TEDWomen 2017
Deb Willis and Hank Willis Thomas: A mother and son united by love and art
黛博拉威利斯、漢克威利斯湯瑪斯: 由愛和藝術聯合在一起的母子
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藝術學校的一位教授曾告訴黛博拉威利斯，說身為女人的她佔了一個好男人的位置。但這位說故事的攝影師說，她反而是騰出空間給一位好男人：她的兒子漢克威利斯湯瑪斯。在這場感人的演講中，這對母子藝術家描述他們如何在工作上彼此學習，他們的藝術如何挑戰主流敘述黑人的生活和喜樂的方式，以及最終一切如何回歸到愛。
Double-click the English transcript below to play the video.
00:12
Hank Willis Thomas: I'm Deb's son.
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漢克威利斯湯瑪斯：
我是黛比的兒子。
我是黛比的兒子。
（笑聲）
00:14
(Laughter)
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黛博拉威利斯：而我是漢克的媽媽。
00:16
Deborah Willis: And I'm Hank's mom.
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漢：這些話我們說過好多次了，
00:18
HWT: We've said that so many times,
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我們為它創作了一件作品，
00:20
we've made a piece about it.
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叫做「有時我在你身上看見我自己」，
00:22
It's called "Sometimes
I See Myself In You,"
I See Myself In You,"
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談到這些年來我們透過
00:25
and it speaks to
the symbiotic relationship
the symbiotic relationship
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人生和工作所發展出的共生關係。
00:27
that we've developed over the years
through our life and work.
through our life and work.
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真的，因為不論我們去哪裡，
00:30
And really, it's because everywhere we go,
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一起去或個別去，
00:33
together or apart,
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我們都會帶著這些名字。
00:35
we carry these monikers.
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我一直追隨著我媽媽的腳步，
00:37
I've been following
in my mother's footsteps
in my mother's footsteps
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從我出生前就開始了，
00:39
since before I was even born
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且我還沒想出要如何停止追隨她。
00:40
and haven't figured out how to stop.
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00:43
And as I get older, it does get harder.
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隨著我長大，的確變得更困難。
00:46
No seriously, it gets harder.
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真的，會變得更困難。
00:48
(Laughter)
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（笑聲）
不過，我媽媽教導了我許多東西，
00:50
My mother's taught me many things, though,
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最主要的是，愛能戰勝一切。
00:52
most of all that love overrules.
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她教我「愛」是「行動」，
00:55
She's taught me that love
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00:57
is an action,
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01:00
not a feeling.
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不是感覺。
愛是一種生活的方式、
一種做事的方式、
一種做事的方式、
01:01
Love is a way of being,
it's a way of doing,
it's a way of doing,
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01:05
it's a way of listening
and it's a way of seeing.
and it's a way of seeing.
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一種傾聽的方式、一種看待的方式。
01:09
DW: And also, the idea about love,
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黛：此外，關於愛的想法，
01:11
photographers,
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攝影師們
拍照時在尋找愛。
01:14
they're looking for love
when they make photographs.
when they make photographs.
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他們尋尋覓覓，找到愛。
01:17
They're looking and looking
and finding love.
and finding love.
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01:19
Growing up in North Philadelphia,
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我在費城北部長大，
我身邊的家人和朋友
01:21
I was surrounded by people
in my family and friends
in my family and friends
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都會拍照。
01:25
who made photographs
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他們用家庭照相機做為
訴說人生故事的一種方式，
訴說人生故事的一種方式，
01:26
and used the family camera
as a way of telling a story about life,
as a way of telling a story about life,
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訴說喜悅的人生，
01:30
about life of joy,
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01:32
about what it meant
to become a family in North Philadelphia.
to become a family in North Philadelphia.
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訴說在費城北部「成家」
所代表的意義。
所代表的意義。
我人生中大部份的時間
都花在尋找照片，
都花在尋找照片，
01:37
So I spent most of my life
searching for pictures
searching for pictures
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我要的照片要能反映出關於
黑人的愛、黑人的喜悅，
黑人的愛、黑人的喜悅，
01:40
that reflect on ideas
about black love, black joy
about black love, black joy
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以及家庭生活的想法。
01:43
and about family life.
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01:45
So it's really important to think about
the action of love overrules as a verb.
the action of love overrules as a verb.
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所以，把愛的行動戰勝一切
視為動詞是很重要的。
視為動詞是很重要的。
01:52
HWT: Sometimes I wonder
if the love of looking is genetic,
if the love of looking is genetic,
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漢：有時我會納悶，
我熱愛「看」是否是基因遺傳，
我熱愛「看」是否是基因遺傳，
因為，就像我媽媽，
01:56
because, like my mother,
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在我有記憶以來我就很熱愛照片。
01:58
I've loved photographs
since before I can even remember.
since before I can even remember.
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02:02
I think sometimes that --
after my mother and her mother --
after my mother and her mother --
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有時我會想，
我媽媽和外婆除外，
02:06
that photography and photographs
were my first love.
were my first love.
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攝影和照片是我的初戀。
無意冒犯我爸爸，
02:09
No offense to my father,
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但這是因為你無論到哪裡
02:11
but that's what you get
for calling me a "ham"
for calling me a "ham"
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都叫我蹩腳演員所造成的。
02:14
wherever you go.
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我記得不論何時我去外婆家，
02:15
I remember whenever I'd go
to my grandmother's house,
to my grandmother's house,
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她都會把相簿藏起來，
02:18
she would hide all the photo albums
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因為她怕我會問：
02:19
because she was afraid of me asking,
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「照片中的那個人是誰？」
02:22
"Well, who is that in that picture?"
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以及「他們是你的什麼人、
是我的什麼人？
是我的什麼人？
02:23
and "Who are they to you
and who are they to me,
and who are they to me,
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拍照時你幾歲？
02:26
and how old were you
when that picture was taken?
when that picture was taken?
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拍照時我幾歲？
02:28
How old was I when that picture was taken?
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為什麼他們是黑白的？
02:30
And why were they in black and white?
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在我出生之前的世界是黑白的嗎？」
02:32
Was the world in black and white
before I was born?"
before I was born?"
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黛：光是去想一下
02:34
DW: Well, that's interesting,
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黑白的世界，就會覺得很有趣。
02:36
just to think about the world
in black and white.
in black and white.
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我在費城北部的一間美容院長大，
02:38
I grew up in a beauty shop
in North Philadelphia,
in North Philadelphia,
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在我媽媽的美容院
看著「Ebony」雜誌時，
看著「Ebony」雜誌時，
02:41
my mom's beauty shop,
looking at "Ebony Magazine,"
looking at "Ebony Magazine,"
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我發現有些圖像所訴說的
通常是在每天新聞中沒有的故事，
通常是在每天新聞中沒有的故事，
02:43
found images that told stories
that were often not in the daily news,
that were often not in the daily news,
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02:48
but in the family album.
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只在家庭相簿中才有。
02:50
I wanted the family album
to be energetic for me,
to be energetic for me,
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我希望對我來說，
家庭相簿充滿活力，
家庭相簿充滿活力，
是說故事的一種方式，
02:53
a way of telling stories,
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有一天，我在費城公共圖書館
碰巧看到一本書，
碰巧看到一本書，
02:54
and one day I happened upon a book
in the Philadelphia Public Library
in the Philadelphia Public Library
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書名叫《人生的甜蜜捕蠅紙》，
02:58
called "The Sweet Flypaper of Life"
by Roy DeCarava and Langston Hughes.
by Roy DeCarava and Langston Hughes.
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作者是羅伊·捷卡拉娃
和朗斯頓·休斯。
和朗斯頓·休斯。
當時是書名吸引七歲的我：
03:03
I think what attracted me
as a seven-year-old,
as a seven-year-old,
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03:05
the title, flypaper and sweet,
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捕蠅紙和甜蜜。
03:08
but to think about that
as a seven-year-old,
as a seven-year-old,
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但仔細想想，身為七歲的孩子，
我看著美麗的影像，
出自羅伊·捷卡拉娃之手，
出自羅伊·捷卡拉娃之手，
03:10
I looked at the beautiful images
that Roy DeCarava made
that Roy DeCarava made
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接著，看著我能夠
訴說人生故事的方式。
訴說人生故事的方式。
03:13
and then looked at ways
that I could tell a story about life.
that I could tell a story about life.
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基本上是「看」這個舉動
改變了我人生。
改變了我人生。
03:17
And looking for me is the act
that basically changed my life.
that basically changed my life.
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03:21
HWT: My friend Chris Johnson
told me that every photographer,
told me that every photographer,
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漢：我的朋友克里斯·強生告訴我，
每一位攝影師、每一位藝術家，
03:25
every artist, is essentially
trying to answer one question,
trying to answer one question,
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本質上都嘗試回答一個問題。
03:29
and I think your question might have been,
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我認為問題應該是：
「為什麼世界上其他人
看不見我們有多美麗、
看不見我們有多美麗、
03:32
"Why doesn't the rest of the world
see how beautiful we are,
see how beautiful we are,
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03:35
and what can I do to help them
see our community the way I do?"
see our community the way I do?"
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及我能做什麼來協助他們
以我的方式來看我們的社區？」
以我的方式來看我們的社區？」
03:39
DW: While studying in art school --
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黛：在藝術學校讀書時──
那說法可能是真的──
03:41
it's probably true --
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03:42
I had a male professor who told me
that I was taking up a good man's space.
that I was taking up a good man's space.
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有一位男教授告訴我，
我佔了一個好男人的空間。
我佔了一個好男人的空間。
03:47
He tried to stifle my dream
of becoming a photographer.
of becoming a photographer.
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他嘗試扼殺我成為攝影師的夢想。
他試圖在滿滿是男攝影師的
課堂上羞辱我。
課堂上羞辱我。
03:50
He attempted to shame me
in a class full of male photographers.
in a class full of male photographers.
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他說我已逾越了
身為女人的位置，違反了規則，
身為女人的位置，違反了規則，
03:54
He told me I was out of place
and out of order as a woman,
and out of order as a woman,
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他接著說，我唯一能做且要做的事，
03:58
and he went on to say
that all you could and would do
that all you could and would do
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就是去生孩子，把你在這堂課的位置
讓給一個好男人。
讓給一個好男人。
04:01
was to have a baby when a good man
could have had your seat in this class.
could have had your seat in this class.
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那經驗讓我震驚到說不出話。
04:05
I was shocked into silence
into that experience.
into that experience.
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04:09
But I had my camera,
and I was determined to prove to him
and I was determined to prove to him
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但我有我的相機，
我下定決心要向他證明
我下定決心要向他證明
我是值得課堂上那個座位的。
04:12
that I was worthy
for a seat in that class.
for a seat in that class.
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04:14
But in retrospect, I asked myself:
"Why did I need to prove it to him?"
"Why did I need to prove it to him?"
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但事後回想，我自問：
「我為什麼需要向他證明？
「我為什麼需要向他證明？
04:18
You know, I had my camera,
and I knew I needed to prove to myself
and I knew I needed to prove to myself
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我有相機，我知道需要向自己證明，
04:21
that I would make
a difference in photography.
a difference in photography.
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我能在攝影上造成不同。
我愛攝影，沒人能阻止我製作影像。
04:23
I love photography, and no one
is going to stop me from making images.
is going to stop me from making images.
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04:27
HWT: But that's when I came in.
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漢：那時我就出場了。
黛：是啊，我畢業那年懷孕了。
04:29
DW: Yeah, that year I graduated,
I got pregnant.
I got pregnant.
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04:32
Yep, he was right.
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是，他說的沒錯。
04:34
And I had you,
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我有了你，
我擺脫了他用來對付我的
性別歧視語言，
性別歧視語言，
04:35
and I shook off that sexist language
that he used against me
that he used against me
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04:40
and picked up my camera
and made photographs daily,
and made photographs daily,
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拿起相機，每天攝影，
當我為研究所做準備時，
我懷孕的肚子也成了攝影的主題。
我懷孕的肚子也成了攝影的主題。
04:43
and made photographs of my pregnant belly
as I prepared for graduate school.
as I prepared for graduate school.
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但我也在想，攝影的歷史書籍中
04:48
But I thought about also
that black photographers were missing
that black photographers were missing
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少了黑人攝影師，
04:52
from the history books of photography,
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而我正在尋找說故事的方式。
04:55
and I was looking
for ways to tell a story.
for ways to tell a story.
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我碰巧看到戈登·帕克斯的書
《武器的選擇》，
《武器的選擇》，
04:58
And I ran across Gordon Parks' book
"A Choice of Weapons,"
"A Choice of Weapons,"
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那是他的自傳。
05:03
which was his autobiography.
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我開始攝影和製作影像，
05:04
I began photographing and making images,
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我收起了我為懷孕肚子
所做的索引貼印照片，
所做的索引貼印照片，
05:07
and I tucked away that contact sheet
that I made of my pregnant belly,
that I made of my pregnant belly,
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05:11
and then you inspired me
to create a new piece,
to create a new piece,
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你給了我靈感，讓我創作新作品，
這件作品說的是
「佔了好男人的位置的女人」、
「佔了好男人的位置的女人」、
05:14
a piece that said, "A woman
taking a place from a good man,"
taking a place from a good man,"
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「你佔了好男人的席次」，
05:18
"You took the space from a good man,"
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05:20
and then I used that language
and reversed it and said,
and reversed it and said,
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接著，我用那語言，將它反轉成：
「我騰出空間給一個好男人，你。」
05:24
"I made a space for a good man, you."
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05:26
(Applause)
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（掌聲）
05:28
HWT: Thanks, ma.
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漢：謝啦，老媽。（掌聲）
05:33
Like mother, like son.
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有其母必有其子。
05:35
I grew up in a house full of photographs.
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我在一間滿是照片的房子中長大。
到處都是照片，
我媽會把廚房變成暗房。
我媽會把廚房變成暗房。
05:38
They were everywhere, and my mother
would turn the kitchen into a darkroom.
would turn the kitchen into a darkroom.
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而且不只有她拍的照片
05:42
And there weren't
just pictures that she took
just pictures that she took
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和家庭成員的照片。
05:45
and pictures of family members.
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牆壁上還有我們不認識、
05:46
But there were pictures on the wall
of and by people that we didn't know,
of and by people that we didn't know,
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不知道誰拍的照片，
05:51
men and women that we didn't know.
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我們不認識的男男女女。
05:53
Thanks, ma.
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謝啦，老媽。
05:54
(Laughter)
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（笑聲）
05:55
I have my own timing.
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我有自己的時間安排。
05:56
(Laughter)
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（笑聲）
05:58
Did you see her poke me?
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你們看到她戳我嗎？
05:59
(Laughter)
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（笑聲）
06:01
Puppet strings.
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木偶繩。（笑聲）
06:06
I grew up in a house full of photographs.
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我在一間滿是照片的房子中長大。
（掌聲）
06:08
(Applause)
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06:11
But they weren't just pictures
of men and women that we knew,
of men and women that we knew,
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但它們不只是我們
認識的男女的照片，
認識的男女的照片，
還有我不認識的人的照片。
06:14
but pictures of people that I didn't know,
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06:17
Pretty much, it was pretty clear
from what I learned in school,
from what I learned in school,
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根據我在學校學到的，
很顯然世界上其他人也不認識。
06:20
that the rest of the world didn't either.
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06:23
And it took me a long time
to figure out what she was up to,
to figure out what she was up to,
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我花了很長一段時間
才搞懂她打算幹什麼，
才搞懂她打算幹什麼，
但，一陣子之後，我搞懂了。
06:26
but after a while, I figured it out.
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06:30
When I was nine years old,
she published this book,
she published this book,
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我九歲的時候，她出版了這本書，
06:32
"Black Photographers, 1840-1940:
A Bio-Bibliography."
A Bio-Bibliography."
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《黑人攝影師，1840~1940：
個人參考目錄》。
個人參考目錄》。
06:36
And it's astounding to me to consider
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想到在 1840 年
有非裔美國人會拍照，
我就覺得很驚訝。
我就覺得很驚訝。
06:39
that in 1840, African Americans
were making photographs.
were making photographs.
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那對我們有什麼意義？
06:43
What does it mean for us to think
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在奴隸制度終結之前的二、三十年，
06:44
that at a time that was two, three decades
before the end of slavery,
before the end of slavery,
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人們要學習如何識字，
06:49
that people were learning how to read,
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06:52
they had to learn how to do math,
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他們得要學習如何算數，
他們得要在科學和技術的最前線，
06:54
they had to be on the cutting edge
of science and technology,
of science and technology,
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來做數學、物理、化學，
只為了拍張照片。
只為了拍張照片。
06:57
to do math, physics and chemistry
just to make a single photograph.
just to make a single photograph.
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若非熱愛，還有什麼
能促使他們這麼做？
能促使他們這麼做？
07:02
And what compelled them
to do that if not love?
to do that if not love?
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07:05
Well, that book led her to her next book,
"Black Photographers, 1940-1988,"
"Black Photographers, 1940-1988,"
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那本書導致了她的下一本書
《黑人攝影師，1940~1988》，
《黑人攝影師，1940~1988》，
那本書又導致另一本書，
然後又是另一本，又是另一本，
然後又是另一本，又是另一本，
07:10
and that book led to another book,
and another book, and another book,
and another book, and another book,
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又是另一本，又是另一本，
07:15
and another book, and another book,
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又是另一本，又是另一本，
07:17
and another book, and another book,
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又是另一本，又是另一本，
又是另一本，又是另一本，
又是另一本，又是另一本，
07:19
and another book, and another book,
and another book, and another book,
and another book, and another book,
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又是另一本，又是另一本，
又是另一本，又是另一本，
又是另一本，又是另一本，
07:22
and another book, and another book,
and another book, and another book,
and another book, and another book,
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又是另一本，
又是另一本，又是另一本，
又是另一本，又是另一本，
07:25
and another book,
and another book, and another.
and another book, and another.
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07:28
(Applause)
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（掌聲）
07:29
And throughout my life,
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我的一生中，
她編輯和出版了數十本書，
07:31
she's edited and published dozens of books
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在各大洲策劃了許多展覽，
07:34
and curated numerous exhibitions
on every continent,
on every continent,
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並非全和黑人攝影師有關，
但靈感都來自好奇心，
但靈感都來自好奇心，
07:39
not all about black photographers
but all inspired by the curiosity
but all inspired by the curiosity
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來自費城北部的
黑人小女孩的好奇心。
黑人小女孩的好奇心。
07:42
of a little black girl
from North Philadelphia.
from North Philadelphia.
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07:45
DW: What I found is that
black photographers had stories to tell,
black photographers had stories to tell,
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黛：我發現，黑人攝影師
有故事要訴說，
有故事要訴說，
07:48
and we needed to listen.
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而我們得要傾聽。
接著，我發現和發掘了
07:51
And then I found and I discovered
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像奧古斯塔斯·華盛頓
這類的黑人攝影師，
這類的黑人攝影師，
07:52
black photographers
like Augustus Washington,
like Augustus Washington,
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07:55
who made these beautiful daguerreotypes
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他在四○、五○年代初期
為麥基爾家庭做了
這些漂亮的銀版照片。
這些漂亮的銀版照片。
07:57
of the McGill family
in the early 1840s and '50s.
in the early 1840s and '50s.
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08:02
Their stories tended to be different,
black photographers,
black photographers,
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黑人攝影師們的故事不盡相同，
08:04
and they had a different narrative
about black life during slavery,
about black life during slavery,
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他們對於奴隸期間的黑人生活
有不同的講述方式，
有不同的講述方式，
08:08
but it was also about family life, beauty
and telling stories about community.
and telling stories about community.
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但重點也是家庭、人生、美，
和說出社區的故事。
和說出社區的故事。
08:13
I didn't know how to link the stories,
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我不知道要如何連結這些故事，
08:16
but I knew that teachers
needed to know this story.
needed to know this story.
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但我知道老師們得要知道這個故事。
08:19
HWT: So I think I was
my mother's first student.
my mother's first student.
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漢：所以，我想我是
我媽媽的第一個學生。
我媽媽的第一個學生。
08:24
Unwillingly and unwittingly --
puppet strings --
puppet strings --
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在不情願但也不知情的情況下
──木偶繩──
──木偶繩──
08:27
I decided to pick up a camera,
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我決定要拿起攝影機，
我認為我應該要自己來拍照片，
08:30
and thought that I
should make my own pictures
should make my own pictures
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關於那時和現在，以及現在和那時。
08:32
about the then and now
and the now and then.
and the now and then.
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我思考如何用攝影
08:35
I thought about
how I could use photography
how I could use photography
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來談在相機鏡頭外發生的事
08:38
to talk about how what's going on
outside of the frame of the camera
outside of the frame of the camera
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會如何影響我們看待鏡頭內的事。
08:41
can affect what we see inside.
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真相通常掌握在
真正製作影像的人手裡，
真正製作影像的人手裡，
08:44
The truth is always in the hands
of the actual image maker
of the actual image maker
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要靠我們真去思考哪些被刪掉了。
08:47
and it's up to us to really consider
what's being cut out.
what's being cut out.
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我心想我可以用她的研究來當作
08:50
I thought I could use her research
as a jumping-off point
as a jumping-off point
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我在社會所見所聞的起始點，
08:53
of things that I was seeing in society
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08:55
and I wanted to start to think
about how I could use historical images
about how I could use historical images
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我想要開始思考我要如何用歷史影像
08:58
to talk about the past being present
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來談論不能忘記的過去，
09:01
and think about ways that we can speak
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想想我們有什麼方式
09:03
to the perennial struggle
for human rights and equal rights
for human rights and equal rights
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可以談論人權和平權的長年掙扎，
09:07
through my appropriation of photographs
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透過我的這一份攝影，
09:11
in the form of sculpture, video,
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以雕塑、影片、裝置、
畫作的形式來呈現。
畫作的形式來呈現。
09:14
installation and paintings.
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09:15
But through it all,
one piece has affected me the most.
one piece has affected me the most.
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但，在這當中，
有一件作品對我影響最大。
有一件作品對我影響最大。
它仍然繼續在鼓勵著我。
09:20
It continues to nourish me.
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基於這張
歐內斯特·維瑟斯拍的照片。
歐內斯特·維瑟斯拍的照片。
09:21
It's based off of this photograph
by Ernest Withers,
by Ernest Withers,
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09:24
who took this picture in 1968
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這是他在 1986 年拍的，
那是曼非斯清潔工人的罷工遊行，
09:26
at the Memphis Sanitation Workers March
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男男女女站在一起，
堅決聲明他們的人性。
堅決聲明他們的人性。
09:29
of men and women standing collectively
to affirm their humanity.
to affirm their humanity.
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09:33
They were holding signs
that said "I am a man,"
that said "I am a man,"
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他們手持「我是人」的標語，
我很震驚，因我成長過程聽到的句子
09:36
and I found that astounding,
because the phrase I grew up with
because the phrase I grew up with
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不是「我是『人』」，
而是「我是『好漢』」。
而是「我是『好漢』」。
09:39
wasn't "I am a man,"
it was "I am the man,"
it was "I am the man,"
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我很訝異它如何從
種族隔離期間的集體聲明
種族隔離期間的集體聲明
09:42
and I was amazed at how it went from this
collective statement during segregation
collective statement during segregation
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變成整合後似乎自私的聲明。
09:46
to this seemingly selfish statement
after integration.
after integration.
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我想要反思那一點，
09:50
And I wanted to ponder that,
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所以我決定要混合那些文字，
把我能想出的方式都用出來，
把我能想出的方式都用出來，
09:52
so I decided to remix that text
in as many ways as I could think of,
in as many ways as I could think of,
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09:55
and I like to think of the top line
as a timeline of American history,
as a timeline of American history,
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我把上面那一排
視為美國歷史的時間線，
視為美國歷史的時間線，
下面那一排是一首詩，
10:00
and the last line as a poem,
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它寫著：
10:03
and it says,
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「我是好漢。誰是好漢？
你是好漢。好個好漢。」
你是好漢。好個好漢。」
10:04
"I am the man. Who's the man.
You the man. What a man.
You the man. What a man.
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10:07
I am man. I am many. I am, am I.
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我是人。我是許多。
我是，是我。
我是，是我。
10:10
I am, I am. I am, Amen.
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我是，我是。我是，阿門。
10:12
DW: Wow, so fascinating.
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黛：哇，好迷人。
（掌聲）
10:14
(Applause)
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但，我們從這經驗中學到的是
10:16
But what we learn from this experience
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在英文中最強大的
兩個字是「我是」。
兩個字是「我是」。
10:18
is the most powerful two words
in the English language is, "I am."
in the English language is, "I am."
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10:21
And we each have the capacity to love.
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而我們每個人都有愛的能力。
10:24
Thank you.
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謝謝。
10:25
(Applause)
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（掌聲）
ABOUT THE SPEAKERS
Deborah Willis - Curator, photographerDeborah Willis is a photographer and writer in search of beauty.
Why you should listen
As an author and curator, Deborah Willis's pioneering research has focused on cultural histories envisioning the black body, women and gender. She is a celebrated photographer, acclaimed historian of photography, MacArthur and Guggenheim Fellow, and University Professor and Chair of the Department of Photography & Imaging at the Tisch School of the Arts at New York University.
Willis received the NAACP Image Award in 2014 for her co-authored book Envisioning Emancipation: Black Americans and the End of Slavery (with Barbara Krauthamer) and in 2015 for the documentary Through a Lens Darkly, inspired by her book Reflections in Black: A History of Black Photographers 1840 to the Present.
Deborah Willis | Speaker | TED.com
Hank Willis Thomas - Artist
Hank Willis Thomas is a conceptual artist working primarily with themes related to identity, history and popular culture.
Why you should listen
Hank Willis Thomas's work has been exhibited throughout the U.S. and abroad including, the International Center of Photography, Guggenheim Museum Bilbao, Musée du quai Branly, and the Cleveland Museum of Art. His 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, the Brooklyn Museum, the High Museum of Art and the National Gallery of Art in Washington DC, among others.
Thomas's collaborative projects include Question Bridge: Black Males, In Search Of The Truth (The Truth Booth), and For Freedoms. For Freedoms was recently awarded the 2017 ICP Infinity Award for New Media and Online Platform. Thomas is also the recipient of the 2017 Soros Equality Fellowship and the 2017 AIMIA | AGO Photography Prize. Current exhibitions include Prospect 4: The Lotus in Spite of the Swamp in New Orleans and All Things Being Equal at Zeitz Museum of Contemporary Art Africa. 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. Thomas is a member of the Public Design Commission for the City of New York. He received a BFA in Photography and Africana studies from New York University and an MFA/MA in Photography and Visual Criticism from the California College of Arts. He has also received honorary doctorates from the Maryland Institute of Art and the Institute for Doctoral Studies in the Visual Arts. He lives and works in New York City.
Hank Willis Thomas | Speaker | TED.com