Jodi Stevens, Artist

http://jodistevensart.com/work/#/undergrowth/

Contemporary fiber art is a vast field populated with artists pushing boundaries beyond what is expected using materials sculpturally and conceptually. Artists working in the field today owe a major debt to those who shifted textile arts to a seriously considered fine art form starting in the 1970s, dubbed the American craft movement. Pioneers such as Sheila Hicks, Eva Hesse, Robert Morris, Miriam Schapiro, Faith Ringgold, and Claire Zeisler exploded long-held notions and elevated works made with these materials through sculptural experimentation. This lecture will discuss artists who build on this legacy through their practice as sculptors, employing these materials weighted with radical history. source: https://www.textileswest.org/event-3033780

http://jodistevensart.com/work/#/brevity2/

http://jodistevensart.com/work/#/resting-place/

Chris Engman, Artist

Chris Engman

Carmen Argote, Artist

In-Line (magnet drawing)

2011

About the Piece

This work composed of chicken wire hexagons and copper mesh is held together by hundreds of small magnets. Each magnet holds a component to the canvas surface. This works looks at systems of organization such as strands and lines to create an image created by lining up these small hexagonal mechanically woven wires. With these works, I explore the idea of where a drawing can happen. I envision the space between the magnet and the chicken-wire piece to be the place where the drawing happens.

I envision these as freestanding, allowing the viewer to walk around the work and see the magnetic elements inherent in the work.

Material: chicken wire, magnets, canvas

Dimensions: 6' x 7' x 2"

Above image: A series of sculptures inspired by a simple laundry folding tool, co-opted as a sculptural form. These sculptures are reminiscent of both architectural structure and the physical movement which translates loose fabric into folded structure. They embody the ritual of folding, a process of layering over onto itself, so that one part covers another. The folded structures, like the installation, are of a human scale, yet transform into architectural models through repetition and play.

Material: Paper mache, paint, cardboard, tape, muslin

Dimensions: Variable

Artist Statement

As a multidisciplinary artist working in installation, I explore notions of home and place, interacting with architecture to reflect on personal histories and my own immigrant experience. I work with places and materials that surround me, utilizing local resources as points to expand from. My practice uses the act of inhabiting as a starting point, allowing the work to take form as I respond to a space, materials and ideas developing from my own experiences and relationships to a site.

I work from an intimate and personal place, using shared experiences to connect the spaces that house us to notions of home and self. Often working with family, I explore our common immigrant experience as a layered, multigenerational, transnational experience that is echoed though shared memories, traumas, and aspirations, extending outward from the intimate space of home.

Architecture for me exists apart from the physical structure, in familial myth, in class structures, in shapes, and as an imprint acting upon the body. My interest in the shape of spaces and in the layout as a visual language for expression developed in childhood from looking at my father’s architectural drawings of houses he wanted to build.

carmenargote.com

Kara Walker, Artist

Gone: An Historical Romance of Civil War as it Occurred Between
the Dusky Thighs of a Young Negress and Her Heart

Kara Walker was born in 1969 in Stockton, California, and grew up in Atlanta, Georgia. She received a BFA in painting and printmaking from the Atlanta College of Art in 1991 and an MFA in painting and printmaking from the Rhode Island School of Design in 1994. Beginning with Gone: An Historical Romance of Civil War as it Occurred Between the Dusky Thighs of a Young Negress and Her Heart (1994), she became known for her panoramic friezes of cut-paper silhouettes, usually black figures against a white wall, which address the history of American slavery and racism through violent and unsettling imagery. Gone includes a tree bough that suggests a typical novelistic setting for a lovers’ meeting, yet all manner of surreal activity takes place: the woman of a white couple that is about to kiss has four legs; the man seems to touch the bottom of a nearby black boy with his sword; this boy is holding a swan that has emerged from a black woman, who floats on the water (a set of metaphors for miscegenation). 

Above text from Guggenheim.org

Watch on YouTube. Kara Walker talks about her work. 

Link here.

More work by Kara Walker below.

Cornelia Parker, Artist

Cold Dark Matter: An Exploded View, 1991

An ordinary garden shed, blown to smithereens by the army and then suspended in mid-air.

Tim Sandy, Artist

Source link here.

Wolfgang Laib, Artist

Pollen From Hazelnut

Ann Hamilton, Artist

Myein

The United States Pavilion
48th Venice Biennale 1999
Venice, Italy
June 13, 1999-November 7, 1999

The word myein is an ancient Greek verb meaning "to close the eyes or mouth." Linked to the initiation rites enacted in medieval cults, the closing of the eyes or mouth refers to the secret status surrounding their rites. Across time, myein has come to stand for that thing which has not been, or cannot be, explained.

Hamilton's interest in the temple form as an idealized image projected onto civic space led her to engage the neo- classical building of the United States pavilion as both subject and object of the project. It was a meditation on aspects of American social history that, like weather, are present and pervasive in effect but which remain invisible or unspoken. Her self-given task was to make a place in which this absence could be palpably felt and to create a space simultaneously empty and full.

Text and images from annhamilton.com.  Link here to see and read more. 

Yayoi Kusama, Artist

Obliteration Room, Drawing on objects, installation

Introduction to Artist

Drawing on Objects, Video

Fireflies, mirrors, reflection, light, shadow, installation

ACCESS - An Interactive Art Installation by Marie Sester

The End of the Line: Attitudes in Drawing, Fruit Market Gallery

On Line, Drawing Through The Twentieth Century

Performance 13: On Line/Anne Teresa De Keersmaeker

Performance 12: On Line/Marie Cool and Fabio Balducci

Performance 11: On Line/Trisha Brown Dance Company

Monika Grzymala, Unttitled (Skeleton of a drawing)

Ranjani Shettar, Just A Bit More

Behind the Scenes: On Line: Zilvinas Kempinas

"Drawing conventionally has been associated with pen, pencil, and paper, but artists have drawn lines on walls, earth, ceramics, fabric, film, and computer screens, with tools ranging from sticks to scrapers to pixels. Looking beyond institutional definitions of the medium, On Line (on view from November 21, 2010 to February 7, 2011) argues for an expanded history of drawing that moves off the page into space and time. Comprising the work of more than one hundred artists, the exhibition charts the radical transformation of the medium between 1910 and 2010, as artists broke down drawing to its core elements, making line the subject of intense exploration: as the path of a moving point or a human body in motion (the dancer tracing dynamic lines across the stage, the wandering artist tracing lines across the land), as an element in a network, and as a boundary—political, cultural, or social.

On Line is organized chronologically in three sections: Surface Tension, featuring the artistic drive to construct and represent movement through line within the flat picture plane; Line Extension, composed of works in which lines extend beyond flatness into real space—that is, into social space; and Confluence, presenting works in which line and background are fused, giving greater significance to the space between lines. In following the development of the meaning of line over the last one hundred years, the exhibition traces it in movement, across disciplines, and as it has been drawn out and rewoven in time and space—inevitably reflecting the interconnection and interdependency that are increasingly both shaping and emerging from a globalized society. Line, like thought, once understood as linear and progressive, has evolved into a kind of network: fluid, simultaneous, indefinite, and open." - source is MOMA.  Link here for more images and video.  

Sally Booth, Artist

"Booth works on semi-transparent materials, which she says reflects her own sight: “Because I’m visually impaired I see things a bit soft and out of focus. I use a lot of line drawing and simple shapes because I don’t see the detail. I found this method echoed my vision in some way. “For me it’s like that all the time but it’s quite beautiful. On the one hand it makes things more difficult but at the same time there’s a softness to it.”

Image and text source Visit London.  Link here. 

Image source Museums Sand Heritage.  Link here.

Allerton Towers, 3 layered tansparent drawings made on location,
pen on acetate on hanging rail, 127 cm x 91 com approx.
Image source link here. 

Jo Stannard, Artist

Tape

Sand, limestone, soda ash

Sand, limestone, soda ash

Paper pulp, monofilament, table

Source link here. 

Vida Simon, Artist

"The Montreal-based artist creates gentle, introspective drawing installation/performances where we witness her artistic process live and in progress. She literally embodies her own art, working with practices of drawing, writing, object making, movement, and sound. " - source is ART 21.  Link here for more.

Josh Gurrie, Artist

Link here to see more on artist's website.

Anamorphic Typography

"I just did a little test with something called ‘anamorphic typography’. Essentially, it is an illusion where the type looks just right when viewed from the exact right spot, but it looks stretched and warped when viewed from elsewhere in the room. We might be doing something similar in a HOLLY HUNT showrooms later this year, so I did this in a room above my parents’ garage to make sure I could pull it off when the time comes. For what it is worth, I certainly didn’t invent this sort of thing, and I’d like to give lots of credit to this project by Joseph Egan and Hunter Thompson for tipping me off to the idea, as well as the artist Felice Varini, who is doing this sort of thing on a much larger and much more impressive scale." -source is Thomas Quinn.  Link here.

Kevin Iris, Artist

Wire and shadow.  

Whitfield Lovell, Artist

Whitfield Lovell. American, born 1959.Temptation,  2000. Charcoal on wood, found objects (chair, frames, metal implement). 101 x 69 3/4 x 36 inches. Purchased with the Hillyer-Mather-Tryon Fund. 

Whitfield Lovell is known for his sculptural tableaux of meticulously-drawn portraits of anonymous African-Americans from the Civil War to the Civil Rights Movement. 

Source is Smith College Museum of Art.  Link here.

Caroline Mak, Artist

Source link here.