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.
Once denounced as “women’s work” with no artistic merit, embroidery is experiencing a revival, with a feminist punch.
Inspired by the journey made by the epic hero Homer’s Odyssey, a show at Villa Carmignac combines myth with contemporary issues.
This new kunsthaus in Potsdam shows modern and contemporary works of art from East Germany in what was once a terrace restaurant.
Courtney Stephens’s documentary on women’s travels from the 1920s to ’50s presents not just personal glimpses into daily life a century ago but also documents of colonialism.
Laura Larson’s City of Incurable Women draws from archival materials to speculate on the lives of women who were famously hospitalized for hysteria throughout history.
The Philadelphia organization offers artists on-site access to recovered materials, studio space, construction equipment, a $1,000 stipend, and more.
The company is asking users to verify their bank details via Plaid, a fintech company that recently settled a privacy class action lawsuit.
Each artist will receive $190,000 in cash and benefits from the Tulsa Artist Fellowship over a three-year period.
Drawn to Life at the Ackland in Chapel Hill, North Carolina, showcases 17th-century Dutch drawings of landscapes, portraits, preparatory studies, and biblical and historical scenes.
The 1,000-year-old Cañada de la Virgen ceremonial site will be protected from encroaching development.
A total of 24 board members stepped down from their posts after the art center’s parent company allegedly attempted to terminate 12 of their colleagues.
A group of artists and writers denounced the center for hosting Philippines President Ferdinand Marcos Jr., son of the country’s former dictator.