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So many exhibitions to visit this Spring from Sweden, Australia and the UK to California, Washington and New York — and two in Connecticut. Check them out.
Beauty and the Unexpected Modern and Contemporary American Crafts National Museum Södra Blasieholmshamnen 2 Stockholm, Sweden March 30, 2023 – January 21, 2024
National Museum has invited Helen W. Drutt English, pioneering craft educator and gallerist of American Modern and Contemporary Crafts since the 1960s, to assemble a collection of objects drawn from the field of “American Crafts.” The selection of 81 works from the 1950s until today will in future enrich National Museum’s collections and will provide a possibility to look at American Crafts in the Nordic context.
An Oral History Of Susan Cianciolo's Run Collections—and Of A Long Lost 1990s New York
International Textile Art Biennale (Fibre Arts Australia) Emu Park Art Gallery EMU Park 13 Hill Street Queensland, Australia From April 15 – June 10, 2023
Overflow by Neha Puri Dhir, stitch-Resist Dyeing on Handwoven Silk (Diptych), 95 x 128cm 95 x 32cm, 2022. Photo by Neha Puri Dhir
The International Art Textile Biennale (IATB) seeks to exhibit the best of contemporary art textiles and invited submissions, from Australia and Internationally, that reflect a wide range of works related to the textile medium. Thirty-five artists were selected to participate, including Neha Puri Dhir. The works are exhibited at various locations throughout Australia.
Morisot, Under The Orange Tree
This exhibition takes paper out of the two-dimensional into a world that is fantastical, intricate, colorful, and personal. Inspired by the materiality of paper and the metamorphic quality of the papermaking process,
Explores paper in pulp, cast, folded, and cut forms.The exhibition includes artwork by several artists located in New England: May Babcock, Erik and Martin Demaine, Andrea Dezsö, Tory Fair, Hong Hong, Fred Liang, Michelle Samour, Heidi Whitman and browngrotta artistWendy Wahl.
Will enter the woven world of ikat, a complex textile pattern that knows no borders. Presenting over 100 textiles from the museum’s global collection with gifts and loans from a dedicated Seattle-area collector,
Dreamers And Disrupters: The Best Art And Architecture Of Autumn 2018
is an introduction to the meticulous and time-honored processes of dyeing threads to create complicated hand-weaving. Contemporary work in the exhibition includes tapestries by Polly Barton and James Bassler, and an extraordinary installation by Rowland Ricketts.
provides a window into what is currently engaging fiber artists, even as this discipline continues to evolve and change. Emanating from artists’ studios in Southern California, the exhibition offers unique perspectives on the complicated identities of fiber art as a genre. Collectively they offer a penetrating examination of fiber’s possibilities. Exhibiting artists include Jim Bassler, Cameron Taylor-Brown, Ben Cuevas, Mary Little, Michael F. Rohde, and Carol Shaw-Sutton.
In the ’60s and ’70s, the Polish artist Magdalena Abakanowicz created radical sculptures from woven fibers. They were soft, not hard; ambiguous and organic; towering works that hung from the ceiling and pioneered a new form of installation. They became known as the “Abakans.” Many of the most significant Abakans are brought together at the Tate Modern in a forest-like display in a 64-meter long gallery space.
Art Materials Archives
The exhibition explores this transformative period of Abakanowicz’s practice when her woven forms came off the wall and into three-dimensional space. With these works she brought soft, fibrous forms into a new relationship with sculpture. A selection of early textile pieces and her little-known drawings are also on show.
Wordplay: Messages in Branches & Bark Flinn Gallery: Greenwich Library 101 West Putnam Avenue Greenwich, CT March 30 – May 10, 2023
Our artists have been busy this fall. They are involved in a number of exhibitions and commissions, some of which we’ve listed below; some of which we will cover in next week’s . We’ve also noted a few other exhibitions worth adding to your radar.
Amazon.com: Carnal Knowledge
In September and October, 2022, as a milestone of 40 years at Kyoto University of the Arts, Keiji Nio, Professor, Department of Arts and Crafts, prepared an exhibition that combined his own history, woven kimono, tapestry, fiber art and basketry, which are rarely seen in the same venue. Aiming to create an exhibition space that transcended the scope of the group of works, he planned
, held at the Galerie Aube attached to Kyoto University of the Arts. Included was work by Erika Otsuka, a traditional crafts exhibition exhibitor, Misako Nakahira, a tapestry artist who makes full use of tsuzureori, photographs and kasuri weaving, works of Megumi Takeda, a tapestry artist who combines the above, and the works of 30 artists, including Noriko Takamiya, who have been participating in and annual basketry exhibition for many years, all in the same venue, it was a fresh group of works that are not bound by materials or techniques. In addition to classical textiles, there were many structures and works that can be called sculptures though “woven” at first glance. There are additional images in the University newsletter: https://uryu-tsushin.kyoto-art.ac.jp/detail/1041.
explores how certain artists, including Lia Cook, perceive what it means to change from one form to another. Through painting, photography, sculpture, installation and video, selected artworks demonstrate how gradual and immediate changes impact viewers’ perceptions of self, one another, and the shared environment. Adopting an inclusive view of the process of dissolving, the featured artists visualize the physical dissolution of light, water, distance, and geographic borders. They also address the dissolution of personal relationships, identity, and social and political networks.
The Clarion (spring/summer 1983) By American Folk Art Museum
features works by Chang Yeonsoon, including works from the matrix series, the road to the center, and a site-specific installation are included.
, Katagami-style handcarved paper and metal wall sculpture. Materials include archival cotton paper, aluminum, linen, pigment, mica, acrylic, and varnish. Photo Jennifer Falck Linssen
For a client in the US. It’s 168 inches long of Katagami-style handcarved paper and metal. Materials include archival cotton paper, aluminum, linen, pigment, mica, acrylic, and varnish. The work will be installed in December.
Lia Cook Archives
In the 1960s and 70s, the Polish artist Magdalena Abakanowicz created radical sculptures from woven fibre. They were soft not hard; ambiguous and organic; towering works that hung from the ceiling and pioneered a new form of installation. They became known as the Abakans. This exhibition presents a rare opportunity to explore this extraordinary body of work. Many of the most significant Abakans will be brought together in a forest-like display in the 64-metre long gallery space of the Blavatnik Building at Tate Modern. The exhibition is organized by Tate Modern in collaboration with the Fondation Toms Pauli at the Musée cantonal des Beaux-Arts de Lausanne/Plateforme 10 and Henie Onstad Art Centre, Høvikodden.
The human figure in art is the most direct means by which art can address the human condition, says The Roland Collection of films on art, architecture and authors. “In early societies its significance was supernatural, a rendering of gods or spirits in human form. Later, in the Renaissance, although Christianity provided the dominant social belief system, Western art’s obsession with the figure reflected an increasingly humanist outlook, with humankind at the center of the universe. The distortions of Modernist art, meanwhile, may be interpreted as reflecting human alienation, isolation and anguish.”
Among the artists represented in the browngrotta arts’ collection are several who recreate the human figure in three-dimensions with provocative results. Dawn MacNutt of Canada is known for her nearly life-size figures of willow and seagrass. The sculpture and architecture of ancient Greece has been a major influence on her vision. “I first experienced pre-classical Greek sculpture in the hallways of the Metropolitan Museum of Art in New York as a teenager in the 1950s.” she says. “When I visited Greece 40 years later, the marble human forms resonated even more strongly. The posture and attitude of ancient Greek sculpture reflects forms as fresh and iconic as today… sometimes formal … sometimes relaxed. Her works, like
La Dolce Vita… With Needlework! (and A Giveaway)
, reflect the marble human forms, columns, caryatids … sometimes truncated… found outdoors as well as in museums in Greece. They were inspired by two study and work trips to Greece just before and after the millennium, 1995 and 2000.
Figures created by Stéphanie Jacques of Belgium are clearly humanoid, but less literal. “For a long time I have been trying to create a figure that stands upright, ” Jacques explain. “…all of this is related to the questions I ask myself about femininity and sexual identity. My driving forces are the emotions, the wants and the impossibilities that are particular to me. Once all this comes out, I seek to make it resonate in others. My work is not a lament, but a place where I can transform things to go on.”
As Artsy has chronicled, drawn, painted, and sculpted images of human beings can be found in Han Dynasty tombs in China, in Mayan art, and even in the nearly 30, 000-year-old wall drawings of the Chauvet Caves in southern France. In incorporating the figure into her work, Mary Giles responded to the graphic power of the male image in early art, such as the petroglyphs of the Southwest, aerial views of prehistoric land art, and the rudimentary figures of Native American baskets. She used similar representations of men on her baskets. Her husband, architect, Jim Harris, told the Racine Art Museum, “Sometimes they were made with the bodies of the men created as part of the coiling process but with the arms and legs added as three-dimensional elements, Some
