



The Work of V. L. Cox and Stephen Mangum

Images of the 'End Hate' doors went viral after being placed in front of the Lincoln Memorial. (Studio Theatre in Exile)
Bending the Arc
The Annex Gallery presents V. L. Cox and Stephen Mangum, two contemporary voices who, through distinct languages, articulate a sharp reflection on memory, justice, and the persistence of the image as a form of consciousness. Both artists share an ethical concern that translates into a visual practice of high symbolic density, where beauty is not ornament but resistance.

V. L. Cox. Studio Shot of door creation
V. L. Cox (Shreveport, 1962) works between installation, found-object assemblage, and the poetics of repair. Her series End Hate transformed segregation-era doors from the American South into allegories of exclusion and passage—portals not leading to physical spaces, but to collective awareness. In her practice, materials retain the trace of time and act as carriers of history. Cox combines conceptual rigor with political sensitivity, avoiding the rhetoric of protest: her work does not denounce—it reveals. From Arkansas to New York, she has built a language that links memory with responsibility, turning the ordinary into a sign.

Celebrating my birthday (and Dr. King’s) BACK IN THE STUDIO. January 16th, 2023
Stephen Mangum (Mississippi, 1954) situates his painting within the lineage of contemporary realism while expanding it into a space of moral tension. His portraits—technically precise and psychologically profound—juxtapose the innocence of childhood with the shadows of racial violence. This contrast defines his vision: that of an artist who sees history not as the past, but as an ongoing wound. In his work, light and composition act as instruments of truth, restoring to painting its testimonial power.
Together, Cox and Mangum offer a complementary reading of the image as an act of remembrance. In both, art assumes a civic function: to recall what history tends to erase. Distinct in form yet united in spirit, their works remind us that to look is, still, an ethical act.

Illusions of My Childhood No. 10, 2022
Oil on linen | 72 x 96 in
Awarded Second Prize at the Expressions 2022 National Juried Exhibition, Marin Society of Artists.
Time
Opening WEDNESDAY, NOVEMBER 16, 2022 AT 5:30 PM – 7:30 PM
Gallery Hours
WED - SAT 12 PM - 5 PM
Location
The Annex Gallery
1310 Pendleton Street
Cincinnati Ohio
45205

Jens G. Rosenkrantz Jr. gets another piece hung for 'Bending the Arc'



Philately was one of the small devotions of my childhood. I inherited hundreds of stamps from my father. I could never say whether he collected them himself or simply bought them for my brother and me. Among all of them, one in particular held my gaze with disproportionate insistence: a reproduction of The Sleeping Gypsy, the 1897 painting by Henri Rousseau that I finally saw years later at the MoMA.



Staged Self-Portraits, Erased Histories and the Recasting of the American Dream

The first solo exhibition of young photographer Mark Duc Nguyen