The First Art Newspaper on the Net    Established in 1996 Sunday, October 17, 2021


Cheyney Thompson opens an exhibition of works at Ordet, Milan
Cheyney Thompson, To be titled, 2020.



MILAN.- Cheyney Thompson’s new series of Displacement paintings posits each canvas’s ground as a touch-sensitive surface. The works adopt a uniform structure of five-millimeter square black marks painted in a gridded pattern atop a white ground. Before the paint is dry, Thompson deploys an assortment of custom silicone tools against the surface, forcing the wet squares out of place. He adds no new material, but rather subjects the existing marks to this process of reorganization. The resulting transformations appear as extensions of squares into lines, glyph-like forms, and sweeping, sinuous fields of paint. Each painting has become a record of the tools’ interaction with the surface: the stops and starts, the kinetic limits of Thompson’s body and the entropic movement of the order of painted squares into noise. But, they are also pictures, as this play of ruptures and conjured forms has been frozen into an unsettled pictorial field, still with the trappings of figure-ground, composition, and space.

For the exhibition at Ordet, Thompson has introduced four sweeping arcs of bright red, yellow, green, and blue that are sprayed onto the white ground. They appear as distinctly colored lights illuminating each painting, one arc per corner. Together, they suggest that each canvas is not an autonomous piece, but instead, an element in a larger set as their radii are designed by relating the internal dimensions of the painting with the architectural dimensions of the gallery space and the positions of the neighboring paintings. Thompson treats color as both a sensual material and an organizing strategy.




Thompson’s meditations on touch also impel the drawings included in the exhibition, which seek to understand the relation of touch to larger concepts of productivity. Taking as a starting point the concept of “takt time,” a manufacturing term that sets the rate and speed of physical production needed to satisfy demand for an item, Thompson constructed a drawing table that is embedded with a microcomputer and pressure-sensitive resistor to measure exactly 10 seconds of “touch-time” with the surface. While drawing has always been a recording procedure (observation, sketch, plan, diagram) these touch-sensitive drawings entail an additional record of the drawing procedure itself. For Thompson the drawing’s depiction is less important than how the meandering protocols of observation, note-taking, doodling and delineation appear under measure by the regular gate of the clock.

A work from the series Some Storage Devices (2019), also included in the exhibition, demonstrates the ways in which Thompson has sought to investigate how the protocols that inform the production, distribution, and exhibition of painting relate to complex systems we inhabit. The seven canvases housed within a custom storage device span fifteen years of the artist’s practice, including his series of Chronochrome paintings in which the time of the work’s production is mapped onto the canvas by coding color to correspond to the hours of the day; Quantity paintings, which constrain the amount of pigment or other material applied in relation to the canvas’s surface area; Stochastic paintings, in which a predetermined number of steps, generated by a random walk algorithm running inside a color space, are recorded on the paintings’ surface in uniform marks; Displacement paintings; and grayscale paintings of a detail of a work by Peter Paul Rubens. Together, these pieces represent Thompson’s interest in the adjacent systems that cohere around artworks. These interests extend to the relationships between the structures or constraints that Thompson imposes on his work and the potential for entropy as artworks are situated in and as fields of information.

Cheyney Thompson investigates the systems that inform the production, distribution, and exhibition of painting and the adjacent subjects that may cohere around artworks—mathematics, history, biology, and political economy. By imposing rigorous constraints on his painting practice, Thompson underlines the governing structures within which all contemporary art must unfold. In this corpus of work, the “artist” emerges less as a myth of the administered life than as a specter, felt or sensed as a body just outside the frame or an orienting bundle of intentions and intelligence that cuts a path through overlapping orders of abstraction.

Cheyney Thompson (b. 1975, Baton Rogue, Louisiana) lives and works in Brooklyn, New York. In 2017, Thompson’s work was the subject of an exhibition at The Brno House of Arts, Brno, Czechia, with Sam Lewitt. Other solo exhibitions include Cheyney Thompson The Completed Reference: Pedestals and Drunken Walks, Kunstverein Braunschweig, Germany, 2012; Cheyney Thompson: metric, pedestal, landlord, cabengo, recit, curated by João Ribas, MIT Visual Arts Center, Cambridge, Massachusetts, 2012. Selected group exhibitions include Low Form. Imaginaries and Visions in the Age of Artificial Intelligence, MAXXI, Rome, 2018; Invisible Adversaries: Marieluise Hessel Collection, Hessel Museum of Art, Bard College, Annandale-on-Hudson, New York, 2016, Money, Good and Evil. A Visual History of Economics, Staatliche Kunsthalle, Baden-Baden, Germany, 2016; A Slow Succession with Many Interruptions, SFMOMA, San Francisco, 2016; and Materials and Money and Crisis, Museum Moderner Kunst, Vienna, 2013; and the 2008 Whitney Biennial, New York.










Today's News

December 27, 2020

Goya painting is on display at the Museo del Prado following its restoration

Belvedere 21 opens Maja Vukoje's most comprehensive solo show to date

Exhibition sets out to provide a first-ever survey of the creative work of Styrian women artists

'Box' or gem? A scramble to save Asia's Modernist buildings

On paper, The best way to enjoy the alps this year

Latitude shares results of its support of Brazilian art market over the course of 2020

BIG reinterprets a 100+ year zoning law in the heart of Harlem

miart 2021 will take place from 17 to 19 September, after Salone del Mobile and before Milan Fashion Week

Galería Kreisler opens the first solo exhibition in Madrid of the Czech artist Jan Kaláb

Fri Art Kunsthalle reopens with the long-awaited exhibition 'A Selene Blues' by Giulia Essyad

mumok opens exhibition of works by Kapsch Contemporary Art Prize winner Hugo Canoilas

Take a ride through the streets of NYC with photographer & former taxi driver Joseph Rodriguez

Cheyney Thompson opens an exhibition of works at Ordet, Milan

Dr. Brian P. Kennedy to step down as Director and CEO of the Peabody Essex Museum

Ecological curating in times of pandemic: Pera Museum opens "Crystal Clear"

Foam opens exhibition of works by Foam Paul Huf Award winner Laia Abril

5 minutes that will make you love Beethoven

Anti-Counterfeiting Educational Foundation warns feds about online "coin" seller

Telluride Gallery of Fine Art exhibits paintings and digital pigment prints by Ed Moses

Exhibit Columbus installation "The Exchange" by Oyler Wu Collaborative headed to Taiwan

Digital technology spurs Ketterer Kunst to world records in Covid year

New initiative sells art to support preservation of natural forests

A 'great cultural depression' looms for legions of unemployed performers

How Pixar's 'Soul' animates jazz




Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 



Founder:
Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez

sa gaming free credit

Royalville Communications, Inc
produces:

ignaciovillarreal.org avemariasound.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. The most varied versions
of this beautiful prayer.
Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site Parroquia Natividad del Señor
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful