Artist Spotlight: Mildred Thompson

Magnetic Fields: Expanding American Abstraction, 1960s to Today places abstract works by multiple generations of black women artists in context with one another—and within the larger history of abstract art—for the first time, revealing the artists’ role as under-recognized leaders in abstraction.

Magnetic Fields (1991)

By: Mildred Thompson (b. 1936, Jacksonville, Florida; d. 2003, Atlanta)

“Each new creation presents a visual manifestation of the sum total of this lifelong investigation and serves as a reaffirmation of my commitment to the arts,” said Mildred Thompson. NMWA’s exhibition features four works by Thompson, including three wall sculptures made from found wood and painted white, and the expansive painting Magnetic Fields (1991), from which the exhibition takes its name.

Mildred Thompson, Magnetic Fields, 1991; Oil on canvas, triptych, 70 1/2 x 150 in.; Courtesy of the Mildred Thompson Estate, Atlanta, Georgia; Art and photo © The Mildred Thompson Estate, Atlanta, Georgia

Magnetic Fields exemplifies Thompson’s style. She often found inspiration in scientific theories and universal systems. The triptych contains a vibrant, buzzing palette of yellows and reds—as well as a combination of calligraphic brushstrokes and geographic shapes—to evoke Thompson’s visual interpretation of the invisible forces of magnetic energy. After receiving her BA in 1957 from Howard University in Washington, D.C., Thompson spent three years at the Hamburg Art Academy in Germany. She later moved to New York City, where the Museum of Modern Art and the Brooklyn Museum acquired her work—a significant recognition of her talents. However, feeling the effects of racial and gender discrimination in the U.S., Thompson moved to Europe for 13 years. She returned to the U.S. in 1986, and proceeded to create art as well as teach art history, art theory, and studio art, in Atlanta for the last 18 years of her life.

Installation view of Magnetic Fields; Photo: Katie Benz, NMWA

Over four decades, Thompson produced more than 5,000 works in painting, drawing, printmaking, photography, and sculpture. Thompson was one of only a few black women artists trained in the European tradition of Abstract Expressionism, to which she devoted her life. Renowned for her lively abstract paintings and unique use of color, Thompson continuously worked to expand her abstract language and encouraged her students to search for new modes of artistic expression.

Visit the museum and explore Magnetic Fields, on view through January 21, 2018. Learn more through the Magnetic Fields Mobile Guide.

—Katie Benz is the fall 2017 digital engagement intern at the National Museum of Women in the Arts.

American Abstraction—Expanded

Mildred Thompson, Magnetic Fields, 1991; Oil on canvas, 70 1/2 x 150 in.; Courtesy of the Mildred Thompson Estate, Atlanta, Georgia; art and photo © The Mildred Thompson Estate, Atlanta, Georgia

NMWA hosts the exhibition Magnetic Fields: Expanding American Abstraction, 1960s to Today, opening to the public on Friday, October 13, 2017.

Mildred Thompson, Untitled (Wood Picture), ca. 1966; Found wood and acrylic, 39 3/8 x 27 1/8 x 2 3/8 in.; New Orleans Museum of Art, Museum Purchase, Leah Chase Fund, 2016.51; Courtesy and copyright of the Mildred Thompson Estate, Atlanta, Georgia; Photo courtesy of New Orleans Museum of Art, New Orleans, Louisiana

Organized by the Kemper Museum of Contemporary Art in Kansas City, Missouri, Magnetic Fields is the first U.S. exhibition to place abstract works by multiple generations of black women artists in context with one another.

Taking its title from a vibrant painting by Mildred Thompson, Magnetic Fields features work by 21 visionary women artists born between the years 1891 and 1981. The exhibition presents abstract art in a variety of artistic mediums, including printmaking, painting, sculpture, and drawing. These works—often incorporating unconventional materials or monumental scale—reveal the artists as under-recognized leaders in abstraction.

Thompson describes her work in the visual arts as “A continuous search for understanding. It is an expression of purpose and reflects a personal interpretation of the universe.” Similarly, artworks on view in Magnetic Fields celebrate each artist’s view of the universe through choices related to form, color, composition, and material exploration. Magnetic Fields re-contextualizes these works within the history of American abstraction.

Candida Alvarez, Puerto Rico, 25796, 2008; Watercolor, pencil, and marker on vellum, 12 x 9 in.; Courtesy of the artist, Chicago, Illinois; © Candida Alvarez; Photo by Tom van Eynde

Thompson’s works are featured alongside art by Candida Alvarez, Betty Blayton, Chakaia Booker, Lilian Thomas Burwell, Nanette Carter, Barbara Chase-Riboud, Deborah Dancy, Abigail DeVille, Maren Hassinger, Jennie C. Jones, Evangeline “EJ” Montgomery, Mary Lovelace O’Neal,  Howardena Pindell, Mavis Pusey, Shinique Smith, Gilda Snowden, Sylvia Snowden, Kianja Strobert, Alma Woodsey Thomas, and Brenna Youngblood. Together with the display of dynamic works by an inter-generational group of artists, an exhibition catalogue helps spark conversation about these artists and their place in history. Magnetic Fields represents a long-awaited milestone in honoring and recognizing the practitioners of abstraction.

Reserve your spot today for a first look at the exhibition during the opening party on October 12, from 7:30–9:30 p.m. Magnetic Fields is on view October 13, 2017–January 21, 2018. 

—Katie Benz is the fall 2017 digital engagement intern at the National Museum of Women in the Arts.