Why haven’t you been following at the new blog location?
If you insist.. don’t forget to come to tonights Opening Reception for TEEM
TONIGHT, March 11, 8PM
We here are fortunate to share a wonderful second space with Jordana Martin of Oak Knit Studio. In this space, upstairs from TAC, is where the Artist Residency and resource library are housed. In addition, there is a second Gallery. So, for the first show in this new space, Tali Weinberg — one of our talented residents — will be curating a show and day of workshops based around May Day, celebrating the textile workers, artists, designers, and activists who make our world more beautiful and just:
Teem superimposes metaphors of water (movement/potentiality), and the sea (the infinite, comfort, danger, aloneness) to evoke a sense of dreamspace — the space of possibility. Using textiles, Teem creates an environment where viewers find themselves under the surface of the water at the powerful juncture where river currents meet the ocean tides, where the individual meets the collective.
Chris will be joining us for the Opening Reception, giving a talk that night on concept and installation. Unfortunately, Mary, the fiber artist of the two, is located in Hawaii and will be unable to join us… However, in preparation for the installation that will begin tomorrow I’ve been looking at Mary’s work a ton.
Through performance, installation, and textile media, Mary focuses on many familiar issues to us (war, revolution, natural and manmade disaster), through the idea of “mending” — something we’ve been talking about a lot lately around here.
In Mary’s words: “My work explores ‘mending’ and its implications for cultural change. Although I work across traditionally defined media and conceptual boundaries, the grounding point for my work is in the metaphors derived from fiber processes (e.g. stitching, binding, weaving, piecing) and the overarching concept of mending. I am interested in how precise application of fiber metaphors may heighten our understanding of both peace-building and of fractures in the foundations for social justice. Tattering might be inherent. It is part of the wear and tear – some necessary, some not so necessary. But we seem to fall short on the art of mending.
I am deeply interested in the profundity of listening and of silence – of listening to the conversation between materials, thoughts and processes and of experiencing the rich silence of open space. I investigate ‘making’ as a form of contemplative action – as a tool for illuminating implicit knowledge of our potential for compassion and our proclivities for grief, confusion and complicity with structural and personal violence.”
Departire – Site specific installation at Ueno Town Art Museum, formerly Sakamoto Elementary School, for Threshold: Sustainable Art Project, Ueno/Tokyo, Japan, 2009. A response to Tokyo’s changing age demographics that leave elementary schools vacant and shift cultural mores. Pieced from over 50 nagajugan, mostly of vintage silk from obsolete Japanese textile mills, handsewn by students and volunteers in workshop settings.
Circumspect – Created in response to the US invasion on Iraq. The Jones House, Boone, NC. Materials: Wall Street Journal and NY Times, stained; tapestries of black walnut dyed silk, kozo and book binders thread; typewriter erasure ribbons, post post mortem surgical needles. Chronicles deaths of the “coalition forces”. The names of those who died between the March 21st invasion and April 1, 2004 (the showʼs opening) were deleted from the ribbons as they silently vanished from our lives.
While we find no shortage of political art in general, and specifically in the fiber and textile world, I find Mary’s approach to be unique. Instead of speculating the problem, it focuses on a solution, forcing us to think about what comes next.
Looking at her work, even through image, does invoke the feeling of silence. It makes me stop — at first at it’s beauty, and after reading her Artist Statement — to contemplate my own ability to pay attention to relationships between people, materials, concepts, places. Our ability, as humans, to withstand pain and hardship (including the ways we provoke it) and then our ability to focus on how to fix it. What new solutions can we come up with, and what can we learn from older ideas?
Deluge – Created in collaboration with Christopher Curtin for The Netshed at Alderbrook Station, Astoria, OR, 2010. Once the site of a thriving, albeit contested, salmon fishing industry, the Netshed – where fishermen would repair their gillnets – is an historical structure that serves as an icon for the interplay of migration, economy, ecology, dispossession and reclamation. Using hand-dyed cloth, the metaphor of water and reclaimed gillnets – the material that originally necessitated the site – we sought to re-engage the building’s history as a site of restoration and repair, creating a poetic context in which viewers might dream new possibilities for dialogue and negotiation. Gillnets provided by the Columbia River Fisherman’s Protective Union’s gillnet recycling project. Photo credit: http://www.donfrankphotography.com
Hope to see you next Friday, March 11 for the Opening from 8-11PM! The show will be up through April. And you can check out the video of “Deluge” to get an idea of what will be up here.
Last Monday TAC took a rest and celebrated President’s Day – which for me pretty much ended up being the day that I finally did all my laundry, cleaned my room, and faced the world as a grown-up woman. The bright and shiny moment of the day was the quick stop that my roommate and I did at a pop-up gallery space in 147 Franklin Street, in Greenpoint.
The gallery is hosting the 600/3×9 project, which consists of 3 different exhibitions, by 3 different curators, featuring an x amount of artists, and all this happening in a 600 sq feet space, during only 9 days (each show is up for only 2 days!). The three emerging curators, Jiyoun Lee-Lodge, Ati Egas, Renee Bovenzi were selected amongst a group of 12, by the curators of the IN RiVERS gallery.
Hannah and I catch the end of the first show, Hybrid Lifeforms, curated by Jiyoun Lee-Lodge, and I fell in love with the work of Aidan Sofia Earle.
Sorting, dyed fabric and thread on paper, 2010
Aidan Sofia Earle studied painting but has “always been drawn to fiber arts” and her work brings together painting, embroidery, fabric applique and found objects. The result are beautiful and detailed compositions, that ask you to take a closer look and spend time discovering. One of my favorites is “At Nostrand”, which had kind of a finding-a-treasure-box effect in me.
Small Pile, watercolor, thread and fabric on paper, 2009
At Nostrand, found objects, mixed media, 2010
About her work, Aidan Sofia Earle says:
“Man made objects accumulate in many ways. Things are collated and stacked, piled and flushed, bundled and lined-up. We have numerous approaches to organizing our belongings and our waste. Even the forces of nature come into play in the way objects are accumulated. The gyres of trash in the oceans, the accretion of items on shorelines, these discarded items, small and large, have transformed landscapes.
From the streets of my environment I gather and accumulate discarded items. As a magpie chooses its treasure I collect the left behind objects of daily life. Physically stitching the objects together I think of the accumulation as story quilts, each item carrying its perceived history while becoming part of a new whole.”
The Collection, wood, metal, dyed fabric, thread, 2008
Aidan worked as a fashion textile dyer and painter, puppet and prop designer builder, carpenter and artists assistant, experiences that allowed her to have contact with a wide range of materials and techniques, which is reflected in her work. She still hand-dyes the fabric and the thread used in her artwork.
Untitled, collage watercolor, thread, pencil on paper, 2008
Aidan Sofia Earle is currently an MFA candidate at the Brooklyn College. She has exhibited with Sharon Arts Center, NH, Chase Gallery and Bates College Gallery, ME, Target Gallery, VA and had several residency fellowships, including Vermont Studio Center 2009, CAC Woodside 2010. She lives and works in Brooklyn.
I mentioned this exhibit on my blog yesterday but needed to have an excuse to further research the work of Anna Betbeze. She currently has an exhibit up at Kate Werble Gallery in NY and I cannot wait to check it out.
Anna is a young artist, under 35, originally from Alabama who went through the prestigious art program at Yale to end up as a working artist here in Brooklyn. Her work takes Flokati Rugs, think wool & shaggy, and she then dyes, beats, burns, and rips the work until it becomes a gorgeous but deconstructed skin of texture.
In a way her work is unclear, I remain unsure as what to take from it and her specific choice of canvas but in the end they are gorgeous abstract objects that have a more textural and therefore physical experience then most works of this style.
(The shows title, Moss Garden) refer to Michel Foucault, who lectured that “the garden is a rug onto which the whole world comes to enact its symbolic perfection, and the rug is a sort of garden that can move across space.” Fortunately the artworks don’t take themselves as seriously; they have a wonderfully forlorn, abject quality that inspires more empathy than theory.
I love the reference to the Foucault quote but do not agree that these works do not take themselves seriously, I feel that the “forlorn” quality is the “seriousness” of the work and though very abstract they also must be incredibly textural and through the process quite distressed and overworked.
I cannot help but wonder what the role of that deconstruction is… I feel that if an artist is choosing to take something and then in essence destroy it to make something new that there must be intention behind this act and I am curious to what Anna’s intention is.
Visually these works intrigue and satisfy, conceptually I still have questions and have much more ambiguous feelings but needless to say I cannot wait to head to the city and see them myself this weekend.
It would make a great day to see this show on the same trip.
Read another thoughtful review here.
Until next time keep your needle threaded.
Joetta Maue is a full time artist primarily using photography and fibers. Her most recent work is a series of embroideries and images exploring intimacy. Joetta exhibits her work throughout the United States and internationally, and authors the art and craft blog Little Yellowbird as well as regularly contributes to Mr. X Stitch. Joetta lives in Brooklyn, NY, with her husband, baby son, two cats, a goldfish.
Be sure to check out Elana Herzog’s show, Into the Fray, at LMAKprojects February 19.
It will be up February 19 – March 27 with an artist talk March 6.
Herzog alters and manipulates found textiles, including bedspreads and rugs, by stapling, tearing and draping. These fabrics are transformed into new surfaces, often resembling organic decay or growth on the gallery walls they inhabit.
(Photos courtesy of http://www.elanaherzog.com/art.html)
Back in October we held a class taught by the wonderful Emily Fischer of HapticLab.
Emily was a wonderful teacher and I was so happy we were able to offer a basic quilting class that engaged people with contemporary design. Quilting inherently is a a bit nostalgic — evoking images of rocking chairs, Grandma, piecing together old clothes so you can keep them around forever and ever… Whatever one’s general opinion on the “typical” quilt look, quilting is a fantastic skill that can be used in so many ways and applied to all kinds of items.
However, I think it can be a little difficult to find people doing new and interesting things with the very time consuming hobby. Emily is a long time quilter, with a family-quilting background, but her clean and modern aesthetic allows for items that are “New York chic” with a level of nostalgia that is just right and suitable to the individual.
I had been ogling Emily’s work for awhile, and after meeting her, was so happy she was willing to teach at TAC. Of course, in my stupidity, I thought I’d actually have time to take the class…I hardly got beyond cutting out my backing. However, Carol Cho over at BurdaStyle, posted her finished project! It’s so exciting to see finished student work, particularly in use or back in their own environment.
A perfect example of how Emily’s quilts allow for the individual to create something relevant to place, space, memory, through text, drawing, fabric choice. Carol’s USA map tracks all the cities she has visited with her boyfriend.
Emily is also a really good person. She has been working with Memorial Sloan-Kettering, and this weekend they will have a huge Open House at the new Gallery on Atlantic Ave, which you should all go to! RSVP = firstname.lastname@example.org.
Textile arts are rarely associated with the stillness, quietude, and self-conscious theatricality of minimalism and post-modernism. Often the phrase “textile arts” erroneously encourages on to conjure visions of patchwork , crazy quilts, and large swaths of bright weavings. One of the great successes of the Textile Art Center is its persistent expansion of our understanding of textile art’s limitations and vulnerabilities through its diverse exhibitions program.
MoMA PS1, too, is currently contributing to the reframing of textile arts in a contemporary context with its current exhibition of the paintings of Berlin-based artist Sergej Jensen. The term “paintings” here is used loosely and echoes the words of artist Ghada Amer (in a presentation recently featured on the TAC blog). Created from a diverse selection of found textiles, Jensen’s works on view include both pieces produced over the past eight years, as well as a number of new works created on site in a studio in PS1. His large canvasses echo the staunch minimalism of Callum Innes and Barnett Newman, and Jensen is remarkable in his ability to replicate the themes of classic abstraction in traditionally maximalist materials like silks, cashmere, diamond dust, and wool.
Jensen’s “paintings” invite the viewer to evaluate the traces of the artist’s mark on the fabric. Silks are pulled and stretched, wools are painted in oils, silk is powdered with diamond dust. Bleach, dye, and stitching are as important as color, shape, and balance. The intentional is lost in the accidental, a natural by-product of working with soft materials which are pulled, stressed, prodded, and manipulated. Jensen is able to physically shape images with the unique attributes found only in textiles and textile arts, balancing the forms of fabric with the classic shapes of modern art.
This exhibition is deceptively pictorial, the works challenging both as paintings and as pieces of textile art. Can painting and textile be so seamlessly combined? Is it possible to display both artistic expressions without one medium being lost or overtaken by the other? Jensen is masterful in the way he elegantly blurs these boundaries with a weighed consideration for his materials and their relationships.
A perfect example of Jensen’s talent for the balance between textile and painting is Blessed, a succinct and surprisingly poetic meditation on fabric and art history. The “painting” is simple in its composition: two pieces of sheer grey cashmere wool (one in a lighter shade, one in a darker shade) are sewn together, cutting the canvas in half horizontally. The resulting artwork looks like a horizon line—the endless expanse conjures references to traditional seascapes, Mark Rothko, and the Western landscape canon.
United Nations is another work which sums up the possibilities for merging the two-dimensionality of painting with the multi-dimensionality of textiles and crafts. The piece features a rainbow-striped, machine-knit afghan stretched and sewn on a linen ground. By framing a piece of machine-made textile as a work of art, Jensen encourages the viewer to consider the divide between high and low art and the gulf between textiles and “fine arts.”
Jensen is consistent in his experimentation and thoughtful pursuit of found textile as a meaningful medium. His works are challenging, intelligent, and humorous statements about the imposed and negligible chasms between art media. Highly recommended.
Sergej Jensen is organized by the Aspen Art Museum. The exhibition is curated by Heidi Zuckerman Jacobson and organized at MoMA PS1 by Peter Eleey, Curator of MoMA PS1.
Lauren Palmor’s experience in the art world has included positions at museums, art magazines, non-profits, and artist foundations. Read more at her blog http://theartobject.blogspot.com
Charles LeDray: workworkworkworkwork, Whitney Museum, through February 13
Balenciaga: Spanish Master, Queen Sofia Spanish Institute, through February 19
Kashmir Shawls at the Bruce Museum, through Feb 27th (Greenwich, CT)
Colors of the Oasis: Central Asian Ikats, Textile Museum, Washington DC, through March 13th (quick road trip anyone?)
AKWAABA: Weaving Unity Between Bonwire and Staten Island, Sung Harbor Cultural Center, Staten Island, through April 3rd
Art/Memory/Place: Commemorating the Triangle Shirtwaist Factory Fire, Grey Gallery at New York University, through July 9 (closed March 27-April 11)
Knoll Textiles 1945-2010, Bard Graduate Center, May 18-July 31
Objects of Exchange: Social and Material Transformations on the Late 19th Century Northwest Coast, Bard Graduate Center, through April 17
Sergej Jensen, PS1, through May 2
The Global Africa Project, Museum of Art and Design, through May 15
Color Moves: Art and Fashion by Sonia Delaunay, Cooper Hewitt National Design Museum, March 18-June 5
Rugs and Ritual in Tibetan Buddhism, Metropolitan Museum of Art, through June 26
A Stitch in Jewish Time: Provocative Textiles, Hebrew Union College Galleries, through June 30th
Have other recommendations? Let us know!
Textile Arts Center, 505 Carroll Street (btwn 3rd + 4th ave), January 24, 7PM
The following artists will be sharing about their work:
John Paul Morabito