Trenton Doyle Hancock's latest exhibition, "Draw Them In, Paint Them Out: Trenton Doyle Hancock Confronts Philip Guston," has arrived at the Skirball Cultural Center in Los Angeles. This thought-provoking show brings together the vibrant cosmology of characters known as the Moundverse, which Hancock has been developing since his teenage years, with Philip Guston's infamous Klansman series.
Guston's Klansmen were painted after he abandoned his successful career as an Abstract Expressionist to tackle the "psychology of evil." In contrast, Hancock's work navigates what he calls the "pathology" – a gruesome, pulsating core. His use of humor and satire challenges viewers to confront the uncomfortable legacy of systemic racism.
Hancock has been influenced by Guston from his early days as an artist. He discovered Guston's monograph in 2000 and became deeply inspired by his unique approach to art. The exhibition showcases their artistic exchange through various works, such as "Schlep and Screw, Knowledge Rental Pawn Exchange Service," where a Klansman offers Hancock's Torpedoboy an apple – a fruit of knowledge and sin.
Throughout the show, Torpedoboy is depicted in different contexts with Guston's Klansmen. The paintings display striking parallels between their narratives and explore overlapping identities, evoking questions about double consciousness. Hancock views these connections as "magical alignments" guiding his work forward and providing validation that allows it to resonate beyond himself.
The exhibition features an array of vibrant artworks, including a stunning comic piece titled "Step And Screw!", where Torpedoboy's storyline intertwines with Guston's Klansmen tableau. The installation includes framed works lining the walls, creating a quiet, minimalist museum atmosphere.
As Hancock explains, "I try to leave space for that kind of validation from some mystical source." This is evident in his approach to his art – an attempt to tap into something greater than himself and convey his message effectively.
By combining humor with horror, Hancock successfully confronts the dark legacy of racism and draws attention to its ongoing presence. The exhibition is a testament to their artistic bond and serves as a poignant reminder that confronting these uncomfortable truths can be a powerful catalyst for change.
"Draw Them In, Paint Them Out: Trenton Doyle Hancock Confronts Philip Guston" runs through March 1, 2026, at the Skirball Cultural Center.
Guston's Klansmen were painted after he abandoned his successful career as an Abstract Expressionist to tackle the "psychology of evil." In contrast, Hancock's work navigates what he calls the "pathology" – a gruesome, pulsating core. His use of humor and satire challenges viewers to confront the uncomfortable legacy of systemic racism.
Hancock has been influenced by Guston from his early days as an artist. He discovered Guston's monograph in 2000 and became deeply inspired by his unique approach to art. The exhibition showcases their artistic exchange through various works, such as "Schlep and Screw, Knowledge Rental Pawn Exchange Service," where a Klansman offers Hancock's Torpedoboy an apple – a fruit of knowledge and sin.
Throughout the show, Torpedoboy is depicted in different contexts with Guston's Klansmen. The paintings display striking parallels between their narratives and explore overlapping identities, evoking questions about double consciousness. Hancock views these connections as "magical alignments" guiding his work forward and providing validation that allows it to resonate beyond himself.
The exhibition features an array of vibrant artworks, including a stunning comic piece titled "Step And Screw!", where Torpedoboy's storyline intertwines with Guston's Klansmen tableau. The installation includes framed works lining the walls, creating a quiet, minimalist museum atmosphere.
As Hancock explains, "I try to leave space for that kind of validation from some mystical source." This is evident in his approach to his art – an attempt to tap into something greater than himself and convey his message effectively.
By combining humor with horror, Hancock successfully confronts the dark legacy of racism and draws attention to its ongoing presence. The exhibition is a testament to their artistic bond and serves as a poignant reminder that confronting these uncomfortable truths can be a powerful catalyst for change.
"Draw Them In, Paint Them Out: Trenton Doyle Hancock Confronts Philip Guston" runs through March 1, 2026, at the Skirball Cultural Center.
. I mean, Philip Guston's Klansman series is already pretty thought-provoking on its own, but adding Trenton Doyle Hancock's unique take on systemic racism and humor takes it to a whole new level 
. The way the artworks blend together is really striking, like you can see the connections between their narratives and identities 
. I love how Hancock tries to tap into something greater than himself, it's like he's trying to make art that speaks for itself 
. And honestly, I think this exhibition is a great reminder that we need more conversations about these uncomfortable truths in the art world and beyond 
His use of humor as a contrast to the horror elements is genius. It makes you think about the subject matter in a different light and want to learn more 
The way he weaves together his own mythology, the Moundverse, with Philip Guston's Klansman series is really cool too 
The show's not just an art exhibit, it's like a conversation starter... or maybe even a call to action? 
. It's like Hancock took all the uncomfortable truths from Guston's work and amplified them for today's audience.
The way they lined up the framed works on the walls, it's like a masterclass in subtlety. I'm not saying I fully understand all the symbolism behind some of these pieces, but that's kinda the point – it's like Hancock is inviting us to come back and figure it out ourselves.
. People might say he's using humor as a defense mechanism, but I think its more about challenging our perspectives and making us uncomfortable in a good way 
. He's not trying to make friends with systemic racism, he's trying to expose it for what it is – toxic 
. And I gotta give props to the Skirball Cultural Center for hosting this show, it's like they're saying "hey, let's have some tough conversations" 
It's also interesting to see how Hancock is trying to tap into this mystical source of validation, almost like he's searching for a way to make his message feel more universally understood. 
Overall, I think this exhibition is a must-see for anyone who wants to engage with these tough issues and start some real conversations about our shared humanity. 
I don't know, it feels like Hancock is trying to use Guston's work as a way to validate his own, you know? Like, he's not really saying anything new or original. 
And what's with all these "magical alignments" and mysticism? Can't we just talk about the racism stuff without all that woo-woo? 
On the other hand... 
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. Anyone else see this exhibition? What did you think of it?