Tyler Ballon's solo exhibition tackles issues of identity in painting of Black bodies and makes historical references to traditions of monumental painting traditionally done for presidents and kings, through pastiche mending them to classical figurative painting in order to reflect the past, present, and future of black youth in America today. Announcing the glory and struggle of Black youth in sports and music but also deeper ties of community ambition and the annals of history. The subject matter of the painting is black high school students on the football field in their marching band and football uniforms. A simple concept that is handled well, being clear right off the bat about what it is and wants to accomplish, as well as having the added depth of a homage to Manet and the choosing of the specific schools named after leaders of the community at large. The schools are Abraham Lincoln High School for the footballers and Malcolm X Shabazz High School for the marching band players.
"I realised there is an interesting dichotomy between sports being a tool for success and having Black bodies being used to advance America’s ambition," Ballon remarks in a statement accompanying the exhibition online.
Bellow are the paintings The Execution of Emperor Maximillian (1867) with Ballon's work Bear Arms/Second Amendment (2024-25), Ballon chooses to show the young men in the marching band protecting cheerleaders rather than Manet's violent depiction of the death of the Habsburg royal via firing squad. Showing the desire for a change in perception of Black youth bearing arms. Ballon had this to say also on the press release:"perceptions of Black men bearing arms, reclaiming their image as patriots and protectors" This mending and correcting of a style of painting normally done to appease the royal and upper classes and making it serve the people is effective and easy to understand. Depicting everyday people and giving them the same respect as monarchs and a careful consideration and care which shines through in subject matter and the paintings lifelike touch and attention to detail.
I really like that David’s engaging with the political and historical weight of Ballon’s work—it’s clear he sees what the paintings are trying to do. The Manet reference is smart, and I appreciate the focus on reclaiming imagery for Black youth. That said, I wish he had slowed down a bit. Some big ideas—like the sports/Black bodies dichotomy—get name-dropped but not explored. It feels like he’s on the edge of saying something deeper but doesn’t quite land it. A little more focus and reflection would’ve made this stronger.
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