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<\/a><\/p>\nThis beautifully produced book, with more than 570 color illustrations, comprises the first major survey of traditional indigenous textiles across the entire continent of Africa. Important influences on handmade textile production are discussed, but of greater interest for subscribers to my blog would be descriptions of the many technique and materials\u2014especially dyes\u2014used to achieve intense hues and inspirational patterns. Subtitled Color and Creativity Across a Continent<\/em>, this 2009 publication celebrates the diverse creative talents of numerous makers. The author, John Gillow, is a noted British collector and dealer in textiles worldwide.<\/h3>\n<\/h3>\n
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<\/a>Pauline Burbidge, Honesty Skyline (detail of top section), 2015. Photo by Phil Dickson.<\/p><\/div>\n
Quiltscapes <\/em>and Quiltlines <\/em>by Pauline Burbidge<\/h3>\nTen large-scale quilts and one framed piece by British artist Pauline Burbidge fill a gallery at the International Quilt Study Center and Museum (Lincoln, Nebraska), with cyanotype\u2014my favorite process\u2014producing much of the imagery. Also on view are several sketchbooks and drawings, plus her dyeing, printing, stitching, and quilting sample collections. She creates rich depictions of nature through her mastery of large-scale textiles. Burbidge\u2019s pieces express both distant horizons and intimate details of nature that inspire a sense of spirituality and connection: \u201c(My) work is made by the fusing together of textiles and the natural world and the combining of elements so that you can hardly see the difference \u2026 the landscape is in the room with you.\u201d Quiltscapes <\/em>features Burbidge\u2019s explorations of water and grasses, layered in horizontal bands with row after row of hand-stitched lines. Open until March 25.<\/h3>\n<\/h3>\n
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<\/a>Sylvia Einstein, Le Monde, 2011, 42 x 39 in.<\/p><\/div>\n
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The Quilted Canvas<\/em> at New England Quilt Museum<\/h3>\nThis exhibition is the first in an exciting series of installations showcasing the work of New England quilt artists over several decades. The Quilted Canvas<\/em> is a unique insight into the relationships of a critique group. Judy Becker, Nancy Crasco, Sandy Donabed, Sylvia Einstein, and Carol Anne Grotrian have been meeting monthly for thirty years to support and sustain each other as artists. Nancy Crasco explains, \u201cthe focus of our gatherings is always about the work: assisting with aesthetic and construction concerns, sharing opportunities to exhibit, discussing current trends in fiber, and providing the impetus to continue creating.\u201d
\nThe show opens on January 11 and closes April 29, with a reception and gallery talk with the artists on January 28 at 11:00 (Lowell, Massachusetts).<\/h3>\n <\/p>\n
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<\/a>Jean Paul Gaultier, Wedding Ensemble, 2008-09.<\/p><\/div>\n
<\/h3>\n<\/h3>\nMasterworks: Unpacking Fashion<\/em> at The Met<\/h3>\nThe Metropolitan Museum of Art\u2019s Costume Institute’s current exhibition features significant acquisitions of the past ten years, exploring how the department has honed its collecting strategy to amass masterworks of aesthetic and technical quality, including iconic works by designers who have changed fashion history and advanced fashion as an art form. During the seven decades since The Costume Institute became part of The Met in 1946, that collecting strategy has shifted from creating a collection of Western high fashion that is encyclopedic in breadth to one focused on acquiring masterworks. Unpacking Fashion<\/em>, in the Anna Wintour Costume Center, highlights approximately sixty of these masterworks from the early 18th century to the present. Even if fashion is not your thing, you will be intrigued by the ingenuity of some of these creations. This New York exhibition closes on February 5.<\/h3>\n
<\/a>Pauline Burbidge, Honesty Skyline (detail of top section), 2015. Photo by Phil Dickson.<\/p><\/div>\n
Quiltscapes <\/em>and Quiltlines <\/em>by Pauline Burbidge<\/h3>\nTen large-scale quilts and one framed piece by British artist Pauline Burbidge fill a gallery at the International Quilt Study Center and Museum (Lincoln, Nebraska), with cyanotype\u2014my favorite process\u2014producing much of the imagery. Also on view are several sketchbooks and drawings, plus her dyeing, printing, stitching, and quilting sample collections. She creates rich depictions of nature through her mastery of large-scale textiles. Burbidge\u2019s pieces express both distant horizons and intimate details of nature that inspire a sense of spirituality and connection: \u201c(My) work is made by the fusing together of textiles and the natural world and the combining of elements so that you can hardly see the difference \u2026 the landscape is in the room with you.\u201d Quiltscapes <\/em>features Burbidge\u2019s explorations of water and grasses, layered in horizontal bands with row after row of hand-stitched lines. Open until March 25.<\/h3>\n<\/h3>\n
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<\/a>Sylvia Einstein, Le Monde, 2011, 42 x 39 in.<\/p><\/div>\n
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The Quilted Canvas<\/em> at New England Quilt Museum<\/h3>\nThis exhibition is the first in an exciting series of installations showcasing the work of New England quilt artists over several decades. The Quilted Canvas<\/em> is a unique insight into the relationships of a critique group. Judy Becker, Nancy Crasco, Sandy Donabed, Sylvia Einstein, and Carol Anne Grotrian have been meeting monthly for thirty years to support and sustain each other as artists. Nancy Crasco explains, \u201cthe focus of our gatherings is always about the work: assisting with aesthetic and construction concerns, sharing opportunities to exhibit, discussing current trends in fiber, and providing the impetus to continue creating.\u201d
\nThe show opens on January 11 and closes April 29, with a reception and gallery talk with the artists on January 28 at 11:00 (Lowell, Massachusetts).<\/h3>\n <\/p>\n
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<\/a>Jean Paul Gaultier, Wedding Ensemble, 2008-09.<\/p><\/div>\n
<\/h3>\n<\/h3>\nMasterworks: Unpacking Fashion<\/em> at The Met<\/h3>\nThe Metropolitan Museum of Art\u2019s Costume Institute’s current exhibition features significant acquisitions of the past ten years, exploring how the department has honed its collecting strategy to amass masterworks of aesthetic and technical quality, including iconic works by designers who have changed fashion history and advanced fashion as an art form. During the seven decades since The Costume Institute became part of The Met in 1946, that collecting strategy has shifted from creating a collection of Western high fashion that is encyclopedic in breadth to one focused on acquiring masterworks. Unpacking Fashion<\/em>, in the Anna Wintour Costume Center, highlights approximately sixty of these masterworks from the early 18th century to the present. Even if fashion is not your thing, you will be intrigued by the ingenuity of some of these creations. This New York exhibition closes on February 5.<\/h3>\n
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<\/a>Sylvia Einstein, Le Monde, 2011, 42 x 39 in.<\/p><\/div>\n
<\/p>\n
The Quilted Canvas<\/em> at New England Quilt Museum<\/h3>\nThis exhibition is the first in an exciting series of installations showcasing the work of New England quilt artists over several decades. The Quilted Canvas<\/em> is a unique insight into the relationships of a critique group. Judy Becker, Nancy Crasco, Sandy Donabed, Sylvia Einstein, and Carol Anne Grotrian have been meeting monthly for thirty years to support and sustain each other as artists. Nancy Crasco explains, \u201cthe focus of our gatherings is always about the work: assisting with aesthetic and construction concerns, sharing opportunities to exhibit, discussing current trends in fiber, and providing the impetus to continue creating.\u201d
\nThe show opens on January 11 and closes April 29, with a reception and gallery talk with the artists on January 28 at 11:00 (Lowell, Massachusetts).<\/h3>\n <\/p>\n
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<\/a>Jean Paul Gaultier, Wedding Ensemble, 2008-09.<\/p><\/div>\n
<\/h3>\n<\/h3>\nMasterworks: Unpacking Fashion<\/em> at The Met<\/h3>\nThe Metropolitan Museum of Art\u2019s Costume Institute’s current exhibition features significant acquisitions of the past ten years, exploring how the department has honed its collecting strategy to amass masterworks of aesthetic and technical quality, including iconic works by designers who have changed fashion history and advanced fashion as an art form. During the seven decades since The Costume Institute became part of The Met in 1946, that collecting strategy has shifted from creating a collection of Western high fashion that is encyclopedic in breadth to one focused on acquiring masterworks. Unpacking Fashion<\/em>, in the Anna Wintour Costume Center, highlights approximately sixty of these masterworks from the early 18th century to the present. Even if fashion is not your thing, you will be intrigued by the ingenuity of some of these creations. This New York exhibition closes on February 5.<\/h3>\n
\nThe show opens on January 11 and closes April 29, with a reception and gallery talk with the artists on January 28 at 11:00 (Lowell, Massachusetts).<\/h3>\n
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<\/a>Jean Paul Gaultier, Wedding Ensemble, 2008-09.<\/p><\/div>\n