33.5 inches in diameter
Like many of his other sculptural works, the source of I am the Greatest is actually a historical photograph of an identical button pin from the 1960s. I am the Greatest presents the famous quote by Mohammad Ali to think about his important presence in the African American community. In dialogue with the painting I am a Man, also in the Kadist collection, this assertion that begins the same way takes the line from the protest poster several steps further. Ali never asserted that he was the greatest boxer or athlete, but had the audacity to claim that he was THE GREATEST [human being] of all time. For a man who grew up in the segregated south to rise to Ali’s iconic status and to be able to confidently and proudly vocalize his superiority was one of the most powerful, symbolic, and memorable moments in the Civil Rights struggle. Monumentally inflating the scale of the button embodies the ‘larger than life’ presence of Ali as an icon for African Americans to stand up and not only assert their humanity, but to be confident in their ability to succeed and rise up against all obstacles society placed in front of them.
Employing the visual language and terminology of mass media, and appropriating symbols and images from popular culture, Hank Willis Thomas’ work seeks to question and subvert established definitions and positions with regards to personal identity and the narrative of race. Working across installation, photography, video, and media work, Thomas maintains his photo conceptualist roots, primarily taking source material from found photographs and archives. These images form the basis from which the artist seeks to uncover the fallacies that history claims as truth. His work illustrates how the way history is represented and consumed reinforces generalizations surrounding identity, gender, race and ethnicity, and that as an artist he has an opportunity to expose or to revise those histories from the points of view of the oppressed.
This series of small drawings is executed with varying materials—pen, ink, colored pencil, charcoal, and masking tape—on architect’s tracing paper...
Untitled (Wall Street’s Chosen Few…) is typical of Pettibon’s drawings in which fragments of text and image are united, but yet gaps remain in their signification...
Glenn Ligon’s diptych, Condition Repor t is comprised of two side-by-side prints...
In Thomson’s Untitled (TIME) , every front cover of TIME magazine is sequentially projected to scale at thirty frames per second...
South Africa Righteous Space by Hank Willis Thomas is concerned with history and identity, with the way race and ‘blackness’ has not only been informed but deliberately shaped and constructed by various forces – first through colonialism and slavery, and more recently through mass media and advertising – and reminds us of the financial and economic stakes that have always been involved in representations of race....
Glenn Ligon’s diptych, Condition Repor t is comprised of two side-by-side prints...
Jean Miotte — Galerie Almine Rech — Exposition — Slash Paris Connexion Newsletter Twitter Facebook Jean Miotte — Galerie Almine Rech — Exposition — Slash Paris Français English Accueil Événements Artistes Lieux Magazine Vidéos Retour Jean Miotte Exposition Peinture Jean Miotte, Sans titre, 2000 (Détail) Acrylique sur toile — 99,1 × 81,3 × 2,5 cm Courtesy of the artist & Galerie Almine Rech, Paris Jean Miotte Encore 11 jours : 18 novembre → 22 décembre 2023 Jean Miotte (1926-2016), qui a exposé à Paris avec Joan Mitchell, Jean-Paul Riopelle et Sam Francis, est une des figures éminentes de l’abstraction lyrique...
What Color is Luke Murphy’s outstanding digital painting that elegantly loops in nonstop motion...
Architectural details become abstracted renderings in Chris Wiley’s inkjet prints 11 and 20 (both 2012)...
Oded Hirsch’s video work Nothing New (2012) utilizes seemingly absurdist tropes to raise more trenchant questions about communal action and collective identity in modern day Israel...
Herculine’s Prophecy by Juliana Huxtable features a kneeling demon-figure on what appears to be a screen-print, placed on a wooden table, which has then been photographed and digitally altered to appear like a book cover, with a title and subtitle across the top, and a poem written across the bottom...
Relying on repetition and repurposed materials, Soares works to interrogate time—its measurement, its passing, and its meaning...
South Africa Righteous Space by Hank Willis Thomas is concerned with history and identity, with the way race and ‘blackness’ has not only been informed but deliberately shaped and constructed by various forces – first through colonialism and slavery, and more recently through mass media and advertising – and reminds us of the financial and economic stakes that have always been involved in representations of race....
The image is borrowed from protests during Civil Rights where African Americans in the south would carry signs with the same message to assert their rights against segregation and racism...
Shot in black and white and printed on a glittery carborundum surface, Black Hands, White Cotton both confronts and abstracts the subject of its title...
Foreigners Everywhere is a series of neon signs in several different languages...
Glenn Ligon’s diptych, Condition Repor t is comprised of two side-by-side prints...
Although best known as a provocateur and portraitist, Opie also photographs landscapes, cityscapes, and architecture...
For Taus Makhacheva, the wild, untamed side of human nature is often the foundation of many of her formal investigations...