February Fiber Art Picks!

Derrick Adams. Photo by Terrence Jennings, courtesy of the Museum of Arts and Design.

 

“Derrick Adams: Sanctuary”

Museum of Art and Design (MAD)

Through August 12th, 2018

 

Exhibition Talk: “In Conversation: Derrick Adams with Alvin Hall and Dexter Wimberly”

February 8th, 2018, 6:30-8pm

 

Multidisciplinary artist, Derrick Adams, incorporates mixed-media collage, assemblage on wood panels, sculpture, and textile pieces in this new exhibition at MAD. Reimagining safe travel destinations within the US during the mid-twentieth century for black Americans, Adams found inspiration in The Negro Motorist Green Book. This annual guidebook for black American travelers was published by New York postal worker, Victor Hugo Green, during the years of 1936 to 1967, spanning the Jim Crow era and the Civil Rights Movement. Containing designated safe spaces (hotels, restaurants, tourist destinations), the guidebook brought Adams to explore leisure, travel, relaxation, exploration, and reflection as political acts for members of the black community.

In March, the show will be joined with “Unpacking the Green Book: Travel and Segregation in Jim Crow America,” an interactive exhibit investigating the Green Book’s history.

 

“Otma’s Body,” Installation View. Photo courtesy of W Magazine.

“Otma’s Body” by Women’s History Museum

Gavin Brown’s Enterprise

291 Grand St, NYC

Through February 25th, 2018

 

The elusive art duo known together as, “Women’s History Museum,” is individually comprised of Amanda McGowan and Mattie Rivkah Barringer, self-taught couturiers. Their work often provokes extreme responses, according to the two artists. McGowan says that they aim to highlight, “queer people and women being joyful and confident and celebratory.” Blurring lines between couture and art, Women’s History Museum presents one of their most public shows to date, incorporating recent work, as well as furniture and pieces from their own apartments in Brooklyn, layering personal domestic spaces into the gallery.

Women’s History Museum works mainly by upcycling materials (sometimes dating back to the 1800s) and following in the footsteps of craftmakers before them, patches together existing materials and avoids the modern fabric store. This process is brought into the 21st century by moving beyond unisex fashion and instead displaying a full embracing of femininity – open to anyone who wants to participate.

“Blocks and Strips,” Mary Lee Bendolph (2003). Photo by Stephen Pitkin/Pitkin Studio, courtesy of Gee’s Bend Quiltmakers.

Photo courtesy of Gee’s Bend Quiltmakers.

“Women are very good at crying and they should be getting paid for it”

Kaufmann Repetto Gallery

Through February 24th, 2018

This group exhibition shows the work of: Bas Jan Ader; Gee’s Bend Quiltmakers: Mary Lee Bendolph, Loretta Pettway Bennett, and Marlene Bennett Jones; Kazuko Miyamoto; Christina Ramberg; and Lily van der Stokker.

An exploration of themes relating to femininity, gender stereotypes, ownership, and the emotional sphere, the show exhibits textile work by Gee’s Bend Quiltmakers. The quiltmaking group is comprised of over 100 women artists, who have worked across generations in a remote community in Alabama since the mid-nineteenth century. The group is a black community within Gee’s Bend (surrounded on three sides by the Alabama River), and their work represents a crucial portion of African American textile art – both historic and modern.

Carly Glovinski, Red Handed Towel, 2017, acrylic and adhesive on woven linen. Photo courtesy of Morgan Lehman Gallery.

“Carly Glovinski: How to Build a Fire”

Morgan Lehman Gallery

February 15th to March 17th, 2018

 

Carly Glovinski’s first solo show in New York City entitled “How to Build a Fire” conjures images bonfires, community, nature, comfort, and survival. For the artist herself, the title draws narratives to piled wood architecture and the “log-cabin” stacking technique of starting a fire. These structures and patterns make their way into the gallery in the form of drawings, wall-hangings, and sculptures that meditate on the organizations and rules inherent in woven textiles, rugs, and stacks of wood.

Melissa Dadourian, Softgeometry No.3, 2017, thread and yarn. Photo courtesy of Melissa Dadourian.

“spirit rose a metre”

Sardine Gallery

Through March 4th, 2018

 

Recent work by: Melissa Dadourian, Sarah Heinemann, and Debra Pearlman

This three-person group show exhibits work by textile artist and TAC’s own Artist-In-Residence Program Cycle 3 alumna, Melissa Dadourian. Dadourian is inspired by the female condition and empowerment and works to reinterpret abstract painting in the world of the feminine, utilizing a “soft geometry.”

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