Here’s another fascinating historic shot offered by Modern Magazine (previously posted about here). Reprinted in their third issue, the image originally appeared in the catalog for the 1965 exhibition “California Design 9”, one of a series of annual shows that began in 1954. The vibrant winged tapestry is by Mark Adams (1925-2006).
Frank Connet’s work makes me want to write in all caps, or at least indulge in an excess of exclamation marks! Definitely “major wow”. Some of his Work on Wool reminds me of Gee’s Bend Quilts and Japanese Boro textiles (posted about here). Regardless, Connet’s pieces are their very own thing.
Click here for Wikipedia’s entry on the shibori technique he uses.
The annual San Francisco Arts of Pacific Asia Show took place this weekend and one of the stand-out exhibitors was Marcuson & Hall with their collection of eye-popping antique kimonos and haori. A beautiful and very informative virtual exhibition of these works is on display at their website.
Above, a summer kimono from the first quarter of the 20th century.
There are currently two tantalizing textile exhibitions at the Philadelphia Museum of Art:
An Enduring Motif: The Pomegranate in Textiles, through February 21st 2010.
Above, a detail from the former.
Open for business from 1957 – 1980 Hull Traders (as I’ve learned this evening) was a British textile company that plumbed the talents of a wide range of artists to create graphic, colorful patterns epitomizing a ’60s-era visual aesthetic. The pattern above was designed by two Hull contributing artists, Ivon and John Hitchens.
A traveling exhibition on Hull Traders and its artistic directer Shirley Craven is currently underway in England; to read more about the company and the show click here.
— And for a really wonderful website featuring post-war British textiles from the 1940’s – 1970’s visit the gallery of Francesca Galloway, here. I’ll definitely be exploring her site more thoroughly in coming days.
Several works by the Art Deco artist and designer Emile-Jacques Ruhlmann are being auctioned at Christie’s this Thursday (11/26) in Paris. Among the pieces is this 98″ round Ruhlmann carpet (circa 1930), with a bidding estimate of 60k – 90k.
Segueing from my previous post, artist Joanne Mattera’s 10/26/09 blog entry offers an interesting commentary on the limitations and implications of defining artists within subcategories — like “fiber artist”. Her entry also includes examples of several artists-who-happen-to-work-with-textiles-as-a-medium, including Polly Apfelbaum. A detail from her piece “Funkytown” is shown above.
Debra Smith uses vintage textiles to create compositions that are sewn and quilted to collage-like effect. By framing her pieces for the wall she also helps blur the art/craft distinction that often leaves fabrics in a lesser camp.
If you like Smith you might also appreciate the work of Leah Evans.
Barbara Wisnoski’s pieces (better viewed in larger scale on her website) make a wonderful bridge between notions of craft and abstract art. On the one hand her work is aggressively organic, tactile and handmade but the overall effect is something more ethereal. Here’s an excerpt from her artist’s statement:
I am interested in the relationship between texture and time. The process of building a piece, whereby a fabric loses its singular quality and becomes part of the whole, reminds me of how time washes a harmonious patina over objects and memories. The prospect of decay is key to the work: seeing how pieces done long ago have changed over time reminds me that they were made from living fibres and, like us, evolve and deteriorate. Also like us, these pieces become more themselves, therefore more beautiful, with age.
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