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Sheila Hicks: 50 Years,
March 24 – August 7, 2011

"Hicks's exceptional body of work blurs boundaries between art, design, and architecture just as deftly as it crisscrosses cultures. "

The Institute of Contemporary Art (ICA) presents Sheila Hicks: 50 Years, the first major retrospective to honor this extraordinary American artist. Sheila Hicks has built an international reputation with her two- and three-dimensional works in fiber. Her remarkably far-reaching artistic focus has encompassed painting, sculpture, photography, weaving, fabric design, writing, publishing, teaching and collaborations with architects. Her early work of the 1960s was at the forefront of experimentation in sculpture. By the 1980s it had taken hold. Since that time, her unique work has explored the dynamic interactions of color and the skills required to hone an aesthetic vision in multiple media.

Featuring more than 90 of her most important works, including a major installation of a work on loan from Target's headquarters in Minneapolis displayed in an entirely new iteration, this exhibition offers insight into Hicks's thinking, her processes, and her approach to materials, both fibers and found objects. The project reveals the continuities between the artist's small weavings, and free-standing wrapped sculptures, and a colossal 20-foot high work suspended from ceiling and cascading from wall.

Hicks's exceptional body of work blurs boundaries between art, design, and architecture just as deftly as it crisscrosses cultures.

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Y H B H S (card catalog) selection 3

Christopher Farr, Los Angeles
"quietly drawing our attention to what is always in front of us..."

“Grandfather’s Envelopes” by Fujii Sakuko

Christopher Farr writes, “I love this mans work as it the real "arte povera"... No artifice...just quietly drawing our attention to what is always in front of us but mostly ignored.. What makes this even more delightful is that book is an homage from a granddaughter to her grandfather.”

"Around the age of 80, Kouzaki--who was a master builder and carpenter--retired and started creating envelopes from discarded pieces of paper: he'd rescue paper, resize it, fold it, glue it--sometimes delicately peeling paper of many layers in order to get the thin layer that he desired.

This envelope making became Kouzaki's raison d'etre in his old age, and after his death in 1997 his granddaughter memorialized her grandfather's artworks in this slim volume of exceptional images..."

(via SRI threads bookstore.)

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Christopher Farr has been at the spearhead of contemporary rug design for over twenty years. Together with his business partner Matthew Bourne, they were the catalyst that revolutionised contemporary rug design.

Starting with a small shop in a leafy area of north London, a stone's throw from Primrose Hill, this one time painter, trained at the Slade School, wrought a vision that combined the art of the times with a different form. From cool minimalism to bold neo-expressionism influenced by the artists Ryman, Albers and Martin, his medium was no longer oil on canvas, but wool and dye, spun and woven by hand into objects that were more than mere floor coverings. They were themselves works of art.

(take a look at Christopher Farr's latest collection of Rugs, "Itten" inspired by
Johannes Itten, the Swiss art teacher/ painter....)

------------------------

Digs by Katie, Interiors
Katie Leede and Company, Fabrics

the perfect dinner table....

My head is spinning with Katie Leede's fabrics and interiors where she boldly combines Egyptian motifs, modern art, glass, wood, and a sense of history with ease.

Digs by Katie, Interiors
Katie Leede and Company, Fabrics

------------------------

I Am
No Longer
an Abstract Artist

Jo Baer, 1964

Are you in a constant fight with the canvas?
Yes, I am. I work very slowly trying to make all the elements talk to each other in a coherent way. It is a question of assembling. I’m putting them together into a new understanding.

Do you value non-artists’ opinions?
Sure, that’s who I’m working for. But I’m still an artists’ artist. My biggest fun club is other artists. I always had the feeling that what you see is an elite working very much in its prime. Artists’ work filters down to people who are interested in art, and then it filters further down to the people who are sort of interested in art. Then it goes out in the real world. It takes maybe 20 years or 50 years, but it eventually comes out and it works.

interview with
Jo Baer here.

1960's textiles
found here..
kimcherova.....

In 1983, you published an article in Art in America titled ''I Am No Longer an Abstract Artist’’. Why?
Jo Baer: The world changed big time from 1968 to 1972. Abstract art died of old age and I felt the need to reinvent my work. It became clear that everything that had gone on before suddenly fell out of date; it became somehow trivial and boring to keep doing it. I was in London when I wrote that article:

I had been working in a new way for eight or nine years by then, and I felt it was time to explain what and why I was doing it.

--------------------------

A
day
of
color.

Anne Truitt, 1964 Out
Nippon A - Marine Finish Acrylic
on Welded Slab Aluminum

Spent the afternoon being overwhelmed by color & beauty at Christopher Farr here in Los Angeles, on La Cienega Blvd. Ptolemy Mann, an artist based in London gave an inspired talk about her work, from weaving, installations, new fabrics and architectural commissions. I was particularly obsessed with this digitally printed fabric Christopher Farr is releasing. To say it is psychedelic and charged with energy is an understatement. To say it is refined and elegant, well, that's pretty much accurate!

I left thinking today about Anni Albers, Anne Truitt, Bauhaus textiles, The Light Movement of California, Donald Judd, and looking for colored buildings as I drove down Santa Monica Blvd toward Rachel Harrison's new show at Regen Projects. Melted statues with photographs!

Anni Albers..(1899-1994) s
screenprint, 1985

China, by Allegra Hicks
at Christopher Farr, Los Angeles

Christopher Farr has been at the spearhead of contemporary rug design for over twenty years. Together with his business partner Matthew Bourne, they were the catalyst that revolutionised contemporary rug design.

Starting with a small shop in a leafy area of north London, a stone's throw from Primrose Hill, this one time painter, trained at the Slade School, wrought a vision that combined the art of the times with a different form.

thank you christopher farr
and christina tullock....

Varvara Stepanova

A
day
of
color.

T o. M a k e. A. R o o m.

Ptolemy
Mann at
Christopher
Farr, L.A.

To Make a Room
with Ptolemy Mann

Handwoven, handspun Anatolian wool
& mohair flatweave rug

--------

I'm looking forward to seeing this new exhibition
at Christopher Farr of Ptolemy Mann's new work.
This will be an exhibition of new flatweaves, fabrics,
and woven textiles. See you Friday Christina...
(I've been meaning to get over to Christopher Farr
for sometime now, and excited to be there for
this lecture by the artist.)

--------------

Also hoping to have time for some other galleries:
Cannon Hudson at LaCienega Projects,
Tim Hawkinson at Blum and Poe,
Robert Heinecken and others at Cherry and Martin,
and Cris Brodahl at Marc Foxx,
Alice Neel at La Louver....

---------

Ptolemy Mann is a textile artist and architectural colour consultant.
Since 1997, after graduating Royal College of Art, Mann's hand dyed and woven textile art works have graced the walls of many corporate, public and domestic interiors internationally.

“As soon as I started weaving it was like magic…everything slotted into place. Weaving channeled all my interests, all my in uences. A recurring theme in my work for many years has been a fascination with the transition from one color to another; the movement and ‘traveling’ in between complementary opposites in particular” says Mann, a London based textile artist and designer who works as a color consultant specializing in architectural projects. Her collaboration with Christopher Farr brings her trademark color sense to the ancient tradition of hand weaving in Turkey for the first time.

Ptolemy Mann works in partnership with architects, art consultants and interior designers to produce hand dyed and Woven Textile Art pieces to commission for specific domestic, corporate and public spaces. Carefully stretched and three dimensional, these panels bring dynamic colour and geometric form to interior spaces.

Through collaborative development with architects Ptolemy Mann now offers an Architectural Colour Consultancy service advising on colour application within and without the built environment. She specializes in external façade colour schemes and explores the use of colour internally particularly in relation to way finding and psychological wellbeing within healthcare environments.

"To Make a Room" with Ptolemy Mann

Los Angeles
Christopher Farr USA inc
748 N. La Cienega Boulevard
Los Angeles CA 90069

----------------------

The best
way
out is
through.

" Chance of course plays its part,
dictating the way in which different dyes
will react and determining the extent of irregularity
in the the staining at the rings' edges."

The best way
out is through

1. michael phelan, the best way out is through (No. 18),
2006 Dye on linen.. here
2. michael dopp, kinkead contemporary, here..

"The considerable size of the works is rooted in the Abstract Expressionist heroism of Jackson Pollock, Barrnett Newman, and those that followed them, while their palette abandons the acidic psychedelia traditionally associated with tie-dye imagery in favour of the lyrical hues reminiscent of Colour Field artists such as Morrris Louis, Helen Frankenthaler and Kenneth Noland. Continuing the experiments begun by Turner, Kandsinsky and Albers, this latter group was interested in the atmospheric effects of colour, enveloping the viewer in an impersonal and unashamedly two-dimensional environment on a monumental scale.

The dominant motif in each of Phelan's works, a target, is similarly borrrowed from the Color Field lexicon, specifically the paintings made by Noland between 1958-62. They were not intended to be read as targets per se, unlike those that Jasper Johns was producing at around the same time. Rather, the target functioned as it had several decades earlier in the work of Robert Delaunay: as a purely formal device, devoid of narrative or overtly personal expression and well suited to the artist's investigations into abstraction."

----

Marius Engh

Time has turned into space,
and there will be no more
time till I get out of here.

Marius Engh

"The frst work of Marius Engh I ever saw had me pretty much seeing nothing. Entering the installation of his graduation exhibition almost ten years ago I was offered nothing more than a pitch dark space. Hesitantly inching my way forward, I realized soon after having turned several corners that the space also had turned into a labyrinth. I was confronted with a profound doubt regarding the point and purpose of the piece, but more importantly I was doubting my ability to return to the entrance. The solution was somewhere in between: I stood still and hoped for my eyes to adjust to the darkness.

Marius Engh’s works have since always required and rewarded in the same manners: wait and there is a chance you’ll be able to see."

"What Engh offers may, however, not so much be silence as a devaluation or re-evaluation of sign value. The four quilts here on display seem as much motivated by decorative as by communicative ambitions, leaving it unclear whether they are to be understood as mere ornaments or having any signifcance as signs. Hanging from the naked wooden structure, these four quilts resemble the fags of an optical telegraph where the bold patterns and rich array of colours would serve as syllables. However, the intense sensation of a language unfolding does not prevent the simultaneous sensation of meaning folding in. Recognizing being underprivileged yet again, I merely wait for the muteness to perforate."

-------

all text taken
from Press Releaase
from Standard Oslo
here..

----

join me
in promoting
this cause.

promote
equality and
respect for all!!

"We should look to each other with the respect we that we reserve for ourselves.
This works not in theory but in daily practice."

"This country is founded on the the principle that all are "created equal. Americans have fought to preserve this basic right since our nations inception. This does not apply to some of the people, some of the time, nor should it limit certain rights for certain people.

Ashley Thayer
quilts, go here for more info...

"log cabin"
Wild moss, coral, and stunning blue crystallize and gradate.

Let's change history.

Hundreds of artists
motivating public energy
toward true reform on a local,
state and national level.

Open to the public...... go here for more info!

March 3rd – March 7th, 2010
Wed & Thurs - 11:00 am - 6:00 pm
Friday - 11:00 am - 10:00 pm
Sat & Sun - 10:00 am – 6:00 pm

1341 Vine Street
(between Hollywood & Fountain)
Los Angeles, CA 90028-8141

-- -- -- -- manifest equality -- -- -- --

.

Artist Rugs.

wires
and
ladders
4
rugs
in
la.

Lisa Miller, Wire Rug
hand knotted wool & mohair rug

“The long irregular lines with the triangular terminals have
the feeling of Giacometti’s attenuated limbs."

Christopher Farr
748 N. La Cienega Blvd Los Angeles CA 90069
go here to see more of the collection.

Dots
By Andrée Putman
Handknotted, handspun Anatolian wool & mohair rug

Christopher Farr has been at the spearhead of contemporary rug design for over twenty years. Together with his business partner Matthew Bourne, they were the catalyst that revolutionised contemporary rug design.

Starting with a small shop in a leafy area of north London, a stone's throw from Primrose Hill, this one time painter, trained at the Slade School, wrought a vision that combined the art of the times with a different form.

From cool minimalism to bold neo-expressionism influenced by the artists Ryman, Albers and Martin, his medium was no longer oil on canvas, but wool and dye, spun and woven by hand into objects that were more than mere floor coverings. They were themselves works of art.

Ilse Crawford
Handknotted, handspun Anatolian wool & mohair rug

.

"you
can't
live
scared"

Josh Faught
While the Light Lasts

January 8 - February 14
Lisa Cooley Fine Art
go here for more.

weaving
as
metaphor.
sheila
hicks...

"If her plan didn’t work out, she noted, she could always unravel it, something she has done to her creations time and again."

-Sheila Hicks, taken from NY Times article here.

go to Sheila Hicks site here.

Sheila Hicks (b. 1934)

Indisputably the most internationally known living Nebraska artist and one of the world‘s most renowned fiber artists, Sheila Hicks was born in Hastings, Nebraska in 1934. From her early life in Nebraska, Hicks gives credit to her mother, great aunts, and grandmothers for influencing her art through various techniques of working with textiles and threads. Hicks studied painting under the tutorage of Josef Albers and pre-Columbian textiles with George Kubler at Yale University where she was inspired by the Bauhaus theory and received both B.F.A. and M.F.A. degrees in painting. She was also a recipient of a Fulbright Scholarship to Chile in 1957. Her work can be found in both public and private collections throughout the United States as well as abroad. Hicks divides her time between her Paris and New York City studios.

"“Sheila was part of the textile revolution of the 1960’s,” said Nina Stritzler-Levine, the center’s director of exhibitions and the show’s curator. “She, along with other fiber artists, is really responsible for taking textiles off the wall and giving them a sculptural dimension. I was very interested in the way in which the hand and craft informs the design process in her smaller works. I think they illuminate her desire for the superb skill she has as a weaver but also highlight this subversion in her technique.”

“The act of creating is much more exciting for me than leaving a monument to myself,” she said, explaining how she would deconstruct her fiber twists and spirals and ponytails and tapestries into piles of yarn. “It felt great. It meant that my imagination could run free.”

Sheila Hicks

new installation up in SD26 New York,
read review here with more photos..

more of sd26, ny......

Herbert Bayer, self portrait 1932

Herbert Bayer had a 60-year career that included abstract and surrealist painting, sculpture, environmental art, industrial design, architecture, graphic design, lithography, photography and tapestry. He also did murals including for the Bauhaus Building in Weimar, the Graduate Center at Harvard University and the Health Center in Aspen, Colorado. In 1968, he designed the articulated wall construction for the Olympics in Mexico City.

herbert bayer
jason tapestry 1961

"Bayer is exactly as old as the century. He was born in Austria in 1900 and became a student at the Bauhaus in Weimar when he was 21. His main interests were typography and advertising, but as there was then no workshop in these subjects at the Bauhaus, he studied mural painting under Kandinsky."