Hand-selected by TATTER founder Jordana Martin, each of these exhibition catalogues is a vibrant celebration of textile art and material culture. Each catalogue is an extension of an exhibition, a more intimate look at the people and cultures examined in the art; it is a scholarly reference, artistic inspiration, a conversation starter, a soul-nourishing collection of works, past and present.
In this collection, you will find four substantial texts. The first, published by the Bard Graduate Center, is Sonia Delaunay: Living Art. It features images of 200 objects secured from major international lenders, reflecting Delaunay’s kaleidoscopic output through all periods of her career; from the early Parisian avant-garde of the 1910s to the spirited 1970s. The second is Chinese Patchwork, a Museum of Fine Arts Boston publication which explores the creativity of 20th- and 21st-century Chinese makers who stitch fabric remnants into functional, decorative and auspicious articles for use in their homes and by their families. This text displays a wide variety of designs, patterns and techniques. The third is Gee's Bend: the Women and Their Quilts. Published in conjunction with the exhibition, The Quilts of Gee's Bend, and organized by the Museum of Fine Arts, Houston, this out-of-print book details almost two centuries of quilt-making by women of Gee's Bend in southern Alabama. It includes 350 color illustrations, 30 black-and-white illustrations, and charts of their quilts. Finally, Fiber: Sculpture 1960–present is a catalogue from an exhibition of the same name at the Institute of Contemporary Arts Boston. It explores the development of abstraction and dimensionality in fiber art from the mid-twentieth century through to the present. This text addresses the cultural and critical forces that contributed to the initial efflorescence of the fiber revolution in the mid-century, its contraction in the 1980s, and its recent reclamation by contemporary artists.
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