Robert Colescott

Modern Day Miracles, 1988, Acrylic on canvas, 213.4 x 182.9 cm, Rubell Museum, Miami; ©️ 2023 The Robert H. Colescott Separate Property Trust / Artists Rights Society (ARS), New York; Photo: Courtesy Rubell Museum, Miami and Washington DC

Sheep in Need

Commentary by Ena Heller

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Robert Colescott (1925–2009) was an American painter, printmaker, and teacher best remembered today as disruptor of the art-historical canon by appropriating iconic paintings and reimagining them to include Black figures. The intention was to make visible those who have been traditionally invisible not only in the history of art, but also in American history more generally (Platow & Simms 2019). 

Modern Day Miracles is in many ways typical of Colescott’s work from the 1980s, when he turned to tougher, often more political, subjects, while also introducing biblical and mythological stories or symbolism into his works. At the same time, the compositions became more crowded, more dynamic—people from different eras, narratives, or cultures are brought together, overlapping, often clustered in the foreground, as if urging us to pay attention; to see them.

There is an urgency conveyed in such compositions, the reason for which becomes clearer when considering the subject matter. Here, a large Jesus figure, robed in white, stands out in the middle right ground, his eyes closed, his hand touching a Black woman directly in front of him. The figures in the foreground, although spatially closer to us, are significantly smaller than the two central figures, as if to reinforce their relative invisibility. Several scenes are described here: a bedridden woman is being examined by a doctor with a stethoscope, another female figure standing by her side; next to them a man is eating, while a smiling young boy looks on; further back, a woman is cooking a fish on the stove. The entire scene is lit by one lamp on the bedstand, its colourful lampshade one of several vibrant colours punctuating the composition.

Jesus’s presence in this otherwise domestic scene, combined with the painting’s title, emphasizes his message of compassion for all those who are ‘harassed and helpless, like sheep without a shepherd’ (v.36). In an indictment of ongoing inequality, the painting suggests that the modern-day ‘miracle’ is the very fact that Black people have access to healing and medicine, to food and electricity.

See full exhibition for Matthew 9:35–38; Mark 6:34; Luke 8:1; 10:2

Matthew 9:35–38; Mark 6:34; Luke 8:1; 10:2

Revised Standard Version

Matthew 9

35 And Jesus went about all the cities and villages, teaching in their synagogues and preaching the gospel of the kingdom, and healing every disease and every infirmity. 36When he saw the crowds, he had compassion for them, because they were harassed and helpless, like sheep without a shepherd. 37Then he said to his disciples, “The harvest is plentiful, but the laborers are few; 38pray therefore the Lord of the harvest to send out laborers into his harvest.”

Mark 6

34As he went ashore he saw a great throng, and he had compassion on them, because they were like sheep without a shepherd; and he began to teach them many things.

Luke 8

8 Soon afterward he went on through cities and villages, preaching and bringing the good news of the kingdom of God. And the twelve were with him,

2And he said to them, “The harvest is plentiful, but the laborers are few; pray therefore the Lord of the harvest to send out laborers into his harvest.