Cheyney Thompson is a New York-ba sed artist whose work in painting and sculpture centers on issues of abstra ction and representation. His work is the subject of a survey exhibition wh ich will open at the MIT List Visual Arts Center on February 9\, 2012. Alon gside recent exhibitions at Sutton Lane (Brussels and Paris)\, Galerie Dani el Bucholz (Berlin and Köln)\, and Andrew Kreps Gallery (New York)\, Thomp son's work has been featured in significant exhibitions such as Slow Painti ng\, Museum Morsbroich\, Leverkusen\, Germany (2009)\, Collatéral\, Le Con fort Moderne\, Poitiers Cedex\, France (2009) Compass in Hand: Selections f rom the Judith Rothschild Foundation Contemporary Drawings Collection\, Mus eum of Modern Art\, New York (2009)\, and the Whitney Biennial\, Whitney Mu seum of American Art\, New York (2008). Thompson teaches on the MFA Program in Visual Art at Bard College\, New York.
In a pair of recent essays (published in Texte zur Kunst and October)\, art historian David Joselit h as given a prominent place to Thompson's work in his attempt to articulate how a set of recent practices have significantly opened the discipline of p ainting to the transitive activities of the network. Joselit proposes that these practices ask us to consider how actions pass over into objects\, rev iving the possibility of a type of a transitive\, diagrammatic condition fo r painting\, a condition Joselit had previously attributed to the mechanica l drawings of Picabia:
Thompson's work begs the question of inclusion within a genre - of what belongs\, for instance\, to the category "paintin g". But his interest in "genre" has little to do with the exhausted (and ex hausting) discussions of medium-specificity that have plagued the legacy of modern painting. […] The fold\, as Derrida and Gilles Deleuze argue\, may figure as an act of signification even more fundamental than language. It i s a doubling over\, a circling back which marks locative meaning based on p osition\, touching and repetition. Thompson makes use of at least four kind s of folds to articulate boundaries and determine inclusions. These echo th e great modernist tactics of noncompositionality\, seriality and the monoch rome\, for instance\, but their priorities have shifted from internal to ex ternal logics.
David Joselit\, BLANKS AND NOISE: On Cheyney Thompson\ , Texte Zur Kunst\, Issue Nr. 77 / March 2010 "Painting"
The artist's ongoing series of Chronochromes (2009 - 2011) are meticulously constructed using the color system devised by Albert H. Munsell\, a Boston-based artis t and professor at the Massachusetts College of Art in the early 20th centu ry. Munsell attempted to create an accurate scientific system for numerical ly describing colors by specifying them based on three dimensions: hue\, va lue\, and chroma. Thompson grafts this color system onto a calendar\, where each day is assigned a complementary hue pair\, with each hour changing th e value of the color\, and every month changing the saturation. As Thompson explains\, Munsell's color system provides a system of producing paintings which register fatigue\, distraction\, and interruptions\, as well as the flow of time.
Weblinks:
David Joselit\, BLANKS AND NOISE: On Ch
eyney Thompson
http://www.suttonlane.com/artists/ct/docs/TEXTE%20ZUR%
20KUNST.pdf
Sutton Lane Artist Page
http://www.suttonlane.com/artist.php?a=c
t&p=home
Directions: Lasserre Building\, Room 102\, UBC
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The Di stinguished Visiting Artist Program is made possible by the generous suppor t of the Rennie Collection.http://www.renniecollection.org/index.php
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