fiberart – Painting After Art is Dead

Sayan Chanda

#sayanchanda

Meg Lipke

Lawre Stone shouts out Meg’s newest noting they make enormity relatable.

This blog also represents a change for me. I posted about Meg once already in 2019 noting at the time the work was “one of the most interesting takes on the question of what is painting I’ve seen recently”- this is her IG post to which I linked. Prior to, well, today, I’ve typically avoided writing about an artist more than once, as a big part of this practice for me has been discovering new work or researching the canon. And, I have realized that keeping this catalog fresh is a legitimate way to pay respect to creatives that are working to stay relevant, so this will probably not be the last time I revisit a painter or other creative.

#meglipke

Olga de Amaral

Rosa Boshier Gonzàlez reviews Olga de Amaral at Institute of Contemporary Art, Miami for Burnaway, pointing at how she “contrasts geometric form with the meandering patterns of natural materials like cotton and horsehair.”

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#olgadeamaral

Cynthia Ona Innis

shows with Walter Maciel Gallery, and recently received a Pollock-Krasner Foundation grant.

#cynthiaonainnis

Anne von Freyburg

like Jean Alexander is a Hopper Prize finalist. Her practice serves as a reclamation of the value of textiles and embroidery in fine art.

#annevonfreyburg

Jean Alexander Frater

Like Yeonji, Jean Alexander is a Hopper Prize finalist. She explores the interplay between bodies and landscapes, where limits of containment are stretched and painting extends into sculpture.

#jeanalexanderfrater

Jacqueline Qiu

Artsy says Jacqueline is one of 8 rising Asian-American women artists to watch.

#jacquelineqiu

Giulia Cretulescu

gets some love from Art in America. Crețulescu recently completed a PhD program in graphic arts in Bucharest. Her training is evident in the armor-like outlines she stitches as if in bas relief. She started sewing after growing frustrated with graphic design work that, done on a computer, “goes so fast.” Working with her hands, she found “a place to breathe.” Then, doubling down on resisting efficiency, she decided against making anything functional at all.

#giuliacretulescu

Debbie Secan

is one of the artists in Found and Formed at Pullen Arts Center (along with Andrea and yours truly).

#debbiesecan

Victoria van der Laan

practice is influenced by traditional quilt-making techniques she learned from her Grandmothers. They are concerned about the climate crisis and the harmful role the textile industry plays in it, so they use only secondhand, repurposed, or vintage textiles in their work.

#victoriavanderlaan

Anna Buckner

is in Look to The West along with Margo and others.

#annabuckner

Kwesi O. Kwarteng

Plato is elated to announce the solo exhibition of Kwesi O. Kwarteng, Friendly Paths. Kwesi’s textile paintings evoke historical and contemporary precedents: traditional weaving practices of Ghana, the artistry of African American quilts.

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#kwesikwarteng

Josefina Conchae

is interested in the connection between process and material, and the way this relates to image and form in space. Using elements of nature – skin, hair, plants and animals- is the initial inspiration in her work.

#josefinaconchae

Jen P. Harris

is a multidisciplinary artist working with painting, drawing, textiles, and multiples. Her practice has been shaped by the basic notion that art-making is a conduit for reinvention.

#jenharris

Sarah Rosalena

Elizabeth Buhe at Brooklyn Rail has words about Sara’s Star Rose, Rose Star at Sargent’s Daughters, and notes the works in Star Rose, Rose Star at combine emerging and Indigenous technologies, including dying, weaving, beading, and basketry, some of which Sarah Rosalena learned from her Wixárika relatives.
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#sarahrosalena