Break the Silence Olympia-Rafah Solidarity Mural Project

These are a few of the leaves on the Olympia Rafah Solidarity Mural Project. It is intended to build solidarity among people globally
Take a look and see below for more information.

“If you have come to help me than you are wasting your time. But if you have come because your liberation is bound up in mine, let us walk together”

Break the Silence Mural project has been collaborating with communities in Rafah and elsewhere in the Occupied Territories to paint murals for nineteen years. The mural in this post is in Olympia Washington co-sponsored by the Rachel Corrie Foundation, the Middle East Children’s  Alliance, the Gaza Community Mental Health Community, Program and the Olympia Salvage Company.

It was inspired by the life of Rachel Corrie as part of her dream of creating a sister city project between Olympia and Rafah, Gaza Strip.

It includes over one hundred and fifty separate large leaves on an olive tree that spans one hundred feet.  It was painted by peace and justice groups from all over the world, a remarkable job of collaboration, and logisitical organization. Hundreds of artists of all ages contributed to the mural.

Each leaf will eventually have a recording that tells about the group that made it, or some information about their political concerns. You can see there are a range of different ideas, resistance, peaceful solidarity, women’s rights, and anti racism.

In the image just above you can see a dove flying off to the right. At the top is Gail Tremblay’s leaf, which has maps that compare in red land belonging to Palestinians in 1948 and 2005 and below, land belonging to US Indians in 1775 asnd 2005. It has caused controversy among some Jewish people in Olympia, because it is clearly sympathetic with the plight of the Palestininan people. But Break the Silence is the project of a several Jewish artists who cannot remain silent when the Israelis are acting in their name to kill and oppress the Palestinians. In fact, most of the artists that I know about who are most active in making art about the Palestinians are Jewish. Selma Waldman for example, whom I have mentioned often here, and who would certainly have contributed a leaf if she were still alive.

Here are a few more leaves. It would be better to have a close up of each leaf. I will try for that on my next trip to Olympia.

This is the whole tree, it is on a 35 x 100 foot wall of the Labor Temple in Olympia, Washington.

Radical Printmaking in the Bay Area

The Great Tortialla Conspiracy. Prints on Tortillas. Here they are cooking at the opening. And you can see they are anti war tortillas

Enrico Chagoya wove this rug.

THe Electric Works, Collaboration: anti war slot machine

Enrique Chagoya If you look hard you can see this is a one recession bill

Victor Cartagena did these commemorative tea bags for the disappeared of El Salvador.

This is an installation by Victor Cartagena about The disappeared in El Salvador. He is using photographs that he found in a passport photo shop that were never picked up. They are not necessarily the same people who were disappeared by the military regime, they evoke the disappearance of individuals.

This stunning and provocative exhibition Prints Byte is at SOmARts Cultural Center in San Francisco. It is all the imaginative ways of making a print, these are only a few works in the show, and they are all anti war. More to come

Black History Month in Seattle II City Hall

This is the sculpture of Roosevelt Lewis who is featured in City Hall with sculptures and paintings in the main lobby. Roosevelt Lewis is a Seattle artist with roots in the Black, Creole, and Cajun people of Louisiana, a place near the Cane River of intensely mixed cultures. This piece is called Do No More Violence to Women.
It honors the women of his family and all women as they stand up to violence in our society.

This is Marita Dingus’s well known work “Buddha as an African Enslaved” inspired by her visit to China in 1995 when she saw a gigantic Buddha statue. She chose to put work on a lower floor so that Roosevelt Lewis could be prominent in the main space. Her sculpture is experienced from a very close perspective as you walk down a narrow hall. I think it is hard to appreciate it from such a close perspective, but you can see in detail the way that she uses recycled materials.

Black History Month. Yes, it is true that we still need it. Our society does not yet have an integrated public discourse. So lots of focus on African Americans this month is providing us with some important insights, especially in the age of Obama. I have been hearing on our community radio station a lot of discussion by middle class black professionals about Obama. They are suggesting that he show more spunk and stand up to the pressures on him. Of course, they support him, but they wish he would be willing to be more of a leader and drop all of the bipartisan emphasis. I see Obama as surrounded by incredibly powerful forces. We can’t expect him to change everything single handedly. We have to get out and shout for what we want. No more war, single payer health care, peace in the Middle East. Black man in the white house or white man in the white house, we still have to get out and shout. These exhibitions remind us of how much of our country’s heritage is hidden from sight. So are many of our good ideas. We can’t let the oligarchy or the tea party make off with our real identity as an energetic, diverse society.

Black History Month in the Seattle Art Scene

The Ethnic Art Gallery in the Seattle Municipal Tower is on the third floor. It exists thanks to the hard work of a group of dedicated city employees. Esther Ervin curated the exhibition for Black History Month called Interpreting the Black Journey Eight Viewpoints. These are two of her works that were not in the show . The one in the foreground is called River of No Return and refers to Salmon runs.

There are eight artists in the exhibition. Yadisa Boija, Esther Ervin, Al Doggett, Eddie Walker, Sultan Mohammed, George Jennings, Donald Leonard, and Fasika Moges. How many of those artists have you seen shown in Seattle art galleries?They don’t fit the mainstream definition perhaps, their work is too realistic, or too abstract, or too personal ? There is a subtle difference between artists whose work is acceptable for commercial galleries and art that is not. Most of these artists went to art school, most of them support themselves in an art related field. But they follow their own paths. They are not trying to fit in with a current style or a current issue.

They are all artists of African American heritage. But there are other artists of African American heritge who show in commercial galleries also like Ron Hill and Marita Dingus, so this is not a simple question of racism. I will do an image gallery to show you all of their work. You can decide for yourself why they don’t swim with the famous fish of art.

Sultan Mohammed Riots 2007 This is the story of the revenge and rebellion of Queen Yodit (Judith)who ousted the ruler of the ancient Axum Kingdom. and ruled as a warrior queen for forty years, according to legend.

George Jennings NaKeesa A portrait of his wife

Fasika Moges Dawn Dancing
referring to women playing drums. Fasika is Ethiopian

David Leonard David ( as in David and Goliath- overcoming obstacles of his life)

Al Doggett Samburu Land -looking over his lost land. The guard in the exhibition told me how much he loved this work because he was from East Africa and was eager to tell me about the Masai who live there.

Eddie Walker, James W. Washington Jr. Working

Yadisa Boija Recession an artist from Ethiopia. He says “We hear about the struggles of corporate financial institutions. We worry about the spending habits of consumers, charts, polls graphs. But who cares about ordinary people?”
The title of this work is Invisibles and Boija’s label says that it “chronicles the life and struggles of immigrants new to their community and unaccepted in their homeland. They walk quietly unnoticed and unrecognized. “

Sanctions, Divestment to End the Israeli Occupation

That is eighty year old Judith Kolokoff next to me at what we called an informational demonstration at Trader Joe’s. We are nationwide and internationally joining people who are calling for divestment of Israeli investments and sanctions against Israeli products. Trader Joe’s carries cheese made on a farm that was land taken from Palestinians.

Liana Badr Eye of the Mirror

Howard Zinn

Irreplaceable, outspoken voice against fascism. He never stopped speaking up. He is an example for all of us. Like Edward Said, his voice will be heard through the next generation of people he inspired. Terrorism and War 2002 is the book I have read most closely. Written right after 9-11 it zeroes right in on the gigantic military budget and the fact that it has “absolutely no effect on the danger of terrorism. If we want real security, we will have to change our posture int he world – to stop being an intervening military power and to stop dominating the economies of other countries. “

Martin Luther King Day

This is the third year that my grandson Max and I have gone on the Martin Luther King Day March and he is only two years old!. The first year he was only two months old. I have a picture of that on my Flickr site. Last year he was just over one year, and I put that on my Christmas card This year as he marches along he makes it to the blog. His shirt and mine are supporting health care, education, housing and jobs, these are the same issues of economic justce that Martin Luther King spoke so eloquently about as the means of real equality for all races as Bob Herbert wrote so eloquently in his editorial today. As my grandson and I marched, we were surrounded by people who agree, who care, who are uplifted, as I am, every year, by this holiday. The march in Seattle always begins with workshops and a rally, it is more embedded in activism than the church concerts and community celebrations.

Joe Sacco Footnotes in Gaza

Joe Sacco is profoundly engaged with the experience of war in his new book. It is a major work of art, a telling of the Palestinian Israeli conflict from the ground in Gaza, a layering of time frames, a balance of personal ( not his experience, but that of fighters and families in Gaza) and political. I haven’t read the whole book yet. It is so important that I re-read most pages three times. First for the text, then for the images, then for the ideas. He alternates between large landscape scale images and close up heads of people he talked to, old fighters, survivors of massacres, from decades ago. Sometimes he has a sequence of smaller heads or a family scene. The scenes of families trying to live their lives in one room for twelve people, or having another child because the father may die are heartbreaking.

The stories that the old soldiers tell, of their house being invaded by Israeli soldiers in 1956 and the mass murder of young men, simply lined up in a square and shot, are horrifying. These men escaped through luck ( they didn’t quite die, when the Israelis shot them over and over, or they ran away), but so many didn’t. Sacco gives us the up close experience of war, hatred, civilian confrontation. Sacco offers no solutions, although he is obviously aware that these people are pawns in political power games, but in depicting the house on the inside, or in one case we are in the line up of the men about to be shot, or we are seeing the devestation from above, we are somehow there. Not really of course, but more than in a photograph, a novel, or a painting.

And I have only read the first 100 pages of 400 pages.

Joe Sacco came to Seattle to speak about his book. One friend of mine described his presentation well “he spoke with the precision of a diplomat, walking through a minefield with a book balanced on his head.” On my first impression, Sacco was understated and modest in his presentation, there was no heavy emotional load on the talk ( only one questioner said what we were all feeling, all the nightmare of the injustice). But then, I thought, he has so much in the book that he doesn’t need to be emotional, and if he were it would have killed him long ago.
His survival is based on his care. His care in research, in protecting his sources, in negotiating war zones, in his brilliant art.

This book is a must read. It is far more complex than his 1996 book Palestine, which was more personal and had moments of humor. This book is set deeply inside Gaza framed around two massacres that occured in 1956 in Gaza, in Khan Younis and Rafah, but giving us backwards and forwards the conditions on the ground for people in Gaza. It was completed before Operation Cast Lead, or at least that atrocity is not cited in the preface. But the devestation it depicts is the same as that of any military conflict of soldiers killing in villages.

The first shock was the image of people literally digging in the sand to find shelter in 1948 when the refugees first arrived. Then the image of them crossing over the lines of Israel to their former land and being called “infiltrators.” Then the fifties style development of housing by the UN, and now the seasoned soldiers who have fought continuously since the 1950s, understanding that the new battle today is beyond their human capabilities to fight, it is about the Israel/U.S. sheer technical killing power with machines.

Sacco wants to make sure that history is not entirely written by people who forget the early massacres that planted the seeds of hatred, as he puts it, quoting from one old man who was a child in the 1950s and saw his uncle die. As Sacco succinctly put it, it is as though the Battle of Britain has been going on continuously to the present day. There is no time for people to recollect, record, they have been in survival mode since 1948. He knows his book can’t really change anything. There are huge powers at work that he cannot affect. But at least we can all know more about the history of this horrible conflict, as the last escape hatch is being sealed by Egypt and Israel with a fence manufactured in the United States.

We all share in the war crimes. We are paying for the equipment. Our support for Israeli military operations this year is almost 3 billion.

Read this book. there are lots of reviews and discussions on line. Here is an example

Joe Feddersen’s Vital Signs

These are installation shots from Joe Feddersen’s exhibition “Vital Signs” which closes on Sunday at the Tacoma Art Museum. The exhibition sings with the artist’s poetry based on geometry and landscape. He celebrates ancient history as well as the contemporary land of today. The landscape of the Okanagan , shown in this detail of his wall mural of 500 separate pieces, is open and rugged. He refers to contemporary landscape destructions, like clearcutting, suggested in the brown triangles, and to geometric towers for the high tension wires that gallop across the open land in the center part of Washington State. The Okanagan is, for those who are driving to Spokane on the interstate freeway, a desolate empty landscape, made more desolate by the Grand Coulee Dam which was completed just after World War II. That dam destroyed the ancestral fishing streams of the Colville Indians, the Spokane Indians, and other tribes. There were no fish ladders at that time, the fish were completely unable to return to their spawning grounds.

Joe Feddersen is a Colville Indian. He comes from that land, it is part of him and his ancestors. After the dam was built, he worked for the power companies, a common occurance with Indians, whose only choice for a livelihood is the use of energy based on exploitation of their lands. But he knows those electrical towers, so when he includes them in a painting they are personal.

He has taught at Evergreen State College for the last twenty years and understands modernism, he understands color theory, his work draws on a sophisticated contemporary aesthetic, and materials- like the shining orange fish traps in glass, or the large vessels with reflective paint on which he has sand blasted the contemporary designs of parking lots and tire treads. In the exhibition he has also included some traditionally scaled woven baskets with tire track designs. He is commenting out of a deep silence and reverence, he accepts the present land, but he reminds us of where we come from, and suggests where we are now. He does not predict the future.

The exhibition has a curiously calming effect, as though we have gone into the landscape to meditate. I could feel his energy flowing through the exhbiition, as the various media, scale, colors, and geometries interacted. He is a master printmaker, a weaver, an artist of sand blasted glass. His connection to time immemorial is moving through all of the works. They are objects for sale now, not integrated with daily use, but they speak of their former functions. Since natives see our relationship to nature, to history, to prehistory, to each other, to animals as all part of a continuous non hierarchical flow of energy, these paintings and other objects suggest that idea as well. Abstract modernism has been re energized with its real sources of power in ancient abstractions.