A timely U.S. touring exhibition, Fiber Sculpture 1960–Present examines the development of ‘abstraction and dimensionality in fibre art’.
A timely US touring exhibition, ‘Fiber Sculpture 1960–Present’ examines the development of abstraction and dimensionality in fibre art with works by 34 artists.
The likes of Sheila Hicks and Magdalena Abakanowicz pioneered the presentation of three 3D textiles in gallery settings in the 1960s; since then, artists such as Ernesto Neto and Haegue Yang have continued to establish the place of fibre firmly in the realms of high-art sculpture. Fifty works are included by the artists already mentioned, plus Eva Hesse, Rosemarie Trockel and others. They span small-scale weavings to immersive environments.
Diane Itter, Southern Borders, 1982, Linen, 15 1/2 x 10 inches, Museum of Arts and Design, New York, Gift of Nancy and Richard Bloch, 1991, Photo by Eva Heyd, ©Estate of Diane Itter
The exhibition will be hosted at the following three venues:
Institute of Contemporary Art, Boston, until 4 January 2015
Wexner Center for the Arts, Columbus, Ohio, 7 February–12 April 2015
Des Moines Art Centre, Iowa, 8 May–2 August 2015
Jean Stamsta, Orange Twist, ca. 1970, Wool, synthetic yarn, and wood, 43 x 103 x 43 inches, Museum of Wisconsin Art, West Bend, Wisconsin, Gift of the Kohler Foundation, Inc., ©The Estate of Jean Stamsta
Faith Wilding, Crocheted Environment, 1972/1995, Woolworth’s Sweetheart acrylic yarn and sisal rope, 108 x 108 x 108 inches, The Institute of Contemporary Art/Boston, Gift of the artist, Photo by Charles Mayer
Lenore Tawney, Black Woven Form (Fountain), 1966, Linen and metal 105 x 17 x 2 1⁄4 inches, Museum of Arts and Design, New York, Gift of the artist, through the American Craft Council, 1968, Photo by Sheldan Comfert Collins
Claire Zeisler, Red Wednesday, 1967, Jute and wool, 68 x 40 x 40 inches, Museum of Arts and Design, New York Gift of the Dreyfus Corporation, through the American Craft Council, 1989, Photo by Eva Heyd, ©Estate of Claire Zeisler, courtesy of Rhona, Hoffman Gallery, Chicago
Sheila Hicks, Pillar of Inquiry/Supple Column, 2013–14. Acrylic, linen, cotton, bamboo, and silk. 204 x 48 x 48 inches (variable). Courtesy of the artist and Sikkema Jenkins & Co. Photo by John Kennard.
Sheila Hicks, Banisteriopsis II,1965–66/2010, Wool and linen, Dimensions variable, The Institute of Contemporary Art/Boston, Gift of the artist in honor of Jenelle Porter, Photo by Charles Mayer, © Sheila Hicks
Xenobia Bailey (American, b. 1955). Mothership 1: Sistah Paradise’s Great Walls of Fire Revival Tent, 2002. Cotton and acrylic yarn, metal frame, electrical tape, shells, 10 x 5 x 5 ft. (304.9 x 152.4 x 152.4 cm). Courtesy of the artist and the Stefan Stux Gallery, New York
Josh Faught, Untitled, 2009, Hemp, sequins, pin, and garden trellis, 50 x 48 x 2″, The Institute of Contemporary Art/Boston, Gift of Andrew Black, Courtesy of the artist and Lisa Cooley, New York
Beryl Korot, Text and Commentary, 1976–77, Installation: five-channel video (black and white, sound, 30:00 minutes), weavings, drawings, and pictographic video notations, Dimensions variable, Courtesy of bitforms gallery, New York, Photo by John Berens
Ernesto Neto, SoundWay, 2012, Polypropylene and polyester rope, metal bells, and seed pods, 115 x 268 x 35 inches, Courtesy of the artist and Tanya Bonakdar, Gallery, New York
Françoise Grossen, Inchworm, 1971, Industrial cotton piping cord, 240 x 156 inches, Courtesy of the artist
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