Philadelphia First Friday

One of my "new year's" resolutions (in this new life in a new city) has been seeing more art. Somehow despite my best efforts, I only inconsistently made it out to New York galleries during all the time that I lived there. But now that I've moved both getting out more and galleries to the top of my to-do list, we're getting somewhere. I've resolved to try to make it to most First Fridays in Philadelphia. For October's, I went first to Old City and wandered around and then went to 319 N. 11th Street which holds a number of galleries (including Vox Populi and Grizzly Grizzly) and studios. My favorite piece of the night was Katie Murken's Continua on the second floor. Seeing it first online did not do it justice. The tall dyed columns were beautiful in the details, and her specific color choices were better appreciated in person, as I suppose is to be expected. They were interesting on their own, but I absolutely loved the next room, filled with embossed and printed diagrams showing which hues were chosen for each dye lot and the ratios of each color based on the rolling of a die. I love seeing process and decision-making in the work itself, and I think she did a particularly good job of it- deliberate decisions shown subtly with consideration for process' place in the work. It completely made my night.

Soft Heathered Blanket

After weaving a pair of double weave blankets a year ago for two weddings, I received a request for one more in custom colors. The customer wanted a mix of blues, purples and one green to be muted by greys, creating a soft heathered look. The warp is 100% mercerized cotton and the weft is charcoal cotton/wool fleece. The blanket measures 48 x 72". I loved the finished look to the cloth- muted, but still colorful (grey is one of my favorite colors!) I sent it off a few weeks ago, just as the seasons have turned. Although I am still having trouble with my sticking shaft, this blanket went much more smoothly than the first two, and I am thinking of making myself a blanket in 100% wool- perhaps in orange and cream. We'll see!

Nick Cave's Soundsuits

(at Mary Boone)

Nick Cave, the sculptor and Alvin-Ailey trained dancer, is one of my favorite artists. I first saw his work in Pittsburgh in 2006 at the Mattress Factory. The space was low-lit and full of artifacts relating to masculinity and the history of slavery. It was very quiet and thoughtful, but articulate and insistent. This piece immediately placed him among my favorites, as I kept returning to this room and later, kept thinking about the feeling in the space. Later, I discovered the Soundsuits and I must admit, these I was slower to appreciate. I saw them at Jack Shainman Gallery in Chelsea in 2009, and loved the way they took up space and the use of materials in a fiber tradition, but had trouble imagining the pieces in motion. This fall, he had a two-part show at Jack Shainman (Ever After) and Mary Boone Gallery (For Now). There were four rooms of Soundsuits and one of video, which I now believe should always accompany his work.  Seeing the pieces in motion, over time with repetition and rhythm, brought it all together for me.

(at Jack Shainman)

I took photos of both exhibitions, but as my camera is broken, only used an ipod, which is really a shame as I wanted to capture the detail better. Each button was sewn on in such a purposeful manner that even the underside of the cloth (here fulled wool) is beautiful. The button pieces at Jack Shainman used mostly a poly-looking jacquard as basecloth. 

(at Jack Shainman)

I loved the draping on these pieces, as well as the white and yellow shift below.

(at Jack Shainman)

At Mary Boone, all the pieces were on a raised oval pedestal, showing an entire selection of Soundsuits. I love the found object ones and the sequin appliques, but am partial to the stick/basket/drapey fur. I really think you should check out one of his videos on Mary Boone's site.

(and the feet!)