Hank Willis Thomas American, b. 1976
Endless Column V, 2017
Painted resin, chameleon auto paint finish
259.5 x 10.9 x 5.4 cm. (102 1/8 x 4 1/4 x 2 1/8 in.)
Edition of 3 + 1 AP
Copyright The Artist
In Endless Column, Hank Willis Thomas reinterprets Constantin Brâncuși’s iconic tribute to Romania’s fallen soldiers, transforming the motif into a powerful critique of cultural identity, colonial history, and the intersection...
In Endless Column, Hank Willis Thomas reinterprets Constantin Brâncuși’s iconic tribute to Romania’s fallen soldiers, transforming the motif into a powerful critique of cultural identity, colonial history, and the intersection of sport and conflict. This totemic sculpture, crafted from resin and painted with a chameleon finish, presents a towering stack of cricket bats, each precariously balanced atop the other. By selecting cricket – a sport intrinsically tied to the legacy of imperialism – Thomas invites the viewer to reflect on the ways in which the echoes of colonial power reverberate through even the most innocuous cultural symbols.
Thomas’ approach in Endless Column merges the conceptual framework of the readymade with minimalist principles, underpinned by his characteristic social commentary on race and colonial legacy. The tiered cricket bats become more than sculptural forms; they are historical artefacts in dialogue with global power dynamics. Cricket, historically spread through British imperialism, gains new significance here, its inclusion emblematic of the wider-reaching implications of Thomas’ practice and his engagement with sport as a vehicle for examining identity and sociopolitical structures.
While Brâncuși’s original Endless Column (1938) commemorated the sacrifice of Romanian soldiers in World War I, Thomas’ homage expands this notion of “endlessness” to encompass the ongoing global struggles linked to race and post-colonial identities. By juxtaposing the sports field with the battlefield, Endless Column provokes contemplation on whether the spectacle and rivalry of sport function as a modern-day substitute for the conflicts of war. Through this lens, Thomas seems to suggest that in both arenas – whether on the pitch or on the front lines – identity, nationalism, and dominance are negotiated in a continual cycle.
Moreover, in his use of cricket – a game with no direct ties to either Brâncuși’s Romania or Thomas’ American heritage – the artist universalises the conversation. By situating the work within a global framework, Endless Column challenges the viewer to perceive these themes not as confined to particular histories or nations but as universal struggles woven into the fabric of human experience. Thomas’ sculpture, both homage and critique, stands as a monumental examination of sport, power, and the endurance of cultural influence across generations and geographies.
Thomas’ approach in Endless Column merges the conceptual framework of the readymade with minimalist principles, underpinned by his characteristic social commentary on race and colonial legacy. The tiered cricket bats become more than sculptural forms; they are historical artefacts in dialogue with global power dynamics. Cricket, historically spread through British imperialism, gains new significance here, its inclusion emblematic of the wider-reaching implications of Thomas’ practice and his engagement with sport as a vehicle for examining identity and sociopolitical structures.
While Brâncuși’s original Endless Column (1938) commemorated the sacrifice of Romanian soldiers in World War I, Thomas’ homage expands this notion of “endlessness” to encompass the ongoing global struggles linked to race and post-colonial identities. By juxtaposing the sports field with the battlefield, Endless Column provokes contemplation on whether the spectacle and rivalry of sport function as a modern-day substitute for the conflicts of war. Through this lens, Thomas seems to suggest that in both arenas – whether on the pitch or on the front lines – identity, nationalism, and dominance are negotiated in a continual cycle.
Moreover, in his use of cricket – a game with no direct ties to either Brâncuși’s Romania or Thomas’ American heritage – the artist universalises the conversation. By situating the work within a global framework, Endless Column challenges the viewer to perceive these themes not as confined to particular histories or nations but as universal struggles woven into the fabric of human experience. Thomas’ sculpture, both homage and critique, stands as a monumental examination of sport, power, and the endurance of cultural influence across generations and geographies.