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HomeCanadian NewsNickle Galleries exhibit highlights textile arts from 1960 to 2000

Nickle Galleries exhibit highlights textile arts from 1960 to 2000


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It was the current donation of an enormous textile piece by Finnish-Canadian weaver Kaija Sanelma Harris to the MacKenzie Artwork Gallery in Regina that began the ball rolling.

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Made up of 24 separate panels, Solar Ascending was the most important piece created by Harris. The artist, who handed away in late August on the age of 82, was based mostly in Saskatoon on the time and amongst these commissioned within the early Nineteen Eighties to supply textiles to adorn the interiors of the TD Centre in downtown Toronto. Donated to the MacKenzie Artwork Gallery by Cadillac Fairview Company Ltd., the reward had curators Julia Krueger and Timothy Lengthy eager about a very fertile and revolutionary interval within the historical past of textile artwork created on the Canadian Prairies. They finally contacted Michele Hardy – curator and performing director of the College of Calgary’s Nickle Galleries who has had a protracted historical past learning, curating and celebrating textile artwork – and the formidable exhibition Prairie Interlace: Weaving, Modernisms and the Expanded Body, 1960-2000 was born.

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Curator Michele Hardy in front of F. Douglas Motter’s This Bright Land, part of the new exhibit at the Nickle Galleries called Prairie Interlace: Weaving, Modernisms and the Expanded Frame 1960-2000. Gavin Young/Postmedia
Curator Michele Hardy in entrance of F. Douglas Motter’s This Vibrant Land, a part of the brand new exhibit on the Nickle Galleries referred to as Prairie Interlace: Weaving, Modernisms and the Expanded Body 1960-2000. Gavin Younger/Postmedia Gavin Younger/Postmedia

“The extra we talked about it, the extra we realized that some incredible artwork had been created throughout the Prairies throughout this time interval however has not been written about or examined in any nice depth,” says Hardy. “There appears to be a resurgence in curiosity in textile arts, so it was a very nice second to discover this and convey out items, a lot of which haven’t seen the sunshine of day in many years.”

The exhibit, a partnership between MacKenzie and Nickle galleries, shall be in Calgary till Dec. 17 and options the work of 48 artists who helped carry on an “explosion of progressive textile-based artwork on the Canadian Prairies” from the years 1960 to 2000. The curators scoured non-public and public creations for the items. Some had been European immigrants who introduced methods and data from their homelands, whereas Indigenous artists displayed their practices and cultural traditions. Most of the artists on show, nevertheless, embraced new methods, supplies and themes to broaden the chances of textile artwork.

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The earliest piece within the exhibition is Charlotte Lindgren’s Winter Tree, a three-dimensional piece that showcased the artist’s curiosity in structure and was featured at Expo 67 in Montreal. Whereas the piece was created in Halifax, Lindgren spent years growing her observe in Winnipeg within the late Fifties and early Nineteen Sixties. Hardy mentioned the piece was “heralding what was to come back, this explosion of various supplies and shifting past the loom.”

The exhibition additionally features a copy of Calgary artist Nancy Crites’ 1991 hooked rug Threshold: No Laughing Matter. The unique, which is fragile and nonetheless in Saskatchewan, included pink and blue condoms that had been hardened over time to spell out “Welcome.” It was made throughout the peak of the AIDS epidemic. Crites remade the piece this yr, with out the condoms, for the show.

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“She made this together with her youngsters on the HIV epidemic,” says Hardy. “Her intention was actually to normalize the expertise of condoms, the language of condoms, the significance of utilizing condoms.

Most, though not all, of the artists featured are ladies and lots of had been exploring feminist themes and utilizing textile arts as a technique to provide commentary on social points. 

“There was this (interval)— ’60s, ’70s, ’80s – when textiles suited the feminist agenda, it suited modernist structure, it suited a variety of initiatives that had been happening,” Hardy says. “Textiles supplied one thing that was actually distinctive. It was additionally a method for ladies to problem the hierarchy of the humanities the place portray and sculpture are on the prime and textiles and crafts are on the backside. It was historically the realm of ladies and feminists began to make use of textiles to problem these issues and problem the function of ladies in society. ”

 Prairie Interlace: Weaving, Modernisms and the Expanded Body 1960-2000 shall be at Nickle Galleries till Dec. 17.

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