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Installation Views

Installation Views Thumbnails
Installation view, Stitched, January 14 – February 19, 2022 1

Installation view, Stitched, January 14 – February 19, 2022

Installation view, Stitched, January 14 – February 19, 2022 2

Installation view, Stitched, January 14 – February 19, 2022

Installation view, Stitched, January 14 – February 19, 2022 3

Installation view, Stitched, January 14 – February 19, 2022

Installation view, Stitched, January 14 – February 19, 2022 6

Installation view, Stitched, January 14 – February 19, 2022

Installation view, Stitched, January 14 – February 19, 2022 7

Installation view, Stitched, January 14 – February 19, 2022

Installation view, Stitched, January 14 – February 19, 2022 8

Installation view, Stitched, January 14 – February 19, 2022

Installation view, Stitched, January 14 – February 19, 2022 9

Installation view, Stitched, January 14 – February 19, 2022

Installation view, Stitched, January 14 – February 19, 2022 10

Installation view, Stitched, January 14 – February 19, 2022

Installation view, Stitched, January 14 – February 19, 2022 11

Installation view, Stitched, January 14 – February 19, 2022

Installation view, Stitched, January 14 – February 19, 2022 12

Installation view, Stitched, January 14 – February 19, 2022

Installation view, Stitched, January 14 – February 19, 2022 13

Installation view, Stitched, January 14 – February 19, 2022

Installation view, Stitched, January 14 – February 19, 2022 15

Installation view, Stitched, January 14 – February 19, 2022

Installation view, Stitched, January 14 – February 19, 2022 16

Installation view, Stitched, January 14 – February 19, 2022

Installation view, Stitched, January 14 – February 19, 2022 17

Installation view, Stitched, January 14 – February 19, 2022

Installation view, Stitched, January 14 – February 19, 2022 18

Installation view, Stitched, January 14 – February 19, 2022

Installation view, Stitched, January 14 – February 19, 2022 20

Installation view, Stitched, January 14 – February 19, 2022

Installation view, Stitched, January 14 – February 19, 2022 21

Installation view, Stitched, January 14 – February 19, 2022

Installation view, Stitched, January 14 – February 19, 2022 1

Installation view, Stitched, January 14 – February 19, 2022

Installation view, Stitched, January 14 – February 19, 2022 2

Installation view, Stitched, January 14 – February 19, 2022

Installation view, Stitched, January 14 – February 19, 2022 3

Installation view, Stitched, January 14 – February 19, 2022

Installation view, Stitched, January 14 – February 19, 2022 6

Installation view, Stitched, January 14 – February 19, 2022

Installation view, Stitched, January 14 – February 19, 2022 7

Installation view, Stitched, January 14 – February 19, 2022

Installation view, Stitched, January 14 – February 19, 2022 8

Installation view, Stitched, January 14 – February 19, 2022

Installation view, Stitched, January 14 – February 19, 2022 9

Installation view, Stitched, January 14 – February 19, 2022

Installation view, Stitched, January 14 – February 19, 2022 10

Installation view, Stitched, January 14 – February 19, 2022

Installation view, Stitched, January 14 – February 19, 2022 11

Installation view, Stitched, January 14 – February 19, 2022

Installation view, Stitched, January 14 – February 19, 2022 12

Installation view, Stitched, January 14 – February 19, 2022

Installation view, Stitched, January 14 – February 19, 2022 13

Installation view, Stitched, January 14 – February 19, 2022

Installation view, Stitched, January 14 – February 19, 2022 15

Installation view, Stitched, January 14 – February 19, 2022

Installation view, Stitched, January 14 – February 19, 2022 16

Installation view, Stitched, January 14 – February 19, 2022

Installation view, Stitched, January 14 – February 19, 2022 17

Installation view, Stitched, January 14 – February 19, 2022

Installation view, Stitched, January 14 – February 19, 2022 18

Installation view, Stitched, January 14 – February 19, 2022

Installation view, Stitched, January 14 – February 19, 2022 20

Installation view, Stitched, January 14 – February 19, 2022

Installation view, Stitched, January 14 – February 19, 2022 21

Installation view, Stitched, January 14 – February 19, 2022

Selected Works

Selected Works Thumbnails
Alan Shields S.P., 1970 acrylic, thread, beads on canvas 103 1/2 x 167 1/2 in. (262.9 x 425.5 cm)

Alan Shields
S.P., 1970
acrylic, thread, beads on canvas
103 1/2 x 167 1/2 in. (262.9 x 425.5 cm)

Claes Oldenburg, Soft Doors for Airflow Model #5, 1965, stenciled canvas and kapok three elements each: 40 1/8 x 28 3/8 x 2 3/4 in. (101.9 x 72.1 x 7 cm)

Claes Oldenburg
Soft Doors for Airflow Model #5, 1965
stenciled canvas and kapok three elements
each: 40 1/8 x 28 3/8 x 2 3/4 in. (101.9 x 72.1 x 7 cm)

Joel Shapiro untitled, circa 1972 thread on paper

Joel Shapiro
untitled, c. 1972
thread on paper
10 1/2 x 8 1/2 in. (26.7 x 21.6 cm)
frame: 18 x 14 1/2 x 1 3/8 in. (45.7 x 36.8 x 3.5 cm)

Lucky DeBellevue, Gives, 2009, chenille stems, 3 panels, overall: 53 x 36 x 3 in. (134.6 x 91.4 x 7.6 cm)

Lucky DeBellevue
Gives, 2009
chenille stems
3 panels, overall: 53 x 36 x 3 in. (134.6 x 91.4 x 7.6 cm)

Kelley Walker, Belt Loop, 2017, four-color process silkscreen on aluminum, 10 7/8 x 4 1/2 x 2 1/8 in. (27.6 x 11.4 x 5.4 cm)

Kelley Walker
Belt Loop, 2017
four-color process silkscreen on aluminum
10 7/8 x 4 1/2 x 2 1/8 in. (27.6 x 11.4 x 5.4 cm)

Kelley Walker Speaking Face, 2017 four-color process silkscreen on aluminum 13 1/2 x 11 3/8 x 3 3/4 in. (34.3 x 28.9 x 9.5 cm)

Kelley Walker
Speaking Face, 2017
four-color process silkscreen on aluminum
13 1/2 x 11 3/8 x 3 3/4 in. (34.3 x 28.9 x 9.5 cm)

Eric N. Mack, Landlord (detail), 2021, umbrella, wood flagpoles, metal brackets, fabric collage, thread ​dimensions variable

Eric N. Mack
Landlord (detail), 2021
umbrella, wood flagpoles, metal brackets, fabric collage, thread
​dimensions variable

Christian Marclay, Moebius Loop, 1994, cassette tapes, nylon ties 24 x 84 x 240 inches (61 x 213.4 x 609.6 cm)

Christian Marclay
Moebius Loop, 1994
cassette tapes, nylon ties
24 x 84 x 240 inches (61 x 213.4 x 609.6 cm)

Christian Marclay, Hits (from the series 'Body Mix'), 1991, three record covers and cotton thread, image: 26 1/2 x 13 in. (67.3 x 33 cm), frame: 29 3/4 x 16 1/4 x 2 in. (75.6 x 41.3 x 5.1 cm)

Christian Marclay
Hits (from the series 'Body Mix'), 1991
three record covers and cotton thread
image: 26 1/2 x 13 in. (67.3 x 33 cm)
frame: 29 3/4 x 16 1/4 x 2 in. (75.6 x 41.3 x 5.1 cm)

Veronica Ryan, Untitled, 2020, coiled fabric strap, nut, metal pin, 8 1/2 x 8 1/2 x 1 1/8 in. (21.6 x 21.6 x 2.9 cm)

Veronica Ryan
Untitled, 2020
coiled fabric strap, nut, metal pin
8 1/2 x 8 1/2 x 1 1/8 in. (21.6 x 21.6 x 2.9 cm)

Veronica Ryan, Sewing Seeds 2, 2019, fabric, thread, mango seeds, plastic, 25 x 16 3/4 in. (63.5 x 42.5 cm)

Veronica Ryan
Sewing Seeds 2, 2019
fabric, thread, mango seeds, plastic
25 x 16 3/4 in. (63.5 x 42.5 cm)

Veronica Ryan, Stitched, 1994-1995, paper, gauze, adhesive, thread, 13 5/8 x 11 3/4 in. (34.6 x 29.8 cm)

Veronica Ryan
Stitched, 1994-1995
paper, gauze, adhesive, thread
13 5/8 x 11 3/4 in. (34.6 x 29.8 cm)

Veronica Ryan Stitched Up, 1994-1995 plastic, gauze, thread

Veronica Ryan
Stitched Up, 1994-1995
plastic, gauze, thread
7 3/4 x 5 3/4 in. (19.7 x 14.6 cm)

Veronica Ryan, untitled, 2020, woven cotton, seed pods, 210 5/8 x 3 x 6 in. (535 x 7.6 x 15.2 cm)

Veronica Ryan
untitled, 2020
woven cotton, seed pods
210 5/8 x 3 x 6 in. (535 x 7.6 x 15.2 cm)

Claudette Gacuti, NEEDLE #1, 2021, Unfired cellulose clay, acrylic paint, polyurethane and graphite 38  x 11 1/4 x 2 in. (96.5 x 28.6 x 5.1 cm)

Claudette Gacuti
NEEDLE #1, 2021
Unfired cellulose clay, acrylic paint, polyurethane and graphite
38  x 11 1/4 x 2 in. (96.5 x 28.6 x 5.1 cm)

Claudette Gacuti, NEEDLE #2, 2021, unfired cellulose clay, acrylic paint, polyurethane and graphite, 64 1/4 x 5 x 2 in. (163.2 x 12.7 x 5.1 cm)

Claudette Gacuti
NEEDLE #2, 2021
unfired cellulose clay, acrylic paint, polyurethane and graphite
64 1/4 x 5 x 2 in. (163.2 x 12.7 x 5.1 cm)

Alighiero e Boetti, La Forza del Centro, 1990, embroidery 8 1/2  x 9 5/8 in. (21.6 x 24.4 cm)

Alighiero e Boetti
La Forza del Centro, 1990
embroidery
8 1/2  x 9 5/8 in. (21.6 x 24.4 cm)

Sanford Biggers, Burst, 2021, mixed textiles and acrylic, 64 x 64 x 3 in. (162.6 x 162.6 x 7.6 cm)

Sanford Biggers
Burst, 2021
mixed textiles and acrylic
64 x 64 x 3 in. (162.6 x 162.6 x 7.6 cm)

Tauba Auerbach, Helical Maille (Z), 2022, borosilicate glass and rubber, 23 3/4 x 23 3/4 x 2 in. (60.3 x 60.3 x 5.1 cm)

Tauba Auerbach
Helical Maille (Z), 2022
borosilicate glass and rubber
23 3/4 x 23 3/4 x 2 in. (60.3 x 60.3 x 5.1 cm)

Tauba Auerbach M-Maille (S), 2021 borosilicate glass and rubber

Tauba Auerbach
M-Maille (S), 2021
borosilicate glass and rubber
1/2 x 4 x 4 in. (1.3 x 10.2 x 10.2 cm)

Bruce Conner, BLINDMAN'S BLUFF, 1987/2003, cotton, fire-retardant polyester, and wool Jacquard tapestry 101 x 90 in. (256.5 x 228.6 cm)

Bruce Conner
BLINDMAN'S BLUFF, 1987/2003
cotton, fire-retardant polyester, and wool Jacquard tapestry
101 x 90 in. (256.5 x 228.6 cm)

Rosemarie Trockel, I See Darkness 2, 2012, wool (black), 35 1.2 x 35 1/2 in. (892 x 90.2 cm), frame: 36 1/4 x 36 1/4 x 2 in. (92.1 x 92.1 x 5.1 cm)

Rosemarie Trockel
I See Darkness 2, 2012
wool (black)
35 1.2 x 35 1/2 in. (892 x 90.2 cm)
frame: 36 1/4 x 36 1/4 x 2 in. (92.1 x 92.1 x 5.1 cm)

Zoe Leonard, Two Oranges, 1992 two oranges, thread, wax

Zoe Leonard
Two Oranges, 1992
two oranges, thread, wax
dimensions variable

Alan Shields S.P., 1970 acrylic, thread, beads on canvas 103 1/2 x 167 1/2 in. (262.9 x 425.5 cm)

Alan Shields
S.P., 1970
acrylic, thread, beads on canvas
103 1/2 x 167 1/2 in. (262.9 x 425.5 cm)

Claes Oldenburg, Soft Doors for Airflow Model #5, 1965, stenciled canvas and kapok three elements each: 40 1/8 x 28 3/8 x 2 3/4 in. (101.9 x 72.1 x 7 cm)

Claes Oldenburg
Soft Doors for Airflow Model #5, 1965
stenciled canvas and kapok three elements
each: 40 1/8 x 28 3/8 x 2 3/4 in. (101.9 x 72.1 x 7 cm)

Joel Shapiro untitled, circa 1972 thread on paper

Joel Shapiro
untitled, c. 1972
thread on paper
10 1/2 x 8 1/2 in. (26.7 x 21.6 cm)
frame: 18 x 14 1/2 x 1 3/8 in. (45.7 x 36.8 x 3.5 cm)

Lucky DeBellevue, Gives, 2009, chenille stems, 3 panels, overall: 53 x 36 x 3 in. (134.6 x 91.4 x 7.6 cm)

Lucky DeBellevue
Gives, 2009
chenille stems
3 panels, overall: 53 x 36 x 3 in. (134.6 x 91.4 x 7.6 cm)

Kelley Walker, Belt Loop, 2017, four-color process silkscreen on aluminum, 10 7/8 x 4 1/2 x 2 1/8 in. (27.6 x 11.4 x 5.4 cm)

Kelley Walker
Belt Loop, 2017
four-color process silkscreen on aluminum
10 7/8 x 4 1/2 x 2 1/8 in. (27.6 x 11.4 x 5.4 cm)

Kelley Walker Speaking Face, 2017 four-color process silkscreen on aluminum 13 1/2 x 11 3/8 x 3 3/4 in. (34.3 x 28.9 x 9.5 cm)

Kelley Walker
Speaking Face, 2017
four-color process silkscreen on aluminum
13 1/2 x 11 3/8 x 3 3/4 in. (34.3 x 28.9 x 9.5 cm)

Eric N. Mack, Landlord (detail), 2021, umbrella, wood flagpoles, metal brackets, fabric collage, thread ​dimensions variable

Eric N. Mack
Landlord (detail), 2021
umbrella, wood flagpoles, metal brackets, fabric collage, thread
​dimensions variable

Christian Marclay, Moebius Loop, 1994, cassette tapes, nylon ties 24 x 84 x 240 inches (61 x 213.4 x 609.6 cm)

Christian Marclay
Moebius Loop, 1994
cassette tapes, nylon ties
24 x 84 x 240 inches (61 x 213.4 x 609.6 cm)

Christian Marclay, Hits (from the series 'Body Mix'), 1991, three record covers and cotton thread, image: 26 1/2 x 13 in. (67.3 x 33 cm), frame: 29 3/4 x 16 1/4 x 2 in. (75.6 x 41.3 x 5.1 cm)

Christian Marclay
Hits (from the series 'Body Mix'), 1991
three record covers and cotton thread
image: 26 1/2 x 13 in. (67.3 x 33 cm)
frame: 29 3/4 x 16 1/4 x 2 in. (75.6 x 41.3 x 5.1 cm)

Veronica Ryan, Untitled, 2020, coiled fabric strap, nut, metal pin, 8 1/2 x 8 1/2 x 1 1/8 in. (21.6 x 21.6 x 2.9 cm)

Veronica Ryan
Untitled, 2020
coiled fabric strap, nut, metal pin
8 1/2 x 8 1/2 x 1 1/8 in. (21.6 x 21.6 x 2.9 cm)

Veronica Ryan, Sewing Seeds 2, 2019, fabric, thread, mango seeds, plastic, 25 x 16 3/4 in. (63.5 x 42.5 cm)

Veronica Ryan
Sewing Seeds 2, 2019
fabric, thread, mango seeds, plastic
25 x 16 3/4 in. (63.5 x 42.5 cm)

Veronica Ryan, Stitched, 1994-1995, paper, gauze, adhesive, thread, 13 5/8 x 11 3/4 in. (34.6 x 29.8 cm)

Veronica Ryan
Stitched, 1994-1995
paper, gauze, adhesive, thread
13 5/8 x 11 3/4 in. (34.6 x 29.8 cm)

Veronica Ryan Stitched Up, 1994-1995 plastic, gauze, thread

Veronica Ryan
Stitched Up, 1994-1995
plastic, gauze, thread
7 3/4 x 5 3/4 in. (19.7 x 14.6 cm)

Veronica Ryan, untitled, 2020, woven cotton, seed pods, 210 5/8 x 3 x 6 in. (535 x 7.6 x 15.2 cm)

Veronica Ryan
untitled, 2020
woven cotton, seed pods
210 5/8 x 3 x 6 in. (535 x 7.6 x 15.2 cm)

Claudette Gacuti, NEEDLE #1, 2021, Unfired cellulose clay, acrylic paint, polyurethane and graphite 38  x 11 1/4 x 2 in. (96.5 x 28.6 x 5.1 cm)

Claudette Gacuti
NEEDLE #1, 2021
Unfired cellulose clay, acrylic paint, polyurethane and graphite
38  x 11 1/4 x 2 in. (96.5 x 28.6 x 5.1 cm)

Claudette Gacuti, NEEDLE #2, 2021, unfired cellulose clay, acrylic paint, polyurethane and graphite, 64 1/4 x 5 x 2 in. (163.2 x 12.7 x 5.1 cm)

Claudette Gacuti
NEEDLE #2, 2021
unfired cellulose clay, acrylic paint, polyurethane and graphite
64 1/4 x 5 x 2 in. (163.2 x 12.7 x 5.1 cm)

Alighiero e Boetti, La Forza del Centro, 1990, embroidery 8 1/2  x 9 5/8 in. (21.6 x 24.4 cm)

Alighiero e Boetti
La Forza del Centro, 1990
embroidery
8 1/2  x 9 5/8 in. (21.6 x 24.4 cm)

Sanford Biggers, Burst, 2021, mixed textiles and acrylic, 64 x 64 x 3 in. (162.6 x 162.6 x 7.6 cm)

Sanford Biggers
Burst, 2021
mixed textiles and acrylic
64 x 64 x 3 in. (162.6 x 162.6 x 7.6 cm)

Tauba Auerbach, Helical Maille (Z), 2022, borosilicate glass and rubber, 23 3/4 x 23 3/4 x 2 in. (60.3 x 60.3 x 5.1 cm)

Tauba Auerbach
Helical Maille (Z), 2022
borosilicate glass and rubber
23 3/4 x 23 3/4 x 2 in. (60.3 x 60.3 x 5.1 cm)

Tauba Auerbach M-Maille (S), 2021 borosilicate glass and rubber

Tauba Auerbach
M-Maille (S), 2021
borosilicate glass and rubber
1/2 x 4 x 4 in. (1.3 x 10.2 x 10.2 cm)

Bruce Conner, BLINDMAN'S BLUFF, 1987/2003, cotton, fire-retardant polyester, and wool Jacquard tapestry 101 x 90 in. (256.5 x 228.6 cm)

Bruce Conner
BLINDMAN'S BLUFF, 1987/2003
cotton, fire-retardant polyester, and wool Jacquard tapestry
101 x 90 in. (256.5 x 228.6 cm)

Rosemarie Trockel, I See Darkness 2, 2012, wool (black), 35 1.2 x 35 1/2 in. (892 x 90.2 cm), frame: 36 1/4 x 36 1/4 x 2 in. (92.1 x 92.1 x 5.1 cm)

Rosemarie Trockel
I See Darkness 2, 2012
wool (black)
35 1.2 x 35 1/2 in. (892 x 90.2 cm)
frame: 36 1/4 x 36 1/4 x 2 in. (92.1 x 92.1 x 5.1 cm)

Zoe Leonard, Two Oranges, 1992 two oranges, thread, wax

Zoe Leonard
Two Oranges, 1992
two oranges, thread, wax
dimensions variable

Press Release

Titled after a paper and thread collage by Veronica Ryan, Stitched is a group exhibition of works that are sewn, threaded, and interwoven. Expanding the definition of stitching from the literal to its most conceptual interpretation, the show will present textiles alongside woven glass, knotted plastic, and printed thread. Artists in the exhibition include: Tauba Auerbach, Sanford Biggers, Alighiero e Boetti, Bruce Conner, Lucky DeBellevue, Claudette Gacuti, Zoe Leonard, Eric. N. Mack, Christian Marclay, Claes Oldenburg, Veronica Ryan, Joel Shapiro, Alan Shields, Rosemarie Trockel, and Kelley Walker.

In Veronica Ryan’s titular collage, sterilized medical pads are connected with neat, short, black stitches to form a grid of delicate cross hatches, providing formal elegance to material detritus. Sewing to renew and repair, Ryan stitches lines that emphasize and underline, drawing attention to their own meandering journey as much as the unexpected objects they enclose and conceal. Zoe Leonard’s Strange Fruit embody a similarly restorative impulse, reconstructing empty fruit skins with thread in a futile act of preservation. As the fruit decays and turns dull, the materiality of the colored thread comes to the fore. Like Leonard’s fruit, sewn in part to distract the hands and let the mind wander, Joel Shapiro’s sailboat sketched with needle and pale-pink thread forces the hand to draw slowly what might otherwise by achieved with great speed. A contemplative slowness is particularly apt for this intimate drawing marked ‘31’ – the artist’s age at the time of its making.

In the work of Eric N. Mack and Sanford Biggers, found cloth gestures to a broad material culture and the specific stitches of past makers. While Biggers imbues new life into the handiwork of unnamed quilters, Mack indiscriminately combines fabrics with origins as disparate as far-flung factories or high fashion ateliers. In both cases, stitches old and new interweave to create multigenerational fabric collages. An elegant example of Claes Oldenburg’s soft sculpture, Soft Doors for Airflow Model #5, 1965, uses stitched fabric as transformational tool, making the familiar strange through unexpected textures and corporal forms. An enlarged sewing needle by Claudette Gacuti similarly employs the magnification of quotidian objects through the malformation of this elemental instrument for repair. Also working with canvas but to diverse effect, the highly decorative and multicolored work of Alan Shields sings with vibrant energy, and shines with glitter and beads. Working across large-scale stitched paintings, suspended sculpture, and poetry, Shields’s work exudes sensual theatricality.

In the 1950s, Bruce Conner began making elaborate engraving collages in which fragments of nineteenth-century prints coalesce in surreal, hallucinatory worlds. In 2003, he reproduced a selection of these as tapestries on a Jacquard loom, thereby transforming the unique works into another form of nineteenth-century reproduction. Christian Marclay also stitches on a monumental scale, interweaving hundreds of cassette tapes with plastic zip ties to create a continuous loop of potential sound. Despite the mass-produced materials, each stitch is threaded by hand. In M-Maille (S) and other small sculptures, Tauba Auerbach enlarges the rigid stitches found in chainmaille through curled and interlocked rods of glass. In these and drawings based on knit structures, Auerbach celebrates the stitch as technical innovation.