March Fiber Art Picks!

Grossman_Brox_IMAGE_ONLY0Nancy Grossman
Brox,
1980
Leather, wood, paint, epoxy and glass
16.75″ x 8.25″ x 9.75″
Courtesy of Michael Rosenfeld Gallery

Art of Defiance: Radical Materials
February 2 – March 30, 2019

Michael Rosenfeld Gallery

Presenting the works of Hannelore Baron, Mary Bauermeister, Lee Bontecou, Barbara Chase-Riboud, Claire Falkenstein, Nancy Grossman, Louise Nevelson, and Betye Saar, Art of Defiance: Radical Materials showcases their groundbreaking use of materials. Blurring the boundaries of two- and three-dimensions, they each have carved their own spaces beyond the constraints of traditional, male-dominated narratives in art history.

 

SamCrowACat'sMeow

Sam Crow
Life/ Death/ Life, 2019 and Roy, 2018
Courtesy of the artist

A Cat’s Meow
February 7, 2019 – March 17, 2019

Shrine and Sargent’s Daughters
Curated by Brooke Wise

Independent curator Brooke Wise presents A Cat’s Meow, a group exhibition featuring work by Anja Salonen, Misha Kahn, Sam Crow, Thomas Barger and Ana Kraš. The exhibition explores the dichotomy of the interior versus the exterior, the domestic versus the wild, the archetype versus the atypical.

 

corita

Sister Corita Kent
pigeons on the grass, alas, 1961
Serigraph
11.5” x 15”
Courtesy of the artist

The Value of Sanctuary
February 14 – June 30, 2019

The Cathedral Church of St. John the Divine

Held within the framework of the Cathedral, this multidisciplinary exhibition explores questions of sanctuary through the works of Alexandra Bell, Louise Bourgeois, Nicholas Galanin, Kiki Smith, Sister Corita Kent, Juliana Huxtable, Eiko Otake, Hank Willis Thomas, among many others. The Preamble to the Constitution of the Cathedral of St. John the Divine, chartered in 1873 as the church of the Episcopal Diocese of New York, describes the Cathedral as a “house of prayer for the use of all people.” With the current political discourse around national borders and identity, these works continue to drive at the many questions of our notions of community, inclusion, and sanctuary: What does it mean to be a house of welcome and of refuge, to offer sanctuary to those in need? What are the threads connecting us, as individuals and as communities? And where do we draw the line?

 

sarah

Sarah Zapata 
Of This World Rather
Weaving
Courtesy of Deli Gallery

Of This World Rather
March 8 – April 14, 2019

Deli Gallery

I was watching television the other evening, and there was a point where the villain spoke about how he had no remorse over his actions. He equated guilt with societal control, a means to teach each individual the weight of being wrong. Guilt is invisible. I find that guilt is a concept that is very pervasive: was that not one of the many points of Adam and Eve? She brought on human’s demise, was to be punished for the rest of eternity because her actions disobeyed authority. In Adam’s dying words, he curses Eve, even though he succumbed by his own volition.

In this solo exhibition, Sarah Zapata examines the barred image, one that has been “used both to designate and protect.” From its denouncement in the Old Testament text, “striped cloth was seen as untrustworthy.” And from the Medieval period on, striped clothing has been used to mark the poor, prostitutes, rebels, and other outcasts of society.

 

____________________________

 

In celebration of Women’s History Month, cozy up with these books!

Women’s Work: The First 20,000 Years Women, Cloth, and Society in Early Times (1996)

by Elizabeth Wayland Barber

Twenty thousand years ago, women were making and wearing the first clothing created from spun fibers. Right up to the Industrial Revolution, the fiber arts were an enormous economic force, belonging primarily to women.

Drawing from data gathered by the most sophisticated new archaeological methods, Elizabeth Wayland Barber bridges the gaps in prehistoric and early historic cultures to show the hugely influential role women had through textiles on their own societies.

Fray: Art and Textile Politics (2017)

by Julia Bryan-Wilson

In 1974, women in a feminist consciousness-raising group in Eugene, Oregon, formed a mock organization called the Ladies Sewing Circle and Terrorist Society. In addition to this example as a prehistory to the more recent phenomenon of “craftivism,” Julia Bryan-Wilson also closely examines how amateurs and fine artists in the United States and Chile turned to sewing, braiding, knotting, and quilting amid the rise of global manufacturing. Her investigations show how the malleability of cloth and fiber means that textiles can be activated, or stretched, in many ideological directions.

The first contemporary art history book to discuss both fine art and amateur registers of hand-making at such an expansive scale, Fray unveils crucial insights into how textiles inhabit the broad space between artistic and political poles—high and low, untrained and highly skilled, conformist and disobedient, craft and art.

 

 

 

Leave a Reply