Henry Taylor “The Times Thay Ain’t a Changing, Fast Enough”

Henry Taylor’s “The Times Thay Ain’t a Changing, Fast Enough”, depicts the violent and tragic death of Philando Castillo. The title of the painting concisely reveals the artists position towards the current political climate and discrimination the African American community struggles through continuously. Taylor’s subject matter is very openly a statement for social justice but also appears to be a beautiful abstract narrative with balanced color and composition.

Before his appearance at the Whitney Biennial his paintings were classified as outsider art which pushes his work into the category of “naive” figurative paintings. It was also criticized as though it appeared to be created by a “self-taught” artist. This painting and his others are anything but that. His work is direct and potent, also it is a reflection of Taylor’s experience. The painting is a revealing perspective that casts the audience in Castillo’s fiancés seat as she watched her soon to be husband die. The simplified shapes and colors create a very direct composition.

If the subject matter doesn’t instantly grasp your attention the opaque colors are equally captivating. It’s hard to ignore the subject as a gleaming white eye unblinking stares into the gaze of the viewer. The white of the eye instantly pulls my attention to the white mass of the figure which contrasts heavily with the black headliner of the interior of the vehicle, Phillando’s last view. The black pigment instantly pulls me to the dark shirt of the police officer and then the murder weapon. The large swath of orange reads as a cautionary hue. The actual view through those windows might be blue considering the small patch of blue sky flashing only momentarily in the top middle portion of the composition. That little patch of blue symbolizes hope until it drags you down the seatbelt and over the body of Philando and back into the green interior of the car. The colors and shapes of the composition are masterfully placed by a skilled artist who intentionally guides the viewer through this scene. The placement of each value is done purposefully and causes an involuntary scanning that demands attention on key elements.

James Taylor has a unique ability to combine content and color in such a way that the image is clear from across the room. He uses large scale to produce a monumental vision of what he wishes to portray. This strategy is beneficial to his message of racial inequality. The way he transforms figures into big colorful shapes allows the image to fall into an abstract narrative and feels accessible to someone as naive as myself. When I saw this painting at the biennial I stood in front of it and was forced to contemplate my own life and my privileged existence. In this moment I realized how successful he was at portraying his message.

3 Replies to “Henry Taylor “The Times Thay Ain’t a Changing, Fast Enough””

  1. The officer who shot Castille was Jeronimo Yanez, but that doesn’t quite fit the narrative, so Taylor made the officer’s hand white. In 2019 the number of black people shot by the police was 1,180, as compared to 2,235 white people. I sure they are racist cases of police brutality and murder, but in reality, and contrary to popular belief, white people get shot more, and one of the biggest reasons is resisting arrest, and especially reaching for a gun, or appearing to. In this case the officer asked Castille not to reach for his gun three times. Whether or not Castille was actually doing that, or just reaching behind his back, or moving his arm, Yanez thought he was reaching for his gun. That confusion was likely the reason rather than racism. It’s an OK painting though, even if it bolsters a myth.

    Liked by 1 person

    1. The man was shot by a police officer in front of a four-year-old girl and her mother. He was pulled over because the office.

      Here is Castile’s last moments:

      “No!” Yanez removed his left arm from the car and fired seven shots in the direction of Castile in rapid succession. Reynolds yelled, “You just killed my boyfriend!” Castile moaned and said, “I wasn’t reaching for it.”

      The man’s last words were “I wasn’t reaching for it”. Your response is, “The painting is OK though, even if it bolsters a myth”

      There is no love in you.

      Liked by 1 person

      1. Whatever the motivation for making a work of art, no matter how noble or loving, doesn’t guarantee that the result will be better than OK. There’s always a question of skill, talent, experience, and just how well the piece in question comes off.

        Your accusation that “There is no love in you” is expressed in hate.


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