Strips of painted and dyed acrylic canvas are reassembled in this dynamic composition by Rachel Eulena Williams in ‘My Way: A Gathering’ at Nicelle Beauchene Gallery in Tribeca. Featuring work by Gee’s Bend Quiltmakers and younger Black female artists in touch with their artistic forebears’ legacy, this group exhibition is a visual feast of pattern and color. (On view through Feb 18th.)
Renowned in the ‘60s for his hard-edge abstraction, Al Loving introduced softer geometries in textile works from the ‘70s, like this dynamic assemblage now on view at Garth Greenan Gallery in Chelsea. Inspired by African American quilting tradition and Romare Bearden’s collage, Loving created works of ripped, braided and dyed fabric, which the gallery likens to pennants, streamers, tattered flags and garments. In this piece, a colorful pattern spreads from the top right, traveling down and across a dark surface creating a feeling of work in progress and complex depth. (On view in Chelsea through May 7th.)
Further to yesterday’s post, another standout at Matthew Marks Gallery is this quilt by legendary (and pseudonymous) quilter Rosie Lee Tompkins. Titled ‘Three Sixes,’ it follows Tompkins’ practice of making her quilts as a prayer for a loved one; in this case commemorating three relatives’ birthdays that involve the number six. (At Matthew Marks Gallery’s 522 W. 22nd St space through Aug 16th).
Rosie Lee Tompkins, Three Sixes, polyester double-knit, polyester knit, broadcloth, ottoman, poplin, wool jersey with muslin backing, 1987.
