A series of public art installations featuring large bronze statues of plus-sized Black women have emerged in major cities worldwide, sparking debate about representation and cultural values. The most recent addition, a 12-foot bronze sculpture titled “Grounded in the Stars,” was installed in New York City’s Times Square, created by artist Thomas J. Price.
The statue’s placement comes in stark contrast to recent removals of historical monuments, including those of Thomas Jefferson and Theodore Roosevelt in New York City last year. According to Price, the new installation aims to challenge conventional notions of triumphant figures and promote reflection on human diversity.
The artwork depicts a casual figure wearing loose-fitting clothing, which has generated mixed reactions from the public. Critics have questioned the artistic choices, particularly noting the informal attire and stance of the figure. Some observers have expressed concern that the representation might reinforce rather than challenge stereotypes.
Similar installations by Price have appeared in multiple international locations, including Florence, San Francisco, Rotterdam, and London’s Brixton station. Each sculpture follows a comparable aesthetic, featuring contemporary, informal poses and clothing styles.
The artist’s website describes “Grounded in the Stars” as an “introspective meditation on humanity” designed to encourage slower contemplation in an increasingly fast-paced culture. The piece is specifically positioned to create a deliberate contrast with existing statues in Duffy Square, including those of Father Francis Duffy and George M. Cohan.
Critics of these installations have raised questions about the choice to create fictional characters rather than honoring historical Black women of achievement, such as Harriet Tubman, Daisy Bates, or Maya Angelou. Some commentators have suggested that the proliferation of similar sculptures across different cities creates a paradoxical effect of cultural homogenization while purportedly celebrating diversity.
The funding for these installations has involved combinations of federal, municipal, and private sources. The pattern of similar sculptures appearing in multiple global locations has led to discussions about the role of public art in shaping cultural narratives and representations.
Social media discourse around the installations has highlighted varying perspectives on representation and artistic intent. While some view the works as promoting inclusivity, others argue they might inadvertently perpetuate stereotypes through their casual presentation and styling choices.
These installations have emerged during a period of significant debate about public monuments and their role in society. The contrast between the removal of historical statues and the installation of these new works has become a focal point for discussions about changing cultural values and representations in public spaces.
The artistic initiative has sparked broader conversations about the nature of public art, representation, and cultural diversity in urban environments. Questions have been raised about the impact of creating a unified aesthetic across different cities and cultures, and whether this approach truly serves the stated goal of promoting diversity and reflection on the human condition.
The phenomenon represents a significant shift in public art
installations, moving away from traditional heroic or historical figures toward contemporary, everyday representations. This
transformation in public sculpture has become both a reflection of changing social values and a source of ongoing debate about
appropriate forms of cultural representation in shared spaces.