Final Exhibition of Textile Arts Center Artists in Residence, Cycle 8
Featuring works by Andrew Boos, Isabella Amstrup, Martha Skou, Mia Daniels, Rebekah Bassen, Sarah Finkle, and Vien Le Wood
Gowanus Loft Gallery
October 19 – 20, 2017
Opening Reception: October 19, 6-9pm.
Artists’ Talk: October 22, 7pm
The Textile Arts Center is pleased to present DUALITY, the final exhibition of the 8th cycle of Artists in Residence!
“Understanding not as concepts of Either/Or but as And/Also: Simultaneously existing, with many ways of viewing and understanding.”
DUALITY presents the work developed by the seven artists in residence at the Textile Arts Center, from October 2016 to June 2017. During the 9 month residency, using fiber as a medium and/or starting point, the artists researched and explored the dichotomies present in their work and within the group, addressing concepts of time, transformation, materiality, space, intimacy and potentiality.
Learn more about the artists here.
Top: Trude Guermonprez, “Notes to John I and John II,” 1966. Cotton, wood. Bottom: Terri Friedman, “Never Odd or Even,” 2016. Wool, acrylic, cotton fibers. Photos courtesy of James Cohan Gallery.
Curated by Jenelle Porter
Featuring works by Trude Guermonprez. Ed Rossbach, Josh Faught, Terri Friedman, Alexandra Jacopetti Hart, Ruth Laskey, and Kay Sekimachi
James Cohan Gallery, Chelsea
September 7 – October 14, 2017
A group show of Bay Area fiber artists, James Cohan Gallery exhibits two mainstays of fiber art from the mid-20th century, Trude Guermonprez and Ed Rossbach, amongst current artists Josh Faught, Terri Friedman, Alexandra Jacopetti Hart, Ruth Laskey, and Kay Sekimachi. This survey show anchors new, “post-fiber” work within the context of the 1960’s fiber revolution.
By exploring this group of artists across generations, through relationships (student-teacher), and among material processes (weaving, knotting), linear pliable elements encourage a conversation around Bay Area sensibility. The Bay Area is known as a place of radical movements – social and political – particularly in the 1970s. This exhibit demonstrates that Northern California’s history of blurring boundaries between craft and art continues to resonate and inspire today’s fiber artists.
Photo courtesy of Kaufmann Mercantile.
David Zwirner, 537 West 20th St.
September 13 – October 21, 2017
After announcing the representation of Ruth Asawa’s estate earlier this year, David Zwirner gallery dedicates their Chelsea space to a collection of Asawa’s sculptures, paintings, works on paper, as well as rare archival materials. Asawa, who was one of the 120,000 Japanese Americans interned after the attack on Pearl Harbor, is known for net-like works that she began developing in the 1940s at the short-lived, but infamous Black Mountain College in North Carolina. Asawa’s looped-wire sculptures challenge the viewer to be seen through their lightness, to be seen for their form and complex interwoven configurations.
“Josef and Anni and Ruth and May,” installation view, David Zwirner New York. Photo courtesy of David Zwirner New York/London, EPW Studios/Maris Hutchinson.
“Josef and Anni and Ruth and May”
Featuring works by Anni Albers, Josef Albers, Ruth Asawa, and Ray Johnson
David Zwirner, 34 East 69th St.
September 20 – October 28, 2017
If you saw Asawa’s exhibition at David Zwirner’s Chelsea space and could not get enough, head uptown to the gallery’s Upper East Side location for a group show featuring more Ruth Asawa – this time, in conversation with work by Josef Albers, Anni Albers, and Ray Johnson. All students/teachers at Black Mountain College in the late 1940s, this show ties together seminal mid-century works.
After studying and teaching at the Bauhaus in Germany, Josef and Anni Albers came to Black Mountain College and began teaching radical experimentation to students, including Johnson and Asawa. This exhibition is a great opportunity to view the “pictorial weavings” of Anni Albers, perhaps the most well-known textile artist of the 20th century, in relation to Albers’s color experiments, Asawa’s wire sculptures, and Johnson’s collages.
Susan Cianciolo, “RUN LIBRARY” Installation View, 2016-2017. Photo courtesy of Bridget Donahue Gallery.
“Susan Cianciolo: RUN PRAYER, RUN CAFÉ, RUN LIBRARY”
Bridget Donahue Gallery
September 21 – December 3 2017
New York’s Bridget Donahue Gallery exhibits one half of the Susan Cianciolo’s most recent work, while the other half, “RUN church, RUN Restaurant, Run Store,” was exhibited in London at the Modern Art Gallery (ended September 30). The two shows are halves of one work of six houses – those in New York are wooden frame structures that resemble a tent or a lean-to – full of textiles, cups, drawings, play areas, and plants. Viewers become performers – inhabitants, even – giving life to already lively spaces that at once feel general and specific.
Lin Tianmiao, “Protruding Patterns” Installation View, 2014. Wool thread, yarn, acrylic. Photos courtesy of Galerie Lelong & Co.
“Protruding Patterns” Lin Tianmiao
Galerie Lelong & Co.
September 7 – October October 21, 2017
Beijing-based artist Lin Tianmiao invites viewers to walk over her labor-intensive woven rugs at her new solo show at Galerie Lelong & Co. Protruding, rising out from the carpet are cushiony woolen forms that spell out a variety of words or phrases affiliated with womanhood – derogatory, funny, powerful, and self-deprecating. With a range of experiences and languages in her phrases, Tianmiao paints a picture of words that describes what it feels like to be a woman today.
Sanford Biggers, “Chorus for Paul Mooney,” 2017. Antique quilt, fabric, spray paint, acrylic, fabric treated paint. Photos courtesy of Marianne Boesky Gallery.
Marianne Boesky Gallery East
September 7 – October 21, 2017
In a solo exhibition, Sanford Biggers uses quilts and statue-like sculptures to address questions of race within American history. Biggers paints and adds layers to ancient quilts, activating ideas on history, perspective, veneration, and narrative. The show’s central figure, Selah, is over ten feet tall with arms raised, referencing at once a wooden African sculpture preparing to bend in prayer and the “hands up” stance emblematic of today’s police brutality occurrences and movement.
