Art Forum


The archive includes critics’ picks, scene & herd, news items, and features, plus select articles from Artforum dating back to 1962.

Results for “crochet : (20)



“Art and Technology”

Peter Lunenfeld

September 2015 IN PRINT

Land art to include, say, exhibitions of experimental-aircraft crash sites of the Mojave. The Crochet Coral Reef project may be the most seductive output of sisters Margaret and Christine… (Full reference unavailable)



Crystal Visions

Travis Diehl

September 2014 DIARY

Curatorial team Chad Alligood and Don Bacigalupi (who is also the museum’s president) led a pack of press on a brisk tour through nineteen thousand square feet of exhibition space, unfurling, with the help of a few highlights, their philosophy. The viewer enters the show, for example, through a tunnel of collaged crochet by Brooklyn’s Jeila Gueramian. “If you’re searching for meaning,” said Bacigalupi, “the answer is, it’s you”—the work’s title. Your interpretation, your experience, your vision. (Indeed, poking through embroidered cats and yarn tentacles, I noted, are a peyote cactus or two—but who’s to judge?)



Faith Wilding

As told to Jason Foumberg

February 2014 500 WORDS

Born in 1943 in Paraguay, Faith Wilding is an artist, activist, and professor emerita of performance art at the School of the Art Institute of Chicago. Wilding was a key figure in the the nation’s first feminist art programs, at Fresno State College (now California State University, Fresno) in 1970, and at CalArts in 1971, and she continues to work with the collective she cofounded called subRosa. “Fearful Symmetries,” her debut retrospective, is currently on view at Threewalls in Chicago through February 22, 2014. The show coincides with Wilding’s lifetime achievement award from the Women’s Caucus for Art. She is currently writing her memoirs.

FEMINISM, in my experience, is not really studied these days. The language has changed so much. After a recent lecture I gave, many of the questions people were asking made it seem as though they weren’t aware of feminist history. Perhaps the millennials aren’t interested. What does it mean to be a feminist today? To become the head of Yahoo, making billions? It’s a disgusting power thing. We still need to think politically about capitalism and patriarchy, and how they are basically wrecking the world. I find that so much of social networking—this kind of maker, DIY stuff—is apolitical. But it’s attractive, of course, and it’s very ’60s; I’ve seen it before. Too much of it does not seem to have politics. Are any of these “social” networks inclusive? Are we creating a common good? A very favorite author of mine, Silvia Federici, talks about this. She’s a strong socialist feminist.

I grew up in a puritanical Christian commune in South America. It was all God the father, Jesus the son. Women’s bodies were always covered, and there was a strong gender separation between the males and females. At about twenty, this didn’t work for me anymore. And that’s what really drove me to feminism: As a kid, I felt like I never got any of my questions answered.

On the commune we made our own clothes and shoes. We learned crochet, ceramics, handiwork, woodwork, and leatherwork. I also read like a demon and began to draw. Many of my early feminist abstractions come from nature. I grew up in a very lush tropical environment. The commune sent me to college in the US, so that I could train to be a teacher. When I got there I joined the student peace union, and before I knew it I was going to the March on Washington, and getting involved with the civil rights movement and the antiwar movement. And then came the feminist movement.






Britany Salsbury

January 2014 PICKS

The exhibition includes two drawings by Mónica Palma that are based on the artist’s experience with patterns—from television episodes to crochet patterns—which are translated through repeated mark-making on sheets primed with color fields. The result are large-scale negative drawings wholly composed from intricate, spidery lines. The repetition seen in the two drawings recalls several important historical precedents—namely, the graphite works of Agnes Martin and the subconscious facture of Surrealist automatism—and updates them through a subtle reference to the banality of current technology.





Haegue Yang

Jian-Xing Too

November 2013 IN PRINT

…both 2012, consist of modular aluminum frames supporting colorful screens made of venetian blinds, crochet work, and macramé, the latter two elements integrating small bells, whose jingle… (Full reference unavailable)





“40 Under 40: Craft Futures”

Katie Anania

January 2013 PICKS

This exhibition, which is curated by Nicholas R. Bell and features forty emerging artists working at the intersection of art and craft, has a title that provokes futuristic visions. In keeping with the current shift to digital technology, viewers might expect this show to champion an erasure of the evidence of the hand in production that was traditionally associated with craft. Indeed, there is little messiness here, but what one finds instead is an uncanniness that stems from the actual bodies that constantly intervene on the more controlled, product-oriented facets of craft.

Olek’s installation Knitting Is for Pus****, 2005–11, for instance, which takes up an entire room of the show, features live performers closely cocooned from head to toe in brightly colored knit body stockings and inhabiting a dystopian scene of other crochet-covered objects (a bathtub, for instance).


Stephanie Syjuco

Gwen Allen

October 2011 IN PRINT

Counterfeit Crochet Project (Critique of a Political Economy), 2006–, in which she encourages people to join her in crocheting fake designer handbags, she alludes to the informal, underground… (Full reference unavailable)



Katrina Daschner

Brigitte Huck

April 2011 IN PRINT

…institutions as Zache˛ta National Gallery of Art in Warsaw and La Panadería in Mexico City as well as various Austrian venues. She is also known for making crochet dildos and hosting the CLUB… (Full reference unavailable)




Stephanie Syjuco on The Counterfeit Crochet Project


February 2011 VIDEO

Francisco artist Stephanie Syjuco describes her participatory artwork, The Counterfeit Crochet Project (Critique of a Political Economy), 2006–2008.




craft and commerce

Julia Bryan-Wilson

February 2011 IN PRINT

…2007–2009). Filipino-born, California-based artist Stephanie Syjuco also invites contributions from hobby crafters to unravel the branding and fabrication of desire; her Counterfeit Crochet Project… (Full reference unavailable)




Joana Vasconcelos

Juan Vicente Aliaga

May 2010 PICKS

The show’s success is due to the skillful way Vasconcelos makes wry use of items from pop culture, religious traditions, and everyday life––including objects such as crochet hooks, hair dryers, stainless steel pots, ceramics, and wine bottles––to construct her works.




John Kelsey

April 2010 IN PRINT

…condor, Rodarte’s spring 2010 collection involved serpentine braiding and weaving of hand-tooled leather strips, macramé and crochet with black yarn and feathers, bandagelike swaths of dyed…  (Full reference unavailable)




Etienne de Fleurieu

Julia Moreno de Rouvray

November 2009 PICKS

The visitor is drawn into the show via a large freestanding light box, Killing Time, 2009. The collage of discarded 35-mm filmstrips, riddled with small bullet holes, allows light to escape only through the punctures. Sequentially laminated onto a two-dimensional surface, the work creates, in effect, a spatial representation of the passing of time. It also provides an interesting conceptual strategy, since the artist shot at his films, literally “killing time.” Yet Fleurieu doesn’t stop just at film; he aims at paper, too. A close examination of Shotgun Symphony, 2009, reveals hundreds of bullet holes, each transformed into musical notes by a delicate crochet drawing.





Ian Kiaer

October 2009 IN PRINT

nuns who were preparing to display their homemade icons and crochet baskets. The disarming doubt the sisters reveal when offering their work for one another’s appraisal demonstrates a humanity… (Full reference unavailable)



David Musgrave

Michael Wilson

June 2009 IN PRINT

…as in the blurry Television picture no. 5 and no. 6, or figuratively, as in Rope animal and Crochet animal (all 2008). In the latter pair, two handcrafted beasts, recorded in Musgrave’s quasi… (Full reference unavailable)



Amy Vogel

James Yood

May 2007 IN PRINT

…is draped over a folding chair, the wolf trap lies ready at its feet, and a skein of wool and crochet needles are left on the fur on the seat. It’s a latter-day summoning of an age-old theme in…(Full reference unavailable)



Joana Vasconcelos

Miguel Amado

May 2006 PICKS

Quiron, 2006 and Jasão, 2006, two of her most recent works, are a pair of dark bull’s heads covered and color-coded with crochet pieces picked up at antiques markets. The work is part of a series made from ancient casts found in a nineteenth century ceramics plant started by Bordalo Pinheiro, a famous Portuguese caricaturist. Also related to the country’s folklore is http://www.FátimaShop, 2002, a reference to Fátima, a site where the Blessed Virgin is said to have appeared in 1917; today, numerous souvenir shops populate the area, which persists as a sanctuary for pilgrims. Alluding to this context, the piece consists of a motorized tricycle filled with kitschy, fluorescent statues of Mary. The installation faces a video projection depicting the artist’s pilgrimage to the site, as she drives the same vehicle down Portugal’s main route for these travels, the EN1, allegorizing the tensions between the region’s religious beliefs and the effects of modernization.




Louise Weaver

Charles Green

February 1998 IN PRINT

Weaver uses thread to knit and crochet coverings for antlers, cups, branches, and lightbulbs. The humble objects this young artist creates are delicately and intensely erotic, resonating… (Full reference unavailable)




Bill Davenport

Tom Moody

April 1997 IN PRINT

the crochet work). But this isn’t to say the work is free of irony. The conceit of the prepubescent allows Davenport a kind of “plausible deniability” to follow his eye wherever it leads him… (Full reference unavailable)





Jeff Weinstein

June 1996 IN PRINT

mother taught him to sew at age four; later, he trained himself to work wire and metal, cut and polish buttons, carve walking sticks, throw and fire porcelain, crochet—to manipulate any… (Full reference unavailable)

FYI  (Full reference unavailable) = paywall


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