The intersection of art and technology is often explored through digital mediums, but Chicago-based artist Thelonious Stokes is taking a different approach. Stokes, a classically trained oil painter and performance artist, is leveraging social media – specifically platforms like TikTok and Instagram – to stage provocative interventions in historically white-centered art spaces, prompting conversations about race, identity, and representation. His work isn’t about creating digital art; it’s about using technology as a distribution network to amplify a physical, embodied artistic statement.
Stokes, 30, graduated from the Florence Academy of Art in Italy – a distinction noted as making him the first African American to do so – and his training is evident in his understanding of artistic tradition. However, his performances aren’t simply recreations of classical themes. Instead, they are deliberate disruptions. He films himself in front of iconic artworks and landmarks – the British Museum in London, the Louvre Pyramid in Paris, Michelangelo’s David in Florence, and even Trump Tower in Chicago – often with black paint covering his face and chest. These aren’t passive observations; Stokes actively performs, hissing, laughing, and crying directly into the camera.
A key element of his performances is the accompanying sound. Each video is set to a musical track featuring Stokes playing the same pattern of notes repeatedly on a cello. This repetitive musical phrase creates a hypnotic and unsettling atmosphere, drawing attention to the emotional weight of his actions. The simplicity of the cello pattern contrasts with the complexity of the spaces he inhabits, further emphasizing the dissonance he aims to create.
Stokes’s work isn’t confined to international art institutions. He deliberately brings his performances back to his roots, filming in locations like O Block, a South Side Chicago neighborhood known for its history of violence and association with rappers like Chief Keef. He performed at the Parkway Gardens apartment complex in O Block, engaging directly with residents. This deliberate choice to perform in spaces often overlooked by the art world is central to his artistic mission. As Stokes explains, he aims to “bridge the gap that we see in this classist hierarchy within the art world,” treating O Block with the same artistic consideration he would give the Loop in Chicago or the Eiffel Tower in Paris.
The technical aspect of Stokes’s approach is relatively straightforward. He’s not developing new software or hardware; he’s strategically utilizing existing social media platforms. TikTok and Instagram provide the reach and immediacy necessary to disseminate his performances to a global audience. The short-form video format, popularized by these platforms, is particularly effective in capturing attention and conveying a powerful message in a concise timeframe. The virality of his work demonstrates the power of these platforms to amplify artistic voices and spark dialogue.
The choice of platforms is also significant. While traditional art institutions often operate within a closed ecosystem, social media is inherently democratic. Anyone with a smartphone and an internet connection can access and share Stokes’s work, bypassing the gatekeepers of the art world. This accessibility is crucial to his goal of “equalizing the scene.”
Stokes’s practice, which he terms “forward realism,” encompasses painting, performance, and design. His background in classical oil painting provides a foundation for his work, but it’s his willingness to experiment with performance and leverage the reach of social media that sets him apart. He isn’t simply creating paintings to be displayed in galleries; he’s creating experiences that challenge viewers to confront their own biases and assumptions.
The impact of Stokes’s work extends beyond the immediate visual experience. He’s prompting critical discussions about Blackness, representation, and the historical power dynamics within the art world. His performances are a direct response to centuries of white-dominated Western art, and his use of black paint on his body is a deliberate act of reclaiming and redefining identity. The work is designed to provoke, to anger, to confuse, and to inspire conversation.
The Florence Academy of Art, where Stokes received his training, emphasizes classical techniques, requiring students to work from life under natural north light, in the tradition of masters like Titian, Rembrandt, and Velázquez. The curriculum focuses on anatomical accuracy and artistic beauty, with long poses lasting up to three hours a day, five days a week. This rigorous training provides Stokes with the technical skills necessary to execute his performances with precision and intentionality. The Academy’s certificate program in Drawing & Painting typically requires a minimum of three years to complete.
While Stokes’s work is gaining significant attention, it’s important to note that it’s not without its critics. The imagery of black paint on his body may be jarring or unsettling for some viewers, and his performances have been described as “disruptive.” However, it’s precisely this willingness to challenge convention that makes his work so compelling. He’s not seeking to create comfortable art; he’s seeking to create art that forces us to confront uncomfortable truths.
