Courtesy of the artist, Susanne Vielmetter Los Angeles Projects, Lehmann Maupin, NY and Artists Rights Society (ARS), New York. Required fields are marked *. 909.607.3143, pitzer_galleries@pitzer.edu | www.pitzer.edu/galleries. 0000060469 00000 n Le déjeuner sur l'herbe: les trois femmes noires is a massive painting created by the African-American visual artist Mickalene Thomas. Mickalene Thomas lives and works in Brooklyn, NY. 0000057747 00000 n A major solo exhibition, “Origin of the Universe,” took place at the Brooklyn Museum of Art in 2012. By appropriating acclaimed pieces, she inserts herself and other Black women into the context of “great” Western art. "[4], Thomas is known for her masterful use of unconventional materials. 0000060260 00000 n [1] Thomas then created a collage using the photograph as a base material and added other elements. (52 1/2 x 64 x 2 1/4 in.) It was inspired by the museum’s Abby Aldrich Rockefeller Sculpture Garden, where a number of sculptures of female nudes are on display. She was influenced by Jacob Lawrence, William H. Johnson, and Romare Bearden Most influential to her was the work of Carrie Mae Weems, especially her Kitchen Table and Ain’t Jokin series, which were part of a retrospective held at the Portland Art Mus… Thomas’s work spans a multitude of mediums and hangs in major New York institutions like the Museum of Modern Art and the Guggenheim. [2], The subjects of the painting are three dazzling, richly dressed women of color. [4] (Thomas often includes allusions to Manetartist in her works. Le Déjeuner sur l'herbe : les trois femmes noires, peinture. Mickalene Thomas (born January 28, 1971) is a contemporary African-American visual artist best known as a painter of complex works using rhinestones, acrylic, and enamel. 0000010415 00000 n Tamika sur une chaise longue avec Monet, 2012, Mickalene Thomas, rhinestones, acrylic, oil, and enamel on wood panel, 108 x 144 x 2 in., Sydney & Walda Besthoff, Courtesy of the artist and Lehmann Maupin, New York and Hong Kong, © Mickalene Thomas. 2010. 0000002699 00000 n While we might be looking at them, they are also sizing us up. Thomas has restaged themes and symbolism with a long lineage in Western art in her references to the exoticization and objectification of women in representational genres such as the Odalisque, updating and challenging these through a female intersubjective gaze and same-sex desire. Left Behind. They’re not relegated to the margins of the canvas, but boldly and brightly command the centre. Thomas has exhibited extensively both nationally and internationally, including at the Hara Museum in Tokyo, Japan; at the National Portrait Gallery in Washington D.C.; and La Conservera Contemporary Art Centre in Ceutí, Spain. [3] An array of vintage patterns are juxtaposed throughout the work, which, Thomas claims, serves to represent the "amalgamation of all of the different things we are as Americans. 0000029630 00000 n The theme of community that runs through the show manifests physically in the exhibition space itself: three living rooms modelled after Thomas’s childhood living room in New Jersey. Thomas’s Black women are optimistic, sensual, vulnerable but most importantly they appear completely in control of their agency and subjectivity. Courtesy of the artist, Susanne Vielmetter Los Angeles Projects, Lehmann Maupin, NY and Artists Rights Society (ARS), New York. Visitors are encouraged to linger in three living rooms modelled after Thomas’s childhood living room in New Jersey. Instead of two fully dressed men and the nude woman who appear in Manet’s painting, Thomas presents us with three self-assured Black women who assertively consider us. 0000059313 00000 n Mickalene Thomas borrows the compositional format of Edouard Manet’s Le déjeuner sur l'herbe (1863). Thomas’s work is represented in the collections of the Museum of Modern Art, the Brooklyn Museum of Art, the Solomon R. Guggenheim Museum, the Whitney Museum of American Art, the Nerman Museum of Contemporary Art in Overland Park, KS, the Rubell Collection in Miami, FL, and the American Art Museum, Smithsonian Institution in Washington, D.C. Thomas is represented by Lehmann Maupin in New York, Susanne Vielmetter Los Angeles Projects and Galerie Nathalie Obadia in Paris. In a 2010 photograph entitled Le déjeuner sur l’herbe: Le Trois Femme Noires (2010), Thomas re-stages Édouard Manet’s famous image, substituting his painted figures for provocatively dressed black women. In the video collage Do I Look Like A Lady? Thomas's collage work is inspired from popular art histories and movements, including Impressionism, Cubism, Dada and the Harlem Renaissance. 0000000016 00000 n The female subject in the foreground is looking out, meeting the gaze of the viewer. Kelsey Adams is an arts and culture journalist born and raised in Toronto. Le déjeuner sur l'herbe: les trois femmes noires is a massive painting created by the African-American visual artist Mickalene Thomas. Thomas brings the history of fashion, style, and African art face-to-face with the history of modern art.

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