The posts so far:
Fair Enough: And I'm Off
Fair Enough: Traveling Incognita?
Fair Enough: All Over But the Posting
Fair Enough: Art or Trash?
Fair Enough: Prologue to the Report
Fair Enough: ABMB, Part 1
Fair Enough: ABMB, Part 2
Fair Enough: Aqua Art
Fair Enough: Pulse
Fair Enough: Seven
Fair Enough: Scope
Fair Enough: NADA
Fair Enough: Ink
Fair Enough: A Peek at Art Miami
Fair Enough: Doubletake at Art Miami
Fair Enough: Art Miami
Fair Enough: My Just Right Breakfast
Fair Enough: Speaking Volumes
Fair Enough: Moola-riffic
Fair Enough: Really Reductive
Fair Enough: High Fiber, Part 1
Siobhan Liddell at CRG Gallery, New York; ABMB
Detail of work shown full view in previous post
This is a continuation of the High Fiber post. With too many images for one entry (uploading gets sluggish), we pick up where we left off. I'm guessing that none of these artists uses the description "fiber artist." For that that reason they can use fiber and fabric without being pigeonholed. I've addressed the topic of creative identity before so for this post, no soap-boxing, just pictures of what I saw.
Lara Favaretto at Galeria Franco Noero, Torino; ABMB
Detail below shows you exactly what you're looking at on the floor
Ry Rocklen at Annet Gelin Gallery, Amsterdam; ABMB
Yes, it's a tiled futon, replete with grout between the tiles. And you thought regular futons were uncomfortable
Detail below
Liza Lou at L&M Arts, New York; ABMB
The glass beads are not strung but placed, like tesserae in a mosaic. Here, in a prayer rug format, Lou has used a South African palette (she divides her time between LA and South Africa)
Detail below
Ann Hamilton at Gemini G.E.L., New York; ABMB
Detail below of pleated fabric over paper
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Angela de la Cruz at Lisson Gallery, London
Every year this Spanish-born resident of London shows a deconstructed canvas. I like the chutzpah of her work.
Robert Rauschenberg silkscreen on paper and fabric from 1974, also at Gemini G.E.L.
You'd never dream of calling Rauschenberg a "fiber artist" yet much of his oeuvre involved cloth and fiber--from his famous painted quilt to his mohair goat to the many silkscreened fabric installations his did during his long career
Shannon Bool at Galerie Kadel Willborn, Karlsruhe, Germany; ABMB
The artist paints on silk, creating the visual suggestion that her brush strokes are hovering slightly above the surface
Detail below
Vibha Galhotra hanging and Arlene Shechet sculptures at Jack Shainman Gallery, New York; ABMB
Above: Arlene Shechet's Blue Velvet looks like a skein of plush rope, but is ceramic (image from bombsite. com, which featured Jane Dickson's interview with the artist)
Below: detail of Galhotra's work, which looks like a tapestry but is composed of metal trinkets
El Anatsui also at Jack Shainman. I've written about Anatsui's work before, here and elsewhere on this blog
Detail below showing the metal from the necks of liquor bottles and the copper wire twists that join them. Painting? Sculpture? Tapestry? I'd say yes, yes and yes
Donald Moffett oil-and-alkyd woven painting at Marianne Boesky, New York; ABMB. Detail below
Salvatore Scarpitta vintage construction from bandages, 1960, also at Boesky
Alicia McCarthy painting at Jack Hanley Gallery, New York; NADA
Dan Walsh paintings at Paula Cooper Gallery, New York; ABMB
Painting at Galeria Luisa Strina, Sao Paolo; ABMB
Detail below
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Alexander Wolff at Anne Mosseri-Marlio Galerie, Zurich; NADA
Robert Morris felt construction, 1976, at Greenberg Van Doren Gallery, New York; ABMB
Another vintage work: Naum Gabo, 1974-75, at Annely Juda Gallery, Loondon; ABMB
Detail above; full view below
Diana Molzan at The Rubell Family Collection, Miami
Tatiana Trouve at Johan Koenig, Berlin
(Interestingly, the list of materials includes only these: bronze, wood, copper)
Jannis Kounellis at Galeria Christian Stein, Milano; ABMB
He's my favorite of the Arte Povera artists
Detail of the work below
Charles LeDray at Sperone Westwater, New York; ABMB
I wrote previously about LeDray here
Sperone Westwater, Marianne Boesky, Jack Shainman and Victoria Miro are four galleries that focused in a big way on art with a textile sensibility, if not out-and-out textile work. Was that a conceptual decison? A decision for other reasons? Was it even intentional?
Lauren Di Cioccio at Jack Fischer Gallery, San Francisco; Aqua Art
DiCioccio has her finger on currency-based art and books, both created from or embellished with stitching. Talk about being on the money
Mikalene Thomas at Susanne Vielmetter, Culver City, California; ABMB
Like the Renaissance masters who depicted their sitters' wealth via consummate renditions of ermine and velvet, Thomas places her sitters in lush but kitschy settings in which fabric rule
Detail below
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Matthew Day Jackson, Harriet (First Portrait), at The Rubell Family Collection, Miami
Jackson's redition of Harriet Tubman, with burned wood, mother of pearl and taxidermy eyes, includes yarn worked as a dimensional painted line; detail below
Cal Lane at Bernice Steinbaum Gallery, Art Miami
Real oil drum filigreed with a plasma torch
Sissi Special Projects via FaMa Gallery; Art Miami
I'm not a fan of blobular fiber constructions, but I'd be remiss if I didn't include at least one of the several I saw. This was the best of the bunch
Second view below
I feel the same way about the bike and car cozies crocheted by the one-name artist, Olek. But she had a presence in Miami, due to her indefatigable crocheting around town, and her crocheted room at Scope
Above: baby bike in Wynwood
Top: bike parked outside the Convention Center
Below: the car cozy parked in front of the Scope tent
Chiharu Shiota at Rotwand, Zurich; NADA
This work in cord struck a harmonic chord with a fluff of human hair in a plexi box, below, which I saw at ABMB
Unsure of artist and venue, but I think it's Gabriel de la Mora, who has work below
Coda
Having made the fiber-hair connection, I'm creating this separate section. Human hair and weave strands (real or fake, I'm not sure) put in multiple appearances. This was more than a coincidence. Mostly the individual strands functioned as drawn lines do, whether in space or flat on the page.
Heimo Zobernig at Anton Kern Gallery, New York; ABMB
Detail above
Full view below
Katina Huston at Autobody Fine Art, Alameda, California; Aqua Art
The lacy filigree is "drawn" with short strokes
Detail below (photographed through glass)
Gabriel de la Mora at Galerie OMR, Mexico City; ABMB
You can't see the work inside the vitrine, but you can see it below, where individual long strands of human hair are knotted together to form an airy constellation
Alexandra Birken at BQ Galerie, Berlin; ABMB
A giant eyelash? No, silly, it's hair extensions attached to ski
Below: Walking around the work I came across these photographs of skeins and tangles of yarn, which pretty much brings us back to where we started
But the last word in this post goes to the work below. It's a coda to the coda: wire in the form of a braid, by Tunga at Galeria Millan, Sao Paolo; ABMB
