#kay sekimachi

[earthpiecevii]

Kay Sekimachi, White Hanging Sculpture, 1968, Nylon monofilament

#art #artist #modern art #modern artist #fibre arts #fibre art #american art #Japanese art #weaving #weaver #sculpture #kay sekimachi #woman artist

[whitehotel]

Kay Sekimachi, Nagare VII (1970)

#art #fiber #woven #kay sekimachi

[abstracteddistractions]

Kay Sekimachi, Ogawa II, 1969,

Nylon monofilament, glass beads, clear plastic tubes. 

Forrest L. Merrill Collection / © Kay Sekimachi

#art #sculpture #forms #abstract art #abstraction #abstract #kay sekimachi #ogawa #1969 #nylon #glass #plastic #forrest L. merrill

[mmagpye]

Kay Sekimachi, “Study for Crossed-Warp Effect,” 1980s. Linen, dye; four-layer continuous-weft weave and crossed warp on an eight-harness loom, dimensions variable.

[fashionbooksmilano]

Woven Histories

Textiles and Modern Abstraction

Production by Brad Ireland and Christina Wiginton, Editing by Magda Nakassis,

National Gallery of Art, Washington copublished by The University of Chicago Press, 2023, 284 pages, ISBN 978-0-226-82729-2

euro 65,00

email if you want to buy [email protected]

Exhibition dates : Los Angeles County Museum Art 2023, Washington Nat.Gall.Art 2024, Ottawa Nat.Gall.Canada 2024,New York MoMA 2025

Richly illustrated volume exploring the inseparable histories of modernist abstraction and twentieth-century textiles.   Published on the occasion of an exhibition curated by Lynne Cooke, Woven Histories offers a fresh and authoritative look at textiles—particularly weaving—as a major force in the evolution of abstraction. This richly illustrated volume features more than fifty creators whose work crosses divisions and hierarchies formerly segregating the fine arts from the applied arts and handicrafts.   Woven Histories begins in the early twentieth century, rooting the abstract art of Sophie Taeuber-Arp in the applied arts and handicrafts, then features the interdisciplinary practices of Anni Albers, Sonia Delaunay, Liubov Popova, Varvara Stepanova, and others who sought to effect social change through fabrics for furnishings and apparel. Over the century, the intersection of textiles and abstraction engaged artists from Ed Rossbach, Kay Sekimachi, Ruth Asawa, Lenore Tawney, and Sheila Hicks to Rosemarie Trockel, Ellen Lesperance, Jeffrey Gibson, Igshaan Adams, and Liz Collins, whose textile-based works continue to shape this discourse. Including essays by distinguished art historians as well as reflections from contemporary artists, this ambitious project traces the intertwined histories of textiles and abstraction as vehicles through which artists probe urgent issues of our time.

24/12/23

#Woven Histories #textiles #modern abstraction #Anni Albers #Sonia Delaunay #Popova #Stepanova #Lenore Tawney #Sheila Hicks #textiles books #fashion books #fashionbooksmilano

[grabsomeironmeat]

Kay Sekimachi

[emmaklee]

Kay Sekimachi | Ikat Shadow Box

[via Metropolitan Museum of Art]

#textile art #3d textile #ikat

[mybeingthere]

Kay Sekimachi (born 1926) is an American fibre artist and weaver, best known for her three-dimensional woven monofilament hangings as well as her intricate baskets and bowls.

"Born in San Francisco, Kay Sekimachi studied at the California College of Arts and Crafts in Oakland from 1946 to 1949. In 1949 she took up weaving on the loom and became so adept at the labor-intensive process that she is often referred to as a ​“weaver’s weaver.” Today, almost fifty years after she began to work in fiber, Sekimachi is recognized as a pioneer in resurrecting it as a medium of artistic expression.

Sekimachi uses the loom to construct three-dimensional sculptural forms. In the early 1970s she used nylon monofilament to create hanging quadruple tubular woven forms to explore ideas of space, transparency, and movement. Inspired by her ancestral homeland of Japan, Sekimachi repeatedly returns to that ancient culture for ideas.

Sekimachi eschews color in order to reinforce the sculptural qualities of her forms and emphasize the natural properties of her chosen materials. Enamored with antique Japanese paper, she has created a series of standing geometric postlike forms that suggest ancient totemic figures."

https://americanart.si.edu/artist/kay-sekimachi-4363

https://en.wikipedia.org/wiki/Kay_Sekimachi

[artbookdap]

In 2014, tech leader and burgeoning art collector Komal Shah's "eyes were opened to what she described as vast inequities faced by women artists in market prices, museum acquisitions and overall visibility in the art world." ⁠ ⁠ She has since assembled one of the most notable collections in America. "Made predominantly by generations of women working in abstraction, from the mid-20th-century artists Joan Mitchell and Lenore Tawney to the young contemporary painters Firelei Báez and Jadé Fadojutimi, the collection isn’t obviously about gender. Rather, it embodies a feminist perspective through its bold expressiveness."⁠ ⁠ Read more about Ms. Shah, the collection and the superb forthcoming 432-page catalog, 'Making Their Mark: Art by Women in the Shah Garg Collection,' in this @nytimes feature by @hilariesheets via linkinbio⁠ ⁠ 'Making Their Mark: Art by Women in the Shah Garg Collection' is published by @gregoryrmiller⁠ ⁠ Edited with text and interview by Mark Godfrey, Katy Siegel. ⁠ Text by Daniel Belasco, Glenn Adamson, David J. Getsy, Kirsty Bell, Jessica Bell Brown, Gloria Sutton, Kevin Beasley, Charles Gaines, Lyle Ashton Harris, Jacqueline Humphries, Allison Katz, Helen Marten, Laura Owens, Tschabalala Self, Christina Quarles, Jaune Quick-to-See Smith, Joyce J. Scott, Kay Sekimachi, Mary Weatherford, Aria Dean, Kay WalkingStick.⁠ ⁠ @komalshahgarg @markgodfrey1973 @katysiegel.88 #makingtheirmark #shahgarg #shahgargcollection https://www.instagram.com/p/CqGFkuRuFp6/?igshid=NGJjMDIxMWI=

#makingtheirmark #shahgarg #shahgargcollection

[midjourney-artists-v6]

Artist: Kay Sekimachi

Illustration

Painting

Digital/Photorealistic

[earthpiecevii]

Kay Sekimachi, Ogawa II, 1969, Nylon monofilament

#art #artist #modern art #modern artist #american art #japanese art #fibre art #fibre artist #weaving #weaver #kay sekimachi #woman artist #sculpture

[abwwia]

Billie Ruth Sudduth, Fibonacci 5, 1996, reed splints, 13 x 16 1⁄2 in. (33.0 x 41.9 cm) diam., Smithsonian American Art Museum, Gift of Kay Sekimachi and Bob Stocksdale and Susan Stewart, 1996.28

Courtesy Billie Ruth Sudduth

#art by women #art #Billie Ruth Sudduth

[garadinervi]

Kay Sekimachi, Bowl, (old Japanese document paper with calligraphy), n.d.; in We Were Always Here. Japanese-American Post-War Pioneers of Art, Organized by Heather James Fine Art, San Francisco, CA, 2019, p. 65 [© 2021 Kay Sekimachi]

#art #design #calligraphy #visual writing #textile #weaving #exhibition #catalogue #catalog #kay sekimachi #heather james fine art #no date #2010s

[mmagpye]

Kay Sekimachi

[quo-usque-tandem]

Beige Tans with Bark by Kay Sekimachi

#art #paper arts #Beige Tans with Bark #Kay Sekimachi #The Museum of Fine Arts Boston

[mimiminimal]

Kay Sekimachi  - Homage to AM, series II, #6, 2015.   Linen, textile dye, permanent marker, plain weave/ 10 5/8 x 10 5/8 in. (27 x 27 cm) source

#Kay Sekimachi #Homage to AM series II 6