permanently mad revealing the collection September 27, 2008 - ongoing Permanently MAD: Revealing the Collection presents approximately 250 works from the Museum of Arts and Design’s permanent collection. For the first time in the Museum’s 52-year history, dedicated collections galleries introduce visitors to the phenomenal ceramic, glass, wood, metal, fiber, and mixed media works in the Museum’s collections. Many of the pieces are on view for the first time. Currently featuring work by Helena Hernmarck and Gyöngy Laky

 

Artful Paper: Cut, Folded & Fabulous
January 30, 2010
Decorative Arts Center of Ohio
145 East Main Street,
Lancaster, Ohio 43130
740-681-1423
www.decartsohio.org

Artists including Jennifer Falck Linssen transform common, familiar and expendable materials -- from ticket stubs to grocery bags -- into extraordinary objects

34sb ODD YELLOW WITH BLACK Sara Brennan, linen, wool and cotton 21" x 20", 2004 $3,250

Follow a Thread: Six Contemporary Responses to the Art of Tapestry Harley Gallery Welbeck, Workshop, Nottinghamshire, UK January 16 to March 21, 2010 info@harley-welbeck.co.uk

Follow a Thread, brings together six artists/makers from Edinburgh, linked by a common interest in contemporary tapestry. Edinburgh’s association with tapestry is linked to the history of Dovecot Studios originally established in 1912 under the patronage of the Bute family, and the Edinburgh College of Art, which until recently offered the only undergraduate tapestry course in the UK. The six artists in Follow a Thread reflect this association both through their own histories. The exhibition contains examples of contemporary tapestry created by traditional means together with other contemporary works inspired by a knowledge of, or engagement with, the art of tapestry. The artists included are Jo Barker, Sara Brennan, William Crozier/Dovecot Studios, Linda Green, Matt Hulse, Anna Ray. was previously display at Ruthin Craft Centre and Dovecot.

 

 

	Matters of Pattern Norma Minkowitz, and seven other artists, Connecticut Commission on Culture & Tourism Gallery One Constitution Plaza, 2nd floor, Hartford, CT 06103; 860.256.2800; http://www.cultureandtourism.org. From January 8 - March 5, 2010.
32nm THE GOLDEN CHILD fiber, mixed media, 12" x 11" x 8", 30.5cm x 28cm x 20cm, 2009 $6,000

 

	Fiber Art by Adela Akers 425 7th Street Santa Rosa CA. 95401 (707) 579 1500 Jan 30, 2010 - May 30, 2010 http://www.sonomacountymuseum.org /index.php?page=exhibit
40aa BROKEN CIRCLE, linen, horsehair & paint, 63" x 42", 2008, $9,000
Fiber artist Adela Akers. Akers was born in Spain, raised in Cuba and went on to study at the Art Institute of Chicago and later at the renowned Cranbrook Academy of Art in Michigan. For over twenty years, from 1972 to1995, she was a professor and chair of fiber arts at the Tyler School of Art at Temple University in Philadelphia. Drawing inspiration from African and South American textiles, Akers creates woven compositions of simple geometric shapes, bands, zizags and checks. Many of her works incorporate meticulously measured and cuts strips of metal from recycled wine bottle caps, creating a richness and luminous quality. She frequently employs stiff horsehair extending in front or beyond the borders of the weaving, adding texture and dimensionality. The Museum recently received a donation of one of Akers' weavings and has gratefully added it to the permanent collection.

 

FACES AND MAZES LIA COOK Gregg Museum of Art & Design North Carolina State University 2610 Cates Avenue Raleigh, NC, 27695 (919) 515-3503 January 21 – May 15, 2010 http://www.ncsu.edu/gregg/

In Lia Cook’s most recent series of weavings, she uses an electronic Jacquard hand loom to weave faces that dissolve into continuously changing maze-like patterns. Drawing on familiar childhood sources, Cook uses a detail, often re-photographed, layered and re-woven in oversize scale, to intensify an emotional and/or sensual encounter. As the faces fragment, a perceptual shift occurs, moving through a place of transition and ambiguity to reveal the physical, tactile nature of the constructed image. "I use a digital loom to weave images that are imbedded in the structure of cloth," says Cook. "The digital pixel becomes a thread that when interlaced with another becomes both cloth and image at the same time. My practice involves research into new technologies and new ways to translate my images that make the structure visible and physically felt, attempting to create the image as physical object." About Cook's work, Robert Bell, senior curator of decorative arts and design at the National Gallery of Australia, wrote in an exhibition catalogue essay: "The candid intimacy of the family snapshot seems an unlikely starting point for Lia Cook's over-scale woven images, until one considers that such weaving, whatever its size, is the result of the organization of small elements, close attention to detail and the dexterity of handwork."