Born 1975 in Baton Rouge, Louisiana

Lives and works in Brooklyn, New York



1997 BFA from The School of the Museum of Fine Arts, Boston

Harvard University, Cambridge

L’Ecole Nationale-Superieur Des Beaux-Arts, Paris



MoMA – The Museum of Modern Art, New York

The Whitney Museum of American Art, New York

Centre Pompidou, Paris

SFMOMA, The San Francisco Museum of Modern Art



2018     Campoli Presti, London

2017 «Somewhere Some Pictures Sometimes», Andrew Kreps Gallery, New York

2016     «Bird Shells and Chambered Wings», Raucci/Santamaria Studio Project, Milan

2015 «Birdwings and Chambered Shells», Andrew Kreps Gallery, New York

2014 «Drunks», Campoli Presti, London

2013 «10M/100 ML/10 L», Galerie Buchholz, Köln

2012 Kunstverein Braunschweig, Braunschweig, Germany

«Sometimes Some Pictures Somewhere», Andrew Kreps Gallery, New York

«Cheyney Thompson: metric, pedestal, landlord, cabengo, recit», curated by Joao Ribas, MIT List Visual Arts Center, Cambridge, Massachusetts

2011 «Chronochromes /Umberto/Simon/Carlo», Raucci/Santamaria Gallery, Naples,Italy

«Chronochromes, Data, Motifs», Rat Hole Gallery, Tokyo

2010 «7Chronochromes, Menarches, Socles, Paul De Casteljau /Robert/ Motifs», Sutton Lane (Campoli Presti), Brussels

«Memphis, Pedestals, Chronochromes, Subincision, Papua New Guinea, /Macaire/, Motifs», Overduin and Kite, Los Angeles

2009 «Pedestals, Bias-cut, /Robert Macaire/, Chromochromes», Galerie Daniel Buchholz, Berlin

«Robert Macaire Chromachromes», Andrew Kreps Gallery, New York

2008 «Some Motifs and their Sources», Galerie Daniel Buchholz, Cologne, Germany

«New Works», Sutton Lane (Campoli Presti), Paris

«Cheyney Thompson», Galleria Raucci Santamaria, Naples, Italy

2006 «Quelques Aspects de l’Art Bourgeois: Le Non-Intervention», Andrew Kreps Gallery, New York

«The End of Rent Control and the Emergence of Creative Class» Galerie Daniel Buchholz, Cologne, Germany

2005 36 ART BASEL Statements

«Cheyney Thompson», Galleria Raucci Santamaria, Naples, Italy

«Cheyney Thompson: Selected works», Cheekwood Museum of Art, Nashville

2004 «1998», Andrew Kreps Gallery, New York, NY

2003 «1817», Sutton Lane (Campoli Presti), London

2002 «1 Scenario + 1 Situation», Andrew Kreps Gallery, New York, NY

2000 «Cheyney Thompson», James Fuentes Gallery, New York, NY

«Cheyney Thompson», Parker’s Box, Brooklyn, NY

1999 «Cheyney Thompson», The Norman Project, New York, NY



2017 Plages, Campoli Presti, London, 

Grid. Gradient. Drunken Walks, Two person exhibition with Sam Lewitt, The House Of Arts, Brno

L’emozione dei colori nell’arte, Castello di Rivoli, Italy

99 Cents or Less, Museum of Contemporary Art Detroit

New York Grid, Mathew NYC, New York

Tainted Love, Confort Moderne, Poitiers, France 

2016 «Group Exhibition», Campoli Presti, Paris

«Money, Good and Evil. A Visual History of Economics», Staatliche Kunsthalle Baden-Baden,  Germany

«From Minimalism Into Algorithm», The Kitchen, New York

«WORLD WON’T LISTEN», Capital Gallery, San Francisco

«Tales of Ratiocination», Campoli Presti, London

2015 «Collected by Thea Westreich Wagner and Ethan Wagner», Whitney Museum, New York

«Transmission. Recréation et répétition», Palais des Beaux-Arts, Paris

2014 «SCORE!» Curated by Amy Sillman and Cheyney Thompson, Center for Curatorial Studies, Hessel Museum of Art, Bard College, Annandale-on-Hudson, NY

«A Moveable Feast – Part XI» with Eileen Quinlan, Campoli Presti, Paris

«Une Histoire. Art, architecture et design des années 80 à aujourd’hui», Centre Pompidou, Paris.

2013 «And Materials and Money and Crisis», Museum Moderner Kunst, Vienna

«drunken walks / cliché / corrosion fatigue / ebay», Miguel Abreu Gallery, New York

«Abstract Generation: Now in Print», The Museum of Modern Art, New York

«After Finitude», Or Gallery, Vancouver

2011 «The indiscipline of Painting», curated by Daniel Sturgis, Tate St. Ives, England «Systems Analyse», Langen Foundation, Dusseldorf

«New York to London and back-The Medium of Contingency», Thomas Dane Gallery, London

2010 «Systems Analysis», West London Projects, London

«Signatures», Sutton Lane (Campoli Presti), Paris

«Le Tableau», Cheim and Read, New York, curated by Joe Fyfe

«Blind Mirror», Galleria Raucci Santamaria, Naples

2009 «The Whitney Biennal» – Whitney Museum of American Art

Slow Paintings», Museum Morsbroich, Leverkusen

«Compass in Hand: Selections from the Judith Rothschild Foundation Contemporary Drawings Collection», Museum of Modern Art, New York

«Besides, With, Against, and Yet: Abstraction and the Ready-Made Gesture», The Kitchen, New York, curated by Debra Singer

«Quodlibet iI», Galerie Daniel Buchholz, Berlin

«Collatéral» with Liz Deschenes, Sam Lewitt, Scott Lyall, Sean Paul, Eileen Quinlan, Blake Rayne, Nora Schultz, Le Confort Moderne / Association L’Oreille est Hardie, Poitiers

2008 «The Whitney Biennal», Whitney Museum of American Art,New-York

«Looking back», Mireille Mosler. Ltd. New York

«From Brooklyn with Love», Parker’s box, Williamsburg, Brooklyn

2007 «24 November – 22 December», Sutton Lane (Campoli Presti), Paris

«TBA», Cheyney Thompson and Eileen Quinlan, Arnolfini, Bristol

Art | 38 | Basel, Art Premiere (with Sean Paul)

«Regroup Show», Miguel Abreu Gallery, New York

«The Lath Picture Show», Friedrich Petzel Gallery, New York

«For the People of Paris», Sutton Lane, Paris (cat.)

2006 «It is, what is it?», Andrew Kreps Gallery, New York

«Slow Burn», Galerie Edward Mitterand, Geneva

2005 «Greater New York», P.S. 1 Contemporary Art Center, L.I.C., NY

«Material Matters», Herbert Johnson Museum of Art, Ithaca, NY

«S&M» (with Eileen Quinlan), Sutton Lane (Campoli Presti) Paris

«Painters Without Paintings and Paintings Without Painters», Orchard 47, New York

«Sutton Lane in Paris», Sutton Lane c/o Ghislaine Hussenot, Paris

2004 «Cheyney Thompson and Karla Black», Transmission Gallery, Glasgow

«Quodilibet», Galerie Daniel Buchholz, Cologne

2003 «Miss. Understood : James Yamada, Frederic Pradeau, Cheyney Thompson», Galleria Raucci/Santamaria, Naples

«Dreams and Conflicts: The Dictatorship of the Viewer», La Bienniale di Venezia, Venice, Italy

«Clandestine», La Biennale di Venezia, Venice, Italy

«Tear Me Up Tear Me Down», curated by Amy Davila, White Box, New York, NY

«Rendered», Sara Meltzer Gallery, New York, NY

«Papers», Acme, Los Angeles, CA

2001 «Life is Elsewhere», Canada Gallery, New York, NY

«Playground of the Fearless» Entropy Gallery, Brooklyn, NY

1999 «Escape», DNA Gallery, Provincetown, MA

«Formula», Oni Gallery, Boston, MA

1998 «Group Show», Grossman Gallery, Boston, MA

«Genesis in the Retort», Oni Gallery, Boston, MA

1996 «Group Show», Gallerie Gauche, Paris, France



2017 Schaernack, Christian. «The World of Cheyney Thompson.»Neue Zürcher Zeitung, December

Hampton, Chris. «In Detroit, Artists Explore the Riches of the 99-Cent Store.» The New York Times, June

2016 Hoffmann, Jens. «The Importance of Being An Influence.» Mousse, February

2015 Saltz, Jerry. «The 10 Best Art Shows of 2015.» New York Magazine, December

2014 Rappolt, Mark, «Art Materials and Money and Crisis», Art Review, March Issue

2012 «Cheyney Thompson and Akram Zaatari» Eflux online

Smith, Roberta. «Like Watching Paint Thrive: In Five Chelsea Galleries, the State of Painting». The New York Times. June 28

«The Lookout: A Weekly Guide to Shown You Won’t Want to Miss». Art in America, June 13

Anna Majeski,«Thompson challenges perceptions of art in latest exhibit at MIT gallery», The Tufts Daily, March

Nicolas Guagnini, interview, Mousse, February – March

Peter R. Kalb, «Cheyney Thompson», Art in America, 5/4/12

Nicolas Linnert,«Cheyney Thompson», Artforum, March Cameron Martin, Cheyney Thompson, Artforum, April

2011 «Cheyney Thompson on Art Education», Art iT, November 5. Aude Launay, Cheyney Thompson, a system against the system, 02 n 56, Winter 2010

Joselit, David, «Blanks and Noise», Texte Zur Kunst, March Issue nr 75

2009 Lewis, David, «Poitiers Cedex», Artforum, July

Busta, Caroline, «Cheyney Thompson», Artforum, September

Weiner, Emily, «Cheyney Thompson», Critic’s picks, Artforum, May

2008 Davis, Ben, «Genre-Jumping at James Fuentes’s New Gallery», Village Voice, February 12

Davies, Lilian, «Cheyney Thompson – New Works», Artforum online, April 2008

2007 Knight, Nicolas, «Mind the Gap»,, May-June

Richard, Frances «Cheyney Thompson» Artforum, February

Gronlund, Melissa. «Future Greats: Cheyney Thompson» Art Review, March

2006 «Cheyney Thompson», New Yorker,. December, 25

Smith, Roberta. «Museum and Gallery Listings:Cheyney Thompson: Quelques Aspects De L’Art Bourgeois: La Non-Intervention», The New York Times, December, 29

Smith, Roberta, «Art in Review; Cheyney Thompson». The New York Times, December, 22

Higgs, Mathew, «On the Ground, New York», Artforum, December

2005 «Cheyney Thompson et Eileen Quinlan»,, November 05

«Emerging Artists», artMatters, School of the Museum of Fine Arts Boston, Fall

Maddox, David. «Everyday Scenes – Two painters who render the banal in distinct ways», Nashville Scene, March 24

Hirsch, Faye. «Cheyney Thompson at Andrew Kreps», Art in America, January 2005

Inselmann, Andrea, «Material Matters», Herbert F. Johnson Museum of Art at Cornell University (cat.)

2004 Dailey, Meghan. «Cheyney Thompson at Andrew Kreps», Artforum, Summer 2004

Campagnola, Sonia, «Miss Understood», Flash Art, February-March

«Cheyney Thompson» The New Yorker, April 12, 2004, p. 12

Cotter, Holland «Cheyney Thompson» The New York Times, April 9, 2004

Levin, Kim. «Cheyney Thompson», Village Voice, April 7 – 19, 2004

2003 Saltz, Jerry, «After Shock», The Village Voice October 31

«Cheyney Thompson: The Table of Accumulation (Clandestine, Aresenale)», V Magazine September/October

Saltz, Jerry, «Babylon Rising», The Village Voice, September 5

«Cheyney Thompson at Sutton Lane»,, November 2003

Lake, Claudia, «The Artworld: Cheyney Thompson» Prophecy Magazine, Issue 4, 2003

Harris, Larissa. «Venice Diary», Artforum Online

Wilson, Michael. «Periodic Tables», Frieze, Issue 76 (June, July, Aug.)

Ricci, Daniela, «Miss Understood», Il Mattino, November

Fujieda, Manami. «Very New York!» issue, BT Magazine, January 2003

2002 Burton, Johanna. «Cheyney Thompson», Time Out New York, July 4-11, 2002

Levin, Kim. «Voice Choice: Cheyney Thompson», The Village Voice, June 26 – July 2, 2002

«Critics Pick», Time Out New York, June 27-July 4, 2002

Newhall, Edith. «Cheyney Thompson», New York Magazine, June 24-July 1, 2002

Solo Exhibition

10 Mar, 2018-03 Apr, 2018

Campoli Presti, Paris

Solo Exhibition

07 Mar, 2018-22 Apr, 2018

Campoli Presti, London

24 November – 22 December

24 Nov, 2007-22 Dec, 2007

Sutton Lane (Campoli Presti), Paris

Art / 38 / Basel Premiere: Sean Paul, Cheyney Thompson

15 Jun, 2007-20 Jun, 2007


The Invisible Fourth Wall

28 Jan, 2009-28 Mar, 2009

Sutton Lane (Campoli Presti), London

Systems Analysis

15 Oct, 2010-11 Dec, 2010

West London Projects, London

Please visit West London Projects website

Motifs, /Robert/, Paul de Casteljau, Socles, Ménarches, Chronochromes

09 Sep, 2010-23 Oct, 2010

Sutton Lane Project, Brussels

Cheyney Thompson
Motifs, /Robert/, Paul de Casteljau, Socles, Ménarches, Chronochromes
9 September – 23 October 2010
Sutton Lane, Brussels

Sutton Lane is pleased to present Cheyney Thompson’s fourth solo exhibition at the gallery entitled Motifs, /Robert/, Paul de Casteljau, Socles, Ménarches, Chronochromes. This is his first solo exhibition in Brussels.


In thinking through problems that organize themselves around the terms of painting, it is has become impossible for me to not address the vertical, phallic, modes of signification that condition painting’s legibility (histories of names, its vertical address on the wall, even the very conjunction Painter/Painting seems to indicate a filiation which only resolves itself in so many symbolic deaths). The pedestals are a support for the framing or presentation of the supplemental materials that go into the work’s always potential foreclosure of research. While traversing the signifier /painting/ we come across a potentially elaborate set of possible signifieds, color, identities, collections, supports, types of production, discourses…These pedestals are presenting information which as information can only have a tertiary relationship to the presentation of painting.
But with the pedestals, the information can find its own mode of address by being bound to the singular instance of that which presents (the non-repeating formal iteration of the pedestals). The logic of the forms of the pedestals is simple. I found that a typical pedestal for my needs (of presenting a document) was 3200 square inches. I treated this number as constant and designed 5 pedestals that all have the exact same surface area. In theory the most distinguishing feature of a pedestal (its verticality) could topologically become its opposite (horizontality). The pedestals then retain their nominal function as supports for artifacts while proliferating the mutability of their capacity to signify /pedestal/.


Pas encore.

/Robert Macaire/:

The power of this name does come from its efficacy to symbolize villainy or greed — even if at one point it did exactly that. What I think is more interesting is this name’s ability to deracinate identities that have become naturalized in their reified iterations through technological forms of reproduction and/or legalistic accounts of subjects. Robert Macaire shows all subjects to be shot through with historically determined forces which exceed the subject’s capacity for self-representation or narrativization. In so far as this name is separated from its own rootedness in localized moralization, it can function as a name which unnames, or the signature which de-authorizes any act which claims as natural right the validity and meaningfulness of self-presence.


I refer to these paintings as Chronochromes. This time a more complete version of Munsell’s color system is used. For Munsell color is named according to three descriptive categories (Hue, Saturation, and Value) which result in a complete and asymmetrical color space. For these paintings I grafted the color system onto a calendar. Each day has a complementary hue pair, each hour changes the colors’ value, and each month the saturation changes. Noon is absolute white and midnight is absolute black. This provides a system of producing paintings which would register fatigue, distraction, and interruptions as, in theory, it has the potential to produce a smooth gradient that would represent a continuous flow of time. The gradients, however, are not consistent due to my inability to work at all times every day. The system’s description may or may not aid in an interpretation of the work, because in the end we are left with a sequence of paintings which seem to conform to ideas about a highly subjective and composed abstraction. In other words, even while they may resemble compositional devices that some high formalist may have deployed, they do not signify a fully constituted subject’s ability to reflect on the essential nature of space, being, oneness, etc.
What they do perhaps signify is a first order abstraction in the way that certain values are transposed and structure a laboring subject’s ability to enunciate. In other words, painting is here equated with a kind of wage labor, where time itself, the time of life, has become a discrete set of units, which are countable, and plotted within the support– painting. But of course pictures always say more than they intend, so that even if the paintings are the result of a highly instrumentalized reasoning, they seem to picture a kind of pulsional desire which is rooted in the laboring body, or perhaps the involuntary dilatin of the pupils as they are exposed to more or less light. I could almost say that there is an attempt to locate the affective dimensions of aesthetic experience where the body and consciousness are at their most dominated and instrumentalized.

Another note: The paintings all share the same height, every width is numerically unique. This was motivated by an interest in displacing the function of the frame as the primary determining feature of a picture’s ability to signify within genre forms. Even while certain formats may resemble a historic genre for painting (landscape, portrait), they are constituted by a fundamentally arbitrary cut into an industrial loom’s more or less infinite capacity for production. Typically, this inaugural cut allows for an initial suppression of the types of laboring bodies which produced the linen. There are all sorts of problems with these ideas, that I can foresee, I however could not see a way of avoiding them. In other words I am ambivalent as to whether this aspect of the work which seeks to UNCOVER suppression is not itself held together by even worse suppressions, or that if laying out an infinite list of facts and descriptions PRODUCES anything of critical value, much less the possibility for aesthetic judgement.

Papua New Guinea
This is the site of the famous early study of gender construction by Ian Hogbin entitled, »the Island of Menstruating Men ». He details the practice of subincision, the lateral cutting of the penis, which results in a violent transposition of the vagina on to the penis. This seems to be another way of thinking the interpenetration of the law and the body through mimesis. This could lead to a different conception of Erotic Art. More work to be done.

Paul de Casteljau:
A name within a another name — Pierre Bézier. This is a also a history within a history. One is tragic and one is triumphant. The story of a free curve becoming number and number becoming a control parameter and a control parameter defeating a labor union. It is an origin myth for drawing’s disappearance. See the supplementary material.

Cheyney Thompson lives and works in New York City. He has participated in the 2008 Whitney Biennial; Greater New York (2005); and Clandestine, at The Venice Biennial 2003.


25 Jun, 2010-24 Jul, 2010

Sutton Lane (Campoli Presti), Paris


25 June – 24 July 2010
Sutton Lane Paris

Marcel Broodthaers
Marcel Duchamp
Jutta Koether
Louise Lawler
Man Ray
Josh Smith
Reena Spaulings
Cheyney Thompson

‘The author is the principle of thrift in the proliferation of meaning. As a result, we must entirely reverse the traditional idea of the author. We are accustomed, as we have seen earlier, to saying that the author is the genial creator of a work in which he deposits, with infinite wealth and generosity, an inexhaustible world of significations. We are used to thinking that the author is so different from all other men, and so transcendent with regard to all languages that, as soon as he speaks, meaning begins to proliferate, to proliferate indefinitely.

The truth is quite the contrary: the author is not an indefinite source of significations that fill a work; the author does not precede the works; he is a certain functional principle by which, in our culture, one limits, excludes, and chooses; in short, by which one impedes the free circulation, the free manipulation, the free composition, decomposition, and recomposition of fiction. […] The author is therefore the ideological figure by which one marks the manner in which we fear the proliferation of meaning.

All discourses, whatever their status, form, value, and whatever the treatment to which they will be subjected, would then develop in the anonymity of a murmur. We would no longer hear the questions that have been rehashed for so long: Who really spoke? Is it really he and not someone else? With what authenticity or originality? And what part of his deepest self did he express in his discourse? Instead, there would be other questions, like these: What are the modes of existence of this discourse? Where has it been used, how can it circulate, and who can appropriate it for himself? What are the places in it where there is room for possible subjects? Who can assume these various subject functions? And behind all these questions, we would hear hardly anything but the stirring of an indifference:
What difference does it make who is speaking?’

– from What is an author? by Michel Foucault, 1969 –

La Vie mode d’emploi

21 Mar, 2009-02 May, 2009

Sutton Lane (Campoli Presti), Paris

La Vie mode d’emploi
Carl Andre, Martin Barré, Daniel Buren, Liz Deschenes, Sherrie Levine, Cheyney Thompson, Franz West
21 March – 2 May 2009
Sutton Lane, Paris

La Vie mode d’emploi
The Chiasmus: Why is the chiasmus the last great form of truth—the only one we have left?

La Vie mode d’emploi: Percival Bartelbooth, the hero of Perec’s great novel, plans to use up his life, and his fortune, without leaving a trace. Despite lacking any talent, he apprentices himself for ten years to a watercolorist. He then travels the world for twenty years. At each of five hundred ports Bartlebooth paints a watercolor and sends it back to Paris, where it is converted into a puzzle. Bartlebooth returns to Paris, solving the puzzles one-by-one and then shipping each to the location where it had been painted: there, after twenty years, they are dissolved.

The Chiasmus: The more stringent and mechanical the program, the more human does its author, or subject, become: this is Bartlebooth’s truth. As with the dance, so—always—with the dancer: Perec, a most poignant and ethical writer, is famous for only working with the most rigid, stratospheric constraints. La Disparition was written without the letter E. Each chapter in La Vie mode d’emploi simply describes a room in a Parisian apartment block; the reader moves from room-to-room as a knight on a chessboard. Only by way of these most rigorous, elegant systems can Perec tell of Bartlebooth’s rigorous and elegant puzzle, or game, or life; only by disappearing as a writer can he write the truth of our inevitable disappearance.

La Vie mode d’emploi: « Does he have hands? Does he have a face? Then it wasn’t us. » The Chiasmus: Not coincidentally, all this takes place at or by the sea.

David Lewis

De America

06 May, 2011-15 Jul, 2011

Indipendenza Studio, Rome


15 Nov, 2005-17 Dec, 2005

Sutton Lane (Campoli Presti), Paris

Cheyney Thompson / Eileen Quinlan
15 November – 17 December 2005

Sutton Lane is pleased to announce the first two person exhibition of American artists Cheyney Thompson and Eileen Quinlan in Paris.

“At least one charming thing about the human institution of marriage is that although a man may marry, he can never be only a husband. Besides being a money-making device and the one man one woman can sleep with in legal purity without sin, he may as well be some other woman’s very personification of her abstract idea.
And though a woman may marry, she can never be only a wife. Besides being a home-making device and the one woman one man can sleep with in legal purity without sin, she may also be some other man’s very personification of his most licentious desire.
While to their employees, the married couple are nothing but “bosses,” and to their children, nothing but “parents,” each to themselves something certainly more complex.
With all this said, it remains to be seen in the marriage of objects to ideas, whether or not this meticulous monogamy survives representation.”
– Louise Norton on Remy de Gourmont.

Cheyney Thompson born in 1975 in Baton Rouge, LA, USA, lives and works in New York. Group exhibitions include Transmission Gallery, Glasgow, “Clandestine” at the Venice Biennale (2003), ‘Greater New York’ at P.S.1 Contemporary Art Center, New York. Solo exhibitions include the Cheekwood Museum of Art, Nashville, USA and last year’s ART BASEL Statements. Cheyney Thompson will have a two-person exhibition with Eileen Quinlan at Sutton Lane, Paris, this November.

Eileen Quinlan was born in 1972 in Boston, USA and lives and works in New York. She graduated with an MFA from Columbia University, New York in 2005. Group exhibitions include White Columns, New York and Andrew Kreps Gallery, New York. Eileen Quinlan will have a two-person exhibition with Cheyney Thompson at Sutton Lane, Paris, this November.

A Moveable Feast – Part XI

03 Jul, 2014-26 Jul, 2014

Campoli Presti, Paris

A Moveable Feast – Part XI
Eileen Quinlan & Cheyney Thompson
3 – 26 July 2014
Campoli Presti, Paris

Campoli Presti is pleased to announce A Moveable Feast – Part XI with a presentation of works by Eileen Quinlan and Cheyney Thompson. This is their second collaborative exhibition at the gallery since Smoke & Mirrors, presented in Paris in 2005.

In Quinlan’s new black and white gelatin silver prints (2014), photography is used as a space for performance. The female body, reshaped by the glass it’s pressed against and veiled by the effect of vapor and water, is first documented extensively with a regular digital camera. Selected images are later rephotographed with a 4 x 5 large format camera, allowing Quinlan to work serially and to explore further the relationship between the limits of analog photography and the virtually infinite possibilities of the digital.

The final prints are the result of a wide array of physical interventions that degrade the surface of the negatives, such as scratching the film with tacks, steel wool, and ballpoint pens and leaving the film in a bath saturated with chemicals that accelerate or alter the developing process. Here, the sheets of film are processed by hand. Quinlan uses her fingers to push the emulsion across the surface of the negative rather than using the rollers of the Polaroid back. The prints are all equally sized and pinned directly onto the wall, emphasizing their status as images rather than formatted objects. The lack of a frame, a distancing mechanism, makes these works fully available to the eyes of the viewer.

The color Polaroid photograph Fine Motor Skills (2014), is the first in a new series. Quinlan is using the tiles the artists’ children play with to create a sculptural form reminiscent of a fairy-tale castle or the Cologne Cathedral.

Thompson’s latest series of works continue his investigation on the technology, production and distribution of painting within the context of current abstract economy. The works on view are based on the Drunken Walk algorithm, an aleatory path that is used in financial theory to predict stock prices. In his Stochastic Process Paintings, Thompson executes the algorithm inside the three-dimensional color-system created by Albert Munsell. The diverse positions the line draws within the solid of the color model can be translated into amounts of different hues, saturations and values that Thompson finally applies on canvas in squares of one centimeter. All of the works in the series share the same quantities of color information, 8034 square centimeters, thus determining the format of the paintings.

An homologous procedure is followed in his Broken Volume sculptures through the multiplication of a one inch concrete cube along a path prescribed by the Drunken Walk algorithm. In these works, the constraint placed on the sculptural form consists only in the quantitative. All the works produced in this series share the same volume of concrete, 10 liters. With no regard for their own structural limits, they are left to break under their own weight. Outside of the smoothed numeric space of their conception, they continually orient themselves to the material forces embedded in the temporal conditions of exposure and circulation. The works are developed in dialogue with recent critical approaches towards parametric architecture, used for modeling, monitoring and prediction purposes in a context of increasingly mobile political decisions.

Eileen Quinlan lives and works in New York. Her work forms part of the permanent collections of MoMA, New York; the Whitney Museum of American Art, New York; Los Angeles County Museum of Art, The Museum of Contemporary Art, Los Angeles; The Metropolitan Museum of Art, New York; and the FRAC (Fonds Regional d’Art Contemporain), France. Her work formed part of the exhibition New Photography 2013, curated by Roxana Marcoci at MoMA, New York. She has recently participated in the exhibitions Rites of Spring at the Contemporary Arts Museum, Houston, Texas (2014); in What is a photograph at the International Center of Photography, New York (2014); «Y? O! G… A.», with Matt Keegan at The Kitchen, New York; and All of this and nothing at the Hammer Museum, Los Angeles (2010). Quinlan has had a solo exhibition at the ICA in Boston (2009).

Cheyney Thompson’s work is part of the permanent collections of MoMA, New York; the Whitney Museum of American Art, New York; and the Centre Pompidou, Paris. His work is currently included in the exhibition Une Histoire. Art, architecture et design, des années 80 à aujourd’hui at Centre Pompidou, Paris. He recently had a solo survey exhibition at the MIT List Visual Arts Center, Massachusetts (2012) with an accompanying monograph and was included in the 2008 Whitney Biennial. Past exhibitions include Chat Jet – Painting ‘Beyond’ The Medium at Künstlerhaus Graz (2013); The Complete Reference: Pedestals and Drunken Walks (solo) at Kunstverein Braunschweig (2012); The Indiscipline of Painting at Tate St Ives (2011); Systems Analysis at West London Projects and Langen Foundation, Germany (2010); Greater New York at P.S.1 Contemporary Art Center (2005) and Clandestine at The Venice Biennial 2003.

New Works

18 Mar, 2008-12 Apr, 2008

Sutton Lane (Campoli Presti), Paris

Cheyney Thompson
New Works
March 18-April 12, 2008
Sutton Lane, Paris

Sutton Lane is pleased to present an exhibition of new work by Cheyney Thompson. The four paintings on view, all oil on canvas, form part of a series of works currently on view at the Whitney Biennial in New York City.

This is Thompson’s first solo exhibition in Paris. A reception for the artist will be held on April 7, 6-8 pm.

The two larger paintings in this exhibition, each measuring 70 x 53 inches, are derived from photographic source. They are made from scans, re-framing various details of paintings made for a previous exhibition entitled “Quelques Aspects de l’Art Bourgeois: La Non-Intervention,” at Andrew Kreps Gallery in 2006. These earlier paintings were taken from images of crumpled, blurred, paper that had been scanned and reprinted in black and white. A third painting measuring 24 x 20 inches, shows a grid of sixteen shades of grey representing the various tones of grey used in this initial process.

Thompson further explores the possibilities and variations open to painting in the forth 24 x 20 inch work in this exhibition. Representing a detail of the shirt sleeve from a formal portrait of the artist’s studio landlord, this piece is generated from part of a larger body of work titled “The End of Rent Control and the Emergence of the Creative Class,” shown at Daniel Buchholz Gallery in Cologne in 2006. These paintings were made using the color scheme CMYK, typical of most color printers. The fourth painting presented in this exhibition was made using CMK, leaving the yellow (Y) out of the composition.

Whether a change in detail or color scheme, these variations open up the possibilities for painting and image. They relate directly to Cheyney Thompson’s analytical approach to formal painting with particular interest in modes of production and means of distribution within a marketplace.

Cheyney Thompson lives and works in New York City. He has participated in exhibitions including the 2008 Whitney Biennial; Art Premiere: Art Basel, 2007; Greater New York (2005); and Clandestine, at The Venice Biennial 2003.

New Works by Cheyney Thompson will remain on view through April 12, 2008. For more information please contact the gallery at or


17 Oct, 2003-21 Nov, 2003

Sutton Lane (Campoli Presti), London

Cheyney Thompson
17 October – 21 November 2003

For his first solo exhibition in London, Cheyney Thompson has created a panoramic installation of 60 paintings that continues his investigations on the possibility of history painting.

In 1816, Gericault found in the headlines of the newspaper a subject for a large scale history painting. Through a rather obsessive studio practice, he was able to frame an event which could function as a cipher for political commentary and romantic idealism.

It was, at the time, impossible to look at the sufferers in the painting without also seeing the neglect and corruption of the French government officials who had abandoned them to their fate. The painting found its position as a wedge, somewhere between the account from Correard and Savigny, public debate, and the private fantasy of the studio painter.

The artist states: “In light of the present political situation in America with its own colonial mismanagement, I wanted to rethink the Raft of the Medusa. Despite the corruption, complicity, and untold suffering in the present military operations, there is no singular image which is capable of redeeming us, no image which can function to allow us to recognize ourselves in history. These paintings, at best, constitute a better failed image of the historical present than the typical representation of our current catastrophe. The intention, stated explicitly, was to make a painting which functions as a backdrop for the historical drama it is itself enacting.”

Cheyney Thompson lives and works in New York. His work has been included in the Venice Biennale. He has had a solo exhibition at Andrew Kreps Gallery, New York.


07 Jun, 2014-26 Jul, 2014

Campoli Presti, London

Cheyney Thompson
7 June – 26 July 2014
Campoli Presti, London

Under the title « 10M/1000 ML/10 L » Drunks Cheyney Thompson (* 1975, lives in New York) presents in his fourth fifth solo exhibition at Galerie Buchholz Campoli Presti a group of new paintings, drawings and sculptures.

The science of economics developed in the eighteenth and nineteenth centuries predominantly in the medium of language. The impact of set theoretical and topological reasoning after World War II finally put this verbal tradition to an end. Paralleled by the mathematization of economics from the 1950’s onwards, finance slowly moved from the margins of curricula at business schools to the center of value production. Its rise during the 1990’s marks the technical actualization – mathematical models drawn with pencil on paper were put to the test with the help of computers – of an epistemic shift, which has been in prolonged hibernation. As early as in 1900, Louis Bachelier discusses in his doctoral thesis “The Theory of Speculation” the application of stochastic processes to evaluate stock options. It has since marked the most general strand, that has not only transformed the study of finance, but the functioning of markets themselves. Bachelier’s main thesis is that the prices of stocks and similar securities follow a random walk and therefore the mathematical theory of probability can be applied, which was complemented in the 1960’s by an argument that explicated this. Prices follow a random path, since any information available prescribes their development. This is taken into account by speculators and thus cancelled out. Markets are efficient and only therefore subject to the arithmetics of chance.

A variant of such a random walk algorithm is put to work in this exhibition by Cheyney Thompson in order to produce paintings and sculptures. With regards to the paintings on view, its meander is placed into a three-dimensional colour-system conceptualized by Albert Munsell at the turn of the last century, which has been deployed by Thompson during the past years in order to tie his practice to the possibility of a rigorous quantification of colour. The algorithm is programmed to cover a distance of 10 meters 8032 steps. The diverse positions the line drawn by it within the solid of Munsell’s ten primaries colour model can be translated into amounts of different hues, saturations and values – milliliters square centimetres– Thompson finally applies on canvas. The algorithm – as a model which produces nothing but colour quantities and as information the beholder knows about – withdraws the surfaces of the tableaux from the possibility to read their compositions as indices of intention. Painted in a colour-spectrum in fact recommended by Munsell for reproduction, they negate from the start their singular sensual presence. The articulated brush traces, which ought to do nothing but spend the material, apparently struggle to escape the habitus of the painter. They are fraudulent in the sense that they cannot become an object of judgement. This is precisely so because one cannot even confirm by merely looking at them the application of their rule.

What they produce is a perspective from which the painter as well as the viewer are excluded. They are opaque, not where their redundant materiality becomes visible, but by means of their reduction to an abstract informatization, which mirrors the intangibility of economic processes that they nonetheless break down within the finite form of painting: a test pad for the non-liveable. It is the same algorithm Thompson resorts to for a set of sculptures. Whereas the paintings apparently take up the monstrous heritage of materialism, as it was first tentatively worked through by Impressionism, the sculptures appear to resume modernist painting’s debt to architecture. A one inch cube, as its elemental form of volume, is made to multiply itself on the algorithm’s path. Mimicking Parametricism’s contemporary triumphal lingo, which announces itself as the new global style of building, wearing the old mask of cast concrete, the bends and windings the cube stutters along produce shapes whose orientation remain unfathomable. To place those objects on the ground or on pedestals, whatever they might be doing there, expose them to gravity, let them crack, remains the only reasonable, maybe vital idiocy. The sculptures’ program is ended at somewhat contingent points. Most models have broken underneath their own weight. What would it mean to not give in? It is the only way out from becoming fatalistic.

Simon Baier

Cheyney Thompson’s work is part of the permanent collections of MoMA, New York and Centre Pompidou, Paris. He recently had a solo survey exhibition at the MIT List Visual Arts Center, Massachusetts with an accompanying monograph and was included in the 2008 Whitney Biennial. Past exhibitions include The Complete Reference: Pedestals and Drunken Walks (solo) at Kunstverein Braunschweig, Chat Jet – Painting ‘Beyond’ The Medium at Künstlerhaus Graz; The Indiscipline of Painting at Tate St Ives; Systems Analysis at West London Projects and Langen Foundation, Germany; Greater New York at P.S.1 Contemporary Art Center and Clandestine at The Venice Biennial 2003.

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Two introductory comments for a panel with Reinhold Martin and Patrik Schumacher

1) Matthew Poole

The profession of architecture has often been at odds with architectural historians, theorists and critics in the insistence that architecture is not and cannot be political. One of the key purposes of this conference is to ask what is at stake in such claims and conversely what is at stake in claiming as we are claiming the necessity of a discourse on the politics of such claims. The conference asks if and how at this juncture in history it might be more important than ever to look once again into this abyss to forge a discourse that could cross the intellectual, ethical and philosophical devide within the fields of architecture and social politics – to ask what political terrain parametricism is inserted into and grows out of and what its agency may be to provoke, guide and generate changes in collective and individual thinking, attitudes of behaviors within that terrain. So parametricism is a useful case study in this regard because its tools and mechanisms interject digital electronic automation into design and modeling processes more explicitly and fully than ever before. This paradigm shift explicitly introduces a deceptively simple set of questions that simultaneously defer and radically fracture common and familiar epistemes and ontological categories. For example, parametricsm provokes us to ask what is a building, what is a place, what is a population, what is an act, what is a choice, what is a flow and what is a conduit, what is fluid and what is static, what is a subject and what is an object as it comprehensibly dissolves such relatively stabilized designations into and through the complex representational terrain of data flows. The terrain of politics today is also made similarly complex as we interact increasingly through globally networked digital technologies. Political agency in our world today can no longer be predicated upon simple oppositional antagonistic models of antithetical argumentation nor on dialectical synthetic models of discussion and transparent and shared consensus.

Instead the terrain for politics today is more difficult to navigate than ever before as the principal currency and medium for knowledge of ourselves, our values and the predicates of the decision making that we make are increasingly mobile and dynamic in ways that constantly accelerate. This hyper complexity is observed for example in global financial economics, in climatology and ecology and in population modeling, monitoring and prediction.

Indeed it is now virtually impossible to schematise all these things in ways that are comprehensible to individual human consciousness without the aid of digital electronic prostheses. Such computational prostheses not only assist us in managing hyper complexity but also fundamentally change the terms, principles, and capabilities of the terrains in which they intercede. These prostheses are not without their own agency, as they complicate, transcend, and potentially subvert that position as prostheses for human activity introducing the possibility that human activity may itself be the prosthesis of parametric and algorithmic scripting processes. So it’s with this interrogative perspective that we address the dynamic, epistemological and ontological terrain that is parametricism and asks questions of the ramifications of its complexities upon the present and future of social politics.

2) Manuel Schvartzberg

We framed tonight’s event with the rather vague theme of architecture and politics, parametricism within or beyond liberal democracy. As Matthew already mentioned the cultural discourse of architecture has a troubled relation with politics, having been variously declared over the past century as the harbinger of revolution, the antidote, the false friend or plainly, as the purely practical or autonomous, and in both cases, the allegedly de-politicized practice of the design and making of buildings. The spirit of this event is to try to move the conversation beyond what I would call a double, if antithetical, architectural politics of refusal. Neither do we want to deny architecture’s effect as a political tool – thus isolating it to the pragmatic realm of the market – nor do we believe that the only way to maintain an ethical standard in architecture is to renounce practice all together. Rather we seek to explore the political potentialities, whether they are conscious or unconscious, of this new form of digital architecture, which tonight we are calling parametricism, to see how it might offer new ways of understanding both architecture and politics. Architectural parametricism is enticing as a case study in aesthetics and politics because with its basis on the numerical you can’t but codify the question of the one and the many, or the individual and the collective in many more ways than ever before.

From the masses to social network, from the factory to the cloud, the conditions of life in our post-fordist imaginary can be understood as both enslaving and liberating depending on your point of view. Judith Butler for instance in a conversation with Cornel West just two weeks ago at Columbia University emphasized the role neo-liberal metrics play as a strategic instrument in the fraud cycles of impoverishment and development in capitalist organization. West on his part decried the deodorized discourse of contemporary corporate and also political rhetoric forgetting the body and its unpredictable messiness and its all too often suffering. On the other hand we might think of parametricism as precisely that, as an opportunity to think of a para-metrics – another way of forging relations in the world and therefore another politics. Beyond architecture’s problematic marriage with liberal democracy the parametric is an opportunity to develop a more sophisticated understanding of how different forms of society measure, distribute and design. What would be the metrics and the architecture of other forms of the political beyond liberal democracy? How would political autonomy be translated into form? Or what would be a radical democracy entail for the building industry and an equalitarian architecture at the level of a housing project, a private company, the state or even – returning to the post-fordist paradigm – flows of capital themselves.

Caisse Blanche

24 Nov, 2007-22 Dec, 2007

Sutton Lane

Sean Paul & Cheyney Thompson
Caisse Blanche

A propos…
De la rue de Braque, de la communication et des relations de Presse

de Jasper Morrison
de Sutton Lane
de Paris
de Basel
de la ratio de 3 sur 4
de l’édition photographique de 16mm gravé sur DVD
de la communication et des relations de l’espace privée

For the People of Paris

13 Jan, 2007-10 Feb, 2007

Sutton Lane (Campoli Presti), London

Group exhibition celebrating Thea Westreich and Ethan Wagners donation to the Whitney and Pompidou

09 Jun, 2016-15 Jul, 2016

Campoli Presti, Paris


16 Feb, 2017-18 Mar, 2017

Campoli Presti, London


Monika Baer
Marc Camille Chaimowicz
Sarah Charlesworth
Isabelle Cornaro
Liz Deschenes
Willem de Rooij
Nathalie du Pasquier
Louise Lawler
Nick Mauss
Marisa Merz
Amy Sillman
Cheyney Thompson

17 February – 18 March
Campoli Presti, London

2 February – 4 March
Campoli Presti, Paris

Plages brings together artists that meditate on the place of the subject inthe marking of aspace.The works exploredifferent vision instruments through which we approach everyday objects, and therefore our distance towards them, as well as the opposition between private space and exhibition space throughpremeditated patterns that discuss the idea of functionality.Besidesits usual translation asbeach, the French termPlageisabroadnotionthatindicatesthe perimeter of a space, a time lapse or the latitude between two elements -in this casepublic/private,home/business, decorative/functional.

By pointing out the history of object production and everyday material culture, artistssuch as Sarah Charlesworth, Monika Baer, Nathalie du Pasquier, Amy Sillman, Louise Lawler, Marisa Merz and Isabelle Cornaro reframe overlooked, ordinary objects and question their purpose as consumption, design, or admiration while settinga new distance between subject and object, foreground and background, as in the site-specific, reflective work of Liz Deschenes. The displacement of domestic objects often takesthe form of a renewed artistic appropriation.

The continuity between adomestic space and the exhibition space can also be addressed through the emancipation of design from taste limitations and functional demands. By radicalizing design-based techniques, the work of artists like Nick Mauss, Marc Camille Chaimowicz, and Willem de Rooij can channel multiple painting traditions and reveal collaborative processes. Cheyney Thompson’sinterpretation and intentional distortion of reproductive techniques can take the shape of repetitive patterns that delineate the exhibition area ina suite of canvases.

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Tales of Ratiocination

23 Feb, 2016-02 Apr, 2016

Campoli Presti, London

Martin Barré
Christian Bonnefoi
André Cadere
René Daniëls
Sheila Hicks
Jacqueline Humphries
Barbara Kasten
Charles Mayton
Michel Parmentier
Blake Rayne
Carol Rama
Amy Sillman
Cheyney Thompson

Tales of Ratiocination
23 February – 2 April 2016
Campoli Presti, London

Tales of Ratiocination focuses on the delineation of a chain of operations, a subtle reasoning that establishes a set process for the making of artworks. For Edgar Allan Poe, ‘ratiocination’ meant the use of analytical powers to solve mysteries, using different kinds of information to explore, question and sometimes satirize the certainty of a deductive method. The artists in the exhibition share a common concern with developing compositional or even anti-compositional strategies that explore the role of the artist and the historically set rules of artistic agency.

Martin Barré, André Cadere and Michel Parmentier deliberately introduce an anomaly into their method to destroy its underlying logic and to question the artist’s gesture. In 1977, Martin Barré stated that painting was a game between the rule and the subversion of the rule. His diagonal markings reveal the interdependence of the canvases, diverting the calculation of a geometric order. The striped pattern of André Cadere‘s Barres de bois rond, (round bars of wood) follows a distinctive sequence. Each colour succeeds the previous one in a constant mathematical permutation that includes a systematic error. The diameter of the wooden segment equals its length and, in each case, the colour of one segment is represented by a number. The segments are set together in order resulting from a permutation which includes random shifts – and an error results from the inversion of two segments in the sequence. In 1983 Michel Parmentier reiterated his 1965 horizontal stripe folding technique, changing its colour arbitrarily each year for three years, so as to detach himself from a personal preference and to objectify the nature of colour.

Correspondingly Cheyney Thompson’s Stochastic Process Paintings combine algorithms employed by financial theorists to predict market patterns with colours taken from Albert Munsell’s 19th century three dimensional colour system. This succession of random, scientifically dubious steps, provides a system that registers the repetition of an inexact rule, commenting on the subject’s ability to enunciate it.

The intentional reiteration of a pattern, often applied in a playful fashion, operates as a means to speculate around the stability of a method. The use of motifs such as the bowtie in René Daniëls‘ and Charles Mayton‘s work reflects their interest in painting as an instrument of encoded meaning, introducing different mechanisms without resulting in closed iconographic interpretations. Carol Rama describes the repeated use of strips of rubber as joyful, following her unceasing commitment to adding everyday life materials into her works. Sheila Hicks‘ playful yet reverential subversions of weaving traditions result in laborious abstract compositions.

Christian Bonnefoi finds the strategy of his paintings in the physical threads moving through his paintings. The minimal gaps and transparencies of the material lead to his attempted direction, usually alluding to the figure of the labyrinth to describe the eternal back and forth between his intentional manipulations and the visual end. Describing a comparable continuous process, Jacqueline Humphries has said, “I start a painting by finishing it, then may proceed to unfinish it, make holes in it or undo it in various ways, as a kind of escape from that finitude.”

Amy Sillman‘s layered abstractions are based on the tension between an affective and a formal method, negotiating between the improvisatory and the structural aspects of thinking itself. Blake Rayne’s Wild Country series equally explore the properties of a fluctuating movement, as its wandering line moves across the surface of a layered background, in an intuitive movement that recalls automatic writing.

Barbara Kasten designates the studio as an environment of transitory structures that exist only to be photographed. Following the compositional vocabulary of constructivism, Kasten transfers rules from other artistic fields into photography, expanding its limits.

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