![Cheyney Thompson TouchTime [10, 9, 1], 2020](https://img.artlogic.net/w_472,h_472,c_limit/exhibit-e/59bff84cdca83743488b4567/c03f31766c3bd438558041c5ef3e06da.jpeg)
![Cheyney Thompson Displacement [32028, 2], 2020](https://img.artlogic.net/w_472,h_472,c_limit/exhibit-e/59bff84cdca83743488b4567/aac0042cc84e9d50f7e35193102a25ae.jpeg)
![Cheyney Thompson Displacement [32028, 3, 12], 2020](https://img.artlogic.net/w_472,h_472,c_limit/exhibit-e/59bff84cdca83743488b4567/84653072d3ab72d4c995d3ae74ba4b22.jpeg)
![Cheyney Thompson Black (2.92ml, 2.12ml, 1.76ml, 1.61ml, 1.58ml, 2.85ml, 2.02ml, 1.76ml, 1.6ml, 1.4ml) [19.64ml] Blue (2.92ml, 2.12ml, 1.76ml, 1.61ml, 1.58ml, 2.85ml, 2.02ml, 1.76ml, 1.6ml, 1.4ml) [19.64ml] Red (2.92ml, 2.12ml, 1.76ml, 1.61ml, 1.58ml, 2.85ml, 2.02ml, 1.76ml, 1.6ml, 1.4ml) [19.64ml] Yellow (2.92ml, 2.12ml, 1.76ml, 1.61ml, 1.58ml, 2.85ml, 2.02ml, 1.76ml, 1.6ml, 1.4ml) [19.64ml] White (2.92ml, 2.12ml, 1.76ml, 1.61ml, 1.58ml, 2.85ml, 2.02ml, 1.76ml, 1.6ml, 1.4ml) [19.64ml]](https://img.artlogic.net/w_472,h_472,c_limit/exhibit-e/59bff84cdca83743488b4567/5fedafad08e8857b308bc63fd89138e1.jpeg)
Cheyney Thompson’s (b. 1975, Baton Rouge, Louisiana) practice is centered on an inquiry into the production, distribution, and exhibition of painting. His projects, which often span several years, impose structures and constraints onto the making of his work. These limitations are in turn generative, resulting in exhaustive investigations into the medium of painting and the problems that surround it. Tying his works to mathematical and economic formulas, his own labor as an artist, and the architecture that his paintings occupy, Thompson enacts a tension between their formal qualities, and the larger systems of circulation they inhabit.
In 2023, Thompson's work was the subject of the expansive, dual-part solo exhibition Intervals and Displacements, staged across Andrew Kreps Gallery and Lisson Gallery's venues in New York. Other solo exhibitions include L’Écorché, Campoli Presti, Paris, France, 2021, Displacements and Dead Trees, Miguel Abreu Gallery, New York (with Eileen Quinlan) (2020), Sam Lewitt/Cheyney Thompson, The Brno House of Arts, Brno, Czechia, 2017, Cheyney Thompson The Completed Reference: Pedestals and Drunken Walks, Kunstverein Braunschweig, Germany, 2012, Cheyney Thompson: metric, pedestal, landlord, cabengo, recit, curated by João Ribas, MIT Visual Arts Center, Cambridge, Massachusetts 2012.
His work has additionally been included in numerous group exhibitions, including Between pixel and pigment - Hybrid painting in post-digital times, Kunsthalle Bielefeld, Bielefeld, Germany, 2024, Inaugural Exhibition, The Campus, Hudson, NY, 2024, For What It’s Worth: Value Systems in Art since 1960, The Warehouse, Dallas, TX, 2024, The Cumulative Effect, Songwon Art Center, Seoul, South Korea, 2022, Walk, Shirn Kunsthalle Frankfurt, Frankfurt, Germany, 2022, Drawing 2020, Gladstone Gallery, New York, 2020, Tainted Love / Club Edit, Villa Arson, Nice, 2019, Low Form. Imaginaries and Visions in the Age of Artificial Intelligence, MAXXI, Rome, Italy, 2018, Programmed: Rules, Codes, and Choreographies in Art, 1965–2018, Whitney Museum of American Art, New York, 2018, 99 Cents or Less, Museum of Contemporary Art Detroit, MI, 2017, Colori. The Emotions of Color in Art, Castello Di Rivoli, Museo d’Arte Contemporanea, Turin, Italy, 2017, Invisible Adversaries: Marieluise Hessel Collection, Hessel Museum of Art, Bard College, Annandale-on-Hudson, New York, 2016, Money, Good and Evil. A Visual History of Economics, Staatliche Kunsthalle, Baden-Baden, Baden-Baden, Germany, 2016, A Slow Succession with Many Interruptions, SFMOMA, San Francisco, 2016, and Materials and Money and Crisis, Museum Moderner Kunst, Vienna, Austria, 2013, the 2008 Whitney Biennial, Whitney Museum of American Art, New York, 2008, among others. Thompson’s work is held in the permanent collections of the Centre Pompidou, Paris, The Whitney Museum of American Art, New York, SFMoMA, San Francisco, and the Museum of Modern Art, New York.
Bortolami, James Cohan, kaufmann repetto, Anton Kern, Andrew Kreps, and kurimanzutto are pleased to present the inaugural exhibition at their new shared space, The Campus, in Claverack, NY. Embracing a collaborative model, the galleries have turned an abandoned former school building into a platform for dynamic cultural exchange. Organized by Timo Kappeller, the inaugural exhibition will run from June 29 through October 27, 2024.
How can we attempt to understand the value systems that surround us and guide our lives?
With this question, For What It’s Worth: Value Systems in Art since 1960 brings together 80 artists from across generations and geographies to explore one of the most urgent concerns of our time: the growing challenges to value systems that have arisen out of confrontations with social, political, and cultural power structures. Grounded in the international conceptual art tendencies of the 1960s and 1970s, the exhibition builds on the strategies of this era that continue to reverberate through art and the world today.
An exploration of the technological and surreal imaginary of the artists of today, from computer-generated dreams to creative algorithms and avatars that question the meaning of existence.
More than just an exhibition, but a workshop for study and debate on themes and issues associated with our relationship with technology and the incredible scenarios opened by its evolution: Low Form. Imaginaries and Visions in the Age of Artificial Intelligence is an immersive, multimedia and multisensory display.
Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 establishes connections between works of art based on instructions, spanning over fifty years of conceptual, video, and computational art. The pieces in the exhibition are all “programmed” using instructions, sets of rules, and code, but they also address the use of programming in their creation. The exhibition links two strands of artistic exploration: the first examines the program as instructions, rules, and algorithms with a focus on conceptual art practices and their emphasis on ideas as the driving force behind the art; the second strand engages with the use of instructions and algorithms to manipulate the TV program, its apparatus, and signals or image sequences. Featuring works drawn from the Whitney’s collection, Programmed looks back at predecessors of computational art and shows how the ideas addressed in those earlier works have evolved in contemporary artistic practices.
