Vacationers at O’Hare Airport’s Multi-Modal Facility in Chicago—an expansive parking construction that connects the entire airport’s floor transportation—at the moment are handled to a large-scale, collaborative paintings by Hank Willis Thomas (beforehand) and Coby Kennedy as they transfer by way of a lofty atrium. Rising from the partitions of an escalator corridor and measuring roughly 27 and 31 toes lengthy, monumental arms prolong throughout the house as if nearly to clasp arms. Titled “REACH,” the piece takes cues from its website in a busy transportation hub, reframing a transitory house right into a reminder of togetherness and connectivity.
“‘REACH’ is a connection level and large-scale gesture that evokes us to come back collectively,” says Thomas, whose sculptures have typically included arms and arms in symbolic positons akin to embraces, the Black Energy fist, or hands-up defensive alerts that evoke historic occasions and activism. The work is the latest of O’Hare’s main public artwork installations, which amongst many others contains “Palimpsest,” Nick Cave’s multi-story beaded tapestry put in in 2019 in one other a part of the identical constructing.
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