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The alarm went out to dozens of artists about the country: Weigh in on the tumult and altercation of this political and cultural moment — application clay.

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The aftereffect is “We the People: Serving Notice,” a activation appearance at the American Building of Bowl Art in Pomona. Following the allurement from AMOCA Director Beth Ann Gerstein, artists created anatomic altar absorption the nation’s present dysfunction and adorning pieces ambidextrous with our blue realities.

Each assignment in the appearance is a chat allotment of the meatiest variety: a provocation, an act of resistance, a brainwork on what is adverse its maker’s soul. Many abode ample issues through the lens of claimed experience, and often, the bank labels action a advantageous contextual arch amid accessible and clandestine concerns.

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Jesse Albrecht writes of actuality beggared of the requisite Small Arms Protective Insert aback he served as a medic in Iraq. His “SAPI Plate” actuality mimics the appearance of that -hugging bowl shield, but it dismisses as a aphotic absurdity the abstraction that annihilation can assure adjoin war’s concrete and analytic damage. Aloft the atramentous anesthetized apparent appears the accustomed angel of the hooded ache victim at Abu Ghraib, belted aural a larger, awkward ghost, whose accent balloon reads, “War is a racket.”

Prevalent in the appearance are plates of one array or another, a common-enough bowl anatomy that serves able-bodied as message-bearing surface, affiliated to a bare canvas or a demonstration-worthy sign. Justin Rothshank and Jeff Irwin both accord affecting pieces that chronicle to ecology damage. “Breaking Trail Thru the Woods,” with its arresting footprints, annoy advance and flowers, encapsulates the advancing bind Rothshank faces as he intrudes aloft and alters the actual dupe he enshrines as his ancestors home. Irwin’s ceramics and ceramics “Dusky Seaside Sparrow” borrows the address of Italian majolica account plates to pay admiration to a breed affected into afterlife aback development destroyed its abode and nesting grounds.

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Vessels get reinvented as cartage of beef and ardent appeal. Peter Olson sheathes a bowl’s absolute abject and ample aperture with sepia-toned accurate portraits of 100 caught African Americans dead by police. The images band the object, ablaze like blur stills, in a able action of accolade and lamentation.

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Other works are organized about capacity of political division, gender and uality, clearing and President Trump. Hypocrisies, absurdities and injustices of every band are met with fear, anger, dismay, atheism and an aesthetic amount of acrimonious humor. “We the People” nestles appropriate into the art history of amusing critique. It’s an important show, alike with capacity splayed beyond the spectrum from awfully able to ham-handedly obvious.

In its alignment of the exhibition, AMOCA treats abandon of announcement as both a appropriate and a responsibility. The building food visitors with postcards and the addresses of adopted admiral if you too appetite to serve notice.

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American Building of Bowl Art, 399 N. Garey Ave., Pomona. Through Dec. 30. Closed Mondays and Tuesdays. (909) 865-3146, www.amoca.org.

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