{"id":8074,"date":"2021-07-29T15:28:17","date_gmt":"2021-07-29T15:28:17","guid":{"rendered":"https:\/\/www.elizabethfram.com\/Blog\/?p=8074"},"modified":"2021-07-29T15:28:17","modified_gmt":"2021-07-29T15:28:17","slug":"flying-the-coop","status":"publish","type":"post","link":"https:\/\/www.elizabethfram.com\/Blog\/flying-the-coop\/","title":{"rendered":"Flying the Coop"},"content":{"rendered":"

It was beyond wonderful to spend the past week in Berkeley and Chicago, and most importantly, to finally be with our kids for the first time in 18 months. Knowing we would be in two very art-friendly cities with re-opened museums, you can be sure I did my research ahead of time to see what might be on exhibit. Whether by pure coincidence or cosmic reward (I’ll go with the latter) our trip overlapped with four shows that seemed tailor-made for this art-seeking traveler. Kay Sekimachi “Geometries”<\/em> and Rosie Lee Tompkins “A Retrospective”<\/em> were on view at the Berkeley Art Museum Pacific Film Archive (BAMPFA). And then at the Art Institute of Chicago, we saw the remarkable Obama Portraits,\u00a0<\/em>along with “Bisa Butler: Portraits”<\/em>.<\/p>\n

As you might well guess, this will be one of those posts that is mostly images…enjoy the ride.<\/p>\n

Kay Sekimachi: “Geometries”<\/span><\/h2>\n

From the wall text of the exhibition:<\/em>
\n“Kay Sekimachi’s<\/a> work is an integral part of the story of art and fiber. Along with other mid-twentieth-century artists, she transformed fiber from a material confined to industry and craft to one capable of expanding the categories of modern and contemporary art. For several decades this Berkeley-based artist has made experimental works with linear pliable elements that unite art and craft, economy and intricacy, and Japanese and American artistic traditions.”<\/p>\n

\"Takarabako\"

Takarabako VII<\/strong> \u00a91999, Kay Sekimachi, Linen, acrylic paint & boning \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 After a winter of making box-like houses, Sekimachi’s work struck me more deeply than it might have otherwise. According to wordhippo.com<\/a>, Takarabako means “treasure chest” or “strong box”.<\/p><\/div>\n

First recognized in the 1960s for her woven monofilament sculptures, Sekimachi is also known for her intricate baskets and bowls.<\/p>\n

\"Ikat

Ikat Box<\/strong> \u00a91989, Kay Sekimachi, Linen and paint<\/p><\/div>\n

\"100

100 Views of Mt. Fuji<\/strong> \u00a91981, Kay Sekimachi, Linen, transfer dye and buckram<\/p><\/div>\n

\"Homage

This small piece (about 12 x 12 inches) was one of a series of works made in homage to Paul Klee and Agnes Martin using linen, dye and indelible ink. The subtle nuances of color are lovely.<\/p><\/div>\n

\"Kiri

This vessel is made of kiri wood paper, a one or two-sided paper-backed veneer that is manufactured from the paulownia tree, called kiri in Japan. It is a fast-growing hardwood with light, fine-grained wood typically used for chests and boxes.<\/p><\/div>\n

\"Amiyose

Amiyose III<\/strong> \u00a91965, Kay Sekimachi, Nylon monofilament \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 This is an example of Sekimachi’s facility with technique and materials, as well as her pursuit of volume, transparency and movement.<\/p><\/div>\n

Rosie Lee Tompkins: “A Retrospective”<\/span><\/h2>\n

Born in 1936 in a small Arkansas farming community, Rosie Lee Tompkins<\/a> learned to make quilts from her mother when she was a young girl, but did not begin making them professionally until the 1970s. Her work floored me for its strong sense of color and design. The frequent use of velvet \u00a0added richness and depth without detracting from the sheer joy many of these pieces projected. The expanse of the museum’s walls gave each piece the room it needed to fully come into itself, while also allowing for a celebration of each quilt’s delightfully irregular perimeter.<\/p>\n

All works were “Untitled”<\/em><\/p>\n

\"Green

This was by far my favorite for its joyful elegance.<\/p><\/div>\n

\"Orange\"<\/p>\n

\"Denim\"

What drew me across the room to this pair was Tompkin’s striking use of denim to express value.<\/p><\/div>\n

\"Multi<\/p>\n

\"Black\"

Although there weren’t details about specific pieces, the wall text gave clues to Tompkins’ overall approach, noting her later wall hangings are meditations on self, family and spirituality. Several works contain “yo-yos”, the number of which often corresponded to a personally significant number, like an age or relative’s birth month. One couldn’t help but notice that this piece was entirely black, almost shroud-like in appearance, as compared to the riot of color in all the other works.<\/p><\/div>\n

The Obama Portraits<\/span><\/h2>\n

On a five-stop tour to museums across the country, from their permanent home at the National Portrait Gallery, Kehinde Wiley’s<\/a> and Amy Sherald’s<\/a> portraits of Barack and Michelle Obama are spectacular. They will travel from Chicago to Brooklyn, Los Angeles, Atlanta and Houston – so make a note if you’ll be in or near any of those cities.<\/p>\n

\"Wiley\"

Barack Obama \u00a0\u00a0<\/strong>\u00a0\u00a92018 Kehinde Wiley, Oil on canvas, National Portrait Gallery, Smithsonian Institution \u00a0 Kudos to my husband for the difficult capture of these portraits which sit under glass.<\/p><\/div>\n

I was struck by the diversity of people viewing these portraits, many emotionally moved or just plain giddy to be in their presence. You can download the free Art Institute app<\/a> for an introduction to The Obama Portraits<\/em> with commentary from artists Kehinde Wiley and Amy Sherald and curator Jordan Carter.<\/p>\n

\"Sherald\"

Michelle LaVaughn Robinson Obama \u00a0\u00a0<\/strong> \u00a92018 Amy Sherald, Oil on linen, National Portrait Gallery, Smithsonian Institution<\/p><\/div>\n

In addition to the portraits, other artwork related to the Obamas was also on view. Two that caught my eye were Jordan Casteel’s<\/a> painting Barack<\/em>, painted to accompany a 2020 interview with the former president in The Atlantic<\/em>, and Alma Thomas’s<\/a>\u00a0\u00a0A Red Display of Fall Leaves.\u00a0<\/em>The Obamas were the first White House residents to collect the work of an African American woman artist – Thomas’s Resurrection<\/em> hung prominently in the Old Family Dining Room, and two more of her works were installed in the family’s private living area.<\/p>\n

\"Jordan

Barack<\/strong>\u00a0 \u00a0 \u00a92020 Jordan Casteel, Oil on canvas<\/p><\/div>\n

\"Thomas

A Red Display of Fall Leaves<\/strong>\u00a0 \u00a0\u00a91972 Alma Thomas \u00a0 \u00a0This piece was made when Thomas was 81 – the same year she became the first African American woman to receive a solo exhibition at the Whitney Museum of American Art in New York<\/p><\/div>\n

Bisa Butler: Portraits<\/span><\/h2>\n

One of the biggest perks of the pandemic was being able to attend Zoom artist talks<\/a> that I never would have had access to before everything went virtual. Last March I listened to Bisa Butler<\/a> give the 2021 Ruth Ketterer Harris Lecture<\/em> at The Center for Design and Material Culture, University of Wisconsin-Madison. You can listen to it too<\/a>. What a gift that the talk introduced me to Butler’s work, planting the seed to see this exhibition.<\/p>\n

\"The

The Safety Patrol<\/strong>\u00a0 \u00a0 \u00a0\u00a92018 Bisa Butler, Cotton, wool and chiffon; appliqu\u00e9d and quilted<\/p><\/div>\n

\"Dear

Dear Mama<\/strong>\u00a0 \u00a0\u00a92019 Bisa Butler, Cotton, wool and chiffon; appliqu\u00e9d and quilted<\/p><\/div>\n

\"Anaya

Anaya with Oranges \u00a0\u00a0<\/strong> \u00a92017 Bisa Butler, Cotton, organza, chiffon, lace and netting; appliqu\u00e9d and quilted<\/p><\/div>\n

\"Anaya

Anaya with Oranges<\/strong>, detail \u00a0 This shot gives a better idea of the detail work. Loved that a single sheer fabric with flowers was used to depict her hair.<\/p><\/div>\n

If you made it this far, thank you — I hope you enjoyed these works as much as I did. And please let me know what exhibits you’ve caught now that we can venture out once again.<\/p>\n","protected":false},"excerpt":{"rendered":"

It was beyond wonderful to spend the past week in Berkeley and Chicago, and most importantly, to finally be with our kids for the first time in 18 months. Knowing we would be in two very art-friendly cities with re-opened museums, you can be sure I did my research ahead of time to see what […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[83,862],"tags":[1264,1263,1214,1265,1260,1262,1261,1266],"class_list":["post-8074","post","type-post","status-publish","format-standard","hentry","category-exhibitions","category-textiles-and-drawings","tag-alma-thomas","tag-amy-sherald","tag-bisa-butler","tag-jordan-castel","tag-kay-sekimachi","tag-kehinde-wiley","tag-rosie-lee-tompkins","tag-the-obama-portraits"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p5kO5z-26e","_links":{"self":[{"href":"https:\/\/www.elizabethfram.com\/Blog\/wp-json\/wp\/v2\/posts\/8074","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.elizabethfram.com\/Blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.elizabethfram.com\/Blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.elizabethfram.com\/Blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.elizabethfram.com\/Blog\/wp-json\/wp\/v2\/comments?post=8074"}],"version-history":[{"count":5,"href":"https:\/\/www.elizabethfram.com\/Blog\/wp-json\/wp\/v2\/posts\/8074\/revisions"}],"predecessor-version":[{"id":8119,"href":"https:\/\/www.elizabethfram.com\/Blog\/wp-json\/wp\/v2\/posts\/8074\/revisions\/8119"}],"wp:attachment":[{"href":"https:\/\/www.elizabethfram.com\/Blog\/wp-json\/wp\/v2\/media?parent=8074"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.elizabethfram.com\/Blog\/wp-json\/wp\/v2\/categories?post=8074"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.elizabethfram.com\/Blog\/wp-json\/wp\/v2\/tags?post=8074"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}