New Works by Richard Kraft: “Ubu/Trump” and “All the Yellow and Red Cards Issued to Donald Trump…”

Affinities, Exhibitions, News, Print This!

January 21st, 2018



In 2017, artist Richard Kraft (author of Here Comes Kitty: A Comic Opera and co-editor of John Cage’s Diary: How to Improve the World (You Will Only Make Matters Worse) embarked on two projects in response to the Trump presidency.

Kraft’s Trump/Ubu stickers appropriate (completely unedited) texts along with a woodcut image of Ubu from Alfred Jarry’s 1896 revolutionary play Ubu Roi which is an excoriating critique of the moronic in power. Due to their popularity (Siglio has given away sets of stickers to Advocates and other friends of Siglio as well as at various venues last year), we’re making them available for free for wider dissemination.

You can download the Ubu/Trump pdf, print them out (on sticker paper!), and please send us photos that we can post Instagram @Ubu_Trump where we’ve just started to catalog Ubu/Trump “in action.”


For the year-anniversary of Donald Trump’s inauguration, the Racial Imaginary Institute is presenting Kraft’s “All the Yellow and Red Cards Issued to Donald Trump from January 20, 2017 to January 19, 2018.”

Since Donald Trump’s inauguration, Kraft has been tracking and cataloguing the president’s offenses and transgressions on a daily basis. In the manner of a soccer referee, he has assigned a yellow or a red card to each foul, each offense, each time Trump has breached codes of conduct in action or speech. In a single year, Kraft has issued 955 cards—487 yellows and 469 reds.

In its iteration at the Racial Imaginary Institute, “All the Yellow and Red Cards…” is a set of thirteen videos, one for each month, ranging from twelve minutes to twenty-five (for October 2017), totaling almost four hours. Each day Kraft consulted a variety of news media (depending greatly on the New York Times, Washington Post, The Guardian, Politifact, Govtrack, among others), identified each offense, assigned it a color, and noted it in an ever-growing drawing, accompanied by a small painting for each card (both below).

Now translated into video, this time-based, chronological accumulation is “a catalog, a memorial or sorts, an extended expression of outrage,” as Kraft’s says in his artist’s statement. It is also a discomfiting and illuminating experience for the viewer to see what she has remembered or forgotten, what level of outrage Trump’s actions and words have provoked in her, and what kind of stamina is required to continue to remain vigilant.


Richard Kraft  takes a multi-disciplinary approach (incorporating photography, video, collage, drawing and performance) as he seeks to construct environments and interrupt the world around us so that incongruities, paradoxes, and multiplicity of meaning might yield a new orientation to the familiar.

In April 2015 Siglio Press published Kraft’s artist’s book, Here Comes Kitty: A Comic Opera, and he co-edited the first complete volume of John Cage’s Diary: How to Improve the World (You Will Only Make Matters Worse) as well as My Ogre Book, Shadow Theater, Midnight by Marcel Broodthaers, both for Siglio. Publications include BOMB, Bookforum, and Carousel among other journals, and in 2016 his work was featured in The New Collage Book, a comprehensive survey published by Gestalten.

Kraft has frequently made work for public spaces, with pieces appearing on the sides of buses and in library aisles, as well as for performances which have taken place in Oxford Circus and Speaker’s Corner in London, along the Las Vegas Strip, at the Wendover Air Force Base, outside “Little Sparta” in rural Scotland, and downtown Charlottesville, Virginia. In 2015, The City of West Hollywood (as part of the its thirtieth anniversary celebrations) commissioned Kraft to produce One Hundred Walkers, West Hollywood which received a Year in Review Award from Americans for the Arts/Public Art Network.

Exhibitions include the Charlie James Gallery, LA Louver, Rosamund Felsen and Greg Kucera, as well as museum, university and non-profit art spaces, including the Portland Art Museum, the Laguna Art Museum, Bemis Center for Contemporary Art, the Ruffin Gallery at the University of Virginia, Occidental College, and Printed Matter, among others. He lives and works in the Hudson River Valley, NY and Los Angeles.