South Africa Righteous Space

2014 - Installation (Installation)

Dimensions variable

Hank Willis Thomas

location: New York, New York
year born: 1976
gender: male
nationality: American
home town: Plainfield, New Jersey

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.


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.


Colors:



The Parle Ment Metal Woman Welcoming You
© » KADIST

Laure Prouvost

2017

The Parle Ment Metal Woman Welcoming You is a character originated from a series of works combining sculpture and video with a specific role— lying on the floor playing a romantic elevator tune, this Metal Woman welcomes and flirts with viewers in the space where she is posed...

Flutter
© » KADIST

Zarouhie Abdalian

2010

The first iteration of Flutter was specifically conceived for the Pro Arts Gallery space in Oakland in 2010, viewable from the public space of a sidewalk, and the version acquired by the Kadist Collection is an adaptation of it...

Condition Report
© » KADIST

Glenn Ligon

2000

Glenn Ligon’s diptych, Condition Repor t is comprised of two side-by-side prints...

Untitled #1 #2 #3
© » KADIST

Piero Golia

2007

Golia’s Untitled 3 is an installation in which a mechanical device is programmed to shoot clay pigeons that are thrown up in front of a white wall...

Untitled (San Francisco)
© » KADIST

Edward Kienholz

1984

Untitled (San Francisco) was made in Idaho in 1984 and was facetiously dedicated to Henry Hopkins, the then director of the San Francisco Museum of Art who added “modern” to its name...

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Condition Report
© » KADIST

Glenn Ligon

2000

Glenn Ligon’s diptych, Condition Repor t is comprised of two side-by-side prints...

603 Football Field
© » KADIST

Qing Zhang

2006

603 Football Field presents a soccer game played inside a small student apartment in Shanghai...

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Elevación [Elevation]
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Ana María Millán

2019

Interested in role-play and videogames, Ana María Millán developed workshops with different communities in order to create characters and scenarios for her animations, often in collaboration with a choreographer...

Evenings of water and dense forest
© » KADIST

Noara Quintana

2019

The series Belle Époque of the Tropics by Noara Quintana has as its background the history of the rubber industrialization in North of Brazil...

Années pop, années choc, 1960-1975
© » SLASH PARIS

Années pop, années choc, 1960-1975 — Mémorial de Caen — Exhibition — Slash Paris Login Newsletter Twitter Facebook Années pop, années choc, 1960-1975 — Mémorial de Caen — Exhibition — Slash Paris English Français Home Events Artists Venues Magazine Videos Back Années pop, années choc, 1960-1975 Exhibition Painting, sculpture, mixed media Bernard Rancillac, Mélodie sous les palmes, 1965 (détail) © Fondation Gandur pour l’art Genève — Photographie André Morin — ADAGP Paris, 2023 Années pop, années choc, 1960-1975 Ends in 6 months: June 22 → December 31, 2023 Conçue à partir des œuvres de la figuration narrative de la Fondation Gandur pour l’Art et des collections du Mémorial (affiches, objets, films, photographies, unes de presse), Années pop, années choc, 1960-1975 aborde la représentation de l’histoire en marche : celle notamment de la guerre du Vietnam et de la confrontation entre blocs durant la guerre froide, des procès tardifs des nazis en Allemagne, du franquisme au pouvoir, de la révolution culturelle chinoise, mais aussi celle plus sociale de Mai 68, des luttes pour l’égalité des sexes ou contre la ségrégation raciale, de la société de consommation et du tourisme de masse comme pivots de l’histoire du monde occidental...

Artist Spotlight: Katia Lifshin
© » BOOOOOOOM

Artist Spotlight: Katia Lifshin – BOOOOOOOM! – CREATE * INSPIRE * COMMUNITY * ART * DESIGN * MUSIC * FILM * PHOTO * PROJECTS Submit A selection of recent work by artist Katia Lifshin (previously featured here )...

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20
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Chris Wiley

2012

Architectural details become abstracted renderings in Chris Wiley’s inkjet prints 11 and 20 (both 2012)...

Nothing New
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Oded Hirsch

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...

La Ligne du Temps
© » KADIST

Valeska Soares

2012

Relying on repetition and repurposed materials, Soares works to interrogate time—its measurement, its passing, and its meaning...

Herculine's Profecy
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Juliana Huxtable

2017

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...

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Black Hands, White Cotton
© » KADIST

Hank Willis Thomas

2014

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...

I Am A Man
© » KADIST

Hank Willis Thomas

2013

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...

Intentionally Left Blanc
© » KADIST

Hank Willis Thomas

2012

Intentionally Left Blanc alludes to the technical process of its own (non)production; a procedure known as retro-reflective screen printing in which the image is only fully brought to life through its exposure to flash lighting...

Related artist(s) to: Hank Willis Thomas » Abraham Cruzvillegas, » Claire Fontaine, » William E Jones, » Catherine Opie, » Collier Schorr, » Glenn Ligon, » Harun Farocki, » Jens Hoffmann, » Kirsten Pieroth  
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Foreigners Everywhere (Italian)
© » KADIST

Claire Fontaine

2006

Foreigners Everywhere is a series of neon signs in several different languages...

Condition Report
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Glenn Ligon

2000

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Raven (gun)
© » KADIST

Catherine Opie

1987

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Alistair Fate
© » KADIST

Catherine Opie

1994

Alistair Fate (1994) depicts, presumably, a member of the LGBT community...

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Lutz Bacher, Sweet Jesus
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‘Love at First Sight’ Inspired This African Art Collection - via The New York Times
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The actors playing The Crown's teen prince heartthrobs
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Collector's Eye: an Interview with Cheech Marin - via The Art Newspaper
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