By Caricature Artists in Times Square (series)

For peer-reviewed journal “Street Notes: Volume 30” by UC Davis
Charcoal on newsprint.
12 x 16” each.
2021-2023
 

"By Caricature Artists in Times Square (series)"––created between 2021 and 2022––continues to explore my fascination with labor, community, and play within commercial workplaces and places of spectacle. In this series of drawings, I commissioned portrait artists in Times Square to depict their environment during the pandemic. From humor and hope to the broad strokes of the big city, the caricaturists did what they did best: draw what they see. I provided my experience of sitting with artists in the peer-reviewed scholarly journal publication “Street Notes: Volume 30” by UC Davis.

From project statement:

Caricature artists are a long-running staple of Times Square. In stark contrast to the look-at-me, fast-moving digital ads of major brands made from staggering budgets, these artists are able to request stillness, create individuality, and allow active engagement through their small-scale works. Artist Thomas Ray Willis was interested in how the pandemic affected caricaturists working in Times Square when there were no subjects to draw. Where do labor, experience, and anonymity fit in an ecosystem that favors capitalism, technology, and extreme visibility?Unlike the affixed billboard screens and commercial storefronts, caricature artists are nomadic, unable to obtain permits, and compete for coveted spots. The lack of foot traffic during the pandemic emphasized the instability of their profession. Willis asked several caricaturists about how the last few years have impacted them: despair, quiet, and the unknown. As the pandemic eases, caricaturists once again face the challenge of a saturated space with new street vendors looking to pursue a living, resulting in an acute feeling of invisibility. The labor and skill they put in for long hours without guarantee of pay show the will to create and survive, while the surrounding commerce continues to generate billions in revenue for the city—a microcosm of urban life. In the series of drawings commissioned by Willis, he asked them to depict their workplace when no one is there. From humor and hope to the broad strokes of the big city, the caricaturists did what they did best: draw what they see. As the artists were working, Willis was able to experience the anticipation, stillness, and patience as a patron. The dizzying noise around them quieted, the digital screens blurred, and the hurrying of people slowed. He walked away with some of the pieces you see here, outlasting an ad impression, overly priced burger, or cheaply made T-shirt. What will you see the next time you’re in Times Square?