Name: Georgia Museum of Art
Rating: 5

“What Are You Voting For? Light, Dark and Truth in American Politics” explores the duality of politics. A series of paired pieces explores some aspect of the American political system, with one piece representing the “light” and one the “dark” of politics. The exhibition encourages visitors to consider the ways the politics can be both a force for good and a force for ill. While the pairs are meant to reflect the sometimes conflicting nature of politics, they also encourage us to consider the gray areas and places where what is good and what is bad might not be so clear cut.

This pop-up was organized by students in Dr. Katelyn Stauffer’s POLS 1101: Intro to American Politics course. We thank the Georgia Museum of Art for its partnership and collaboration on this project.

In Hugo Gellert's lithograph "In Unity There is Strength," two men stand back to back while holding their tools — Hugo Gellert (American, b. Hungary, 1892 – 1985), “In Unity There is Strength” (also known as “The Working Day”), n.d. Offset lithograph, 16 3/4 × 11 inches. Georgia Museum of Art, University of Georgia; Gift of Michael T. Ricker in memory of Andrew Ladis. GMOA 2017.231.

Letterio Calapai's woodcut "Job" depicts a man burying his face in his hands as he crouches beside a body laying face down — Letterio Calapai (American, 1902 – 1993), “Job,” n.d. Color woodcut, 16 5/8 × 21 1/4 inches. Georgia Museum of Art, University of Georgia; Gift of Michael T. Ricker. GMOA 2022.77.

The workforce can be a powerful force in our lives, shaping experiences and identities. “Job,” by Letterio Calapai, depicts how labor can be a hard, brutal process that gradually kills you. In contrast, Hugo Gellert’s “In Unity There Is Strength” shows how the workforce can be a place of unity that is free from discrimination. Although created decades apart, both pieces resonate with today’s workforce, highlighting the ongoing struggle for fairness and equality. Together, they reveal the complex nature of work, as it can be both the oppressor and an enabler. When viewed in conjunction, the pieces focus on the deeper intricacies of labor.

"A Chart Map of Georgia, Showing the Percentage of Slaves in Each County" is a wood engraving on paper from Harper's Weekly — Unidentified maker (American), “A Chart Map of Georgia, Showing the Percentage of Slaves in Each County,” from Harper’s Weekly, 1861. Wood engraving on paper, 10 3/4 × 9 1/8 inches. Georgia Museum of Art, University of Georgia; The Andrew Ladis and William Underwood Eiland Collection, Gift of William Underwood Eiland. GMOA 2022.317.

Sheila Pree bright's photograph, "Donovan," depicts a young Black man looking directly at the camera with an American flag draped across his shoulders — Sheila Pree Bright (American, b. 1967), “Donovan,” from the “Young Americans” series, 2007. Chromogenic print, 39 1/2 × 29 1/2 inches. Georgia Museum of Art, University of Georgia; Gift of the Larry D. and Brenda A Thompson Collection of African American Art. GMOA 2016.123.

The first piece in this pairing is a chart map of Georgia showing the percentage of enslaved people in each county in 1861. The second piece is a photograph of a young man named Donovan from Sheila Pree Bright’s “Young Americans” series focusing on young Black Americans. These images work together to show the plight of African Americans throughout history. The flag on Donovan’s back coupled with the depiction of slavery in Georgia illustrate the idea that America was built on the back of African Americans through enslavement. Together, these pieces highlight the enduring legacy of slavery and the resilience of African Americans in shaping the nation’s history and identity.

Art Hazelwood's screenprint and letterpress work "New Masses: Last Tango" depicts the Statue of Liberty restraining an elephant who is holding a dagger in the air — Art Hazelwood (American, b. 1961), “New Masses: Last Tango,” 2020. Screenprint and letterpress, 19 × 12 1/2 inches. Georgia Museum of Art, University of Georgia; Gift of the artist. GMOA 2021.288.

Emma Amos' self-portrait "Identity" shows the artist with colorful curls of hair covered in drawings of miscellaneous images such as an eye, treble cleft, Saturn and lips — Emma Amos (American, 1937 – 2020), “Identity,” 2006. Digital print with hand lithography, 12 x 12 inches. Georgia Museum of Art, University of Georgia; Museum purchase with funds provided by the Byrnece Purcell Knox Swanson Acquisitions Fund and the Richard E. and Lynn Rudikoff Berkowitz Acquisition Endowment. GMOA 2019.329.4.

“Last Tango” shows Lady Liberty fighting with an elephant, the mascot of the Republican Party. The text reads “New Masses,” as Lady Liberty invites these new masses in as the Republican party aims to reject them. This black-and-white print shows the struggle between partisanship and liberty. “Identity,” the second piece, shows an amalgamation of many different culturally significant ideas displaying the beauty of the American ideal of freedom of expression. These pieces contrast each other by showing the two sides to America: one being the melting pot of cultural diversity and identity, and the other showing the resistance to this diversity. These works highlight the ongoing tension between America’s ideals of inclusivity and the challenges posed by partisan divisions.

Art Hazelwood's screenprint and letterpress "Simplicissmus: Voting to Drive Away the Evil Spirits" depicts a woman casting her vote into the ballot box as creatures flee and three people cheer in the background — Art Hazelwood (American, b. 1961), “Simplicissimus: Voting to Drive Away the Evil Spirits,” 2020. Screenprint and letterpress, 19 × 12 1/2 inches. Georgia Museum of Art, University of Georgia; Gift of the artist. GMOA 2021.284.

James Henry Daugherty's "Capital Storm #2" is a chaotic scene of people reading newspapers and tumbling around with the Capitol Building in the background — James Henry Daugherty (American, 1889 – 1974), “Capital Storm #2,” 1935. Conté and gouache on paper. 10 3/4 × 17 15/16 inches. Georgia Museum of Art, University of Georgia; Gift of Michael T. Ricker. GMOA 2022.103.

Art Hazelwood’s “Simplicissimus: Voting to Drive Away the Evil Spirits” alludes to one of the most powerful rights that U.S. citizens possess: the ability to vote. Throughout history, many individuals have been denied the right to vote, making the act of casting a ballot increasingly impactful. Voting gives people the ability to influence the future they desire for the United States. In contrast, Daugherty’s “Capital Storm #2” depicts suffering and loss. Following a significant political event, the scene is chaotic yet monotonous, which is highlighted by the monochrome color scheme. It depicts popular indignation and criticism, revealing problems inside the administration and raising questions about the leader’s legitimacy.

Charles Jerry Ayers' photograph on Plexiglass "Zucotti Park" depicts an Occupy Wall Street demonstrator who holds a sign that says "The 4 Branches of Government: Corporate Lobbies, Banks, Media, Big Business" as an illustration of hands holds puppet strings on "Judicial, Legislative, Executive" — Charles Jerry “Jeremy” Ayers (American, 1948 – 2016), “Zucotti Park,” from the “Occupy Wall Street” series, 2011. Photograph mounted on Plexiglas. Georgia Museum of Art, University of Georgia; Gift of the Estate of Charles Jerry Ayers. GMOA 2018.79.

Charles Jerry Ayers' photograph on Plexiglas "New York City Buildings" is a black-and-white shot looking up at towering buildings — Charles Jerry “Jeremy” Ayers (American, 1948 – 2016), “New York City Buildings,” from the “Today in New York” series, n.d. Photograph mounted on Plexiglas. Georgia Museum of Art, University of Georgia; Gift of the Estate of Charles Jerry Ayers. GMOA 2018.76.

In “New York City Buildings,” Ayers shows New York City, a place that captures a working world of possibilities and a cohesive flow in society. The “American Dream,” the belief that in America anyone can attain success, has long since been associated with New York. In contrast, the photograph “Zucotti Park” displays an injustice that Americans, like the one pictured, are actively shedding light on. The man’s stern gaze showcases the dissatisfaction surrounding corporate involvement in politics. As depicted, many citizens feel that corporate America acts as a puppeteer to our three branches of government. Corporate greed erects obstacles and has a significant impact on legislation, making the working class unable to attain the “American Dream.”

James McBey's etching "New York Harbour" depicts a shoreline of tall buildings — James McBey (Scottish, 1883 – 1959), “New York Harbour,” 1941. Etching, 13 1/4 × 17 5/8 inches. Georgia Museum of Art, University of Georgia; Gift of the Jacob Burns Foundation, Inc. GMOA 2018.468.

Art Hazelwood's screenprint and letterpress "Le Charivari: Une Fusillade Pour Trump" is a black-and-white depiction of Donald Trump wearing a blind fold — Art Hazelwood (American, b. 1961), “Le Charivari: Une Fusillade Pour Trump,” 2020. Screenprint and letterpress, 19 × 12 1/2 inches. Georgia Museum of Art, University of Georgia; Gift of the artist. GMOA 2021.276.

The first piece is an etching by James McBey of New York titled “New York Harbour.” The second is a screenprint by Art Hazelwood entitled “Le Charivari: Une Fusillade Pour Trump,” which translates to “A Shootout for Trump.” These two contrast as they show first the idealized vision of America — the New York harbor that those who come to America first see and associate with the American dream — versus the reality of the complex political issues that Americans face, such as mass shootings and the effects of the COVID-19 pandemic. Together, these works illustrate the duality of the American experience, highlighting both the aspirational opportunity and the harsh realities that define contemporary society.

Kara Walker's pop-up book "Freedom: A Fable" shows a silhouette of a woman holding a flower and laying beneath a palm tree. Text reads "Thinking her deed done she soundly settles into a deep meditation on the nature of her New World"

Ronnie Goodman's linocut "San Quentin Jazz" depicts a large man in the sky playing trumpet as men sit at a table below in a prison yard — Ronnie Goodman (American, 1960 – 2020), “San Quentin Jazz,” 2012. Linocut, 22 1/4 × 15 inches. Georgia Museum of Art, University of Georgia; Museum purchase with funds provided by the Byrnece Purcell Knox Swanson Acquisitions Fund. GMOA 2013.68.

“Freedom: A Fable” by Kara Walker and “San Quentin Jazz” by Ronnie Goodman both talk about freedom in difficult situations. Walker’s silhouettes show the struggles of Black people against the effects of slavery and control, making us think about what true freedom really is. Goodman created his work while in prison, using jazz to represent freedom and strength, showing that people can still have a lively spirit even when they are stuck in prison. Both pieces show the struggle between being physically trapped and wanting freedom, highlighting how creativity and expression can still exist in tough times.

Ronnie Goodman's black-and-white linocut "Black Lives Matter" depicts three portraits of Martin Luther King Jr. speaking above a crowd of demonstrators holding signs saying "Unity," "Don't Shoot," "Stop the Violence," "I Can't Breathe" and "In Solidarity We Stand" — Ronnie Goodman (American, 1960 – 2020), “Black Lives Matter,” 2015. Linocut, 24 × 18 inches. Georgia Museum of Art, University of Georgia; Museum purchase. GMOA 2015.10.

Kevin E. Cole's acrylic painting on wood "Living Off the Wall for Forsyth County" depicts a Black man hidden behind a cluster of ties, an umbrella, a giant bow and other fabrics — Kevin E. Cole, (American, b. 1960), “Living Off the Wall for Forsyth County,” 1988. Acrylic on wood. Georgia Museum of Art, University of Georgia; The Larry D. and Brenda A. Thompson Collection of African American Art. GMOA 2012-118.

Kevin Cole’s “Living Off the Wall for Forsyth County” talks about the racial tensions that followed the 1987 race riots in a mostly white Georgia county known for Klan activity. In response to threats against civil rights, activists organized a march to fight against racism. Ronnie Goodman’s “Black Lives Matter” strongly represents the ongoing fight for racial equality, based on the artist’s own experiences with homelessness and being in prison. Both pieces show the strength and activism of people facing oppression, highlighting the ongoing struggle for justice and equality in America.

Frank Hartley Anderson's black-and-white woodcut "Dark Study" depicts the end of a chess game in which three white pieces and three black pieces remain, with the black pieces destined to lose after any move — Frank Hartley Anderson (American, 1891 – 1947), “Dark Study,” n.d. Woodcut, 17 1/8 × 14 inches. Georgia Museum of Art, University of Georgia; The Imprinting the South Collection, gift of Lynn Barstis Williams. GMOA 2009.13.

Larry Walker's mixed media work "Lift Every Voice" combines black and blue paint with images from magazines — Larry Walker (American, 1935 – 2023), “Lift Every Voice,” 2003. Mixed media on two panels, 23 1/2 × 47 3/4 inches. Georgia Museum of Art, University of Georgia; The Larry D. and Brenda A. Thompson Collection of African American Art. GMOA 2020.73.

Both Frank Hartley Anderson and Larry Walker use their art to explore themes of race, identity, and resilience. Anderson’s “Dark Study” uses a chess board to depict discrimination. Here, he shows the end of a game of chess between white pieces and black pieces. Three white pieces are the center of the canvas and are holding three other black pieces all in check. There is no move for the black pieces to make without the white pieces taking one. This is an example of Anderson addressing racism and segregation, using the chess pieces as an analogy for the way Black people were being treated in the world around him. Walker’s “Lift Every Voice” draws inspiration from the Black national anthem, reflecting on the strength and perseverance of African American communities. This piece connects historical struggles with contemporary issues, celebrating resilience and the ongoing fight for justice. Together, these works invite viewers to reflect on the past while acknowledging the continuing journey toward equality.

Connect With Us

And connect with more art, people, and perspectives.

What Are You Voting For? Light, Dark, and Truth in American Politics

Connect With Us