Tag Archives: Mickalene Thomas

BLACK MODELS AT ORSAY

“The French exhibition is a welcome change … but in bringing black people to the fore of such art we must be careful to frame the images correctly. Black people were present in this history and paintings, not as equals but as subjects. Renaming them and removing racist epithets does not change the subservient role many of the paintings portray. It is tempting to get carried away celebrating our presence, while forgetting why we were there and continue to be here. In the most part, we remain subjects oppressed to the margins of the canvas.” — Kehinde Andrews

BLACK MODELS—FROM GÉRICAULT TO MATISSE, an exhibition of paintings featuring black sitters—some of which have been retitled to honor their subjects—is on view in Paris through mid-summer.

BLACK MODELS—FROM GÉRICAULT TO MATISSE

Through July 21.

Musée d’Orsay

1 rue de la Légion d’Honneur, 7th, Paris.

From top: Mickalene Thomas, Din, a very beautiful black woman #1, 2012, © Mickalene Thomas, Artist Rights Society, New York; Marie-Guillemine Benoist, Portrait of a Black Woman, 1800, renamed Portrait of Madeleine; Eugène DelacroixPortrait of a Woman in a Blue Turban, circa 1827, Dallas Museum of Art; Jean-Léon Gérôme, Slave for Sale, 1873; Edouard Manet, Olympia, 1863, renamed Laure, Musée de Louvre; Charles AlstonGirl in a Red Dress, 1934, collection Harmon and Harriet Kelley Foundation for the Arts, San Antonio; Henri MatisseDame à la robe blanche, 1946, Des Moines Art Center Permanent Collections, © 2018 Succession H. Matisse, ARS, New York, photograph by Rich Sanders. Images courtesy Musée d’Orsay.

MICKALENE THOMAS — FEMMES NOIRES

MICKALENE THOMAS—FEMMES NOIRES—the artist’s investigation of race and representation through a black, queer, feminist lens—is Thomas’ first large-scale solo exhibition in Canada.

MICKALENE THOMAS—FEMMES NOIRES

Through March 24.

Art Gallery of Ontario

317 Dundas Street West, Toronto.

Top: Mickalene Thomas, Los Angelitos Negros (detail), 2016. Four HD monitors, two-channel HD video, sound. © Mickalene Thomas. (Eartha Kitt is featured in this image.)

Above: Mickalene Thomas, Diahann Carroll #2, 2018. Silkscreen ink and acrylic on acrylic mirror, mounted on wood panel. © Mickalene Thomas. Courtesy the artist and Galerie Nathalie Obadia, Paris/Brussels.

Below: Mickalene ThomasLe Dejeuner sur l’herbe: Les trois femmes noires (detail), 2010. Rhinestones, acrylic, and enamel on wood panel. The Rachel and Jean-Pierre Lehmann Collection © Mickalene Thomas.

Images courtesy the artist, the Art Gallery of Ontario, and the Artists Rights Society (ARS), New York.

PEGGY COOPER CAFRITZ

Peggy Cooper Cafritz—the Washington, D.C., collector of African-American art, salonist, activist, fundraiser, co-founder of the Duke Ellington School of the Arts, and just-published author—died last week in the capital.

Her 2018 book FIRED UP! READY TO GO!—FINDING BEAUTY, DEMANDING EQUITY brings together images of more than 200 works of art that were lost in a 2009 house fire, as well as the art Cooper Cafritz had collected in the years since the catastrophe.

The Cooper Cafritz collection includes pieces by Jacob Lawrence, Romare Bearden, Edward Mitchell Bannister, Alma Thomas, Norman Lewis, Kara Walker, Kerry James Marshall, Mickalene Thomas, El Anatsui, Yinka Shonibare, Nick Cave, Kehinde Wiley, Glenn Ligon, Barkley L. Hendricks, Lorna Simpson, Carrie Mae WeemsNoah Davis, LaToya Ruby Frazier, Titus KapharNjideka Akunyili Crosby, and Toyin Ojih Odutola.

PEGGY COOPER CAFRITZ, FIRED UP! READY TO GO!—FINDING BEAUTY, DEMANDING EQUITY: AN AFRICAN AMERICAN LIFE IN ART, THE COLLECTIONS OF PEGGY COOPER CAFRITZ (New York: Rizzoli , 2018).

Contributors to the book’s text include Thelma Golden, Simone Leigh, Uri McMillan, Jack ShainmanTschabalala Self.

From top: Torkwase Dyson, Strange Fruit (Blue Note), 2015, acrylic on board; Romare Bearden, Prince Cinque (Maquette), 1976, felt pen with watercolor and collage on graph paper; Jas Knight, Autumn, 2015, oil on linen; Loren Holland, The Messenger, 2005, oil on paper; Noah Davis, Black Widow, 2007, acrylic and gouache on canvas; Nina Chanel Abney, Untitled, 2012. All images © the artists, courtesy the Estate of Peggy Cooper Cafritz, and Rizzoli.

POWER AT SPRÜTH MAGERS

“The cultural contributions of women and women of color are still underrepresented in the art world, and we are still asked to contextualize our practice in ways that other privileged artists simply are not.” — Shinique Smith*

“I have recently been exploring the idea of doing my work in secret. I was inspired by discovering the work of The United Order of Tents. They are a secret society of black nurses. They have supported each other and done good works since the Civil War. The Mother Emmanuel Church met in secret for 35 years, while black churches were banned in South Carolina after the Nat Turner rebellion.

“I don’t really have time to explain my work to people who feel that I have an identity and they don’t. I don’t have time to unpack all that. I’m focused on using black feminist theory or any other tools that can help me sharpen my knife, and make better work.” — Simone Leigh*

POWER: WORK BY AFRICAN-AMERICAN WOMEN FROM THE NINETEENTH CENTURY TO NOW, a survey of over 60 works by 37 artists—including Ellen Gallagher, Sister Gertrude Morgan, Betye Saar, Ntozake ShangeMickalene Thomas, Kara Walker, and Carrie Mae Weems—is now on view at Sprüth Magers, Los Angeles.

The exhibition, curated by Todd Levin, also includes a selection of images from the Ralph DeLuca Collection of African American Vernacular Photography.

 

POWER: WORK BY AFRICAN-AMERICAN WOMEN FROM THE NINETEENTH CENTURY TO NOW, through June 10.

SPRÜTH MAGERS, 5900 Wilshire Boulevard, Los Angeles.

 

*Artists’ quotes from Power, the booklet published on the occasion of the exhibition:

spruethmagers.com/exhibitions/445

ALSO SEE: theguardian.com/artanddesign/2017/apr/05/kara-walker-karon-davis-power-black-female-artists

The participating artists: Beverly Buchanan, Elizabeth Catlett, Sonya Clark, Renee Cox, Njideka Akunyili Crosby, Karon Davis, Minnie Evans, Nona Faustine, LaToya Ruby Frazier, Ellen Gallagher, Leslie Hewitt, Clementine Hunter, Steffani Jemison, Jennie C. Jones, Simone Leigh, Julie Mehretu, Sister Gertrude Morgan, Senga Nengudi, Lorraine O’Grady, Sondra Perry, Howardena Pindell, Faith Ringgold, Betye Saar, Joyce J. Scott, Emmer Sewell, Ntozake Shange, Xaviera Simmons, Lorna Simpson, Shinique Smith, Renee Stout, Mickalene Thomas, Alma Woodsey Thomas, Rosie Lee Tompkins, Kara Walker, Meta Vaux Warrick Fuller, Carrie Mae Weems, and Brenna Youngblood.

Shinique Smith, Bale Variant No. 0023 (Totem), 2014 Clothing, fabric, accesories, ribbon, rope, and wood 243.8 x 50.8 x 50.8 cm 96 x 20 x 20 inches Image credit: Shinique Smith and Sprüth Magers

Shinique Smith, Bale Variant No. 0023 (Totem), 2014
Clothing, fabric, accesories, ribbon, rope, and wood
243.8 x 50.8 x 50.8 cm
96 x 20 x 20 inches
Image credit: Shinique Smith and Sprüth Magers