Wednesday, July 27, 2011

The Textile Museum Joins The George Washington University Increased Exhibition Space and Engagement with the GW Academic Community Ensure a Bright Future.



WASHINGTON—The Textile Museum and the George Washington University today announced an affiliation whereby The Textile Museum will move to the George Washington University’s Foggy Bottom Campus to become a cornerstone of a new museum scheduled to open in mid-2014.


Exhibitions and programs will be presented to the public in a custom-built, approximately 35,000 square foot museum building located at G and 21st Streets, bearing the names of both The Textile Museum and the George Washington University Museum. The new museum will include dedicated galleries for The Textile Museum, with increased exhibition space compared to its present facilities. Until the new museum opens, The Textile Museum will continue operating at its current location.


In addition to the new museum, the university today announced that it will construct a 20,000 square foot conservation and resource center on its Virginia Science and Technology Campus in Loudoun County, Va., for the study and care of The Textile Museum and the university's collections. This center will include storage facilities, a conservation laboratory, and facilities for access to the collection.


The affiliation with the university will allow The Textile Museum to expand its rich tradition of scholarship, education, and fostering cultural understanding as it broadly integrates its activities into the far-reaching GW academic community.


“The collaboration between the world-renowned Textile Museum and the George Washington University will create unparalleled opportunities for students, researchers and scholars as well as for the general public,” said GW President Steven Knapp.


The affiliation with GW comes at a time of stability and success at The Textile Museum. Recent achievements include the never-before-seen collection of Central Asian ikat textiles in the exhibition and publication: “Colors of the Oasis: Central Asian Ikats.” This exhibition will soon travel to the Seattle Art Museum and Museum of Fine Arts Houston. Other achievements include the engagement of a new, younger audience with the popular PM@ The TM after hours program and an increase in collaborations with the Washington-based diplomatic community to further cultural understanding through textile arts. The Textile Museum has accomplished these impressive initiatives while maintaining a balanced budget through a difficult economic period.


“Perhaps the single-most important development for the museum since it opened its doors in 1925, this relationship ensures The Textile Museum’s exciting future with increased access to its superb collection, enhanced scholarly activities, and continued focus on public programs, education and exhibitions,” said Bruce P. Baganz, president of the board of trustees of The Textile Museum. “This affiliation further enhances the museum’s role as the leader in the key challenge of cultivating successive generations of those who appreciate textiles as art. Moreover, collaboration with the GW community strengthens our physical presence, and in conjunction with GW resources, can lead to fulfillment of the aspiration to be a ‘global information switchboard,’ an endeavor that has applications far beyond the museum itself.”


On the crucial importance of continued financial support, Dr. Baganz said, “There are wideranging interest groups who are passionate about The Textile Museum. It is imperative that all continue to support the museum’s activities so that it can continue its distinguished tradition of art, scholarship, publications and educational programs. This ensures the ability to meet the worthy goal of providing every visitor with a unique, personally relevant and memorable experience.”


In this unprecedented arrangement between a university museum and an existing art museum, The Textile Museum will continue management of its internationally acclaimed collection of more than 18,000 objects, which will be on perpetual loan to the university. The agreement, pending final approval by both Boards of Trustees, also specifies that Textile Museum staff will continue to develop exhibitions and programs that align with the current mission, which will remain the same after moving to the new location.


“This is a truly unique collaboration,” said Ford W. Bell, President of the American Association of Museums. “By combining resources, these institutions increase their reach and impact while The Textile Museum maintains the reputation and identity it has established over the last eight decades. It is a tribute to the present vigor and future promise of The Textile Museum that two organizations of this international caliber were able to maximize their respective strengths.”


The new George Washington University Museum also will include the recently announced Albert H. Small Washingtoniana Collection and Center for National Capital Area Studies, additional galleries and space for academic and scholarly activity, public lectures and other forums, all of which will be integrated into a wide range of academic studies.


About the George Washington University
In the heart of the nation’s capital with additional programs in Virginia, the George Washington University was created by an act of Congress in 1821. Today, George Washington is the largest institution of higher education in the District of Columbia. The university offers comprehensive programs of undergraduate and graduate liberal arts study, as well as degree programs in medicine, public health, law, engineering, education, business and international affairs. Each year, it enrolls a diverse population of undergraduate, graduate and professional students from all 50 states, the District of Columbia and more than 130 countries.


The new George Washington University Museum will foster the study and appreciation of art, history and culture, both within the university and throughout the global community, through its affiliation with The Textile Museum and through its university collections, including the Albert H. Small Washingtoniana Collection.


About The Textile Museum
The Textile Museum expands public knowledge and appreciation – locally, nationally, and internationally – of the artistic merit and cultural importance of the world's textiles. Founded in 1925 by George Hewitt Myers, The Textile Museum is an international center for the exhibition, study, collection and preservation of the textile arts. The Textile Museum collection encompasses more than 18,000 objects that date from 3,000 BCE to the present, including some of the world’s finest examples of rugs and textiles from the Near East, Central Asia, East and Southeast Asia, Africa, and the indigenous cultures of the Americas. Included in the collection are extraordinary holdings of the Islamic world and pre-Columbian textiles. The museum’s 20,000 volume Arthur D. Jenkins Library of Textile Arts is among the world’s foremost resources for the study of textiles.


http://www.gwu.edu/explore/mediaroom/newsreleases/thetextilemuseumjoinsthegeorgewashingtonuniversity

Monday, July 25, 2011

Hussein Chalayan, récits de mode, 5 July–13 November 2011, Les Arts Décoratifs.


Collection Sakoku, printemps/été 2011© Christopher Moore



Collection Genometrics, automne/hiver 2005 © Christopher Moore




Collection Readings, printemps/été 2008 © Christopher Moore
Collection Before Minus Now, printemps/été 2000 © Christopher Moore



Collection Before Minus now, printemps/été 2000 © Christopher Moore
Collection Airborne, automne/hiver 2007 © Christopher Moore
Collection Between, printemps/été 1998 © Christopher Moore
Hussein Chalayan, récits de mode 
5 July–13 November 2011


The Arts Décoratifs has given ‘carte blanche’ to one of the most innovative and creative fashion designers of our time: Hussein Chalayan. 
Born in Nicosia in 1970, he moved to London as a child traveling back and forth between Cyprus and England until he went to university. He earned his degree from Central Saint Martins College in 1993. 
Following his own unique approach to design for seventeen years, he stands on the frontier of fashion, architecture and design. His work is characterized by an intellectual rigor and a quest for technical perfection that often defies fashion stereotypes. Chalayan stood out from the start of his career through his highly inventive exploration of various mediums, including sculpture, furniture, video and special effects, which he uses in his fashion shows, drawing inspiration directly from the political, social and economic realities of his era. 
The exhibition showcases this rich, complex world, in which clothing, installations, fashion shows, projections and research are shown by side to illustrate Chalayan’s distinctive process.
Les Arts Décoratifs 
107, rue de Rivoli 
75001 Paris 
France
Phone: +33 (0)1 44 55 57 50

Thursday, July 21, 2011

Eva Hesse Studiowork, The Institute of Contemporary Art/Boston, July 20-October 10, 2011.







"My interest is in finding my own way."

—Eva Hesse, 1970

 
American artist Eva Hesse (1936–1970) played a central role in the transformation of sculpture that took place in the 1960s. In addition to her
large-scale sculptures, over the course of her all-too-brief career, she produced a group of experimental works that are now recognized for their significance. Neither simply preparatory nor necessarily finished, these works—termed “studioworks” by art historian and exhibition curator Briony Fer—can be seen as capturing moments of experimentation, where Hesse is trying out ideas and techniques and discovering new possibilities. These fascinating sculptures dramatize and draw attention to the open-ended nature of Hesse’s oeuvre as a whole.
A close look at two of the works from the exhibition provides insight into how this rarely seen group of sculptures brings to light the inner workings of the artist’s process. Hesse is known for her experiments with a remarkable range of unusual materials. In Studiowork, 1968 (see second image in slideshow at left), a cluster of slender plastic tubes seem to sprout from a fiberglass base. Use of new, synthetic materials such as fiberglass, which changes color over time, allowed her to explore the temporal dimension of art, and to create work that interacts with light in a variety of ways. In this work, the lasting and the ephemeral coexist, as do the industrial and the organic, the solid and the hollow, and the transparent and the opaque. Hesse’s No title, 1996 (see third image in slideshow at left) is attached to the wall like a painting or drawing, but has palpable sculptural attributes, including a surface texture rough with marks, revealing the process of its own making, along with suggestive, pendulous shapes. The play of gravity, the sly tension between the taut and the curled “lines” created by the rope or the string—as well as between the two quirky, dangling objects—brings the sensual language of the body into the realm of minimal sculpture.

Eva Hesse StudioworkCurated by Briony Fer and Barry Rosen
Organized by The Fruitmarket Gallery, Edinburgh, in collaboration with Camden Arts Center, London; Fundació Antoni Tàpies, Barcelona; Art Gallery of Ontario, Toronto; and University of California, Berkeley, Art Museum and Pacific Film Archive.




Support for the Boston presentation provided by Lois R. Kunian, Gibson SOTHEBY'S International Realty.
Media sponsor is

Thursday, July 14, 2011

Brian Jungen: Crafting Everyday Objects Into Art.
















Artist Brian Jungen says that one of the best ways to get people to look at artwork is to create it out of materials that they recognize. Visitors to Jungen's exhibit at the National Museum of the American Indian in Washington, D.C., will recognize plenty of the materials that compose Jungen's work — everything from basketball sneakers to plastic chairs to baseball gloves.

Jungen's exhibit is the first solo show of a living Native American artist at the Museum of the American Indian. He says that much of his work is a response to the hostility and stereotypes that he faced as a person of First Nations ancestry.

"My investigations into my own cultural background happened when I was a late teenager," Jungen explains to NPR's Guy Raz. "I started to do a lot of drawings that were taking advantage of stereotypes that exist of Indian folks."

In what he calls a "reverse ethnographic study," Jungen conducted informal surveys on the street — asking people to sketch their ideas about native art and culture. He then "exploited" these ideas by turning them into satirical drawings and wall paintings — "a way of kind of reclaiming the term 'Indian,' " he says.

Much of Jungen's work is created out of sports paraphernalia — a suit of armor made of catcher mitts, a skull crafted from baseball skins, blankets woven from jerseys, and totem poles of stacked golf bags. It's a deliberate choice, Jungen says, to make art from materials belonging to an industry that has claimed names such as The Chiefs, Indians, Redskins and Braves.

"I felt that if these professional sports teams felt that they had every right to use this terminology, then I had every right to exploit their materials for my artwork," Jungen says.

Jungen also draws inspiration from the ritual aspect of American sports.

"Professional sports play a role in society that serves like a ritual and ceremony," he says. "Having experienced that within my own family — the dancing and drumming that I participate in — I know how important that is. So I wanted to use that — use things that people would recognize in their everyday world."


http://www.npr.org/templates/story/story.php?storyId=113840238

Friday, July 8, 2011

Paris Haute Couture: Christian Dior autumn/winter 2011.






Paris Haute Couture: Christian Dior autumn/winter 2011. The fashion house presents its first Couture runway show in 15 years without John Galliano at the helm.

Thursday, July 7, 2011

Tuesday, July 5, 2011

Paris Haute Couture: autumn/winter 2011.




Paris Haute Couture: Maison Martin Margiela Artisanal autumn/winter 2011.





Paris Haute Couture: Armani Prive autumn/winter 2011.








Iris Van Herpen Haute Couture autumn/winter 2011.


See more: http://fashion.telegraph.co.uk/