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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 New York Times

June 14, 2013

At Art Basel, an Unslaked Appetite for Buying
By Carol Vogel


BASEL, Switzerland — Within a five-minute walk from Art Basel, the world’s leading fair for contemporary art, is a small upstairs space frozen in the not-so-contemporary 1970s. Mirrors and imitation wood paneling line the walls. A patchwork of African textiles covers the furniture, and the floors are a mix of linoleum, wood and carpeting. There is a bar, too, with lava lamps and a fake copper ceiling. Hits by Aretha Franklin, Donna Summer and Diana Ross play every night at ear-piercing decibels.


On Wednesday morning, standing in the middle of it all dressed in baggy pants and a T-shirt was Mickalene Thomas, the 42-year-old Brooklyn artist who created the environment here. She calls it “Better Days” after a group of her mother’s friends who would hold parties, plays and fashion shows to raise money to fight sickle cell anemia, a disease that runs in her family. “Better Days” is the installation for the Absolut Art Bureau, sponsored by the Swedish vodka company Absolut in partnership with Art Basel, where more of Ms. Thomas’s work is on display.


“I’ve done environments before, but this is the most three-dimensional,” said Ms. Thomas, who recently had a much-praised exhibition at the Brooklyn Museum.


At the nearby fair, which runs through Sunday, her Chelsea dealer, Lehmann Maupin, is showing several of her paintings. One, “Hair Portrait Series #10,” depicting the braided hair of four African-American women on wood panel with acrylic and rhinestones, was snapped up for $55,000 just hours after the fair opened.


“Collectors these days are looking for artists that have museum and curatorial support,” said David Maupin, one of the gallery’s founders.


The cavernous convention center that houses the fair has booth after booth filled with blue-chip masters like Warhol, Picasso, Bacon and Calder, or artists who, like Ms. Thomas, have been the subject of recent museum exhibitions or are featured at the Venice Biennale, which opened this month.


There are also examples of works similar to those that brought enormous prices at the May auctions in New York.


“Galleries bring what they know the market wants,” said Allan Schwartzman, an art adviser from New York.


As large and lively as ever, with 304 galleries exhibiting from 39 countries, Art Basel is still a magnet for big-money collectors and museum directors. Among those at the invitation-only opening on Tuesday were New York financiers like Donald B. Marron and Leon Black, the Miami collectors Donald and Mera Rubell and the Russian oligarch Roman A. Abramovich. Also seen perusing booths was Richard Armstrong, who runs the Solomon R. Guggenheim Foundation; Alain Seban, president of the Pompidou Center in Paris; and Nicholas Serota, director of the Tate in London.


“I’ve been coming here since the 1980s, when dealers would bring works they couldn’t sell in their galleries,” said Jeffrey Deitch, director of the Museum of Contemporary Art in Los Angeles. “Now these dealers are like museum curators, working for months on their installations.”


Just weeks after the buoyant May auctions, collectors still appear to have money to spend. Among the dealers reporting brisk sales was the Helly Nahmad Gallery. Its New York branch was represented here with a large booth filled with paintings and sculptures by Calder, Lucio Fontana and Bacon. By the end of Tuesday, more than six big-ticket works had been sold, including a 1961 Calder mobile for $12 million and a 1968 painting by Fontana for $6 million.


The Nahmads, a dynasty of dealers with spaces in the Carlyle Hotel in New York and on Cork Street in London, have been in the spotlight recently. In April, Hillel Nahmad, 34, known as Helly, was charged by federal prosecutors with playing a leading role in a gambling and money-laundering operation that stretched from Kiev and Moscow to Los Angeles and New York, where he is based. Mr. Nahmad, who has denied these charges, is missing from the fair this year; as part of his bail he had to surrender his passport.


But his cousin in London, who runs the family’s Cork Street gallery and is also called Helly, said he had seen a lot of new buyers. “They are from all over — Europe, China, Latin America and Italy,” he said.


Late Picassos have been top sellers at auctions in recent years, and at Dominique Lévy, the New York dealer, “Tête d’Homme à la Pipe,” from 1971, hung prominently in her booth. Priced at $15 million, it had been sold by Thursday. Ms. Lévy is also in discussions with a collector to sell a 1959 untitled Barnett Newman drawing listed at $7 million. (At Sotheby’s last month Newman’s seminal painting “Onement VI,” a deep-blue abstract composition from 1953, sold for $43.8 million, a record for the artist at auction.)


One of the more talked-about collateral exhibitions in Venice during the Biennale’s opening was an immersive installation by the Italian-born artist Rudolf Stingel. He covered the Palazzo Grassi with his own Persian-inspired carpeting on which he hung his abstract and photo-realist paintings. In Basel, canvases by him were in several galleries. Three of his works, each priced around $2 million — at Massimo De Carlo, a gallery with spaces in Milan and London; Sadie Coles from London; and the Gagosian Gallery — were reported sold.


Drawings and sculptures by Claes Oldenburg, whose retrospective is at the Museum of Modern Art in New York through Aug. 5, could be spotted in many places, too. Leslie Waddington, the London dealer, was showing “Feasible Monument for a City Square: Hats Blowing in the Wind,” a 1969 group of five crumpled canvas hats painted with enamel and shellacked. It was Mr. Oldenburg’s visual reference to Adlai Stevenson, who in 1965 had a fatal heart attack on a London street as his signature hat was blowing away. (Priced at $700,000, it sold on Thursday.)


A larger installation of Mr. Oldenburg’s work was at the Paula Cooper Gallery from New York. Drawings, watercolors and sculptures, mostly from the 1960s, were on display. Among them was “Scissors Monument Cut-Out,” a watercolor of two halves of a pair of scissors, from 1967. It sold to a New York collector for $200,000.


Although her gallery has been showing Mr. Oldenburg for years, Paula Cooper said that now seemed a good time to bring a group of his works to Basel because of the show at MoMA and one in Cologne, Germany, last year.


“Those people who have always admired Claes are rediscovering him,” she said. “So are a new generation who didn’t know his work until now.”