Fiber Arts

Evergreen, Searchlight, Rosebud at Jessica Silverman Gallery

Margo Wolowiec. Evergreen, Searchlight, Rosebud, 2017; installation view. Courtesy of the Artist and Jessica Silverman Gallery.

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Becca Roy-O’Gorman reviews Evergreen, Searchlight, Rosebud at Jessica Silverman Gallery in San Francisco. Margo Wolowiec’s work intersects many planes: physical and virtual[…..]

Third Space: Shifting Conversations About Contemporary Art at the Birmingham Museum of Art

José Bedia. Mpangui jimagua (Twin Brothers), 2000; acrylic and conté on canvas with objects; 122 x 355 x 188 inches. Courtesy of the Artist and the Birmingham Museum of Art.

As university presidents, corporate CEOs, and political leaders on the left and right toss the terms “multiculturalism” and “postcolonial” around in speeches and promotional materials, I am reminded that these buzzwords of the new transnational order have resisted domestication and dilution through the sharp, thoughtful, uncomplacent writing of Homi K. Bhabha.[1] Bhabha’s recognition that cultures must be understood as complex intersections of multiple places, historical[…..]

Cecilia Vicuña: About to Happen at Contemporary Arts Center New Orleans

Cecilia Vicuña. Precarios, 1966-2017; site-specific installation of 117 found object sculptures (stone shells, glass, wood, plastic, debris). Courtesy of the Artist and the Contemporary Arts Center New Orleans. Photo: Alex Marks

For the Chilean-born visual artist, poet, and filmmaker Cecilia Vicuña, the textual and the visual exist and function together in a familial relation, as if the making of objects and the shaping of words into images are knotted together like threads, binding and weaving themselves to form reified constellations that speak of the individual and collective simultaneously.[1] Vicuña’s work has a rich engagement with the[…..]

Interview with Wendy Red Star

Beatrice Red Star Fletcher and Wendy Red Star​. Apsáalooke Feminist #3, 2016. Press image. Courtesy of the Artist.​

Wendy Red Star produces photographs, textile-based works, and performances that situate her womanhood and Crow heritage as ontologically intertwined. Collaborating with fellow Indigenous artists, performers of other disciplines, and her daughter, Red Star documents her various achievements in the contemporary art world through strategies that have historical ties. Ashley Stull Meyers: You have roots in Montana and Colorado. What influenced you to settle in Portland, Oregon,[…..]

Sarah Crowner: Touch the Tile

Sarah Crowner. Beetle in the Leaves, 2016; Installation view.

From our friends at Guernica, today we bring you an interview with artist Sarah Crowner. Author Elizabeth Karp-Evans and Crowner discuss her show at MASS MoCA (open through February 2017), her art-historical influences, craft, and constructivism. Crowner states, “I think that art history can be a medium that can be manipulated in the same way that a material, like paint or clay, can be.” This article[…..]

Follicular: The Hair Stories of Sonya Clark at the Taubman Museum of Art

Sonya Clark. The Hair Craft Project: Hairstyles on Canvas, 2013; silk threads, beads, shells, and yarn on canvas; 29 x 29 inches. Courtesy of the Artist and the Taubman Museum of Art, Roanoke, VA.

Follicular: The Hair Stories of Sonya Clark at the Taubman Museum of Art highlights the historically rich and embodied power of Black hair, demonstrating that hair is a medium as well as a message.[1] For Clark, whose work holds a significant place in the burgeoning discourse of American contemporary craft, Black hair is an aesthetic language on par with the legacies of quilting and textile[…..]

Gerardo Tan: Hablon Redux and Other Transcriptions at Random Parts

Gerardo Tan. Turntable Paintings, 2016; vinyl, acrylic; dimensions variable. Courtesy of the Artist and Random Parts. Photo: Maria Porges.

What does it mean to transcribe a work from one medium to another? Is the result a kind of translation, a form of documentation, a new piece of art, or all three? In a fascinating range of media—painting, video, found objects, weaving, and sound—Manila-based artist Gerardo Tan investigates these questions through three different projects presented in his solo exhibition Hablon Redux and Other Transcriptions at[…..]