James C. Litz

Freedom Wagon

1980's

An original oil on canvas painting by American artist James Koenig created in 1944.

A contemporary oil painting on linen by American artist A.J. Fries. Artist’s Statement: These works are an extension of a small series of realistic paintings that I did of graves...

A modern abstract painting by an unknown American artist likely created in the late 1970's.

A contemporary oil painting on linen by American artist A.J. Fries. Artist’s Statement: These works are an extension of a small series of realistic paintings that I did of graves...

46” x 35” x 4” resin, metal In Philip Simmons' series of sculpture made of resin, metal, and vinyl, he references pop sources and the news media to comment on American culture. O...

"With the Supreme Court's repeal of Roe v. Wade many women & girls now have to travel across state lines to exercise their reproductive rights." KAT FLYN is a self-taught assemblage artist working presently out of San Diego. She began her career as a costume designer in Southern California. Over the years she amassed a trove of artifacts and collectables which she began using to create assemblage art in the 1990’s. In 2000 she sold her business and moved to Cuyamaca, a remote community in the mountains outside of San Diego to devote herself exclusively to her artwork. In 2003 her work was interrupted when the Cedar Fire swept through San Diego county and destroyed the forest, her home & studio along with almost all of her collections and works of art. Following the fire she relocated to San Francisco, where she spent a decade concentrating on her art in her studio in SOMA and exhibiting at galleries in the Bay Area. In 2015 she returned to San Diego and now works out of her studio in La Jolla, exhibiting there and in Los Angeles. Kat Flyn refers to herself as an Assemblage Sculptor and her works as Political Art or Protest Art. She separates herself from other assemblage artists in that she only employs “saved” as opposed to “found” objects in her work; and her pieces always have a political or cultural narrative to them rather than being surreal or abstract. She also constructs or refashions many of the pieces which she uses in her art, for example she turns a soft drink box...

Systemic racism is so much easier to observe if we step back in time. In this piece, we can easily assume the central figure – the oh so very white guy – believes the scene depicted is the natural order of things. But as we move closer to today, we can see there is a slow train coming around the bend, as more and more of us recognize that the depicted scene is not the natural order of things at all, but is rather the result of cultural decisions we now know as systemic racism. All Aboard.

This work references “The Wall” that Trump made a central part of his campaign for president and which, at the date of this piece's completion, still looms large in his demands for i...