Where to See Mickalene Thomas

Mickalene Thomas's work has been featured in numerous exhibitions. HOME, a Black-owned art space in London launched in November 2020 by photographer Ronan Mckenzie, supports BIPOC and female artists, functioning as an art gallery, library, workspace and community venue. HOME offers a variety of exhibitions and events, such as film nights, supper clubs, artist talks, workshops, portfolio reviews, musical performances and life drawing classes. Additionally, HOME has partnered with local charities and social organisations. Conceptual Fade, a project started by artist Tiona Nekkia McClodden, functions as half gallery and half reference library, with the aim of promoting a deeper understanding of Black art and thought. The gallery's interior offers an intimate retreat and an opportunity to engage with work by intergenerational Black visual artists, writers, musicians and designers. McClodden’s personal library, including a selection of Black artists’ monographs, exhibition catalogues and related publications, is accessible for public research.

Mickalene Thomas's prints, like those of many contemporary artists, exist in a diverse market. Some are fine-art editions, while others have a more commercial focus; it is worth researching the market to determine the category. Fine-art prints are often sold via specialised print galleries, high-end decorating outlets, and fine-art galleries. Commercial prints may be found in frame shops, furniture stores, and other retail outlets. Thomas may create original prints, offset reproductions, or giclée prints. Each has different production methods. Original prints, such as woodcuts, are produced by hand by the artist. Offset reproductions are created using photochemical methods. Giclée prints are made using inkjet technology. Canvas transfers, where the image is transferred onto canvas, are also an option. When collecting prints, understanding editioning is also important. Edition sizes and numbers can vary widely and affect the value.

Mickalene Thomas combines varied materials and techniques in her practice. She prepares surfaces with priming mediums such as PVA size or rabbit skin glue, before applying oil priming paint. Thomas may also use acrylic pigment or tinted gesso to tone the ground, sometimes applying it as a smooth veil or in a mottled fashion. She uses both prestretched and preprimed canvas. Thomas also paints on photographic substrates. Since the late nineteenth century, artists have painted over photographic images using oil paints, aniline dyes, watercolours, and pastels. To prepare the photographic surface, artists sometimes apply a preparatory layer of gelatin (for oils) or shellac (for watercolours and pastels). Experimentation, a general awareness of combined media, and the desire to fulfil aesthetic or intellectual aims guide the artist's choices.

It is difficult to identify specific artists directly influenced by Mickalene Thomas. However, the art-historical context suggests some broader relationships. Artists often position themselves within a lineage, either revering predecessors or challenging established messages. The availability of photographic reproductions allows artists to revise art history and insert themselves into the canon, actively reworking images rather than passively consuming them. Some artists engage with the art of the past by producing updated versions of older works. For example, Duane Michals's 'The Annunciation' (1969) references the Ghent Altarpiece (1432). Kerry James Marshall's 'School of Beauty, School of Culture' (2012) alludes to Hans Holbein the Younger’s 'The Ambassadors' (1533). Lynette Yiadom-Boakye, of Ghanaian descent, noticed the preponderance of white faces in art history and began painting fictional portraits of black subjects. She placed them in poses drawn from traditional white art-historical contexts.

Mickalene Thomas draws on a range of influences. Matisse appears to be a particularly important figure. His impact on American art includes his use of all-over centrifugal composition, space-defining colour, sharp abstraction from nature (especially in his paper cut-outs), making the decorative powerful, and using black as both colour and light. Matisse's work, especially his paper cut-out La Vague, offered a prototype for designing with voids or gaps, rather than positive forms. Some artists used Matisse's surface-oriented figurative work to bypass abstract expressionism. Despite diverse responses to Matisse, many artists express admiration for him. Other influences include Kandinsky, Cézanne, Delaunay, Picasso and Cubism. The work of Mondrian also seems to have been significant.

It is difficult to isolate a single 'most famous' work by Mickalene Thomas, as her notability arises from a combination of factors. These include her distinctive artistic style, which incorporates bold patterns and rhinestones, and her focus on portraying Black women in a way that challenges conventional representation. Thomas's work often explores themes of identity, beauty, and the representation of women in art history and popular culture. Some of her well-known pieces include portraits of Michelle Obama and Eartha Kitt. Thomas's work extends beyond portraits; she also creates collages and mixed-media pieces that engage with ideas about Black culture, femininity, and the gaze. Her art invites viewers to consider the complexities of representation and the power dynamics inherent in image-making.

Mickalene Thomas emerged as an artist during a period of pluralism, when artists felt free to incorporate a variety of styles and cultural trends. This era, sometimes called Postmodernism, began around 1970. It saw artists challenging aspects of Modernism and questioning assumptions about art. Thomas is best known for her portraits composed of rhinestones, acrylic, and enamel. She often depicts black women in domestic settings, drawing inspiration from popular culture and art history. Thomas's work also engages with themes of identity, beauty, and representation. Other artists of this period include Kerry James Marshall, who addresses the history of post-civil rights America. His paintings evoke the utopian aspirations of the 1960s. Similarly, figures such as Keith Haring began as street artists in New York City, creating cartoon-like figures rooted in popular culture. Jenny Saville's unflattering self-portraits comment on contemporary obsessions with the body.

Mickalene Thomas is known for her paintings that often feature African-American women in domestic settings. These works frequently incorporate rhinestones, acrylic paint, and enamel, creating textured, visually stimulating surfaces. Thomas's art explores themes of beauty, identity, sexuality, and representation, often drawing inspiration from art history and popular culture. She reclaims and redefines images of black women, challenging stereotypical portrayals. Her subjects are typically confident, powerful, and self-aware, directly confronting the viewer. While painting is central to her practice, Thomas also works in photography, collage, and installation. Her photographic portraits share similarities with her paintings, using staged settings and embellishments to create striking compositions. She has received recognition for her innovative approach to portraiture and her contribution to contemporary art.