Tawney’s studio environment on view – Kohler Arts Center’s Art Preserve

Lenore Tawney Installation
Objects from the Lenore Tawney Collection displayed at the Art Preserve, Sheboygan, WI. John Michael Kohler Arts Center Collection, gift of the Lenore G. Tawney Foundation and Kohler Foundation Inc.

The John Michael Kohler Arts Center worked closely with the Lenore G. Tawney Foundation to acquire hundreds of key components from the artist’s last studio environment in 2019, with assistance from Kohler Foundation, Inc. The 486-piece collection includes artwork, collages, assemblages, furniture, and supplies.

An installation of Tawney’s studio environment is on view at the John Michael Kohler Arts Center’s Art Preserve, which opened in 2021 and provides the public and researchers year-round access to an unparalleled collection of art environments that now includes works by more than 30 artists.

Tuesday, Wednesday, Friday: 10:00 a.m.–5:00 p.m.
Thursday: 10:00 a.m.–8:00 p.m.
Saturday, Sunday: 10:00 a.m.–4:00 p.m.

John Michael Kohler Arts Center: 608 New York Avenue, Sheboygan, WI
Art Preserve: 3636 Lower Falls Road, Sheboygan, WI

Free admission at both locations

Art Preserve

Making Knowing: Craft in Art, 1950–2019 to open at the Whitney Museum of American Art

Lenore Tawney, Four Petaled Flower II, 1974.

Making Knowing: Craft in Art, 1950–2019 (November 22, 2019 –January, 2021) provides new perspectives on subjects that have been central to the artists in the display, including abstraction, popular culture and feminist aesthetics. The works reveal how craft-informed techniques of making carry their own kind of knowledge, one that is crucial to a more complete understanding of the history and potential of art.

Drawn primarily from the Whitney’s permanent collection, the exhibition will include works by Ruth Asawa, Eva Hesse, Mike Kelley, Liza Lou, Howardena Pindell, Robert Rauschenberg, Elaine Reichek, and Lenore Tawney, as well as featuring new acquisitions by Shan Goshorn, Kahlil Robert Irving, Simone Leigh, Jordan Nassar, Erin Jane Nelson, and Mickalene Thomas.

Weaving Beyond the Bauhaus on view at the Art Institute of Chicago

Lenore Tawney, The Bride Has Entered, 1982.

Established in 1919, acclaimed German art school the Bauhaus was home to an innovative weaving workshop whose influence stretched across the Atlantic.

Like the larger institution, the weaving workshop embraced the principal of equality among artists and the arts alike. Although the realities of the Bauhaus never quite matched its utopian vision, the workshop nonetheless served as an effective incubator of aesthetic and pedagogical talent. In the decades following the school’s forced closure in 1933, the Bauhaus went on to have a wide-reaching impact on American art—due in part to the large number of affiliated artists who immigrated to the US, where they continued to practice and teach in the spirit of the school’s educational system and theories.Weaving beyond the Bauhaus (on view through February 17, 2020)  traces the diffusion of Bauhaus artists, or Bauhäusler, such as Anni Albers and Marli Ehrman, and their reciprocal relationships with fellow artists and students across America. Through their ties to arts education institutions, including Black Mountain College, the Institute of Design, the Illinois Institute of Technology, and Yale University, these artists shared their knowledge and experiences with contemporary and successive generations of artists, including Sheila Hicks, Else Regensteiner, Ethel Stein, Lenore Tawney, and Claire Zeisler, shaping the landscape of American art in the process.

Lenore Tawney at the Fabric Workshop and Museum

Process and Practice: 40 Years of Experimentation celebrates the Fabric Workshop and Museum’s rich history of innovation through an unprecedented look inside the FWM’s Artists-in-Residence Program. Artist Boxes bursting with notes, sketches, tests, prototypes and ephemera by 84 of the nearly 400 Artists-in-Residence are currently on view, along with many of the finished works produced during the residencies.

Lenore Tawney was an Artist-in-Residence in 1982, early in this history, and the exhibition includes both her Artist Box and completed Cloud Garment and Ear Pillow. These pieces occupy a unique place in Tawney’s work. In 1982, she had just completed the installation of her second architectural commission, Cloud VI, in Cleveland, Ohio. She had also been creating her own unique garments for years. These two aspects of Tawney’s practice coalesce in Cloud Garment, a conceptual piece that evokes the feeling of wrapping oneself in a cloud.

Lenore Tawney with Cloud Garment, Fabric Workshop, 1982

With Process and Practice, the FWM offers a unique view of the creative process and of its own singular history. The exhibition remains on view through March 25, 2018.

Lenore Tawney’s Artist Box, Cloud Garment, and Ear Pillow in Process and Practice: 40 Years of Experimentation at the Fabric Workshop and Museum

Tawney’s Triune is September’s “eye-con” for the Met Museum’s Department of Textile Conservation

Lenore Tawney’s Triune, a large tapestry woven in 1961, is a featured object on the Metropolitan Museum of Art Department of Textile Conservation

Instagram (@textilesmet)

Triune is also their eye-con (or profile photo) for the month of September.
This beautiful piece was one of forty weavings exhibited in Tawney’s first solo show at the Staten Island Museum in 1961. “There is an urgency that sweeps us up,” wrote painter, Agnes Martin, on that exhibition, “an originality and success that holds us in wonder.”

Lenore Tawney’s Reflections is a Cooper Hewitt “Object of the Day”

September is New York Textile Month! In celebration, the Cooper Hewitt, Smithsonian Design Museum, is featuring textiles from its collection, including Lenore Tawney’s Reflections, as Object of the Day throughout the month:
Reflections on Reflections