by Sophy Tuttle
The stories I have illustrated have both celebrated the living world around us and called out major problems in our environment. This story was about the microorganisms that thrive in the saltrock barrier around the toxic dump at Carlsbad Caverns. The organisms eat the salt and become radioactive themselves, then migrate to other areas.
by David Flint
No face need to be presented for the face that we all suffer and feel restricted or imprisoned at some point in our life.
by Carol Johnson
Mother of the Disappeared is about mothers who have lost their daughters/children to unknown and known symptoms of an oppressed society eg. sex trafficking. This female image is a strong matriarchial figure who stands tall in finding the answers and truths to what is going on eg. in Mexico. Similar things are going on all over the world.
by David Flint
An inquiry into where we are headed as a society
by Angela Mark
Pen and ink on paper
The privatization of earth's resources has been going on since the dawn of human greed. In today's hypercapitalist and environmentally threatened world the phenomenon has assumed a grimness beyond belief. Water, the source of all life as we know it, is being seized for private profit in an alarming way, setting up a global struggle between corporate domination and human survival. From the fraudulent "personhood" granted to corporations by the U.S. Supreme Court to the petty ethno-nationalist goals of modern nation states, the simple right to water is now threatened by a tidal wave of avarice that could leave us all dying of thirst.
by Ali Osborn
Ink marker on paper
Many of these drawings are derived from images which have a deep impact on me: from Edward Curtis photographs, to pen-and-ink details in the children's book Ferdinand, to the front page of the New York Times. The format of Seven By Ten allows me to isolate and magnify poignant or strange or powerful things I see in those images: for instance the graphic melding of figure, blankets, and horse in After The Vanishing Race; or the implicated audience of cell phone cameras recording a moment during the Egyptian revolution. Drawing and reproducing these fragments of imagery helps me deliver and confront ideas which otherwise can be too abstract or sad or maddening, or too imbedded in the static and fray of our tumultuous world.
by Carl Licence
The attached work was conceived and produced during the immediate aftermath of the Japanese earthquake and tsunami. While the vivid images of the disaster unfolding at the three reactors of the Fukushima Daiichi Nuclear Power Station it occurred to me how the life of the Japanese people in the "livable" areas near the disabled nuclear power station would forever be altered. To just leave their houses was no longer an easy task. This artwork was based on this image.
The vision this disaster produced was one of a family whose life would now be forever changed. Doing the simplest things now required them to be protected from the world immediately outside their door. I envisioned life with safety suits and that this clothing would now be part of their daily wardrobe hung by a door just like a rain jacket or winter coat.
The work was produced using dark colours and a radioactive green tone for the suits. The lifeless suits hang neatly in an alcove to be pondered.
by Myrna Balk
In 1998, I worked in Kathmandu, Nepal teaching and drawing with women who had been rescued from sex trafficking in India. A major reason why traffickers have been able to succeed in amassing global trafficking businesses is that Governments have simply judged the woman guilty of prostitution and minimized the trafficker's and the user's role.
When I got home I expressed my outrage by making 8 etchings about the subject.
by Vincent Frano
Ink on paper
The destruction of our oceans is rapid, as we continue to take from one of our most fragile and important resources. This piece focuses on the issue of over fishing and the use of controversial fishing practices, specifically in regards to commercial fishing. Trawling devastates reefs and the sea bed; longline fishing kills numerous species of sea life, considered as by-catch; and the worlds increasing demand for sea foods is quickly depleting the populations of many fish species. Harvest of Dead Seas, though surreal and nightmarish, portrays a very real problem that will forever alter our lives and the ecosystem if we are unable to change the ways in which we interact with our worlds oceans.
by Troy Sapp
In this image, a prisoner is literally chained to the prison bars, while a decaying clock with the face of a skeleton and a key to tell the time represents a lifetime passing by while the prisoner is in chains.
by Greice Lisandra Zagray
Oil on canvas
This highly personal and political painting is in response to the unsolved murder of the artist's 19-year-old brother. "Shots in the Dark" is about violence and death. The bleeding map of Brazil is wounded by three shots, with Brazilian blood spilling as if the land weeps at Brazil's alarmingly high murder rate. The blood captures the emotion that reminds that the victims are not merely statistics. In a majority of unsolved murder cases, the mere acknowledgment of the violence and injustice does not stop the blood flow and certainly does not ease the pain.
by Robin Savage
Oil on canvas
As history paintings that take a postcolonial position, they represent an attempt to blur genre: essentially asking portraits to do the work of historical "telling," rather than the psychological "showing" that is traditionally expected of the genre. In this, the paintings are more than simple deconstructions of the myths of bourgeois individualism and subjective humanist mastery lying embedded in the face of the sitter and the Soul of the subject Self.
by Sharen Linquist
Waging wars, who pays the price - who cares? We all need to care!
by Virginia Zanger, Watercolor monotype
When the Deepwater Horizon platform exploded in the Gulf of Mexico in April 2010, I was horrified by the violence unleashed on the environment. Sickened and outraged, I followed reports from the Gulf closely, and began researching photographic images, from aerial views of the sinister orange plumes, to murky photos of dying coral enveloped by grey gunk.I spent the next year creating a series of monotypes that respond to the disaster.
by Tony Black
Colored pencil with acrylic varnish
The image depicts the American flag existing behind the iron bars of the American prison industrial complex. I created this image to address the ignorance and utter blindness regarding the majority of the general public in our country.
How is it that Americans don't see the hypocrisy of the invading / punishing other countries to spread freedom and democracy" when America holds 2.3 million people in its prisons? How is it that Americans accept the irrational fear-mongering and accept being hateful and accept revenge rather than justice? How is it that Americans don't see the reality that the top 1% rules the rest of us in law, property, and liberty?
by Richard Youngstrom
This mosaic is made with various found ceramics, glass and a rusted toy gun (found mostly from digging in my JP backyard!) Various images are embedded under the glass pieces in the work. Inspired by a small illustration in the Boston Globe, this piece is a statement about our pervasive gun culture.
by Ramiro Davaro-Comas
Pen and Ink and digital
Most of my art is inspired by political events, media impact on populations and human interaction. I am a very upfront artist and much of my work speaks about what is happening in society today. I humanize animals and portray them in our shoes, having our societal stories told through their eyes. My work dissects social happenings and educates the viewer on another viewpoint that many are not used to seeing. I believe that art should be pasted, painted and thrown all over the walls in cities and neighborhoods, the mass media is growing power, and we as artists and people need to take the public domain back. How many more McDonalds adds can you handle?
by Kerri Schmidt
Digital inkjet photograph
In reaction to the recently eased travel restrictions between the U.S. and Cuba and my long held interest, I travelled to Havana in April, 2011 to learn and photo document firsthand what I could of the history, politics and culture of post revolution Cuba. I arrived on the 50th anniversary of the Revolution and the significance of this landmark event made possible despite ongoing political and economic isolation is reflected in the resilience and colorful spirit of post revolution Cuban society and inspired my work. I learned that our similarities are greater than our differences and we have much to learn from our Cuban neighbors. I believe that the world will be a better place when the Cuban people are free from U.S. sanctions and have the self-determination they deserve.
by Justin McIntosh
This work aims to highlight this mass national incarceration rate and show how the prison industrial complex is woven deep into the fabric of the American nation. The piece is centered on the words of Mumia Abu-Jamal and hopes to use these words to visually represent the inhumane conditions, racial disparities, sexual abuse, gender discrimination, and psychological degradation within the national prison system.
by Joanna Kao
We live in a time of erosion of human rights and the rule of law. This is the legacy of the 9/11 attacks in the US and the misguided policies of our country's responses to those assaults. As results of many of these secret policies emerge, I, as a citizen, feel ashamed of my government, that it in turn sponsors terroristic activities in the name of what it seeks to combat.The kind of abridgement of civil rights such as occurs in countries in wartime is what we are witnessing.
These monotype prints address that situation; it is not clear who are the victims, nor the perpetrators, nor even what activities are occurring; but rather they provide an opportunity to reflect on the situation. Where do we go from here?
by Jannae Knospe
Traditionally, my work centers on propaganda and its ability to manipulate an individual's reaction. I attempt to take the horrifying and make it visually attractive or banal. Insects are traditionally frightening creatures that through technique and composition, I alter to make a visually appealing piece. This compels the audience to be attracted to something they are normally repulsed by.
In this most recent drawing I started to consider how the symbolism of the insects I choose affects the interpretation. Here the bees behave in two different symbolic ways. They act as a depiction of the collaborative efforts of many working towards a larger community driven goal. Conversely they are also used as a modern illustration of how the community of humans has negatively impacted the environment.
by Eric Gulliver
Whether through moving images or single frames, I strive to explore social imbalance and my understanding of humanism: that people are more valuable than ideology and external coercion (may it be through systems or institutions) should be questioned. Referencing the techniques of propaganda and its tendency to confine truth to a single dimension, my work challenges viewers to consider multiple postulates concerning the fruits of human rights, social justice, and non-violent action. The high contrast and symmetry of my art pits against the relativist slogans.
by Ellen Shub
A Celebration of the 100th Anniversary of International Women's Day with a "Bring Our War Money Home Fund Main Street Not Wall Street" rally at the Boston Massachusetts statehouse and march through Boston Common singing Bread and Roses sponsored by Boston Code Pink and the Women's International League for Peace and Freedom March 5, 2011.
by Jacob Leidolf
by Luba Shapiro
The world seems to be torched by war in one place or another at any point in time. In most cases fighting and bravery tends to correlate with masculinity. However, what about women: combatants of course, but also, those who are "fighting" for life in the midst of war torn lands while struggling to protect their lives, the lives of their children, their homes and their communities? How often do we, as public outside of a war zone, fully sympathize with women who are caught in the midst of war by chance of their geographical placement and who end up wounded, tortured, raped or killed regardless of their allegiances? This work is a reminder to myself and a viewer that in times of war women are forced to continue to give birth, to nurture and to sustain life in the face of terror, fear, shame, and to often see that same life disintegrate through the loss of their children and husbands to war's horrors, as well as the fall of their own bodies through shameful hurts.
by Janet cormier
I created this painting in response to the GW Bush period. Issues regarding elections and voting (on bills/laws etc) continue to be an issue (ie Tea Party, Congress, healthcare, Senate).