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Showing posts with label exhibitions. Show all posts
Showing posts with label exhibitions. Show all posts

Thursday, January 12, 2017

National Museum of Women in the Arts - No Man's Land

Magdalena Abakanowicz, '4 Seated Figures,' 2002. Burlap, resin and iron rods.

'No Man's Land: Women Artists from the Rubell Family Collection' (here for the online exhibition.) was recently shown at the National Museum of Women in the Arts in Washington DC.

'4 Seated Figures' may have been inspired by Magdalena's memory of witnessing her mother being shot in the hands as soldiers stormed their home in Poland during WWII. What she says about these genderless, race-neutral figures is 'they are naked, exposed, and vulnerable, just as we all are.'


Faith Ringgold, 'Jo Baker's Bananas,' 1997
One of Faith's story quilts commentating on racism and discrimination.

In Faith's signature technique of acrylic painted canvas with a pieced fabric border.


Outside the museum, a sign warned there were nuts in the building. I thought it strange and only on seeing this box of walnuts realised the sign was an allergy alert.

Jennifer Rubell 'Lysa III' 2014
Jennifer was inspired by finding a Hilary Clinton nutcracker for sale online.

She worked with the concept of harnessing female power making, as she says, 'a scary act of female power.' 

Museum visitors were encouraged, with supervision, to operate the nutcracker. The artist cleverly invites the viewer to contemplate female power in a playful way.
The Hilary Clinton nutcrackers were on sale in the museum shop at the same time Hilary was campaigning to become a president.


Wednesday, December 21, 2016

Visiting Washington DC Museums - Textile Museum, Renwick, National Museum of Women in the Arts


After attending the Textile Society of America Symposium in Savannah Ingrid and I flew up to Washington DC with the intention of checking out the newly relocated Textile Museum now on the George Washington University campus. Unfortunately, our timing was not great. We could only enjoy the shop because the gallery was closed while a new exhibition was being installed.
We visited the Renwick Gallery. I didn't take my camera because I wanted to focus on looking at the work and thinking about it. Sometimes while I am taking pictures/photographs I feel as though I am missing out on the full experience. 
We also visited the outstanding National Museum of Women in the Arts and spent many hours working our way up through the floors of the gleaming marble building.
On the top gallery floor, we thoroughly enjoyed the current contemporary exhibition "No Man's Land - Women Artists from the Rubell Family Collection" where the work was often provocative, cheeky and humorous, as its title suggests.


I particularly enjoyed artists whose use of particular materials was intriguingly icky and so full humour.
Karin Upson's 'Kiss 8' is part of her " The Larry Project." There is bit of a weird story about Larry which led her to paint a portrait of Larry and at the same time a self-portrait. While both portraits were still wet she pressed the 2 together creating 'a pair of unsettling hybrid faces.'

The paint was so thick and textured one had to step back quite a distance before the faces emerged.

Analia Saban's 'Acrylic in Canvas' was so tongue-in-cheek. The paint wasn't on the canvas as is 'normal' with fine art, instead, she filled a canvas bag with paint so it was in the canvas. It was kind of icky while at the same time humourous.

Solange Pessoa's 'Hammock' looked from the entrance to the room like the suspended intestines of a huge beast. But it was not what it seemed. On closer inspection, the materials were familiar: fabric earth and sponges. Up close the mass and scale were somehow comforting which was a huge shift my first impression.

Dianna Molzan's 'Untiled' is work toying with the definition of fine art as paint on a stretched canvas mounted to look as though it is floating against a wall. Dianne took each of those elements and played with them. She removed the vertical threads from the canvas while leaving the horizontal threads mounted conventionally to the stretcher bars. Then she applied paint to the remaining draped threads. I enjoyed the way she had cleverly brought together the fine art expectations with the materiality of craft and women's detailed repetitious work.


Rosemarie Trockel's 'Colony' is another play on the definition of what is fine art. From a distance, her work looks to be worked in the Colour Field style where large blocks of flat colour cover the stretched canvas.

Closer inspection reveals it is not what it seems and so questions the definition of fine art.
Rosemarie is quoted as saying, "I tried to take wool, which was viewed as a woman's material, out of that context and to rework it in a neutral process of production."

Lots of food for thought.






Monday, December 19, 2016

Textile Society of America 15th Biennial Symposium

The opening reception was held at the SCAD Museum of Art scad.edu/museum
On a balmy evening, 400 delegates from 23 different countries gathered on the podium between the oldest surviving antebellum railroad depot in the US and the modern building of the art museum.
After a time of nibbling delicious southern canapes, sipping cool drinks, listening to the band, talking with old and new friends, and paying attention during the speeches of welcome and thanks, we moved into the exhibition spaces.

Ebony G. Patterson, 'of 72 project,' digital prints on embellished bandanas, 2012

'What happens when 72 die and no one knows who they are? 
Who were these men and this woman?

Ebony wanted to make people aware of a 2010 massacre of 72 men (and 1 woman) at the Tivoli gardens in Jamaica. It is an event that has received very little attention from the media, has been ignored by Jamacia's usually vocal music scene and has had little acknowledgement governement. By making a mixed media portrait of every victim and hanging them all together on a clothesline the sheer number has great impact and the viewer is forced to realise these silenced people do matter.


Subodh Gupta, 'Known Stranger,' mixed media, 2014

This fabulous installation is an endlessly fascinating collection of well-used cooking pots and containers. The setting sun reaching through blinds to spot illuminate the work only added to its curiosity. People just walked around and around looking up and smiling.

This was just one of many exhibitions available for delegates to enjoy throughout the week. There was a well-organised gallery-hop one evening.
The daytime hours were mostly spent listening to the presentation of research papers on the theme "Crosscurrents: Land, Labor and the Port."
3 or 4 papers were presented in each session  X  5 concurrent sessions at any one time X 8 periods of concurrent sessions over 3 days = 140 papers presented. Phew, no wonder my head felt full towards the last day. The last day was spent attending roundtable discussions, films, videos, a merchants market. poster session, a closing plenary session and finally an awards banquet dinner. Those who still wanted more could join the post-symposium workshops and tours.
All in all an amazing event.
The next symposium will be in Vancouver in 2018. I can hardly wait.



Tuesday, December 13, 2016

Textile Society of America Symposium 2016


The Textile Society of America 15th biennial symposium was held in Savannah Georgia in 2016.
The co-hosts were the Savannah College of Art and Design and Art Rise Savannah.
Ingrid lincoln and I attended the symposium this year.
We caught one of the pre-symposium tours opting to have a group of enthusiastic, knowledgeable students take us on a tour of their university - Savannah College of Art and Design.

The Savannah campus is spread over 80 buildings most of them restored historic buildings in old downtown Savanah, all within walking distance of each other.
The first stop on the tour was the student centre. The beautiful building was filled with art. See the fireplace above.

Pencil drawings on planks of wood.

Next Stop: The Fibers Department, one of 42 disciplines offered.
The entrance art installation - light shining through fibres trapped between acrylic panels on the walls and ceiling.

The dyeing studio.
It looks small but that is because the class sizes are small and only a few students would work in here at any one time. All of the studios are open 24 hours, 7 days a week so students are free to work as their muse strikes or as close to deadlines as they like to.

Induction heating surfaces, steamers and pressurised vat.

SCAD offers 3 fibers degrees - B.F.A., M.A., M.F.A. link here.

Wednesday, October 12, 2016

'Earth Repair' - 3 Years Later

2014
3 years 3 months after the emergency while living outside wrapped around the Indian plum I brought the 3 afternoon tea cloths inside. 
They were carefully washed, dried and ironed. I was hoping the laundering had stopped the decay processes.

There is much staining and decay and large holes had appeared.
How to preserve this cloth? The usual way to repair a cloth is to darn it but the whole cloth is in such a fragile state didn't think it would support darning. Another way to repair cloth is to add a patch. When I thought about it, adding patches is the way the soil is repaired each year. Leaves fall from plants and trees and cover the soil. Organic processes work on breaking down the leaves to return them to the soil.

I was thinking about this soil repair idea when while out on a walk I noticed the Tulip tree had a skirt of leaves reflecting the shape if its branches. It was using its leaves to replenish the soil it grows in.

I looked more closely at those fallen leaves and saw the majority had decayed in such a way that only the veins were left. They were leaf skeletons.

I collected them up and soaked them in water to remove the soil and pine needles.

I left them to dry.

They are quite lovely in their fragile state. I had this idea to repair the tea cloth with these fragile leaves. I hand stitched leaves directly onto the cloth over the holes. At the top of the cloth I stitched a row of eyelets, wove a jute string through them and inserted a stick I found near the Tulip Tree. 
The cloth hung on my design wall for the year, still too delicate to do anything with.

2015
When the Tulip tree was dropping its leaves again the next year made me look again at the still fragile afternoon tea cloth.
I wanted to add more leaves but I wanted to make the skeletons stronger while still appearing fragile. It was time to sample. I coated leaves with various mediums but they tended to fill the holes and look a bit shiny. I ironed on a fine fusible web. I liked the look.  

I added the bonded leaves but I couldn't iron them in place. I decided to machine sew them in place using the finest thread I had with the finest needle.  I liked what was happening and decided to add another layer of leaf skeletons next fall.

 
2016
I added another layer of bonded leaves using a combination of hand and machine stitching.
The cloth with its leaves was stronger looking but getting very dried out and brittle. I added a thin layer of liquid Min Wax. I thought this last effort had ruined the whole thing. It was shiny and stinky and ugly. I just left it hanging thinking I would throw it away when I got around to it.
But one day it caught my eye because it had taken on a transparent glow and the layers of leaves were more visible giving an interesting depth. And it wasn't stinky anymore. 
I was going to add yet another layer of leaves until it got accepted into the World of Threads Festival. Once our work is accepted we have to promise the work shipped will be exactly the same as the images we sent in with the application. 
I can add the next layer of leaves after it returns home.

PS This is what the Indian plum tree looks like fall 2016
Still alive...

...but the bark doesn't look very healthy where the deer ate it.

The fungus growth on the middle trunk indicates the tree is dying.
Maybe the deer knew the tree was old and on its way out.





Wednesday, October 5, 2016

'Earth Repair' Makes it into the World of Threads Festival 2016

Lesley Turner, 'Earth Repair' 36" x 35"/92 x 89 cm, 2011 - ongoing, embroidered (anonymous) vintage cotton afternoon tea cloth, leaf skeletons, cotton & polyester thread, jute string, wooden branch, MinWax; tree staining, washing, ironing, hand & machine applique, waxing.

This work has been accepted into the World of Threads Festival 2016 in the 'Late in the Season' exhibit in the display area of the Queen Elizabeth Park Community and Cultural Centre in Oakville, Ontario, from Saturday, October 29 to Sunday, November 27th, 2016.
Whippee!

I spent most of the day following the instructions in several emails explaining exactly how to get the work ready for hanging and how to box it up.
I made a box so the work will fit snugly and not move around much while in transit. I made the box with a reuseable cap so it can be reused to return the work. 
The work can not be folded or even rolled because of the many layers of delicate, dried, leaf skeletons stitched to the cloth. 
Inside the box, I made a suspension system to hang the work from the top. 
I sewed together pieces of bubble wrap to make a snug bag to pad the work while it is in the box.
Then there was all of the documentation required. Make a label with details of name and title and secure it to the back of the work. Type up hanging instructions with images. Put my name and email on every piece of packaging and both parts of the box. Include a spare set of hanging devices - just in case. Phew!
Now to wait until the right day to mail the box so it arrives between the 2 dates set for the arrival of work in Oakville. 

Dawne Rudman and Gareth Bate are the organisers, curators, festival originators and all of the other jobs it takes to mount such a large exhibition of work from around the world - 134 artists from 24 different countries. You can see why I am very pleased to have work selected again for this festival.

Dawn and Gareth curate the exhibitions with a system I think is unique to their festival. They put out an international call for artists' most recent work and wait to see what comes in. They look at images of the work while identifying some common themes. Work is selected that fits the chosen themes. That's how I think they work.
Next post I'll tell you why this unassuming work has taken 5 years to make - so far.



Wednesday, August 31, 2016

Fun with Fibre...Cloth & Wood - An Annual Art Group Exhibition at Tulista Gallery


Dale MacEwan
email - dalemac@telus.net
Each year, around June, a group of 5 local artists install an exhibition in the Community Art Council of the Saanich Peninsula (CACSP) gallery in Tulista Park, Sidney.


Dale makes pieced and quilted compositions reflecting micro views of the landscape she lives in. She often incorporates her photographs printed on cloth and fabrics she has built up with texture using printing, stencilling, and stamping, all in her distinctive warm pallet.

Heather Corbitt
email - khcorbitt@gmail.com
I am going around the gallery to show you how each artist has set up a mini studio to work at during the exhibition. 

Heather makes wearable art garments and landscapes by building up very small pieces of fabric to produce multi-layered textured cloth. Her fabric of choice is dupionni silk.

Maya Brouwer
This setup offers the viewer a unique opportunity to talk to each artist about their work or to just watch them at work.

Maya makes large pictorial art quilts. Many of the fabrics she uses she has herself dyed, discharged, and added surface design elements to.


Kathy Demchuk
Each artist sets up a display of their work around their work area. Most of the works are for sale.

One of Kathy's techniques is to draw a resist on the ground fabric before dyeing it. Her signature style is to tell humorous stories that make the viewer chuckle. Kathy also makes jewellery using beach glass she has collected from local beaches.

Peter Demchuck
I have heard some viewers ask for special finishing requests, place orders, and commission new work.


While Kathy is beachcombing for glass, Peter collects driftwood. To quote from Peter's website, Besides giraffes, I carve bowls, make yard birds from driftwood, and do some wood sculptures, mostly of fish.


It is interesting to visit the gallery several times over the week to see how work is progressing.
And to sample Kathy's daily fresh batch of cookies.