Hank Willis Thomas

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Hank Willis Thomas and Coby Kennedy Extend a Monumental Welcome to Travelers Transiting Through O’Hare

May 1, 2023

Kate Mothes

A large-scale sculpture of two arms at O'Hare.

All images © Hank Willis Thomas and Coby Kennedy, courtesy of CDA and DCASE, shared with permission

Travelers at O’Hare Airport’s Multi-Modal Facility in Chicago—an expansive parking structure that connects all of the airport’s ground transportation—are now treated to a large-scale, collaborative artwork by Hank Willis Thomas (previously) and Coby Kennedy as they move through a lofty atrium. Emerging from the walls of an escalator hall and measuring approximately 27 and 31 feet long, enormous arms extend across the space as if just about to clasp hands. Titled “REACH,” the piece takes cues from its site in a busy transportation hub, reframing a transitory space into a reminder of togetherness and connectivity.

“‘REACH’ is a connection point and large-scale gesture that inspires us to come together,” says Thomas, whose sculptures have often incorporated hands and arms in symbolic positons such as embraces, the Black Power fist, or hands-up defensive signals that evoke historical events and activism. The work is the newest of O’Hare’s major public art installations, which among many others includes “Palimpsest,” Nick Cave’s multi-story beaded tapestry installed in 2019 in another part of the same building.

See more of Thomas’ work on his website, and follow on Instagram for updates.


A large-scale sculpture of two arms at O'Hare.

A large-scale sculpture of two arms at O'Hare.  A traveler photographs a large-scale sculpture of two arms at O'Hare.

A figure looks up at a large-scale sculpture of two arms at O'Hare.




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