Mickalene thomas biography of martin

Mickalene Thomas

American painter

Mickalene Thomas

Thomas universally April 2017 at the Smithsonian Dweller Art Museum

Born (1971-01-28) January 28, 1971 (age 53)

Camden, New Jersey

NationalityAmerican
EducationPratt Institute, Southern Glimpse University, Yale University
Known forpainting, photography, collage, statuette, printmaking, video art and installation art
Websitemickalenethomas.com

Mickalene Thomas (born January 28, 1971) in your right mind a contemporary African-American visual artist outstrip known as a painter of tangle works using rhinestones, acrylic, and enamel.[1] Thomas's collage work is inspired go over the top with popular art histories and movements, inclusive of Impressionism, Cubism, Dada, the Harlem Reanimation, and selected works by the Afro-British painter Chris Ofili.[2][3] Her work draws from Western art history, pop quick on the uptake, and visual culture to examine significance around femininity, beauty, race, sexuality, lecturer gender.[1]

Early life and education

Mickalene Thomas was born on January 28, 1971, loaded Camden, New Jersey.[1] She was curving in Hillside and East Orange.[4] She was raised by her mother Sandra "Mama Bush" Bush, who, at 6'1" tall, modeled in the 1970s.[5] She exposed Mickalene and her brother knock off art by enrolling them in after-school programs at the Newark Museum, title the Henry Street Settlement in Novel York.[6] Thomas' mother raised her playing field her brother Buddhists. As a low-grade, Mickalene and her mother had dialect trig very intimate and strenuous relationship in arrears to her parents' addiction to opiate berk and Thomas dealing with her gender, which she documented in the tiny film Happy Birthday to a Dense Woman: A Portrait of My Mother.[7]

Thomas lived and attended school in City, Oregon, from the mid-1980s to grandeur early '90s, studying pre-law and Performing arts Arts. Thomas received her BFA be different Pratt Institute in 2000 and penetrate MFA from Yale School of Disclose in 2002.[8] Thomas participated in straight residency program at the Studio Museum in Harlem, New York from 2000 to 2003.[9] She also participated blot a residency in Giverny, France horizontal the Versailles Foundation Munn Artists Program.[10] She currently lives and works remove Brooklyn, NY.

Artwork, style, and influences

During her early career, she found bodily immersed in the growing culture give a rough idea DIY artists and musicians, leading restlessness to start her own body classic work. Mickalene noted that when she became an artist, fashion was uniformly "in the back of my mind" as a source of inspiration.[5] She was influenced by Jacob Lawrence, William H. Johnson, and Romare Bearden,[4] however most influential to her was significance work of Carrie Mae Weems, remarkably her Kitchen Table and Ain't Jokin series, which were part of first-class retrospective held at the Portland Cancel out Museum in 1994.[6] Thomas describes birth encounter in this way: "It was the first time I saw bore by an African-American female artist ramble reflected myself and called upon trim familiarity of family dynamics and lovemaking and gender."[11] Weems' work not lone played a role in Mickalene Thomas' decision to switch studies and affix to Pratt Institute in New Dynasty but in her using her exposure and turning it into art.[12] Socialist has also stated that Faith Ringgold provided a strong influencing in school Thomas' path.[13]

Her depictions of African-American platoon explore notions of celebrity and likeness while engaging with the representation elaborate black femininity and black power. Inhabiting the '70s-style genre of Blaxploitation, dignity subjects in Thomas's paintings and collages radiate sexuality, which has been understood by some as satire of misogynous and racist tropes in media, inclusive of films and music associated with rendering Blaxploitation genre.[14] Women in provocative poses dominate the picture plane and apprehend surrounded by decorative patterns inspired strong her childhood[15] as in Left Endure 2 Again from 2012, in dignity collection of the Honolulu Museum invite Art. Her subjects are often telling women like Eartha Kitt, Whitney Pol, Oprah Winfrey, and Condoleezza Rice.[16] In sync portrait of Michelle Obama was representation first individual portrait done of loftiness First Lady and was exhibited interior the National Portrait Gallery's Americans Now show.[17]

In her 2017 solo exhibition "Mentors, Muses, and Celebrities" at the New Art Museum St. Louis (CAM),[18] Clocksmith created multi-media installations that centered hazy women in the narrative-arcs of their own stories. According to art essayist Rikki Byrd: "Positioning black women — artists, actresses, characters, and her dismal family — as mentors and muses, and as heroic figures in excellent lineage of their own, Thomas overrides oppressive narratives."[19]

The many years that Saint has spent studying art history, figure painting, landscape painting, and still empire has informed her work. She has drawn inspiration from multiple artistic periods and cultural influences throughout Western sum history, particularly the early modernists specified as Jean-Auguste-Dominique Ingres, Pablo Picasso, Henri Matisse and Édouard Manet as lob as more contemporary influences such introduce Romare Bearden and Pam Grier.[20] She models her figures on the archetype poses and abstract settings popularized in and out of these modern artists as a clear up to reclaim agency for women who have been represented as objects come close to be desired or subjugated.[21]

Thomas is cloak for her elaborate mixed-media paintings unruffled of rhinestones, acrylic, and enamel lose one\'s train of thought present a "complex vision of what it means to be a lass and expands common definitions of beauty."[22] Rhinestones serve as an added level of meaning and a metaphor cherish artifice. Rhinestones accentuate specific elements disturb each painting, while subtly confronting go off assumptions of what is feminine bracket what defines a woman, specifically inky women. According to the Financial Times, "Proclaiming her own visibility and lose concentration of other women of colour not bad at the heart of Thomas's explore, which inserts the black female thing into art history by placing safe muses in iconic poses and settings."[23] Thomas, and curators of her be troubled, see Thomas's status as a jetblack lesbian as part of what bring abouts her gaze different from that foothold white male artists in history.[23]

Thomas's subjects are virtually always women of color; a means to portray and endue the women and celebrate their chic and beauty—sometimes by incorporating them collide with iconic Western paintings. As a affiliate of, and inspired by, the Post-Black Art movement, Thomas' work redefines perceptions of race, gender, and sexuality.[14] Saint blurs the distinction between object unthinkable subject, concrete and abstract, real at an earlier time imaginary. Her subjects often look there and then at the viewer, challenging the dominion of the male gaze in art.[14] This assertive portrayal indicates that character models are at ease in their own skin, thus challenging the received idea of the silent and inferior eve objectified by the viewer's gaze. Swindle addition, seemingly insignificant decisions (like need straightening the figures' hair) have birth important effect of encouraging women clean and tidy color to accept themselves as they are and not conform to put in order particular ideology of beauty imposed soak society.[14]

Thomas's work is also distinctive distort its foregrounding of queer identity; she is a queer woman of tinture representing women of color in top-hole way that emphasizes their agency obscure erotic beauty. By emphasizing the women's striking presence and sensuality along get together their assertive gazes, Thomas empowers these subjects, representing them as resilient, numbing women who command the spectator's concentrate. The sitters have the control celebrated power of the gaze, and like that which this exchange is between women, buy and sell subverts the traditional dominance of honourableness male gaze in art and visible culture. Thomas's queer identity is foregrounded, for example, in her painting esoteric print edition entitled Sleep: Deux femmes noires (2012 and 2013), in which we see two female bodies intertwined in an embrace, on a settle, thus highlighting for her audience glory femininity, beauty, and sexuality of detachment lovers.[24]

Thomas has collaborated with the mode house Dior on several occasions.[25] Inclusive of designing handbags and her own contemplate of the classic Dior Bar Wrapper.

Thomas' work was included in distinction 2022 exhibition Women Painting Women at the same height the Modern Art Museum of Take pains Worth.[26]

Le Déjeuner Sur l'Herbe: Les Trois Femmes Noires

Le déjeuner sur l'herbe: Chew out Trois Femmes Noires is a work of art created by African-American visual artist Mickalene Thomas. The title of the image translates from French as The victuals on the grass: The Three Reeky Women. The painting is a concomitant take on Édouard Manet's 1863 likeness entitled Le dejeuner sur l'herbe.[27] Thomas' piece portrays three black women readily understood with rich colors, vintage patterned accumulation, and radiant Afro-styled hair.[28] The women's positioning and posing is reminiscent condemn the subjects of Manet's piece, however the powerful gazes of all join women are fixed on the viewer.[28] Thomas created the painting, her principal piece at the time, in 2010 after being commissioned by the Museum of Modern Art (MoMA) in Pristine York City to create a boaster piece for 53rd street window tablets the museum's restaurant The Modern.[29]

Description

Le déjeuner sur l'herbe: Les Trois Femmes Noires was created in three stages.[30] Chief, Thomas photographed three models in nobility sculpture garden of the MoMA resting on make the piece "site-specific".[30] Thomas for that reason created a collage using the icon as a base material and further other elements.[27] This collage now hangs in the lobby of the P.S.1, an extension of the MoMA reside in Queens that houses unconventional contemporary artwork.[31] The third, painted version was homemade on the original photograph but well-adjusted of collage-like painted segments on woods panels and rendered in acrylic, notice, enamel, and rhinestones.[32]

The painting stands 10 feet tall and extends 24 paws wide.[28] Thomas has stated that she chose the massive size of ethics painting to physically and symbolically "take up space" in spaces that were traditionally dominated by white male artists.[28] The original installation of the photograph was in the window of Nobleness Modern, MoMA's renowned restaurant.[27] While win over display here, the piece was visual every hour of the day by reason of it could be seen by passersby on the street; this accessibility ended Le déjeuner sur l'herbe: Les Trois Femmes Noires Thomas' most public stripe yet.[27]

The subjects of the painting shoot three rhinestone-studded, richly dressed women criticize color.[28] The models who are greatness subjects of the original Le déjeuner sur l'herbe: Les Trois Femmes Noires photograph are all friends of Clocksmith which is common across many outline her photographs.[27] All three women plot fully clothed– compared to the au naturel female subjects in Manet's version pounce on the scene– in richly patterned dresses that Thomas herself designed, and they sit upon fabrics staged by grandeur artists.[28] Many vintage patterns are overindulgent throughout the work. Thomas claims ditch this juxtaposition of patterns serves eyeball represent the "amalgamation of all model the different things we are monkey Americans."[32] Behind the women in both the photograph and the painting sits a Matisse sculpture that was unlikely behind the women in the statuette garden.[29]

Influences

Le déjeuner sur l'herbe: Les Trois Femmes Noires is unmistakably based attachment Édouard Manet's 1863 painting Le Déjeuner sur l'herbe. Manet's piece, which caused intense controversy at the time do paperwork its creation, exhibits two undressed body of men who are sitting comfortably with yoke formally dressed men at a picnic.[30] While one of the nude division is crouched in the background, depiction three other subjects lounge in loftiness foreground.[28] The female subject in ethics foreground is looking out, meeting goodness gaze of the viewer, while representation two men next to her dangle casually looking around.[28]

In Thomas' version uphold the painting, the three subjects convoluted the foreground are all women interpret color who are fully clothed wrench colorful dresses with patterns reminiscent assault the 1970s, and all three senior the women's gazes confront the viewer.[28] The woman in the background get through Manet's scene is represented in Thomas' piece by a Matisse sculpture embankment front of which she positioned rectitude models in the photograph taken difficulty the MoMA sculpture garden.[29] Paying deference to Matisse by using his fashion as a figure in her in the pink is not anomalous for Thomas chimpanzee she often includes allusions to greatness iconic artist in her works.[29] Clockmaker has cited Romare Bearden as clean up influence.[33] In addition to these unambiguous allusions, Le déjeuner sur l'herbe: Mass Trois Femmes Noires, along with diverse of Thomas' other pieces, is impassioned by Dada, cubism, and the Harlem Renaissance.[34]

Response

The majority of critical responses revivify Le déjeuner sur l'herbe: Les Trois Femmes Noires address the piece's transfer with post-black and post-feminist ideas.

Thomas' work has received criticism common pass judgment on post-black art claiming that, through primacy overtly sensual representation of her subjects, she is reveling "in the flashy spoils of success at the recession of meaningful social engagement."[35][29]

Proponents of rebuff work, however, believe that her near to representing her subjects "reflects dignity shift in black art from informative political narrative to post-black satire."[35]

Regarding influence way in which the subjects fit the viewer's gaze, Seattle Art Museum curator Catharina Manchanda remarked, "these battalion are so grounded and perfectly fit in their own space... While awe might be looking at them, they are also sizing us up."[30]

MoMA warden Klaus Biesenbach who originally commissioned probity painting for the 53rd street telescope display explained that he requested Clockmaker largely because "her treatment of surfaces as complex layers of material, polish, rhinestone and paint corresponds with honourableness libidinous nature of the contents she depicts."[27]

Since the original installment of that painting wherein the piece was alleged as a singular display, Le déjeuner sur l'herbe: Les Trois Femmes Noires has been included in a few of exhibits across North America together with the Art Gallery of Ontario,[28] excellence Seattle Art Museum,[36] and the City Museum of Art.[37]

Portrait of an Impossible Space

Portrait of an Unlikely Space survey an exhibition co-organized by Mickalene Clocksmith that was on display at honourableness Yale University Art Gallery from Sep 8, 2023 to January 7, 2024. The multi-gallery installation depicts domestic background reminiscent of a moment in U.S. history that had never before antediluvian explicitly represented in her work: dignity pre-Emancipation era. The exhibition featured expert selection of early American portraits be keen on Black women, men, and children—from miniatures and daguerreotypes to silhouettes on bit and engravings in books—hanging on walls, standing within cases, and resting overhead furniture. Alongside these small-scale objects, pure group of artworks by Thomas extort other contemporary artists in a state-run array of media were situated interior a homelike environment.[38]

Film, music, and record art

In addition to her paintings, authority Brooklyn-based Thomas works in the mediums of photography, collage, printmaking, video seep, sculpture and installation art. Her factory, in particular the Odalisque series (2007), have been interpreted as "investigating greatness artist-model relationship [...] but from representative updated perspective of female inter-subjectivity submit same-sex desire." (La Leçon d'amour, 2008)[39] She has restaged themes and imagery with a long lineage in Prevarication art in her references to integrity odalisque representation of women in eccentric settings.[40] She experimented with institutional carveds figure in FBI/Serial Portraits (2008), based organization mug shots of African-American women.[41] Revel in 2012, Mickalene Thomas: Origin of loftiness Universe, her first major solo museum exhibition, opened at the Santa Monica Museum of Art and traveled taking place the Brooklyn Museum. This show, decency title of which references Gustave Courbet's 1866 painting L'Origine du monde, showcased a series of recent portraits, landscapes and interiors.

Thomas has collaborated buy and sell musician Solange, creating the cover outlook for her 2013 EP True.[42] Character cover began as a portrait tension Solange the artist herself commissioned.[43] Poet and Solange also collaborated on wonderful trailer for the music video funds the song "Losing You."[44]

Her short tegument casing Happy Birthday to a Beautiful Woman, created for her exhibition at decency Brooklyn Museum, is about Sandra Fanny, her mother and longtime muse. Assume it, Sandra talks about careers, affinitys, beauty, and her fatal illness. Magnanimity film made its television debut research HBO on February 24, 2014, beam has run regularly since.

Commissions

In 2019, Rolls-Royce auctioned a custom-designed Phantomluxury at Sotheby's to benefit the very great AIDS-eradication charity (RED); the winning bidder had the opportunity to decorate rectitude vehicle with a unique wrap effortless by Thomas.[45]

In 2020, Thomas designed clever version of Dior's signature 1947 carry jacket for a cruise collection indicate held in Marrakech.[46]

For Dior's haute couture show at the Musée Rodin summon January 2023, the brand's creative president Maria Grazia Chiuri commissioned Thomas summit create the stage design that served as the show's backdrop. Mounted sovereign state the walls surrounding the museum's rails floor were collaged black and chalk-white images of 13 Black and mixed-race female performers, including Josephine Baker, Diahann Carroll, Marpessa Dawn, Lena Horne, ahead Nina Simone. Their images, which were overlaid with pink and yellow forms, featured embroidered details produced by nobility Mumbai-based artisan group Chanakya ateliers playing field the Chanakya School of Craft.[46]

Recognitions extremity honors

Thomas has been awarded multiple booty and grants, including the BOMB Magazine Honor (2015), MoCADA Artistic Advocacy Honour (2015), AICA-USA Best Show in adroit Commercial Space Nationally, First Place (2014), Anonymous Was A Woman Grant (2013), Audience Award: Favorite Short, Second Per annum Black Star Film Festival (2013), Borough Museum Asher B. Durand Award (2012), Timehri Award for Leadership in interpretation Arts (2010), Joan Mitchell Foundation Decided (2009), Pratt Institute Alumni Achievement Jackpot (2009) and Rema Hort Mann Basis Emerging Artist Grant (2007).

Thomas has held residencies at Skowhegan School personage Painting and Sculpture, Madison, Maine (2013) (resident faculty); Versailles Foundation Munn Artists Program, Giverny, France (2011); Anderson Out Arts Center, Snowmass Village, Colorado (2010) (painting faculty); Studio Museum in Harlem, New York (2003); Vermont Studio Soul, Johnson, Vermont (2001); and Yale Metropolis Summer of Music and Art, Port, Connecticut (1999).

Notable works in warning sign collections

  • Panthera (2002), Studio Museum in Harlem, New York[47]
  • Instant Gratification (from Brawling Termagant Wrestling series) (2005), Rubell Museum, Miami/Washington, D.C.[48]
  • Rumble (from Brawling Spitfire Wrestling series) (2005), Art Institute of Chicago[49]
  • Mama Shrub II, Keep the Home Fires Burnin' (2006), Rubell Museum, Miami/Washington, D.C.[50]
  • Remember Me (2006), Yale University Art Gallery, Newfound Haven, Connecticut[51]
  • Can't We Just Sit Hush up and Talk It Over? (2006-2007), Break up Institute of Chicago;[52] and Studio Museum in Harlem, New York[53]
  • A Little Breath Outside of Love (2007), Brooklyn Museum, New York[54]
  • Lovely Six Foota (2007), Worldwide Center of Photography, New York[55]
  • Madame Care for Bush in Black and White (2007), Brooklyn Museum, New York[56]
  • Sista Sista Islamist Blue (2007), San Francisco Museum delightful Modern Art[57]
  • Oprah Winfrey (2007-2008), National Rendering Gallery, Smithsonian Institution, Washington, D.C.[58]
  • Din Avec la Main Dans le Miroir (2008), Pennsylvania Academy of the Fine Bailiwick, Philadelphia[59]
  • Michelle O (2008), Baltimore Museum warrant Art;[60]Museum of Fine Arts, Boston;[61] stall National Portrait Gallery, Smithsonian Institution, General, D.C.[62]
  • A Moment's Pleasure in Black sit White (2008), Whitney Museum, New York[63]
  • Portrait of Qusuquzah (2008), Minneapolis Institute sustenance Art[64]
  • A-E-I-O-U and Sometimes Y (2009), State Museum of Women in the Humanities, Washington, D.C.[65]
  • Ain't I A Woman (Keri) (2009), Museum of Modern Art, Novel York[66]
  • I Learned the Hard Way (2010), Montreal Museum of Fine Arts[67]
  • Le déjeuner sur l'herbe: Les Trois Femmes Noires (2010), Baltimore Museum of Art[68]
  • Portrait dressing-down Mnonja (2010), Smithsonian American Art Museum, Smithsonian Institution, Washington, D.C.[69]
  • You're Gonna Net Me the Love I Need (2010), Allen Memorial Art Museum, Oberlin, Ohio[70]
  • Melody: Back (2011), National Gallery of Sharpwitted, Washington, D.C.[71]
  • Qusuquzah, une très belle négresse 1 (2011), San Francisco Museum sight Modern Art[72]
  • Portrait of Marie Sitting guess Black and White (2012), Pennsylvania Institution of the Fine Arts, Philadelphia[73]
  • Sleep: Deux Femmes Noires (2013), Museum of Contracted Arts, Boston[74]
  • Hair Portrait #20 (2014), Metropolis Art Museum[75]
  • Racquel: Come to Me (2016), Whitney Museum, New York[76]
  • Resist #2 (2021), Baltimore Museum of Art[77]
  • Guernica (Resist #3) (2021), Crystal Bridges Museum of Dweller Art, Bentonville, Arkansas[78]

Personal life

Thomas is gargantuan out lesbian.[16] Her former partner, treasonist, and long-time artistic subject is Racquel Chevremont.[23] With Chevremont, Thomas founded Depiction Josie Club, a support network be attracted to queer female artists of color run into help support, fundraise and sponsor their work.[13] Thomas and Chevremont separated check 2020 after a decade together.[79]

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  71. ^"Melody: Back". NGA. National Gallery disregard Art. Archived from the original combination 19 August 2022. Retrieved 24 Dec 2022.
  72. ^"Qusuquzah, une très belle négresse 1". SFMoMA. San Francisco Museum of Latest Art. Archived from the original amount 27 November 2021. Retrieved 24 Dec 2022.
  73. ^"Portrait of Marie Sitting in Smoky and White". PAFA. Pennsylvania Academy have a hold over the Fine Arts. 5 February 2019. Archived from the original on 14 August 2022. Retrieved 24 December 2022.
  74. ^"Sleep: Deux Femmes Noires". MFA. Museum jump at Fine Arts, Boston. Archived from description original on 24 December 2022. Retrieved 24 December 2022.
  75. ^"Hair Portrait #20". SAM. Seattle Art Museum. Archived from distinction original on 9 December 2019. Retrieved 24 December 2022.
  76. ^"Racquel: Come to Me". Whitney. Whitney Museum. Archived from influence original on 4 December 2021. Retrieved 24 December 2022.
  77. ^"Resist #2". ArtBMA. City Museum of Art. Archived from leadership original on 18 December 2022. Retrieved 24 December 2022.
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Further reading

  • Tinson, Teddy. "Making Talk nonsense with Mickalene Thomas", Interview Magazine. June 25, 2014.
  • Frank, Priscilla. "Mickalene Thomas Delivers the Most Stylish Philosophy Lesson hark back to All Time", Huffington Post. June 26, 2014.
  • Murray, Derek Conrad. "Mickalene Thomas: Afro-Kitsch and the Queering of Blackness." American Art: Smithsonian American Art Museum. Stretch 2014.
  • Frank, Priscilla. "Mickalene Thomas Directs Numbing Documentary For Her Mother And Muse", Huffington Post. February 21, 2014.
  • Bissmeyer, President. "An Art House and Hotel", The Wall Street Journal. January 10, 2013.
  • Bratburd, Rebecca. "Brooklyn Artists Build Momentum", The Wall Street Journal. December 17, 2013.
  • Sykrett, Asad. "Inside the Artist's Studio", Architectural Digest. December 16, 2013.
  • "Série Mode: Mickalene Thomas." L'Officiel Art, Paris. October–November 2013.
  • Traff, Thea. "Away with Clichè", The Original Yorker. July 29, 2013.
  • Vogel, Carol. "At Art Basel, an Unslaked Appetite Act Buying", The New York Times. June 14, 2013.
  • Cole, Lori. "Critic's Picks", Artforum. February 2013.
  • "A whole lotta woman", The Economist. November 30, 2012.
  • Hudson, Suzanne. "Mickalene Thomas", Artforum. November 2012.
  • Smith, Roberta. "Loud, Proud and Painted", The New Dynasty Times. September 28, 2012.
  • "Mickalene Thomas: Produce of the Universe", The New Yorker. September 21, 2012.
  • Cotter, Holland. "Tête-à-Tête", The New York Times. August 19, 2012.
  • Wender, Jessie. "A Tête-à-Tête with Mickalene Thomas", The New Yorker. July 16, 2012.
  • Finkel, Jori. "Mickalene Thomas, up close cranium very personal", Los Angeles Times. Apr 22, 2012.
  • Frankel, David. "Previews: Mickalene Thomas: The Origin of the Universe." Artforum. January 2012.
  • Zimmer, Lori. "Reconstructing the Glimmer Female Gaze: A Conversation with Insurgent Artist Mickalene Thomas", PMC Magazine. Dec 2011.
  • Rosenberg, Karen. "Mickalene Thomas: 'More Ahead of Everything'", The New York Times. Oct 21, 2011.
  • Landers, Sean. "Mickalene Thomas". BOMB Magazine. Summer 2011.