The trio of
woven works on view was produced in collaboration with three local artisans.
Not exact matches
The Museum of Fine Arts, Houston's terrific team - curated show The Artist's Palette: Primary Colors
on Paper,
on view through June 2, is a perfect example,
weaving works by Houstonians Al Souza, Amy Blakemore and Richard Stout into a star - studded cast that includes Catherine Opie, William Christenberry and Ad Reinhardt.
These
works are based
on street personalities who go from bus stop to bus stop in the Dominican Republic covering the steering wheels, gear shifts, and rear
view mirrors of buses in beautifully hand -
woven colored rubber.
The two modest
works on view hardly elucidate the groundbreaking nature of her contribution to the arts, but in Union of Water and Fire, 1974, a hint of the artist's line - based objects and
woven forms begins to emerge.
He
weaves together elaborate narratives in his paintings that entwine the legend of the past with a discourse of the present, and in the case of the
works on view here, a glimpse of a possible future.
This exhibition marks a culmination of his acclaimed sculptural approach and the first time a comprehensive body of
work by Schanck will be
on public
view and features 15
works with independent, stand - alone narratives
woven into an otherworldly landscape.
The new
work will be
on view from October 14, 2014 through April 6, 2015 as part of a multi-venue exhibition entitled I Don't Know, Or The
Weave of Textile Language.
Barba's exhibition From Source to Poem to Rhythm to Reader, hosted in the Shed space at Pirelli HangarBicocca,
weaves an intense dialogue between the
works on view and the industrial setting that houses them.
Her
work re-contextualizes the traditional use of colloquial, lo - tech crafts; crochet, knittings and
weavings exploring social
views on civilization, technology and gender.
While the thread that
weaves the myriad interdisciplinary artifacts
on view in both iterations of Common Time is, of course, Cunningham's dance
work, many of the objects within the exhibitions have the remarkable capacity to double as compelling, self - reliant artworks in their own right.
On view throughout Los Angeles from May 7 to July 1, 2018, the artist's
work weaves imagery of train tracks, aloe blooms, and peacock feathers.
Also
on view are two of the artist's more recent video
works, ICON (2014) and Stop Playing in My Face (2016), both of which
weave together the exuberant pageantry of voguing with digitally - rendered backdrops of glittering architectural spaces.
«Color Field,» Lou's largest sculpture to date, is
on view starting this weekend at the Neuberger Museum of Art along with the artist's «Solid Grey» and «Color / White» canvases, two series of
woven beaded
works.
From Liza Lou's Maximum Security (2007 - 2008), Marta Chilindron's Cube 48 Orange (2014), to Matt Saunders's Two Worlds, and a Half (2016 - 2017), visitors can
weave in and out of much of the
work on display and
view it from multiple angles.
Among these
works are Cindy Sherman's Untitled Film Still # 19, two early silhouette collages by Kara Walker, a painting by Mickalene Thomas, neon
work by Tracey Emin, digital animation by Jennifer Steinkamp, wall relief by Teresita Fernandez and
woven trompe l'oeil sculpture by Miami artist Frances Trombly, all of which will be
on view in the NSU Art Museum exhibition.
Currently
on view is a densely hung exhibition of figurative
work called «CON - Figuration,» a big, bawdy show of digital collage, painting,
woven tapestries of porn web pages, and... read more... «Lunchtime dystopia: CON - Figuration at Postmasters»
The artists
on view in Outsider Art also share something beyond their often improvisational methods of art - making: Their
works are
woven together by common threads such as religion, the mystical world of animals, pop culture and icons of American history.
Currently
on view is a densely hung exhibition of figurative
work called «CON - Figuration,» a big, bawdy show of digital collage, painting,
woven tapestries of porn web pages, and 3D renderings.
Lorenzo: I'm
working on three large
woven pieces for a group exhibition curated by Howard Fox for the Craft And Folk Art Museum in L.A.
on view in September 2015 through January 3, 2016, and a show of paintings for CB1 Gallery, which opens in November 2015.
In a new set of
works, currently
on view at Jack Shainman gallery, the artist includes strands of an ancient Persian
weaving technique derived from the Mahaffa, a hand - held fan made from palm tree leaves.
International Print Center New York will open its 2015/16 Season with
Weaving Past into Present: Experiments in Contemporary Native American Printmaking, an exhibition of current prints by Native American artists living and
working across North America,
on view September 24 - November 10, 2015.
On view June 22 — July 28, 2017, the exhibition weaves together three bodies of work, forging a powerful commentary on contemporary cultural identity and the current state of immigrants and refugee
On view June 22 — July 28, 2017, the exhibition
weaves together three bodies of
work, forging a powerful commentary
on contemporary cultural identity and the current state of immigrants and refugee
on contemporary cultural identity and the current state of immigrants and refugees.
Midcentury modern is well represented at Vojtech Blau in a 1971 hand -
woven tapestry designed by Alexander Calder, and contemporary
work is
on view at Salon 94, which is showing the «Sand Stools» (2012 - 13) of Kueng Caputo (Sarah Kueng and Lovis Caputo), made with sand and Styrofoam.
An exemplary example of the multiple threads that the artist
weaves into her chapters is her recent exhibition at the San Francisco Museum of Modern Art, New
Work: R. H. Quaytman,
on view from October 22, 2010 to January 16, 2011.