Tapestry Topics
A Quarterly Review of Tapestry Art Today
page 18
Fall 2003 Vol 29 No 4
<<Members
< Back
Next >
Last >>
I had seen Norgaard’s piece in the ATB IV, where it was one in a whole collection of different pieces from different artists with different themes. In that setting I had no particular reaction. Seeing all ten pieces in series left me with the feeling of despair and tragedy, aware of the chaos that cancer can produce in the life of a victim and loved ones. (The week before I visited the exhibit a dear friend had died of breast cancer.)
Inge Norgaard, Red Crosses #4, 14" x 30", 2002
The Society for Contemporary Craft sponsors one or two fiber-related shows a year. At their main facility in the vibrant Strip District of Pittsburgh, the concurrent exhibit was "Home/land: Artists, Immigration, and Identity." The SCC does not make it a point to co-ordinate the displays in the satellite space at One Mellon Center and at the main gallery. But in this case, given Norgaard's identity as a Danish immigrant, the tie was a strong one.

It was very gratifying to see such a large number of tapestries displayed in so prominent a public space. I would have liked, however, to see the text describing the exhibit repeated at both ends of the display, as the traffic flow is bi-directional. People walking toward the subway knew what they were seeing. People coming the other direction wondered.

Pittsburgh has a treasure indeed in the SCC. I'd encourage any readers whose travels take them there to make it a stop on their itinerary. You'll be glad you did.


Circles and Curves: Karen Benjamin Exhibit.

Review by Bhakti Ziek

Karen Benjamin’s exhibit, Circles and Curves, was on view at Weaving Southwest in Taos, New Mexico from August 15 to September 4, 2003. It was an abstract celebration of the expansive New Mexico landscape, of the subtleties of light and transparencies, and of the exuberant color possible in wool tapestry. The eleven weavings on view captured a vision of the world processed through the mature artist’s quiet wisdom, then reflected back to the viewer as a reminder to breath—to take in the nuances of inner and outer experience. They reward the eyes with the joy of color harmonies that move, blend, and enrich. It was a beautiful exhibit, which elicited enthusiastic responses by all who came in to see it while I was there.
Inge Norgaard, Red Crosses #2
The six pieces in the 2002 series, "The Red Crosses," consist of differing views of red crosses on a black background. They are smaller pieces than many of the ones in "Life Interrupted" and exhibit a graphic continuity despite the differences in placement of the crosses in each. The series was inspired by a trip the artist took to Turkey, where the color red is frequently seen in textiles. But I was reminded more of the symbolism of the red cross in American culture, and was struck with the implications of images associated with healing juxtaposed to the pieces dealing with disease.

The pieces were all framed simply on white matting with plain black metal frames. In some the tapestries were finished (i.e., hemmed and presented with no warp showing) and in others they looked as if they had been mounted immediately after coming off the loom. Some frames contain one piece, others up to three pieces with unwoven warp left between them. I found the series more visually appealing, but less thought provoking than its companion series.
o f t h e
N e w s l e t t e r
 A m e r i c a n T a p e s t r y A l l i a n c e
<< Members
< Back
Next >
Last >>