Nubian by Michael Thompson Michael Thompson creates artwork influenced by the world.
Nubian by Michael Thompson Michael Thompson creates artwork influenced by the world. In recent works, he has engaged with the museum as a sculptor, painting one of its interiors, or revisiting it as a painting. He has painted a large part of the galleries walls black, and constructed an underground, windowless room, with the inside lined with canvas and the outside lined with paper. The paintings are geometric abstractions in black and white, with the occasional splash of color. The paintings are all large, and thus vulnerable to capture, but also allusive to the tradition of the museum. In one painting, a single panel is covered by a rectangular panel of black paper, while a larger painting is crowned by a diagonal stripe of paper, and a single, almost entire, panel is covered by a jumble of thin yellow paper. In both cases, the works are hung on the walls as though they were paintings, and the various paint textures and other idiosyncracies of the surface and surface have been interwoven with the particularity of the paint to represent a different image.The paintings are accompanied by an impressive catalogue, which includes selected comments by Thompson on the history of his work, the current events surrounding him, and a letter from the Museum of Modern Art. These are presented in a kind of retrospective. There are thirteen paintings and a series of drawings, but the catalogues brief essay is rather too long and inane to sustain interest. The paintings are interesting as material, but as paintings, they are too many in number to merit the critical attention that the works themselves demand.The show also includes a large number of paintings that deal with the object as both representation and object, as well as a large number of paintings that deal with the surface as both the paint and the surface itself. These paintings are rather lackluster. The show is divided into two parts. The first part is a series of a dozen-odd paintings, about six inches in height, which exhibit the artist at his best.
His early work in the studio included stone reliefs, wooden constructions, and paintings on paper. His attention to surface is rewarded with his affinity with the work of John Altoon, Kenneth Noland, and Robert Ryman, among others. Although the subjects of his Constructed Forms and Constructed Sculpture are obviously contemporary, the examples of his earlier work are more or less intact. His Constructed Sculpture, a completely wooden box that hangs on the wall, is also a part of his current show. In this piece, Thompson is attempting to fuse the stone, the delicate, the fragile and the powerful. He is using the materials, the pliable and the malleable, as if to express the essence of sculpture.
Nubian by Michael Thompson Michael Thompson creates artwork influenced by the world. The artist has a lot of time on his hands, and he often turns to the traditions of abstraction, painting, and architecture. His work is often quirky, and it can be difficult to decipher what is being said or even done in it. His installation here was a virtuoso example of his fluid, fluid approach. A non-narrative piece, it had a non-narrative title, and it formed a complex and atmospheric atmosphere. Thompson is a true master of the moment, and he created a moment that was cinematic, yet poetic in its details. In the back room of the gallery, a huge pair of shadows danced on the wall, forming an ethereal line that traced a circle in the center of the gallery. A shadow, like a figure on a canvas, becomes a window, and the space between the two becomes a canvas. The shadow itself also became a figure, and it served as a reminder that it is a shadow, a representation of the shadow, a private and personal space.A shadow on a canvas, then, is an abstraction. It is also a bridge. Thompson creates bridges, like bridges, where the color of the canvas is not always consistent with that of the ground. In this case, the bridge was a black circle, with a line of blue on top. The blue, like the shadow, was an abstraction and the black was a color that could be found in the paintings. The black seemed to be a matter of interiority, of loss. The black, like the circle, was an abstract image of the interior, of solitude and the invisible. It was a bridge between two spaces, and it was a shadow of both.The bridge was not a form that conveyed distance, but a form that could be taken as a bridge between two parts of the circle. The black line traced the outline of the circle, but it did not form a bridge, because there was nothing to connect them.
Nubian by Michael Thompson Michael Thompson creates artwork influenced by the world. He depicts the human form in a complex, highly refined surface, from which there is an inevitable evolution of variations, as in the enormous figure in the Trapezoids series, 1985–89. The figure is not simply a fragmented body that is reassembled in space, like an amalgam of various parts, as in the various distorted and bulging rectangles in his earlier untitled canvas, 1990, or the head of a man in a leotard, 1994, whose two-dimensional self-portraits are executed in oil, a medium whose vivid color intensifies the intense presence of the figures dismembered visage. In the painting The Figure, 1993, Thompson makes a more intimate contribution to the tradition of abstract painting by presenting himself as a sort of sacrificial figure, a fig, a sacrificial lamb, a sacrifice to himself. His figure is a fig, a sacrificial lamb, and it is the fig who is the symbol of the artist.The form of The Figure is an amalgam of various figures, which are arranged according to the alphabet of the Greek root meaning the combination of two or more elements. The subject is a figure from the landscape, a figure who has been reduced to the most basic elements of human form. The head is divided into two parts: the lower half is cut off at the top, as if by a knife, leaving only the upper part, the nose and the eyes, which are painted black and white in the middle of the canvas. The only intervention in the form is the reduction of the body to a skeletonlike skeleton, which is also black and white.The head and the lower half of the torso are both human, which is also a figure, and both are blurred in the black and white. The upper part is a torso and the only individual, a head that has been reduced to the most basic parts, as in the Trapezoids series, 1985–89.
Nubian by Michael Thompson Michael Thompson creates artwork influenced by the world. He is also a kind of apotheosis of American culture, and his work speaks to our way of seeing, to our desire to understand everything. His subjects are popular, archetypal, and ubiquitous: airplanes, automobiles, automobiles, neon signs, TVs, hotels, shopping malls, buildings, billboards, television, film, music, and more. He has been regarded as one of the leading figures of the New York art world for over a decade, and his work has been followed closely by that of other artists, from Robert Morris to Richard Prince. But, despite this long-standing, widespread recognition, Thompson remains a relatively unknown artist. His presence is so minimal that it is difficult to imagine that he is not a significant presence, that he has not yet been extensively covered. And yet, his work is neither an exhaustive survey nor a comprehensive look at the work of many other artists. In this show, he shares a gallery with many others, but he does not appear in a group show. There are so many of him that there is almost no room for the viewer. This is not to suggest that there arent good painters in the world; theres certainly a lot of good painting to be seen around the world. But this does not mean that the work is necessarily better or worse than that of the rest. Rather, it means that this relatively small number of artists represents a significant, if temporary, advance for Thompson. Since he first came to New York in the early 80s, his work has been criticized for its elitism and for its place in the generation of artists that emerged in the 80s. But there has also been a lot of praise for his consistent and intimate approach, which has made him the most widely recognized face of New York art. This is certainly not the case with the work of other artists, of whom there are few more prominent. In fact, Thompson is by no means new to New York art, having been born in St.