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Anne Wilson (born 1949) is a Chicago-based visual artist. Wilson creates sculpture, drawings, Internet projects, photography, performance, and DVD stop motion animations employing table linens, bed sheets, human hair, lace, thread and wire. Her work extends the traditional processes of Fiber art (techniques such as stitching, crocheting, and knitting) to other media.〔In the October 2008 issue of Art in America corresponding editor Susan Snodgrass wrote: "Anne Wilson's evocative, highly individual practice applies traditional textile processes to other mediums, creating hybrid works that combine elements of sculpture, installation, and drawing."〕 Wilson is a (professor ) in the Department of Fiber and Material Studies at The School of the Art Institute of Chicago.〔(Fiber and Material Studies, School of the Art Institute of Chicago )〕 == Life and work == Anne Wilson was born in Detroit, Michigan in 1949. At 15, she attended George School, a Quaker boarding school in Pennsylvania, where she received training in feminist theory and the philosophies of passive resistance through the study of Gandhi's teachings on non-violent politics. In her later research, Wilson remarked that her lessons at George School, especially Gandhi's exhortation to all Indians that they must practice spinning—for social, political, economic and spiritual reasons—profoundly influenced her life and artistic practice.〔("Anne Wilson Research PDF "Wind/Rewind/Weave" Knoxville Museum of Art" )〕 Anne Wilson's artwork explores personal and public practices of ritual and social systems, ideas of de-construction and re-construction in both microcosmic and macrocosmic worlds of public and private architecture, as well as themes of time and loss.〔(Anne Wilson, Artist Statement )〕 Wilson received a B.F.A. from the Cranbrook Academy of Art and a M.F.A. from the California College of the Arts (CCA) where she pursued interdisciplinary studies in the visual arts. At CCA, Wilson developed an understanding of art within a cultural context, a way of thinking emphasized by CCA instructor, art historian and anthropologist Dr. Ruth Boyer. Subsequently, Wilson’s graduate research focused on temporary textile architecture such as the Zulu indlu and the Sub-Saharan African black tent. For Wilson these interests intersected with the popular concerns of generative systems, such as the methods being pioneered by artist Buckminster Fuller.〔Molinski, Chris. "Notes on the Exhibition." ''Anne Wilson:Wind/Rewind/Weave'' Knoxville: Knoxville Museum of Art, 2011.〕 During this time, Wilson was also influenced by the international art fabric movement, including artists such as Magdalena Abakanowicz, Olga de Amaral, and Ed Rossbach. During the 1970s while living in Berkeley, California, Wilson argued for the contemporary relevance of fiber and textile processes alongside more conventional fine art materials and techniques. Wilson began using hair as a fiber material in place of thread in 1988. Her works such as ''Hair Work''〔(Anne Wilson ''Hair Work'', 1991: Museum of Contemporary Art, Chicago )〕 and ''A Chronicle of Days''〔(Anne Wilson ''A Chronicle of Days'',(1997-1998): 21st Century Museum of Contemporary Art, Kanazawa, Japan )〕 consist of daily stitching where the artist "stained" clean white scraps of cloth with small patches of hair-based needlework. Wilson began inviting audience participation with her project ''Hairinquiry'' (1996–1999). ''Hairinquiry'' collected responses to the questions: How does it feel to lose your hair? What does it mean to cut your hair? The project was later archived through an online website.〔(Newell, Laurie Britton. "Anne Wilson in conversation with Laurie Britton Newell: Chicago, November 2006." ''Out of the Ordinary: Spectacular Craft.'' Ed. Laurie Britton Newell. London: V&A Publications and the Crafts Council. pp. 112-123. )〕〔(Anne Wilson ''Hairinquiry'' (1996-1999) )〕〔Yapelli, Tina. "Over Time." ''Anne Wilson: Unfoldings'' Ed. Lisa Tung. Boston:: Mass Art, 2002. pp. 13-17.〕 In 2002, Wilson began the series ''Topologies'' (2002-ongoing) at the Whitney Museum of American Art's Biennial exhibition. In ''Topologies'', expansive networks of found black lace are deconstructed to create large horizontal topographies. The structures are formed by Wilson from computer-mediated scans of lace fragments that are manipulated and re-materialized in lace by hand stitching. The form of ''Topologies'' is inspired by forms of physical and electronic networks, city structures, immateriality, biology and the urban sprawl.〔〔(Anne Wilson ''Topologies'' (2002-ongoing) )〕〔Hixson, Kathryn. "The Topology of Anne Wilson's ''Topologies''." ''Anne Wilson: Unfoldings'' Ed. Lisa Tung. Boston:: Mass Art, 2002. pp. 36-41.〕 In 2010, Wilson produced one of her most ambitious installations at the Knoxville Museum of Art in East Tennessee. ''Local Industry'', a central component of the exhibition ''Anne Wilson: Wind/Rewind/Weave'', was a site-specific installation as a collaborative "textile factory".〔(Anne Wilson Builds ''Local Industry'' Textile Factory at the Knoxville Museum of Art )〕 From January 22 through April 25, 2010, visitors to the Knoxville Museum of Art worked together to produce a bolt of cloth. Wilson conceived of ''Wind/Rewind/Weave'' as a meditation on labor, acknowledging the specific geographic location of the Knoxville Museum of Art in the historical heartland of both hand weaving traditions and textile mill production in the United States. The ''Local Industry'' cloth, long, was on display at the Knoxville Museum of Art in 2011.〔''Anne Wilson:Wind/Rewind/Weave'' Knoxville: Knoxville Museum of Art, 2011. Print.〕 Also related to textile production in content, Wilson has choreographed 4 thread walking performances, conceptual movement works based upon weaving (''Wind-Up: Walking the Warp Chicago'', (Rhona Hoffman Gallery ), 2008; ''Wind-Up: Walking the Warp Houston'', (Contemporary Arts Museum Houston ), 2010; ''Walking the Warp Manchester'', (Whitworth Art Gallery ), Manchester, England, 2012; and ''To Cross (Walking New York)'', (The Drawing Center ), New York, 2014). In all her performances, Wilson is working through direct physical participation to think about time, labor, art, and cultural production. Wilson’s continues her hair and cloth-works practice, alongside the creation of horizontal topographies, installations, and performances. New works were included in her solo exhibition, ''Dispersions'', at the (Rhona Hoffman Gallery ), 2013, and in ''Fiber: Sculpture 1960-Present'' originating at the (ICA Boston ), 2014, and traveling to the (Wexner Center for the Arts ) and the (Des Moines Art Center ), 2015. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Anne Wilson (artist)」の詳細全文を読む スポンサード リンク
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