Interview and photograph by Lincoln Cushing, Docs Populi, 5/3/22, www.docspopuli.org/articles/Jeff_Kramm_…
Pain and Politics in Postwar Feminist Art: Activism in the Work of Nancy Spero (International Library of Modern and Contemporary Art), Rachel Warriner, www.amazon.co.uk/Pain-Politics-Post-War….
In the late 1960s and 1970s America was a maelstrom of violence and unrest. Protestors surged onto the streets and abroad the country was embroiled in Vietnam. This discontent sparked Nancy Spero's most blatantly political work and her pieces began to represent a wider rejection of American military aggression overseas and social injustice at home.
Peter Saul: Crime and Punishment, New Museum, New York, 2/11/2020 – 5/31/2020, www.newmuseum.org/exhibitions/view/pete…
Saul is widely-recognized for his disruptive figurations while injecting images from pop culture. Brightly-colored and cartoonish his works shed light on serious socio-political issues such as the dissolution of 1960s counterculture and the corruption, racism, and greed of US politics. In the late 1960s and early 1970s, Saul created some of his most shocking and indelible works in response to the Vietnam War, with a series that captured the conflict’s grotesque brutality, racism, and destruction.
The exhibition will be accompanied by a fully illustrated catalogue copublished with Phaidon Press, featuring contributions from Robert Cozzolino, Matthew Israel, Dan Nadel, Nicole Rudick, and John C. Welchman, and interviews with Peter Saul and Thomas Crow, www.amazon.com/Peter-Saul-Published-Ass….
artwork in catalog: jeffkramm.com/artwork/868490_My_Lai.html
War and Art: A Visual History of Modern Conflict, Joanna Bourke, editor, Reaktion Books, 2017, www.amazon.com/War-Art-Visual-History-C….
A series of essays, each of which covers a different aspect of modern conflict. Artwork featured in an essay entitled 'Rape in the Art of War,' by Joanna Bourke, Professor of History, University of London.
artwork, p. 321: jeffkramm.com/artwork/868490_My_Lai.html
The Outlaw Bible of American Art, Alan Kaufman (editor), published by Last Gasp, 2016, available at lastgasp.com/d/42863/outlaw-bible-of-am…
The Outlaw Bible of American Art is a 700 page revolutionary art world shocker: a Who's Who alternative canon of marginalized or famed audodidactic paint-slinging loners who followed their own outrageous, sometimes catastrophic visions to the heights of fame or the depths of Hell.
From the Lincoln Cushing's essay, Outlaw Posters, www.docspopuli.org/articles/OutlawPoste…: "Sometimes pure satire was the sharpest weapon, as demonstrated by one outrageous gem created by Jeff Kramm for the fictional group with the audible-pun name 'Selective Youth in Asia.' The artist did not use his name on the poster but instead used a logo he designed, for fear of reprisal by ROTC or other military-minded individuals."
p. 173, 175; artwork: jeffkramm.com/artwork/868490_My_Lai.html
artwork illustrated in Book Review: Art of the Beat Hotel Featured in New Anthology, October 1, 2016 by Todd Swindell, haroldnorse.com/2699
Kill for Peace is a history of American artists’ protest against the Vietnam War, spanning from 1946 (and the war’s origins) through the fall of Saigon in 1975. The book is written for both general and academic audiences and discusses significant paintings, sculptures, performances, actions, installations, posters, short films, and comics by artists such as Leon Golub, Edward Kienholz, Martha Rosler, Peter Saul, Nancy Spero, and Robert Morris, as well as artists’ groups, such as the Art Workers’ Coalition and the Artists Protest Committee.
Kill for Peace was motivated by living through American wars in Iraq and Afghanistan, witnessing artists’ protests against the wars, wondering what the precedents were for such engagement, and questioning what contribution one might make as an art historian to both encourage and inform protest. It is also a response to an art-historical gap. Though the 1960s is one of the most heavily studied areas in art history, there has been little extended study of the relationship between artists and the Vietnam War, and until now, no thorough “survey” of this material has been attempted.
All of Us or None: Social Justice Posters of the San Francisco Bay Area,
Oakland Museum of California (OMCA), March 31 - August 19, 2012,
Celebrating the recent acquisition of the renowned All Of Us or None poster collection, OMCA presents the first comprehensive exhibition exploring the poster renaissance that started in the mid-1960s as a legitimate art form as well as a powerful tool for public debate on social justice issues. Presented as a companion exhibition to The 1968 Exhibit, the exhibition features 68 original political posters framed and traditionally hung, in addition to countless posters digitally printed and collaged on the gallery walls, a method similar to the way they were originally displayed. The exhibition is guest curated by collection archivist and author Lincoln Cushing. Accompanying the exhibition is a catalog published by Heyday Press, heydaybooks.com/book/all-of-us-or-none/.
All of Us or None: Social Justice Posters of the San Francisco Bay Area, by Lincoln Cushing, Heyday Books, available at www.amazon.com/All-Us-None-Justice-Fran…
Featuring posters on topics as diverse as civil rights, war, poverty, the environment, music, women's liberation, fine art, and gentrification, All of Us or None shows us why the Bay Area was such fertile breeding ground for the genre and why it arguably produced more independent political posters than anywhere else on earth. Here is an exhilarating history of artists, studios, printshops, distributors, activists, icons, and changemakers-- among them R. Crumb, Stanley Mouse, Cesar Chavez, Max Scherr, Emory Douglas, Angela Davis, the San Francisco Mime Troupe, Bill Graham, and Pete Seeger--together raising their voices in opposition to the status quo.
artwork, p.60: jeffkramm.com/artwork/868490_My_Lai.html