Tag: nontraditionalmaterials

Emam Gbewonyo

is a British-Ghanaian artist and curator living in London, and is the founder of the Black British Female Artist (BBFA) Collective – a platform that supports Black women artists. Gbewonyo studied BA European Textile Design at Bradford School of Art and Design and began her career as a knitwear designer in New York. Following six years in the industry, redundancy prompted her return to the UK and subsequent career change. Her art practice investigates identity, womanhood in particular, whilst advocating the healing benefits of craft.

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Joyce Kozloff

who is best known as one of the founders of the Pattern and Decoration movement is the subject of a recent Hyperallergic podcast which focuses on many of the feminist threads in her work, no pun intended. Her work has taken several turns across her career including beginning as a full on abstractionist (like almost all artists of her generation who went to Art school). Given the importance of patterns on the arc of abstraction across the last quarter of the last century she belongs on this blog.

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Maren Hassinger

Maren Hassinger (born Maren Louise Jenkins in 1947) is an African-American artist and educator whose career spans four decades. Hassinger uses sculpture, film, dance, performance art, and public art to explore the relationship between the natural world and industrial materials.

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Yvette Drury Dubinsky

like Chie gets a nod from Two Coats for constructDEconstruct at AIR in their newest NY gallery guide. Born of the interplay between solitary workings in her studio, the push-pull of her personal life, and the ongoing turmoil of the outside world, Dubinsky’s new work combines maps and silhouetted figures with abstract shapes created by flattened boxes using painting, printmaking, alternative photography, and sculpture on paper and metal.

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Elsa Hoffman

Below is “Ocean Panel (12/7/23-8/17/24 Marshallberg, NC)” in a really terrible photo which I took at Queen Street Magic Boat (where it was part of Death Planted a Garden). It is part of an ongoing project where Elsa bolts sheets of new steel onto a seawall at the North Carolina coast. The panels are submerged then revealed by tidal waters; the water, salt and air transforms the industrial surface; the metal becomes a clock, a landscape and map or graph of time passing in all its beauty and inevitable decay. According to their statement for the show catalog l, Elsa sees their role in this project as a curator or choreographer; setting a stage and parameters to capture the visual translation of a period of time; this project is a practice in embracing precious moments and also ritualistically letting them go.

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