Mickalene Thomas

She was raised by her mother Sandra "Mama Bush" Bush, who, at 6'1" tall, modeled in the 1970s. She exposed Mickalene and her brother to art by enrolling them in after-school programs at the Newark Museum, and the Henry Street Settlement in New York. Thomas' mother raised her and her brother Buddhists. As a teenager, Mickalene and her mother had a very intimate and strenuous relationship due to her parents' addiction to drugs and Thomas dealing with her sexuality, which she documented in the short film Happy Birthday to a Beautiful Woman: A Portrait of My Mother.

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.

Thomas's collage work is inspired from popular art histories and movements, including Impressionism, Cubism, Dada, the Harlem Renaissance, and selected works by the Afro-British painter Chris Ofili.

Her work draws from Western art history, pop art, and visual culture to examine ideas around femininity, beauty, race, sexuality, and gender.

Mickalene Thomas was born on January 28, 1971, in Camden, New Jersey.

She was raised in Hillside and East Orange.

Thomas lived and attended school in Portland, Oregon, from the mid-1980s to the early '90s, studying pre-law and Theater Arts.

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 Museum in 1994.

Thomas describes the encounter in this way: "It was the first time I saw work by an African-American female artist that reflected myself and called upon a familiarity of family dynamics and sex and gender."

Weems' work not only played a role in Mickalene Thomas' decision to switch studies and apply to Pratt Institute in New York but to use her experience and turn it into art.

Thomas has also stated that Faith Ringgold provided an strong influencing in establishing Thomas' path.

Her depictions of African-American women explore notions of celebrity and identity while engaging with the representation of black femininity and black power.

Inhabiting the '70s-style genre of Blaxploitation, the subjects in Thomas's paintings and collages radiate sexuality, which has been interpreted by some as satire of misogynistic and racist tropes in media, including films and music associated with the Blaxploitation genre.

Thomas received her BFA from Pratt Institute in 2000 and her MFA from Yale School of Art in 2002.

Thomas participated in a residency program at the Studio Museum in Harlem, New York from 2000 to 2003.

She also participated in a residency in Giverny, France at the Versailles Foundation Munn Artists Program.

She currently lives and works in Brooklyn, NY.

During her early career, she found herself immersed in the growing culture of DIY artists and musicians, leading her to start her own body of work.

Mickalene noted that when she became an artist, fashion was always "in the back of my mind" as a source of inspiration.

Women in provocative poses dominate the picture plane and are surrounded by decorative patterns inspired by her childhood as in Left Behind 2 Again from 2012, in the collection of the Honolulu Museum of Art.

Her subjects are often well-known women like Eartha Kitt, Whitney Houston, Oprah Winfrey, and Condoleezza Rice.

Her portrait of Michelle Obama was the first individual portrait done of the First Lady and was exhibited in the National Portrait Gallery's Americans Now show.

In her 2017 solo exhibition "Mentors, Muses, and Celebrities" at the Contemporary Art Museum St. Louis (CAM), Thomas created multi-media installations that centered black women in the narrative-arcs of their own stories.

According to art critic Rikki Byrd: "Positioning black women — artists, actresses, characters, and her own family — as mentors and muses, and as heroic figures in a lineage of their own, Thomas overrides oppressive narratives."

The many years that Thomas has spent studying art history, portrait painting, landscape painting, and still life has informed her work.

She has drawn inspiration from multiple artistic periods and cultural influences throughout Western art history, particularly the early modernists such as Jean-Auguste-Dominique Ingres, Pablo Picasso, Henri Matisse and Édouard Manet as well as more contemporary influences such as Romare Bearden and Pam Grier.

She models her figures on the classical poses and abstract settings popularized by these modern artists as a way to reclaim agency for women who have been represented as objects to be desired or subjugated.

Thomas is known for her elaborate mixed-media paintings composed of rhinestones, acrylic, and enamel that present a "complex vision of what it means to be a woman and expands common definitions of beauty."

Rhinestones serve as an added layer of meaning and a metaphor for artifice.

Rhinestones accentuate specific elements of each painting, while subtly confronting our assumptions of what is feminine and what defines a woman, specifically black women.

According to the Financial Times, "Proclaiming her own visibility and that of other women of colour is at the heart of Thomas's practice, which inserts the black female body into art history by placing her muses in iconic poses and settings."

Thomas, and curators of her work, see Thomas's status as a black lesbian as part of what makes her gaze different from that of white male artists in history.

Thomas's subjects are virtually always women of color; a means to portray and empower the women and celebrate their culture and beauty—sometimes by incorporating them into iconic Western paintings.

As a member of, and inspired by, the Post-Black Art movement, Thomas' work redefines perceptions of race, gender, and sexuality.

Thomas blurs the distinction between object and subject, concrete and abstract, real and imaginary.

Her subjects often look directly at the viewer, challenging the dominance of the male gaze in art.

This assertive portrayal indicates that the models are at ease in their own skin, thus challenging the stereotype of the silent and inferior woman objectified by the viewer's gaze.

In addition, seemingly insignificant decisions (like not straightening the figures' hair) have the important effect of encouraging women of color to accept themselves as they are and not conform to a particular ideology of beauty imposed by society.

Thomas's work is also distinctive in its foregrounding of queer identity; she is a queer woman of color representing women of color in a way that emphasizes their agency and erotic beauty.

By emphasizing the women's striking presence and sensuality along with their assertive gazes, Thomas empowers these subjects, representing them as resilient, stunning women who command the spectator's attention.