For New York based multi-media artist Hank Willis Thomas, art and politics are intertwined. He draws from history, advertising (he made a series based on the Nike swoosh), and current events to create works that address issues of racial injustice, identity politics, and more recently, the meaning of freedom. With formal integrity and conceptual savvy, the impeccably crafted fabric pieces in the exhibition Another Justice: Divided We Stand are assembled from American flags and prison uniforms and literally “investigate the fabric of our nation.” Across the works, Thomas juxtaposes the red and white stripes from the American flag with prison garb in various colors. While works like A New Constellation and Imaginary Lines (all works 2021) separate and repurpose the stars and stripes, it is the text-based pieces carefully cut and collaged from prison uniforms and flags that are the most compelling.
In 1945, after the death of her parents, Louise Nevelson (1899–1988) used money from her family’s estate to buy a four-story brownstone at 323 East Thirtieth Street in Manhattan. She fixed it up with the help of a friend and a loan from a gallerist who’d shown her work but hadn’t been able to sell any of it.
The art collaborative and founding artist Hank Willis Thomas have partnered to create Another Justice, a series of exhibits and talks that confront the truth about modern-day slavery.
The artist discusses his new exhibition which mixes American flags with prison uniforms to examine whether the land of the free is really free for all.
Throughout his multifarious six-decade career, Willie Birch has mined creative traditions ranging from European painting to Yoruba spirituality to conjure visions of the rich culture of New Orleans, as in the series of charcoal-and-acrylic grisaille streetscapes on view through January 23, 2022, at the Ogden Museum of Southern Art as part of “Prospect.5: Yesterday We Said Tomorrow.”
Drifters, Rosha Yaghmai’s new solo exhibition at the Museum of Contemporary Art Santa Barbara (MCASB), divides rather than cuts the MCASB gallery space.
From rousing in-person dance premieres to a slew of art shows and everyone’s favorite televised parade, there’s so much to be excited—and thankful—for when it comes to this month’s wealth of cultural programming. Catch Gibney Company’s debut at The Joyce Theater in New York or get to know trailblazing artist Hank Willis Thomas at his solo gallery show in Los Angeles.
“We all felt after this devastating year, but especially after Ida, we had to pick ourselves up and make this show happen,” said Nick Stillman, the executive director of Prospect New Orleans, an international contemporary art triennial. Prospect was conceived in 2007 after the catastrophe of Hurricane Katrina with the idea of helping New Orleans rebuild.
At home with the collector who focuses exclusively on female artists.
The American flag is a potent piece of national iconography, but its design shifted frequently until the early 1900s. What if it were redesigned today? We asked artists and graphic designers to try. The flags they came up with reflect a mix of approaches. Some are functional designs, others artistic renderings; some represent America as it could be, others how the artist sees the country now.
A fireball pops from a dark background suffused with a dismal yellow glow. Below the red-orange orb, vague bluish masses border a deep-violet promontory. As one approaches this image, wavy patterns shimmer like mirages, confounding the eyes and interrupting the visual experience induced by Rosha Yaghmai’s painting, Afterimage, Red Eye, rendered in acrylic and ink on organza and cotton.
“I always want to do what I’m afraid of,” the late artist Kiki Kogelnik wrote in a statement she gave in the mid-1970s. She was referring to her parachute jump off the iconic steel tower at Coney Island, a moment when her desire for the unknown overcame her sense of danger and she leapt into space. But she was also remarking on the conditions of her art, indicating the boundaries she’d crossed both geographically and pictorially.
Each of Shire’s pieces embodies his true love for Southern California, and his own playful spirit, a sentiment that has given his work distinction within the international art world over his many decades of practice.
I began carrying a 35 mm camera and would take pictures on the street as I biked to and from the pool, cutting through the park. I was learning to see the city in a different way because of Anthony’s street pictures. I was learning how to look, how to observe.
Afterimages—those neon shapes that occur in our field of vision after staring at an image or object—are like a strange kind of haunting. A scene becomes warped, faint, and technicolor, like memories that fade over time even as the details of their retelling become exaggerated. Rosha Yaghmai’s new works at Kayne Griffin elicit this phenomenon in both form and title through dreamy, abstract fields of color that bleed and blur, disallowing any sharp image to emerge.
At Kayne Griffin on La Brea, Rosha Yaghmai’s paintings in her solo show “Afterimages” dance with vibrant moire patterns as you walk around them
In a body of work from 2018, artist Robert Irwin, an originator in the 1960s of the distinctive genre known as Light and Space art, did something simple but surprising: He switched off the lights in his art.
In our ongoing ‘At Home With’ profile series, we go home, from home, with artists to hear about what they’re making, what’s making them tick, and the moments that made them. Here, we speak to American artist Hank Willis Thomas about how a premonition in January 2020 led him to the forefront of one of the most overdue cultural reckonings of the last 100 years
The memorial, called “The Embrace” and designed by Thomas and architects at MASS Design Group, will honor the Rev. Dr. Martin Luther King Jr. and Coretta Scott King.
Monuments are critical tools in shaping the values and identity of society. Most of what we know about many ancient cultures -- Egypt, Great Zimbabwe, Greece, Rome -- are through public monuments. So we have to imagine that much of what future generations will know about us is through the monuments we choose to put up and preserve.
There isn't that much public space dedicated to contemplation. Many of the images and objects we see outside are advertisements that are directing us to buy something rather than asking us to reflect on something.
In two of the public sculptures that I've created, "Unity," of an arm pointing skyward, at the foot of the Brooklyn Bridge in New York City; and the forthcoming work, "The Embrace," a tribute to Martin Luther King, Jr. and Coretta Scott King, in Boston, I referenced incredibly common gestures that personify all of us.