90” Triacontahedron by Anthony James

In London’s Berkeley Square, 90” Triacontahedron by Anthony James beckons the passerby.  A British-American artist, based in Los Angeles, Mr. James uses specialized glass, LED, and steel to draw spectators into his work. Hailed as of one of the world’s leading light artists, he incorporates an array of industrial objects, vitrines of steel, aluminum, and waste and debris, to illuminate and reflect on themes of light and dark, death, destruction, and rebirth in his brilliant pieces. As light and color frolic within the panels of the sculpture, 90” Triacontahedron transports us to another dimension, even on the greyest of London days.

The Fourth Plinth Sculpture: “Antelope” by Samson Kambalu

Trafalgar Square, one of London’s most visited landmarks, is marked by four plinths, upon which rests three permanent sculptures. For years an empty fourth plinth stood until Dame Prue Leith, then chair of the Royal Society of Arts suggested the plinth should host art work. After much debate, the Mayor of London’s Fourth Plinth Programme was born, hosting contemporary sculptures on rotation. Recently, Samson Kambalu, a renowned contemporary artist and author who hails from Malawi and is based in Oxford won the opportunity to exhibit under the Fourth Plinth Programme, resulting in “Antelope.”  

Based on a photograph of Baptist preacher and pan-Africanist, John Chilembwe, and European missionary, John Chorley, taken in 1914 at the opening Chilembwe’s new church in Nyasaland, now Malawi, “Antelope” commemorates the moment by restaging the photograph. Kambalu portrays Chilembwe larger than life upon the plinth as he keeps his hat on, in defiance of the colonial rule forbidding Africans from wearing hats in front of white people. Chorley maintains life-size, thereby elevating Chilembwe’s story and bringing awareness to the “hidden narratives of underrepresented peoples” and calling attention to “distortions in conventional narratives of the British empire.”

“Havah…to breathe, air, life” by Shahzia Sikander

As we kick off Women’s History Month, we could not be more excited about Shahzia Sikander’s outdoor multimedia installation “Havah...to breathe, air, life,” whose sculptures centered around themes of women and justice, a theme akin to our own ethos, are currently gracing Madison Square Park and atop the Courthouse of the First Department of the Supreme Court of the State of New York. A “citizen of the world”, Ms. Sikander who hails from Pakistan and lives in New York City received the prestigious United States Medal of Arts in 2012 and has been acknowledged for renewing interest in the Indo-Persian miniature form and revolutionizing the  feminist neo-miniature movement worldwide.

“Havah…to breathe, air, life” consists of two sculptures of women; Witness, which sits at the entrance of Madison Square Park and 25th Street, and NOW, which is perched atop the Appellate Division of the New York State Supreme Court and is the first female figure to be installed there. With her limbs as tree roots, her hair braided and coiled like a ram’s horn, her head held high and eyes wide open, Sikander’s golden women sculptures encompass symbols of power, strength, durability, and femininity. Whereas “Justice” throughout history has been symbolized as a woman, blindfolded, and holding scales, Sikander’s allegorical women suggest a new vision of woman and power in the justice system. Complete with a decorative jabot at the neckline, a nod to the lace collar worn by the late, trailblazing United States Supreme Court associate justice Ruth Bader Ginsburg, Witness and NOW remind us to “reverse stereotypes about gender, race, immigrants, and the unfamiliar” as noted by the artist.