CHEYNEY THOMPSON

Cheyney Thompson’s (b. , 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 , Thompson's work was the subject of the expansive, dual-part solo exhibition 

Painting as technology: Toolpaths and pathways in Cheyney Thompson's work

JCP 7 (1+2) pp. – Intellect Limited Journal of Contemporary Painting Volume 7 Numbers 1 & 2 © Intellect Ltd Articles. English language. Received 11 May ; Accepted 12 February PIA GOTTSCHALLER The Courtauld Institute of Art Painting as technology: Toolpaths and pathways in Cheyney Thompson’s work Keywords Abstract painting process Munsell colour tree algorithm Random Walk Theory Chromachromes Chronochromes Stochastic Process Paintings Quantity Paintings This article focuses on the experimental painting process of Cheyney Thompson (b. ). It is informed by French postmodern theory, principles of colour theory, and includes algorithms developed by the artist himself. Thompson’s practice can be understood as a continuous rumination on technology and the history of technology, as the artist explained in several interviews for this text, which also describes how his themes since c have been transposed into elaborate practical processes. The concerns and sources for his interrelated sets and series of paintings are wide-ranging, from the relationship between photography, printing and painting, to the Mode

Cheyney Thompson

One of the first book-length publications on contemporary artist Cheyney Thompson, whose work is known for its radically forward-looking intellectualism and formal rigor.

Cheyney Thompson's (b. ) work responds to a long history of debates about how art depicts the world, and about how we come to know the world visually. In these meditations on the artist's work, Christian Schaernack shows that for Thompson, reality is something that we can know only in terms of probabilities, not absolutes. Thompson often produces work that explores contingency at the formal level, sometimes in his artistic process itself (as Jackson Pollock once did), and sometimes through the use of external constraints such as computer algorithms, which he subverts as often as he follows.

The meaning of observation has changed time and time again in the history of art, just as it has in the history of science. Delving into art history, intellectual history, and contemporary continental philosophy, Schaernack offers a multifaceted study of an artist who challenges our assumptions about how the world is ordered. From Thompson's early “black paintings” to his Chronochromes to the Stochast

One of the first book-length publications on contemporary artist Cheyney Thompson, whose work is known for its radically forward-looking intellectualism and formal rigor.

Cheyney Thompson’s (b. ) work responds to a long history of debates about how art depicts the world, and about how we come to know the world visually. In these meditations on the artist’s work, Christian Schaernack shows that for Thompson, reality is something that we can know only in terms of probabilities, not absolutes. Thompson often produces work that explores contingency at the formal level, sometimes in his artistic process itself (as Jackson Pollock once did), and sometimes through the use of external constraints such as computer algorithms, which he subverts as often as he follows.

The meaning of observation has changed time and time again in the history of art, just as it has in the history of science. Delving into art history, intellectual history, and contemporary continental philosophy, Schaernack offers a multifaceted study of an artist who challenges our assumptions about how the world is ordered. From Thompson’s early “black paintings” to his Chronochromes to t

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