Founded by Dora Napolitano in 2016, Zurciendo el Planeta planted its “Forest of Hope” international embroidery project in art spaces across Glasgow during COP26.
Moriguchi, who studied in Japan and Paris, took the influence of Op art and applied it to the traditional art of kimono painting.
Capron says her creations reflect herself and her immigrant, Latinx community.
More than 40 textile works dating from the 1950s to her death in 2007, at age 100, float in the artist’s retrospective at the John Michael Kohler Arts Center.
Woven Walls, a tightly curated summer show at Morgan Lehman Gallery, explores a language between the threads of different textiles.
A new exhibit showcases contemporary takes on the millennia-old art of textile-making, from El Anatsui’s shimmering bottle-cap tapestries to Nevet Yitzhak’s renditions of Afghan war rugs.
Tanya Aguiñiga’s work results from a lifetime of creating textile pieces from broken and found threads.
On Weaving offers a model for how to write in a way that incorporates theoretical examination alongside practical content; in it Anni Albers provides valuable — and often overlooked — thoughts on art and creative work.
After a catastrophic 2001 fire, the 17th-century Barberini tapestries have returned to view at Manhattan’s Cathedral Church of Saint John the Divine.
PHILADELPHIA — Started around 1907, Municipal Pier 9 was built as part of a comprehensive plan to upgrade the Delaware River as a shipping channel.
Over 50 examples of textile garments and furnishings are on view in Designing Identity: The Power of Textiles in Late Antiquity at New York University’s Institute for the Study of the Ancient World.
LONDON — Losing the Compass, at White Cube in London’s Mason’s Yard, aspires to critique geographical, aesthetic, and other sorts of hierarchies.