LAST CALL: Art/Sewn @ FiveMyles & We Are Grammer @Pratt.

558 St. Johns Place
Brooklyn, NY 11238
map and directions 

Gallery Hours:
Thursday through Sunday
from 1 to 6 p.m.

March 26 – May 6, 2011


Group Show, curated by Ward Mintz

Emily Barletta, Sandy Benjamin-Hannibal
Denise Burge ,Elisa D’Arrigo
Linnea Glatt, Janet Henry
Cyrilla Mozenter, Jessica Rankin
Laura Splan, Anna Von Mertens

The exhibition focuses on work where sewing is integral to the making and looking experience. Art/Sewn attempts to blur the distinction between art and craft, so relevant to today’s art world when so-called fine art has adopted craft forms and techniques and craft artists are making non-functional work. What the work shares is sewing—sewing on woven fabric, on paper, felt and skins. Sewing as an artistic means, as expression, as feminist statement. This will be the first exhibition at FiveMyles to examine the role of sewing in the production of contemporary art. The guest curator is Ward Mintz.

Background: In virtually all world cultures, sewing has been the province of women. In the early years of the United States, sewing was perceived as an important skill. At first, this skill was put to use to clothe the family, and for daughters of the working class, sewing continued to be a practical skill through much of the 19th century. In Maryland, nuns instructed the daughters of freed blacks, who produced samplers and embroideries similar to their white counterparts. Increasingly, with the rise of the middle and upper middle class in the 19th century, sewing became a means of self-expression and a route to knowledge for educated, bourgeois women. By the end of the 19th century, with the rise of industrialization, more women were able to indulge in leisure pursuits and were able to produce quilts and other sewn items that were valued more for their artistry and less for their usefulness.

By the 20th century, more and more women were becoming artists and designers, though few were given the opportunity to achieve the celebrity of their male colleagues. By the late 1960s and 1970s, women artists and designers demanded greater recognition and exhibition opportunities. Through the remaining years of the century, in defiance of the prevalent modernist movements, such as Abstract Expressionism and Minimalism, many women adopted feminine imagery, materials, colors—and techniques, including sewing.

“We Are Grammar”

February 25 – May 7, 2011
Opening reception, Thursday, February 24, 6 – 8 pm

A large-scale exhibition that looks at the diverse and evolving ways in which a third generation of artists has employed text in art over the past 10 years.

Guest curators: Dave Beech and Paul O’Neill

Can Altay
Simon Bedwell
David Blamey
Pavel Büchler
The Complaints Choir (Tellervo Kalleinen and Oliver Kochta-Kalleinen)
Goran Djordjevic
Ben Fitton
Freee art collective (Dave Beech, Andy Hewitt, and Mel Jordan)
Jaime Gili and Luis Romero (Editors)
Liam Gillick
Goll & Nielsen
Anthony Gross
Lucy Gunning
Jeanne van Heeswijk and the Employees of SUS
Matthew Higgs
Karl Holmqvist
Toby Huddlestone
Mark Hutchinson
Matt Keegan
Annette Krauss
Pierre Léguillon
Gareth Long
Nanna Lysholt-Hansen
Ronan McCrea
Jonathan Monk
Simon Morris
Graham Parker
Sarah Pierce
Falke Pisano
Plastique Fantastique (David Burrows and Simon O’Sullivan)
Elizabeth Price
Nick Thurston
Bik Van der  Pol
Ian Whittlesea
Mick Wilson
Carey Young

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