The Art of Darkness, Tim Atseff
The Art of Darkness is a museum catalogue reflecting a 50 year retrospective of Tim Atseff's existential and political art at the University Museum of Contemporary Art at Southern Illinois University- Carbondale, 2020. timatseff.com
The Art of Darkness is a museum catalogue reflecting a 50 year retrospective of Tim Atseff's existential and political art at the University Museum of Contemporary Art at Southern Illinois University- Carbondale, 2020. timatseff.com
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!<br />
TSEFF<br />
TIM ATSEFF<br />
THE ART OF DARKNESS<br />
7<br />
DEADLY<br />
SINS<br />
A<br />
TRUMP<br />
DYSTOPIAN<br />
HEPTOLOGY
"<br />
!<br />
!
ART<br />
OF<br />
DARKNESS<br />
TIM ATSEFF<br />
UNIVERSITY MUSEUM<br />
SOUTHERN ILLINOIS UNIVERSITY<br />
Carbondale<br />
FALL 2020
CURATOR’S FOREWARD<br />
Stepping into “<strong>The</strong> <strong>Art</strong> <strong>of</strong> <strong>Darkness</strong>” is not<br />
something for the feint <strong>of</strong> heart. As soon as you enter<br />
the gallery this exhibition will take ahold <strong>of</strong> you, and<br />
refuse to let you go. <strong>The</strong> surreal dreamscape created<br />
by <strong>Tim</strong> <strong>Atseff</strong>’s (’70) earlier work brings the viewer<br />
along a dark twisting journey, ending with a<br />
dystopian view <strong>of</strong> our current state <strong>of</strong> political affairs.<br />
<strong>The</strong> works on display build on one another<br />
creating a real sense <strong>of</strong> dread, which reaches a<br />
crescendo with the titular works “<strong>The</strong> Seven Deadly<br />
Sins. A Trump Dystopian Heptology”. This collection<br />
personifies each <strong>of</strong> these sins through a twisted and<br />
almost nightmarish depiction <strong>of</strong> Donald Trump. Each<br />
<strong>of</strong> Trump’s vices are laid bare through Mr. <strong>Atseff</strong>’s<br />
work, allowing the visitor to see how monstrous<br />
someone driven by these impulses can become.<br />
Mr. <strong>Atseff</strong>’s early works are deeply existential and<br />
ominous, evoking a real sense <strong>of</strong> dread and seemingly hopelessness as he<br />
searches for something brighter. This collection <strong>of</strong> Surrealist and Abstract art<br />
laid a power foundation for his later political pieces. Cementing an<br />
undercurrent <strong>of</strong> darker themes that continues to show up throughout his<br />
chosen mediums. As the artist began working as a journalist, their artistic<br />
style inherently shifted. But these “ artoons” as Mr. <strong>Atseff</strong> refers to them, did<br />
not lose their dark undertones. <strong>The</strong>se scathing artworks shifted away from<br />
the ominous imagery <strong>of</strong> his earlier works, while still maintain a sense <strong>of</strong><br />
darkness. <strong>The</strong>y exaggerate the features <strong>of</strong> their subjects, creating<br />
humorously dark caricatures <strong>of</strong> political figures.<br />
<strong>The</strong> combination <strong>of</strong> his dark abstract style and his pointed paintings are<br />
put on full display in “<strong>The</strong> Seven Deadly Sins. A Trump Dystopian<br />
Heptology” series. Each <strong>of</strong> these works masterfully displays its subject,<br />
giving form to the darker impulses <strong>of</strong> human behavior. Opening with what<br />
appears to be a twisted mug shot <strong>of</strong> our 45 th president seamlessly merged<br />
with a pig. Surrounding this image are the seven sins all pointing towards<br />
the subject, using real quotes from our President to illustrate these concepts.<br />
Foreshadowing what the viewer<br />
can expect to see in each <strong>of</strong> the “Seven Deadly<br />
Sins” pieces. <strong>The</strong>se works culminate in a sculpture curated after the<br />
Senate failed to vote to remove an impeached president. <strong>The</strong> Senate is<br />
known as the "most deliberative body in the world.” It features a bloated<br />
pig leading a parade <strong>of</strong> elephants as they flee down the drain <strong>of</strong> a toilet, <strong>The</strong><br />
Trumpian Throne, bringing this dystopian world to a close.<br />
<strong>The</strong> University Museum is happy to welcome back another<br />
accomplished Alumni, to allow our visitors to see his work. <strong>Tim</strong> <strong>Atseff</strong> is an<br />
accomplished artist whose scathing works are lay bare his feelings towards<br />
the 45 th president. While the 50 years worth <strong>of</strong> works on display in this<br />
exhibition may stir up strong emotions, I would encourage you to challenge<br />
yourself and experience this collection when you have the opportunity. As<br />
Mr. <strong>Atseff</strong> says, “the power <strong>of</strong> art is in the response”.—WM Weston Stroerger
<strong>The</strong> darker I paint, the<br />
more alive I feel.
ARTIST’S<br />
STATEMENT<br />
May <strong>of</strong> 1970, Southern Illinois University and Carbondale were on fire.<br />
SIU students were peacefully, but actively demonstrating on campus in<br />
continued opposition to the Vietnam War, not unlike campuses elsewhere. First<br />
at the ROTC <strong>of</strong>fice in Wheeler Hall and later at Woody Hall which housed at<br />
the Center for Vietnamese Studies.<br />
On May 7, the pot bubbled over sparked by the May 4 killings <strong>of</strong> four<br />
students by National Guard troops at Kent State. Colleges across the nation<br />
were rising up. SIU was no different.<br />
<strong>The</strong> volume was turned up as students clashed with local and state police<br />
supported by the Illinois National Guard on Main Street. <strong>The</strong> protests erupted<br />
into heightened violence at night through the fog <strong>of</strong> tear gas and flash <strong>of</strong><br />
bayonets. For two more weeks, the protests grew larger and more agitated. I<br />
wasn’t an innocent bystander. Nor was I a bomb thrower.<br />
It is said that one <strong>of</strong> the strongest human motivators is the smell <strong>of</strong> your own<br />
blood. <strong>The</strong> shadow <strong>of</strong> an unjust war was cast. <strong>The</strong> specter <strong>of</strong> the newly<br />
instituted draft became an existential threat and the air was thick with tear gas,<br />
uncertainty, anger and fear. It went like this:<br />
Come on mothers throughout the land<br />
Pack your boys <strong>of</strong>f to Vietnam<br />
Come on fathers, and don't hesitate<br />
To send your sons <strong>of</strong>f before it's too late<br />
And you can be the first ones on your block<br />
To have your boy come home in a box<br />
On May 14, two more students were killed by police at Jackson State College<br />
in Jackson, Mississippi reigniting college campus agitation. On May 15, the<br />
administration and board in consultation with the governor shut Southern’s<br />
campus down.<br />
With that, my college experience came to an end. I left behind a couple <strong>of</strong><br />
canvases and a full-size kinetic gallows at the Glove<br />
Factory created for Aldon Addington’s class. I<br />
graduated from Southern with more than an academic<br />
education. I also learned to think for myself, not to get<br />
attached to my work and be in tune with my<br />
existential existence. With no commencement, I<br />
couldn’t bring home my diploma. However, I was fortunate enough to bring<br />
home a girl from Chicago who became my wife… or I became her husband.<br />
So, life continues. Wondering. I still look at the clouds like everyone else<br />
looking for an answer. I’m stuck on the romance and grandeur <strong>of</strong> cosmic<br />
questions: Why are we here? Is there something or is there nothing? Why is<br />
anything here—or anything anywhere? Why is there something rather than<br />
nothing? Why not just nothing?<br />
I cannot allow myself the luxury to admit the disappointingly simple truth;<br />
‘Nothing rather than something’. It’s nonsensical. Is life just a reflection in a<br />
mirror? <strong>The</strong>n what happens the instant we die? Nothing?<br />
It's the absence <strong>of</strong> possibility. It’s literally nothing, and placing nothing in<br />
opposition to something, as an alternative to something, is saying, there is no<br />
alternative to something. To that point, I always believed when something ends,<br />
something else begins. <strong>The</strong> pro<strong>of</strong> will be in the dying, I guess.<br />
Now, I come back to Southern 50 years later to close a creative circle with<br />
this survey show at the University <strong>Art</strong> Museum.<br />
Through my art. Through suffering and the darkness <strong>of</strong> death, I have been<br />
trying to bring myself closer to the ”Truth” in an otherwise good life. Looking<br />
not for a rational faith, but a reasonable faith. Hope <strong>of</strong> something <strong>of</strong> value here<br />
and on the other side. Painting for me, keeps the mystery alive.<br />
As a painter, it's to make a mark on the canvas and answer with another and<br />
another until I have exposed something <strong>of</strong> myself. Creating a new reality.<br />
Something unconscious that deepens that dark mystery. Something within me<br />
that is instinctive in the human soul. Mine. Maybe even within the viewer. What<br />
I try to do in my work is explore and expose myself by presenting something in<br />
terms <strong>of</strong> my own sensibilities. Whether it is shared with anyone else, is not my<br />
business.<br />
I paint for my benefit in space and time.<br />
Creating something that moves beyond the<br />
subject by manipulating chance. Bearing the<br />
mysteries <strong>of</strong> pain in life passing to death. It’s like<br />
an exorcism. A purging <strong>of</strong> fears and anxieties.
I look at art in isolation. Alone asking , “Hello is<br />
anybody in there?” Feel the response. If nothing..well,<br />
move on. In other words, my interpretation <strong>of</strong> what went<br />
into that painting is mine. I am not trying to steer anyone<br />
to the same conclusion.<br />
Where does what is on the canvas come from? A<br />
dream, a nightmare something buried in my experience.<br />
A word, an image, a smell, a song a noise, Maybe it<br />
something I see that others don’t. Sometimes I don’t see<br />
what others do. That’s what makes art so ethereal. It’s<br />
like chasing smoke. Like breathing life into the canvas.<br />
All I know, is the darker I paint, the more alive I feel.<br />
<strong>The</strong> fact <strong>of</strong> the matter is, we all lay in bed with the art<br />
<strong>of</strong> death and the art <strong>of</strong> life at the same time.<br />
<strong>Art</strong>, in all <strong>of</strong> its forms, is meant to be evocative,<br />
provocative. Its power is in the response—good, bad,<br />
beautiful, ugly. That art is louder than words.<br />
As a student, <strong>Atseff</strong> occasionally did editorial<br />
cartoons or illustrations for the Daily Egyptian. <br />
At right, a cover <strong>of</strong> a special section <strong>of</strong> the<br />
newspaper covering the 1968 presidential election.
Closer to the Truth<br />
Acrylic on canvas,<br />
72 x 54<br />
1970
Untitled,<br />
Acrylic on<br />
canvas,<br />
47.5 x 72,<br />
1971
<strong>The</strong> Scream- acrylic on canvas, 64” x 56”, 1980<br />
-30-<br />
Oil, acrylic,<br />
28” x 41”<br />
1996
Untitled<br />
Oil, acrylic<br />
on canvas<br />
50” x 72”<br />
1982
Untitled, Oil, acrylic, 105” x 67”, 1975
Crazy Eyes- acrylic, 73” x 50”, 1986
I Can’t Breathe<br />
Oil, acrylic,<br />
48” x 60”<br />
2020
Susan<br />
Oil, acrylic,<br />
38” x 48”<br />
2009
Susan in the Skies with Diamonds,<br />
acrylic. oil on canvas<br />
Oil, acrylic, 28” x 48”, 2018<br />
-30-<br />
Oil, acrylic,<br />
28” x 41”, 1996
Silence <strong>of</strong> the Slain. NEXT! Mixed Media, Oil on Canvas, Spent AR-15 Shells,<br />
Triage Tags, Stuffed Animals, Molded Skeletons, Forensic Evidence Markers, IV<br />
Bags, Bandages, Dead Roses,Police line tape. 120” x 60” x 36”, 2020
Alone<br />
Oil, acrylic on<br />
canvas,<br />
48” x 60”<br />
1973
Heartbreak<br />
Oil, acrylic,<br />
on canvas.<br />
48” x 60”<br />
2001
“I use painting as a form <strong>of</strong><br />
exorcism, a kenosis, to empty<br />
the unrest buried inside me.”
ARTIST’S NOTE<br />
✓<br />
✓<br />
✓<br />
✓<br />
✓<br />
✓<br />
✓<br />
! "<br />
SINS<br />
GLUTTONY<br />
GREED<br />
LUST<br />
SLOTH<br />
WRATH<br />
VANITY<br />
ENVY<br />
My pr<strong>of</strong>essional career was spent in journalism. Several <strong>of</strong> those<br />
years as an editorial cartoonist exposing hypocrisy and corruption with<br />
a stroke <strong>of</strong> a pen. In fact, the Daily Egyptian allowed me to take some<br />
shots at 10 p.m. dorm curfews for women. A pressing issues at that<br />
time.<br />
<strong>The</strong> art <strong>of</strong> caricature and political cartooning has a long and rich<br />
history. From Cro-Magnon man scratching images on cave walls to<br />
Bosch, Daumier, Goya, Thomas Nast, Bacon to today’s contemporary<br />
artists, cartoonists have been exploiting the faces <strong>of</strong> political and public<br />
figures with visual satire. Enlarge a nose or jowl here and droop an earlobe<br />
or tiny hands there. <strong>The</strong> idea is to take an imperfection and apply<br />
a magnifying glass while still capturing the subject’s likeness and<br />
exposing them for who they really are. Trump <strong>of</strong>fered the opportunity<br />
to merge my two “not normal” existential and cartoon disciplines.<br />
VIRTUES<br />
TEMPERANCE<br />
CHARITY<br />
CHASITY<br />
DILIGENCE<br />
PATIENCE<br />
HUMILITY<br />
KINDNESS<br />
When I get an itch, I have to scratch it. President Trump was my<br />
itch. For the last two years, I have felt like I’ve had a bad case <strong>of</strong><br />
poison ivy. You know the saying, “When you see something, say<br />
something”. Well, I painted something. Trump’s scorched democracy<br />
policy and his feckless lemmings, have been assaulting objective truth,<br />
civility and the free press on a daily, if not a minute-by-minute basis.<br />
Destroying and desensitizing the difference between right and wrong.<br />
White hats and black hats. <strong>The</strong>y are complicit, corrupt, immoral and<br />
indecent. What follows is this series, the Seven Deadly Sins. A Trump<br />
Dystopian Heptology. Trump embodies each as narcissistic, fullthroated<br />
and butt-naked for all to see.<br />
Perhaps this “<strong>Art</strong> <strong>of</strong> Deal” President never read Goethe’s Faust,<br />
another deal maker. His Faustian bargain didn’t turn out so well for<br />
him either.<br />
POLITICAL ART
DEADLY<br />
SINS<br />
A<br />
TRUMP<br />
DYSTOPIAN<br />
HEPTOLOGY<br />
All Ye Who Enter, <br />
Abandon Hope.<br />
48” x 36” <br />
2019<br />
!<br />
A r t R a g e G a l l e r y / A p r i l 8 - M a y 1 6 , 2 0 2 0<br />
SINS<br />
VIRTUES<br />
"<br />
✓ GLUTTONY<br />
TEMPERANCE<br />
✓ GREED<br />
CHARITY
GLUTTONY GREED LUST SLOTH WRATH VANITY ENVY<br />
GLUTTONY GREED LUST SLOTH WRATH VANITY ENVY<br />
<br />
WRATH<br />
Trump, Trump, thou thou art art a villainous, tickle-brained, bully-rag. bully-rag.<br />
“Get even with people. If they screw you, screw them back 10<br />
Trump, even thou with art people. a villainous, If they tickle-brained, screw you, screw bully-rag. them back 10<br />
as I it!<br />
“Get even with people. times If as they hard. screw I really you, screw believe them it!” back 10<br />
(Of (Of course, unless times they they as hard. have have I the really the ability ability believe to to it!” screw screw you you into into oblivion.<br />
(Of course, unless they <strong>The</strong> <strong>The</strong> have weaker, the ability the the to screw better.) you into oblivion.<br />
<strong>The</strong> weaker, the better.)<br />
—Donald Trump, 2011
Oil, acrylic,<br />
American<br />
flag, police<br />
tape, emojis.<br />
48” x 60”<br />
2019
GLUTTONY GREED LUST SLOTH WRATH VANITY ENVY<br />
GLUTTONY GREED LUST SLOTH WRATH VANITY ENVY<br />
<br />
<br />
GREED<br />
GREED<br />
Trump, thou art a gilded, conniving, forked-tongued fraud.<br />
“My whole life I’ve been greedy, greedy, greedy. I’ve grabbed all the money I could get.<br />
I’m so greedy. But now I want to be greedy for the United States. I want to grab all that<br />
money. I’m going to be greedy for the United States.”<br />
Trump, thou art a gilded, conniving, forked-tongued fraud.<br />
“My whole life I’ve been greedy, greedy, greedy. I’ve grabbed all the money I could get.<br />
I’m so greedy. But now I want to be greedy for the United States. I want to grab all that<br />
money. I’m going to be greedy for the United States.”
Oil, acrylic,<br />
American<br />
flag, police<br />
tape, emojis.<br />
48” x 60”<br />
2019
GLUTTONY GREED LUST SLOTH WRATH VANITY ENVY<br />
GLUTTONY GREED LUST SLOTH WRATH VANITY ENVY<br />
LUST<br />
LUST<br />
Trump, thou art a small-handed, orange-faced, flaccid, momma’s-boy.<br />
“I think Viagra is wonderful if you need it, if you have medical issues, if you’ve<br />
had surgery. I’ve just never needed it. Frankly, I wouldn’t mind if there were an<br />
anti-Viagra, Trump, thou something art a small-handed, with the opposite orange-faced, effect. I’m flaccid, not bragging. momma’s-boy. I’m just lucky. I<br />
“I think Viagra is wonderful if you need it, if you have medical issues, if you’ve<br />
don’t need it. I’ve always said, ‘If you need Viagra, you’re probably with the<br />
had surgery. I’ve just never needed it. Frankly, I wouldn’t mind if there were an<br />
anti-Viagra, something with the opposite wrong effect. girl’.” I’m not bragging. I’m just lucky. I<br />
don’t need it. I’ve always said, ‘If you need Viagra, you’re probably with the<br />
wrong girl’.”
Oil, acrylic,<br />
police tape,<br />
emojis.<br />
48” x 60”<br />
2019
GLUTTONY GREED LUST SLOTH WRATH VANITY ENVY<br />
GLUTTONY GREED LUST SLOTH WRATH VANITY ENVY<br />
GLUTTONY<br />
Trump, though art a paunchy, swag-bellied, boar pig.<br />
Trump, thou art a paunchy, swag-bellied, boar pig.<br />
Trump’s Trump’s reign reign <strong>of</strong> <strong>of</strong> a two-scooped, two-scooped, fast-food, fast-food, empty-caloried, empty-caloried, engorged engorged presidency presidency is the is the<br />
personification <strong>of</strong> <strong>of</strong> a craven, digital depravity that that stirs stirs our our worst worst national national ideals. ideals. His excesses His excesses<br />
and insatiable hunger for for attention and and power power closely closely parallels parallels the authoritarian the authoritarian behavior behavior <strong>of</strong> a <strong>of</strong><br />
Vladimir a Vladimir Putin, a Kim Putin Jong or past Un or oppressive past oppressive and and contemptuous tyrannts.<br />
Trump exemplifies a rude narcissism laced with with a nihilistic a delusion delusion free <strong>of</strong> free consequences <strong>of</strong> and supported by spineless and supported Congressional by spineless lemmings. Congressional Can you say lemmings. impeachment hearings?<br />
"I can tell you I have the support <strong>of</strong> the police, the support <strong>of</strong> the military, the support <strong>of</strong> the<br />
Bikers<br />
“I can<br />
for<br />
tell<br />
Trump—<br />
you I have<br />
I have<br />
the support<br />
the tough<br />
<strong>of</strong> the<br />
people,<br />
police, the<br />
but<br />
support<br />
they don't<br />
<strong>of</strong> the<br />
play<br />
military,<br />
it tough<br />
the<br />
--<br />
support<br />
until they<br />
<strong>of</strong> the<br />
go to a<br />
Bikers for Trump— I have the tough people, but they don't play it tough…until they go to a<br />
certain point, and then it would be very bad, very bad.”<br />
certain point, and then it would be very bad, very bad.”
Oil, acrylic,<br />
police tape,<br />
emojis.<br />
48” x 60”<br />
2018
GLUTTONY GREED LUST SLOTH WRATH VANITY ENVY<br />
GLUTTONY GREED LUST SLOTH WRATH VANITY ENVY<br />
VANITY<br />
Trump, Trump, thou thou art, art, a beslubbering, motley-minded, lout. lout.<br />
“You know, I’m, like, a smart person.” I am a really smart guy. I’ve been known<br />
“You know, I’m, like, a smart person.” “I am really smart guy.” “I’ve been known<br />
as being a very smart guy for a long time.”<br />
as being a very smart guy for long time.” “I have a very good brain and I’ve said<br />
a lot “I <strong>of</strong> have things.” a very “I’m good intelligent. brain and I’ve Some said people a lot <strong>of</strong> would things.” say I’m intelligent. I’m very, very, Some very<br />
intelligent.” people would “And then say I’m people very, very, say oh, very is intelligent. he a smart And person? then people I’m say smarter oh, is than he a all <strong>of</strong><br />
them smart put person? together, I’m but smarter they than can’t all admit <strong>of</strong> them it.” put “My together, IQ is one but <strong>of</strong> they the can’t highest admit — it.” and<br />
you all know it! Please don’t feel so stupid or insecure; it’s not your fault.” “My<br />
two “My greatest IQ is one assets <strong>of</strong> the have highest been — mental and you stability all know and it! Please being, don’t like, feel really so stupid smart…. I<br />
went from VERY successful or insecure; businessman, it’s not your to top fault.” T.V. Star, to President <strong>of</strong> the<br />
United States (on my first try). I think that would qualify as not smart, but<br />
“My two greatest assets have been mental stability and being, like, really<br />
genius….and a very stable genius at that!”<br />
smart…. I went from VERY successful businessman, to top T.V. Star, to<br />
President <strong>of</strong> the United States (on my first try). I think that would qualify as not<br />
smart, but genius….and a very stable genius at that!”
Oil, acrylic, <br />
police tape, <br />
emojis.<br />
48” x 60”<br />
2018
GLUTTONY GREED LUST SLOTH WRATH VANITY ENVY<br />
GLUTTONY GREED LUST SLOTH WRATH VANITY ENVY<br />
<br />
SLOTH<br />
Thou art a lazy, muddle-brained, slug.<br />
EXECUTIVE TIME!<br />
EXECUTIVE TIME!<br />
Thou art a lazy, muddle-brained, slug.
Oil, acrylic,<br />
police tape,<br />
emojis.<br />
48” x 60”<br />
2019
GLUTTONY GREED LUST SLOTH WRATH VANITY ENVY<br />
GLUTTONY GREED LUST SLOTH WRATH VANITY ENVY<br />
ENVY<br />
Trump, Thou art a fawning, idle-headed, wagtail.<br />
“Hey, Trump, he’s head Thou <strong>of</strong> art a country a fawning, (Kim idle-headed, Jong Un). And wagtail. I mean he is a<br />
strong “Hey, head. he’s Don’t head <strong>of</strong> let a anyone country (Kim think Jong anything Un). And different. I mean He he is speaks a and<br />
strong head. Don’t let anyone think anything different. He speaks and<br />
his people sit up at attention. I want my people to do the same.”<br />
his people sit up at attention. I want my people to do the same.”
Oil, acrylic,<br />
police tape,<br />
emojis.<br />
48” x 60”<br />
2019
Redact<br />
23” x 29”<br />
Mixed media on<br />
parchment.<br />
2020
100 Seconds to<br />
Midnight. <strong>The</strong><br />
Tick-Tock <strong>of</strong> the<br />
Doomsday Clock.<br />
Oil, acrylic, police<br />
tape, emojis.<br />
48” x 60”<br />
2020
<strong>The</strong> Trumpian Throne.<br />
<strong>The</strong> World’s Most Deliberative Body.<br />
Oil on porcelain. 2020
WE VS I, Oil, acrylic on canvas<br />
24” x 36”, 2020<br />
Crown <strong>of</strong> Thorns, Oil, acrylic on canvas<br />
24” x 36”, 2020
EDITORIAL CARTOONS AND ILLUSTRATIONS<br />
“I don’t give a straw for your newspaper articles, my constituents don’t know<br />
how to read, but they can’t help seeing them damn pictures!”<br />
—“Boss Tweed”, a former New York City street brawler and notorious political fixer<br />
bellowed about Harper’s Weekly political cartoonist Thomas Nast in 1871. Nast’s cartoons are credited for Tweed’s downfall from his perch in a<br />
corrupt Tammany Hall political machine. Tweed’s quote speaks to the power <strong>of</strong> the pen.
BIO<br />
GRAPHY<br />
<strong>Tim</strong> <strong>Atseff</strong> is a native <strong>of</strong> Syracuse, N.Y. and a1970 graduate <strong>of</strong> the School<br />
<strong>of</strong> <strong>Art</strong> at Southern Illinois University at Carbondale majoring painting. While<br />
<strong>Tim</strong> <strong>Atseff</strong> is a native <strong>of</strong> Syracuse, New York. He is a 1970 graduate <strong>of</strong><br />
at Southern, <strong>Atseff</strong> began his sandbox cartooning and illustration years at the<br />
the School <strong>of</strong> Fine <strong>Art</strong>s at Southern Illinois University at Carbondale where<br />
school’s newspaper, <strong>The</strong> Daily Egyptian.<br />
he majored in painting. While at Southern Illinois, <strong>Atseff</strong> began his sandbox<br />
After graduation, <strong>Atseff</strong> returned to Syracuse to work for the afternoon<br />
cartooning and illustration years at <strong>The</strong> Daily Egyptian.<br />
newspaper, the Syracuse Herald-Journal. <strong>The</strong>re he served<br />
as an<br />
After<br />
artist,<br />
graduation,<br />
the <strong>Art</strong> and<br />
<strong>Atseff</strong><br />
Design<br />
returned<br />
Director,<br />
to<br />
Editorial<br />
Syracuse to work for the afternoon<br />
Cartoonist,<br />
newspaper,<br />
Deputy<br />
the Herald-Journal.<br />
Managing Editor<br />
<strong>The</strong>re<br />
and<br />
he<br />
Managing<br />
served as an illustrator, the art and<br />
Editor. design director, editorial cartoonist, deputy managing editor and managing<br />
editor. As an As Editorial an editorial Cartoonist, cartoonist, <strong>Atseff</strong> <strong>Atseff</strong> jabbed poked the the powerful powerful and ego bloated<br />
and from bloated the Nixon from through the Nixon the through Reagan the years. Reagan years.<br />
During During that that period, period, <strong>Atseff</strong> <strong>Atseff</strong> penned penned over over 15001,500 local, local, national and<br />
national international and international cartoons. Some cartoons. appeared Some in the appearing New York in <strong>Tim</strong>es. Washington<br />
the Post, New Boston York Globe <strong>Tim</strong>es, and Washington the Monitor, Post, a Boston publication Globe <strong>of</strong> as the American<br />
well Psychological as several Association, political cartoon as well anthologies as several and political other cartoon anthologies.<br />
books. <strong>Atseff</strong>’s cartoons are represented at the Carter Center and Presidential<br />
Library <strong>Atseff</strong> in retired Atlanta from and <strong>The</strong> Ohio Post-Standard, State University’s Syracuse's Cartoon <strong>Art</strong> Collection.<br />
morning <strong>Atseff</strong> newspaper, retired from in 2011 <strong>The</strong> Post-Standard, after 46 years <strong>of</strong> Syracuse's service. His morning newspaper, in<br />
responsibilities 2011 after 46 years at <strong>The</strong> <strong>of</strong> Post-Standard service at the were two Syracuse as Marketing publications. His last<br />
and responsibilities New Product at Development the Syracuse Manager newspapers and were finally as as marketing the and New<br />
creator and editor <strong>of</strong> Central New York Magazine, CNY Business Exchange<br />
Product Development Manager and finally the editor and creator <strong>of</strong> three<br />
Magazine and Central New York Sports Magazine.<br />
regional magazines—Central New York Magazine, CNY Business Exchange<br />
During <strong>Atseff</strong>’s pr<strong>of</strong>essional career, he served as president <strong>of</strong> the New<br />
Magazine and Central New York Sports Magazine.<br />
York State Managing Editor’s Association, and on the national board <strong>of</strong><br />
During his pr<strong>of</strong>essional newspaper career, he served as president <strong>of</strong> the<br />
directors <strong>of</strong> the Associated Press Managing Editors Association where he<br />
New York State Managing Editors Association, and on the national board <strong>of</strong><br />
chaired the committees <strong>of</strong> Foreign News, Ethics, Photo and Graphics, Sports,<br />
Innovation<br />
directors <strong>of</strong><br />
as<br />
the<br />
well<br />
Associated<br />
as chair <strong>of</strong><br />
Press<br />
the group’s<br />
Managing<br />
national<br />
Editors<br />
convention<br />
Association,<br />
in Atlanta.<br />
where he<br />
chaired<br />
<strong>Atseff</strong><br />
the<br />
was<br />
committees<br />
also a member<br />
<strong>of</strong> foreign<br />
<strong>of</strong> the<br />
news,<br />
American<br />
ethics,<br />
Association<br />
photo and<br />
<strong>of</strong><br />
graphics,<br />
Editorial<br />
sports<br />
Cartoonists and innovation. well He as <strong>The</strong> also Society chaired for the Newspaper group’s national Design convention where he had in Atlanta. won<br />
<strong>Atseff</strong> was also a member <strong>of</strong> the American Association <strong>of</strong><br />
Editorial Cartoonists, <strong>The</strong> Society <strong>of</strong> Newspaper Design on<br />
which he was recognized with over twenty-five awards for<br />
news presentation and design. In 2006, <strong>Atseff</strong> was inducted<br />
over twenty national awards for newspaper design. In 2006, <strong>Atseff</strong> was<br />
inducted into the Syracuse Press Club Wall <strong>of</strong> Fame.<br />
into the Syracuse Press Club Hall fo Fame.<br />
<strong>Atseff</strong>’s community service includes the boards <strong>of</strong> the Boys and Girls<br />
His community service includes membership on the boards <strong>of</strong> the Boys and<br />
Club, the Crouse Health Foundation and the Onondaga Historical<br />
Girls Club, the Crouse Health Foundation, on which he served as board chair,<br />
Association.<br />
and the Onondaga Historical Association, for which he redesigned the<br />
In the recent past, <strong>Atseff</strong> was named the "Community<br />
association’s History<br />
Trustee<br />
Highlights<br />
<strong>of</strong> the Year"<br />
magazine.<br />
by the civic and business group,<br />
In the recent Leadership past, <strong>Atseff</strong> Greater was named Syracuse, the "Community for the positive Trustee impact <strong>of</strong> the Year"<br />
by the civic and magazines business group, he created Leadership had on the <strong>of</strong> Greater image <strong>of</strong> Syracuse, the Central for New the<br />
positive impact York the magazines region. He he was created also received had on the image Onondaga <strong>of</strong> the Citizens Central<br />
New York region. League He also 2012 received Civic Beautification the Onondaga Award Citizens for League defining 2012 and<br />
Civic Beautification creating Award a public for defining space and and sculpture creating for a public Susan <strong>Atseff</strong> space and<br />
sculpture for Susan Memorial <strong>Atseff</strong> Park, Memorial also known Park. as <strong>The</strong> Salt pocket-park Springs Park. was <strong>The</strong> established pocketpark<br />
late was wife established Susan and in the memory caregivers <strong>of</strong> his who late devote wife Susan themselves and to comforting others. caregivers who devote themselves to comforting others.<br />
in memory <strong>of</strong> his<br />
Since his “rewirement”,<br />
Since his<br />
<strong>Atseff</strong><br />
“rewirement”<br />
has designed<br />
<strong>Atseff</strong><br />
and<br />
has designed<br />
edited six<br />
and<br />
table-top<br />
edited six<br />
table-top books- An <strong>Art</strong>ist’s Life, Frank Townsend Hutchens,<br />
books— An <strong>Art</strong>ist’s Life, Frank Townsend Hutchens, <strong>The</strong> <strong>Art</strong> <strong>of</strong> a Life,<br />
<strong>The</strong> <strong>Art</strong> <strong>of</strong> a Life, Dorothy Riester— A Memoir, and Kokum<br />
Dorothy Riester— A Memoir, Kokum Lena <strong>of</strong> the First Nation Algonquin, <strong>The</strong><br />
Lena <strong>of</strong> the First Nation Algonquin, <strong>The</strong> Hunt, A Lifetime <strong>of</strong><br />
Hunt, A Lifetime <strong>of</strong> Pursuing Big Game, Syracuse’s Grand Hotel and<br />
Pursing Big Game, Syracuse’s Grand Hotel and Dancing in<br />
Dancing in Two Realms. He also redesigned an alternative newspaper, the<br />
Two Realms. Most recently, he redesigned and helped publish the Onondaga<br />
Historical<br />
Syracuse New<br />
Association’s<br />
<strong>Tim</strong>es.<br />
History Highlights magazine in his role as a board<br />
Throughout his newspaper career, <strong>Atseff</strong> worked in spurts building a body<br />
member.<br />
<strong>of</strong> paintings. Previous shows <strong>of</strong> his work were held at the Everson Museum<br />
Throughout his pr<strong>of</strong>essional career, <strong>Atseff</strong> worked in spurts on building a<br />
body <strong>of</strong> <strong>Art</strong> <strong>of</strong> in paintings. Syracuse, Previous Xerox Center shows in <strong>of</strong> Rochester, his paintings the were Center held for at Contemporary<br />
the Everson<br />
Museum Political <strong>Art</strong> <strong>of</strong> <strong>Art</strong> in Washington, Syracuse, N.Y. DC, <strong>The</strong> and <strong>Art</strong> Xerox Car Center Museum in Rochester, in Houston, N.Y. TX He and a<br />
also solo had show a show at the <strong>of</strong> <strong>Art</strong>Rage his editorial Gallery cartoons in Syracuse. at the Onondaga He also had Historical a show Society. <strong>of</strong> his<br />
political <strong>Atseff</strong>’s cartoons lastest at spurt the yielded Onondaga the Seven Historical Deadly Museum Sins— in A Syracuse. Trump Dystopian<br />
Heptology. This current solo survey show at the University Museum includes his latest<br />
painting series to which he refers to as <strong>Art</strong>oons, rather than<br />
cartoons. <strong>The</strong> Seven Deadly Sins— A Trump Dystopian<br />
Heptology is a hybrid <strong>of</strong> his political cartooning and fine arts<br />
disciplines.<br />
For more , go to:<br />
timatseff.com
BIO<br />
GRAPHY<br />
<strong>Tim</strong> <strong>Atseff</strong> is a native <strong>of</strong> Syracuse, N.Y. and a1970 graduate <strong>of</strong> the School<br />
<strong>of</strong> <strong>Art</strong> at Southern Illinois University at Carbondale majoring painting. While<br />
<strong>Tim</strong> <strong>Atseff</strong> is a native <strong>of</strong> Syracuse, New York. He is a 1970 graduate <strong>of</strong><br />
at Southern, <strong>Atseff</strong> began his sandbox cartooning and illustration years at the<br />
the School <strong>of</strong> Fine <strong>Art</strong>s at Southern Illinois University at Carbondale where<br />
school’s newspaper, <strong>The</strong> Daily Egyptian.<br />
he majored in painting. While at Southern Illinois, <strong>Atseff</strong> began his sandbox<br />
After graduation, <strong>Atseff</strong> returned to Syracuse to work for the afternoon<br />
cartooning and illustration years at <strong>The</strong> Daily Egyptian.<br />
newspaper, the Syracuse Herald-Journal. <strong>The</strong>re he served<br />
as an<br />
After<br />
artist,<br />
graduation,<br />
the <strong>Art</strong> and<br />
<strong>Atseff</strong><br />
Design<br />
returned<br />
Director,<br />
to<br />
Editorial<br />
Syracuse to work for the afternoon<br />
Cartoonist,<br />
newspaper,<br />
Deputy<br />
the Herald-Journal.<br />
Managing Editor<br />
<strong>The</strong>re<br />
and<br />
he<br />
Managing<br />
served as an illustrator, the art and<br />
Editor. design director, editorial cartoonist, deputy managing editor and managing<br />
editor. As an As Editorial an editorial Cartoonist, cartoonist, <strong>Atseff</strong> <strong>Atseff</strong> jabbed poked the the powerful powerful and ego bloated<br />
and from bloated the Nixon from through the Nixon the through Reagan the years. Reagan years.<br />
During During that that period, period, <strong>Atseff</strong> <strong>Atseff</strong> penned penned over over 15001,500 local, local, national and<br />
national international and international cartoons. Some cartoons. appeared Some in the appearing New York in <strong>Tim</strong>es. Washington<br />
the Post, New Boston York Globe <strong>Tim</strong>es, and Washington the Monitor, Post, a Boston publication Globe <strong>of</strong> as the American<br />
well Psychological as several Association, political cartoon as well anthologies as several and political other cartoon anthologies.<br />
books. <strong>Atseff</strong>’s cartoons are represented at the Carter Center and Presidential<br />
Library <strong>Atseff</strong> in retired Atlanta from and <strong>The</strong> Ohio Post-Standard, State University’s Syracuse's Cartoon <strong>Art</strong> Collection.<br />
morning <strong>Atseff</strong> newspaper, retired from in 2011 <strong>The</strong> Post-Standard, after 46 years <strong>of</strong> Syracuse's service. His morning newspaper, in<br />
responsibilities 2011 after 46 years at <strong>The</strong> <strong>of</strong> Post-Standard service at the were two Syracuse as Marketing publications. His last<br />
and responsibilities New Product at Development the Syracuse Manager newspapers and were finally as as marketing the and New<br />
creator and editor <strong>of</strong> Central New York Magazine, CNY Business Exchange<br />
Product Development Manager and finally the editor and creator <strong>of</strong> three<br />
Magazine and Central New York Sports Magazine.<br />
regional magazines—Central New York Magazine, CNY Business Exchange<br />
During <strong>Atseff</strong>’s pr<strong>of</strong>essional career, he served as president <strong>of</strong> the New<br />
Magazine and Central New York Sports Magazine.<br />
York State Managing Editor’s Association, and on the national board <strong>of</strong><br />
During his pr<strong>of</strong>essional newspaper career, he served as president <strong>of</strong> the<br />
directors <strong>of</strong> the Associated Press Managing Editors Association where he<br />
New York State Managing Editors Association, and on the national board <strong>of</strong><br />
chaired the committees <strong>of</strong> Foreign News, Ethics, Photo and Graphics, Sports,<br />
Innovation<br />
directors <strong>of</strong><br />
as<br />
the<br />
well<br />
Associated<br />
as chair <strong>of</strong><br />
Press<br />
the group’s<br />
Managing<br />
national<br />
Editors<br />
convention<br />
Association,<br />
in Atlanta.<br />
where he<br />
chaired<br />
<strong>Atseff</strong><br />
the<br />
was<br />
committees<br />
also a member<br />
<strong>of</strong> foreign<br />
<strong>of</strong> the<br />
news,<br />
American<br />
ethics,<br />
Association<br />
photo and<br />
<strong>of</strong><br />
graphics,<br />
Editorial<br />
sports<br />
Cartoonists and innovation. well He as <strong>The</strong> also Society chaired for the Newspaper group’s national Design convention where he had in Atlanta. won<br />
<strong>Atseff</strong> was also a member <strong>of</strong> the American Association <strong>of</strong><br />
Editorial Cartoonists, <strong>The</strong> Society <strong>of</strong> Newspaper Design on<br />
which he was recognized with over twenty-five awards for<br />
news presentation and design. In 2006, <strong>Atseff</strong> was inducted<br />
over twenty national awards for newspaper design. In 2006, <strong>Atseff</strong> was<br />
inducted into the Syracuse Press Club Wall <strong>of</strong> Fame.<br />
into the Syracuse Press Club Hall fo Fame.<br />
<strong>Atseff</strong>’s community service includes the boards <strong>of</strong> the Boys and Girls<br />
His community service includes membership on the boards <strong>of</strong> the Boys and<br />
Club, the Crouse Health Foundation and the Onondaga Historical<br />
Girls Club, the Crouse Health Foundation, on which he served as board chair,<br />
Association.<br />
and the Onondaga Historical Association, for which he redesigned the<br />
In the recent past, <strong>Atseff</strong> was named the "Community<br />
association’s History<br />
Trustee<br />
Highlights<br />
<strong>of</strong> the Year"<br />
magazine.<br />
by the civic and business group,<br />
In the recent Leadership past, <strong>Atseff</strong> Greater was named Syracuse, the "Community for the positive Trustee impact <strong>of</strong> the Year"<br />
by the civic and magazines business group, he created Leadership had on the <strong>of</strong> Greater image <strong>of</strong> Syracuse, the Central for New the<br />
positive impact York the magazines region. He he was created also received had on the image Onondaga <strong>of</strong> the Citizens Central<br />
New York region. League He also 2012 received Civic Beautification the Onondaga Award Citizens for League defining 2012 and<br />
Civic Beautification creating Award a public for defining space and and sculpture creating for a public Susan <strong>Atseff</strong> space and<br />
sculpture for Susan Memorial <strong>Atseff</strong> Park, Memorial also known Park. as <strong>The</strong> Salt pocket-park Springs Park. was <strong>The</strong> established pocketpark<br />
late was wife established Susan and in the memory caregivers <strong>of</strong> his who late devote wife Susan themselves and to comforting others. caregivers who devote themselves to comforting others.<br />
in memory <strong>of</strong> his<br />
Since his “rewirement”,<br />
Since his<br />
<strong>Atseff</strong><br />
“rewirement”<br />
has designed<br />
<strong>Atseff</strong><br />
and<br />
has designed<br />
edited six<br />
and<br />
table-top<br />
edited six<br />
table-top books- An <strong>Art</strong>ist’s Life, Frank Townsend Hutchens,<br />
books— An <strong>Art</strong>ist’s Life, Frank Townsend Hutchens, <strong>The</strong> <strong>Art</strong> <strong>of</strong> a Life,<br />
<strong>The</strong> <strong>Art</strong> <strong>of</strong> a Life, Dorothy Riester— A Memoir, and Kokum<br />
Dorothy Riester— A Memoir, Kokum Lena <strong>of</strong> the First Nation Algonquin, <strong>The</strong><br />
Lena <strong>of</strong> the First Nation Algonquin, <strong>The</strong> Hunt, A Lifetime <strong>of</strong><br />
Hunt, A Lifetime <strong>of</strong> Pursuing Big Game, Syracuse’s Grand Hotel and<br />
Pursing Big Game, Syracuse’s Grand Hotel and Dancing in<br />
Dancing in Two Realms. He also redesigned an alternative newspaper, the<br />
Two Realms. Most recently, he redesigned and helped publish the Onondaga<br />
Historical<br />
Syracuse New<br />
Association’s<br />
<strong>Tim</strong>es.<br />
History Highlights magazine in his role as a board<br />
Throughout his newspaper career, <strong>Atseff</strong> worked in spurts building a body<br />
member.<br />
<strong>of</strong> paintings. Previous shows <strong>of</strong> his work were held at the Everson Museum<br />
Throughout his pr<strong>of</strong>essional career, <strong>Atseff</strong> worked in spurts on building a<br />
body <strong>of</strong> <strong>Art</strong> <strong>of</strong> in paintings. Syracuse, Previous Xerox Center shows in <strong>of</strong> Rochester, his paintings the were Center held for at Contemporary<br />
the Everson<br />
Museum Political <strong>Art</strong> <strong>of</strong> <strong>Art</strong> in Washington, Syracuse, N.Y. DC, <strong>The</strong> and <strong>Art</strong> Xerox Car Center Museum in Rochester, in Houston, N.Y. TX He and a<br />
also solo had show a show at the <strong>of</strong> <strong>Art</strong>Rage his editorial Gallery cartoons in Syracuse. at the Onondaga He also had Historical a show Society. <strong>of</strong> his<br />
political <strong>Atseff</strong>’s cartoons lastest at spurt the yielded Onondaga the Seven Historical Deadly Museum Sins— in A Syracuse. Trump Dystopian<br />
Heptology. This current solo survey show at the University Museum includes his latest<br />
painting series to which he refers to as <strong>Art</strong>oons, rather than<br />
cartoons. <strong>The</strong> Seven Deadly Sins— A Trump Dystopian<br />
Heptology is a hybrid <strong>of</strong> his political cartooning and fine arts<br />
disciplines.<br />
For more , go to:<br />
timatseff.com
UNIVERSITY<br />
MUSEUM