Thomas’s prints are made on recycled materials. In an email to Hyperallergic, she said, “Vintage paper is a treasure for me. I used to work in recycling and am accustomed to trash picking. I am drawn to yellowed reams of paper I might spot in a clear trash bag or box on the street.”
Each work is a monotype, cranked through the press multiple times. Plates are rarely re-inked and the colors traipse randomly across the print. The architecture of old buildings shows through, like a historic brick mansion among glass and steel high-rises.
Works like “Diagonally Placed Straight-Edged”(2019) instill a sense of memory. Here we see the scars of a city, as structures fall and rise over time, are used, disused, and recontextualized for changing needs. The city itself is an organism that outlasts its inhabitants. Each next generation undoes, remakes, and tries to forget the trauma of undoing. Thomas’s art exists in that space where our longing for the past and our curiosity of the future meet and blend.
Among the sharp, hard angles of the rectangles which might be actual buildings, Thomas inserts bold circles — the potential for something new. While the hard-edged shapes bleed into one another and fade, circles are firmer, independent, as if they are the essence of the city that remains unchanged, or the part of a community that gives residents a sense of belonging.
“Printmaking is community-making for me,” said Thomas. “Art is where my home is, and Manhattan is my home. Manhattan is my easel and a place for meaningful cultural conversations.”
Through her prints, we come to understand the shifting structures that define us and that in return become defined by us.
Austin Thomas: Metropolis continues at Municipal Bonds (1275 Minnesota Street, San Francisco, California) through September 3.
The small New York art fair celebrated its 26th edition with the works of 11 women artists.
The artist couple shared creativity and mutual devotion reflecting a period of light and joy that came after considerable darkness in their early lives.
Curated by Clare Dolan, this solo exhibition in Frenchtown, NJ contains new and unearthed paintings, sculptures, and prints selected from the organization’s 60-year history.
The plot of Maureen Fazendeiro and Miguel Gomes’s film moves backward in time, continually recontextualizing what at first looks like a simple situation.
It’s art fair season and we’re here to comfort and entertain you during this difficult time of the year with a new, biting edition of our Bingo card series.
Conversations with Leslie Barlow, Mary Griep, Alexa Horochowski, Joe Sinness, Melvin R. Smith, and Tetsuya Yamada will be accessible online or in person at the Minneapolis College of Art and Design.
Jeremy Webster of Leicester University’s Attenborough Arts Centre reportedly pelted the statue from behind a fence.
The artifacts are estimated to date from 400 to 300 BCE, when Greek settlements existed along the northern shores of the Black Sea near Odesa.
Now on view in Pasadena, this exhibition explores how four artists challenged the limitations of gestural abstraction by exploiting the resonance of figural forms.
Snapchat CEO Evan Spiegel and model Miranda Kerr paid off the student loans of 285 recent graduates.
Cammie Tipton-Amini’s opinion piece “When Ukraine Was Newly Independent and Everything Was Possible” employs simplistic whataboutism that dangerously echoes Putin’s lies.
Anthony Banua-Simon’s documentary Cane Fire contrasts decades of Hollywood images of his home with its current reality.