Tag: Yeonsoon Chang

Art Out and About, Winter 2025

January 22, 2025 0 Comment

We are deep in winter doldrums in the US — devastating fires in the West; plunging temperatures in the East. Art can be a balm and a bright spot. Here we round up some exhibitions of note and share some art news to remind you of the power of creativity.

We’ve already told you about the Sheila Hicks’ exhibition in Germany, Olga D’Amaral’s in France and Japandí Revisited: shared aesthetics and influences, in Wayne, Pennsylvania, which closes this weekend on January 25th at 4 pm after a lecture and reception. Below some notes from the US and abroad:

California
Cut from the Same Cloth: Textiles and Technology
Palo Alto Art Center 
through April 6, 2025
250 Hamilton Avenue
Palo Alto, CA 94301

Works by Lia Cook
On view in Cut from the Same Cloth: Textile & Technology. Left to Right: Little Happy Accident, Lia Cook (2019) and Intense and Questioning, Lia Cook (2018) Photo curtesy of the artist.

As the Cultural Center observes, “textiles have not only fueled the creative inspiration of artists throughout history, they also have provided the catalyst for technological innovation. Joseph Marie Jacquard, a French merchant, invented the ‘jacquard machine’ in 1801, which simplified the manufacture of textiles and later became the inspiration for IBM’s first computer introduced in the 1940s and 1950s. This exhibition,” which includes Lia Cook, “investigates the many unexplored relationships between craft and technology and demonstrates, through the work of a group of artists, how contemporary art practice has seamlessly embraced both.”

9 x 9: Contemporary Quilts & Containers
Palo Verdes Art Center 
January 25 – April 12, 2025
Opening Reception: February 1, 2025, 6 – 9 pm
5504 Crestridge Road 
Rancho Palos Verdes, CA 90275

works by Karyl Sisson
Karyl Sisson, Piece Work VII, Vintage paper drinking straws and polymer, 20.5″ x 20.25″, 2022, Photo by Susan Einstein; Speaking Out, vintage cotton/rayon ribbon, thread, mini-spring operated clothespins, 9″ x 14″ x 14″. Photo by Heather Cleary.

Beginning on the 25th, the Palo Verdes Art Center will showcase artworks by 18 distinguished artists from California’s established fiber art community. The artists, who include Karyl Sisson, Kay Sekimachi, and Carol Shaw-Sutton, will present innovative interpretations of traditional craft forms. “These dynamic quilted, woven, plaited, and twined works investigate the purposes and potential of cross-cultural narratives and techniques through diverse media,” says the Center, “expanding our understanding of visual culture. Material-based, conceptually engaged, and skillfully executed, these artists transform conventional quilting and container-making practices into sophisticated contemporary expressions.”

Denmark
Artapestry7, International Triennial
Kunst Centret Silkeborg Bad 
January 25 to  April 21, 2025
Gjessøvej 40
8600 Silkeborg, Denmark

Irina Kolesnikova textile
Detail: The Cage, 2022, Irina Kolesnikova, silk, flax, polyester; hand weaving, 138 x 98 cm. Photo courtesy of the artist.

This is the seventh time that the organization European Tapestry Forum has sent a juried exhibition of woven tapestries on tour in Europe, and the fourth time that the triennial has been exhibited in Silkeborg. The triennial, which includes work by Gudrun Pagter, Irina Kolesnikova, and Lija Rage, gives the audience a good insight into the current trends among weaving artists. The jury has selected the 37 most beautiful, skillfully executed and most creative tapestries from more than 100 submissions.

Washington, DC
We Gather at the Edge: Contemporary Quilts by Black Women Artists
Renwick Gallery of the Smithsonian American Art Museum
February 21, 2025 – June 22, 2025
1661 Pennsylvania Ave., NW
Washington, DC

work by Myrah Brown Green
Myrah Brown Green, In My Akwabaa Form, 2000, cotton fabric and cotton batt, 95 × 86 in. (241.3 × 218.4 cm), Smithsonian American Art Museum, Gift of Fleur S. Bresler, 2023.40.19, © 2000, Myrah Brown Green.

In 1981, the Smithsonian acquired 35 qulits collected by Dr. Carolyn Mazloomi, who holds a doctorate in aerospace engineering, is a prolific artist, curator, and scholar.  Dr. Mazloomi founded the African American Quilt Guild of Los Angeles, and then, in 1985, she founded the Women of Color Quilters Network, fulfilling the desire of isolated makers to connect and continue Black textile traditions. The quilts in this exhibition are remarkable in scope and groundbreaking in their representation of Black history and culture as told with needle and thread. “Sometimes the weight of living on this planet as a woman, we have to be reminded of who we are,” Dr. Mazloomi has said. “Quilts help to serve that purpose of reminding women about their power.”

New York
Anne Wilson: The MAD Drawing Room and Errant Behaviors
through May 11, 2025
Museum of Arts and Design
Jerome and Simona Chazen Building
2 Columbus Circle,
New York, New York 10019

Anne Wilson MAD Drawing Room
MAD Drawing Room at the Museum of Arts and Design, NY, NY. Photo courtesy Anne Wilson

Chicago artist, Anne Wilson has created the MAD Drawing Room, where visitors can engage in the beauty and complexity of the artist’s personal archives of lace and openwork textiles through close looking, drawing, or writing. The Drawing Room is inspired by the Davis Street Drawing Room, Wilson’s experimental and participatory art project in Evanston, Ilinois. Within the space, visitors are invited to explore Wilson’s library of art and fiber texts, listen to the playlist of sound sources for her video installation, and draw or write using the materials provided. Wilson’s sound-and-video installation, Errant Behaviors, newly acquired by MAD, plays in the gallery. Its source material of lace and openwork fragments are also on view in The MAD Drawing Room. You can see multiple images and learn more about the MAD Drawing Room on Wilson’s website.

Canada
Dawn MacNutt: Timeless Forms
through April 18, 2025
Mount St. Vincent’s University Gallery 
Mount Saint Vincent University
166 Bedford Highway
Halifax, NS
B3M 2J6

Feature image: Dawn MacNutt, Robin 2008. Patinated bronze, cast from twined willow, acrylic paint. Collection of the Nova Scotia Art Bank.

This comprehensive retrospective exhibition celebrates Nova Scotia artist Dawn MacNutt. Co-curated by Melanie Colosimo and Emily Falvey, this exhibition showcases MacNutt’s unique approach to weaving, which she transforms into large-scale figurative sculptures that explore themes of human fragility. Accompanying the exhibition is a catalogue featuring essays by the artist herself. Spanning four decades, the exhibition moves from delicate miniatures crafted in silver and copper wire to monumental bronze sculptures cast from woven, local willow branches. Together, these works link traditional craft practices to modern and conceptual sculpture and enrich contemporary perspectives on care and the handmade. Accompanying the exhibition is a book, Timeless Forms, that features essays by the artist herself.

work by Yeonsoon Chang
Yeonsoon Chang, Craft Trend Fair in Seoul, December 2024, teflon mesh, pure gold leaf, and eco-resin. Photo courtesy of the artist

Korea
In the art news department: The Korean Craft and Design Foundation selected Yeonsoon Chang as the winner of its 2024 Creation Division Prize. The artwork in the photo was showcased at this year’s Craft Trend Fair in Seoul in December 2024. It is made of Teflon mesh, pure gold leaf, and eco-resin. “The artist Yeonsoon Chang continues to create works that visualize a unique aesthetic through a Korean sense of beauty, transcending the boundaries of tradition and modernity, time and space, using the properties and structure of textiles,” the Foundation wrote. “Her ongoing dedication has set an example in the craft community and garnered international recognition for the excellence of Korean craftsmanship.”

Receiving the prize has energized and inspired Chang. “For the past nine and a half years since my retirement, I have immersed myself in the study of Eastern classics and the creation of my work,” she wrote on Instagram. “Through this journey, the once-abstract concepts of 空 (Emptiness) and 虛 (Void) have taken on a tangible and experiential reality. I believe the endurance of Korean craft over thousands of years is not solely due to its techniques but to the profound spirit that lies beyond them, deeply woven into its essence. Just days ago, I envisioned slowing the pace of my life to delve deeper into this path, yet now I find myself aboard a high-speed train, unable to control its momentum. Looking ahead, I see my calling as bringing to life the spirit of Korean craft, allowing it to breathe and resonate through my work.”

Art Assembled – New This Week in December

January 9, 2025 0 Comment

As we welcome the new year, we’re excited to share the ongoing buzz around our current exhibition, Japandi Revisited: Shared Aesthetics and Influences, now live at the Wayne Art Center in Wayne, Pennsylvania. This exhibition, which opened on December 7, 2024, revisits the fascinating dialogue between Japanese and Scandinavian artists—a theme we first explored three years ago. We’ve uncovered even more intriguing connections and cultural influences that continue to shape the work of artists from Sweden, Finland, Norway, Denmark, and Japan. If you haven’t had a chance to see it yet, we’d love to have you join us before the show closes on January 25, 2025.

In addition to the exhibition, our New This Week series has spotlighted the work of six exceptional artists throughout December: Nancy Koenigsberg, Karyl Sisson, Annette Bellamy, Yeonsoon Chang, and Marian Bijlenga. Let’s take a look back at these inspiring artists and their contributions to the world of art.

Nancy Koenigsberg
83nak City View, Nancy Koenigsberg, coated copper wire, 27″ x 24″ x 3″. photo by Tom Grotta

We started the month of December off by featuring the talented artist Nancy Koenigsberg, renowned for her intricate wire sculptures. Koenigsberg’s work challenges both visually and conceptually, with sculptures that are free-standing, wall-mounted, or part of installations. Her pieces are created using a variety of materials—copper, steel, and aluminum wire—woven and knotted into grids that are shaped and layered.

Koenigsberg’s use of materials that are both shiny and dull, fragile and industrial in strength, creates an interesting interplay between form and texture. This combination of contrasts has made her work notable in the contemporary art world, with an extensive exhibition history in the United States, Europe, and South America. Koenigsberg’s ability to work with both fragile and industrial materials, pushing the boundaries of wire as an artistic medium, has garnered her numerous commissions.

Karyl Sisson
106-109ks Straw Suites, Karyl Sisson, woven vintage paper drinking straws, 14″ x 13.75″ x 1.5″ each, 2016. Photo by Tom Grotta

We continued the month by featuring the exceptional artist Karyl Sisson, whose work draws from the materials of everyday life. Based in Los Angeles, Sisson’s work explores the intersection of fiber art and sculpture, using materials both past and present to create intricate, textured forms. Her artistic influences range from the landscape of Los Angeles to microbiology and even fashion manufacturing, bringing a multidisciplinary approach to her practice.

Throughout her three-decade-long career, Sisson has consistently focused on pattern, repetition, and structure as central themes in her work, which she explores dimensionally. Drawing from her background in basketry and needlework, she transforms everyday materials into art that speaks to the complex relationships between domesticity, gender roles, and traditional craft.

Sisson’s recent work, particularly with paper straws, is inspired by cells and organisms, which inform the organic, growing shapes she creates. Her work has been featured in numerous museum collections, and she is part of the Craft in America collection, further cementing her place in the contemporary craft world.

Annette Bellamy
5ab Threading Fish. Annette Bellamy, Pacific Halibut, Sockeye Salmon, Yellow Eye Rockfish skins, linen, artificial sinew, embroidery thread, and plastic strands, 26.875″ x 26.875″ x 2.5″, 2023. Photo by Tom Grotta

We then highlighted the work of Annette Bellamy, an artist based in Alaska whose work reflects her unique life experiences. Having spent many years commercially fishing in Alaska, Bellamy’s life on the water has deeply influenced her artistic practice. The physicality of both her work as a fisherwoman and her art-making process have fueled each other, creating a dynamic relationship between the two.

Bellamy strives to create art that communicates through a universal visual language. She works with both ceramics and textiles, weaving her life and experiences into pieces that speak to a broader audience. Her work reflects a balance of her life on the water and her craft, merging physicality and art with sensitivity and strength.

We are thrilled to have the opportunity to work with her and showcase her art!

Yeonsoon Chang
27yc The path which leads to the center III 202304 LG, Yeonsoon Chang, Teflon mesh. Pure Gold leaf. eco-Resin, 23.875″ x 22.5″ x 6.125″, 2022. Photo by Tom Grotta

We continued our December features with Yeonsoon Chang, whose masterful use of Teflon mesh, pure gold leaf, and eco-resin creates a dynamic interplay of texture and form that blends the modern with the traditional.

Chang’s work beautifully bridges cultures and techniques, merging contemporary materials with ancient traditions, resulting in pieces that captivate both the eye and the mind. Her precision and delicate craftsmanship make her a standout figure in contemporary art. Chang received the Craft Design Award of the Year from the Korea Craft & Design Foundation in December.

With her innovative approach, Chang has developed an eco-friendly resin that she applies to structures crafted from abaca fibers and Teflon-coated glass-fiber mesh. She uses a special glue to attach gold leaf to the fibers, resulting in pieces that evolve with the light. As the light shifts, the structures change, casting intriguing shadows and reflecting or refracting light, transcending the functional to become art that’s constantly in motion.

Marian Bijlenga
40mb Scale Flowers, Marian Bijlenga, dyed Nile Perch fish scales, 22.375″ x 18.875″ x 2.5″, 2019

Finally, we turned our attention to Marian Bijlenga, whose work continues to challenge traditional notions of textile art. Known for her intricate woven sculptures and use of natural materials, Bijlenga explores the relationship between form, texture, and the space around her work.

Her pieces often play with the idea of repetition and the fluidity of materials, creating a dynamic conversation between the natural world and the human hand. Bijlenga’s work is celebrated internationally, and we are proud to feature her work at browngrotta arts.

Keep following along and stay tuned for more exciting updates all of 2025.

And the Winner Is … Loewe Celebrates Art and Artisans

November 6, 2024 0 Comment
Polly Adams Sutton Loewe
Ebb Tide in Loewe exhibition in Paris, France. Photo by Polly Adams Sutton. 

Too often we hear about corporations that are using creators’ works — art and music — without permission (https://www.artsy.net/article/artsy-editorial-graffiti-artists-fighting-brands-steal-work). Many raise concerns about AI borrowing and boosting artwork without attribution or compensation (https://www.newyorker.com/culture/infinite-scroll/is-ai-art-stealing-from-artists). So it’s gratifying to learn about the efforts of Loewe, a corporation that celebrates and collaborates with artists rather than cannibalizing their work. 

Loewe is a luxury fashion house founded in 1846 by a group of Spanish leather craftsmen. Loewe’s efforts to support the arts are severalfold — it organizes exhibitions, promotes a prestigious international art competition, and creates artist-inspired capsule collections. It created a foundation in 1988, which supports international prizes for craft and poetry, collaborates with major arts festivals, and also supports other art, photography, and dance. The Foundation sponsors the Loewe Foundation Craft Prize, an international award celebrating exceptional craftsmanship. Through the Prize, the Foundation aims to discover uniquely talented artisans with the vision and innovative drive to set new standards for the future of craft. The Prize ecognizes those who combine tradition, modernity, and a unique artistic concept. Like browngrotta arts aims to do, the Loewe Prize elevates artists who contribute continuously to contemporary culture through a contemporary reinterpretation of tradition. 

Jiro Yonezawa, leather basket
Jiro Yonezawa crafting LOEWE leather into unique pieces at milan design week 2019. Photo courtesy of Loewe.

In 2019, for example, as part of Milan Design Week, Loewe installed an exhibition that placed a spotlight on basketmaking, divided into two installments — inspiration and collection. As part of that project, Loewe’s creative director, Jonathan Anderson, invited Japanese artist Jiro Yonezawa to creaft one off pieces in which he swapped the strips of bamboo, with which he usually works, for naturally dyed Loewe leather.

Mercedes Vicente, Yeonsoon Chang, Gerne Jacobs, Simone Pheulpin, Jiro Yonezawa, Kay Sekimachi
clockwise details of works by: Mercedes Vicente, Yeonsoon Chang, Ferne Jacobs, Simone Pheulpin, Jiro Yonezawa, Kay Sekimachi. Photos by Tom Grotta

Several of the artists that work with browngrotta arts have made the Loewe Foundation Craft Prize short list, including Mercedes Vicente, Yeonsoon Chang, Ferne Jacobs, and Simone Pheulpin, who was awarded the Honor Prize in 2018. Finalists are brought to Europe for the award presentation. For Polly Adams Sutton, who made the short list in 2024, that meant a trip to Paris to see her work installed. “What an amazing privilege it was!” she says of the competition. “By providing a means for craft artists of all mediums to be recognized as Art, Loewe elevates the crafts as legitimate forms of art. Loewe creations may use craft as inspiration for their work but the craft prize has been created solely for the artists to be honored and to give craft its place in the art world.”

Kay Sekimachi Loewe bags
Loewe bags inspired by Kay Sekimachi’s work. Photo by Tom Grotta

Loewe also works with artists to create specially curated collections, inspired by the artists’ work. This year, Loewe partnered with Kay Sekimachi to create a limited-edition collection of handbags that showcase her pioneering work in loom weaving and draw upon Sekimachi’s 1999 “Takarabako” series. The Puzzle Fold Tote and Bucket Bag are crafted in cotton jacquard with a calfskin base and details, and feature a gold embossed motif with Sekimachi’s name. The project was licensed by Artists Rights Society.

Kudos to the artists honored and to Loewe and its commitment to craft.

Save the Date! Spring Art in the Barn at bga April 29 – May 7, 2023

March 8, 2023 0 Comment
29ddm Mourning Station #4, Dominic Di Mare, hawthorn, handmade paper, silk, bone, bird’s egg, feathers, gold and wood beads, 13″ x 7″ x 7″, 1981. Photo by Tom Grotta

For Spring 2023, browngrotta arts is pleased to announce a wide-ranging exhibition of work by noted artists from around the world. Acclaim! Work by Award-Winning International Artists (April 29 – May 7) will highlight mixed media, fiber sculpture and contemporary textile artists artists creating and advancing the field of fiber arts now and throughout the last six decades, including Sheila Hicks, Dominic Di Mare, Kay Sekimachi, Jiro Yonezawa, Carolina Yrarrázaval and Ed Rossbach.

5pco Microgauze 84, Peter Collingwood, Warp: Black and natural linen; Weft: natural linen, 72″ x 8.375″ x .125″, 1970. Photo by Tom Grotta

Awards by the dozen
The nearly 50 artists in Acclaim! Work by Award-Winning International Artists, have each achieved formal art acknowledgement in the form of an award or medal or selective membership. In the US, that may mean the award of a Gold Medal from the American Craft Council — 10 of the artists in Acclaim! belong to that group. In Canada, it means membership in the Royal Canadian Academy of the Arts, which three of our artists have achieved. The late masterweaver Peter Collingwood received an OBE, Order of the British Empire. Yeonsoon Chang of Korea was selected Artist of the Year by the Contemporary Art Museum in Seoul. In France, Simone Pheulpin was awarded the Grand Prix de la Création de la Ville de Paris. Grethe Sørensen of Denmark and Agneta Hobin of Finland received the Nordic Award in Textiles. Sheila Hicks of the US,  was awarded the French Legion of Honor and a Lifetime Achievement Award from the International Sculpture Center; Helena Hernmarck received the American Institute of Architects, Craftsmanship Medal and the Prins Eugen Medal conferred by the King of Sweden for “outstanding artistic achievement.”

26yc The Path which leads to the center II, Yeonsoon, Chang, teflon mesh, pure gold leaf, eco resin, 25″ x 50″ x 6″, 2022. Photo by Tom Grotta

Results of recognition
Receiving an award can provide important affirmation for an artist. “There are no other large prizes in the UK for artists working in this medium,” says Jo Barker, winner of the Cordis Prize. “So what winning mostly felt like to me was a real validation of the career that I’ve had so far.” Such recognition can influence the direction of an artist’s work. Lia Cook’s Gold Medal from the American Craft Council provided her support for her process — particularly, she says, for “my continued interest in following the unexpected.” Once selected as Artist of the Year by the National Museum of Contemporary Art in Seoul, Korea, Yeonsoon Chang saw her textile work in the broader scope of contemporary art. “Objective recognition gave me courage to work and a sense of responsibility,” she says. For Chang, the award also meant expanded interest in her work from museums, galleries, and collectors. Winning Best Visual Arts Exhibition of the Year from the Circle of Critics of Art in Chile was a recognition of 40 years of work  for Carolina Yrarrázaval  and a confirmation for all those who believed in her work, clients, galleries and museums. More importantly, Yrarrázaval says, it was the first time that textile art received this award in Chile, placing it on par with all disciplines in visual arts. “It was not only a recognition of my personal contribution,” she says, “but also to this discipline, which for a long time was seen as a minor art.”

25cy Deseos Ocultos, Carolina Yrarrazaval, jute, linen, paper and raffia, 60.5″ x 30.5″ x 1″, 2023. Photo by Tom Grotta

Art undeterred
After some years of being overlooked and undervalued, contemporary textile art has finally been embraced (again) in the last several years by a wider world of museums and galleries. The current focus on artists working in fiber finds complex, thoughtful and accomplished work – some produced today and some in years when gallery and museum attention was slight. “What may appear to be an explosion of textile producers, from a historical perspective, is an explosion of interest and awareness of a tradition that has always been important, deep and rich,” Adam Levine, director of the Toledo Museum of Art told Art News last year. (Katya Kazakina, The Art Detective: Textile Artists Are Back in the Public Spotlight in Museums and Galleries. Art Collectors? They’re Still Catching Up, February 4, 2022). in other words, even when out of popular favor, fiber artists were undeterred, continuing to create exceptional work.

A through line — then and now
The work in Acclaim! creates a through line from the movement’s early days to its current creative explosion, highlighting the importance of persistence and the benefits of recognition along the way. Fiber art’s revival in museums, galleries and with collectors is built upon the dedication and extraordinary talent of artists like those featured in Acclaim!

Join us next month
browngrotta arts
276 Ridgefield Road Wilton, CT 06897

Artist Reception and Opening: April 29, from 11am to 6 pm

Remaining Days
Sunday, April 30th: 11AM to 6 PM (40 visitors/ hour)

Monday, May 1st – Saturday, May 6th: 10AM to 5PM (40 visitors/ hour)
Sunday, May 7th: 11AM to 6PM [Final Day] (40 visitors/ hour)

Safety protocols 
Eventbrite reservations strongly encouraged • No narrow heels please (barn floors)

Reserve a spot here: RESERVE

Art Out and About: An Abundance of Events in the US and Abroad, Part I

November 16, 2022 0 Comment

Our artists have been busy this fall. They are involved in a number of exhibitions and commissions, some of which we’ve listed below; some of which we will cover in next week’s arttextstyle. We’ve also noted a few other exhibitions worth adding to your radar.

Exhibitions

Kyoto, Japan
The World of Textiles and Basketry
Ended October
Gallerie Aube
Kyoto University of the Arts
Kyoto, Japan
https://uryu-tsushin.kyoto-art.ac.jp/detail/1041

The World of Textiles and Basketry exhibition installation
photo from https://uryu-tsushin.kyoto-art.ac.jp/detail/1041

In September and October, 2022, as a milestone of 40 years at Kyoto University of the Arts, Keiji Nio, Professor, Department of Arts and Crafts, prepared an exhibition that combined his own history, woven kimono, tapestry, fiber art and basketry, which are rarely seen in the same venue. Aiming to create an exhibition space that transcended the scope of the group of works, he planned The World of Textiles and Basketry, held at the Galerie Aube attached to Kyoto University of the Arts. Included was work by Erika Otsuka, a traditional crafts exhibition exhibitor, Misako Nakahira, a tapestry artist who makes full use of tsuzureori, photographs and kasuri weaving, works of Megumi Takeda, a tapestry artist who combines the above, and the works of 30 artists, including Noriko Takamiya, who have been participating in and annual basketry exhibition for many years, all in the same venue, it was a fresh group of works that are not bound by materials or techniques.  In addition to classical textiles, there were many structures and works that can be called sculptures though “woven” at first glance. There are additional images in the University newsletter: https://uryu-tsushin.kyoto-art.ac.jp/detail/1041.

Irvine, California
Dissolve
University Art Museum
UC Irvine Institute and Museum of California Art (IMCA)
Through December 10, 2022 
Interim Location: 
18881 Von Karman Avenue
Suite 100
Irvine, CA 92612
https://imca.uci.edu/exhibition/dissolve/

Gridlock weaving by Lia Cook
Gridlock C, A&B, by Lia Cook. Photo courtesy of the artist.

Dissolve explores how certain artists, including Lia Cook, perceive what it means to change from one form to another. Through painting, photography, sculpture, installation and video, selected artworks demonstrate how gradual and immediate changes impact viewers’ perceptions of self, one another, and the shared environment. Adopting an inclusive view of the process of dissolving, the featured artists visualize the physical dissolution of light, water, distance, and geographic borders. They also address the dissolution of personal relationships, identity, and social and political networks. 

Cheongju, Korea
The Gravity of Movement
Through December 11, 2022
Cheongju Korean Craft Center
https://cjkcm.org/craft1_eng/

The Gravity of Movement exhibition installation
The Gravity of Movement exhibition photos by Park Myung-rae

The Gravity of Movement features works by Chang Yeonsoon, including works from the matrix series, the road to the center, and a site-specific installation are included.

Commissions

Jennifer Falck Linssen commission
Components from Jennifer Falck Linssen’s Aeolian., Katagami-style handcarved paper and metal wall sculpture. Materials include archival cotton paper, aluminum, linen, pigment, mica, acrylic, and varnish. Photo Jennifer Falck Linssen

Jennifer Falck Linssen has completed a commissioned wall sculpture, Aeolian for a client in the US. It’s 168 inches long of Katagami-style handcarved paper and metal. Materials include archival cotton paper, aluminum, linen, pigment, mica, acrylic, and varnish. The work will be installed in December.

Also of Note

London, UK
Magdalena Abakanowicz: Every Tangle of Thread and Rope
Through May 21, 2023
Tate Modern
Bankside
London, UK SE1 9TG
https://www.tate.org.uk/whats-on/tate-modern/magdalena-abakanowicz

In the 1960s and 70s, the Polish artist Magdalena Abakanowicz created radical sculptures from woven fibre. They were soft not hard; ambiguous and organic; towering works that hung from the ceiling and pioneered a new form of installation. They became known as the Abakans. This exhibition presents a rare opportunity to explore this extraordinary body of work. Many of the most significant Abakans will be brought together in a forest-like display in the 64-metre long gallery space of the Blavatnik Building at Tate Modern. The exhibition is organized by Tate Modern in collaboration with the Fondation Toms Pauli at the Musée cantonal des Beaux-Arts de Lausanne/Plateforme 10 and Henie Onstad Art Centre, Høvikodden.

Check them out.