5 Sunsails will be installed along the river in downtown Wichita June 3-11 2016
Tuesday, May 3, 2016
Thursday, September 3, 2015
Rachel Hayes - Not Fade Away - Taubman Museum
Rachel Hayes - Not Fade Away - Taubman Museum
Rachel B. Hayes: Not Fade Away
Saturday, September 26, 2015 - Sunday, November 6, 2016
The Taubman Museum of Art is pleased to present a major site-specific fabric installation by nationally recognized artist Rachel B. Hayes that merges the artist’s fascination with notions of fragility and power, painting and quilt making, and the interplay of light and shadow. Inspired by the unique architecture of the Taubman’s three-story atrium designed by Randall Stout, Hayes will create a suspended fabric sculpture exclusively out of multi-colored nylon, light gels, and thread. Hayes’ Not Fade Away will occupy an ambitious footprint extending eighty feet from the ground level and will act as a canopy over the 1,000-square-foot atrium floor. Appearing as a massively layered stained glass patchwork quilt, Hayes’ fiber-based sculpture will bathe the space in vibrant, changing color as natural light enters the stunning glass façade of the atrium.
In Not Fade Away, Hayes uses her fascination with processes and materials based in craft and design to create an abstract composition that embraces the language of painting while interacting with space in a sculptural manner. Her interaction with the Taubman’s atrium combines her dual approach to creating: a love of sewing referencing handmade quilts matched with her interest in highly architectural aesthetic sites. The natural and constantly shifting light that enters through the atrium windows will filter through the piece, illuminating it like a jewel while colored light washes over the cloth, the atrium walls, and the viewers below. Hayes comments on her process, “Hand sewn and often large-scale, my work is in equal major – both powerful and fragile. Scale and color consume a space, yet there is balance with the delicately sewn stitches and understated shadows, therefore maintaining a strong physical and material presence while remaining sensuous and experiential.”
Hayes’ site-specific installation continues an experimental atrium program established by the museum in 2010. This program invites artists to create new work that stretches the limits of their production while offering them compelling opportunities to explore fresh ideas in their work. Rachel B. Hayes’ Not Fade Away is one of her most ambitious projects to date with the museum’s atrium providing both aesthetic opportunities as well as inherent challenges with its architecture. “A site will often dictate the scale of my work, and I will try to take advantage of what a given space will offer, such as height and width, natural light or incandescent. Then I muse about how my materials may take advantage of it,” says Hayes. “After drawing up my plan for ‘fitting’ my work within the frame of the space, I leave most other decisions to intuition. I use my sewing machine as a building tool for connecting planes and lines. I see my works as abstract, yet the materials that I use carry a history and weight of their own.” Hayes transformation of the museum’s atrium with her patchwork site-specific construction will provide visitors with new perspectives through her unusual grouping of materials as well as the setting it illuminates.
Rachel Hayes received her Bachelor of Fine Arts from the Kansas City Art Institute in Fiber and went on to earn a Master of Fine Arts in Painting from Virginia Commonwealth University. She has attended the Marie Walsh Sharpe Space Program in Brooklyn, NY; the Sculpture Space Residency in Utica, NY; and the Art Omi International Artists' Residency in Omi, NY. Hayes is the recipient of the Augustus Saint-Gaudens Memorial Fellowship in Sculpture, a Virginia Museum of Fine Arts Professional Fellowship in Sculpture, and a Charlotte Street Fund Award. She has shown her work at the Sculpture Center in New York; Nerman Museum of Contemporary Art, Kansas; Roswell Museum of Art, New Mexico; Indianapolis Museum of Art, Indiana; Saint-Gaudens National Historic Site, New Hampshire; and in Lower Manhattan NYC with BravinLee Programs. Hayes has completed large outdoor commissions for the Rosslyn Business Improvement District in Rosslyn, Virginia near Washington D.C., and for Artsbeat in Columbus, Georgia. This year she is the recipient of a coveted Roswell Artist in Residence program in Roswell, New Mexico.
Rachel B. Hayes: Not Fade Away is curated by Amy G. Moorefield, Deputy Director of Exhibitions and Collections at the Taubman Museum of Art and will be on view in the City of Roanoke Atrium from September 25, 2015 through November 6, 2016. Exhibition sponsorship for Rachel B. Hayes: Not Fade Away has been provided in part by Sunbelt Rentals.
Exhibition thumbnail image: Rachel B. Hayes, Not Fade Away digital maquette, 2015, Courtesy of the artist
Tuesday, February 10, 2015
Friday, August 22, 2014
Rachel Hayes @ Snug Harbor Cultural Center & Botanical Garden NY
Snug Harbor Cultural Center & Botanical Garden and the Newhouse Center for Contemporary Art presents: Fluid–Essential for Life, an exhibition featuring 36 artists who explore water as an integral part of our world. The exhibition will open on Saturday, May 3, 2014, with a public reception from 12:00 PM to 5:00 PM. The exhibition will run through December 14, 2014.
Thursday, August 21, 2014
Rachel Hayes @ OUTLET, Brooklyn, NY
OUTLET, Brooklyn, NY
A brief history
Azettagh (the Amazigh word for “I weave”) places the unique weaving traditions of Moroccan artisans in conversation with works of contemporary art by four artists working in various ways with textile. Differing from the more popularly seen patterns of Persian rugs, Moroccan rugs are noted for their more abstract characteristics with occasional asymmetric styling and colors. Yet, these tribal rugs have long had a voice in the history of modern and contemporary art, with some of the first being the Beni Ouarain rugs used by the architect Le Corbusier (1887 – 1965) in his highly modern interiors. While, there are many different weave styles and patterns of rugs which vary depending on their intended use and tribe, the more contemporary Boucherouite rugs made of recycled materials have recently risen to prominence in the West because of their abstract, post-modern, and painterly qualities. Yet, at their root, Moroccan rugs, past and present, are objects of utility with weave and style depending on their function. From the tight flat weaves of the Sahara to the large pile weave of the much colder Atlas Mountains, these rugs are important objects for use in the home and serve as markers of historic and cultural identity.
Azettagh (the Amazigh word for “I weave”) places the unique weaving traditions of Moroccan artisans in conversation with works of contemporary art by four artists working in various ways with textile. Differing from the more popularly seen patterns of Persian rugs, Moroccan rugs are noted for their more abstract characteristics with occasional asymmetric styling and colors. Yet, these tribal rugs have long had a voice in the history of modern and contemporary art, with some of the first being the Beni Ouarain rugs used by the architect Le Corbusier (1887 – 1965) in his highly modern interiors. While, there are many different weave styles and patterns of rugs which vary depending on their intended use and tribe, the more contemporary Boucherouite rugs made of recycled materials have recently risen to prominence in the West because of their abstract, post-modern, and painterly qualities. Yet, at their root, Moroccan rugs, past and present, are objects of utility with weave and style depending on their function. From the tight flat weaves of the Sahara to the large pile weave of the much colder Atlas Mountains, these rugs are important objects for use in the home and serve as markers of historic and cultural identity.
In this way they pair perfectly with the works of Brece Honeycutt, whose own research-based work is an investigation into forgotten histories. Her most recent work is a series of unfolded eco-prints made from repurposed cast-off textiles dyed naturally from plants gathered from the land around her studio in Western Massachusetts. While dying these textiles she folds leaves and other materials to create natural prints. Much as many of the patterns used by Amazigh weavers have specific referents to the locations and histories of the peoples that made them, Honeycutt’s works spark a conversation about the history of the textile object and the living present of the environment around her.
Similarly, media installation artist Robin Kang’s work investigates the coded structure of society and the visual language of textiles. Robin’s work functions as an abstract weaving of memories involving sociopolitical systems, in particular the mechanization of craft and culture. Her work references the relationships between ancient processes like textile creation and present ones like manufacturing electronics, while questioning the process of making and the materiality of experience. This focus makes Kang’s work particularly relevant given increasing demands for Amazigh weavers to adopt “Western” lives and livelihoods and the messy relationships of power between nations that have led to the creation of rugs like Boucherouites that are crafted from castoff material.
Samantha Bittman’s paintings also draw on the ancient process of weaving. Her optical symmetries and mathematical patterns harken more to the flat weaves of the Sahara. However, she uses weaving as a starting point, or even a subject, to make paintings about merging the image, materiality, topography, and the painting support itself. Often acrylic on hand-woven textile, her works seem to vibrate and move with an underlying invented logic. More interested in the patterns that arise from inherent mathematics of weaving, she builds upon her base layers in ways that both accentuate and obscure the weave as a visual component of work.
In the objects that Rachel Hayes creates, she seeks to find a natural balance between fragility and power. Her meticulously composed constructions of multicolored materials like glass, fabric, plastic, paint, wire, and light gels, often invade space with a distinctly architectural sensibility. Drawing on their environments, these patchwork constructions breathe new life into both the
repurposed materials of their composition and the settings they illuminate. Hayes’s bright colors and free flowing forms suggest a visual relationship to contemporary Moroccan styling while the works’ construction from many pieced together elements also evoke the kind of visual texture found in Boucherites. With Hayes, scale and color consume the space, and yet there is an equilibrium to be found in the delicately sewn stitches and understated shadows, often as much a part of her work as the objects themselves.
Kantara is a design business specializing in hand-woven rugs and home furnishings, directly sourced from women’s weaving cooperatives in Morocco’s Atlas Mountains. Kantara grew out of our love for the art and design of Moroccan textiles. We were inspired by the tenacity of the women weavers in rural Morocco and their commitment to preserving an art form that goes back generations. However, while Morocco is known for being a liberal Muslim country with tourist-friendly cities, such as Marrakech and Fez, in the countryside women weavers have little contact with those who ultimately buy their products. Because of the women’s lack of mobility and access to the business world, urban middlemen have come to control the demand of carpets, obtaining the pieces for a fraction of what their market value should be, only to resell them at high-priced urban markets. With the prices offered by these middlemen, the artisans are barely able to pay for their materials, let alone receive compensation for their time and creativity. This market dynamic affects not only the women but also their families as it perpetuates the cycle of poverty and child labor in rural Morocco.
Rachel Hayes in 'ANARCHISTIC ABSTRACTION'
Anarchistic Abstraction
October 24 – December 2
Peter Acheson, Ginnie Baer, Tom Bunnell, Sally Bowring, Paula Crawford, Steven Cushner, Don Crow, Jutta DeMay, Chris Gregson, Steven Griffin, Reni Gower, Rachel Hayes, Ron Johnson, Ray Kass, Amie Oliver, Tom Nakashima, Paul Ryan, Robert Stuart, Dan Treado, Maria Walker, Hilary Wilder, William Willis
University of Mary Washington
Tuesday, September 3, 2013
Eric Sall is the Grant Wood Fellow 2013-14
Eric Sall is the Grant Wood Fellow 2013-14
The Grant Wood Art Colony
Mission:
The mission of the Grant Wood Art Colony is to nurture creative work and teaching in disciplines relevant to the art and life of Grant Wood - studio art and art history, and eventually expanding to a variety of disciplines. The program exemplifies The University of Iowa’s historic commitment to creative work and pioneering of the MFA degree. The Grant Wood Art Colony will further embody the "Iowa Idea" of bringing artists and scholars together in an academic context, as first formulated in the 1920s by President Walter Jessup and Graduate Dean Carl Seashore. Our long-term goal is to create a vibrant colony and cultural center, woven together by gardens and studio space.
Rachel Hayes - All Aflutter
Rosslyn BID launches new temporary public art program
Rachel created 5 separate installations on 5 bridges, lasting for up to a year, near Washington D.C.
Rachel created 5 separate installations on 5 bridges, lasting for up to a year, near Washington D.C.
All Aflutter
The fiber art installation All Aflutter, created by nationally renowned artist Rachel Hayes will adorn Rosslyn’s skywalks on North Moore St., Nash St. and North Fort Myer Drive with brightly colored, flowing fabric.
Hayes’ large-scale works have graced skywalks along Kansas City, Missouri’s, Avenue of the Arts, New York City construction sites and galleries throughout the United States. She is influenced by a variety of interests that include minimalist sculpture, abstract painting, fashion, flags and quilts.
To plan All Aflutter, Hayes photographed Rosslyn’s architectural elements, to determine fabric placement and the flow of the bridges. “I spent time thinking about how each piece would look up close and far away, how they will relate to each other,” she says, “and how somebody will move their body across the skywalk and ‘see’ what is ahead of them. Pedestrians will have the ability to reach out and touch the materials, and make their own associations with the materials and color.”
“I see stripe patterns and grids all over Rosslyn. I want to respond to these parallel and perpendicular lines by attaching sheer materials that are allowed to billow in the wind,” Hayes adds. “It is not my intention to compete with the landscape of Rosslyn. Rather, I can echo the lines and forms while drawing attention to the unique beauty of a medium sized all-American city.”
All Aflutter In The News
- Kansas City Art Institute blog
ARTNotes, May 6, 2013
- All Aflutter by Rachel Hayes Installed on Rosslyn’s Skywalks
Arlington Magazine, April 30, 2013
- Rosslyn Now Even More Colorful
The Ode Street Tribune, April 23, 2013
Rachel Hayes @ Associated Gallery
Hot Mamas @ Associated Gallery
Brooklyn, NY
Brooklyn, NY
Hot Mamas
Caroline Falby, Rachel Hayes, Sharon Horvath
July 20 - August 18, 2013
July 20 - August 18, 2013
Opening Saturday July 20, 7-10pm
FOR IMMEDIATE RELEASE
Associated is pleased to present a three person show featuring works by Caroline Falby, Rachel Hayes, and Sharon Horvath. All three artists share two, or maybe several, common threads amongst their lives - the act of creating artwork, and of having created life, as mothers. Each has taken their own unique aesthetic approach to art making, and with vastly different materials, but have all juggled sustaining an artistic practice while maintaining and nurturing a family in New York City over the years.
Sharon Horvath creates dreamlike paintings, primarily on paper, with pigment and polymer that she mixes herself. Her imagery balances the serene with the naive, consisting of objects such as rocking horses, baseball fields, complex and ambiguous netted structures, and starry nights. Only occasionally do her subjects allude to experiences of maternity in an overt manner, but they often hint at domesticity, and always intimacy.
Caroline Falby, by contrast, often creates works that reflect her position and responsibility as a mother. She uses many media to transgressively question the seemingly absolutist authority of our social structures and especially parenthood. Often employing dark humor, she draws frequently on fables and apocryphal tales from many cultures to undermine and highlight the failures in our own.
In the objects that Rachel Hayes creates, she seeks to find a natural balance between fragility and power. Her work functions on a multitude of levels; as an object of beauty, as minimalist sculpture, as architectural divide, as abstract painting, or even as a massive stained glass patchwork quilt. She applies various materials such as glass, fabric, plastic, paint, wire, and light gels that cast colorful, dynamic shadows onto the surrounding environment. Within her process, she employs techniques evocative of basketry and sewing to build forms that are often related to the “feminine.” Such techniques are offset however, by the color and scale, creating a dichotomy between craft as it relates to the feminine and architecture’s masculine connotations.
Horvath received her BFA from Cooper Union and her MFA from the Tyler School of Art, and has attended the Skowhegan School of Painting and Sculpture. She is currently pursuing a Fulbright US Scholar Grant in India, studying the Ragamala genre of Indian miniature painting. She has received numerous fellowships and awards including the John Simon Guggenheim Memorial Fellowship, The Rome Prize, and two Pollock-Krasner foundation grants. She is currently an Associate Professor of Painting & Drawing at Purchase College, SUNY.
Falby received her BFA from Parsons School of Design and her MFA from Hunter College. She has exhibited widely throughout New York including shows at NURTUREart, The Drawing Center, the Queens Museum, and the Bronx Art Space.
Hayes received her BFA from Kansas City University and her MFA from Virginia Commonwealth University. She has attended numerous residencies such as the Marie Walsh Sharpe Foundation (NY), Roswell (New Mexico), amongst others, and has exhibited widely throughout the US, and has been commissioned for many public art projects.
ASSOCIATED 566 Johnson Ave. Brooklyn, NY 11237 Buzzer #27/#28
By appointment only, buzz #28 to see if someone is there / or please email to confirm
Eric Sall @ Bravin Lee
Eric @ Bravin Lee
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 | ||||
| 526 West 26th Street #211 | ||||
| New York, NY 10001 | ||||
| p 212 462 4404 | ||||
| f 212 462 4406 | ||||
| www.bravinlee.com | ||||
| Floater | ||||
| Clint Jukkala, Alexander Kroll, Evan Nesbit, Erik Olson, Eric Sall, Amanda Valdez | ||||
| May 22 - July 19, 2013 |
Sunday, May 5, 2013
Rachel @ Active Space - Bushwick, Brooklyn
Rachel Hayes - detail of Burlap Falls
Active Space - Bushwick, Brooklyn
Resurrecton
Group Exhibition
May 3rd – 24th 2013
Opening reception Friday, May 3rd, 2013 6pm-10pm
“RESURRECTION” – a revival from inactivity and disuse; “it produced a resurrection of hope” resurgence, revitalization, revival, revivification – bringing again into activity and prominence; “the revival of trade”; “a revival of a neglected play by Moliere”; “the Gothic revival in architecture”
Katie Bell is both a home-maker and a home-wrecker. She is in constant management of what comprises the home while at the same time disassembling its contents. Using the language of abstraction through an excavational lens has allowed her process to become more articulate in the obscurities of buried spaces. In terms of abstract painting, remodeling, for Katie, is an unsettling struggle between hiding and revealing.
Suzanne Goldenberg works in a variety of media including drawing, collage, textiles, video and sculpture. Through an improvisational process, she transforms found and scavenged materials, often what might be considered detritus and of no apparent value, into unexpected sculptural compositions that bear traces of the emotional, the architectural and the comic, but are ultimately non-literal. In these sculptures, the materials retain their histories as the waste by-product of our consumer society, but through a sensitivity to their other possible lives, Goldenberg transforms them into rich materials forming precarious structures poised between growth and collapse.
Rachel Hayes is interested in creating work that functions on multiple levels within a given space—as a fascinating object, as a minimalist sculpture, as an architectural space divider/interrupter, as an abstract painting, or even as a massive stained glass patchwork quilt. Hand-sewn and often large-scale, her work is in equal measure – both powerful and fragile. Scale and color consume a space yet there is balance with the delicately sewn stitches and understated shadows, therefore maintaining a strong physical and material presence while remaining sensuous and experiential.
JR Larson was raised in the Cajun South and has a personal connection to ritual festivities including Mardi Gras and the mysticism surrounding voodoo. Embracing a multitude of cultures, Larson focuses on the creation of spirited objects; his artworks are heavy with the weight of transformative powers: woven, torn, worn-through, pierced and burned. His work is both personal and otherworldly, straddling multiple vantage points simultaneously, synthesizing a full gamut of artifacts, from larger than life totems to colorful paintings and taut snares.
Bridget Mullen accumulates found objects, other artists’ discarded materials, and her own completed paintings, sculptures, and drawings—using these materials she creates new work. She investigates repetition as a device for understanding information, shortcomings of memory through drawing from memory, visual harmony and discordance using both chance and choice in her process, and physical and metaphysical impacts of impermanence using unstable materials and re-purposing completed work.
Matt Miller’s work involves painting on the polystyrene then treating the painting with chemicals. Whether it be painting with a brush, dripping, or splattering, the application of the paint becomes almost secondary to the result of the process. The action of painting is very important to him and is the record of his improvised movements and decisions. By chemically reducing the ground of the original painting he creates tactile surfaces and literal depth around and within the mark allowing the viewer a point of entry to the work.
Ross Tibbles’s work exists within the parameters of assemblage and are born from the continual movement, realignment and exchange of the visual conundrums that occur daily within his studio environment. His work appears to be casual or accidental and to have a lightness of touch and opens up the work and in some ways allows the viewer to form its completion.
May 3rd – 24th 2013
Opening May 3rd, 6-10 pm
566 Johnson ave (entrance on Stewart)
Bushwick, BK
Open Friday-Sunday 1-6PM or by appointment
Tuesday, January 15, 2013
Saturday, December 15, 2012
Eric Sall AB FAB @ ADA Gallery
Eric has a few awesome paintings in Richmond, VA
AB FAB @ ADA Gallery
Richmond, VA
September-October 2012
AB FAB @ ADA Gallery
Richmond, VA
September-October 2012
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