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Art Colossal

Interview: Arinze Stanley Speaks to the Indelible Impact of Police Brutality and How Extreme Emotion is the Key to Change

May 6, 2021

Grace Ebert

“Bullets and Denim #2” (2020), charcoal and graphite on paper, 30 x 26 inches. All images © Arinze Stanley, shared with permission

For the past few years, Nigerian artist Arinze Stanley (previously) has been at the forefront of hyperrealism with his powerful and sometimes surreal portraits that are arresting in size and emotion, which he discusses in a new interview supported by Colossal Members. His charcoal-and-graphite works are rendered in stunning detail and bear broader political messages, particularly in relation to state-sanctioned violence and his own experiences suffering from police and military brutality.

What people don’t recognize about Bullets and Denim is that the artwork shows emotion on all parts, but if you have a gunshot to your head, you should be dead, right? Well, these people in the photo are not dead. That encapsulates the concept of endurance in general. Even as we try to stitch the patches of our reality, I want people to see that, that we’ve had it to the head. Enough is enough. It’s a visual representation of enough is enough because from here onwards is death.

Colossal managing editor Grace Ebert joined Stanley for a conversation in March 2021 about how he brings his subjects to points of extreme frustration, the ways his drawings resonate with different audiences around the globe, and how he envisions his artworks as catalysts for meaningful change.

 

“The Machine Man 1” (2019), pencil on paper

 

 



Art

Art Advancing Justice: A Chicago-Based Artwork and Book Sale Raises Money to Build Racial Equity

May 3, 2021

Grace Ebert

Terry Evans, “Lake Michigan Morning. Lakefront on north side of Chicago. July 23, 2003,” archival inkjet print on Hahnamuhle paper, paper size 13 x 15 inches, image size 12 x 12 inches. All images courtesy of CAAU

Following a horrifying number of anti-Asian hate crimes in recent months, a group of artists and activists in Chicago have teamed up for an ongoing fundraiser, Art Advancing Justice. The artwork and book sale is organized by  Chicago API Artists United (CAAU) and launched last week with a wave of support—many of the pieces sold within the first day—with proceeds going toward Asian Americans Advancing Justice Chicago, an organization that’s been hosting bystander training and other advocacy and civic engagement endeavors as a way to build racial equity.

CAAU director and co-founder Greg Bae tells Colossal that the fundraiser and broader organization grew organically from a network of artists and art writers who had been in conversation prior to uniting formally. “We’ve long been affected by anti-Asian sentiment, both the recent spike, its consistent regularity throughout our lives, and historically—but after the Atlanta shootings some of us got together and decided to mobilize our collective art networks and practices to try to make a direct impact,” he says.

Drawing on the experiences of its sibling organization Chicago Art for Black Futures, CAAU solicited  137 donations from 79 contributors, an unexpected outpouring of support that Bae says quickly raised the fundraising goal from $5,000 to $15,000. “Chicago art communities responded with a lot of love. Our friends and allies, too, are very sick and tired of hate and were happy to support us,” he shares.

Art Advancing Justice coincides with Asian Pacific American Heritage month and runs through May 22. Shop available pieces on the CAAU site, and follow the organization on Instagram to stay up-to-date with its efforts, which include plans to partner again with Asian Americans Advancing Justice Chicago and other activist projects focused on building anti-racist communities.

 

Ali Aschman, “Locus” (2020), graphite on paper, 16.5 x 23 inches

Kimberly Kim, “Red Bottoms” (2021), glazed stoneware, two objects, each 3 x 5 x 5 inches

Ellen Rothenberg, “SHE IS DEFIANT!” (2008), signed silkscreen poster with a personal dedication, 18 x 24 inches

Hana Jiang, “A Fishy Girl” (2019), woodcut print on rice paper, 11 x 14 inches

Megan R. Diddie, “Time Moves” (2017), colored pencil on paper, 8 x 11 inches

 

 



Art

A Sprawling Installation Explores the Power of Protest as It Floats Above a MASS MoCA Gallery

April 15, 2021

Grace Ebert

“In the Light of a Shadow” (2021), installation view. Photo by Tony Luong. All images courtesy of MASS MoCA, shared with permission

Rocky debris, vintage photographs, and a wooden ship colliding with its own hull are suspended above a 100-yard gallery at MASS MoCA for “In the Light of a Shadow.” The work of Los Angeles-born artist Glenn Kaino (previously), the monumental installation generates a sprawling environment filled with thousands of floating elements that speak to the vast impact of protest and collective movements.

Lined with an aisle of light and constantly moving shadows, the hovering artworks fuse memories of past injustices and a brighter, hopeful path forward in an immersive experience. Specifically, Kaino uses “In the Light of a Shadow” as a response to the horrific events of Bloody Sunday in both Selma, Alabama, and Derry, Northern Ireland. He models the wrecked ship after the Shadow V, a modest boat Lord Mountbatten often used for fishing, that the Irish Republican Army bombed in 1979 to assassinate the member of the royal family.

The towering display is also paired with a metal sculpture comprised of tuned bars that emit the melody from U2’s protest anthem “Sunday Bloody Sunday” when pinged in succession. A collaborative video with singer and activist Deon Jones, who police nearly blinded after shooting with a rubber bullet for protesting George Floyd’s murder, plays nearby, drawing together the historic tragedies with those happening today.

“In the Light of a Shadow” is on view through September 5. Find more of Kaino’s works, which span installation and sculpture to film, on his site.

 

“In the Light of a Shadow” (2021), installation view. Photo by Will McLaughlin

“In the Light of a Shadow” (2021), installation view. Photo by Tony Luong

“In the Light of a Shadow” (2021), installation view. Photo by Tony Luong

“In the Light of a Shadow” (2021), installation view. Photo by Tony Luong

“In the Light of a Shadow” (2021), installation view. Photo by Tony Luong

“In the Light of a Shadow” (2021), installation view. Photo by Tony Luong

“In the Light of a Shadow” (2021), installation view. Photo by Tony Luong

 

 



Art

Art and Activism Collide Throughout Montréal in Playful Street Interventions by Roadsworth

February 9, 2021

Grace Ebert

All images © Roadsworth, shared with permission

Crosswalks become perches and bike lanes morph into a monkey’s ropes in Roadsworth’s lively street interventions. For decades, the Montréal-based artist (previously) has been altering sidewalks, alleyways, and other public spots with largely nature-based projects that are informed by social issues and environmental crises. Whether a trippy koi pond or a simple yellow spider, the additions transform otherwise drab streets into unexpected commentary.

In recent years, Roadsworth has created large-scale projects for a variety of organizations, including revitalizing a basketball court for a social housing complex and another for Amnesty International that comments on the horrors of the refugee crisis. Beyond commissions, he continues guerilla street art tactics, installing oversized birds, insects, and other animals that often are overlooked.

The artist tells Colossal that these works reflect his “philosophy in regards to public art/street art which implies a questioning of urban space in general and an entreaty to rethink a city that is more conducive to walking/cycling and less dominated by cars, etc. The depiction of various animals is a playful way of reinventing the notion of urban space.”

Follow Roadsworth on Instagram to keep up with his site-specific works that merge art and activism.

 

“Refugee Crisis” (2016)

“Darling Foundry Koi Pond” (2020)

Right: “Tree Lace” (2019)

Detail of “Refugee Crisis” (2016)

“Nurture vs Nature” (2018)

 

 



Art

An Oversized Statue of Leonard Peltier, an American Indian Activist, Pensively Stares Toward Alcatraz

November 12, 2020

Grace Ebert

Statue of activist Leonard Peltier. All images courtesy of the Sn Francisco Art Institute

Peering out over the San Francisco Bay toward Alcatraz is a monumental statue that pays homage to an American Indian Movement activist who’s been incarcerated for decades. Created by Portuguese-American artist Rigo 23 in 2016, the 12-foot-tall figure resembles a small self-portrait that the activist, Leonard Peltier, painted while imprisoned.

Wearing a simple white shirt, yellow pants, and no shoes, Peltier sits on a cement base, which is the actual size of his cell, in a pensive position. “There was something Buddha-like about the pose, and it reminded me of Rodin’s ‘The Thinker,’ which is so muscular and epic,” Rigo 23 told Hyperallergic about the original portrait. “Usually, images of heroism and humanity are epic, and this is just a man sitting on the ground wearing prison-issued clothes. It has this different kind of spirituality.”

A member of the Turtle Mountain Chippewa and also of Lakota and Dakota descent, Peltier was a well-known leader in the American Indian Movement throughout the 1960s and ’70s, having spearheaded multiple protests and marches to end injustices. Despite denying the charges, he has been imprisoned since 1977 after being convicted of killing two FBI agents in a 1975 shooting on the Pine Ridge Reservation in South Dakota. He was sentenced to two terms of life imprisonment for the incident, which has resulted in campaigns for his clemency.

 

Angela Davis on Peltier’s feet

Rigo 23 designed the work with detachable feet, which have traveled to Standing Rock Reservation, Alcatraz, and Crow Dog’s Paradise. The decision has allowed activists, including Angela Davis, to stand on top of the wooden pair in solidarity, an act that an Instagram account has been documenting.

The oversized statue was moved to the roof of the San Francisco Art Institute in October—watch the full dedication ceremony with speeches from Peltier’s children on YouTube—where it received one of its more celebratory welcomes. Met with both support and animosity throughout its history, the work was removed early from a 2016 visit to the Katzen Art Center at the American University in Washington, D.C. Spurred by a complaint from the president of the FBI Agents Association, the action resulted in the statue’s displacement for about a year, the artist says.

 

Its current position facing Alcatraz has similar significance, considering an activist group’s occupation of the former federal prison during the Nixon administration. In 1969, Indians of All Tribes seized the site in hopes of turning it into a school, cultural center, and museum. As the U.S. government attempted to regain control, the group established a clinic, kitchen, and education centers for the 19 months it claimed the island.

The statue will remain at SFAI until March 28, 2021. Although the institution is closed to visitors, it’s offering a virtual tour of the work on its site.

 

 

 



Art History

Evoking Historical Struggles, Hank Willis Thomas Examines the Intersection of Art and Activism

October 29, 2020

Grace Ebert

“If the Leader Only Knew” (2014). All images © Hank Willis Thomas, shared with permission

Through his bronze sculptures and public installations, Hank Willis Thomas (previously) examines history’s repetitions. The Brooklyn-based artist critically considers identity, social justice, and pop culture by visually weaving together the remains of the past that surface in present day. “Art is a platform where histories meet,” he tells Colossal.

Thomas’s sculptural pieces include a series of hands clenching a barbed wire fence, an oversized hair pick lodged into concrete, and a gleaming basketball balancing on players’ fingertips. No matter the medium, the interdisciplinary artist begins by examining advertisements and archival images and the messages those contain. “The transfer of a photograph into a three-dimensional expression allows the viewer to delve within a photograph and form an intimate understanding of the ideas it represents. That relationship inspires critical thought about the viewer themselves and the world around them,” he says.

Many of Thomas’s artworks reflect on historical moments, like the Holocaust and South African apartheid, and explicitly connect them to contemporary struggles. Photographs of mid-century Germany inspire sculptures, like “If the Leader Only Knew,” that evoke images of migrants detained at the United States-Mexico border. He ties a glimpse of mining workers to “Hands Up, Don’t Shoot,” a cry to end state-sanctioned police violence, which informs the outstretched arms in “Raise Up.” “History repeats itself, and art is one cultural framework through which we engage with these profound moments, hopefully awakening our consciousness,” the Brooklyn-based artist says.

 

“Raise Up” (2014)

For Thomas, art and activism are inextricable. In recent months, he’s been considering their critical intersections particularly in relation to creative movements like Wide Awakes and For Freedoms, an organization he co-founded that has been spearheading public projects prior to the 2020 election. “Art is not unaffected in this moment; it is the context that unifies our experiences of joy and even those of growth and pain. Art is the human experience. I am also curious about how people and society will change, and I think of my existence within this change as a man, as a Black man,” he says.

Thomas’s work will be part of the group exhibition Barring Freedom at the San José Museum of Art, which runs from October 31, 2020, to April 25, 2021. A book surveying his decades-long practice, titled Hank Willis Thomas: All Things Being Equal, is available on Bookshop, and you can stay updated with his latest projects on Twitter and Instagram.

 

“All Power to All People” (2017). Photo by Steve Weinik

“Die dompas moet brand! / The Dompas must burn!” (2013)

Left: “Globetrotter” (2016), fiberglass, chameleon auto paint finish, 32 1/2 × 11 × 20 inches. Right: “Tip Off” (2014), polyester resin and chameleon paint, 43 × 13 × 11 inches

“History of the Conquest” (2017), bronze. Installation view at Jazz Museum for Prospect.4: The Lotus in Spite of the Swamp. Photo by Mike Smith