Wednesday, March 29, 2017

Sheila Hicks

I discovered the work of Sheila Hicks during a visit to the Addison Gallery of American Art at Phillips Academy Andover, MA to experience their exhibit, Sheila Hicks: 50 Years, and I have not been the same since.

I was so moved by her work, the different scale of work, from her miniatures, or  as she calls them, minime literally means "very small".  These 'studies' lined the hallway leading into the main galleries and I found them mesmerizing.

Now she is going to be in the 2017 Venice Biennale and watching the attached video just made me love Hicks and her work even more.  I hope you enjoy the below links and pictures of her work. VF

Sheila Hicks was taught to sew by her mother and to embroider and knit by her grandmother, making her 'thread conscious' from a young age. [2]Hicks attended Yale University School of Art and Architecture in Connecticut (1954-1959), where she gained a BFA in painting (1957) and MFA in painting (1959)[3] and studied with Josef Albers, Rico Lebrun, Bernard Chaet, Jose de Riviera, Herbert Mather, Norman Ives, Gabor Peterdi, George Kubler, George Heard Hamilton, and Vincent Scully. Along with George Kubler, independently, Junius Bird of the American Museum of Natural History and Anni Albers were advisors for her thesis, "Pre-Incaic Textiles."[1] Hicks was awarded a Fulbright Scholarship to study and paint in Chile (1957–58); she photographed archeological sites in Peru and Bolivia.

November 5, 2010 - February 27, 2011

Sheila Hicks: 50 Years  marks the first museum retrospective devoted to this exceptional American artist. Co-curated by independent scholar Joan Simon and Addison curator Susan Faxon, the exhibition opens at the Addison Gallery and will be touring to various venues.
Born in Hastings, Nebraska in 1934 and a resident of Paris since 1964, Hicks is a pioneering figure noted for objects and public commissions whose structures are built of color and fiber. Independent in spirit and itinerant in practice, she deliberately and provocatively engages what are often considered mutually exclusive domains, rethinking and pushing the limits of generally accepted contexts, conditions, and frameworks.

These include distinct objects and temporal, performative actions, studio works and commissions for public buildings, and textiles made in artisanal workshops or for industrial production in places as different from one another as Chile, France, Germany, India, Japan, Mexico, Morocco, Sweden, and the United States.

The exhibition addresses Hicks's conceptual, procedural, and material concerns via five distinct though intimately related fields of inquiry: miniature weavings and drawings, site commissions for public spaces, industrially produced textiles and workshop hand-productions, bas reliefs and sculptures, and, process works made of recuperated textiles, clothing and other found objects.

Generous support for this exhibition and publication was provided by the J. Mark Rudkin Charitable Foundation, The Coby Foundation, Ltd., Saundra B. Lane, The Poss Family Foundation, Nancy B. Tieken, Able Trust, Target Corporation, Friends of Fiber Art International, Dirck and Lee Born, and several anonymous donors.

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