Trenton Doyle Hancock's latest exhibition, "Draw Them In, Paint Them Out: Trenton Doyle Hancock Confronts Philip Guston," at the Skirball Cultural Center in Los Angeles, is a masterful exploration of the complexities of racism and identity. By drawing inspiration from Philip Guston's work, Hancock has created a thought-provoking series that confronts the darker aspects of American history.
The exhibition centers around Hancock's fascination with Guston's Klansmen paintings, which he sees as a way to explore his own feelings of "double consciousness" – a term coined by W.E.B. Du Bois to describe the experience of being both black and white in America. Through a series of comics, paintings, and prints, Hancock has created a sprawling cosmology that draws together elements of mythology, politics, and personal history.
Hancock's artistic approach is characterized by a sense of humor and irony, as he pokes fun at the absurdities of racism while also laying bare its deep-seated cruelties. His Moundverse, a multiverse of characters and events, is both playful and unsettling, defying easy categorization or interpretation.
One of the most striking aspects of Hancock's work in this exhibition is his ability to evoke the spirit of Philip Guston, who was known for his wry satire and social commentary. While Hancock takes no direct inspiration from Guston's politics – which were often more conservative than his art – he does share a similar sense of outrage and disillusionment with the world around him.
The exhibition also explores the complex history of racism in America, drawing on Hancock's own experiences growing up as a black artist in a predominantly white culture. His artwork is peppered with references to the Ku Klux Klan, Jim Crow laws, and other symbols of oppression, which he uses to challenge the viewer's assumptions about American identity.
Throughout the exhibition, Hancock employs a range of visual languages and techniques, from comics to paintings to prints. His use of color and texture is particularly noteworthy, as he draws on a wide range of styles and influences to create a vibrant, unsettling atmosphere.
In many ways, Hancock's work can be seen as a form of therapy – a way of processing the trauma and pain of racism through art. By confronting these issues head-on, Hancock has created an exhibition that is both deeply personal and universally relatable.
As the exhibition comes to a close on March 1, 2026, it remains to be seen how "Draw Them In, Paint Them Out" will be remembered in the years to come. One thing is certain, however: Trenton Doyle Hancock has once again proven himself to be one of the most innovative and courageous artists working today, using his art to challenge our assumptions about America's troubled past and its uncertain future.
The exhibition centers around Hancock's fascination with Guston's Klansmen paintings, which he sees as a way to explore his own feelings of "double consciousness" – a term coined by W.E.B. Du Bois to describe the experience of being both black and white in America. Through a series of comics, paintings, and prints, Hancock has created a sprawling cosmology that draws together elements of mythology, politics, and personal history.
Hancock's artistic approach is characterized by a sense of humor and irony, as he pokes fun at the absurdities of racism while also laying bare its deep-seated cruelties. His Moundverse, a multiverse of characters and events, is both playful and unsettling, defying easy categorization or interpretation.
One of the most striking aspects of Hancock's work in this exhibition is his ability to evoke the spirit of Philip Guston, who was known for his wry satire and social commentary. While Hancock takes no direct inspiration from Guston's politics – which were often more conservative than his art – he does share a similar sense of outrage and disillusionment with the world around him.
The exhibition also explores the complex history of racism in America, drawing on Hancock's own experiences growing up as a black artist in a predominantly white culture. His artwork is peppered with references to the Ku Klux Klan, Jim Crow laws, and other symbols of oppression, which he uses to challenge the viewer's assumptions about American identity.
Throughout the exhibition, Hancock employs a range of visual languages and techniques, from comics to paintings to prints. His use of color and texture is particularly noteworthy, as he draws on a wide range of styles and influences to create a vibrant, unsettling atmosphere.
In many ways, Hancock's work can be seen as a form of therapy – a way of processing the trauma and pain of racism through art. By confronting these issues head-on, Hancock has created an exhibition that is both deeply personal and universally relatable.
As the exhibition comes to a close on March 1, 2026, it remains to be seen how "Draw Them In, Paint Them Out" will be remembered in the years to come. One thing is certain, however: Trenton Doyle Hancock has once again proven himself to be one of the most innovative and courageous artists working today, using his art to challenge our assumptions about America's troubled past and its uncertain future.
. I mean, how many times can you explore the same tired themes of racism and identity before it gets old? And don't even get me started on the whole "Draw Them In, Paint Them Out" thing - it sounds like a bunch of whiny complaining to me 
And what's with the obsession with Philip Guston's work? Can't we explore other art movements or styles instead of just rehashing the same old stuff? It all sounds like a bunch of overthinkery to me 
. Give me something that speaks to my soul, not some self-indulgent exhibition about the struggles of being black in America 
.
it's super thought provoking too, i mean the way he tackles racism and identity, it's not easy to look at but also necessary 
gotta respect how he incorporates these historical symbols into his art, it's like a big ol' middle finger to american history 
trenton doyle hancock is like a genius or something. he's tackling some super heavy topics like racism and identity in such a unique way. i love how he uses humor and irony to make fun of the absurdities of racism while also exposing its cruelties. his artwork is so immersive and thought-provoking, it makes you feel all kinds of emotions at once 
but also showing us how we can heal from those wounds through art. His humor and irony are so refreshing, but at the same time, his artwork is tackling some really heavy stuff 
. And can we talk about his use of color? It's like he's painting a picture of hope and resilience 
. I'm so grateful for artists like Trenton Doyle Hancock who are using their talents to bring attention to these important issues 
it's like he's reading the tea and serving it back up with a side of satire 
. I loved how he took inspiration from Philip Guston's work but also added his own twist of humor and satire. It's like he's poking fun at the absurdity of racism while still getting all up in your grill about its cruelties