CC Jagdeep Raina CV

Total Page:16

File Type:pdf, Size:1020Kb

CC Jagdeep Raina CV Jagdeep Raina Born 1991, Guelph, Ontario, Canada Lives and works in Guelph, Ontario, Canada Education 2017 Skowhegan School of Painting and Sculpture, Madison, USA 2016 MFA, Rhode Island School of Design, Providence, USA 2015 Art After India Graduate Seminar, Brown University, Providence, USA 2013 BFA, Western University, London, Canada Solo and Two Person Exhibitions 2021 Jagdeep Raina: Bonds, Blaffer Art Museum, Houston, USA (forthcoming) Chase, Textile Museum of Canada, Toronto (forthcoming) Memories Gave Birth to Hope, Soft Opening, London, UK 2020 Memories Gave Birth to Hope, Soft Opening at Picadilly Circus Station, London, UK Disappearring zameen, Grice Bench, Los Angeles, USA 2019 I promise, Cooper Cole Gallery, Toronto, Canada Daytimers, Midway Contemporary, Minneapolis, USA Chase, Art Gallery of Guelph, Guelph, Canada 2013 Jagdeep Raina, Grice Bench, Los Angeles, CA Selected Group Exhibitions 2021 Drawing Room Biennial, Drawing Room, London, UK (forthcoming) Title TBC, Museum of Contemporary Art Toronto, Toronto, Canada (forthcoming) Dūje Pāse Toñ (From the Other Side): Arts Across the Border, From the Two Punjabs, The Reach, Abbotsford, Canada (forthcoming) 2020 As the snail takes the shape of its shell, The Plumb Artist Run Centre, Toronto, Canada myselves, Kohn Gallery, Los Angeles, USA 2019 Cinch, Antenna Works, New Orleans, USA denying the calendar, the wrinkles and lines of the body, Grice Bench, Los Angeles, USA 2018-20 Vision Exchange, Perspectives from India to Canada, Art Gallery of Alberta, Edmonton, Canada (itinerary: Art Museum at the University of Toronto; Winnipeg Art Gallery; Mckenzie Art Gallery, Regina; The National Gullery of Canada, Ottawa, Canada) 2018 Futures, Rubin Museum of Art, New York, USA An Assembly of Shapes, Oakville Galleries, Oakville, Canada 2017 Un/Settled, RISD Museum, Providence, USA Into you: On the Edge, Humber Galleries, Toronto, Canada Fellows Group Show, Provincetown Art Association and Museum, Provincetown, USA 2016 11th Shanghai Biennale, Shanghai, China Washashore, Hudson D. Walker Gallery, Provincetown, USA London Summer Intensive, Camden Arts Centre, London, UK Don’t call me when you are rich and famous. Call me when you are in the gutter, Grice Bench, Los Angeles, USA RISD MFA Painting 2016, Nancy Margolis Gallery, New York, USA Sotto, Modern Fuel Artist Run Centre, Kingston, Canada 2015 Image Landscapes, Gelman Gallery, RISD, Providence, USA Half Master, Microscope Gallery, Brooklyn, USA (Curated by Nera Lerner) Goonj, Centre A, Vancouver International Centre for Contemporary Asian Art, Vancouver, Canada A Myriad Marginalia, RISD Museum, Providence, USA 2014 UFO Hunters, Sol Keffler Gallery, RISD, Providence, USA Art Fairs 2020 Frieze New York, Cooper Cole, New York, USA (Online) Awards and Fellowships 2020 Sobey Art Award Recipient, National Gallery of Canada, Ottawa, Canada Textile Museum of Canada Emerging Artist Award 2019 Beaconhouse National University: South Asian Canadian Histories Association Residency, Lahore, Pakistan Wormfarm Institute Fellowship, Reedsberg, USA 2017 Joan Mitchell Foundation Painters and Sculptors Grant Nominee Skowhegan/RISD Matching Fellowship 2016 Fine Arts Work Center Fellowship, Richard Florsheim Visual Arts Fellowship, Provincetown, USA 2016 International Residencies Grant, Canada Council for the Arts The London Intensive Residency: Camden Arts Centre & Slade School of Fine Art, London, UK 2014 Exhibition Assistance Grant, Ontario Arts Council 2012 Advanced Painting Intensive Program, Columbia University, Paris, France Selected Press and Publications 2020 Cicerone, Joseph. “Jagdeep Raina on the influence and role of textile art in today’s world” Toronto Life, Sept. 14 2019 Ed. Erickson, Ruth. New American Painting. MFA Annual, Issue 141. 2017 Chunara, Nazish. “Interview with Jagdeep Raina.” Venison Maga- zine. Winter, 2017. Dreskin, Jeanne. “Critics Pick Los Angeles: Jagdeep Raina.” Artforum.com, October Ed. Sherman, Elisabeth. New American Painting, MFA Annual, Issue 129. 2016 Ed. The Power Station of Art and Raqs Media Collective + Sarda, Shveta. “Why Not Ask Again? 11th Shanghai Biennial.” Collections Rhode Island School of Design Museum, Providence, USA University of Chicago Booth School of Business, Chicago, Illinois .
Recommended publications
  • Textile Society of America Newsletter 29:2 — Fall 2017 Textile Society of America
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Newsletters Textile Society of America Fall 2017 Textile Society of America Newsletter 29:2 — Fall 2017 Textile Society of America Follow this and additional works at: https://digitalcommons.unl.edu/tsanews Part of the Art and Materials Conservation Commons, Fashion Design Commons, Fiber, Textile, and Weaving Arts Commons, Industrial and Product Design Commons, Interdisciplinary Arts and Media Commons, and the Metal and Jewelry Arts Commons Textile Society of America, "Textile Society of America Newsletter 29:2 — Fall 2017" (2017). Textile Society of America Newsletters. 80. https://digitalcommons.unl.edu/tsanews/80 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Newsletters by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME 29. NUMBER 2. FALL 2017 Photo Credit: Tourism Vancouver See story on page 6 Newsletter Team BOARD OF DIRECTORS Editor-in-Chief: Wendy Weiss (TSA Board Member/Director of Communications) Designer: Meredith Affleck Vita Plume Member News Editor: Caroline Charuk (TSA General Manager) President [email protected] Editorial Assistance: Natasha Thoreson and Sarah Molina Lisa Kriner Vice President/President Elect Our Mission [email protected] Roxane Shaughnessy The Textile Society of America is a 501(c)3 nonprofit that provides an international forum for Past President the exchange and dissemination of textile knowledge from artistic, cultural, economic, historic, [email protected] political, social, and technical perspectives. Established in 1987, TSA is governed by a Board of Directors from museums and universities in North America.
    [Show full text]
  • Toronto! Welcome to the 118Th Joint Annual Meeting of the Archaeological Institute of America and the Society for Classical Studies
    TORONTO, ONTARIO JANUARY 5–8, 2017 Welcome to Toronto! Welcome to the 118th Joint Annual Meeting of the Archaeological Institute of America and the Society for Classical Studies. This year we return to Toronto, one of North America’s most vibrant and cosmopolitan cities. Our sessions will take place at the Sheraton Centre Toronto Hotel in the heart of the city, near its famed museums and other cultural organizations. Close by, you will find numerous restaurants representing the diverse cuisines of the citizens of this great metropolis. We are delighted to take this opportunity of celebrating the cultural heritage of Canada. The academic program is rich in sessions that explore advances in archaeology in Europe, the Table of Contents Mediterranean, Western Asia, and beyond. Among the highlights are thematic sessions and workshops on archaeological method and theory, museology, and also professional career General Information .........3 challenges. I thank Ellen Perry, Chair, and all the members of the Program for the Annual Meeting Program-at-a-Glance .....4-7 Committee for putting together such an excellent program. I also want to commend and thank our friends in Toronto who have worked so hard to make this meeting a success, including Vice Present Exhibitors .......................8-9 Margaret Morden, Professor Michael Chazan, Professor Catherine Sutton, and Ms. Adele Keyes. Thursday, January 5 The Opening Night Public Lecture will be delivered by Dr. James P. Delgado, one of the world’s Day-at-a-Glance ..........10 most distinguished maritime archaeologists. Among other important responsibilities, Dr. Delgado was Executive Director of the Vancouver Maritime Museum, Canada, for 15 years.
    [Show full text]
  • 1 Newsletter Februar 2019 Liebe Netzwerker*Innen, Im Aktuellen
    Newsletter Februar 2019 Liebe Netzwerker*innen, im aktuellen Newsletter für Februar sind wieder viele Hinweise und Informationen enthalten. Viel Spaß beim Durchsehen! Wir freuen uns über jeden Beitrag an [email protected]. Sendet uns neue Informationen für den Newsletter März 2019 bitte als Word-Datei bis zum 15. Februar. Herzlichen Dank für eure Mitarbeit! Wir hoffen, ihr hattet einen guten Start in 2019 und senden herzliche Grüße Catharina Obernauer und das Newsletter-Team PS: Ihr könnt den Newsletter jederzeit wieder abbestellen. Sendet dafür bitte einen kurzen Hinweis an [email protected]. Wir werden euch dann umgehend aus dem Verteiler nehmen. Inhalt 1. Infos für Mitglieder S. 2 2. Vorträge, Veranstaltungen und Tagungen S. 4 3. Call for Papers - Ausschreibungen S. 8 4. Stellenangebote /Ausschreibungen S. 12 5. Ausstellungen S. 13 6. Interessantes S. 22 1 1. Infos für Mitglieder Save the date! - 11. Jahresmitgliederversammlung in Berlin Termin: 2. – 5. Mai 2019 Das vorläufige (!) Programm ist jetzt online. Genaue Angaben zu den verschiedenen Programmpunkten folgen, wenn alle Zusagen vorliegen. Sowie die Einladung zur JMV mit Programm und Anmeldeformular per E-Mail bei Ihnen eintrifft, können Sie sich anmelden. Die Verschickung ist für die erste Februarhälfte geplant. Wir freuen uns alle sehr auf ein Wiedersehen in Berlin! Tagungsort: LETTE VEREIN BERLIN Stiftung des öffentlichen Rechts Viktoria-Luise-Platz 610777 Berlin http://www.letteverein.berlin/ Tagungshotel: Motel One Tiergarten An der Urania 12/14, 10787 Berlin Kontingentabruf nach Buchungseingang, Deadline 7. März 2019. Das Buchungsformular ist über die Website abrufbar. Orga-Koordination: Katrin Lindemann ([email protected]) Neues auf der Website • zahlreiche Information über Ausstellungen weltweit, recherchiert und eingestellt von Maria Stabel (Aktuelles/ Ausstellungen) • 5 Call for Papers und Infos über mehr als fünfzig nationale und internationale Tagungen, zusammengestellt von H.
    [Show full text]
  • ORNAMENT 30.3.2007 30.3 TOC 2.FIN 3/18/07 12:39 PM Page 2
    30.3 COVERs 3/18/07 2:03 PM Page 1 992-994_30.3_ADS 3/18/07 1:16 PM Page 992 01-011_30.3_ADS 3/16/07 5:18 PM Page 1 JACQUES CARCANAGUES, INC. LEEKAN DESIGNS 21 Greene Street New York, NY 10013 BEADS AND ASIAN FOLKART Jewelry, Textiles, Clothing and Baskets Furniture, Religious and Domestic Artifacts from more than twenty countries. WHOLESALE Retail Gallery 11:30 AM-7:00 PM every day & RETAIL (212) 925-8110 (212) 925-8112 fax Wholesale Showroom by appointment only 93 MERCER STREET, NEW YORK, NY 10012 (212) 431-3116 (212) 274-8780 fax 212.226.7226 fax: 212.226.3419 [email protected] E-mail: [email protected] WHOLESALE CATALOG $5 & TAX I.D. Warehouse 1761 Walnut Street El Cerrito, CA 94530 Office 510.965.9956 Pema & Thupten Fax 510.965.9937 By appointment only Cell 510.812.4241 Call 510.812.4241 [email protected] www.tibetanbeads.com 1 ORNAMENT 30.3.2007 30.3 TOC 2.FIN 3/18/07 12:39 PM Page 2 volumecontents 30 no. 3 Ornament features 34 2007 smithsonian craft show by Carl Little 38 candiss cole. Reaching for the Exceptional by Leslie Clark 42 yazzie johnson and gail bird. Aesthetic Companions by Diana Pardue 48 Biba Schutz 48 biba schutz. Haunting Beauties by Robin Updike Candiss Cole 38 52 mariska karasz. Modern Threads by Ashley Callahan 56 tutankhamun’s beadwork by Jolanda Bos-Seldenthuis 60 carol sauvion’s craft in america by Carolyn L.E. Benesh 64 kristina logan. Master Class in Glass Beadmaking by Jill DeDominicis Cover: BUTTERFLY PINS by Yazzie Johnson and Gail Bir d, from top to bottom: Morenci tur quoise and tufa-cast eighteen karat gold, 7.0 centimeters wide, 2005; Morenci turquoise, lapis, azurite and fourteen karat gold, 5.1 centimeters wide, 1987; Morenci turquoise and tufa-cast eighteen karat gold, 5.7 centimeters wide, 2005; Tyrone turquoise, coral and tufa- cast eighteen karat gold, 7.6 centimeters wide, 2006; Laguna agates and silver, 7.6 centimeters wide, 1986.
    [Show full text]
  • Annual Report 2005
    ANNUAL REPORT 2005 “Expanding, Integrating, and Enhancing” March 31, 2006 © CHSRF/CIHR Health Services Chair in Health Care Settings and Canadians, University of Toronto 81 PETER C. COYTE “The CHSRF/CIHR Genesis Research Training Fellowship I received enables me to concentrate exclusively on my current studies and future career in health policy research. The opportunities this fellowship provides to interact with decision-makers in the health policy field are both unique and valuable, and have undoubtedly enriched my academic experiences this year .” - Meghan McMahon PhD. Student, Dept. Health Policy, Management, and Evaluation, University of Toronto “Dr. Coyte has helped me develop my research and analytical skills over the past few months by guiding me in data collection and analysis. Moreover, he has introduced me to various aspects of health care and health economics that I had not previously considered. Working with him has been a valuable learning experience. ” - Karen Arcot, Research Intern, Dept. Health Policy, Management, and Evaluation, University of Toronto “The Home and Community Care Knowledge Translation course provides students with the opportunity to read the latest research in the sector, to critically appraise studies in terms of valid methodology, the importance of disseminating their findings and how to write in an accessible way for policy decision makers. With the help of advisory policy decision makers, they are encouraged to think about the political and health system context to consider topics of interest and use for people in the field. At the same time, each student is given the opportunity to edit an issue of Highlights that offers current findings to the attention of subscribers.
    [Show full text]
  • Annual Report
    ANNUAL2011 REPORT-2012 UNIVERSITY OF PENNSYLVANIA MUSEUM OF ARCHAEOLOGY AND ANTHROPOLOGY ANNUAL2011 REPORT-2012 UNIVERSITY OF PENNSYLVANIA MUSEUM OF ARCHAEOLOGY AND ANTHROPOLOGY 3 Letter from the Chair of the Board of Overseers 4 Letter from the Williams Director 5 THE YEAR IN REVIEW Collections and Programs 6 Collections Showcase: New and Traveling Exhibitions 13 A Living Museum: Public Lectures, Special Programs, Family Programs, and Evening Events 21 A Rich History: The Museum Archives 23 Preserving Our Collections: Conservation Work 25 Stewarding Our Collections: The Museum’s NAGPRA Office and Committee 27 Sharing Our Collections: Outgoing Loans and Traveling Exhibitions 30 Expanding Our Collections: New Acquisitions Outreach and Collaboration 32 Community Outreach: Educational Programs and Collaborations 40 Protecting the World’s Cultural Heritage: The Penn Cultural Heritage Center 42 Student Involvement: Academic Enrichment, Advisory Boards, Internships, Docents, and Summer Research Research and Dissemination 45 Generating Knowledge: Research Projects around the World 60 Preserving Knowledge: Digitizing Collections, Archives, and New Endeavors 64 Disseminating Knowledge: Penn Museum Publications 65 Engaging the World: The Museum Website and Social Media Financial and Operational Highlights 67 Statement of Museum Fiscal Activity 67 Operational Highlights: Becoming a Destination 68 IN GRATEFUL ACKNOWLEDGMENT 69 Destination 2012 70 Leadership and Special Gifts 74 Perpetual and Capital Support 76 Annual Sustaining Support 90 Penn Museum People ON THE COVER Exhibition curator Loa P. Traxler (right) demonstrates the touchtable interactive in the MAYA 2012: Lords of Time exhibition as (from left to right) Penn President Amy Gutmann, Philadelphia Mayor Michael A. Nutter, and President Porfirio Lobo de Sosa of Honduras look on.
    [Show full text]
  • Curriculum Vitae
    Curriculum Vitae Freddie Robins (b.1965) lives and works in Essex and London. Currently Senior Tutor and Reader in Textiles at the Royal College of Art in London she works to commission and exhibits nationally and internationally. Exhibitions 2018 Resistant Materials, M100 Exhibition Centre for Contemporary Art, Odense, Denmark. 2017 StrangeLands, Collyer Bristow Gallery, London. Uncertain things, The Sentinel Gallery, Wivenhoe, Essex. A Table of Elements, Greystone Industries, Wickham Market, Suffolk. Between things, Minories Art Gallery, Colchester. Showtime, COLLECT, Saatchi Gallery, London. What do I need to do to make it OK? The National Centre for Craft & Design, Sleaford, Lincolnshire and Rugby Art Gallery & Museum. 2016 Liberties, The Exchange, Penzance, Cornwall. Flat-out Lowlanders, Blackwater Polytechnic, Feering, Essex. Big Steam Print, Museum of Art + Craft, Ditchling and Phoenix Gallery, Brighton. What do I need to do to make it OK? Crafts Study Centre, Farnham, Devon Guild of Craftsmen, Bovey Tracey, Devon, R-Space Gallery, Lisburn, Northern Ireland and Forty Hall, Enfield. Some rocks and a hard place, The Sentinel Gallery, Wivenhoe, Essex. OTHER exhibition, Courtyard Gallery, Royal College of Art, London. COUNTER_FITTERS, Geddes Gallery, London. 2015 Sluice_2015 with the Essex Embassy from the Blackwater Polytechnic, Bargehouse, Oxo Tower Wharf, London. What do I need to do to make it OK? Pump House Gallery, London. Curated by Liz Cooper. Liberties, Collyer Bristow Gallery, London. Curated by Day + Gluckman, Brocki, Blackwater Polytechnic, Feering, Essex. Yan Tan Tethera, Walford Mill, Dorset. Curated by David Littler. Sex Shop, Transition Gallery, London. Curated by Sarah Gillham, Jack Stokoe and Darren Nairn. 2014 Exchange Rates: The Bushwick Expo, Theodore:Art, Brooklyn, New York, USA.
    [Show full text]
  • Textile Museum of Canada Gardiner Museum of Ceramic Art Cloth and Clay: Communicating Culture
    Textile Museum of Canada Gardiner Museum of Ceramic Art Cloth and Clay: Communicating Culture Testing of Preliminary Content and Design The on-line exhibition, Cloth and Clay: Communicating Culture, was a collaborative project involving the Textile Museum of Web image courtesy of Textile Museum of Canada & Gardiner Museum of Ceramic Art Canada and Gardiner Museum of (http://www.textilemuseum.ca/cloth_clay/home.html) Ceramic Art. The two museums with very distinct collections jointly developed the content for this Web site. The development team wanted to create opportunities to: re-unite material from common cultural origins; put objects into their context; find common themes; and, discover new relationships between the collections. They also wanted to reconnect indigenous peoples whose cultures and objects are represented with this material by having them act as advisors. This Web site was launched on the Virtual Museum of Canada (September 2002, http://www.virtualmuseum.ca) and the Web site development also provided content and design for a physical exhibition at the Textile Museum of Canada (on display from August 2002 to February 2003). Conducting audience evaluations throughout the Web development process was a very important aspect of this project (see also, Shaughnessy, Dalrymple, & Soren, 2004, http://www.archimuse.com/mw2004/abstracts/prg_250000759.html). During 2001-2002, I was exploring approaches for evolving museum Web sites that attempt to offer quality experiences to their on-line users for a research project funded by University of Toronto (Soren & Lemelin, 2003, 2004). In this Audience Research and Virtual Museum/Exhibition Sites research we were looking at how Web teams were developing ‘exchange’ experiences with on-line discussion and sharing by creating links among users, or between museum staff and users (Brochu, et al., 1999).
    [Show full text]
  • Reciprocal Museum List
    RECIPROCAL MUSEUM LIST DIA members at the Affiliate level and above receive reciprocal member benefits at more than 1,000 museums and cultural institutions in the U.S. and throughout North America, including free admission and member discounts. This list includes organizations affiliated with NARM (North American Reciprocal Museum) and ROAM (Reciprocal Organization of American Museums). Please note, some museums may restrict benefits. Please contact the institution for more information prior to your visit to avoid any confusion. UPDATED: 10/28/2020 DIA Reciprocal Museums updated 10/28/2020 State City Museum AK Anchorage Anchorage Museum at Rasmuson Center AK Haines Sheldon Museum and Cultural Center AK Homer Pratt Museum AK Kodiak Kodiak Historical Society & Baranov Museum AK Palmer Palmer Museum of History and Art AK Valdez Valdez Museum & Historical Archive AL Auburn Jule Collins Smith Museum of Fine Art AL Birmingham Abroms-Engel Institute for the Visual Arts (AEIVA), UAB AL Birmingham Birmingham Civil Rights Institute AL Birmingham Birmingham Museum of Art AL Birmingham Vulcan Park and Museum AL Decatur Carnegie Visual Arts Center AL Huntsville The Huntsville Museum of Art AL Mobile Alabama Contemporary Art Center AL Mobile Mobile Museum of Art AL Montgomery Montgomery Museum of Fine Arts AL Northport Kentuck Museum AL Talladega Jemison Carnegie Heritage Hall Museum and Arts Center AR Bentonville Crystal Bridges Museum of American Art AR El Dorado South Arkansas Arts Center AR Fort Smith Fort Smith Regional Art Museum AR Little Rock
    [Show full text]
  • WILLIAM SCOTT (B.1913 Greenock, Scotland)
    WILLIAM SCOTT (b.1913 Greenock, Scotland) EDUCATION Belfast College of Art Royal Academy Schools (1935) SELECT SOLO EXHIBITIONS 2019 Paintings and Drawings: Fifties Through Eighties, Anita Rogers Gallery, New York, NY 2016 Verey Gallery, Eton College, Form – Colour – Space, Windsor, UK 2016 Fermanagh County Museum, William Scott: The Early Years, Enniskillen, Northern Ireland 2015 Fermanagh District Council Town Hall, William Scott Paintings at Enniskillen’s Town Hall, Enniskillen, Northern Ireland 2014 Pallant House gallery, Three pears and a Pan, 1955, Chichester, UK 2013 The Gordon Gallery, the Altnagelvin Mural, Derry, Northern Ireland 2013 The Ulster Museum, William Scott: Centenary Exhibition, Belfast, Northern Ireland 2013 The Hepworth Wakefield, William Scott, Wakefield, UK 2013 McCaffrey Fine Art, William Scott: Domestic Forms, New York, NY 2013 Victoria Art Gallery, William Scott: Simplicity and Subject, Bath, UK 2013 Denenberg Fine Arts, William Scott Works on Paper 1953-1986, Los Angeles, CA 2013 Karsten Schubert, William Scott 1950s Nude Drawings, London, UK 2013 Jerwood Gallery, William Scott: Divided Figure, Hastings, UK 2013 Enniskillen Castle Museum, Full-Circle: William Scott Centenary Exhibition, Enniskillen, Northern Ireland 2013 Tate St Ives, William Scott, and touring: Hepworth Wakefield; Ulster Museum, Belfast, Northern Ireland 2012 McCaffrey Fine Art at Frieze Masters, William Scott, London, UK 2010 McCaffrey Fine Art, William Scott, New York, NY 2009 F.E. McWilliam Gallery and Studio, William Scott in Ireland. Paintings, Drawings Gouaches and Lithographs 1938–1979, Banbridge, Northern Ireland 2006 Fermanagh County Museum, Celebrating William Scott: Paintings from Fermanagh County Museum, Enniskillen, Northern Ireland 2005 Denise Bibro Fine Art, William Scott Works on Paper, New York, NY 2005 Lorenzelli Arte, William Scott La voce dei colori, Milan, Italy 2005 Archeus Fine Art, William Scott.
    [Show full text]
  • GALLERIA MASSIMO MININI Via Apollonio 68 – 25128 Brescia Tel
    GALLERIA MASSIMO MININI Via Apollonio 68 – 25128 Brescia tel. 030383034 [email protected] www.galleriaminini.it SHEILA HICKS b. 1934, Hastings, NE, USA Lives and works in Paris, FR AWARDS AND DISTINCTIONS 2019 Honorary Degree, Yale University 2014 Honorary Doctorate, École des Beaux Arts, Paris 2010 Smithsonian Archives of American Art Medal 1997 Gold Medal, American Crafts Council 1996 Officier des Arts et des Lettres, France 1985 Medal of Fine Arts, French Academy of Architecture 1984 Honorary Doctorate, Rhode Island School of Design 1975 Gold Medal, American Institute of Architects 1954-57 Fullbright grant to study painting in Chile SELECTED SOLO EXHIBITIONS 2021 Sheila Hicks: Off Grid, The Hepworth Wakefield, Wakefield, GB 2020 Threads, trees, river, MAK – Museum of Applied Arts, Wien, AT 2019 Secret Stuctures, Looming Presence, Dallas Museum of Art, Dallas, TX, USA Reencuentro, Museo Chileno de Arte Precolombino, Santiago, CL Seize, Weave Space, the Nasher Sculpture Center, Dallas, TX, USA Campo Abierto, The Bass Museum of Art, Miami, FL, USA 2018 Sheila Hicks. Lignes de vie, Centre Pompidou, Paris, FR Sheila Hicks: Migdalor, Magasin III Jaffa, Tel-Aviv-Yafo, IL Sheila Hicks. Down side up, Sikkema Jenkins &co, New York, NY, USA Sens dessus dessous, Domaine de Chaumont-sur Loire Centre d’Arts et de Nature, Chaumont-sur Loire, France, FR 2017 Sheila Hicks: Glossolalia, Domaine de Chaumont-sur Loire Centre d’Arts et de Nature, Chaumont-sur Loire, France, FR Sheila Hicks – Free Threads, textile and its pre-columbian roots, 1954-2017,
    [Show full text]
  • Spring Volume 22, No.2
    The Bay Area Forum for artists, Textile Arts Council aficionados & collectors of weaving, rugs & tapestries, baskets, costume & wearable art April 2007 Upcoming Programs and Announcements Volume XXII All programs are held in the Koret Auditorium at the de Young Museum in Golden Gate Park, Number 2 50 Hagiwara Tea Drive, San Francisco. Admission to the programs is FREE to TAC members, $5 for non-members, and $3 for students with I.D. No additional Museum admission fee is necessary. You may enter from the lower garage level or from the main floor near the entrance. PROGRAMS and as a Senior Research Fellow at Central Saturday, April 21, 2007, 10:00 A.M. Saint Martins College of Art & Design, part SILK: PRECIOUS AND POWERFUL of the University of the Arts, London, Mary With Mary Schoeser Schoeser is well qualified to share with us her insights into this fascinating subject. After many The earliest surviving silk cloths, years of teaching, Ms. Schoeser has reduced made from gossamer-thin filaments, the number of public lectures she gives, so this are fragments dated to about 3630 is a rare opportunity to hear from this eminent B.C., and come from the Henan textile scholar and author of more than 100 province in east-central China. The books, essays, and articles about textiles process of producing silk yarn and published in the last 20 years as she discusses turning it into a fabric remained the role of silk in some of the most remarkable a well-guarded secret in China achievements in the history of fashion design.
    [Show full text]