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Sheila Hicks (born 1934)[1] is an American artist. She is known for her innovative and experimental weavings and sculptural textile art that incorporate distinctive colors, natural materials, and personal narratives.[2]

Sheila Hicks
Sheila Hicks (1974)
Born1934 (1934)
Hastings, Nebraska, US
EducationYale School of Art, Syracuse University
Known forTextile Art
Websitesheilahicks.com
2019 exhibit at the Demisch Danant gallery, New York City
2019 exhibit at the Demisch Danant gallery, New York City

Since 1964, she has lived and worked in Paris, France.[3] Prior to that, she lived and worked in Guerrero, Mexico from 1959 to 1963.


Early life and education


Sheila Hicks was born in Hastings, Nebraska in 1934. She attended the Yale School of Art in Connecticut from 1954 to 1959, where she studied with Josef Albers,[4] Rico Lebrun, Bernard Chaet, George Kubler, George Heard Hamilton, Vincent Scully, Jose de Riviera, Herbert Matter, Norman Ives, and Gabor Peterdi. Her thesis on pre-Incaic textiles[1] was supervised by archaeologist Junius Bird of the American Museum of Natural History in New York and artist Anni Albers. She received her BFA in 1957 .[5]

Born during the Great Depression in Hastings, Nebraska, Sheila Hicks spent much of her early life on the road, with her father seeking work where he found it. This “fantastic…migratory existence,” 1 as she has described it, has come to define her six-decade career as an artist. Extensive experiences traveling, living, and working around the world continue to advance her exploration of textiles, the pliable and adaptable medium with which she is most closely associated. “Textile is a universal language. In all of the cultures of the world, textile is a crucial and essential component,” Hicks has said. 2 Captivated by structure, form, and color, she has looked to weaving cultures across the globe to shape her work at varying scales, from small hand-woven works called Minimes and wall hangings; to sculptural fiber piles like The Evolving Tapestry: He/She (1967–68); to monumental corporate commissions, among them Enchantillon: Medallion (1967), a prototype for an installation at New York’s Ford Foundation. More recently, Pillar of Inquiry/Supple Column (2014) demonstrates Hicks’s intense fascination with experimental materials: a whirling structure of multicolored synthetic fibers cascades from the ceiling, as if breaking through from the sky above.[6]


Career


Sheila Hicks at the Musée Carnavalet, Paris, 2016. Photograph by Cristobal Zanartu
Sheila Hicks at the Musée Carnavalet, Paris, 2016. Photograph by Cristobal Zanartu

From 1959 to 1964 she resided and worked in Mexico; She moved to Taxco el Viejo, Mexico where she began weaving, painting, and teaching at the National Autonomous University of Mexico (UNAM) at the invitation of Mathias Goeritz who also introduced to the architects Luis Barragán and Ricardo Legorreta Vilchis. Since 1964, Hicks lives and works in Paris, France.[7]

She photographed extensively with her Rolleiflex.[8] Her subjects included the architecture of Felix Candela and artists active in Mexico.

In 2007, the publication Sheila Hicks: Weaving as Metaphor, designed by Irma Boom to accompany the exhibition of the same name at Bard Graduate Center,[9] was named "Most Beautiful Book in the World" at the Leipzig Book Fair.[10]

In 2010 a retrospective of Hicks' 50-year career originated at the Addison Gallery in Andover, Mass. with additional venues at the ICA in Philadelphia, and at The Mint Museum in Charlotte, North Carolina. This included both miniature works (her "minimes") and large scale sculpture.[1][11]

In 2013, the 18-foot-high Pillar of Inquiry/Supple Column was included in the Whitney Biennal.[12]

In 2017 Hicks had a solo exhibition at Alison Jacques Gallery in Paris.[13] Hicks also participated in the 2017 Venice Biennale, Viva Arte Viva, May 13 – November 26, 2017.[14]

In 2018, February 7 – April 30, Hicks had a solo exhibition Life Lines at the Centre Pompidou which included more than 100 works.[15]

On April 21, 2022, Hicks had an interview with T: The New York Times Style Magazine, the title of the interview was "Artist Sheila Hicks: Observing Her Surroundings in the Courtyard".[16] She said the following about the way she works: "I move from idea to finished work acrobatically — it's as though I can feel the clouds shifting and the light coming and going. But because I frequently use fiber and textiles, I'm also quite specific in the way I work;unlike a video artist or a digital artist, I'm physically engaged in the creation of all my work. It's a manualpractice but filtered through the optics of architecture, photography, form, material and color. A couple of years ago, I received an honorary doctorate from my school — I went to Yale in the '50s — and it made me very happy because it validated my choice to work and live as an artist. It meant that I could contribute something to theother fields, and so I'm seeking out what that might be, unlike many artists, who are seeking simply to express themselves."

"She likes to work simultaneously on many things. For instance, today she was asked to create an environmental work at King's Cross, near the London train station, for the summer months. She is also making something for a municipal complex by the port in Oslo to coincide with the opening of that city's Museum of Modern Art. Tomorrow, she will presenting models for tapestries to the Gobelins Manufactory. And then she has an exhibition up now at the Hepworth Wakefield in Yorkshire, England. she does whatever she thinks is interesting."[citation needed]


Personal life


In 1964, Hicks moved to Paris, France, where she has lived ever since.[7] In 1965, she married fellow artist Enrique Zañartu with whom she had two children.[17]


Work


Hicks' art ranges from the minuscule to the monumental. Her materials vary as much as the size and shape of her work. Having begun her career as a painter, she has remained close to color, using it as a language she builds, weaves and wraps to create her pieces.

She incorporates various materials into her "minimes", miniature weavings made on a wooden loom. These include transparent noodles, pieces of slate, razor clam shells, shirt collars, collected sample skeins of embroidery threads, rubber bands, shoelaces, and Carmelite-darned socks. Her temporary installations have incorporated thousands of hospital "girdles" – birth bands for newborns – baby shirts, blue nurses' blouses and khaki army shirts, as well as the wool sheets darned by Carmelite nuns.[7][18]

Hicks's work is characterised by her direct examination of indigenous weaving practices in the countries of their origin. This has led her travel through five continents, studying the local culture in Mexico, France, Morocco, India, Chile, Sweden, Israel, Saudi Arabia, Japan and South Africa, developing relationships with designers, artisans, industrialists, architects, politicians and cultural leaders.[7]


Solo exhibitions



Awards and recognition



Museum collections


Hicks' work can be found in private and public collections, including: Ford Foundation, NY, 1967; Georg Jensen Center for Advanced Design, NY; Air France Boeing 747 planes, 1969–74; TWA terminal at JFK Airport, NY, 1973; CBS (Columbia Broadcasting System), NY; Rochester Institute of Technology, NY; Banque Rothschild, Paris, France; Francis Bouygues, Paris, France; IBM, Paris, France, 1972; Kodak, Paris, France ; Fiat Tower, Paris, Franc; MGIC Investment Corporation, Milwaukee, WI; King Saud University, Riyadh, Saudi Arabia, 1983; Kellogg's, Michigan; Fuji City, Cultural Center, Japan, 1999; Institute of Advance Study, Princeton, NJ; Target Headquarters, Minneapolis, MN, 2003; SD26 Restaurant, NY, 2009; Ford Foundation (reconstructed), NY, 2013–14; Foundation Louis Vuitton, Boulogne, France, 2014–15.


See also



References


  1. Smee, Sebastian (November 14, 2010). "Sheila Hicks, weaving her own fabric of modernism". The Boston Globe. Retrieved March 1, 2014.
  2. "Sheila Hicks: Weaving as Metaphor". The Statement. Wilsonart International. Archived from the original on September 29, 2011. Retrieved April 2, 2019.
  3. Phaidon Editors (2019). Great women artists. Phaidon Press. p. 186. ISBN 978-0714878775. {{cite book}}: |last1= has generic name (help)
  4. Shattuck, Katheryn (September 4, 2006). "In the Woof and Warp of Miniatures, Interlocking Metaphors and Journeys". The New York Times. Retrieved September 5, 2019.
  5. Constantine, Mildred. (1985). The art fabric : mainstream. Larsen, Jack Lenor. (1st ed.). Tokyo: Kodansha International. ISBN 0870117548. OCLC 12668036.
  6. "Sheila Hicks | MoMA". The Museum of Modern Art. Retrieved November 12, 2022.
  7. Faxon, Susan C.; Simon, Joan; Chadwick, Whitney (2010). Sheila Hicks: 50 Years. Yale University Press for Addison Gallery of American Art. ISBN 978-0-300-12164-3.
  8. Hicks, Sheila (April 2, 2014). "SHEILA HICKS with Danielle Mysliwiec". The Brooklyn Rail (Interview). Interviewed by Mysliwiec, Danielle. Retrieved March 7, 2018.
  9. "Sheila Hicks: Weaving as Metaphor (past exhibition)". Bard Graduate Center. Retrieved March 4, 2018.
  10. Rawsthorn, Alice (March 18, 2007). "Reinventing the look (even smell) of a book". The New York Times. ISSN 0362-4331. Retrieved March 4, 2018.
  11. "Traveling Exhibitions | Sheila Hicks: 50 Years". Addison Gallery of American Art. Phillips Academy. Archived from the original on September 7, 2011. Retrieved February 7, 2019.
  12. "Pillar of Inquiry/Supple Column". Whitney Museum of American Art. Archived from the original on April 16, 2017. Retrieved June 26, 2017.
  13. "Works | Sheila Hicks: Stones of Peace". Alison Jacques Gallery. Retrieved March 17, 2018.
  14. "La Biennale di Venezia - Artists". www.LaBiennale.org. Archived from the original on June 29, 2017. Retrieved February 22, 2017.
  15. Hicks, Sheila (February 5, 2018). "Sheila Hicks: an American with wool in Paris". The Art Newspaper (Interview). Interviewed by Sansom, Anna. Retrieved March 17, 2018.
  16. Guadagnino, Kate (April 21, 2022). "Artist Sheila Hicks: Observing Her Surroundings in the Courtyard". T.
  17. Gaze, Delia; Mihajlovic, Maja; Shrimpton, Leanda (1997). Dictionary of Women Artists: Introductory surveys ; Artists, A-I. Taylor & Francis. p. 683. ISBN 978-1-884964-21-3.
  18. Camhi, Leslie (March 31, 2011). "A Career Woven From Life". The New York Times. Retrieved April 2, 2019.
  19. Sheets, Hilarie M. (May 3, 2017). "The Artist Sheila Hicks Will Spin Her Threads on the High Line". The New York Times. Retrieved February 7, 2019.
  20. "Sheila Hicks: Lignes de Vie". Centre Pompidou (in French). Retrieved March 4, 2018.

Further reading





На других языках

[de] Sheila Hicks

Sheila Hicks (geboren 1934 in Hastings, Nebraska[1]) ist eine US-amerikanische Künstlerin. Sie lebt und arbeitet in Paris. Von 1959 bis 1963 lebte und arbeitete sie im mexikanischen Guerrero.
- [en] Sheila Hicks

[fr] Sheila Hicks

Sheila Hicks est une artiste textile américaine née le 24 juillet 1934 à Hastings, Nebraska, États-Unis. Elle vit et travaille à Paris depuis 1964.

[ru] Хикс, Шейла

Шейла Хикс (англ. Sheila Hicks; 1934, Хейстингс, Небраска, США) — американская художница по текстилю, известная своими новаторскими работами, в том числе трёхмерными объектами, выполненными из нитей и других материалов, как в технике традиционного переплетения волокна, так и с использованием неткацких приёмов.


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