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\t\t\t\t\t\t\n\t\t\t\t\tIt\u2019s Alright Ma (I\u2019m Only Bleeding)<\/em> by Isabelle Brourman<\/span><\/p>\n\t\t\t\t\t\t\t\t\tCourtesy of Isabelle Brourman<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n\n\t\u201cHe\u2019s an interesting figure to draw, because he has so much going on. He\u2019s a landscape, and that\u2019s how I started thinking about figurative work as landscape painting,\u201d she says. <\/p>\n
\n\t\tNo Rest for the Wicked<\/em>\t<\/h2>\n\n\tIn the portrait of Trump at Mar-a-Lago It\u2019s Alright Ma (I\u2019m Only Bleeding)<\/em> made in the heat of the election, there is a question of \u201cwhat is Trump looking at, what are we all looking at?\u201d Brourman says. She left the bottom space blank to indicate uncertainty; the gaze is looking ahead, he is smiling, and his hands are forming a plan.\u00a0\u201cAnd No Rest for the Wicked<\/em> is the portrait of America that we are seeing play out,\u201d she says. \u201cThe immigration machine.\u201d<\/p>\n\n
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\t\t\t\t\t\t\n\t\t\t\t\tNo Rest for the Wicked<\/em> by Isabelle Brourman<\/span><\/p>\n\t\t\t\t\t\t\t\t\tCourtesy of Isabelle Brourman<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n\n\tWhen I was in the Everglades [near Alligator Alcatraz], I spoke to so many people who were affected by this new intervention and by man\u2019s historical intervention in the land and their communities. In the blink of an eye, public land was ceded to the federal government through a loophole. The alligator is a symbol that is being misappropriated as a predator, but it\u2019s known as a sacred guardian in the Everglades. It\u2019s a vital part of the ecosystem. When we started researching the Miccosukee, who initially sued Alligator Alcatraz, I started building out the face. I was like, \u2018Oh my God, it looks like him.\u2019<\/em><\/p>\n\n\tTrump is the subject I\u2019ve been the most liberated by. It\u2019s a weird thing to say, but he\u2019s taken so many liberties that there are no barriers to entry when I start to work. He\u2019s such an overlord. He\u2019s always going to be there.\u201d<\/em><\/p>\n\n\t\tThe Military Ball (The First 100 Days<\/strong><\/em>)\t<\/h2>\n\n\t\u201cI\u2019ve never shown this work \u2014 it\u2019s about the first 100 days, and it starts at the inaugural ball. It was a wild adventure because I had a 40-by-40 canvas on the press risers with the likes of Fox News.<\/em><\/p>\n\n
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\t\t\t\t\t\t\n\t\t\t\t\tThe Military Ball (The First 100 Days<\/em>) by Isabelle Brourman<\/span><\/p>\n\t\t\t\t\t\t\t\t\tCourtesy of Isabelle Brourman<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n\n\tWhen I got to the inaugural ball, which was after Trump\u2019s confirmation hearing, I was standing right above the Fox News set and Hannity. Hegseth stepped up because Fox News gets all of them. And I\u2019m painting him closer than I painted anyone else. That painting is a lot more smudged. It reflects on this weird purgatory. All of these military people that are so young, so red in the cheeks, and they\u2019re having so much fun, they\u2019re also prepared to go to battle if they have to. It was a crazy energy in there.<\/em><\/p>\n\n\t[Trump] had actually come from pardoning the January 6 people \u2014 that was the news that broke to me while I was painting, and I wrote it across the canvas, \u2018he pardoned them all.\u2019 Jenny, my creative partner, was filming, and I\u2019m in my great-grandmother\u2019s ball gown with chicken feathers and black velvet gloves, and then black rubber gloves on top for the paint. I looked at her, I couldn\u2019t believe it. That was the first order of business. And then here we were at the military ball.\u201d<\/em><\/p>\n\n\t\tChurch and State<\/em><\/strong>\t<\/h2>\n\n\t\u201cWhen Trump was a defendant, there was this chaos. When he became president, it seemed like chaos entered the system.<\/em> From painting the most famous person in the world, truly infamous, then turning into this space in the heart of New York, which is the story of the immigrant within this bureaucratic building. Undocumented people are trying to follow the law, trying to do it the right way, and then there are masked federal agents. Everyone is anonymous, and there\u2019s no time.<\/em><\/p>\n\n
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\t\t\t\t\t\t\n\t\t\t\t\tChurch and State<\/em> by Isabelle Brourman<\/span><\/p>\n\t\t\t\t\t\t\t\t\tCourtesy of Isabelle Brourman<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n\n\tIt was one of the most surreal shocks to my system, coming from an observational place and as a citizen and a witness. Watching somebody be told they were going to see the judge and to bring their paper to the office, then asking about the masked individuals outside, and the judge saying if there\u2019s anybody outside my door, they don\u2019t answer to me. Watching that person leave. Then, there\u2019s another court in the hall, and they\u2019re detained and no one knows anything at this point. It\u2019s the complete opposite of power. What goes through my mind is no longer even mental. It\u2019s physical. The campaign Trump ran on is being realized now, and I feel a responsibility to pay attention \u2014 not just to him in the defendant\u2019s chair, but to the system unfolding around him.\u201d<\/em><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"Before arriving at Art Basel Miami Beach in early December with two headline-making paintings in two prominent shows, Isabelle Brourman had been traveling the country for years, plying her trade as a courtroom sketch artist. In watercolors, acrylic paint, colored pencils, graphite and ink, she documented the nation\u2019s most significant court cases and the polarizing […]<\/p>\n","protected":false},"author":1,"featured_media":4021,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[19],"tags":[79,2651,3934,3936,3933,3935,356,645],"class_list":{"0":"post-4020","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-fashion","8":"tag-american","9":"tag-artist","10":"tag-brourman","11":"tag-chaos","12":"tag-isabelle","13":"tag-nuzzi","14":"tag-olivia","15":"tag-trump"},"_links":{"self":[{"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/posts\/4020","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/comments?post=4020"}],"version-history":[{"count":1,"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/posts\/4020\/revisions"}],"predecessor-version":[{"id":4022,"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/posts\/4020\/revisions\/4022"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/media\/4021"}],"wp:attachment":[{"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/media?parent=4020"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/categories?post=4020"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/tags?post=4020"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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