Artwork information

Category

Print

Technique

Epson inkjet print with HDR Ultrachrome inks on paper

Date

2016

Dimensions

66 cm x 52.7 cm

Dimensions with frame73 cm x 59 cm

Signature

Signed on the back

Proof(s) of authenticity

Invoice.

State of conservation

Very good

Framing

Yes

Location

Taipei, Taiwan

Description

Mickalene Thomas, Clarivel with Black Blouse and White Ribbon, 2016

Epson inkjet print with HDR Ultrachrome inks on paper
Edition of 25
Signed and numbered on the reverse: 16/25

Dimensions
Image: 66 × 52.7 cm (26 × 20.7 in.)
Framed: 73 × 59 cm (28.7 × 23.2 in.)

Created in 2016, Clarivel with Black Blouse and White Ribbon belongs to a mature phase in Mickalene Thomas’s practice, where her visual language reaches a particularly refined level of precision and control.
The work presents a frontal portrait of a woman, constructed through an assemblage of images and patterns. The face, rendered in black and white, contrasts with a surrounding environment composed of colored and decorative elements, creating a visual tension characteristic of the artist’s practice.
The composition is built through layers and cut-outs, where photography, collage, and cultural references coexist in a carefully balanced structure. The background, articulated through botanical motifs and graphic elements, plays an essential role in shaping the image and staging the subject.
The gaze, direct and composed, conveys a calm yet assertive presence. Nothing is incidental; each element contributes to a visual narrative where identity, memory, and representation intersect.

Analysis
Through this work, Mickalene Thomas continues her exploration of the representation of the Black female body, particularly in its historical and cultural dimensions.
The use of black and white for the face reinforces a photographic and documentary quality, while the colored elements introduce a more subjective, almost intimate reading.
Rather than seeking to seduce, the portrait asserts presence. It operates within a process of reappropriating the codes of Western portraiture, which the artist reworks to present a figure who is fully the subject of her own representation.

Significance within the artist’s practice
By 2016, Mickalene Thomas is firmly established on the international art scene. This work reflects a period in which her practice becomes increasingly complex, particularly through the use of photographic collage and spatial construction.
The editions produced during this time, using high-quality printing techniques, demonstrate a desire to broaden the circulation of her work while maintaining a high level of formal rigor.

Market and positioning
Mickalene Thomas’s editions in limited runs of 25 are particularly sought after, especially when signed and clearly numbered.
Her market is supported by strong institutional presence and international critical recognition, resulting in sustained demand and steady appreciation of her work.

Provenance

ART SPACE

The artist

Painter

Mickalene Thomas

Emerging artistEmerging artist
Painter
Born in 1971
United States

Bio

Mickalene Thomas, born January 28, 1971, in Camden, New Jersey, is a leading contemporary American artist whose work has become central to the redefinition of Black female representation in art. Through painting, collage, photography, and installation, she has developed a distinctive visual language that is both formally striking and deeply rooted in cultural and political discourse.

She studied at the Pratt Institute in Brooklyn, where she earned her Bachelor of Fine Arts in 2000, before completing a Master of Fine Arts at the Yale School of Art in 2002. Early in her career, her participation in the Studio Museum in Harlem residency program played a pivotal role in establishing her presence within a new generation of influential African American artists.

Mickalene Thomas is known for her layered and materially rich compositions. She combines acrylic paint, enamel, collage, textiles, and rhinestones to produce works that challenge traditional distinctions between fine art and decorative aesthetics. Her visual language draws heavily from 1970s interior design, photography, and popular culture, while maintaining a critical dialogue with canonical Western art history.

Her 2010 work Le Déjeuner sur l’herbe: Les Trois Femmes Noires marked a major breakthrough. By reinterpreting Édouard Manet’s iconic composition and replacing its figures with contemporary Black women, she reclaims both space and narrative within art history. This approach reflects her broader practice, which seeks to reposition Black female bodies at the center of visual culture.

Her work consistently addresses themes of identity, representation, desire, and the politics of the gaze. Often inspired by people close to her, including her mother Sandra Bush, her portraits present women as self-possessed, powerful subjects rather than passive figures.

Mickalene Thomas has exhibited widely in major institutions, including the Museum of Modern Art in New York, the Brooklyn Museum, the Whitney Museum of American Art, and the Tate Modern in London. Her works are held in prominent public and private collections worldwide, reinforcing her status as a key figure in contemporary art.

Her market has grown steadily since the 2010s, with increasing demand from collectors and institutions. Her rise aligns with a broader reassessment of the place of women and African American artists within the global art market.

Beyond its visual impact, Mickalene Thomas’s work plays a critical role in reshaping art historical narratives. By challenging established representations and proposing new forms of visibility, she stands today as one of the most important voices in contemporary art.

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