NEW ORLEANS, LA.- The New Orleans Museum of Art
presents Mildred Thompson: Against the Grain, on view starting October 19, 2018, marking the first solo museum presentation of the experimental wood works of the American artist Mildred Thompson (1936-2003) in more than thirty years. The exhibition features three rare early Wood Pictures recently acquired by NOMA for its permanent collection alongside a selection of Wood Pictures and related prints from the Mildred Thompson Estate and Galerie Lelong & Co, New York that reflect Thompsons deep commitment to the language of abstraction.
Made during her self-imposed exile in Europe, Thompsons Wood Pictures are only recently being rediscovered and presented in the United States, said Susan Taylor, NOMAs Montine McDaniel Freeman Director. NOMA is delighted to feature works by Thompson acquired in 2016, reflecting the museums commitment to highlighting on under-recognized artistic voices from the American South.
An accomplished painter, sculptor, writer and musician, Thompson began creating her wood assemblages, which she called Wood Pictures, while living in Germany in the early 1960s. Thompsons abstract work in wood went against the grain of the more representational and overtly political art of her time to offer more subtle reflections on history, memory and place. These sculptural assemblageswhich represent a unique contribution to the art of this periodcombine found and manipulated wood segments into sophisticated, expressive compositions that blend the traditional categories of painting, sculpture and collage. Often created from wood sourced in the forests of rural Germany, Thompson explored the materials natural variations to create sensitive juxtapositions of texture, color and form.
The exhibition is organized by the New Orleans Museum of Art through the generous support of Galerie Lelong & Co, New York and is co-curated by Katie Pfohl, NOMAs Curator of Modern and Contemporary Art, and Melissa Messina, Curator of the Mildred Thompson Estate.
Mildred Thompson: Against the Grain is accompanied by an illustrated brochure with a new essay on Thompsons work by the exhibition co-curators Pfohl and Messina.