Questions about what constitutes truth and fact are more pressing today than ever. In a post-reality world of fake news, spread pandemically by social media, accuracy and honesty are rare commodities. Getting to absolute truth has never been easy. Perception and reality are uncomfortable bedfellows. They don’t play nicely together. However, we are living in unprecedented times of unscrupulous misinformation, epitomized by those immortal words, alternative facts.
Ever since the Trump administration has taken office, we’ve been increasingly concerned about censorship, rights and freedoms. We’ve also been thinking about art’s place in the political arena and the impact art can and should have in society. At The Road Gallery, we strongly believe in the power of art and artistic expression to provoke reaction, ask important questions, create dialogue and inform the debate. With this in mind, we are proud to present our Artnernative Facts show. We invited artists to submit work that:
– Portrays an alternative view of current realities.
– Portrays alternative perspectives on the current political landscape.
– Rethinks, reimagines and challenges commonly held beliefs and assumptions.
We were astounded by the responses from around the world. What quickly became clear is that artists want their voices to be heard and have a lot to say. There were some deeply personal responses, some deeply political responses and some deeply socially motivated responses. We have curated over 60 pieces from 19 diverse artists. The works are accompanied by information about the artists and arternative facts – their insights about the series. We encourage you to read these as they add a great deal of richness to the images.
10% of all sales (and 100% on some pieces) will be split across the following organizations: ACLU, Planned Parenthood and The International Rescue Committee.
The featured image is Dysutopia 11205 by Frances Segismundo. This piece, one of 15 paintings, is from Segismundo’s current series Dysutopia. The series relates to the rise of the refugee crisis and the ongoing dispute of the enforced travel ban. For over a year, Segismundo painted empty lots she encountered during her cycling commutes around gentrified areas in Brooklyn to narrate the inevitable movement of people. Focusing on gentrified areas, the notion of coming and going give rise to similar connotations to those immigrants who are forcefully driven away from their homes under corporate and/or political power. She illustrates empty lots amidst a structural backdrop to emphasize these bare sites that are still scattered with the small traces of human existence that once inhabited these spaces; that give a juxtaposition to the solidity of the buildings surrounding it.