Fair Enough: High Fiber, Part 2

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