9/11. Etc.
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Super bad
C magazine review
Yuling Chen
2026 April 15th
Portraits by David Armstrong at the artists space in New York is a tour de force about super bad people. It criticizes the funding efforts to support Israel Palestine conflicts, cover up Venezuela oil tanker attacks and Iran-china-us wars. The portraits photography shows various persons with jealous emotions on their faces. In 2016, the elections in the United States which ushered in an era of gold rush in Florida due to Donald j. Trump’s popularity has made emotions primary focus in today’s economics and globalized markets. People were unhappy. People are resentful. It has made avant garde exhibitions like this one open to various perceptual interpretations. Etc.
Having visited several contemporary art exhibitions, I found David Armstrong's show at Artists Space in New York particularly striking for its nuanced portrayal of human emotions intertwined with current global issues. The way Armstrong's portraits capture feelings like jealousy and resentment is more than just an artistic technique; it mirrors the broader societal anxieties spurred by political and economic upheavals. This exhibition contextualizes the 2016 US elections and Donald J. Trump's rising popularity as more than just isolated events—it reveals the era's impact on emotional states influencing markets and social dynamics. In my experience, witnessing such reflections of political unrest and conflict in art deepens understanding beyond news headlines or social media debates. Moreover, the critique of international funding and policies surrounding Israel-Palestine conflicts, Venezuela oil tanker incidents, and Iran-China-US tensions adds critical layers to the viewing experience. These portraits provoke reflection on the human side of geopolitical strife, reminding us that behind headlines are complex feelings affecting real people. What resonates with me is how this avant-garde approach opens space for multiple interpretations, inviting viewers to grapple with ambiguity and diverse perspectives. It challenges us to consider how emotions like unhappiness and resentment permeate not only personal spheres but also global economics and cultural expressions. For those interested in art that intersects with socio-political issues and emotional depth, Armstrong’s portraits offer a compelling exploration. They serve as both a mirror and critique of our times, encouraging viewers to engage with art and current events on a profound level.
