An admirer of pre-Columbian textiles, the artist uses large sculptures as well as miniature weaves to create tapestries that bring their color to life.

This text examines the small woven and wrought works artist Sheila Hicks has produced over years. Focusing on 100 Hicks miniatures from many public and private collections, it includes three informative essays as well as illustrations of the artist's related drawings, photographs and chronology.

Published as a sequel to Sheila Hicks: Apprentissages (2017), this new book by the artist (born 1934) gathers recent monumental and architectural-based projects. It emphasizes Hicks' relationship to the sites in which she intervenes and her way of playing with scale and site-specificity. Among the outdoor and indoor projects featured in the publication are Foray into Chromatic Zones (Hayward Gallery, London, 2015); Escalade Beyond Chromatic Lands (57th Venice Biennale, Venice, 2017); and Hop, Skip, Jump, and Fly. Escape from Gravity (High Line, New York, 2017-18). Sheila Hicks: A Matter of Scale places a particular focus on Lifelines, Hicks' recent retrospective held at the Centre Pompidou, which is treated here as a case study for the artist's broader practice.

Sheila Hicks (born 1934) is a pioneering artist noted for objects & public commissions whose structures are built of colour & fibre. This volume accompanies the first major retrospective of Hicks's work. It documents the divergent scale of her textiles as well as her distinctive use, & surprising range, of materials.

Recent years have seen an enormous surge of interest in fiber arts, with works made of thread on display in art museums around the world. But this art form only began to transcend its origins as a humble craft in the late nineteenth and early twentieth centuries, and it wasn’t until the 1950s and 1960s that artists used the fiber arts to build critical practices that challenged the definitions of painting, drawing, and sculpture. One of those artists was Lenore Tawney (1907–2007). Raised and trained in Chicago before she moved to New York, Tawney had a storied career. She was known for employing an ancient Peruvian gauze weave technique to create a painterly effect that appeared to float in space rather than cling to the wall, as well as for being one of the first artists to blend sculptural techniques with weaving practices and, in the process, pioneered a new direction in fiber art. Despite her prominence on the New York art scene, however, she has only recently begun to receive her due from the greater art world. Accompanying a retrospective at the John Michael Kohler Arts Center, this catalog features a comprehensive biography of Tawney, additional essays on her work, and two hundred full-color illustrations, making it of interest to contemporary artists, art historians, and the growing audience for fiber art. Copublished with the John Michael Kohler Arts Center.

The Singularity. It is the era of the posthuman. Artificial intelligences have surpassed the limits of human intellect. Biotechnological beings have rendered people all but extinct. Molecular nanotechnology runs rampant, replicating and reprogramming at will. Contact with extraterrestrial life grows more imminent with each new day. Struggling to survive and thrive in this accelerated world are three generations of the Macx clan: Manfred, an entrepreneur dealing in intelligence amplification technology whose mind is divided between his physical environment and the Internet; his daughter, Amber, on the run from her domineering mother, seeking her fortune in the outer system as an indentured astronaut; and Sirhan, Amber’s son, who finds his destiny linked to the fate of all of humanity. For something is systematically dismantling the nine planets of the solar system. Something beyond human comprehension. Something that has no use for biological life in any form...

At the end of World War II, the art of tapestry experienced anews boom and throughout Europe national workshops and factories were renewed. By organizing the International Tapestry Biennials in 1962, the city of Lausanne came to be recognised as the capital of contemporary textile art and centre of New Tapestry movement.00Illustrated with more than 100 works and views of rooms, most of them unpublished, the book testifies to the impact and vitality of these exhibitions and their impact abroad. The historical research carried out by Toms Pauli Foundation, heir to the International Center for Ancient and Modern Tapestry, is enriched by the essays of specialists from four countries with a textile tradition: France, Poland, USA and Japan.