Browse artist Yinka Shonibare’s immersive installation The American Library, where six thousand books are wrapped in textiles with the names of US immigrants and Black Americans affected by the Great Migration.

Learn the fundamentals of weaving as you set up a floor loom, experiment with yarns and basic weaves, and make a scarf, table runner, or wall hanging. All workshops are taught by well- known artist, educator and researcher Cameron Taylor-Brown on Schacht Wolf Pup floor looms in a fully equipped textile studio - with lots of beautiful yarn choices.

Craft Contemporary presents two artists, Maria A. Guzmán Capron and Minga Opazo, whose use of textiles unite them in an exhibition featuring a range of impressive two- and three-dimensional works. 

Minga’s work draws attention to environmental degradation caused by textile waste, while Maria’s aims to highlight awareness of multicultural identities to empower those who step out of so-called societal norms. Both artists recycle fabrics, transforming them into unique forms of expression—their destination rerouted from the landfill to museums, galleries, or collector’s homes.    

“Aneesa Shami Zizzo: RECLAMATION” considers the process of constructing and reclaiming one’s identity by attending to shared memory. Repurposing discarded materials, such as thrifted and gifted yarn, fabric samples, and old magazines, Shami Zizzo creates weavings, appliqued tapestries, and paper collages that become embedded with cultural traditions and personal narrative. Her work echoes her experiences as a second-generation Arab American and expresses notions of the cyclical nature of life and self-reflection.

Ahree Lee's installation, Fabrication, considers the intersection of technology, labor, and gender through three components: TEXTILE 1.0, Binary System, and Tomorrow, Today. Lee explores coded signifiers within 20th century modernist technological frameworks and ponders consequential developments in our cultural history.

Continuty presents a selection of Cahuilla baskets housed at the Benton along with their histories and long standing relationships with their relatives. This exhibition tells a story of the importance of reunifying Native collection items with living descendants, while also acknowledging the institutional histories that have impacted local Native American communities.

Casa Pitzer presents Brittany Kiertzner in her solo exhibition “Summon / Iekhenonks”. Kiertzner explores critical materials that reframe her personal history into a contemporary context. Through a dynamic interplay of woven and stitched threads, her work is influenced by traditional Mohawk Iroquois splint basket making, embroidery and bead work. She investigates themes of regeneration, authenticity and subversion of materials through synthesizing the past.

Mother Tongues brings together work by 25 artists from across Africa and the diaspora in a shared exploration of sense-making across time and place.

These “eye dazzler” blankets woven by Navajo women in the late 1800s and early 1900s were known for their vibrant colors, intricate patterns and bold, geometric forms – many of which seem to anticipate the work of later color-field artists and modernist painters.

Textile Arts LA member and Artist, Diane Reeves is exhibiting her new mixed media work of collaged, stitched, painted, and embellished photographs. During the shutdown, Reeves began documenting her experiences of the pandemic working with photographs.

They took on a life of their own as she added stitching, embroidery, hand-painted paper, beads, and street detritus that she collected on her walks. 

Chromoception is Samantha Thomas’s first solo exhibition since her home and studio burned in the Woolsey Fire in 2018.
As an artist, Thomas’s work begins with color, shape, texture, line, space, and light, the primary building blocks of painting. Using common studio materials such as raw canvas, thread, and acrylic paint, she embraces their fundamental and distinct qualities to expose their limits and possibilities for expression.

Catalina Museum presents Ann Weber: 26 Miles.  

Ann Weber repurposes cardboard to create monumental sculptures that act as surrogates for even larger psychological and emotional inquiries, giving a second life to the material. Although Weber’s use of reclaimed packaging as both her medium and inspiration can be read as a critique of contemporary consumerist culture, her works also reveal tender explorations into the relationship between memory and nostalgia, the vulnerability and resilience of Nature, and ultimately, the joy, isolation, wonder, and inherent potential of the human spirit.

The Calligraphy of Absence featuring Dina Abdulkarim from Los Angeles, Pilar Agüero-Esparza from San Jose, Amalia Galdona Broche from Rhode Island, and J. John Priola from the Bay Area is proudly presented by PATRICIA SWEETOW GALLERY. The four artists present stunning metaphoric memoirs that delve into their recollections of home, heritage, loss, and beauty.

Shoshana Wayne Gallery is pleased to present the first solo exhibition of Yveline Tropéa’s work in the United States: Between Two Worlds.

Tropéa skillfully mixes hand-beading and embroidery, hiding motifs in plain sight and creating kaleidoscopic backgrounds. Her process begins with free drawing, autonomously transcribing dreams and fantasies onto paper. The artist digitally enlarges the image and maps out color choices and patterns for beading and embroidery. Selections of glass beads and threads draw from local beading techniques and source material from craftspeople in Ouagadougou. Tropéa charts out the direction of each strand, resulting in richly textured imagery that animates the mystical narratives.

Not There is pleased to present Wet Drapery, an exhibition of painted and folded canvas works by Los Angeles-based artist Susan Maddux. 

The work of Susan Maddux reminds us that the obscuring act of the fold anchors us to the hidden corrugations within our bodies: mitochondria and intestines, or the sutures in our skull, and to a central fact of perception that we can never see all of something at once.

Minga Opazo’s debut presentation at Sargent’s Daughters Gallery includes a range of sculptural works that reflect her environmentally-oriented, sustainable practice. The wall-mounted weavings and free-standing sculptures all reconceptualize the growing problem of textile waste, which accounts for 15% of plastic waste and 10% of CO2 emissions globally, through a combination of traditional craft practices and the emergent field of BioArt. 

With the exhibition, “Yes, KAWAII is Art -EXPRESS YOURSELF-,” JAPAN HOUSE Los Angeles is excited to partner with artist Sebastian Masuda to share an in-depth look at the origins of the colorful kawaii style, its development and its profound cultural significance, transcending its perception as a fashion look or trend.

Explore color - hue, value and intensity – and how color interacts with yarns and woven structures. In this three day session, dive into color theory (using yarns, not paint! ) create several color palettes and weave your favorite palette in a scarf, table runner or wall hanging. Taught by Cameron Taylor-Brown on Wolf Pup floor looms in her fully equipped Los Angeles weaving studio.

Create a blended warp where color and texture are supporting players to pattern. Learn weave notation, explore a variety of woven structures, and weave your favorites in a scarf, table runner or wall hanging. Taught by Cameron Taylor-Brown on Wolf Pup floor looms in her fully equipped Los Angeles weaving studio.