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Christo Vladimirov Javacheff (1935–2020) and Jeanne-Claude Denat de Guillebon (1935–2009), known as Christo and Jeanne-Claude, were artists noted for their large-scale, site-specific environmental installations, often large landmarks and landscape elements wrapped in fabric, including the Wrapped Reichstag, The Pont Neuf Wrapped, Running Fence in California, and The Gates in New York City ...
Chris Lee Roberts-Antieau (born November 18, 1950) is an American fiber artist based in Michigan.She described her work as "embroidered tapestries," created with the use of fabric appliqué, thread painting, and hand embroidery.
This category is for artists. See Category:Textile designers for product, industrial or fashion designers specialized in the design of textiles for (mass) production.
Detail of design for Bluebell or Columbine printed art fabric, 1876, by William Morris. Example of yarn bombing in Montreal, 2009, by fiber artist Olek. Fiber art (fibre art in British spelling) refers to fine art whose material consists of natural or synthetic fiber and other components, such as fabric or yarn.
The Gates was a site-specific work of art by Bulgarian artist Christo Yavacheff and French artist Jeanne-Claude, known jointly as Christo and Jeanne-Claude. The artists installed 7,503 steel "gates" along 23 miles (37 km) of pathways in Central Park in New York City. From each gate hung a panel of deep saffron-colored nylon fabric. The exhibit ...
Nick Cave (born February 4, 1959) is an American sculptor, dancer, performance artist, and professor. [1] He is best known for his Soundsuit series: wearable assemblage fabric sculptures that are bright, whimsical, and other-worldly, often made with found objects.
While plant use in textile art is still common today, there are new innovations being developed, such as Suzanne Lee's art installation "BioCouture". Lee uses fermentation to create a plant-based paper sheet that can be cut and sewn just like cloth- ranging in thickness from thin plastic-like materials up to thick leather-like sheets. [13]
The new fabric design was a departure from Harwood’s earlier work but retained a familiar graphic sensibility. These new functional works reflected both Harwood and Sophies’s artistic interests – dozens of fabrics were decorative abstractions of botanical themes, others ruminations on desert animals and cactus.