Robert Colescott

Robert Colescott

'George Washington Carver Crossing the Delaware: Page from an American History Textbook' , 1975

Acrylic on Canvas

84 × 108 in

213.4 × 274.3 cm

Seattle Art Museum

" Colescott was the first black artist to have his work featured on the cover of Artforum. Perhaps his best known painting, “Page from a U.S. History Text: George Washington Carver Crossing the Delaware” (1975) appeared on the March 1984 cover, nearly a generation after the magazine was founded.

“Le Déjeuner sur l’herbe les Trois Femmes Noires d’apés Picasso (Luncheon on the Grass, Three Black Women after Picasso)”, 2022

“Look at What You’ve Become”, 2005 and “Portrait of Mnonja with Flower in Hair”, 2008, Rhinestones, acrylic, and enamel on wood panel

Mickalene Thomas: All About Love at The Broad presents a beautifully curated collection of work from the artist’s impressive career. Below are a few selections and information from The Broad about the show and some of the individual works.

From the museum about the exhibition-

Mickalene Thomas’s paintings, photographs, video installations, and sculptures celebrate the experiences of Black women. Her work is rooted in the intimacy of relationships between mothers and daughters, between lovers, and between friends. Thomas’s work centers the joys and complexities of self-respect and love, especially at times when they are diminished or threatened.

Thomas was born in Camden, New Jersey, and grew up in Hillside and East Orange, a childhood evoked in the building facades that open this exhibition. After coming out at the age of sixteen, she moved to Portland, Oregon, where the encouragement of a small group of local artists and an inspiring encounter with the work of Carrie Mae Weems led her to attend Pratt Institute, then Yale University, to pursue visual art.

Mickalene Thomas: All About Love begins in 2003, when Thomas turned from making abstract paintings to portraiture and photography. Her first subject was her mother, Sandra Bush, affectionately known as “Mama Bush.” By focusing on their relationship, Thomas began considering identity through the mirrors of family and friends, as well as through public images manifested by Black musicians, fashion icons, actors, and performers.

From early in her career, Thomas built sets in which she would photograph her muses. She wanted her subjects to feel in a place of mutual comfort, respect, and trust. Later, Thomas would take her muses into the environments and scenes of art history, claiming space inside the narratives and imagery from which Black and queer people have been either excluded or shown anonymously. Recent work in the exhibition, such as Thomas’s Jet series and Tête de Femme (seen in Los Angeles for the first time), confronts cultural conventions of beauty, reconfiguring norms in celebration of beauty centered in individuality and acceptance.

Spanning twenty years of Thomas’s career, this exhibition takes its title from bell hooks’s essential collection of essays All About Love, in which the writer argues that in order to counter and reorient a culture of power and domination, one must act according to a set of principles where “everyone has a right to be free, to live life and well.” In the spirit of hooks, the artwork of Thomas aims to make space for Black joy, leisure, and eroticism, both for their own sake and to counteract injustice.

“A Little Taste Outside of Love”, 2007 Acrylic, enamel, and rhinestones on wood panel

“Three Graces: Les Trois Femmes Noires (Three Graces: Three Black Women)”, 2011, Rhinestones, acrylic, oil, and enamel on wood panel

“Afro Goddess Looking Forward”, 2015, Rhinestones, acrylic, and oil on wood panel

About the work above from the museum-

In this work, Thomas is the main subject, the muse of her own practice. In a 2006 photo session, the artist produced a series of self-portraits that has become the inspiration and visual material for many paintings. Early paintings based on these images include intact bodies shown inside of a shifting assortment of collaged patterns that accumulate and fracture around the subject. However, in this 2015 painting, Thomas collages a set of eyes onto the figure, drawing attention to the artist’s gaze of the viewer. This strategy- collaging onto the figure- continues today, as Thomas obscures and asserts different features of the body to investigate the construction of identity and beauty.

Her photography and video work shared a large room in the exhibition.

From the museum about the wall of photos above (image is a section of the full wall)-

Photography has long played an important role in Mickalene Thomas’s work. As a student at Yale, in a class with David Hilliard, Thomas was encouraged to experiment with the medium, to explore a subject that came “from a vulnerable place.” This led to photographing her mother, early engagements with self-portraiture, and photo sessions with women close to her. Initially, Thomas’s photography was used as material in her collages and paintings, but over time, the artist has embraced her photographs as standalone artworks.

This wall contains many facets of Thomas’s photography practice, all “proof of an experience between her and her subject,” as writer Jennifer Blessing observes. Some of the photographs—like La leon d’amour (A Lesson of Love), 2008, and Le Déjeuner sur l’herbe: Les trois femmes noires (Luncheon on the Grass: Three Black Women), 2010— became springboards for Thomas’s most well-known paintings. Other photographs speak to Thomas’s success and visibility as a dynamic studio photographer, as in her commission for Aperture in 2019, Untitled #3 (Orlando Series), and in Madame Carrie, 2018, for the New York Times.

About the video installation pictured below-

For this eight-channel video, Thomas was inspired by Eartha Kitt’s 1953 song Angelitos Negros (Black Angels), in which the singer implores artists of religious devotion to paint Black angels and add their depictions to visions of heaven. “You paint all our churches, and fill them with beautiful angels,” a translation of the song records, “but you never do remember, to paint us a Black angel.” For Thomas, the song was a revelation, speaking to the heart of her artistic practice of celebrating and advancing joyful images of Black women. This video is a collage, repurposing found footage from YouTube and enlisting Thomas’s muses to perform, all coming together in fulfillment of Kitt’s wish.

“Angelitos Negros (Black Angels)”, 2016, Eight channel digital video

There is a section of the exhibition devoted to Thomas's Resist series, which includes The Charnel House (Resist #5), 2021, pictured below.

About the Resist paintings from the museum-

Mickalene Thomas made her first Resist painting in 2017 for the Seattle Art Museum's Figuring History, an exhibition focused on questioning distorted narratives of history through Black experience. Making new work, Thomas brought her extensive artistic toolkit of collage, her use or rhinestones and other craft materials, and her viewpoint as a Black queer woman to create a direct encounter with the civil rights era of the 1960s. Thomas has spoken of being especially inspired by the work of Robert Colescott, whose satirical paintings offered her a sense of permission and a voice to approach social events proactively.

In the Resist series, Thomas finds echoes of the past in the present, layering archival images from the civil rights era with images from recent protests and uprisings related to Black Lives Matter and other social justice movements. Of central importance in Resist is memory, the remembrance of lives that have been taken by police brutality and injustice. In the works on view in this gallery, protests, such as those in the wake of the killing of Michael Brown in Ferguson, Missouri, are seen in the context of images of activists like James Baldwin and Shirley Chisholm, as well as of photographs of race-based attacks on Black people from many decades

From the museum about The Charnel House-

In this painting, the history of civil rights in the United States meets the open conflicts and struggles of the present. The surface is an accumulation of slogans: signs for the Black Panther Party's free breakfast for children program join the names of Freddie Gray and Alton Sterling (both killed in encounters with police), as well as posters for Black Lives Matter and others from the March for Racial Justice held in September 2017 in Washington DC, specifically "Women of Color Have Always Led Change." The collision of eras in the work is buttressed and sharpened by deep questions about art's ability and responsibility to be an agent for political protest and change. Thomas interlaces the panel with patterns from Pablo Picasso's The Charnel House, 1944-45,  a work that Picasso considered a depiction of a massacre and that (along with Guernica, 1937) is seen as the artist's most direct engagement with the politics and horrors of the Spanish Civil War and, for some commentators, World War II and the Holocaust.

In 2017 Mickalene Thomas began using Jet magazine as a source in her work, specifically it's nude calendar which used anonymous models.

From the museum about the series-

Thomas speaks of her Jet series as rooted in desire, in her openness to unapologetically love Black women: "I think there's something to owning Black women's erotica-us owning our sexuality needs to be validated as we own and love our own bodies, and want to be desired. The Black female body is beautiful."

"February 1976", 2021, Rhinestones, glitter, charcoal, acrylic, and oil paint on canvas mounted on wood panel and oak frame

About the above work from the museum-

The original Jet calendar image for February 1976 featured a model in an interior populated with plants, one of which served to obscure her genitals. A decorative screen acts as a backdrop and the model is posed like an odalisque, right out of art history. In Thomas's work, she intervenes dramatically in the scene, leaving the model mostly intact and expressive, while radically abstracting the plants and screen. For the painting's debut at Lévy Gorvy gallery in 2021, the artist evoked both the grid of the screen and the plants in the space itself, filling the floor with mirrored tiles and greenery, as seen installed here.

Jet Blue #28, 2021 Rhinestones, acrylic paint, oil pastel, mixed-media paper, and archival pigment prints on museum paper mounted on Dibond with mahogany and Jet Blue #45 (Neon), 2024, Neon

Colored TV 📺

1977, Robert Colescott