Linder & Mickalene Thomas @ Hayward Gallery
Two solo exhibitions have just opened at the Hayward Gallery, each presenting a female artist that relies heavily on photomontage and collage to subvert and reclaim ownership over stereotypical views of race, gender and sexuality. That’s essentially where the similarities end, which might be why the shows are self contained, separate entities. Visitors, however, get access to both for the price of one.
The ‘main’ exhibition, in terms of physical gallery footprint, is ‘All About Love’, a showcase of American artist Mickalene Thomas. It’s also the main show visually. Thomas’ works aren’t often displayed in the UK but that might change after audiences experience her powerful, confident portraits of powerful, confident women. From the moment you step into the gallery her loud, colourful canvasses emblazoned with rhinestones are the needle drop that cause everyone to immediately stop and stare.
Featuring herself, her family or famous figures that inspired her, Thomas’ portraits include archival black and white photos collaged with vibrant colours and bold patterns. Thomas is meticulous and intentional with both imagery and composition, and many poses replicate or echo historical artworks that subjected or negated women and the Black figure. Her use of rhinestones is also intentional and not merely a decorative accoutrement. Thomas says she was inspired by aboriginal dot paintings and pointillism, and found that reflective properties helped exude the type of light she wanted to convey but couldn’t create with paint. They add texture to her canvas, help accentuate features she wants you to focus on, and even from across the gallery they draw your eye when the angle is just right to reflect the gallery lights back at your eyes.
Another reason these works have such stature is because they are capital B big. UK artists don’t often work at such a large scale, and some of the works you’ll see are accurately described by the Hayward as monumental. The only thing subtle about these works is the precision in which those sparkly rhinestones have been applied. By the way, Thomas used cheap acrylic versions in her early works but upgraded to Swarovski Crystals as her reputation and sales grew. With the heavy use of rhinestones, retro fashion and even the 70s era tunes playing in the recreated living room from Thomas’ childhood it’s easy to look past the meaning of these works and get lost in the glitter, so to speak. These works are often joyous and a lot of fun.
In fact, you’d be excused for mistaking these works as all style, no substance, but the inclusion of two recent series in which the bling is notably muted provide an interesting counterpoint to consider the impact of Thomas’ signature style. The ‘Resist’ series, focussing on Civil Rights activism and America’s Black Lives Matter movement, are given a solemn, almost reverential white effect. Another series of works depicting Thomas’ Black female heroes is almost devoid of any decoration, merely presenting figures on an austere, mirrored canvas. The works pay due respect to the subject matter but are such a visual change from the rest of Thomas’ catalogue that they don’t quite feel as if they’re been made by the same artist. Evolution of a practice is a challenge that all artists face, but one I am glad to see Thomas’ is tackling. The show wouldn’t be nearly as strong as it is had all the works been essentially the same.
The second solo show, ‘Linder: Danger Came Smiling’, is a showcase of 50 years worth of the artist’s attempts to mock, subvert, and generally take the piss out of traditional and commercial representations of gender roles, sexuality and the sexual commodification of the female body. Collaging fashion and soft core pornography with flowers and household appliances, Linder “draws on the violent and creative power of cutting” to create surrealist compositions. Most of the imagery is absolutely bonkers and laugh out loud silly. Intentionally so, but it’s also done to make a serious statement.
Of her photomontage work, Linder has said “I often ponder the most minimal interruption that I can create to totally change the meaning of the original image. It’s non-monumental, intimate work made deliberately to draw the viewer in closer.” You will be surprised by how her incredibly minimal changes fundamentally shift the meaning and intent of the work, transforming imagery intended to titilate into obvious satire of the male gaze and stereotypical expectations of domestic responsibilities.
The works span five decades and are primarily black & white and feature products and settings now best described as retro. The source material is unmistakably antiquated, yet much of Linder’s imagery still has the power to raise questions and trigger debate. The modern pornification of advertising means some pieces are much less shocking than they would have been twenty to thirty years ago, but the global surge in movements promoting traditional, often rigid gender values means most of the works are more relevant now than when they were made. Some conversations have moved on while others have shifted backwards. It’s amazing how 50 years of artwork can make you realise just how little has changed.
Plan your visit
Linder: Danger Came Smiling & Mickalene Thomas: All About Love run until 05 May 2025.
Tickets from £18 adult / discounts available / children under 12 free
Visit southbankcentre.co.uk/venues/hayward-gallery and follow @hayward.gallery on Instagram for more info about the venue and to buy tickets.
Visit the Mickalene Thomas Wikipedia page and follow @mickalenethomas on Instagram for more info about the artist.
Visit the Linder Sterling Wikipedia page and follow @lindersterling on Instagram for more info about the artist.
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