Curated by João Ribas
Taking up the reins of 1960s and ’70s French Conceptual painting, Cheyney Thompson registers and examines the problematics inherent in painting’s production, economy, and circulation. His methodology tends toward generative systems, as in his “Chronochromes” series, 2009– (to be prominently featured at MIT), in which the calendar is tied to the turn-of-the-century numerical color model of Albert H. Munsell, such that each linen-weave-shaped mark painted on the work’s surface corresponds to the month, day, and hour of its production. Incorporating more than thirty paintings made between 2005 and 2011 along with a new group of pedestal sculptures, this first museum survey of the artist’s work will afford the foremost opportunity yet to parse the intricacies of Thompson’s various modes of materialist formalism. The exhibition catalogue features essays by Ribas, Simon Baier, Yve-Alain Bois, and Ann Lauterbach.
