[Tie-Dyed Indigo Woman's Wrapper, Bamana, Mali, West Africa, 20th century. Hand-spun and woven cotton; Strip-woven and tie-dyed. 36¼ x 73 inches. Available at Marcuson and Hall]
Despite the fact that it's all around us right now, my affinity for indigo shows no sign of waning.
[Full view, Tie-Dyed Indigo Woman's Wrapper from Marcuson and Hall]
I love how the tie-dyed forms on this African piece from Marcuson and Hall resemble beads. Is anyone else thinking of the David Hicks pattern Hippie Beads? Maybe this is partly because the Cooper-Hewitt just emailed me a FedEx tracking number for my Delaunay exhibition catalogue, but the rhythmic quality of the indigo fabric is also yet another reminder of the big show.
Although it started just a few minutes late due to a technical glitch, I did catch the live webcast of Sonia Delaunay: A Conversation Among Friends. The main takeaway, for me at least, was how, as Petra Timmer said, the artist took her work "to the street." She didn't see embroidery or any of the textile arts as beneath painting and sculpture. Fabric design was a way to take modern art to the people. For her the medium didn't matter. (This concept seems to dovetail somewhat with African textile design, too.)
The panelists were enthusiastic, so the conversation lingered a little past the designated hour and a half, but if the Cooper-Hewitt uploads the program (check back here), and you can find the time, the video is worth a watch.
Related past post: From Painting to Textile.