Print and Pattern
Hopefully my friend Cameron is too busy with her twins to notice that I put her birthday present on a blog. I just want all the textile enthusiasts out there to see more views of Soolip's silkscreened paper. Since it's made from recycled cotton rag, it "reads" a bit like fabric. And the available prints definitely feel textile-inspired. (The apple-green palm leaf pattern has a delicate silver line running though it.) For everyone lamenting the loss of Mrs. John L. Strong's luxe stationery, Soolip's offerings make terrific envelope liners.
With textile designers and students in mind, I ventured to the High this morning to study David Driskell's work along with paintings and drawings from the permanent collection. The museum is brimming with fine abstract and self-taught art characterized by "flattened" lines that are conducive to fabric design.
Obviously I'm excited about this summer's major exhibition, Monet Water Lilies, but I also hope visitors will explore the museum's lower level where Driskell's prints are on view in Evolution adjacent to the Works on Paper Study Room. Fans of Matisse and African Art will really appreciate the show, which closes August 2, 2009. (To watch a related video, click here.)
Due to photography restrictions, I can't post pictures of my favorite pieces. However, I can share another tip: If you are visiting the High, go to the top floor of the original wing where Nellie Mae Rowe's colorful, densely patterned drawings hang. In a nearby gallery, furniture such as George Nelson's bright orange mid-century Marshmallow Sofa is juxtaposed with abstract art of the same period. You can weave your way past Thonet's iconic rocker and late-19th-century art, then continue to go back further in time as you descend each level of the "old" museum.
Above, Bonnie Cashin's Nelson sofa as seen in New York Times Magazine. Driskell's Pine Tree woodcut is via the David C. Driskell Center.