Mickalene Thomas

But I think that comes from their understanding. Like, if you approach an image, I can't control what you bring to it. Because you're bringing these ideas of what you think of black women when they're sort of seated in the position of all knowingness. There's, you know, but we have been, we sat on thrones before. And I think, you know, we've been queens and kings.

But I think that comes from their understanding. Like, if you approach an image, I can't control what you bring to it. Because you're bringing these ideas of what you think of black women when they're sort of seated in the position of all knowingness. There's, you know, but we have been, we sat on thrones before. And I think, you know, we've been queens and kings.

And, you know, I think more of those images are now being put forth and celebrated, which is incredible. I love seeing that.

And, you know, I think more of those images are now being put forth and celebrated, which is incredible. I love seeing that.

And, you know, I think more of those images are now being put forth and celebrated, which is incredible. I love seeing that.

Yes.

Yes.

Yes.

Yeah, I do. It was, uh, An idea I had, I was already working with the images. I've seen like Renee Cox. There's been a lot of artists who work with luncheon and grass as a concept of shifting sort of the paradigm of sort of the black bodies and sort of these Western canon ideas.

Yeah, I do. It was, uh, An idea I had, I was already working with the images. I've seen like Renee Cox. There's been a lot of artists who work with luncheon and grass as a concept of shifting sort of the paradigm of sort of the black bodies and sort of these Western canon ideas.

Yeah, I do. It was, uh, An idea I had, I was already working with the images. I've seen like Renee Cox. There's been a lot of artists who work with luncheon and grass as a concept of shifting sort of the paradigm of sort of the black bodies and sort of these Western canon ideas.

histories and I wanted to lie myself and sort of it was through actually Ramir Bearden that I started thinking about Lunching in the Grass and thinking about what it would mean to have three black women

histories and I wanted to lie myself and sort of it was through actually Ramir Bearden that I started thinking about Lunching in the Grass and thinking about what it would mean to have three black women

histories and I wanted to lie myself and sort of it was through actually Ramir Bearden that I started thinking about Lunching in the Grass and thinking about what it would mean to have three black women

seated in this position and it came from a commission that was presented to me by Klaus Biesenbach at the time he was the curator of photography and media at MoMA and also the director of MoMA PS1 and so he commissioned me to present a body of work in the window of the modern. And I immediately knew when I saw the space that I wanted to do Le Dijonais.

seated in this position and it came from a commission that was presented to me by Klaus Biesenbach at the time he was the curator of photography and media at MoMA and also the director of MoMA PS1 and so he commissioned me to present a body of work in the window of the modern. And I immediately knew when I saw the space that I wanted to do Le Dijonais.

seated in this position and it came from a commission that was presented to me by Klaus Biesenbach at the time he was the curator of photography and media at MoMA and also the director of MoMA PS1 and so he commissioned me to present a body of work in the window of the modern. And I immediately knew when I saw the space that I wanted to do Le Dijonais.

One, because of the opportunity of the space that it was going to be located. Two, because I had the opportunity for the first time to shoot sites specifically at the MoMA and the Sculpture Garden with the Matisse in the background. And three, I knew that many people would see this.

One, because of the opportunity of the space that it was going to be located. Two, because I had the opportunity for the first time to shoot sites specifically at the MoMA and the Sculpture Garden with the Matisse in the background. And three, I knew that many people would see this.

One, because of the opportunity of the space that it was going to be located. Two, because I had the opportunity for the first time to shoot sites specifically at the MoMA and the Sculpture Garden with the Matisse in the background. And three, I knew that many people would see this.