Maya Amer used the art form’s multicolored stitches to visualize the more than 8,000 Palestinians killed in Israeli strikes.
Dyed garments were once treasured items whose colors could take significant time, long distances, and untold fortunes to produce.
A new book and show at Cooper Hewitt introduces the artist’s vivid, textural world to a new generation.
With Slumber Party, Benoît Piéron transforms the harshness of hospitals into a softer, dream-like space, where time seems flexible.
Artist Lucy Sparrow invites New Yorkers to feast their eyes and immortalize their go-to orders at her interactive pop-up bagel shop.
Steven J. Yazzie and Patrick Dean Hubbell dismantle blatant distillations of Native visuality for profit that continue to commit and perpetrate harm against Indigenous artists and communities.
Lackey’s “cut paintings” bring to the forefront the often invisible or rarely acknowledged experiences of connection.
Elsa María Meléndez takes on historical narratives that have perpetuated the disempowerment and marginalization of Puerto Rican women.
Catherine Legrand’s Patchwork: A World Tour is an important step towards finally giving this art form the appreciation it deserves.
If the body as a point of inspiration was once an innocent or abstract notion for the fiber artist, her more recent work can no longer avoid the body as battleground.
The Brazilian artist practices an erasure poetry upon textiles and assembles the results into evocative, semi-sculptural configurations.
Founded by Dora Napolitano in 2016, Zurciendo el Planeta planted its “Forest of Hope” international embroidery project in art spaces across Glasgow during COP26.