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Pricked : extreme embroidery

Author: David Revere McFadden; Museum of Arts and Design (New York, N.Y.)
Publisher: New York : Museum of Arts & Design, ©2007.
Series: Process + materials, 2.
Edition/Format:   Print book : EnglishView all editions and formats
Database:WorldCat
Summary:
"Pricked takes the pulse of the international embroidery as practiced today. It is not by any measure an exhibition about embroidery, but rather an exhibition of contemporary art made by artists that use embroidery as a medium to communicate their ideas and visions." ... "Language & art; Process & materials. The pleasure of making and the communication of meaning is vital in the work of each artist in Pricked:  Read more...
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Document Type: Book
All Authors / Contributors: David Revere McFadden; Museum of Arts and Design (New York, N.Y.)
ISBN: 1890385131 9781890385132
OCLC Number: 181368470
Notes: Catalog of an exhibition organized by and held at the Museum of Arts & Design, Nov. 8, 2007-Mar. 9, 2008.
Description: 106 pages : color illustrations ; 26 cm.
Contents: Neither more nor less --
Politics is not a science--
Whatever is well said by another is mine --
Memory is what makes our lives --
Bodies never lie --
Shadows numberless.
Series Title: Process + materials, 2.
Other Titles: Extreme embroidery
Responsibility: David Revere McFadden.

Abstract:

"Pricked takes the pulse of the international embroidery as practiced today. It is not by any measure an exhibition about embroidery, but rather an exhibition of contemporary art made by artists that use embroidery as a medium to communicate their ideas and visions." ... "Language & art; Process & materials. The pleasure of making and the communication of meaning is vital in the work of each artist in Pricked: extreme embroidery. These are artists that have chosen embroidery as the most direct way to bring their artistic visions to life. A return to materiality in art practice is indicated by the work presented by each artist, ; it also documents a shift in the way art functions in our lives. These works suggest that the real can trump the virtual, that low-tech activities can be as impressive as high-tech systems, that personal visions are as valid as generic pronouncements, and that process and materials carry their own meaning in contemporary art."--Page 10 & 97.

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