Artist Mickalene Thomas has spent the past decade redefining black imagery and representation of Black women, empowering her subjects to resist opposition while celebrating the experimental power of their presence. Her paintings, deliberately bold and lively, are distinguished by bright colors, intricate patterns and rhinestone embellishments that demand attention. Drawing freely from art history and pop culture, Thomas combines these influences with the powerful creative output of Black communities, especially from recent decades. Her works stand as profound declarations of Black identity and resilience, challenging historical narratives that have sought to undermine these voices while creating a powerful, multifaceted universe that is entirely her own. The touring works survey, “Mickalene Thomas: All About Love,” premiered at The Broad in Los Angeles before arriving at the Barnes Foundation in Philadelphia to critical acclaim. Next stops include the Hayward Gallery in London (February 11-May 5, 2025) and Les Abattoirs, Musée–Frac Occitanie Toulouse (June 13-November 9, 2025).
For the Barnes Foundation—home to the most famous contemporary art collection in the US—the exhibition takes on an important layer of significance. Thomas' work forms a fascinating dialogue with the iconic masters of modern art in the Barnes collection, including Monet, Picasso and Modigliani, creating an interesting continuity within the tradition of female portraiture. But Thomas doesn't stop at interviews; you create a deeper experience. His visual universe extends beyond the boundaries of his canvases by including custom-designed wallpapers that transform gallery spaces. Visitors are transported to a vibrant world focused on the power of Black culture from the '80s and '90s, where everything works together to amplify its powerful vision.
By engaging with all of art history, Thomas not only challenges existing narratives but also champions new visual ways to address pressing issues of race, gender, and identity—especially in the portrayal of Black women. The play highlights how she deftly navigates themes of beauty, desirability and sexuality through an overtly female gaze, elevating the power of seduction while making bold, unapologetic statements. Most importantly, as Thomas himself explains, his work focuses on portraying his subjects as fully conscious human beings—people who should be seen, understood and appreciated for their inner beauty, ensuring that they are celebrated on their own terms.
As the second iteration of Mickalene Thomas's survey of work concludes in Philadelphia and prepares to open its third chapter in London, the Observer caught up with the artist to explore how this exhibition is reshaping our understanding of his work.
What inspired the show's title, “All About Love?”
The title comes from feminist bell hook's book, “All About Love.” I was inspired by the idea that love is an action. It reflects a central theme of my work—how love, in all its forms, shapes identity, relationships and experience. It talks about the complexities of love in families, communities and even self-love. The title also points to the idea of love as a personal and collective force that can heal, empower and transform but also challenge and challenge us. It's about embracing love in all its forms—joy and struggle.
The line between seductive, sensual and vulgar is often subtle, but your bold images celebrate the feminine allure and seductive qualities of your subjects while emphasizing the empowerment, engagement and kinship that highlight Black femininity. How do you maintain that balance?
I think the difference between seduction, arousal and profanity is blurred, and it's something I'm passionate about in my work. Seduction, to me, is about the invitation, the subtlety of how the subject interacts with the viewer—there's a certain mystery and confidence to it, but it's not aggressive or overstated. Eroticism, on the other hand, is about the celebration of desire and the body, but it doesn't have to be overt. It's about the intimacy and power of the proposition, not just the action itself.
Bullying, I think, often comes from a lack of choice. It is about refutation and reducing the subject to mere belief or superficial image without depth. In my paintings, I try to avoid that by focusing on the problem of the subject—celebrating it and showing it as it is fully realized, with strength and vulnerability. There is power in showing Black femininity, sensuality and desire in all its forms, from relaxed to aggressive and sensual to intense. My work focuses on happiness and healing as a transformative act.
Your multi-layered compositions often begin with a deeply personal connection to your subjects and their stories. Can you share more about how you choose your subjects and how that interaction shapes your photographic process?
Maintaining this delicate balance comes from exploring with my subjects happiness, love and joy by creating narratives made beautiful based on memories of desire. It's about empowerment and agency—capturing the essence of their identity and the ability to present themselves in the world. I hope to show that their inner beauty, allure and sexuality is not something to be externalized—it is natural to each person and should be celebrated on their own terms.
The topics I choose are personal and focus on more than just visual communication. I'm drawn to strong women who aren't afraid to express the vulnerability and allure associated with experiences or ideas explored within my own experience—whether it's the power and complexity of Black femininity, the intersection of identity or the power of intimacy and desire. This allows me to create an image that is not only reflective but also reflective of our shared experience. I try to capture how they look and feel in front of the camera, think about their bodies and want to be seen.
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I often include objects that represent aspects of their identity or narratives that feel important—symbolic techniques, patterns or the use of Black family concepts, which allow me to layer different meanings and dimensions into the work. I use collage, in particular, to combine physical reality with memory and imagination for their formal aspects. It is a way of integrating the complexity of self and experience. As the composition develops, the subject changes in my work. I see each image as an evolution, an interpretation of how they are seen, celebrated and empowered and how they see themselves.
Your work expertly combines references to art history and popular culture in a playful yet linguistically sensitive manner. Can you share some of the references presented in this exhibition?
I'm glad you saw that interaction in my work. An important part of my practice is about combining art history and pop culture, as both are powerful ways for me to tell stories, even though they operate in very different areas. Art history provides a foundation—an important framework for examining representation, beauty, and power—while pop culture reflects the fluid, ever-changing environment in which we live today. By combining the two, I create a space where high and low cultures can discuss, challenge each other, and hopefully provide new ideas.
In this exhibition, you will see references to iconic periods in art history, such as 19th century painting, the Harlem Renaissance and Afrocentric portraiture. These references speak to my approach to the representation of African Americans in art, where historically, Black women's bodies have often been looked down upon, thought of or viewed as abnormal. My work also comes from deep personal memories and experiences—like growing up in a house full of strong women and lots of love despite the obstacles and traumas we sometimes face. Beauty, to me, is a language of expression—whether it's the ritual of watching your grandmother get ready for church on Sunday, the weekly moments of transition like getting dressed, visiting the hair salon or getting together at a family party. These personal moments of love, care and connection greatly inform the way I communicate with my subjects.
In this exhibition, he created a layered mise en scène that goes beyond the works to create spaces infused with nostalgia. Can you elaborate on the site-specific installation and multimedia content you installed? Will this change as the show moves to new locations?
This installation is intended as an opportunity to tell stories and draw viewers into a layered, absurd space based on my childhood memories. There are two installations representing two different periods designed to evoke a sense of familiarity and memory that evokes the fabric of my life experience through the use of elements and markers that combine personal history and cultural references. Elements are drawn from archival family photos, inviting the audience to engage with the work in a very powerful family way.
“All About Love” explores what he's doing from the early 2000s to the present day. How has your career developed during this time? Are there any traits you left behind or unexpected advances you discovered in the last twenty years?
Over the past two decades, my oeuvre has evolved from a focus on personal identity and cultural history to a broader exploration of collective narratives, empowerment, love, joy and celebration, particularly around Black femininity and beauty.
I moved away from more traditional portraiture and incorporated multimedia, collage and installation to deepen the storytelling. While leaving behind some previous, rigid conceptual frameworks, I have embraced unexpected flexibility—allowing the work to evolve naturally and engage with new materials and interactions. This change brought a sense of freedom and expansion to my practice.
“Mickalene Thomas: All About Love” is on view at the Barnes Foundation through January 12, 2025.
