{"id":906,"date":"2021-06-23T09:37:50","date_gmt":"2021-06-23T01:37:50","guid":{"rendered":"https:\/\/www.atelierauction.com\/globalupdates\/?p=906"},"modified":"2021-06-23T09:37:50","modified_gmt":"2021-06-23T01:37:50","slug":"how-mildred-thompsons-vibrating-canvases-envisioned-our-world-as-it-could-be","status":"publish","type":"post","link":"https:\/\/www.atelierauction.com\/globalupdates\/artist\/how-mildred-thompsons-vibrating-canvases-envisioned-our-world-as-it-could-be\/","title":{"rendered":"How Mildred Thompson\u2019s Vibrating Canvases Envisioned Our World As It Could Be"},"content":{"rendered":"

Until recently, the vast and significant contributions Black artists have made to the history of abstraction have been under-recognized by the mainstream art world. If artists like Sam Gilliam, Jack Whitten, and Howardena Pindell are finally getting their due, thanks to big museum shows and representation at the world\u2019s top galleries, many Black female abstractionists who began their careers in the mid-20th century such as Betty Blayton, EJ Montgomery, Mary Lovelace O\u2019Neal, and Barbara Chase-Riboud are still awaiting such visibility.<\/p>\n

But there have been some attempts to elevate these artists. One came in Adrienne Edward\u2019s 2015 essay\u00a0\u201cBlackness in Abstraction\u201d<\/a>\u00a0for\u00a0Art in America<\/em>, which became an exhibition at Pace Gallery the following year, and another in the 2017 traveling exhibition \u201cMagnetic Fields: Expanding American Abstraction, 1960s to Today.\u201d Curated by Erin Dziedzic and\u00a0Melissa Messina<\/a>\u00a0for the Kemper Museum of Art in Kansas City, Missouri, the show focused on the art-historical contributions of women artists of color and took its name from a series of works by\u00a0Mildred Thompson<\/a>\u00a0from the \u201990s.<\/p>\n

Thompson\u2019s wide-ranging oeuvre spans painting and sculpture, printmaking, musical compositions, wood works, and more. All of the late artist\u2019s\u00a0work was guided by a \u201cnatural curiosity and feeling of wanting to discover something,\u201d Messina told\u00a0ARTnews<\/em>\u00a0in a recent interview. \u201cIt\u2019s bringing you into worlds that you\u2019ve never seen before\u2014things that are invisible to the naked eye.\u201d<\/p>\n

It\u2019s only in the years since the \u201cMagnetic Fields\u201d exhibition that Thompson\u2019s art has begun to be shown with relative frequency. Her estate is now\u00a0represented by New York\u2019s Galerie Lelong & Co., which has mounted two solo shows dedicated to work by Thompson,\u00a0<\/strong>who died of cancer in 2003.\u00a0Major institutions in the South such as the SCAD Museum of Art, the New Orleans Museum of Art, and the Spelman College Museum of Fine Art have showcased her work, and Thompson\u2019s paintings were included in the acclaimed 2018 Berlin Biennale. In 2021, her art appeared in the exhibition \u201cThe Dirty South: Contemporary Art, Material Culture, and the Sonic Impulse\u201d at the Virginia Museum of Fine Arts, curated by Valerie Cassel Oliver.<\/p>\n

Messina, who is curator of Thompson\u2019s estate and a former student of the artist, said that Thompson was ahead of her time\u2014which is why her work is hard to classify. \u201cShe wouldn\u2019t be put in a box,\u201d Messina said. \u201cShe wouldn\u2019t stick to one thing. She was always letting the idea let her lead her to the best medium for that idea.\u201d<\/p>\n

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\"Mildred<\/div>\n<\/div>
Mildred Thompson with a free-standing wood assemblage.<\/span>\u00a9ESTATE OF MILDRED THOMPSON\/COURTESY GALERIE LELONG & CO., NEW YORK<\/cite><\/figcaption><\/figure>\n<\/div>\n

Early Career<\/strong><\/p>\n

Born in 1936 in Jacksonville, Florida, Thompson was was a precocious child growing up, always curious about how things worked. She once took apart a bicycle and then put it back together, to learn more about its construction. In the mid-1950s, she left Florida to attend Howard University in Washington, D.C., where she got her first formal training in art making in the school\u2019s legendary art department, which had produced other luminary artists like Alma Thomas and Lo\u00efs Mailou Jones. One of her mentors at Howard was the department\u2019s chair, James A. Porter, who helped arrange for her to receive a scholarship for a summer study at the Skowhegan School in Maine.<\/p>\n

After graduating from Howard in 1957, she received a Max Beckmann Scholarship to study at the Brooklyn Museum School in New York. While there, she learned about the Fulbright Program and decided that she wanted to live abroad to further her artistic education. When she didn\u2019t receive a Fulbright, Thompson, who felt she was more than qualified, was nevertheless undeterred. \u201cI decided to go to Europe on my own,\u201d she wrote in a 1977 essay about her career for\u00a0Black Art: An International Quarterly<\/a><\/em>. \u201cAnyone could buy a boat ticket. I could pay my own way somehow\u2014I was determined to go.\u201d<\/p>\n

Thompson saved up money to sail to Europe through a summer teaching job at Florida A&M University Tallahassee. She had recently met artist and art historian Samella Lewis, who was the school\u2019s art department chair and would become a lifelong friend and mentor to Thompson. Though she initially thought she might travel to Paris, Thompson\u2019s other mentor, Porter, encouraged her to consider West Germany, given the parallels he saw between Expressionist art of the 1910s and \u201920s and her early paintings.<\/p>\n

Though she initially had trouble adjusting to Hamburg, Thompson eventually enrolled in the city\u2019s Hochschule f\u00fcr bildende K\u00fcnst, where she was encouraged to continue making her abstractions. She soon had her first solo show in 1960 at a Hamburg gallery, and several of the works sold. The exhibition later led to a summer residency at a castle in Italy, sponsored by American arts patron Caresse Crosby.<\/p>\n

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\"Mildred<\/div>\n<\/div>
Mildred Thompson,\u00a0Wood Picture<\/em>, ca. 1967.<\/span>\u00a9ESTATE OF MILDRED THOMPSON\/COURTESY GALERIE LELONG & CO., NEW YORK<\/cite><\/figcaption><\/figure>\n<\/div>\n

From West Germany to New York and Back Again<\/strong><\/p>\n

In 1961, Thompson decided she had learned as much as she could at Hamburg\u2019s Hochschule and returned to New York. She was quickly able to sell two prints to the Museum of Modern Art in New York, and two prints and a drawing to the Brooklyn Museum, but she could not find a commercial art gallery that would represent her. (Such was the case for many women and Black artists of the era.) In her\u00a0Black Art\u00a0<\/em>essay, Thompson recalled that one art dealer \u201csaid\u2014being helpful\u2014that it would be better if I had a white friend to take my work around, someone to pass as Mildred Thompson.\u201d<\/p>\n

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\"Mildred<\/div>\n<\/div>
Mildred Thompson,\u00a0Wood Picture<\/em>, ca. 1972.<\/span>PHOTO: ROMAN ALOKHIN\/\u00a9ESTATE OF MILDRED THOMPSON\/COURTESY GALERIE LELONG & CO., NEW YORK\/NEW ORLEANS MUSEUM OF ART<\/cite><\/figcaption><\/figure>\n<\/div>\n

Though Thompson\u2019s New York stay was been difficult for the artist emotionally and mentally, it ended up spurring a body of work that she would continue for the rest of her career. Inspiration struck in the form of slats and repurposed vegetable crates that she found in New York\u2019s Lower East Side neighborhood, where she was living at the time. \u201cShe was looking around at any materials that she could use that really struck her,\u201d Messina said.<\/p>\n

She stayed in New York for two more years and spent both summers at the prestigious MacDowell Colony in New Hampshire. But by 1963, Thompson decided she had had enough of New York and returned to West Germany. She eventually settled in the town of D\u00fcren, not far from Cologne, and stayed for some 13 years. As Lowery Stokes Sims wrote in an essay for a 2018 Galerie Lelong & Co. show, \u201cThompson\u2019s wanderlust was not merely one of personal predilection; her decision to spend extended periods in Europe was made partly in response to the discouragement and discrimination she faced while trying to establish her career in New York City.\u201d<\/p>\n

In West Germany, Thompson was able to set up a studio, and she dedicated herself to perfecting her use of wood. These elegant pieces bridge the gap between painting and sculpture. In one from 1972 (now in NOMA\u2019s collection<\/a>), Thompson displays the beauty of the light wood grain in nearly even and symmetrical vertical strips, until that harmony is interrupted by a sharp purple triangle. \u201cYou see an intuition turn into real craftsmanship,\u201d Messina said.<\/p>\n

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\"Mildred<\/div>\n<\/div>
Mildred Thompson,\u00a0Untitled<\/em>, 1969.<\/span>\u00a9ESTATE OF MILDRED THOMPSON\/COURTESY GALERIE LELONG & CO., NEW YORK<\/cite><\/figcaption><\/figure>\n<\/div>\n

Scientific and Cosmological Inspirations<\/strong><\/p>\n

In addition to her work in wood, Thompson was equally dedicated to making oil paintings, works on paper, and etchings. For these works she drew on an even wider set of references, including the work of artists like Wassily Kandinsky and Paul Klee, Theosophy (a religion whose followers included Kandinsky, Hilma af Klint, and Piet Mondrian), music, and science\u2014in particular, physics. Hers became a practice that was dedicated to making the invisible visible. \u201cAt the root of all of her ideas was this universal resonance and these patterns that we all see in ourselves and in the world around us,\u201d Messina said. \u201cShe felt like that connectivity is what made us all sort of beings on a planet together.\u201d<\/p>\n

After years spent in West Germany, Thompson moved back to the United States in 1974, when she became artist-in-residence for Tampa Bay-Hillsborough County. Then, in 1977, she moved back to D.C. for a residency at Howard. Thompson stayed in D.C. until 1985, but beginning in 1981, she was also splitting her time between the U.S. capital and Paris. In her 1977\u00a0Black Art<\/em>\u00a0essay, Thompson said she was convinced to return to the United States because people were telling her how much it had changed. In it she seems hopeful: \u201cAmerica HAS changed. I am ready now for America and am eager to see if America is really ready for me.\u201d<\/p>\n

It was in Paris that Thompson began to paint abstract canvases, beginning with her 1980s series \u201cRebirth of Life.\u201d\u00a0In these modestly sized canvases, thick layers of paint form complex abstract shapes in bright colors. In one from 1983, a mostly yellow background is filled with dots of pink, sky blue, and green, and contorting shapes appear in red and orange tones. The effect is one of a composition pulsing with life.<\/p>\n

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\"Mildred<\/div>\n<\/div>
Mildred Thompson,\u00a0String Theory 11<\/em>, 1999.<\/span>\u00a9ESTATE OF MILDRED THOMPSON\/COURTESY GALERIE LELONG & CO., NEW YORK\/JOHNSON COLLECTION<\/cite><\/figcaption><\/figure>\n<\/div>\n

Vibrating Colors<\/strong><\/p>\n

Around 1986, Thompson decided that she would end her years-long self-imposed exile in Europe and live in the U.S. permanently. She settled in Atlanta, where she taught at Spelman College, Agnes Scott College, and the Atlanta College of Art (now part of the Savannah College of Art and Design). In addition to the generations of students she taught, for over a decade beginning in the late 1980s, Thompson was also an associate editor for\u00a0Art Papers<\/em>\u00a0magazine, where she interviewed artists like Emma Amos, Valerie Maynard, Lo\u00efs Mailou Jones, Guillermo Gomez-Pe\u00f1a<\/a>, and Meredith Monk.<\/p>\n

In a large studio with 20-foot-tall ceilings, Thompson was now able to create art on a much larger scale. The paintings she made in Atlanta were informed by color theory\u2014she juxtaposed contrasting and complementary hues with each other to ensure that the canvases popped. In her famed \u201cMagnetic Fields\u201d series (1990), Thompson considered the theory that magnetic waves were yellow when seen on an ultraviolet scale. In these paintings, large expanses of yellow become host to radiating spirals of reds and turquoise. Meanwhile, with her contemporaneous \u201cRadiation Exploration\u201d series (1994), blue dominates, in homage to the color that radiation waves emit when seen on an ultraviolet scale.<\/p>\n

\u201cShe wanted the work to be joyful and energetic,\u201d Messina said. \u201cShe understood how we as humans stand before a large-scale painting and\u00a0feel<\/em>\u00a0color\u2014the way it vibrates, the way we internalize it\u2026. You\u2019re having a physiological response when you\u2019re looking at her paintings, as well as a psychological one.\u201d<\/p>\n

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\"Mildred<\/div>\n<\/div>
Mildred Thompson,\u00a0Radiation Explorations 8<\/em>, 1994.<\/span>\u00a9ESTATE OF MILDRED THOMPSON\/COURTESY GALERIE LELONG & CO., NEW YORK<\/cite><\/figcaption><\/figure>\n<\/div>\n

\u2018Everything I Touch Will Be Part Black and Female\u2019<\/strong><\/p>\n

Though Thompson dedicated herself to abstraction for much of her career, she experimented with figuration, most notably in the illustrations that accompanied Audre Lorde\u2019s poems for a collaborative sketchbook titled\u00a0Journey Stones: Love Poems<\/em>.\u00a0<\/em>(Lorde and Thompson were romantically involved at the time, and Thompson\u2019s drawings for this series, which date to ca. 1977\u201378, were included in the acclaimed traveling 2019 exhibition \u201cArt after Stonewall, 1969\u20131989.\u201d) In these sketches, Thompson tenderly depicts the love between Black lesbians, who are shown in the nude, hugging and caressing each other.<\/p>\n

Her abstractions stand apart from these works because they don\u2019t appear overtly political\u2014and Thompson faced adversity for this.\u00a0Thompson countered those arguments frequently in essays she wrote, suggesting that her identity was intimately connected to her art, no matter what its subject was. In one catalogue essay from 1980, written shortly after she had abandoned figuration, she said, \u201cWith art, there are symbolic things that have to be learned to make work universal \u2026 you can\u2019t limit who you communicate with. \u2026 But (first) you have to know yourself. Everything I touch will be part Black and female\u2014all my success and the things I have gotten are part of that.\u201d<\/p>\n

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Source\uff1ahttps:\/\/www.artnews.com\/<\/p>\n

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Until recently, the vast and significant contributions Black artists have made to the history of abstraction have been under-recognized by the mainstream art world. If artists like Sam Gilliam, Jack Whitten, and Howardena Pindell are finally getting their due, thanks to big museum shows and representation at the world\u2019s top galleries, many Black female abstractionists […]<\/p>\n","protected":false},"author":2,"featured_media":907,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[5,13,7,4,3],"tags":[],"class_list":{"0":"post-906","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-artist","8":"category-auction","9":"category-events","10":"category-gallery","11":"category-latest-news"},"yoast_head":"\nHow Mildred Thompson\u2019s Vibrating Canvases Envisioned Our World As It Could Be - Investable Art Auctioneer<\/title>\n<meta name=\"description\" content=\"Until recently, the vast and significant contributions Black artists have made to the history of abstraction have been under-recognized by the mainstream art world.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.atelierauction.com\/globalupdates\/artist\/how-mildred-thompsons-vibrating-canvases-envisioned-our-world-as-it-could-be\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"How Mildred Thompson\u2019s Vibrating Canvases Envisioned Our World As It Could Be - 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