About The Work
Hank Willis Thomas is interested in explicitly reframing history by shedding light on alternative perspectives that a single image can offer upon closer examination. Concerned with how abused people can be portrayed in a responsible way, Thomas proves that even a blank canvas can hide a descriptive story suddenly revealed when light is shined on it. In the fascinating and unexpected Blow the Man Down (2013) and And I Can’t Run (2013) photo images are printed in white ink on white retroreflective vinyl mounted on aluminum, which is the same material used on reflective street signs. Until a light shines on the screenprint, the images are barely evident and metaphorically, remain silent like an untold story. Here, a simple light can revise history and bring to life an early 20th century image of African American public punishments from postcards that were in circulation well into the 1950s and 60s.
Thomas continues to experiment with alternative materials, media and surfaces beyond those of traditional photography, stating that “Technology has allowed me to make magic.”—excerpt from Editions '14 essay by Micaela Giovannotti
About Hank Willis Thomas
From The Magazine
- Interviews & Features: Hank Willis Thomas releases new Artspace and For Freedoms edition Twilight's Last Gleaming, 2024
- Interviews & Features: Art for Democracy: Bid or Buy Now
- Art 101: "What I'd Buy This December:" Artspace's Advisor Hannah Parker Shares the Artworks in Her Cart
- Interviews & Features: Hank Willis Thomas's Reflective Protest Images Illuminate Overlooked Histories—And the Hyper-Consumption of Photography Today
- Interviews & Features: Let This Be Your Guide: 7 Famous Artists Describe Their Favorite Artworks at The Met
Screenprint on retroreflective vinyl on aluminum
The printing surface is reflective, and reveals the screenprinted image when photographed with a flashlight.
18.00 x 26.75 in
45.7 x 67.9 cm
This work is signed, dated and numbered "BAT" by the artist on verso.
About The Work
Hank Willis Thomas is interested in explicitly reframing history by shedding light on alternative perspectives that a single image can offer upon closer examination. Concerned with how abused people can be portrayed in a responsible way, Thomas proves that even a blank canvas can hide a descriptive story suddenly revealed when light is shined on it. In the fascinating and unexpected Blow the Man Down (2013) and And I Can’t Run (2013) photo images are printed in white ink on white retroreflective vinyl mounted on aluminum, which is the same material used on reflective street signs. Until a light shines on the screenprint, the images are barely evident and metaphorically, remain silent like an untold story. Here, a simple light can revise history and bring to life an early 20th century image of African American public punishments from postcards that were in circulation well into the 1950s and 60s.
Thomas continues to experiment with alternative materials, media and surfaces beyond those of traditional photography, stating that “Technology has allowed me to make magic.”—excerpt from Editions '14 essay by Micaela Giovannotti
About Hank Willis Thomas
From The Magazine
- Interviews & Features: Hank Willis Thomas releases new Artspace and For Freedoms edition Twilight's Last Gleaming, 2024
- Interviews & Features: Art for Democracy: Bid or Buy Now
- Art 101: "What I'd Buy This December:" Artspace's Advisor Hannah Parker Shares the Artworks in Her Cart
- Interviews & Features: Hank Willis Thomas's Reflective Protest Images Illuminate Overlooked Histories—And the Hyper-Consumption of Photography Today
- Interviews & Features: Let This Be Your Guide: 7 Famous Artists Describe Their Favorite Artworks at The Met
This work is a BAT.
- Ships in 10 to 14 business days from New York. Framed works ship in 14 to 18 business days from New York.
- This work is final sale and not eligible for return.
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