Past Exhibitions

Tomashi Jackson: Love Rollercoaster

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Sep 26, 2020–Nov 20, 2020
Galleries

Please note: in light of developments surrounding COVID-19, this exhibition is closed effective Monday, December 21. Read more. 
Refunds are available for tickets that have already been purchased. Should you want a refund please call (614) 292-3535, between the hours of 10 AM–4 PM.

ADMISSION
Free for members, college students (with valid ID), patrons under 18, active military and veterans
$9 general public
$7 senior citizens (65 and older), Ohio State faculty and staff (with BuckID)

All visitors are admitted to the exhibition for free on Thursdays after 4 PM and on the first Sunday of each month. The exhibition is closed on Mondays. 

We strive to host inclusive, accessible events that enable all individuals, including individuals with disabilities, to engage fully. If you have questions about accessibility or require an accommodation such as captioning or ASL interpretation to participate in this event, please contact Accessibility Manager Helyn Marshall at accessibility@wexarts.org or via telephone at (614) 688-3890. Requests made by two weeks in advance will generally allow us to provide seamless access, but the Wexner Center for the Arts will make every effort to meet requests made after this date.

Become a Member

For Love Rollercoaster, visual artist Tomashi Jackson has created five new paintings centered around themes of voter disenfranchisement and suppression in Ohio’s Black communities.

The paintings examine the state’s troubling history with these issues and its particular challenges in the present political moment. Photographs, local and national campaign ephemera, details from conversations with Ohio citizens, and planes of bright color are the foundational materials Jackson uses in creating these compelling works.

ABOVE
Tomashi Jackson, Love Rollercoaster (2016 Butler County Voting Line) (1965 John Lewis Accepts Voting Rights Signing Pen from LBJ), 2020. Acrylic, Pentelic marble, Ohio Underground Railroad site soil, American electoral ephemera, and paper bags on canvas and fabric. 88 1/8 x 81 x 8 in. Image courtesy of the artist and Tilton Gallery, New York.

More about our fall exhibitions

Presented amid the most contested presidential election in American history and massive social upheaval surrounding the entwined public health issues of systemic racism and the COVID-19 pandemic, the Wexner Center’s fall exhibitions showcased work from a diverse group of artists examining the tenets of American democracy, representative structures, and modes of political discourse. Discover more about the other exhibitions on view and related programs below.

A detail shot of a collage painting depicts three blurry figures.

Tomashi Jackson, Time and Space (1948 End of Voter Registration Line) (1965 LBJ Sings the Voting Rights Act), 2020. Acrylic, Pentelic marble, Ohio Underground Railroad site soil, American electoral ephemera, and paper bags on canvas and fabric. 89 3/8 x 83 3/4 x 8 in. Courtesy of the artist and Tilton Gallery, New York. Photo: Joshi Radin Flores.

Artist Tomashi Jackson is seated in front of two of her collage paintings

Tomashi Jackson in front of Is Anybody Gonna Be Saved? (1948 Middle of Voter Registration Line) (1965 Abernathy and King Watch the Signing of the Act), 2020, and Contradiction (1948 Head of Voter Registration Line) (1965 Clarence Mitchell, Patricia Roberts Harris, and Others Watch the Signing of the Act), 2020. Photographer: Joshi Radin Flores.
 

A full shot of a collage painting depicts three blurry figures.

Tomashi Jackson, Love Rollercoaster (2016 Butler County Voting Line) (1965 John Lewis Accepts Voting Rights Signing Pen from LBJ), 2020. Acrylic, Pentelic marble, Ohio Underground Railroad site soil, American electoral ephemera, and paper bags on canvas and fabric. 88 1/8 x 81 x 8 in. Image courtesy of the artist and Tilton Gallery, New York.

A detail shot of a collage painting shows pieces of voting advertisements alongside strokes of green, black, and yellow paint.

Tomashi Jackson, Contradiction (1948 Head of Voter Registration Line) (1965 Clarence Mitchell, Patricia Roberts Harris, and Others Watch the Signing of the Act), 2020. Acrylic, Pentelic marble, Ohio Underground Railroad site soil, American electoral ephemera, and paper bags on canvas and fabric. 89 1/2 x 80 x 8 in. Courtesy of the artist and Tilton Gallery, New York. Photo: Joshi Radin Flores.

A detail shot of a collage painting depicts 5 blurry figures.

Tomashi Jackson, Is Anybody Gonna Be Saved? (1948 Middle of Voter Registration Line) (1965 Abernathy and King Watch the Signing of the Act), 2020. Acrylic, Pentelic marble, Ohio Underground Railroad site soil, American electoral ephemera, and paper bags on canvas and fabric. 92 x 80 x 8 in. Courtesy of the artist and Tilton Gallery, New York. Photo: Joshi Radin Flores.

A detail shot of a collage painting depicts a blurry figure facing forward.

Tomashi Jackson, Time and Space (1948 End of Voter Registration Line) (1965 LBJ Sings the Voting Rights Act), 2020. Acrylic, Pentelic marble, Ohio Underground Railroad site soil, American electoral ephemera, and paper bags on canvas and fabric. 89 3/8 x 83 3/4 x 8 in. Courtesy of the artist and Tilton Gallery, New York. Photo: Joshi Radin Flores.

A detail of a collage painting depicts strokes of green and yellow paint over top print ephemera with messages about voting.

Tomashi Jackson, Contradiction (1948 Head of Voter Registration Line) (1965 Clarence Mitchell, Patricia Roberts Harris, and Others Watch the Signing of the Act), 2020. Acrylic, Pentelic marble, Ohio Underground Railroad site soil, American electoral ephemera, and paper bags on canvas and fabric. 89 1/2 x 80 x 8 in. Courtesy of the artist and Tilton Gallery, New York. Photo: Joshi Radin Flores.

A detail of a collage painting with continue strokes of blue and white paint over top brown paper bags.

Tomashi Jackson, Time and Space (1948 End of Voter Registration Line) (1965 LBJ Sings the Voting Rights Act), 2020. Acrylic, Pentelic marble, Ohio Underground Railroad site soil, American electoral ephemera, and paper bags on canvas and fabric. 89 3/8 x 83 3/4 x 8 in. Courtesy of the artist and Tilton Gallery, New York. Photo: Joshi Radin Flores.

A detail of a collage painting showing red paint strokes over print ephemera containing messages about voting.

Tomashi Jackson, Is Anybody Gonna Be Saved? (1948 Middle of Voter Registration Line) (1965 Abernathy and King Watch the Signing of the Act), 2020. Acrylic, Pentelic marble, Ohio Underground Railroad site soil, American electoral ephemera, and paper bags on canvas and fabric. 92 x 80 x 8 in. Courtesy of the artist and Tilton Gallery, New York. Photo: Joshi Radin Flores.

Related Material
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Organized by the Wexner Center for the Arts, originally conceived by former Senior Curator of Exhibitions Michael Goodson, and curated by Curatorial Associate Kristin Helmick-Brunet, Director of Learning and Public Practice Dionne Custer Edwards, and Chief Operating Officer Megan Cavanaugh.

MADE POSSIBLE BY
Greater Columbus Arts Council
American Electric Power Foundation
The Columbus Foundation
Ohio Arts Council
Institute of Museum and Library Services
Huntington Bank
Nationwide Foundation

ADDITIONAL SUPPORT PROVIDED BY
Jeni’s Splendid Ice Creams
Kaufman Development
Cardinal Health Foundation

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Detail from multimedia work created by artist Tomashi Jackson for the fall 2020 exhibitions at the Wexner Center for the Arts, this body of work focused on voter disenfranchisement in Ohio
READ, WATCH & LISTEN | LISTEN

Daily Stream: Tomashi Jackson's "Love Rollercoaster" playlist

Tue, Sep 08, 2020
Image of Tomashi Jackson's artwork on the side of a building
READ, WATCH & LISTEN | READ

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Gallery view of the exhibition Tomashi Jackson: Love Rollercoaster at the Wexner Center for the Arts
READ, WATCH & LISTEN | WATCH

Shumate Spotlight: Reg Zehner's tour of Love Rollercoaster

Tue, Nov 24, 2020
Close

Past Exhibitions

Tomashi Jackson: Love Rollercoaster

Sep 26, 2020–Nov 20, 2020
Saturday's Hours 11AM–7PM
Galleries

Please note: in light of developments surrounding COVID-19, this exhibition is closed effective Monday, December 21. Read more. 
Refunds are available for tickets that have already been purchased. Should you want a refund please call (614) 292-3535, between the hours of 10 AM–4 PM.

ADMISSION
Free for members, college students (with valid ID), patrons under 18, active military and veterans
$9 general public
$7 senior citizens (65 and older), Ohio State faculty and staff (with BuckID)

All visitors are admitted to the exhibition for free on Thursdays after 4 PM and on the first Sunday of each month. The exhibition is closed on Mondays. 

We strive to host inclusive, accessible events that enable all individuals, including individuals with disabilities, to engage fully. If you have questions about accessibility or require an accommodation such as captioning or ASL interpretation to participate in this event, please contact Accessibility Manager Helyn Marshall at accessibility@wexarts.org or via telephone at (614) 688-3890. Requests made by two weeks in advance will generally allow us to provide seamless access, but the Wexner Center for the Arts will make every effort to meet requests made after this date.

Become a Member