Mixed media collage/drawing on paper
28cm X 21.5cm
copyright 2007

Nancy Worthington is a forerunner in the creation of political/social art utilizing objects derived from cast off consumerism, and her ideas are prescient. She has created social commentary artworks for over 30 years. She predicted the Jonestown massacre in her 1978 sculpture, “God is A Heavy and All is Reich With the World.” In early 2001 Worthington created “36 Days”, a scathing indictment of the electoral process (U.S. presidential election) in which bombs represent a foreboding premonition that Bush would take the U.S. in to war.

Her artwork drew national and international attention in February 2003, just before the U.S. invasion of Iraq, when “The Crossing”, a work from the 26 piece George Dubya series, courageously created from 2000-2004, was censored from the French Cultural Center in San Francisco. The incident and Dubya artwork appeared in the Sunday New York Times (full page article), Le Monde (Paris) and World of Art Magazine feature story. “The Crossing was exhibited in “Potentially Harmful: The Art of American Censorship at Georgia State University, Atlanta, GA, in 2006, alongside works of Mapplethorpe, Sue Coe, Serrano, et al. Her artworks represented the U.S.A. in the 18th International Bienal in Sao Paulo. Her works are in the permanent collection of the National Museum of Women in the Arts in Washington, D.C., the U.S. State Department Art in Embassies Program, San Jose Museum of Art, Mills College Art Museum, and private collections worldwide, with artworks exhibited in the United States, Europe, India and Japan.

Worthington places her images on a tightrope between comic absurdity and tragic consequence. She uses her art as a vehicle for arousing our awareness of situations in our society and the human condition. Her constructions/assemblages, many of which are kinetic, incorporate light and sound, range from life-sized to intimate in scale.



Worthington’s artwork “Gateway to Hope”, accepted into the International Women’s Artists Exhibiton, Her Presence in Colours VIII-Beijing 2008, April 11-25 at the China National Art Gallery, was censored by the China National Censorship Board .

On March 25, 2008 I received an e-mail from The Conservatory of Fine Arts, sponsors of the Beijing Exhibit that my artwork “Gateway to Hope” was censored from the exhibition. (The artwork was accepted in October 2007.)I created this work specifically for the exhibition which is entitled “Dream of Peace”. I was told that “Gateway to Hope” was rejected because of its political context. Works by other artists which contained political content (opposition to the Iraqi war, Palestinian-Israeli conflict) were left in the show. My belief is that “Gateway to Hope” was censored because it contained an image of the Statue of Liberty, which I used as a symbol of hope.


EYE OF THE CENSOR: Another local artist named Nancy favors a more political brand of expression.
Sebastopol’s Nancy Worthington can be pointedly provocative. But she insists the piece she submitted to a current international exhibit in Beijing was intended simply as an expression of hope for friendship between the United States and China.
Shortly before the show opened at the China National Art Gallery, an e-mail informed her that censors had banned her piece because of its “political context.”
To see the artwork, go to Site News at Worthington suspects that what set off the censors was her image of the Statue of Liberty, not a symbol communist China wants on display.Worthington’s sense is that instead of becoming more open in response to the international pressure being heaped on them in advance of the Olympics, Chinese authorities “are going in the opposite direction.”