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Mickalene Thomas makes art that 'gives Black women their flowers'

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Mickalene Thomas makes art that 'gives Black women their flowers'

Mickalene Thomas’ 2015 work “Afro Goddess Looking Forward.” Rhinestones, acrylic, and oil on wood panel

Mickalene Thomas/The Barnes Foundation


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Mickalene Thomas/The Barnes Foundation

In Mickalene Thomas’ art work, Black women are front and center. Her subjects are often at leisure, resting on couches and chairs, sometimes nude, and frequently accentuated by rhinestones and rich colorful patterns.

“I would describe my art as radically shifting notions of beauty by claiming space,” she says. “We’ve been supportive characters for far too long and … my art gives Black women their flowers and lets them know that they are the leading role.”

The scale of Thomas’ paintings, often made of unconventional materials like glitter, sequins, and yarn, makes them feel larger than life, with the eyes of her subjects gazing directly at the viewer. Each piece begins as a collage.

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“I love the instant, tangible way having my hands at it, as if I’m sculpting with the paper, allows me the immediacy of the process,” she says. “My scissors are sort of a way of drawing.”

Thomas often recasts scenes from 19th-century French paintings, centering Black sensuality and power. She says her ultimate goal is to celebrate the “sisterhood” that exists between Black women, and which she grew up experiencing.

Mickalene Thomas attends "THE WIZ: Cast Recording" Listening Party at DUMBO House on June 19, 2024 in New York City. (Photo by Arturo Holmes/Getty Images)

Mickalene Thomas describes her work as “radically shifting notions of beauty by claiming space.”

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“The trials and tribulations of my own life as a child did not negate the fact that there was a lot to love and care and family and support and comfort, even when there was struggle,” she says. “So that’s what I bring forth in my work.”

Thomas’ latest exhibition, “All About Love,” is midway through an international tour with stops in Los Angeles, Philadelphia (The Barnes Foundation, through Jan. 12, 2025), London and France. The Barnes exhibition features 50 paintings, collages, and photography spanning over two decades, inspired by the women in her life, including her mother, who died in 2012.

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Interview highlights

Thomas’ 2010 “Le Déjeuner sur l’herbe: Les trois femmes noires” reinterprets Manet’s 1863 painting. Rhinestones, acrylic and enamel on wood panel.

Mickalene Thomas /Jean Pierre and Rachel Lehman Collection/The Barnes Foundation


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Mickalene Thomas /Jean Pierre and Rachel Lehman Collection/The Barnes Foundation

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On her 2010 reinterpretation of Manet’s “Le Déjeuner sur l’herbe”

I decided to reinterpret or reclaim this space [by depicting] … three powerful women who are fully clothed, seated and not at a picnic, just lounging and giving each other their flowers.

On finding a home in art 

I think that art has saved my life, for sure. Growing up, going to after school programs at the Newark Museum, it was, for me, this safe haven, this comfort, this refuge. I loved going there after school. I loved doing all the craft projects, the papier-mâché, exploring different ways of making self-portraits or building houses with popsicle sticks and all those things. … It was just an outlet, a way of expressing myself, but also a place to go after school until my mother got off work.

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On using inexpensive craft supplies 

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When I was in Pratt, I couldn’t afford oil paint. I would rummage, often through the recycled stretcher bins, and gather my materials from that. And all I could afford was craft materials because they were cheaper than oil paint, like felt and different fabrics, glitter. … So I gravitated towards those materials because they were accessible and affordable for me. But what they did was open up a way of expressing myself. … There was a struggle of completing some assignments because some you had to use oil paint or some you had to use the traditional materials. … Sometimes people [would] throw away tubes of paint because they think it’s [finished] and [I’d] just cut it open, [and] there’s still paint in there.

[Now] I love using the high-end material and still the acrylic. I use both. But now I mix them up. And so you can’t tell what’s high or low, but that’s just part of life sometimes, right? You can wear H&M with a Prada jacket and still look fabulous. … Sometimes things that are so simplistic and that cost nothing are so much more rewarding.

On her late mother’s support of her work 

She got to see it, experience it, celebrate it. She was celebrated for it. She was admired and adored. She loved the fact that she was a part of my art. She loved coming to the openings. She loved coming to my friends’ openings. She loved supporting my community. So whether it was my opening or one of my artist friends’, she would show up. And so I love that about her. She was a great advocate. She’s always been an advocate for the arts. She always supported that. When I decided I wanted to be an artist, she never looked at it as, “Why you want to go and do that?” Some of those things were in my head, but she never vocalized that. She was supportive.

Ann Marie Baldonado and Susan Nyakundi produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.

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‘How to Rule the World’ explores education and power at Stanford University

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‘How to Rule the World’ explores education and power at Stanford University

Students walk on the Stanford University campus on March 14, 2019, in Stanford, Calif.

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Ben Margot/AP

When Theo Baker arrived at Stanford University a few years ago, he joined the student newspaper, following the path of his journalist parents, Peter Baker, a White House correspondent for The New York Times, and Susan Glasser, a writer for The New Yorker.

Through his reporting as a student journalist, he eventually broke a story about manipulated data in Stanford President Marc Tessier-Lavigne’s neuroscience research that helped lead to the university president’s resignation.

Theo Baker’s book, How to Rule the World: An Education in Power at Stanford University was released May 19. In it, Baker describes Stanford as a place where proximity to Silicon Valley gives rise to a parallel system of influence, recruitment and money, with investors looking to identify promising students almost as soon as they arrive on campus.

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He told Morning Edition host Steve Inskeep there was “a sort of Stanford inside Stanford,” where elite students are drawn into an “alternate reality” of excess and access to cut corners.

In the interview, he discusses how Stanford is not just a university but also a pipeline where status and power can matter as much as ideas.

We reached out to Stanford University for comment and have not heard back.

Listen to the interview by clicking play on the blue box above.

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OTB Takes Full Control of Viktor & Rolf

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OTB Takes Full Control of Viktor & Rolf
The Italian fashion group behind Diesel and Maison Margiela is taking full ownership of the avant-garde haute couture house, acquiring the remaining 30 percent it didn’t already own. Founders Viktor Horsting and Rolf Snoeren remain creative directors.
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How having zero points in tennis — or ‘love’ — came to sound so sweet

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How having zero points in tennis — or ‘love’ — came to sound so sweet

The scoreboard shows the results of the women’s singles final match between Iga Swiatek of Poland and Amanda Anisimova of the U.S. at the Wimbledon Tennis Championships in London, Saturday, July 12, 2025.

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Kirsty Wigglesworth/AP

Fifteen points in tennis? Nice. Thirty, 40 — even better. Advantage — that sounds good. “Love” — that also must be great, right? Well, not quite.

As the French Open rolls on and Serena Williams has announced her return to the sport, maybe you’ve been paying a little more attention to tennis. The sport’s scoring system is notably distinct, and can sometimes be hard to grasp for newcomers. But even tennis aficionados might not know why, or how, “love” became the unmistakable callout for zero points. For this installment of NPR’s Word of the Week, we’re exploring how a word that signifies trailing behind got such a sweet name.

“Love” comes from the heart — or an egg?

It’s hard to pinpoint when the first tennis ball went over the net. Tennis is a derivative of lots of other sports, such as “jeu de paume,” a handball game played in France, said JT Buzanga, the collections manager at the International Tennis Hall of Fame museum.

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But tennis became a patented, official sport in 1874, said Steve Flink, a journalist whose tennis coverage got him inducted into the International Tennis Hall of Fame. It has retained its unique, mysterious scoring system ever since.

“By and large, the original system has held up almost entirely,” Flink said.

The use of “love” goes back to the late 18th century, said Jesse Sheidlower, a lexicographer. But it was used earlier than that in card games such as whist and bridge. Before the term made its way to tennis, the sport favored plain old “nothing,” or “nil,” he said.

Why love in the first place, though? Historians don’t really know for sure, but there are a few theories.

The French could have something to do with it. Some historians believe “love” derives from “l’oeuf,” which means “the egg” in French. Because eggs are shaped like zeros, terms such as “goose egg” and “duck’s egg” have been used in other contexts to mean zero, Sheidlower said.

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It’s also possible English speakers mispronounced l’oeuf as “love.” But Sheidlower isn’t convinced that’s the answer.

“It’s the French equivalent of an English expression. But since that expression doesn’t appear in French, the French word wouldn’t have been used,” he said.

To be sure, France has had a lot of influence on tennis culture, Buzanga said. For example, “deuce” or a game tied at 40 points, comes from the French word for “two”: “deux.” But he prefers another prominent theory: that “love” comes from the idiom “for the love of the game.” Even if a player hasn’t scored, it doesn’t matter, because their heart is in it. It’s the theory Sheidlower said is the most plausible, because the idiom was used by the English before tennis was popularized.

Another variation of the “love of the game” theory is that the word could have come from the Dutch “lof,” or “honor” — or the Latin “amare,” meaning “to love,” Flink said.

But if tennis’ “love” doesn’t come from a French word, the theory at least has a French sensibility.

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“I think the ‘for the love of the game’ is kind of romantic,” Buzanga said.

“Love” probably isn’t going anywhere

Tennis used to be a sport of leisure. The style of play has changed a lot over the years; players are more athletic and competitive, for instance, Flink said. But the rules of the sport are more steadfast, he said.

“There’s this incredible, enduring respect for tradition in tennis,” he said. “Changes are not made easily.”

There has been one major change in modern history: the tie-break. Matches can go on and on because players have to score two consecutive points to break a deuce, or by two games to break a tied set. But the onset of television meant matches would have to get shorter if the sport wanted to capture a larger audience, Flink said.

Change even came for “love.” An alternative sprouted up in the 1970s, and is still used today: “bagel,” named for its zero shape, Sheidlower said. Novices may say “zero,” and insiders will understand what they mean, but they “will needle them about it,” Flink said.

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But “love” still prevails.

“People kind of like it,” Flink said. “It’s different. Why say zero when you can say love?”

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