Linguistic determinism suggests that language dictates perception and perceptions are reflected in one’s language. Therefore, when art intersects with politics, the result is “Printed Matter,” the current exhibition at San Bernardino Valley College’s Gresham Gallery.  By assembling together posters, portfolios, artworks and ephemeral materials, curator C. Ian White extends an invitation to experience the liberating visual rhetoric of war, human rights, women’s rights, voting rights, and civil rights—issues still relevant today. Works by accomplished blue-chip artists and those that are unknown actualize what artist David Hammons believes the role of creative individuals is—to criticize, disturb, upset and make fun of the establishment.

For example, a poster of assassinated African nationalist leader and first prime minister of the Democratic Republic of the Congo, Patrice Lumumba, points to the correlation between domestic and international struggles against colonialism and imperialism. Lumumba’s eyes unwaveringly and unapologetically stare out as if expectantly seeking solutions.

In keeping with the tradition of juxtaposing messages to raise awareness is the display of four flags—the political protest American flag, the American flag, the pride flag and a reinterpretation by David Hammons, African American Flag (1990). The display deconstructs notions of freedom as well as myopic infatuation with America’s national anthem, the “Star-Spangled Banner.” The fact remains, marginalized groups continue to fight for basic rights in their own country.

The piece Home (2022) delivers a scathing critique of the United States domestic policy toward their own: the houseless individuals without a physical address. Comprised of written statements on cardboard, the assembled shapes spell what some folk take for granted.  The burning question remains of how a nation can be recognized as a superpower, approve a $1.5 billion bailout to Chrysler Corporation (1980), $15 billion bailout to the airline industry (2001), greenlight the Troubled Asset Relief Program (2008) to help failing banks and businesses and $25 billion in 2020 to bailout the airline industry while simultaneously allow its own displaced population to suffer.  It’s no secret that selective amnesia facilitates the rich capitalist’s ability to not remember the blistering critique Dr. Martin Luther King Jr. gave in 1967 of his own government in its willingness to finance a war in Vietnam, yet ignore its own poor.

For those viewers who are uncommitted listeners, inclined to agree or disagree but are open to persuasion, Printed Matter is a must-see exhibition. In fact, this show matters to anyone unafraid of having transformative ideas make their home in one’s mind rent free.