DOCSLIB.ORG

ANNE WILSON [email protected] BIBLIOGRAPHY

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ANNE WILSON Awilson@Saic.Edu BIBLIOGRAPHY ANNE WILSON [email protected] BIBLIOGRAPHY 2007 Shame and Sexuality-Psychoanalysis and Visual Culture, Pajaczkowska and Ward, editors, Routledge publisher, essay by Pennina Barnett entitled "on Stain" The Object of Labor: Art, Cloth, and Cultural Production (anthology), Joan Livingstone and John Ploof editors, School of the Art Institute of Chicago and MIT Press, 2007, pp. 386, 387; artist project pp. 105-112 American Craft, June/July, essay "Material Difference: Soft Sculpture & Wall Works" by James Yood, pp. 36-41 The New York Times, Jan 27, Photo p. B9, The Arts Selvedge, Issue 15, article "Reeling in the Years" by Jessica Hemmings, pp. 58-61 2006 Chicago Tribune, May 5, review of "Takeover" at the Hyde Park Art Center, by Alan Artner Chicago Sun Times, December, review of "Material Difference" at the Chicago Cultural Center, by Margaret Hawkins Chicago Tribune, Sept 6, article "Sculptors shape a world of ideas" by Alison Neumer Lara, Sec 5. p. 4 Practice: New Writing and Art. (Issue One), cover+artist project, Mill Valley, CA: Practice Press, Adrian Lurssen editor Kunsthandverk, 2/06, nr 100, kr 75, review of "Microsom (one)" at the 21st Century Museum of Contemporary Art, Kanazawa, Japan, p. 28 2005 Art US, Issue 8, May/June, review of "Anne Wilson: Errant Behaviors" by Jean Robertson, p. 25 Anne Wilson, Errant Behaviors. (exhibition catalog), Bloomington: Indiana University SoFA Gallery. (essay "Errant Behaviors: Reanimating the Past" by Bruce Jenkins, pp 3-7; CD audio remix by Shawn Decker) New York Times, Chicago Life magazine, Oct 16. "Chicago's Top Ten Artists" by Paul Klein 2004 ARTFORUM, Jan, "Preview, Winter 2004: 50 shows worldwide." Anne Wilson at CAM Houston, p. 65 Perspectives 140: Anne Wilson, (exhibition catalog) Contemporary Arts Museum Houston, essay by Valerie Cassel Oliver Houston Press, Mar 4, review of solo exhibition at Contemporary Arts Museum Houston by David Fahl, p. 44 ChicagoTribune, 12.31, review of "Think Small" at the Illinois State Museum by Fred Camper, p.17 New City, 11.25, review of "Think Small" at Illinois State Museum by Michael Workman Artnet, http://www.artnet.com/ 5.7.04, review of project space at Art Chicago by Victor Cassidy mouthtomouthmag.com, Spring/Summer, Amy Honchell/Anne Wilson interview by Julie Farstad Metro Times, July 7-13, review of "Free Fall" at Revolution, Detroit by Phaedra Robinson, p.26 http://annewilsonartist.com, web site representing "Topologies" and "Errant Behaviors," Lynne Heller design 2003 Art in America, July, review of solo exhibition at MassArt by Ann Wilson Lloyd, pp. 98-99 Detroit Free Press, Sept 14, review of solo exhibition at Revolution, Detroit by Keri Guten Cohen p. 5J http://thedetroiter.com, Sept, review of solo exhibition at Revolution, Detroit by Nick Sousanis Embroidery (UK), Sept, essay "A Fine Line. Anne Wilson: A Profile" by Jessica Hemmings, pp. 40-43 San Diego Union-Tribune, April 17, review of solo exhibition at SDSU by Robert L. Pincus, pp. 45-46 Art New England, April/May, feature essay "Anne Wilson: Unfoldings" by Diana Gaston, pp. 16, 17, 71 Chicago Sun-Times, Jan 10, review of "Home Work/s," at Betty Rymer Gallery, Chicago, by Margaret Hawkins Art New England, Dec/Jan, review of solo exhibition at MassArt by Susan Boulanger, p. 29 2002 Museum Studies, The Art Institute of Chicago, Volume 29, No. 2, Notable Acquisitions at The Art Institute of Chicago, pp. 32-33 Anne Wilson: Unfoldings. Boston: MassArt. (catalog essays by Lisa Tung: "Present Corpus," Tina Yapelli: " Over Time," and Kathryn Hixson: "The Topology of Anne Wilson's Topologies") Art Journal, Fall, Vol. 61, no.3, essay "Anne Wilson's Feast," by Hattie Gordon, pp. 22-27 Whitney Biennial 2002, (exhibition catalog), New York: Whitney Museum of American Art, text by Lawrence R. Rinder, pp. 230-231 Boston Globe, September 29, review of solo exhibition at MassArt by Christine Temin, pp. N1, N8 Boston Herald, September 13, review of solo exhibition at MassArt by Joanne Silver, S16 Art Monthly (London), May, review of Whitney Biennial by Jeffrey Kastner, pp. 5-6 Art in America, June, review of Whitney Biennial by Nancy Princenthal, pp. 48-53 The New York Times, March 8, review of Whitney Biennial by Holland Cotter, pp. 35- New York magazine, March 18, review of Whitney Biennial by Mark Stevens, pp. 55-56 Metrotimes, May 15-21, review of Whitney Biennial by Glen Mannisto, pp. 26-27 Chicago Tribune, March 3, photo essay about Whitney Biennial by Ruth Lopez, Sec 7, p. 8 Art on Paper, May-June, review of solo exhibition at Aurobora Press, San Francisco, p. 75 New Art Examiner, Jan-Feb, review of solo exhibition at Revolution Gallery, Detroit, by Carol Novak, pp.81-82 Woman's Art Journal, Fall 02/Winter 03, essay by Janet Marquardt-Cherry, p. 50 Anne Wilson Page 2 Bibliography (continued) 2001 Portfolio: Anne Wilson, (monograph),Winchester, England: Telos Art Publishing, Foreword by Elizabeth Smith, essays by Tim Porges: "Postminimal and After," and Hattie Gordon: "Feast" Reinventing Textiles, Volume 2: Gender and Identity, Winchester, England: Telos Art Publishing, edited by Janis Jefferies, "Forbidden Touch: Anne Wilson's Cloth," essay by Alison Ferris, pp. 39-47. Sculpture, March, review of solo exhibition at MCA Chicago, by Polly Ullrich, pp. 63-64 Fiberarts, Summer, review of solo exhibition at MCA Chicago, by Cassy Smith, p. 59 Artweek, April, Vol 32, Issue 4, review of "Obsessions" at University Art Gallery, UC San Diego, by Neil Kendricks 2000/01 Third Text, 53, Winter, essay entitled "Stain: On Cloth, Stigma, and Shame," by Jenni Sorkin, pp. 77-80 2000/01 American Craft, Dec/Jan, review of solo exhibition at MCA Chicago, by James Yood, pp.78-79 2000 MAKE, London, Sep-Nov, review of solo exhibition, MCA Chicago, by Jenni Sorkin, pp.34-35 Chicago Sun-Times, July 28, review of solo exhibition, MCA Chicago, by Margaret Hawkins, p. 45 Art Papers Magazine, July/August, review of "Remnants of Memory" at the Asheville Art Museum, by Marya Roland, p. 30 Time Out, Feb 9 - 16, review of "Textures of Memory" at Pitshanger Manor, London, England, by Mark Currah http://www.artic.edu/~awilso/, web site "hairinquiry, archived responses" 1999 Art in America, March, review of solo exhibition at Revolution Gallery, New York, by Eleanor Heartney, p. 114-115 Told and Retold, (exhibition catalog), The Museum for Textiles Contemporary Gallery, Toronto, Canada, essays by Jennifer Fisher and Sarah Quinton The Globe and Mail, May 6, review of "Told & Retold" at The Museum for Textiles Contemporary Gallery, Toronto, by Blake Gopnik, p. C3 Fiberarts, Summer, review of "Told & Retold" by Gerry Craig, p. 11 1998 U-Turn E-zine, "All Chicago," online at www.uturn.org, click Issue #2, Janes Hugunin, Ed. Memorable Histories and Historic Memories (exhibition catalog), Bowdoin College Museum of Art, Brunswick, ME, essays by Alison Ferris and Johanna Drucker Anne Wilson,Voices, (exhibition catalog), Revolution Gallery, Detroit and New York, essay by Judith Kirshner New Art Examiner, December 98/January 99, review of exhibition at Revolution Gallery, Detroit, by Dennis Alan Nawrocki, p. 63 Detroit Free Press, September 20, review of exhibition at Revolution Gallery, by Keri Guten Cohen, Galleries section Conceptual Textiles, Material Meanings, (exhibition catalog), John Michael Kohler Arts Center, Sheboygan, WI, essay by Alison Ferris 1997 The Arizona Republic, Sunday March 2, review of "Art on the Edge of Fashion" at the ASU Art Museum, by Richard Nilsen, p. E2 Fiberarts, Sep/Oct, feature article "Found Objects in Art: Anne Wilson's taxonomy of memories" by Lisa Wainwright, pp. 46 - 50 Ground Up, #13, February, review of "Labor Relations" at Revolution Gallery, by Claudia Shepard The Detroit News, Thursday February 20, review of "Labor Relations" at Revolution Gallery, by Joy Hakanson Colby Haystack Monograph series, "An attachment to Trash," by Margo Mensing, Haystack, Deer Isle, ME 1996 Art in Chicago, 1945 - 1995, (exhibition catalogue), Museum of Contemporary Art, Chicago, p. 220, biography p. 291 New Art Examiner, February, review of "Conceptual Textiles: Material Meanings" at the Kohler Art Center, WI, by Jody Clowes, p. 52 Surface Design Journal, Winter 1996, review of Elizabeth Leach Gallery exhibition, Portland, OR by Jessica Scarborough, p. 27 Art Papers, Jan/Feb, Volume 20, Number 1, review of "Fake Nature" at City Gallery at Chastain, Atlanta, GA by Felicia Feaster 1995 Reflex, The Northwest's Forum on the Visual Arts, cover photograph in conjunction with essay "New Surfaces 1995" by Lou Cabeen, pp. 1,6,7 The Print Collector's Newsletter, Vol. XXVI No.3, July-August, review of "Imperfect Sutures" by Nancy Princenthal, p. 112 Arte Facto (Spain), March, feature article - "Anne Wilson - La Apariencia de la Identidad" by Kathryn Hixson, pp. 22-24 Anne Wilson Page 3 Bibliography (continued) 1994 Fiberarts, Oct/Nov, review of "Conversations: Textiles about Textiles" at the Textile Museum, Washington, DC, by Pamela Schnienman, pp. Surface Design Journal, Vol 19, No1, Fall, cover photograph, essay "On Marking Progress in Creative Discovery" by Layne Goldsmith, pp. 15-18 Arte Facto (Spain), September, review of "Anne Wilson: Body into Culture" at the Madison Art Center, WI, by Alysa Erickson, pp. 29-30 New Art Examiner, summer, review of solo exhibition at Roy Boyd Gallery, Chicago, by Laurie Palmer, pp. 48-49 ARTFORUM, May, review of solo exhibition at Roy Boyd Gallery, Chicago, by James Yood, pp. 105-106 Arte Facto, May, review of "Conversations: Textiles about Textiles" at the Textile Museum, Washington D.C. by Nade Favreau, p. 31 Fiberarts, summer, review of "Pushing the Boundaries" at the Evanston Art Center, IL, by Mark Newport, pp.57-58 Art 1994 Chicago: The New Pier Show, (exhibition catalog), photograph, p. 90 Artist magazine, (Taipei, Taiwan), May, article: "Anne Wilson" pp.
Load more

Recommended publications
  • Weaverswaver00stocrich.Pdf
    University of California Berkeley Regional Oral History Office University of California The Bancroft Library Berkeley, California Fiber Arts Oral History Series Kay Sekimachi THE WEAVER'S WEAVER: EXPLORATIONS IN MULTIPLE LAYERS AND THREE-DIMENSIONAL FIBER ART With an Introduction by Signe Mayfield Interviews Conducted by Harriet Nathan in 1993 Copyright 1996 by The Regents of the University of California Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the Nation. Oral history is a modern research technique involving an interviewee and an informed interviewer in spontaneous conversation. The taped record is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The resulting manuscript is typed in final form, indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ************************************ All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Kay Sekimachi dated April 16, 1995. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. No part of the manuscript may be quoted for publication without the written permission of the Director of The Bancroft Library of the University of California, Berkeley.
    [Show full text]
  • THE CLEVELAND MUSEUM of ART ANNUAL REPORT 2002 1 0-Cover.P65 the CLEVELAND MUSEUM of ART
    ANNUAL REPORT 2002 THE CLEVELAND MUSEUM OF ART THE CLEVELAND MUSEUM OF ART REPORT 2002 ANNUAL 0-Cover.p65 1 6/10/2003, 4:08 PM THE CLEVELAND MUSEUM OF ART ANNUAL REPORT 2002 1-Welcome-A.p65 1 6/10/2003, 4:16 PM Feathered Panel. Peru, The Cleveland Narrative: Gregory Photography credits: Brichford: pp. 7 (left, Far South Coast, Pampa Museum of Art M. Donley Works of art in the both), 9 (top), 11 Ocoña; AD 600–900; 11150 East Boulevard Editing: Barbara J. collection were photo- (bottom), 34 (left), 39 Cleveland, Ohio Bradley and graphed by museum (top), 61, 63, 64, 68, Papagayo macaw feathers 44106–1797 photographers 79, 88 (left), 92; knotted onto string and Kathleen Mills Copyright © 2003 Howard Agriesti and Rodney L. Brown: p. stitched to cotton plain- Design: Thomas H. Gary Kirchenbauer 82 (left) © 2002; Philip The Cleveland Barnard III weave cloth, camelid fiber Museum of Art and are copyright Brutz: pp. 9 (left), 88 Production: Charles by the Cleveland (top), 89 (all), 96; plain-weave upper tape; All rights reserved. 81.3 x 223.5 cm; Andrew R. Szabla Museum of Art. The Gregory M. Donley: No portion of this works of art them- front cover, pp. 4, 6 and Martha Holden Jennings publication may be Printing: Great Lakes Lithograph selves may also be (both), 7 (bottom), 8 Fund 2002.93 reproduced in any protected by copy- (bottom), 13 (both), form whatsoever The type is Adobe Front cover and frontispiece: right in the United 31, 32, 34 (bottom), 36 without the prior Palatino and States of America or (bottom), 41, 45 (top), As the sun went down, the written permission Bitstream Futura abroad and may not 60, 62, 71, 77, 83 (left), lights came up: on of the Cleveland adapted for this be reproduced in any 85 (right, center), 91; September 11, the facade Museum of Art.
    [Show full text]
  • 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]
  • Keynote Addressâ•Flsummary Notes
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2004 Keynote Address—Summary Notes Jack Lenor Larsen Textile Society of America Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons Larsen, Jack Lenor, "Keynote Address—Summary Notes" (2004). Textile Society of America Symposium Proceedings. 494. https://digitalcommons.unl.edu/tsaconf/494 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 Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Keynote Address—Summary Notes San Francisco Bay as the Fountainhead and Wellspring Jack Lenor Larsen Jack Lenor Larsen led off the 9th Biennial Symposium of the Textile Society of America in Oakland, California, with a plenary session directed to TSA members and conference participants. He congratulated us, even while proposing a larger and more inclusive vision of our field, and exhorting us to a more comprehensive approach to fiber. His plenary remarks were spoken extemporaneously from notes and not recorded. We recognize that their inestimable value deserves to be shared more broadly; Jack has kindly provided us with his rough notes for this keynote address. The breadth of his vision, and his insightful comments regarding fiber and art, are worthy of thoughtful consideration by all who concern themselves with human creativity. On the Textile Society of America Larsen proffered congratulations on the Textile Society of America, now fifteen years old.
    [Show full text]
  • Workshops Open Studio Residency Summer Conference
    SUMMER 2020 HAYSTACK MOUNTAIN SCHOOL OF CRAFTS Workshops Open Studio Residency Summer Conference Schedule at a Glance 4 SUMMER 2020 Life at Haystack 6 Open Studio Residency 8 Session One 10 Welcome Session Two This year will mark the 70th anniversary of the 14 Haystack Mountain School of Crafts. The decision to start a school is a radical idea in and Session Three 18 of itself, and is also an act of profound generosity, which hinges on the belief that there exists something Session Four 22 so important it needs to be shared with others. When Haystack was founded in 1950, it was truly an experiment in education and community, with no News & Updates 26 permanent faculty or full-time students, a school that awarded no certificates or degrees. And while the school has grown in ways that could never have been Session Five 28 imagined, the core of our work and the ideas we adhere to have stayed very much the same. Session Six 32 You will notice that our long-running summer conference will take a pause this season, but please know that it will return again in 2021. In lieu of a Summer Workshop 36 public conference, this time will be used to hold Information a symposium for the Haystack board and staff, focusing on equity and racial justice. We believe this is vital Summer Workshop work for us to be involved with and hope it can help 39 make us a more inclusive organization while Application broadening access to the field. As we have looked back to the founding years of the Fellowships 41 school, together we are writing the next chapter in & Scholarships Haystack’s history.
    [Show full text]
  • The Factory of Visual
    ì I PICTURE THE MOST COMPREHENSIVE LINE OF PRODUCTS AND SERVICES "bey FOR THE JEWELRY CRAFTS Carrying IN THE UNITED STATES A Torch For You AND YOU HAVE A GOOD PICTURE OF It's the "Little Torch", featuring the new controllable, méf » SINCE 1923 needle point flame. The Little Torch is a preci- sion engineered, highly versatile instrument capa- devest inc. * ble of doing seemingly impossible tasks with ease. This accurate performer welds an unlimited range of materials (from less than .001" copper to 16 gauge steel, to plastics and ceramics and glass) with incomparable precision. It solders (hard or soft) with amazing versatility, maneuvering easily in the tightest places. The Little Torch brazes even the tiniest components with unsurpassed accuracy, making it ideal for pre- cision bonding of high temp, alloys. It heats any mate- rial to extraordinary temperatures (up to 6300° F.*) and offers an unlimited array of flame settings and sizes. And the Little Torch is safe to use. It's the big answer to any small job. As specialists in the soldering field, Abbey Materials also carries a full line of the most popular hard and soft solders and fluxes. Available to the consumer at manufacturers' low prices. Like we said, Abbey's carrying a torch for you. Little Torch in HANDY KIT - —STARTER SET—$59.95 7 « '.JBv STARTER SET WITH Swest, Inc. (Formerly Southwest Smelting & Refining REGULATORS—$149.95 " | jfc, Co., Inc.) is a major supplier to the jewelry and jewelry PRECISION REGULATORS: crafts fields of tools, supplies and equipment for casting, OXYGEN — $49.50 ^J¡¡r »Br GAS — $49.50 electroplating, soldering, grinding, polishing, cleaning, Complete melting and engraving.
    [Show full text]
  • Working Checklist 00
    Taking a Thread for a Walk The Museum of Modern Art, New York, October 21, 2019 - June 01, 2020 WORKING CHECKLIST 00 - Introduction ANNI ALBERS (American, born Germany. 1899–1994) Untitled from Connections 1983 One from a portfolio of nine screenprints composition: 17 3/4 × 13 3/4" (45.1 × 34.9 cm); sheet: 27 3/8 × 19 1/2" (69.5 × 49.5 cm) The Museum of Modern Art, New York. Gift of The Josef and Anni Albers Foundation in memory of Joseph Fearer Weber/Danilowitz 74 Wall, framed. Located next to projection in elevator bank ANNI ALBERS (American, born Germany. 1899–1994) Study for Nylon Rug from Connections 1983 One from a portfolio of nine screenprints composition: 20 5/8 × 15 1/8" (52.4 × 38.4 cm); sheet: 27 3/8 × 19 1/2" (69.5 × 49.5 cm) The Museum of Modern Art, New York. Gift of The Josef and Anni Albers Foundation in memory of Joseph Fearer Weber/Danilowitz 75 Wall, framed. Located next to projection in elevator bank ANNI ALBERS (American, born Germany. 1899–1994) With Verticals from Connections 1983 One from a portfolio of nine screenprints composition: 19 3/8 × 14 1/4" (49.2 × 36.2 cm); sheet: 27 3/8 × 19 1/2" (69.5 × 49.5 cm) The Museum of Modern Art, New York. Gift of The Josef and Anni Albers Foundation in memory of Joseph Fearer Weber/Danilowitz 73 Wall, framed. Located next to projection in elevator bank ANNI ALBERS (American, born Germany. 1899–1994) Orchestra III from Connections 1983 One from a portfolio of nine screenprints composition: 26 5/8 × 18 7/8" (67.6 × 47.9 cm); sheet: 27 3/8 × 19 1/2" (69.5 × 49.5 cm) The Museum of Modern Art, New York.
    [Show full text]
  • California and the Fiber Art Revolution
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by UNL | Libraries University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2004 California and the Fiber Art Revolution Suzanne Baizerman Oakland Museum of California, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons Baizerman, Suzanne, "California and the Fiber Art Revolution" (2004). Textile Society of America Symposium Proceedings. 449. https://digitalcommons.unl.edu/tsaconf/449 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 Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. California and the Fiber Art Revolution Suzanne Baizerman Imogene Gieling Curator of Crafts and Decorative Arts Oakland Museum of California Oakland, CA 510-238-3005 [email protected] In the 1960s and ‘70s, California artists participated in and influenced an international revolution in fiber art. The California Design (CD) exhibitions, a series held at the Pasadena Art Museum from 1955 to 1971 (and at another venue in 1976) captured the form and spirit of the transition from handwoven, designer textiles to two dimensional fiber art and sculpture.1 Initially, the California Design exhibits brought together manufactured and one-of-a kind hand-crafted objects, akin to the Good Design exhibitions at the Museum of Modern Art in New York City.
    [Show full text]
  • Museum of Arts and Design
    SPRING/SUMMER BULLETIN 2011 vimuseume of artsws and design Dear Friends, Board of Trustees Holly Hotchner LEWIS KRUGER Nanette L. Laitman Director Chairman What a whirlwind fall! Every event seemed in some way or another a new milestone for JEROME A. CHAZEN us all at 2 Columbus Circle. And it all started with a public program that you might have Chairman Emeritus thought would slip under the radar—Blood into Gold: The Cinematic Alchemy of Alejandro BARbaRA TOBER Chairman Emerita Jodorowsky. Rather than attracting a small band of cinéastes, this celebration of the Chilean- FRED KLEISNER born, Paris-based filmmaker turned into a major event: not only did the screenings sell Treasurer out, but the maestro’s master class packed our seventh-floor event space to fire-code LINDA E. JOHNSON Secretary capacity and elicited a write-up in the Wall Street Journal! And that’s not all, none other HOllY HOtcHNER than Debbie Harry introduced Jodorowsky’s most famous filmThe Holy Mountain to Director filmgoers, among whom were several downtown art stars, including Klaus Biesenbach, the director of MoMA PS1. A huge fan of this mystical renaissance man, Biesenbach was StaNLEY ARKIN DIEGO ARRIA so impressed by our series that beginning on May 22, MoMA PS1 will screen The Holy GEORGE BOURI Mountain continuously until June 30. And, he has graciously given credit to MAD and KAY BUckSbaUM Jake Yuzna, our manager of public programs, for inspiring the film installation. CECILY CARSON SIMONA CHAZEN MICHELE COHEN Jodorowsky wasn’t the only Chilean artist presented at MAD last fall. Several had works ERIC DObkIN featured in Think Again: New Latin American Jewelry.
    [Show full text]
  • 2F BAM AR 5/06
    Boise Art Museum Annual Report 2005 – 2006 May 1, 2005 – April 30, 2006 MESSAGE FROM THE INTERIM EXECUTIVE DIRECTOR FY 2006 marked a successful year for the Boise Art Museum. I am very proud of the staff for continually exceeding extremely high standards and maintaining a passion for the visual arts. Our ambitious exhibition and education programs set the Museum apart as the premier art institution in Idaho! The exhibition A Ceramic Continuum: Fifty Years of the Archie Bray Influence provided an opportunity to showcase BAM’s impressive ceramics collection alongside work from the groundbreaking artist-in-residence program at the Archie Bray Foundation for Ceramic Art in Helena, Montana. Georgia O’Keeffe: Visions of the Sublime exhibited this well-known American artist’s paintings and drawings along with photographs by Alfred Stieglitz and Todd Webb. Educational programs related to O’Keeffe, including lectures, studio classes, teacher institutes and demonstrations, gave participants unique, first-hand experiences for understanding the works of art. Internationally recognized artist Hildur Bjarnadóttir of Iceland shared her cultural traditions and methods with teen Girl Scouts in a workshop focused on her exhibition, Hildur Bjarnadóttir: Unraveled. BSU faculty, students, and general BAM audiences attended a discussion with Hildur to learn about her contemporary interpretations of traditional craft forms. The exhibitions The Daily News and Deborah Oropallo: Twice Removed gave students and visitors opportunities to learn about contemporary art inspired by everyday objects such as newspapers, toys, vegetation and internet images. Throughout the year, BAM presented a wide variety of media: paintings in oil, acrylic, and watercolor; traditional and digital prints; photographs; pastel and charcoal drawings; ceramics; fiber; video; and wood and metal sculptures.
    [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]
  • At Long Last Love Press Release
    At Long Last Love: Fiber Sculpture Gets Its Due October 2014 It looks as if 2014 will be the year that contemporary fiber art finally gets the recognition and respect it deserves. For us, it kicked off at the Whitney Biennial in May which gave pride of place to Sheila Hicks’ massive cascade, Pillar of Inquiry/Supple Column. Last month saw the opening of the influential Thread Lines, at The Drawing Center in New York featuring work by 16 artists who sew, stitch and weave. Now at the Institute of Contemporary Art in Boston, the development of ab- straction and dimensionality in fiber art from the mid-twentieth centu- ry through to the present is examined in Fiber: Sculpture 1960–present from October 1st through January 4, 2015. The exhibition features 50 works by 34 artists, who crisscross generations, nationalities, processes and aesthetics. It is accompanied by an attractive companion volume, Fiber: Sculpture 1960-present available at browngrotta.com. There are some standout works in the exhibition — we were thrilled Fiber: Sculpture 1960 — present opening photo by Tom Grotta to see Naomi Kobayashi’s Ito wa Ito (1980) and Elsi Giauque’s Spatial Element (1989), on loan from European museums, in person after ad- miring them in photographs. Anne Wilson’s Blonde is exceptional and Ritzi Jacobi and Françoise Grossen are represented by strong works, too, White Exotica (1978, created with Peter Jacobi) and Inchworm, respectively. Fiber: Sculpture 1960–present aims to create a sculp- tural dialogue, an art dialogue — not one about craft, ICA Mannion Family Senior Curator Jenelle Porter explained in an opening-night conversation with Glenn Adamson, Director, Museum of Arts and Design.
    [Show full text]