218:"The objects that I use I see as them finding me, more so than me finding them and looking for an object. I see an object and suddenly I recognize what I can do with the object. So in that sense there is an energy or spirit connection to the object. I am exploring the possibilities of these objects. I say that I can make anything out of everything and everything out of anything. I challenge myself to do that. Sometimes it takes longer than I’d like which is why I work in series as I try to master the thing. I made art out of irons for 15 years before I switched to bicycles. I do shoes steady now since 2005 but it’s all the same thing to me. It’s a different object on our level of everyday perception but once you see it as a particle the possibilities are endless."
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526:, where he found a passion for the field of arts. He says, “I think I was an artist in a previous life. When I was 3 years old, my mom found me drawing in the kitchen, and since then, my family always said I was an artist. I went along with it. I enjoyed it.” Cole later took classes at the
565:. Further pursuing his passion, he later progressed and hosted his first major gallery show, located at Franklin Furnace Gallery in New York City, in 1989. In 1990, he participated as the Artist-In-Residence at the Studio Museum, located in
230:, showing not only their wide-ranging decorative potential but also to reference Cole’s African-American heritage. He used the marks to suggest the transport and branding of slaves, the domestic role of black women, and ties to
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Foundation Award, which annually supports 15 US-based artists working in painting and sculpture, providing financial support, skill development, and community building. In 2000, Cole was artist-in-residence at the
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to depict a mother and child. The well-worn black shoes combine to recall traditional
African sculptures. It was a gift from the Brenden Mann Foundation to the
1239:"Pérez Art Museum Miami Announces Tenth Anniversary of Art + Soul Celebration, Honoring Actor and Activist Jesse Williams • Pérez Art Museum Miami"
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2017, "Willie Cole: Made in Newark," College of
Architecture and Design Gallery, The New Jersey Institute of Technology, Newark, NJ
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Willie Cole is the recipient of many awards. In 1991, he received The Penny McCall
Foundation Grant. In 1995, he received the
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Memorial
Fellowship, an award presented to an emerging artist practicing in the United States. In 2006, he received the
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2011, "Reconfiguring an
African Icon: Odes to the Mask by Modern and Contemporary Artists from Three Continents
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Prize, the first national award to honor and celebrate contributions to the field of
African-American art and
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2013 - 2014, "Complex
Conversations: Willie Cole Sculptures and Wall Works," Albertine Monroe-Brown Gallery,
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995:"After his eye-catching KCI installation took flight, Willie Cole had 100+ horns leftover; He kept building"
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2015, "Flawlessly
Feminine: Women Who Graced the Cover and Works by Willie Cole," The Diggs Gallery,
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In 1978, Cole found work as a graphic designer for the Queens County
Borough Hall as part of the
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740:"In 'Before Yesterday We Could Fly,' Visions of a Fictive Black Future Take Flight at the Met"
530:. After attending the museum for lessons, he was accepted to the Arts High School of Newark.
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Cole is best known for assembling and transforming ordinary domestic and used objects such as
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2017, "Making
Everything Out of Anything: Prints, Drawings, and Sculptures by Willie Cole,"
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structures that include the element of chance while physically engaging the viewer.
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2013, "Willie Cole: Illuminations and Transformations," Schneider Museum of Art at
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2015, "Willie Cole: Transformations," Abroms-Engel Institute for the Visual Arts,
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2010 - 2011, "Deep Impressions: Willie Cole Works on Paper," The James Gallery,
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2013, "From Water to Light," Prospect Street Firestation Gallery, Newark, NJ
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Cole is represented by Alexander and Bonin Gallery in New York; and by
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In 1989, Cole garnered attention in the art world with works using the
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2012, "Deep Impressions: Willie Cole Works on Paper and Sculpture,"
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2019, "Willie Cole: Bella Figura," Alexander and Bonin, New York, NY
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2013, "If wishes were horses...," Alexander and Bonin, New York, NY
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Through the repetitive use of single objects in multiples, Cole’s
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Comprehensive Employment and Training Act's employment of artists
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Article on Willie Cole’s 2007 exhibit at the Frye Museum of Art
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2016 - 2017, "Willie Cole: On-Site," David C. Driskell Center,
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932:"Complex Conversations: Willie Cole Sculptures and Wall Works"
908:"Transformations - Abroms-Engel Institute for the Visual Arts"
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Art Museum, Ebert Art Center, Wooster, OH; Faulconer Gallery,
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Bachelor of Fine Arts from the School of Visual Arts, New York
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Willie Cole at Minneapolis Institute of Arts, Minneapolis, MN
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2017, "Operation Chromebody," Highpoint Editions, Minneapolis
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as a motif. Cole imprinted iron scorch marks on a variety of
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Radcliffe Institute for Advanced Study at Harvard University
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eclecticism, and combines references and appropriation from
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Dame, Marketing Communications: Web | University of Notre.
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2017, "Walker Street Summer," Alexander and Bonin, New York
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or African and Asian masks, into highly original and witty
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Worcester Art Museum Catalogue of Cole’s 2005-2006 exhibit
253:. Cole’s work is generally discussed in the context of
956:"Willie Cole - 111 Artworks, Bio & Shows on Artsy"
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through the institution's Fund for Black Art program.
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ranging from African and African-American imagery, to
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from 1976 to 1979. Cole currently lives and works in
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TV Interview with Willie Cole, and other video clips
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2012, "Afro: Black Identity in America and Brazil,"
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2019, "Willie Cole: Beauties," Radcliffe Institute,
299:With a Baby in Transit," from 2009, uses discarded
765:"Willie Cole at Alexander and Bonin – Art Viewer"
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373:2015, "Willie Cole: Aquaphilic," 808 Gallery,
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650:"Upcycled: A Conversation With Willie Cole"
463:, Memphis, TN; Sarah Moody Gallery of Art,
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545:in 1976, and continued his studies at the
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1304:Willie Cole’s art in Artcyclopedia
1262:Straaten, Laura van (2023-02-23).
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1215:"maus contemporary - Willie Cole"
206:, bicycle parts, wooden matches,
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317:Before Yesterday We Could Fly
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136:. His work uses contexts of
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589:. In 2002, he received the
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322:Metropolitan Museum of Art
148:imagery. He also has used
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1309:Willie Cole's Art Gallery
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883:"Willie Cole: On-Site"
863:driskellcenter.umd.edu
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627:, was acquired by the
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520:Somerville, New Jersey
413:, Greensboro, NC; The
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115:Somerville, New Jersey
1299:Willie Cole’s website
1191:"Alexander and Bonin"
648:Souleo (2013-05-01).
623:In 2023, Cole's work
601:, established by the
551:Mine Hill, New Jersey
539:School of Visual Arts
535:Bachelor of Fine Arts
465:University of Alabama
430:Grounds for Sculpture
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1111:www.bklynlibrary.org
687:. Oxford Art Online.
625:With a Heart of Gold
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522:. He later moved to
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1319:Willie Cole at MoMA
1195:Alexander and Bonin
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887:Arthur Ross Gallery
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353:Snite Museum of Art
1268:The New York Times
906:Colunga, Armando.
713:Lowery Stokes Sims
603:High Museum of Art
533:Cole received his
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492:Tamarind Institute
472:Select group shows
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1023:The HistoryMakers
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377:, Boston, MA
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309:
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247:metaphorical
240:
221:
217:
208:lawn jockeys
193:
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110:
109:
1339:1955 births
912:www.uab.edu
599:art history
485:MCA Chicago
282:assemblages
278:pop culture
258:eclecticism
236:Yoruba gods
234:design and
204:hair dryers
162:pop culture
67:Nationality
42:Willie Cole
23:Willie Cole
1333:Categories
1281:2023-02-24
1248:2023-02-24
1224:2017-09-21
1200:2017-09-21
1165:2024-03-27
1141:2022-04-28
1117:2022-04-28
1076:2022-04-28
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771:2024-03-27
750:2022-02-05
659:2024-03-27
635:References
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514:Early life
297:Anne Klein
290:game board
274:Surrealism
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138:postmodern
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320:at the
168:masks.
142:African
126:printer
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1274:
567:Harlem
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744:Vogue
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295:His "
228:media
196:irons
172:Works
166:Asian
1272:ISSN
1090:Bomb
509:Life
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156:and
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609:.
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553:.
541:in
268:’s
187:in
152:’s
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