Mickalene Thomas Quotes

All of my experiences modeling, acting, doing theater, it's all in the work now. And the work freed me to transform myself.
Beauty has always been an element of discussion for black women, whether or not we were the ones having the conversation.
I am proud to be able to exhibit my work and inspire young people. Especially young black women so they know that they are beautiful, that they don't have to hold onto any negative stereotypes.
I define my work as a feminist act and a political act because I'm black and a woman. You don't necessarily have to claim that, but the act of making art itself is a political and feminist act when you're a woman.
I don't see myself as a photographer. I still see the photographs and collages as a resource for the painting.
I don't think an artist should always know why they gravitate toward something or someone. You are just drawn to things, and that's OK.
I grew up with a lot of brothers, and I don't have any sisters, so for me it's really important to develop my sisterhood. It's something I've always coveted.
I look to a lot of artists who don't focus on one medium, who you can't pigeonhole.
I remember when I first saw Whoopi Goldberg doing standup, and she was wearing a sheet on her head, basically pretending to be this little white girl with long luxurious blonde hair. Everyone can relate to that. It's an oral history of black women's lives through laughter.
I started making art during high school but thought I lacked the talent to become a true artist.
I started making art with art therapy. It's what I know how to do. I got a lot of criticism for that when I was in school. But I think it works for me.
I used to listen to a lot of music in my studio - all the time. But as far as the music that interplays with my work, what I've done and still do is keep a lyric book and song title. The material typically comes from Eartha Kitt, Betty Davis, Donna Summer, Whitney Houston.
I would have loved to paint Eartha Kitt, but she's no longer here. I'm so glad I had the chance to meet her.
I'm a black American, and I'm proud to represent who and where I'm from - unapologetically. There's no shame in my game.
I'm really interested in women, particularly the kind of black woman who has overcome obstacles in her life and transformed.
I've always been interested in masking, layering, dressing up and beautifying yourself and what that meant to black women. I've always wanted to make things that I haven't seen before.
I've always enjoyed film, but I'm a little afraid of it because I think it is very powerful as a medium. You have the visuals, the sound, the colors, all of these things coming at you, and they transport you physically so it becomes this surround sound, virtual reality.
In my family, growing up, the women were always the ones who were powerful, and they exuded this charisma of empowerment that I hold onto and always remember. I had some difficult times, but these strong women were always a constant.
My artistic decision to cast my mother's objects into bronze moves beyond the notions of memorializing her. I've been fascinated for some time with the idea of monumentality and what it means to memorialize. Both of these notions are relevant historically, artistically, and culturally.
Once I made the decision to make art despite the obstacles and to make this my priority, things just opened up for me.
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