February Fiber Art Picks!

by Yidan Zeng

Byron Kim, Sky Blue Flag. 2018. Indigo dyed ramie, flag pole. 55 x 93 in (139.7 x 236.2 cm). Entrance of Soi Mountain, Cheorwon, Gangwon-do, commissioned by the Real DMZ Project.

James Cohan Gallery


James Cohan presents Borders, a group exhibition of contemporary artists engaging with political, ideological, and formal borders as both sites of productive exchange and barriers of exclusion. Notably, artists Byron Kim, Yinka Shonibare, Teresa Margolles, and Jordan Nassar incorporate thread and fabric, as embroidery, as objects, as symbols, to further challenge our notions of how physical and ideological space is defined.

January 10 – February 23, 2019


Andy Hall, Unknown Repair Wave, Installation image, 2019.

Geary Contemporary

Unknown Repair Wave

This two-person exhibition at Geary Contemporary features Chicago-based artists Dan Devening and Andy Hall. Andy Hall’s striped silk collages are precise yet spontaneous (made through a process colloquially termed “Planar-Goo-Transfer”), involving painting stripes onto foam slabs, which are then transferred onto silk. After steam-setting, the silk is sliced into fragments for new compositions, evoking Hall’s own background in experimental music.

January 25 – February 23, 2019


Chang Yuchen, Two fingers make a line, installation, 2019. Assembly Room.

Assembly Room

Two Fingers Make a Line
Curated by Jane Cavalier and Nicole Kaack

Drawing from the Chistyakov system artist Chang Yuchen’s (AIR 9) own father was educated in, this show combines pencil drawings, loosely woven curls of fabric, and drifts of silk, offering surfaces to understand a line as “an edge, a thread, or a mark unto itself.” Using graphic, sculptural, and textile forms, Chang challenges the lines she’s learned from previous systems of drawing as sites of political, social, and generational exchange.

February 1 – February 23, 2019


Wayne Adams and Melissa Dadourian_art-the_yard_gowanus-porter_advisory-coworking_brooklyn

Melissa Dadourian, “Soft Geometry No. 5″ (2017).

Serger Thread, various yarns and nails, 52 x 54 in.

The Yard: Gowanus

Geometric Relations Curated by Porter Advisory

Featuring Gowanus-based mixed media and textiles artists Wayne Adams and Melissa Dadourian (AIR 4), color, shape, and texture mix to play with our independently learned perceptions. Adams combines unexpected materials like faux fur while Dadourian is masterful in her use of angles and curves within her tapestries.

January 25 – April 17, 2019

Nickolas Muray (American, born Hungary 1892-1965). Frida in New York, 1946;

Printed 2006. Carbon pigment print: 14 x 11 in. (35.6 x 27.9 cm).

Brooklyn Museum

Frida Kahlo: Appearances Can Be Deceiving

The largest U.S. exhibition in ten years, and the first in the U.S. to display Frida Kahlo’s personal clothing and possessions, this exhibition will highlight how Kahlo imbued her cultural heritage, physical disability, and political beliefs into her public and personal identity. Her personal artifacts, like her Tehuana clothing and hand-painted corsets and prosthetics, are displayed alongside important paintings, drawings, and photographs from the Jacques and Natasha Gelman Collection of 20th Century Mexican Art, as well as Brooklyn Museum’s collection of Mesoamerican art to reflect the collecting interests of Kahlo and her husband, Diego Rivera.

February 8 – May 12, 2019


From Tapestry to Fiber Art: the Lausanne Biennials 1962-1995 (2017)

by Magali Junet, Odile Contamin, Janis Jefferies, Keiko Kawashima, Marta Kowalewska, Jenelle Porter

Lasting over 30 years, the Lausanne Biennials in Switzerland bore witness to the evolution of tapestry from decorative art to true artistic expression. The book contains more than a hundred works and views of rooms, most of them previously unpublished, revealing the vitality and impact of these exhibitions.

Textile Traditions of Mesoamerica and the Andes: An Anthology (1996)

Edited by Margot Blum Schevill, Janet Catherine Berlo, Edward B. Dwyer

Growing out of a 1987 symposium held at Brown University in conjunction with the exhibit “Costume as Communication: Ethnographic Costumes and Textiles from Middle America and the Central Andes of South America,” this volume combines writings by anthropologists, art historians, fiber artists, and technologists to examine the rich world of textiles in Mexico, Guatemala, Ecuador, Peru, and Bolivia.

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