Solidarity with Migrant Workers, Not Agribusiness..., from the portfolio Migration Now

Nicolas Lampert, American, born 1969

Share

2012

Silkscreen, letterpress

14/40

Sheet: 18 × 12 in. (45.7 × 30.5 cm)

Hood Museum of Art, Dartmouth: Purchased through the Contemporary Art Fund

© Nicolas Lampert

2013.46.17

Publisher

Justseeds Artists’ Cooperative

Geography

Place Made: United States, North America

Period

21st century

Object Name

Print

Research Area

Print

Not on view

Label

The works on this wall consider the diversity of “American” relationships with corn as a food staple that has also played a role in shaping US cultural and even national identity. Lloyd Harrison’s WWI-era propaganda poster refers to corn as “The Food of the Nation,” extolling the abundance and diversity of corn products at a time when wheat, meat, and sugar were being rationed. Long before corn was an “American” food staple, however, it was a staple for many Native North American nations. Tonita Peña’s depiction of a basket dance—one of several annual dances practiced by Puebloan communities to ensure agricultural success—reminds us that crops are not always abundant.

Juxtaposed alongside these images, Nicholas Lampert’s print of a migrant family running beneath a weaponized cob of corn illustrates the connections between agribusiness and US foreign policy, as well as the impacts these policies have on migrant families. The artist notes: Media attention on immigration issues rarely, if ever, discusses with any sort of depth the economic, political, and social factors that propel people to risk their lives to travel north across the border. Instead, individuals are blamed, and a complex issue is reduced to a few soundbites—national security, terrorism, illegal immigrants, etc.

From the 2022 exhibition This Land: American Engagement with the Natural World, curated by Jami C. Powell, Curator of Indigenous Art; Barbara J. MacAdam, former Jonathan L. Cohen Curator of American Art; Thomas H. Price, former Curatorial Assistant; Morgan E. Freeman, former DAMLI Native American Art Fellow; and Michael Hartman, Jonathan Little Cohen Associate Curator of American Art

Course History

WRIT 5, Human Rights, Global to Local, Peggy Baum, Winter 2014

WRIT 5, Quests, Carl Thum, Winter 2015

ANTH 7.05, Animals and Humans, Laura Ogden, Winter 2022

GEOG 31.01, Postcolonial Geographies, Erin Collins, Winter 2022

ANTH 50.05, Environmental Archaeology, Madeleine McLeester, Winter 2022

ANTH 50.05, Environmental Archaeology, Madeleine McLeester, Winter 2022

ARTH 5.01, Introduction to Contemporary Art, Mary Coffey and Chad Elias, Winter 2022

ANTH 3.01, Introduction to Cultural Anthropology, Chelsey Kivland, Summer 2022

ANTH 3.01, Introduction to Cultural Anthropology, Chelsey Kivland, Summer 2022

SPAN 65.15, Wonderstruck: Archives and the Production of Knowledge in an Unequal World, Silvia Spitta and Barbara Goebel, Summer 2022

Exhibition History

This Land: American Engagement with the Natural World, Rush Family Gallery, Hood Museum of Art, Dartmouth, Hanover, New Hampshire, January 5–July 22, 2022.

Provenance

Booklyn Artists Alliance, Brooklyn, New York; sold to present collection, 2013.

This record is part of an active database that includes information from historic documentation that may not have been recently reviewed. Information may be inaccurate or incomplete. We also acknowledge some language and imagery may be offensive, violent, or discriminatory. These records reflect the institution’s history or the views of artists or scholars, past and present. Our collections research is ongoing.

We welcome questions, feedback, and suggestions for improvement. Please contact us at: Hood.Collections@dartmouth.edu