oil on canvas 23x19"

Inspired by the ape scene in 2001 Space Odyssey, this piece addresses Trump's destruction of the mainstream Republican Party (or what's left of it) as Mike Pence looks on in disbelief.

Gary Aagaard

Robin Croft, Eldership Spacewalk

Robin Croft
Image not avaiable at this time.

Robin Croft, The Crises

As a habitual note taker, the practice of keeping pen and paper handy eventually morphed into pushing the medium toward full blown collages and drawings. Their duality resides in routine written reminders bumping up against the conceptually illustrated narrative of daily life. Shopping lists and appointments rub elbows with scenarios played out in a fictional, make-believe world of the self as Crewman aboard an orbiting human retirement facility called the Eldership. Personal history, events, observations and commentary are cloaked in a loosely woven palette of imagery and written messages mingling fact with fiction.

Robin Croft

Gary Aagaard, Nobody Builds Walls Better Than Me, 2015 Oil on canvas 30x15"

This paintings is a response to Trump's obsession with building a tremendous wall on our Southern border (the title is a direct Trump quote), and the symbolic wall he appears to be building around himself.

Gary Aagaard

Kalliope Amorphous, Victory, 2016 Print 16x20"

Dare Boles, They Paved the Way, 2016 Collage 32x24" 

The passage of the 19th Amendment giving women the right to vote was due largely to the efforts of the Suffragette movement. Hillary Rodham Clinton has been an activist for women's 'rights since her collage days. She has been politically involved for most of her adult life and is experienced to lead her party as a candidate for the Presidency of the United States of America!

Dare Boles

Caitlin Cass, Catalogues and Shanty Towns, 2015 Gouache 30x22"

Catalogues and Shanty Towns depicts the economic system in symbiosis. For the moment rich and poor live in relative harmony, each looking out of their own interests. Yet in an instant the Money Bags could lay back and destroy a whole village. Catalogues and Shanty Towns is part of a larger series that explores the enduring history of the Great American Wealth Gap in effort to better understand current politics.

Jenny Balisle, Democracy, 2016 Shotgun shells and acrylic ballopt box 8x8x8" 
* Not on display For more information Contact Charles Krause Fine Art Gallery

My art practice researches cultures and relationships between diverse environments.  Fascinated by flight or disorientation, I merge together disparate experiences to create new narratives.  Democracy investigates patterns of power in the American political system.  A clear acrylic ballot box is filled with the symbol of an influential industry: guns.  The organized contents are not perfect patterns, representing altered views of freedom.  The box is locked allowing the viewer to see its contents without physical access.  The artwork addresses the contempt of a political system where voters observe a disconnect of values and authority.  Democracy questions its sponsors.  By identifying key power structures, citizens can redeem the value of the vote and reshape future outcomes.

Jenny Balisle

Michael Kesselman, Income Inequality Solutions, 2016 Assemblage 20x19x10"
* Not on display For more information Contact Charles Krause Fine Art Gallery

The vast majority of income and assets are held by a very small number of individuals in the world, and the income gap between corporate CEOs and workers is becoming obscene.  The belief that one gets what they’re worth and that their salary represents their importance and value as a human being is a myth perpetuated by those at the top who have had the wealth and influence to define the rules that we in society work and live by. 

The belief in the free market and its ability to work its magic - if it is just left alone with few regulations or oversite - is humorously represented by this sculpture, which claims to be the logo of a new corporation established to solve income inequality throughout the country. 

If we left Wall Street to correct this problem, they would, no doubt, establish a new entity to manage and handle the task:  Income Inequality Solutions, a company that could be publicly owned and traded and that would lay out metaphorically how solutions will come through the creative merging of spark plugs, a juice squeezer, a stainless steel colander, a twist tap and pressure gauge.  Finding the solution might even give birth to a new financial instrument, like a hedge fund or sub-prime mortgage swap.   

Michael Kesselman