7321 Beverly Boulevard • Los Angeles California 90036 • (323)933-5523 Fax: (323)933-7618
email: tobeymoss@earthlink.net
The Artist as Social Critic
February 25 through April 22, 2006
Opening Reception: Saturday February 25, 2 to 5pm
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HONORE DAUMIER, were avidly followed in political journals Le Charvari and La Caricature, where a ‘rogues gallery’
of Les Honneurs du Pantheon is depicted.
From Austria, MAX POLLAK’s etching, Judengasse (Jewish Alley) depicts narrow cobblestone streets in Vienna’s Jewish sector.
WERNER DREWES, who was born in Germany but moved to the United States in the early 1930s, tackles the chilling rise
of Nazism in Germany in his 1934 series of woodcuts, It Can’t Happen Here. The warning of the political situation is even
more overt in his 1937 woodcut Hitler as Scarecrow. Across the Atlantic, ANGEL BRACHO celebrates Victoria! over
Hitler’s fascism in his woodcut poster of 1945.
Portaiture is an effective ‘language’ for political issues. JOHN LANGLEY HOWARD’s Working Woman represents the
Depression-era with a bust of a tired, resigned older matron. A generation later, JOHN BERNHARDT and JAMES GILL
both presented portraits of Demagogues, Gill adapting a video image of Senator Joseph McCarthy and Bernhardt depicting
his preacher-father.
Political themes have always been prevalent Latin American art. We present several works by Latin artists, particularly
those who were active with the Taller de Grafica Popular in Mexico City. RAUL ANGIUANO’s monumental depiction of a
Lacandones Indian in a raped landscape speaks of the massive deforestation of Central Mexico in the 1950s and 1960s.
JOSE CLEMENTE OROZCO celebrates the men who fought alongside Emilio Zapata during the Mexican Revolution
in the early 20th century.
BETYE SAAR’s National Racism and GEORGE HERMS ‘92 ‘Ore bring us into contemporary days...and the beat goes on!
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For more images and biographical data,
email: tobeymoss@earthlink.net
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