Stephen Thomas

This is a drawing of a minimalistic landscape scene. It features a small, detailed sketch at the center of a large, mostly empty piece of paper. The sketch includes a simple line drawing of a natural element, perhaps a tree or branch, and abstract shapes that suggest terrain or small objects. The surrounding negative space on the paper highlights the central composition, giving it an airy and understated feel. The style is minimalist, using simple lines and gestures to imply more than what is explicitly drawn. Handwritten text in the lower right section may provide context or additional meaning to the artwork.

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Dan Flavin, Crown Point Press, Stephen Thomas, Lilah Toland

1978

One of 9 drypoints with colophon page on arches satine paper Accession ID 2001.142.34.7

Not on view

A vertical rectangular shape is filled with chaotic, black lines on a beige background.

Day Four from Seven Day Diary (Not Knowing)

John Cage, Stephen Thomas, Crown Point Press

1978

Etching, drypoint, softground etching, sugarlift aquatint, and photo-etching from a portfolio of seven etchings and drypoints on wove rives paper Accession ID 1996.93.26.4

Not on view

This is a photograph of a mid-20th-century advertisement. The advertisement, which seems to have been published in The New York Times on June 6, 1937, features text discussing the economic impact of the rich. On the left side, the text argues that acquiring wealth and investing it can create jobs and support a large number of people. The name "TIFFANY & CO." is prominently displayed, alongside their address at "FIFTH AVENUE & 57TH STREET, NEW YORK." On the right side, another statement reads: "The 9,240,000 Unemployed in The United States of America Demand The Immediate Creation of More Millionaires." The overall style suggests a blend of satire and economic commentary typical of early 20th-century print media advertisements.

Tiffany Cares [artist's proof]

Hans Haacke, Crown Point Press, Stephen Thomas

published 1978

Photo-etching printed from two plates on wove paper [artist's proof] Accession ID 1991.207.2

Not on view

This is a photograph of a printed page listing artistic techniques for a seven-day period. The image contains text headed "SEVEN DAY DIARY" in capital letters, followed by "Not Knowing" and "John Cage," with a date range from January 2 through January 8, 1978. Below, the page lists a schedule divided into seven days, each specifying different artistic techniques such as hard ground etching, drypoint, soft ground etching, sugar aquatint, photo etching, found objects, and color etching. The bottom of the page credits Stephen Thomas and Lilah Toland for printing, with a note about the edition and proofs, and mentions Crown Point Press, 1978, as the publisher. The text is neatly organized, with a formal presentation on a cream-colored background.

Seven Day Diary (Not Knowing)

John Cage, Stephen Thomas, Crown Point Press

1978

Portfolio of seven etchings and drypoints (five with aquatint, four with photo etching, three with impressions from inked found objects, and two with color etching), including title and colophon pages on wove rives paper Accession ID 1996.93.26.1-7

Not on view

The image shows two women depicted in a minimalistic black ink outline on a large white sheet. The women are shown standing side by side, with minimal details in their features, hair, and clothing. The background is entirely white, highlighting the central sketch of the women.

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Dan Flavin, Crown Point Press, Lilah Toland, Stephen Thomas

1978

One of 9 drypoints with colophon page on arches satine paper Accession ID 2001.142.34.4

Not on view

The image shows a small, abstract composition on a larger beige background. The composition consists of intersecting black and orange lines and shapes. The lines twist and turn in different directions, while the orange shapes resemble leaves or flames.

Day Seven from Seven Day Diary (Not Knowing)

John Cage, Stephen Thomas, Crown Point Press

1978

Color etching, drypoint, sugarlift aquatint, photo-etching, impressions from inked found objects, and color etching from a portfolio of seven etchings and drypoints on wove rives paper Accession ID 1996.93.26.7

Not on view

The image displays a small rectangular section in the upper right quadrant. This section contains a dense network of overlapping black lines. The lines intertwine to create an abstract pattern. The rest of the canvas is blank with a pale beige background, enhancing the intricate detail within the rectangular section.

Day Two from Seven Day Diary (Not Knowing)

John Cage, Stephen Thomas, Crown Point Press

1978

Etching, drypoint, and softground etching from a portfolio of seven etchings and drypoints on wove rives paper Accession ID 1996.93.26.2

Not on view

The image includes a rectangular section filled with intricate black lines and splatters centered on a plain, cream-colored background. The abstract section features branching lines resembling tangled roots or veins on a leaf. The surrounding space is simple and minimalistic, emphasizing the complexity of the central design.

Day Five from Seven Day Diary (Not Knowing)

John Cage, Stephen Thomas, Crown Point Press

1978

Etching, drypoint, softground etching, sugarlift aquatint, photo-etching, and impressions from inked found objects from a portfolio of seven etchings and drypoints on wove rives paper Accession ID 1996.93.26.5

Not on view

The image displays bold, sweeping lines forming intersecting arcs and angles against a light background in an abstract style. A thick line curves on the left, ascends sharply, then descends on the right. A horizontal line spans the lower part of the image, intersected by vertical and diagonal lines hinting at movement or tension.

#5 from Nine Drypoints and Etchings

Richard Diebenkorn, John Slivon, Stephen Thomas, Crown Point Press

1977

Drypoint from a portfolio of five drypoints and three etchings on rives bfk wove paper Accession ID 1996.77.4.4

Not on view

The image consists of bold, black lines on a plain background. The top portion shows intersecting horizontal, vertical, and diagonal lines creating an abstract shape. Below, two diagonal lines converge to form a large triangle. The composition encourages viewers to connect the geometric shapes with familiar objects through imagination.

#2 from Nine Drypoints and Etchings

Richard Diebenkorn, John Slivon, Stephen Thomas, Crown Point Press

1977

Drypoint from a portfolio of five drypoints and three etchings on umbria italia wove paper Accession ID 1996.77.4.2

Not on view

The image shows a series of rectangular shapes with overlapping black and white photo fragments forming an abstract collage of close-up images resembling parts of a human face and hands. The fragmented pieces suggest familiar elements found in a portrait, such as facial profiles and fingers, but their arrangement appears disjointed or reassembled. The text at the bottom provides an impression of handwritten notes, integrating the visual and textual elements in an abstract way.

Why Don't You Come Up and See Mine Sometime?

Vito Acconci, Doris Simmelink, Stephen Thomas, Crown Point Press

1977

Photo-etching in black on rives bfk wove paper Accession ID 1998.40.3

Not on view

This is a photograph of different gun parts. The image shows close-up views of various sections of firearms, including triggers, barrels, and frames. The photographs are in black and white, emphasizing the mechanical and structural details of each part. The arrangement of the images offers a fragmented but detailed look at the guns, highlighting their construction and design.

Bite the Bullet: Slow Guns for Quick Sale (To Be Etched On Your American Mind)

Vito Acconci, Doris Simmelink, Stephen Thomas, Crown Point Press

1977

Photo-etching in black on rives bfk wove paper Accession ID 1998.40.1

Not on view

Stephen Thomas

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