Sep 16th, 2019. View Claire Zeisler’s artworks on artnet. Sep 26,2020 View upcoming auction estimates and receive personalized email alerts for the artists you follow. Claire Zeisler was an American artist who was born in 1903. 1903 - 1991, Please note that this site uses cookies. Buy. $2,042,639 - 2,975,456 ; "Fiber Works: Americas and Japan," Kyoto and Tokyo, 1977; "Fiberworks," The Cleveland Museum of Art, 1977; "Chicago: The City and Its Artists, 1945-1978," The Univ. Wisconsin Art Center, Milwaukee; Art Institute of Chicago; Univ. She writes, "However they were displayed, they were strange objects and opened completely novel possibilities for the art of textiles. Bourgeois wrote, "A painting or a sculpture makes great demand on the onlooker at the same time that it is independent of him. "Woven Forms" presented Zeisler's work alongside the work of 4 other women artists who were working to pioneer off-loom construction: Lenore Tawney, Sheila Hicks, Alice Adams, and Dorian Zachai. Advertisement . Claire Zeisler (April 18, 1903 – September 30, 1991) was an American fiber artist who expanded the expressive qualities of knotted and braided threads, pioneering large-scale freestanding sculptures in this medium. [15] In the 1970s, Zeisler worked with leather, manipulating the material through techniques that were reminiscent of those used in paper cutting, such as weaving, plaiting, stacking and folding. $487,743 - 719,133 [20], One person Exhibitions: Chicago Public Library, 1962; Renaissance Society, Univ. Throughout her career Zeisler sought to create "large, strong, single images" with fiber. What's my art worth? About us. They had three children, Joan (née Florsheim) Fraerman Binkley (married to architect Leroy "Roy" Binkley), Peter Florsheim, and Thomas Florsheim, Sr. before divorcing in 1943. [4] In 1946, she attended the Summer Art Institute at Black Mountain College, studying color and design under Josef Albers. Erika Billeter, the exhibition's curator, named the show "Woven Forms" because there had yet to be a name to encompass the innovative textiles of the avant-garde artists. These weavings, delightful as they are, seem more engaging and less demanding. In 1964, Zeisler showed with Lenore Tawney and Sheila Hicks at the Museum for Arts and Crafts in Zurich, Germany. Articles Featuring Claire Zeisler. By 1961, her work became increasingly experimental in the use of off the loom techniques that pushed the boundaries of traditional textile, making freestanding, three-dimensional fiber sculptures using a variety of techniques. Using the loom, Zeisler created place mats and textiles for use in apparel. Claire Zeisler, Free Standing Yellow, 1968. Their work was featured in several exhibitions at key galleries and museums, including The Art Institute of Chicago.Claire Zeisler's work has been offered at auction multiple times, with realized prices ranging from $1,250 USD to $11,875 USD, depending on the size and medium of the artwork. 36 1/2" x 43" x 42" Spill, c.1985 jute with metal base 45" x 42" x 42" Exhibitions. - Nov 28,2020, Sprüth Magers, Berlin [21], Group Exhibitions: [2], Her work is influenced by and has influenced fiber artists in the 1960s and 70s such as Kay Sekimachi, Barbara Shawcroft, Lenore Tawney, Magdalena Abakanowicz, and Sheila Hicks. Est. Dominic Winter Auctioneers [17], Zeisler's work was presented in retrospective exhibits in the Art Institute of Chicago (1979) and the Whitney Museum of American Art (1985). Instead of an emphasis on the utilization of textile making, avant-garde artists instead sought to revitalize the mechanized process through an emphasis on handcraft in which the artists gained "unmediated contact" with the materials. See all articles. Upcoming Auctions (0) Wanted (1) Selected works (16) Quick Facts. [8] It was followed in the same year by an exhibition of her weavings and selections from her collection, at the Renaissance Society at the University of Chicago (Oct. 9–Nov. Education The Art Genome Project. In the 1930s she bought works by Paul Klee, Joan Miró, Henry Moore, and Picasso, and as well as tribal objects including African sculptures, tantric art, ancient Peruvian textiles and more than 300 American Indian baskets. of Wisconsin, Madison; Stedelijk Museum, Amsterdam; Museum of Bellerive, Zurich.[21]. "Woven Forms," Museum of Contemporary Crafts, N.Y., 1963; Collectors Show, 1965; "Perspective in Textile," Stedelijk Museum, Amsterdam, 1969; Kunstgewevemuseum, Zurich, 1963; Indianapolis Museum, Ind., 1968; Kranert Museum, Urbana, Ill., 1969; Ravinia Festival, Highland Park, 1969; Ruth Kaufmann Gallery, N.Y., 1971; Denver Art Museum, Colo., 1971; "Deliberate Entanglements," Univ. Claire Zeisler (April 18, 1903 – September 30, 1991) was an American fiber artist who expanded the expressive qualities of knotted and braided threads, pioneering large-scale freestanding sculptures in this medium. Throughout her career Zeisler sought to create "large, strong, single images" with fiber. Her response was negative and revealed many of the prejudices that came from fiber art's low culture connotations. Claire Zeisler, 88, a fiber artist, took a medium usually considered craftsmanship and created artistic abstraction that was exhibited in top galleries, … Buying on Artsy Consign with Artsy. Find the latest shows, biography, and artworks for sale by Claire Zeisler Zeisler also experimented in the making of art objects in the 1970s, with works such as Pages (1976) and Chapters (1976) that used stacks of textiles such as cotton and wool fleece to form thick shapes. Malarcher, Patricia. [13] Her well-known Red Preview, in the collection of the Art Institute of Chicago, has been called "strikingly erotic in form, both phallic in its vertical thrust and labial in its organization. Dec 16, 2020, Christie's London Her "intimately scaled works" were created out of "materials both sensuous and secret. Dec 17, 2020, Il Ponte Auction House, Via Pontaccio Charts / Record Price. Description: Claire Zeisler Untitled (necklace) c. 1965 cotton and linen thread 15.5 h × 8.5 w in (39 × 22 cm) This work was reviewed by Joan Binkley, the daughter of Claire Zeisler, at the time it was acquired by the Vogeles. [5], Zeisler studied at the Chicago Institute of Design (formerly New Bauhaus) in the 1940s with Eugene Dana and the Illinois Institute of Technology where she was taught by the Russian avant-garde sculptor Alexander Archipenko and the Chicago weaver Bea Swartchild. Berlin | Germany 6). The textiles were often left un-dyed, evidence of Zeisler's preference for natural coloration that emphasized the fiber itself. European fiber artists up until the exhibit had been working in the tradition of flat loom tapestries, and even in comparison to Tawney and Hicks, Zeisler’s work departed the most drastically from this convention. [3], Claire Block was born in Cincinnati, Ohio, attended Columbia College Chicago for one year, then in 1921 married Harold Florsheim (son of Milton S. Florsheim and an heir to Florsheim Shoe). of California, Los Angeles, 1971; museums in Zacheta and Warsaw, Poland, 1971; Utah Museum of Fine Arts, Salt Lake City; Museum of Contemporary Art, Chicago, Ill.; "Sculpture in Fiber," Museum of Contemporary Crafts, N.Y., 1972; 1973 BIT; Univ. "[10] "Woven Forms" received only one published response by the press, that of artist Louise Bourgeois who reviewed the show for Craft Horizons. "[16] Her later structures are characterized by cascading strands of loose fiber that spill over the floor forming a tangle. [12] With this technique she made freestanding sculptures as much as 96 inches tall, often incorporating both tightly knotted sections and free falls of threads that have been likened to water and hair.

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