Hard Cover, English, Thread Stitching, 416 Pages, 2006
SHEILA HICKS: WEAVING AS METAPHOR
Weaving as a Metaphor offers the intimate side of the artist's oeuvre. . . . Emulating a gallery setting, the catalog, itself a work of art, presents each weaving on a separate page. Trenchant information as well as thought-provoking essays--by Arthur C. Danto, Joan Simon and Nina Stritzler-Levine--archival photographs and notebooks round out this wonderful publication.
It chronicles a significant part of Sheila Hicks's distinguished career, which began with the creation of semaphores for a whole new direction in weaving."--Sigrid Wortmann Weltge, American Craft "With every fiber, Sheila Hicks is a book you must touch and hold, and one that will touch and hold you as well. Printed on a hefty, deckle-edged paper, the book provides readers with a unique tactile element."--STEP Inside Design "Photographs of Hicks' miniature tapestries help explain how her studies in color, technique and materials connect the fields of art, craft and design. The book contains essays, scans from Hicks' journal entries and almost 200 images. For lovers of fiber, this seminal book offers a finer deconstruction of a master's work."--American Style "Named 'Most Beautiful Book in the World' at the Leipzig Book Fair. . . . its heroic and original design harks back to the glassine, fold-out, white space past, down to a matte white cover likely to be marred by the touch. [Irma] Boom, a present-day maestra of the auratic book, chose to represent Hicks' work by making a book that feels like you are holding a fistful of it in your hand. Chunky and chalky, with a blind-embossed textile cover and the shaggiest deckle edges you have ever seen, Weaving as Metaphor turns heroic graphic design into an act of impersonation." -Alexandra Lange, Curbed Designer Irma Boom won the Gold Medal for the "Most Beautiful Book in the World" Prize given at the Leipzig Book Fair. INSCRIBED AND SIGNED BY SHEILA HICKS. Original white cloth boards, as issued without a dustjacket. A few faint smudges on the front cover else in fine, unread condition. Inscribed by Hicks on the front free endpaper to her "best and oldest friend", and dated July 17, 2006. Includes a brochure promoting the exhibition for which this was published.