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The Oral History Project is dedicated to collecting, developing, and preserving the stories of distinguished visual artists of the African Diaspora.

A 1988 residency at the Studio Museum in Harlem proved a turning point, helping Cole consolidate the visual language of sculptures that now often reach monumental scale.

He also wrote children’s books and sitcom scripts, and in the early 1980s launched a nonprofit in Newark called the Works Gallery that fostered the city’s nascent art community. Irrepressibly restless, Cole pursued theater and music as well as visual art after graduating. At the School of Visual Arts in New York City, his teachers included Chuck Close and Jonathan Borofsky. It’s the rate of vibration that creates the illusion of solidity.”Ī precocious artist, Cole made installations in his childhood bedroom, and met Amiri Baraka while attending Newark Arts High School.

Calling himself, in a two-part 2019 interview, an “archeological ethnographic Dadaist,” he explained his unified theory of matter to me, a source of the spiritual current that runs throughout his work: “I’m sure a physicist could say it better than me, but if you break everything down to the smallest particle, everything is the same. Working with objects found in the streets and junkshops of Newark and Harlem-including steam irons, hair dryers, lawn jockeys and plastic water bottles-and with sources ranging from Yoruba and Senufo masks and sacred figures to major works of early Modernism, Cole forges assemblages distinguished by their sharp wit and formal elegance.

Born in New Jersey and still residing there, Willie Cole is a global traveler in life and art.

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