Hank Willis Thomas / Ads Imitate Life

Hank Willis Thomas / Ads Imitate Life
10 June - 01 July 2017
Installation View
Hank Willis Thomas
Jordan and Johnnie Walker, 2006
Inkjet print on canvas
Work: 53.3 x 61 cm
Hank Willis Thomas
We can come here anytime, 1936/2015, 2015
Digital chromogenic print
Work: 114 x 102 cm
Hank Willis Thomas
Come out of the Bone Age, darling..., 1955/2015, 2015
Digital chromogenic print
Work: 101.4 x 105.4 cm Image: 81.4 x 85.4 cm Frame: 103.4 x 107.4 x 4.5 cm
Hank Willis Thomas
By Any Means Necessary, 1993/2008, 2008
LightJet Print
Size Large: 166  x 131 cm
Hank Willis Thomas
Be Careful What You Wish For, 1996/2008, 2008
LightJet Print
Small size: 89 x 76cm Large size: 166 x 131cm
Hank Willis Thomas
Absolut No Return, 2008
Mixed Media
203 x 102cm
Hank Willis Thomas
She's all tied up... in a poor system, 1951/2015, 2015
Digital chromogenic print
Work: 98 x 127 cm
Hank Willis Thomas
Black Power, 2005
Lightjet print
Work: 64.7 x 102.6 cm Frame: 66.7 x 104.6 x 5 cm
Hank Willis Thomas
A Common Misunderstanding , 2011
Animation on DVD
1 minute and 30 seconds
Hank Willis Thomas
Are you the Right Kind of Woman for it?, 1974/2007, 2007
LightJet Print
Size Large: 166  x 131 cm
Hank Willis Thomas
Welcome to Full Contact Culture, 2007/2008, 2008
LightJet Print
Small size: 89 x 76cm Large size: 166 x 131cm
Hank Willis Thomas
Jungle Fever, 1991/2007, 2007
LightJet Print
Size Large: 166  x 131 cm
Hank Willis Thomas
From Cain't See in the Mornin' till Cain't See at Night, 2011
Digital C-print
38 x 127cm

Hank Willis Thomas / Ads Imitate Life - Installation View

10 June - 01 July 2017

Hank Willis Thomas

Jordan and Johnnie Walker

Hank Willis Thomas

We can come here anytime, 1936/2015

Hank Willis Thomas

Come out of the Bone Age, darling..., 1955/2015

Hank Willis Thomas

By Any Means Necessary, 1993/2008

Hank Willis Thomas

Be Careful What You Wish For, 1996/2008

Hank Willis Thomas

Absolut No Return

Hank Willis Thomas

She's all tied up... in a poor system, 1951/2015

Hank Willis Thomas

Black Power

Hank Willis Thomas

A Common Misunderstanding

Hank Willis Thomas

Are you the Right Kind of Woman for it?, 1974/2007

Hank Willis Thomas

Welcome to Full Contact Culture, 2007/2008

Hank Willis Thomas

Jungle Fever, 1991/2007

Hank Willis Thomas

From Cain't See in the Mornin' till Cain't See at Night

Goodman Gallery Cape Town
10 June – 1 July 2017

Advertising plays on a society’s hopes and dreams – it is through this medium that we can glimpse a collective subconscious. It is also a global language in the sense that the ideas that circulate in adverts have as much of an effect on the countries in which they were made as in the countries that they were exported to via mass communication.

South Africa and the USA were founded on quintessentially ‘male frontier mentalities’. Yet, today, both countries position themselves as a beacon of hope for many, as pioneering examples for international human rights with respect to individual freedoms and constitutional rights.

In Ads Imitate Life, I expose the backward attitudes that continue to pervade American advertising, undermining the neat narrative of ‘progress’ that countries like the US hold dear.

– Hank Willis Thomas

In The Rhetoric of the Image, Roland Barthes defines the advertising image as the most ‘intentional’ kind of image. Indeed, the messages behind adverts are direct and unambiguous to achieve their – supposedly – singular aim: selling the product.

Through subtle processes of image reconstruction, African-American artist Hank Willis Thomas complicates seemingly simple meanings behind image-based adverts, revealing their capacity to have much greater power than selling products but also play a disturbing role in constructing and reinforcing social prejudice – with an emphasis on the portrayal of black men and white women in America.

Ads Imitate Life features work from three celebrated series by Thomas, titled: Branded, Unbranded: Reflections in Black Corporate America and Unbranded White Woman, allowing for an in-depth investigation into the visual language strategies of advertising and the cultural stereotypes in which they are rooted.

In Branded, Thomas draws on 20th and 21st century advertising to expose the mechanics of discriminatory typecasting towards black American men who are positioned as ‘other’ within the white American consumerist ideal. The series draws chilling parallels between images of the black male body in modern advertising and the cotton slave trade 200 years ago when the bodies of slaves were literally ‘branded’ to be made legible as owned ‘objects’.

The Unbranded: Reflections in Black Corporate America and Unbranded White Woman series are made up of selected newspaper adverts from 1960s America. The former reveals the carefully constructed stereotypes attributed to African-Americans who are depicted as exotic, savage and sexually dangerous. Unbranded White Woman looks at the positioning of white women as simultaneously sites of sexual agency and as complicit in their objectification and victimization.

While works in Branded are constructed from manipulated advertising images, for the Unbranded series, Willis Thomas makes minimal changes to the adverts, simply removing the original text, logos and slogans to create the necessary space for an unmediated reading of these problematic images. Indeed, by severing the images from their contextual frame, the artist seeks to make overt the subliminal messages constructed through advertising.

At its core, Ads Imitate Life highlights that ads do not, in fact, imitate life but have a very powerful impact on the construction of harmful identifications, compelling us to measure ourselves against images that can be over-generalising and, often, untrue.

Hank Willis Thomas is a photo conceptual artist who works with themes related to identity, history and popular culture. He joined Goodman Gallery in 2010 and featured prominently on Goodman Gallery’s booth at Frieze New York in 2017, for which his work was placed in conversation with South African photographer Mikhael Subotzky and Angolan conceptual photography-based artist Kiluanji Kia Henda. Thomas’ monograph, Pitch Blackness (2008), was published by Aperture. He has exhibited is the U.S. and abroad including: The International Center of Photography, Public Art Fund, The Guggenheim Museum Bilbao, Studio Museum in Harlem, Musée du quai Branly and the Cleveland Museum of Art, among others. Thomas’ work is in numerous public collections, including The Museum of Modern Art New York, The Solomon R. Guggenheim Museum, The Whitney Museum of American Art and The Brooklyn Museum. Thomas received a BFA in Photography and Africana studies from New York University and his MFA/MA in Photography and Visual Criticism from the California College of Arts. He also received an honorary doctorate from the Institute for Doctoral Studies in Visual Arts.

Hank Willis Thomas

Hank Willis Thomas is a conceptual artist working with themes related to identity, history and popular culture. He received his BFA from New York University’s Tisch School of the Arts and his MFA in photography, along with an MA in visual criticism, from California College of the Arts (CCA) in San Francisco.

Thomas has acted as a visiting professor at the MFA programs at Maryland Institute College of Art and has lectured at Yale University, Princeton University and the Musee du Quai Branly in Paris. His work has been featured in several publications including 25 under 25: Up-and-Coming American Photographers (CDS, 2003), as well as his monograph Pitch Blackness (Aperture, 2008). He received a new media fellowship through the Tribeca Film Institute and was a 2011 fellow at the W.E.B. DuBois Institute at Harvard University. He has exhibited in galleries and museums throughout the U.S. and abroad and his work is in numerous collections including the Whitney Museum of American Art, The Brooklyn Museum and Museum of Modern Art. His collaborative projects have been featured at the Sundance Film Festival and installed publically at the Oakland International Airport.