Mildred Thompson -ART PAPERS Vol. 20 Issue 4, 1996; Edition of 75
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Mildred Thompson created this expressionist print in 1996 for ART PAPERS' 20th anniversary "artist pages" issue. We have collaborated with the Mildred Thompson Legacy Project to recreate this expressionistic black and white print, which contains a remarkable level of detail, and some of the signature lines and forms to which Thompson returned throughout her career. The work is reproduced here using stone lithography on paper selected to recall the color of newsprint, and to reference Thompson's habit of printing onto gray paper, which she used to create what she called "multiple originals"—embracing the natural variances that often occur between reproductions with printmaking.
Mildred Thompson (1936-2003) was an American artist whose work spanned four decades and multiple genres within the fine arts. During her career she also made significant contributions to the fields of creative writing and journalism, filmmaking, music, and digital media, and was a devoted educator. She was a contributor to ART PAPERS, where she also served as Associate Editor. In the early 1970s Thompson consciously eschewed representational imagery to exclusively champion the language of abstraction. Her practice transcended ever-changing art world trends and prevailing narratives prescribed by her generation, race and gender. She instead chose freedom of exploration, defying norms and refusing to be categorized. Thompson's was a personal visual language inspired by theories and systems of science and music. She sought to interpret and visualize elements and experiences invisible to the naked eye, with a particular affinity for the subjects of time, space and sound.
Mildred Thompson (1936-2003) was an American artist whose work spanned four decades and multiple genres within the fine arts. During her career she also made significant contributions to the fields of creative writing and journalism, filmmaking, music, and digital media, and was a devoted educator. She was a contributor to ART PAPERS, where she also served as Associate Editor. In the early 1970s Thompson consciously eschewed representational imagery to exclusively champion the language of abstraction. Her practice transcended ever-changing art world trends and prevailing narratives prescribed by her generation, race and gender. She instead chose freedom of exploration, defying norms and refusing to be categorized. Thompson's was a personal visual language inspired by theories and systems of science and music. She sought to interpret and visualize elements and experiences invisible to the naked eye, with a particular affinity for the subjects of time, space and sound.