Hank Willis Thomas

His work has been exhibited throughout the United States and abroad including the International Center of Photography, New York; Guggenheim Museum Bilbao, Spain; Musée du quai Branly, Paris; Hong Kong Arts Centre, Hong Kong, and the Witte de With Center for Contemporary Art, Netherlands. Thomas’ work is included in numerous public collections including the Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; Brooklyn Museum, New York; High Museum of Art, Atlanta, and the National Gallery of Art, Washington D.C. His collaborative projects include Question Bridge: Black Males, In Search Of The Truth (The Truth Booth), and For Freedoms, which was awarded the 2017 ICP Infinity Award for New Media and Online Platform. In 2012, Question Bridge: Black Males debuted at the Sundance Film Festival and was selected for the New Media Grant from the Tribeca Film Institute. Thomas is also the recipient of the Guggenheim Fellowship (2018), AGO Photography Prize (2017), Soros Equality Fellowship (2017), and is a member of the New York City Public Design Commission. Thomas is represented by Jack Shainman Gallery, New York; Ben Brown Fine Arts, London and Hong Kong; Goodman Gallery, South Africa; and Marauni Mercier, Belgium. Thomas lives and works in Brooklyn, NY.

Thomas explores the representation of the African-American male body in visual culture in his B(r)anded Series. Writing in The Guardian, critic Arwa Mahdawi observed: "Thomas’s work 'unbrands' advertising: stripping away the commercial context, and leaving the exposed image to speak for itself." His two screenprints of 2013, And I Can't Run and Blow the Man Down, express the erasure of past injustices to the black male body by printing photographs of humiliations or executions of black men on retro-reflective vinyl (commonly used for street signs), rendering them invisible except under flash photography.

The Long March is a 27 monitor installation commissioned by the recently renovated Birmingham Shuttlesworth International Airport. The installation incorporates depictions of movement, migration and marching from different eras in Alabama history, for instance, the Civil War, the Children’s March, the Selma Marches, football marching bands, the railroad, and migrations to the “Magic City.” The long row of monitors (the long march) track to the center of the wall and meld into a kaleidoscope. The kaleidoscope is tiled in the shape of a Camellia – the Alabama state flower. The Camellia, in this instance, is a repository of past and present motion that represents the flowering that grows out of movement. The kaleidoscopic mixes and melds the long march footage creating new emergent patterns, forms and colors. The travelers who will encounter the piece will be able to envision themselves as part of this mosaic that is symbolized through Alabama’s relationship to ‘the march’ as a form of historical progression.

In 2018, For Freedoms launched the 50 State Initiative, the largest creative collaboration in U.S. history. In the fall of 2018, For Freedoms launched a major billboard campaign in every state, including Washington D.C. and Puerto Rico. The campaign included over 150 contemporary artists, including Marilyn Minter, Rashid Johnson, Guerrilla Girls, and Theaster Gates, among others.

In October 2018, For Freedoms also launched a photo campaign entitled Four Freedoms. In collaboration with photographers Emily Shur and Wyatt Gallery, Thomas and For Freedoms transformed Norman Rockwell’s depictions of President Franklin Delano Roosevelt’s 1941 address to Congress, which articulated FDR’s vision of the four basic human freedoms. Thomas wrote that "The image haunted me because of teh world we live in. I wanted to imagine what it would look like today." Through dozens of iterations of Rockwell’s original four paintings, the 82 images in the campaign attempted to reflect the immeasurable diversity of American identities today. Celebrities such as Rosario Dawson, Dolores Huerta, Gina Belafonte, Van Jones, Jesse Williams, Robert A. Nakamura and Karen L. Ishizuka, Kiran Gandhi, Michael Ealy, Saul Williams, Rodney Barnette, and others were included in the reinterpretations. The new version of the images were widely shared on social media and Instagram, including by celebrities such as Alicia Keys and Jada Pinkett-Smith.

Throughout this long-term project the video footage is compiled and edited into a video artwork. To expand and engage with audiences, the movements of "The Truth Booth" and sample responses are tracked, edited, and categorized on a website. Ultimately, the goal of this project is to try to capture as many definitions, confessions and thoughts on The Truth as possible, creating a diverse ‘portrait’ of people across the globe. It was first supported by the Arts Council of Ireland, and the San Francisco Foundation.

In 2018, Thomas was accused of plagiarism by South African photographer Graeme Williams. A photograph that Williams took in 1990 of black children in the foreground and white policemen in the background was modified by Thomas, removing colour from the background. The photograph was exhibited at the Johannesburg Art Fair, with an asking price of USD36000, without attribution or mention of Williams. Thomas defended himself saying that what he had done was "akin to sampling, remixing".

In 2017, Thomas also unveiled his permanent public artwork Love Over Rules in San Francisco and All Power to All People in Opa Locka, Florida.

Founded in 2016 along with artist Eric Gottesman, For Freedoms is an anti-partisan platform for creative civic engagement, discourse, and direct action. The name was inspired by American artist Norman Rockwell’s paintings of Franklin D. Roosevelt’s Four Freedoms (1941)— freedom of speech, freedom of worship, freedom from want, and freedom from fear. Through exhibitions, installations, and public programs, the organization is established to deepen public discussions on civic issues and core values, and to advocate for equality, dialogue, and civic participation.

Thomas is the winner of the first ever Aperture West Book Prize for his monograph Pitch Blackness (November, 2008). His work has been featured in other publications including Reflections in Black (Norton, 2000), and the exhibitions along with accompanying publications 25 under 25: Up-and-Coming American Photographers (CDS, 2003), and 30 Americans (RFC, 2008). Other major publications include Aperture's Hank Willis Thomas: All Things Being Equal... (2018), and Philadelphia Photo Arts Center (PPAC)'s The Philly Block Project (2017).

Thomas holds a B.F.A. in Photography and Africana studies from New York University (1998) and an M.A./M.F.A. in Photography and Visual Criticism from the California College of the Arts (2004). In 2017, he received honorary doctorates from the Maryland Institute College of Art and the Institute for Doctoral Studies in the Visual Arts.

Hank Willis Thomas (born 1976 in Plainfield, New Jersey) is an American conceptual artist working primarily with themes related to identity, history, and popular culture.

Born in 1976, Thomas was amazed that less than ten years before he was born people were still fighting to affirm their humanity. Inspired by the phrase "I am the man", which was inspired by African-American culture, Thomas was interested in exploring how many different ways that phrase could be read. Thomas's work focuses on framing and context. He explores ideas about how history and culture are framed, who does the framing, and how this affects our interpretation of reality. In his work he focuses on speaking about popular culture and does so by using a variety of different mediums. He specifically likes to use photography because of the way you can edit a photograph, which can be a way of retelling history.