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Museum Exhibition

L'Ecole des Beaux Art...
Mickalene Thomas: Femme au divan II

July 5 – August 31, 2014

museum exhibition

George Eastman House
Happy Birthday to a Beautiful Woman

June 20 – October 19, 2014

Artist Project

Mickalene Thomas
Decópolis: The Talent of Others

February 6 - 24, 2013
The Proposition, New York

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Artist Bio

Mickalene Thomas

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Ocula

December 20, 2016

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Artomity

December 15, 2016

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What Happens When Artists Take Over an Upper East Side Mansion W Magazine

April 5 2016

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Mickalene Thomas on Muses, Models, and Mentors Interview Magazine

March 10 2016

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‘Muse: Mickalene Thomas Photographs’ and ‘Tête-à-Tête’What to See in New York Art Galleries This Week New York Times

February 11 2016

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Mickalene Thomas on Her Photographic Muses Vogue

February 6 2016

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Kindred spirits: Mickalene Thomas' collaborative photography at Aperture Wallpaper* Magazine

February 2 2016

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In Mickalene Thomas’s awe-inspiring portraits, a meaningful reflection of black women in art New York Times

January 29 2016

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Tour Mickalene Thomas's Brooklyn Townhouse Vogue

January 6 2016

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Panel Discussion including Mickalene Thomas Art Basel Miami Beach 2015

December 3 2015

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Mickalene Thomas Receives 2015 United States Artist Fellowship Award

November 10 2015

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Beautiful Photos Of Women Take On Stereotypes Through High Art Refinery29

November 4 2015

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The New York Times

July 18, 2014

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Time Out New York

July 7, 2014

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Interview Magazine

June 26, 2014

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Huffington Post

June 26, 2014

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New York Observer / Gallerist NY

June 20, 2014

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American Art

Spring 2014

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Vogue

February 17, 2014

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The New York Times

June 14, 2013

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Phaidon

June 13, 2013

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Whitewall

June 12, 2013

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Artspace

June 7, 2013

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Wallpaper* Brooklyn queen of bling Mickalene Thomas bedazzles with her rhinestone-studded canvases

June 2013

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ARTnews

April 2013

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Opening Ceremony

March 20, 2013

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Artforum

February 14, 2013

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ICA Boston Mickalene Thomas

December 12, 2012 - April 7, 2013

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ANP Quarterly

Vol 2 / No 7

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The Wall Street Journal

November 23, 2012

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The New Yorker

November 12, 2012

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Financial Times Mickalene Thomas: Origin of the Universe, Brooklyn Museum, New York

November 7, 2012

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The New York Observer

November 5, 2012

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Artforum

November 2012

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Modern Painters

October 2012

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Brooklyn Museum, NY Mickalene Thomas: Origin of the Universe

28 September – 20 January 2012

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The New York Times

September 28, 2012

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The Wall Street Journal

September 27, 2012

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The Wall Street Journal

September 24, 2012

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The New York Times

September 21, 2012

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Time Out New York

September 13-19, 2012

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W Magazine

September 2012

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Vogue

September 2012

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New York Magazine

August 27, 2012

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Art Review

May 31, 2012

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Artinfo

May 15, 2012

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Huffington Post

April 25, 2012

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Los Angeles Times

April 21, 2012

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The New York Times

March 30, 2012

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Artforum

December 31, 2011

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Artforum

December 1, 2011

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Velvet Magazine

October 31, 2011

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The New York Times

October 20, 2011

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Loop 21

October 18, 2011

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The New Yorker

October 7, 2011

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The Village Voice

October 5, 2011

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Photograph Magazine

October 5, 2011

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Whitewall

September 29, 2011

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Artinfo

September 26, 2011

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Arude

September 13, 2011

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Modern Painters

August 31, 2011

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Paper

August 31, 2011

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Bomb

May 31, 2011

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Bomb Video Mickalene Thomas: Behind the Scenes

Summer 2011

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Life and Times

May 23, 2011

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Art in America

February 17, 2011

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Artnews

December 31, 2010

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NBC Washington

August 22, 2010

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A Sky Filled With Shooting Stars

July 29, 2010

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V Magazine In The Flesh

April 30, 2010

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New York Observer A Window on Art: Mickalene Thomas' Shiny Sex-Appeal Paintings

April 26, 2010

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Weltkunst

January 31, 2010

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NY Arts

August 31, 2009

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Time Out New York

April 23, 2009

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Artforum

April 20, 2009

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The New York Times

April 12, 2009

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Nylon

March 31, 2009

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Art + Auction In the Studio

February 28, 2009

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Bomb Number 107 / Spring 2009

February 28, 2009

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Wynwood

November 30, 2008

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Wound Issue 4 / Autumn 2008

September 30, 2008

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Trace

March 31, 2008

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Whitewall

December 31, 2007

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Modern Painters

November 30, 2007

The Village Voice


The Village Voice
October 05, 2011

Boom, Bubble, Bust: Matthew Barney + Jenny Saville + Mickalene Thomas
By Christian Viveros-Faunã

We have, the historian Jacques Barzun told us back in the 1980s, the culture we deserve. But perhaps it would be more accurate to say we have the culture we tolerate.

Cast back to that crass, crazily coiffed Reagan-Bush decade and recall the Rubik's Cube and Pac-Man crazes, the goonish Die Hard and Rambo franchises, and that hirsute slag calling herself Madonna. (Now where did she disappear to?) After you're done remembering that piddle, consider the era's dramatic political and economic swerve. What went woozy then is still very much with us today.

In folk-toy parlance, the country's social and economic structure moved from Lincoln Logs to Lego robotics 2.0, sustaining an avalanche of changes that shifted values with the force of an earthquake. Organized labor was pilloried. Wall Street and banking were deregulated. Derivatives were introduced. When the dust settled three decades later, the country was fundamentally different—10 percent of the population owned 73 percent of the wealth. At the ass-end of the boom-bubble-and-bust cycle that even free-market economists admit describes our teetering economic order, we've seemingly learned precious little. Ask an out-of-work machinist from Jersey City today what really gets his goat, and he'll probably crook a thumb at a picture of Obama or predictably freak at footage of two men kissing on The Millionaire Matchmaker.

"Postmodernism," my fellow art scribe Ben Davis wrote in paraphrase of the cultural critic Fredric Jameson, "is the cultural logic of neoliberalism." No truer sentence has been penned in the past decade; no more radical idea has been elevated from beneath the collective proboscis. The revelation that the "end of the grand narratives" trumpeted by liberal relativists fits the neocons' "end of history" like a Spanx tee, though, has hardly set the cultural world on fire. Like banking and government, there is little appetite today for wholesale reassessments. Take the current art world, for example: Inside its galleries, museums, and studios, folks have found it blindingly difficult to ask important questions about a crisis they have yet to fully acknowledge.

Proof of this willful ignorance (or amnesia) are some of the shockingly retread gallery exhibitions on view during New York's all-important back-to-school season. Attempts to cash in on yesterday's sure things amid the dramatically uncertain now, these shows present last-ditch plays for a back-to-the-future scenario. Instead of forward-looking contemporary art, what is on offer at some of Gotham's bigger showrooms looks more like lemons rummaged from the junk heap of art's DeLoreans.

Consider Jenny Saville's new exhibition of gigantic paintings at Gagosian's Madison Avenue space. An English artist celebrated in the 1990s for mammoth, fleshy nudes that fingered societal obsessions about plastic surgery, negative female body images, and excess chub, her work has since undergone a domestication that is as literal as it is, existentially, troubling. In place of the awkward rub that informed the massive paintings she exhibited at shows like 1997's "Sensation," Saville has currently turned her attention to inexpressive, fussily empty portraits of herself and her children—in XXXL scope.

In a nutshell, what originally seemed extreme—she trowels buckets of paint onto huge canvases with palette knives and squeegees—now looks like a parlor trick. That Saville's once racy forms have strayed far from her previously neurotic content becomes clear in repeated renditions of the artist holding her children. Inspired by Renaissance nativity portraits, these studiedly scumbled and scratched pictures (her superimpositions and erasures rarely avoid predictability) appear less visceral meditations on motherhood than vastly scaled geegaws propped up by classicism and sheer bloat. What dynamism this artist once possessed—which seduced this art critic to wax lyrical about her 1999 show—is past history. Her paintings today are as compelling as a 15-foot Hallmark card.

Another unwanted blast from the past is Matthew Barney, whose current exhibition at Barbara Gladstone features mainly cast sculptures from yet another epically expensive, absurdly scaled, utterly pointless extravaganza. Staged in Detroit, the all-day performance that begat the biggest iron, lead, bronze, and copper gallery monument featured—among other Caligula-like excesses—a freezing barge ride down the Detroit river, cars being dredged up, a legless actress, and a barrelful of snakes. About their significance: Better not to ask, since Barney is convoluted about his work to the point of unintelligibility. The gallery press release mentions Norman Mailer, Egyptian mythology, and a Chrysler Imperial in an attempt to describe "a complex system of storytelling that intertwines personal, historical, and modern mythologies." The point here—as in mall architecture—is confusion by design. How else to foist this gussied-up crap on an intelligent public?

In this first New York gallery outing in seven years, Barney still plays to type. He remains that figure New York loves well but never wisely: the artist as Alpha Creator. A persona whose extravagance dovetailed perfectly (during the boom times anyway) with the airs of hedge-fund billionaires, real estate moguls, and museum chairmen, his elaborate excesses gave arty, operatic voice to their buttoned-up longings. Presently, his inflated career symbolizes monumentality for its own sake—as illustrated by a 47,000-pound amorphous, poured-metal eyesore currently on view in Chelsea. No single message could seem more spectacularly out-of-date today.

By contrast, a third show in the city's newish arts neighborhood, the Bowery, sounds a note of restraint and even stocktaking that other artists might consider. Mickalene Thomas's exhibition at Lehmann Maupin is a scaled-down affair by an artist who recently made a splash with a blinged-up mural for MOMA's 53rd Street window. A display of medium- and small-scale photographs and collages—some of which exhibit a vivacity of color and texture that recalls passages of David Hockney—Thomas's salon-style hang suggests meditation, reinvention possibly. The culture we deserve isn't always, clearly, the culture we need. But at least this artist knows when it's time to stop, look around, and reassess.