Gallery 120710 in Berkeley Image by Stacey Beach

Opening Reception: Aug 10th 4 - 8pm
Artist Meet & Greet: Aug 24th 12 - 4pm with a guided walk-through at 2pm

August 10 - September 7, 2024
Gallery hours: Saturdays 12-4pm, or Mon/Weds/Fri 11-6pm by appointment
www.120710.art

This group exhibition brings together the work of 27 artists who each define themselves as both artists and moms. Their wide-ranging work makes evident that motherhood does not dictate the subject matter, but it does shape the conditions of production. Through painting, ceramics, textiles, photography, printmaking, and sculpture these artworks explore female embodiment, anxiety for the future, joyful play, labor, mortality, and formal abstraction. Rather than subject matter, the connective thread is the context from which this work originates: the collective experience of matrescence in a culture that tells us that Artist and Mother are mutually exclusive roles. A fractured identity and the splintering of one’s time and thought process often informs the way these artists create. When seen together, their work raises the question: can a fragmented schedule and psyche be understood not only as an obstacle to creativity, but as a necessary condition for a particular kind of creative production? What can mothers make that others can’t?

Participating Artists: Stacey Beach, Ilana Crispi, Marisha Farnsworth, Jen Garrido, Sabrina Gschwandtner, Dana Hemenway, Rachel Kaye, A.R. Keiner, Lee Materazzi, Cassie McGettigan, Klea McKenna, Kari Orvik, Yulia Pinkusevich, Laura Plageman, Carissa Potter, Maggie Preston, Tana Quincy Arcega, Rachelle Reichert, Lindsay Rothwell, Ahna Serendren, Rene Smith, Emma Spertus, Lauren Stevenson, Ali True, Angie Wilson, Vanessa Woods, Amber Jean Young

San Jose Museum of Quilts and Textiles
MAY 12, 2023 - AUGUST 20, 2023

Opening Reception: Fri May 12 5:30-7pm
Panel Discussion with Angie Wilson: Sat May 13 11:30am
Get your copy of the book: Queer Threads

Queer Threads is a traveling group exhibition and coffee-table book exploring contemporary lesbian, gay, bisexual, transgender, and queer experiences through fiber and textile traditions. This latest iteration spotlights 38 works by 37 artists with roots in the American West, Northwest, and Southwest, as well as work from the museum’s collection. From the impeccably finished to the intentionally raw, many works are fully executed through thread-based processes such as crochet, embroidery, quilting, and weaving, while others interact with animation, clay, light, metal, and photography. Each artist's use of material choices and technical finishes suggest poetic and subversive intentions.

Dating from 1972 to 2023, the works assembled position queerness within the history of domestic crafts and fiber arts while responding to their inherent gender connotations, feminist herstories, cross-cultural intersections, and tactile experiences. Themes of history and futurity, intimacy and topography, physicality and spirituality, vulnerability and security, labor and leisure, as well as individuality and community, emerge across the four galleries. Here, queerness serves as a point of both connection and tension.

Although all of the featured artists are LGBTQ-identified or allies, not all of the content explicitly is—and that’s perfectly queer in this context. By breaking through binaries of art and craft, male and female, gay and straight and beyond, the exhibition embraces differences and encourages experimental approaches to hand and machine textile practices.

Radical Tradition: American Quilts and Social Change
Toledo Museum of Art
Nov. 21, 2020 — Feb. 14, 2021 | New Media Gallery
Get the Catalog

Radical Tradition: American Quilts and Social Change brings historical and contemporary works together in critical dialogue to consider how quilts have been used to voice opinions, raise awareness, and enact social reform in the U.S. from the mid-nineteenth century to the present. Disrupting our expectations of quilts as objects that provide warmth and comfort, this exhibition will explore the complicated and often overlooked stories quilts tell about the American experience, offering new perspectives on themes including military action and protest, civil rights, gender equality, queer aesthetics, and relationships with land and the environment. While addressing these powerful themes, Radical Tradition will highlight how the strategies and materials of quiltmaking over nearly two centuries have called into question long-established hierarchies, both in the art world and in society at large. Incorporating a wide range of media—from cotton and wool to salvaged wood, paint, and celluloid film—the objects on view will challenge traditional definitions of what a quilt is and the form it can take.

Fray: Art and Textile Politics by Julia Bryan-Wilson featuring work by Angie Wilson

HAND & I: MENDING THE WORLD ONE STITCH AT A TIME at Florida Atlantic University
November 8, 2019 - February 1, 2020
Schmidt Center Gallery
Opening for Hand & I: Friday, November 8, 2019 - 6pm - 8:30pm

Dorsky Gallery Curatorial Programs, New York
Catalog
Hand & I at Dorsky Gallery Curatorial Programs, New York
May 5 - July 14, 2019
Opening Reception May 5, 2-5pm

Holding Space, Royal NoneSuch Gallery, Oakland, CA May 11 - June 23, 2019

Holding Space, Berkeley Art Museum, May 25

Holding Space Events (all FREE at Royal NoneSuch Gallery, except for Berkely Art Museum event on 5/25 which is free with admission):
Saturday, 5/11 7-10pm: Opening Reception, 7:30: Performances with Destiny Arts Youth Performance Company, See Through Soul, and Rashidi Omari

Sunday, 5/12 2-4pm: Warps, Strings and the Fabric of the Universe: A conversation about Astrophysics, String Theory and Individual Impact with Theoretical Physicist Yasunori Namura

Sunday, 5/19 1:30-3pm: Performance by the Destiny Arts Junior Company and Community Hip Hop Dance Class with Samara Atkins
3-5pm: All ages dance party with DJ RikiRain

Saturday, 5/25 1-3pm: Berkeley Art Museum - Holding Space with dance educator Rashidi Omari and artist Angie Wilson // An installation of hand-woven rugs provides the setting for a weaving workshop and a place to connect with the experience of embodied art making, working through social justice issues in community by moving and making together. Alongside artists Angie Wilson and Rashidi Omari, create woven work while reflecting on universality, race, gender, and interconnectedness.

Sunday, 6/2 11am-1pm: Sound Healing workshop with Mukund Subramanian, Reiki with Sheila Russell
2-4pm: Weaving Time and Space with Angie Wilson

Sunday, 6/15 1-2:30pm: Embodying Liberation: Meditation, Movement & Weaving Workshop wit Rashidi Omari and Angie Wilson

Sunday, 6/23 2-4pm: Weaving Time and Space with Angie Wilson

The Universe Within
December 6, 2017 – December 31, 2017

Wednesdays–Sundays, 1–5 pm
Artist Reception: Saturday, December 16, 3–5 pm. Performance 4pm.

Using yarn and light, Angie Wilson draws on metaphors of weaving to create visual and emotional translations of the cosmos, inspired by telescopic photography, string theory, and meditations on space and time. The impetus for Wilson’s imagery was the year she spent in radiation treatment for Hodgkin’s lymphoma. During each session, she was slid into what looked like a space pod, a strange, cold place where she began to contemplate making work about outer space. In the gallery, she creates an immersive installation evoking the ever-expanding universe, transforming the gallery into a constellation of stars in various states of formation and explosion. She guides museum visitors in creating circular supernova weavings, connecting the external universe with our inner selves.

Making As Research

Artist Talk with Angie Wilson
Response by Olivia K. Young (African American & African Diaspora Studies)
Thursday, November 2 at 5:30 pm
Dwinelle Annex, Room 126 (map)

Angie Wilson mines seismic cultural shifts and the subtleties of consciousness in her textile-based sculpture and installations. She will be discussing current and recent projects including Protest Curtains, collaborative projects resisting racism, xenophobia and inequality, as well as her woven meditations on space and time.

Booksigning and Panel with Queer Threads artists Jai Andrew Carrillo, James Gobel, Ramekon O'Arwisters, and Angie Wilson and curator John Chaich

1pm Minnesota Street Projects, First Floor Lounge
1275 Minnesota St, San Francisco, CA

Angie Wilson SF Art Book Fair, Minnesota Street Projects

Awake! at Kala Art Institute

Kala Art Institute at Milvia/ Addison Windows
2100 Milvia Street, Berkeley

June 15, 2017 — December 15, 2017

Awake! is an exhibition of protest curtains and fabric banners by Ashley Brown, Hannah Ronson, Miriam Klein Stahl, Stephanie Syjuco, Angie Wilson, Hazel Klein Wolff and Lena Wolff.

Through art making we elevate our voices, build community and generate support to bolster our spirits and know that we are not alone. We build bridges and come together with love as a unifying force. Awake! presents a selection of repurposable fabric banners made in association with Solidarity Sundays, Anti Lab, and 100 Days Action as a response to the political moment, spearheaded by artist Angie Wilson with help from collaborator Lena Wolff. The reusable banners in this exhibition are essentially mobile murals that can be infinitely reconfigured – doubling as window curtains for homes and businesses to face the public, or to be carried in protests in the streets to communicate messages of love, empowerment and solidarity.

Queer Threads: Crafting Identity and Community
by John Chaich and Todd Oldham
Ammo Books, 2017

Queer Threads: Crafting Identity and Community spotlights an international, intergenerational, intersectional mix of thirty artists who are remixing fiber craft traditions, such as crochet, embroidery, quilting, and sewing, while reconsidering the binaries of art and craft, masculine and feminine, and gay and straight.

Designed by Todd Oldham and edited by John Chaich, this 192-page, hardcover, 8 x 10-inch book features full-color spreads of each artist's work, along with intimate details of selections and artist studios, as well as an introductory essay by Chaich, who curated the exhibition of the same name that inspired this book.

To further examine how queerness informs their work in fiber and textiles, or vice versa, the artists are interviewed by makers and thinkers from the worlds of dance, design, fashion, media, music, museums, scholarship, and more—many members of the LGBTQ community themselves, and otherwise passionate allies.

Smart yet playful, critical yet celebratory, the resulting dialogues are as colorful, challenging, personal, and universal as the works discussed and talents showcased.

Queer Threads is not just an exploration of fiber art and crafts, but also a celebration of the creativity, diversity, and vibrancy of contemporary queer culture.

Order HERE

Opening Reception: June 5, 1–4:30pm
Exhibition dates: June 5 – 24, 2016
SOMArts Cultural Center
934 Brannan St, San Francisco, CA
Gallery Hours: Tues – Fri 12 – 7pm; Sat 11 – 5pm

I have created an immersive installation Inner Space featured at SOMArts. The exhibition Creative Labor focuses on the use of traditional craft techniques in non-traditional ways, new media work that uses code and image processing to weave narrative and experimental structures across platforms, and the idea of the Craft, Maker, and Pop-Up marketplaces as alternative models for economic and aesthetic transactions.

Opening Reception: Saturday, June 11, 2016 - 7:00pm to 10:00pm
Exhibition Dates: Jun 8, 2016 to Jun 25, 2016
Root Division
1131 Mission Street, San Francisco, CA 94103
Gallery Hours (or by appointment): Wednesday-Saturday, 2-6pm

Small Art Book Fair & Zine Release Party
Thursday, June 23, 2016, 4-8 PM

This show features 16 contemporary queer artists whose work mines historical religious iconography and responds to diverse representations of homosexual, transgender and non-binary content that has been preserved through the mythology of world religion. The historical precedence that each artist has unearthed affirms the presence of queerness in cultural and spiritual storytelling, long before clinical terms were used as divisive and discriminatory categories. The works featured in this exhibition are history lessons, personal explorations, and queer utopian divinations.

Accompanied by an inclusive artist zine, queerer: the gods sure are queer volume 2, this exhibition and publication offer the opportunity to look back and examine the preservation (and erasures) of queer representation through artifact and mythology, and to look forward to how these histories might manifest visually and conceptually in contemporary queer experience.

Opening reception: Thurs, Jan 22, 6-8pm
Dec 19, 2014–Apr 11, 2015
Kala Off-Site Exhibitions
Berkeley Central Arts Passage
2055 Center Street, Berkeley, CA
M-S 9-6

Featuring work by: Terry Berlier, Angela Hennessy, Masako Miki, Stephanie Robison, Angie Wilson

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CULT | Aimee Friberg Exhibitions
June 20 - August 2, 2014
Artist reception: Friday, June 20, 7- 9 pm
3191 Mission Street, San Francisco

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Whitehot Magazine review of A Pattern Language

Angie Wilson: UnderEmployed
City College Art Gallery
City College of San Francisco
January 9 - February 12, 2014
Reception: January 22, 5 - 7pm

Visual Arts Building, v119,
50 Phelan Avenue, San Francisco
Gallery Hours: Monday/Wednesday 2 to 5pm; Tuesday 10am to 1:30 pm and 5:30 to 7:30pm; Thursday 9 to 11am ad 4:30 to 7:30pm
www.ccsf.edu/gallery

Root Division
June 8 – June 29
Opening Reception: Saturday, June 8, 7-10pm
rootdivision.org/060813.html

SOMArts
June 1 – June 30
Opening Reception: Saturday, June 1, 3-5pm
www.somarts.org/zeitgeist/

San Jose Museum of Quilts and Textiles
May 8 – July 21
Opening Reception: Sunday, June 2, 2pm
sjquiltmuseum.org/

di Rosa
February 9 to March 31 2013
di Rosa’s biennial juried MFA exhibition features artists who recently completed their Master’s of Fine Art degrees at Bay Area art schools and colleges. Selected artists Llewelynn Fletcher, Chris Fraser, Jacqueline Gordon, Camilla Newhagen, Chelsea Pegram, and Angie Wilson explore sculpture with light, sound, textiles and other unusual materials.

www.dirosaart.org/2013/02/13/mfa-select…

SOMArts
Opening Reception: June 1, 6pm
Exhibition runs through June 26

Headlands Center for the Arts
May 6th - June 3

Gallery Hours:
Tuesday - Friday + Sunday,
Noon - 5PM

Sunday May 13, 1-5pm
Headlands Center for the Arts

In this workshop, participants are invited to make patchwork flags representing the state of the self: loud and proud, complicated, layered, messy or precise — whatever state you are in. Participants will fashion flags from personal clothing, found fabric, and various notions. Upon completion, the group will take as short hike atop the hill behind the Headlands and triumphantly let our freak flags fly.
Pre-registration required.
RSVP to angiewilson18[at]yahoo.com by Wednesday, May 9.

Bring: old clothing (especially those favorite, decayed pieces you can’t manage to throw away), bedsheets, buttons, patches, scraps of fabric, anything that describes your freak fabric scissors (recommended), shoes you can hike in, warm clothing to wear during the workshop, clean socks (the gym is a shoe-free space).
Provided: sewing machines, glue guns, and a wide/wild assortment of materials.
No sewing experience necessary.

http://www.marinij.com/lifestyles/ci_20227542/novato-exhibit-explores-labor-and-consumerism?IADID=Search-www.marinij.com-www.marinij.com

Angie Wilson’s textile artwork investigates the valuation and material production of labor.

Wearing her art ON HER SLEEVE

Headlands Center for the Arts graduate fellow explores labor in hand-knotted rugs made from discarded button-down collar shirts

By Vicki Larson
Marin Independent Journal Posted: 03/22/2012 08:20:00 AM PDT


Artist Angie Wilson uses the sleeves of worn dress shirts in place of individual threads in traditional rug weaving in her Oakland studio. Her work will be featured in ‘Indexical Makers’ at Marin Museum of Contemporary Art.

ANGIE WILSON LIKES to think about clothing.

She's not some "Project Runway"-watching, Vogue-reading fashionista, however.

Clothing says a lot, not only about the person wearing it — why it's being worn, where it's being worn — but also who made it, where it was made, how it was made, what happens to it when it's no longer wearable.

For Wilson, a graduate fellow at Sausalito's Headlands Center for the Arts, the button-down dress shirt has had particularly much to say lately, especially as the country tries to rebound from a recession while millions remain out of work.

What does work mean now?

In her series "Hand Knotted," Wilson weaves the cuffs and sleeves of worn and discarded dress shirts into carpets to explore the valuation and material production of labor — handmade, factory produced and white-collar administration — as well as consumerism.

Button-down dress shirts are a uniform we don't give much thought to, she says.

"We don't really think about what it represents, but in this time of economic crisis it represents a lot about what's going on in the world," Wilson says. "With outsourcing of white- and blue-collar work, there's this vacancy, this emptiness, and with vast unemployment, that became a much larger conversation."

Her work is included in a new exhibit, "Indexical Makers: 3 Bay Area Contemporary Craft Artists," at the Marin Museum of Contemporary Art in Novato through April 15.

The Oakland resident learned how to hand-knot carpets, a technique not usually taught in schools, when she worked as a restorer of antique and fine-art carpets. The Persian carpet motif she used in her "Hand Knotted #1" is particularly relevant. Traditional Persian carpet designs often feature the Garden of Eden, the promise of paradise in the afterlife; using discarded clothing in her work allows Wilson to create a new life for them as well. But it also speaks to the turmoil in the Middle East.

"We appreciate the art and yet we have this tumultuous relationship with the Middle East. I'm connecting those things visually to think more about our relationship," she observes.

That rug, constructed in the densely woven Bijar style, took six months to create. "It was crazy," she says, laughing. "It took a lot of engineering and designing and just collecting all the material and putting it together was pretty laborious. That just furthers the point that I'm making about labor, too."

In all, the four rugs in the series used nearly 700 shirts, either donated or scrounged from thrift stores, yard sales and factories.

For someone who works in textiles, often considered to be "women's work," Wilson is always intrigued to see how people react to her "Hand Knotted" series.

"It's interesting to me to see how men respond to it. It's very visceral for men. Either they have a really positive association with the button-down work shirt or a really negative one," she says. "It represents for men this upward mobility or American dream, a form you have to squeeze yourself into to be successful."

Vicki Larson can be reached at vlarson@marinij.com; follow her on Twitter at @OMGchronicles, fan her on Facebook at Vicki-Larson-OMG-Chronicles

Sunday April 1, 2 - 4 pm
A Panel Discussion with the 2012 MarinMOCA Emerging Artists

Modesto Covarrubias
Ali Naschke-Messing
Angie Wilson

Moderator: Heather Murray
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Marin Museum of Contemporary Art
March 10 to April 15, 2012

Opening reception & artist talk: Saturday, March 10, 5pm to 7pm

Three emerging Bay Area artists at the Marin MOCA. Featuring the work of Modesto Covarrubias, Ali Naschke-Messing, and Angie Wilson.

The Marin Museum of Contemporary Art in Novato, California, will present INDEXICAL MAKERS, featuring Modesto Covarrubias, Ali Naschke-Messing, and Angie Wilson, emerging artists whose work dynamically integrates form and content. The exhibition title, a play on the term “Indexical Marker,” refers to 2 key aspects of the work. The artwork is “indexical” in that it points to something else—it directs the viewer's attention to and often becomes a trace of another occurrence or physical object. “Makers” refers to the ways the artists employ craft-based tactics in their artistic practice. To refer to these artists as “makers” acknowledges the historical divide between the creation of so-called “fine” art, and the craft traditions of “making” objects, of “making do” with everyday materials often degraded by art institutions. Modesto Covarrubias utilizes knitting in his performance and installation pieces as a way to investigate psychological and emotional connections to physical environments. His knitting performances produce objects that serve as a trace of the actions of the performer, and his installations often engage the decor and design of a room, bringing attention to aspects of the space otherwise unnoticed by the viewer. Ali Naschke-Messing describes her method as one of extreme “site-responsivity.” Her thread-based installations poetically echo existing architectural forms or subtly chart the daily movement of light and shadow across the wall, ceiling, or floor. Her work is as much about the act of viewing as it is about the intricate form of her installations, as they require a form of patient looking akin to listening to a whisper. While they are definitely a striking beautification of commonness, they also hint at the infinite. Angie Wilson's primary medium is used work shirts, physical traces of anonymous laborers, woven into Persian carpet motifs or other craft objects. Wilson's artwork simultaneously weaves together questions of outsourced craft production, the mass production of the handmade, and the growing importance of re-usable materials. INDEXICAL MAKERS are artists whose conscientious use of materials encourages us to patiently re-view our immediate physical environment, and to be mindful of the makers behind the seemingly simple, everyday objects within that environment.


Marin MOCA, Novato Arts Center at Hamilton Field, 500 Palm Drive, Novato, CA 94949
415-506-0137

email: info@marinmoca.org

Museum Hours
Wednesday – Sunday
11am to 4pm
Museum Store open during regular museum hours and for receptions and special events.

Admission
Free



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Sunday, October 16, 2011, 12pm - 5pm
I am in Studio 11 on the third floor of Building 945 (next door to the main building 944).

Headlands Current Artists

Fall Open House

Sunday July 24th, 12pm - 5pm

San Francisco Chronicle Review by JD Beltran
May 12, 2011

April 23 - May 12
San Francisco State University Fine Arts Gallery
Opening Reception April 23, 1-3pm
Gallery Hours: Wed-Sat 11am-4pm

Other Featured Artists:
Robert Garcia, Shenny Cruces, Chris Morring, Ben Carpenter, Todd Lanem

Dear Everyone,

I need your help with my MFA thesis project! I am collecting 1,000 long-sleeve dress shirts (office style work shirt). Shirts can be new or used; stains, holes, ring-around-the-collar ok! (although please no pest infestations). ANY color but especially whites, greys and blues. Men's and womens. Clean out your closet and donate to me! Also, if you have any good sources for such items, please let me know.

Shirts can be mailed to me, or if you're local we can set up some pickup dates + times. To set up a pickup or for more information contact: info [at] angiewilson.org

You will be included in my acknowledgments and possibly receive other tokens of my deepest gratitude.

Thank you!!!

Exhibition at Project One
June 9 to July 10, 2010
Opening Reception June 9 8:00pm

Any moment of our life has the potential to become a meditative space, an inhabited site for pure experience. However, in our society of inter connectivity and multitasking, most of these spaces are never unlocked for their full, singular capacity. “breathe.” invites you to pause and remember that our lives are made up of a series of single breathes thus connecting ourselves more closely to one another and to our shared culture. The exhibition features works by Angie Wilson, Gloria Tanchelev, Justin Young, Llewelynn O. Fletcher, Ben Shaffer and Fatima Hoang, Amir Nikravan and Luke Gilford that offer opportunities for silence, introspection and ultimately restoration.

Curated by Brooke Waterhouse and Jessica Silverman
Project One
251 Rhode Island St,
San Francisco,CA, 94013

San Francisco Arts Commission Gallery
February 12 - May 14, 2010

Since launching a quarter century ago, Chain Reaction (the 11th exhibition of this kind at the SFAC Gallery) mimics the format of a chain letter. For this Chain Reaction, ten artists will be selected by a group of advisors, curators and luminaries; those artists will then each choose an artist and then those artists will choose an artist. Works by thirty artists will be exhibited at our three locations: the Main Gallery in the Veterans Building, our window installations site at 155 Grove Street and our exhibition space at San Francisco’s City Hall. Chain Reaction 11 takes the pulse of the current Bay Area art scene and allows us to get inside the artists’ minds to see what they find most compelling.

The ten chains include the following artists: (Initial choosers are not exhibiting work.)

SFAC Staff – Anne Colvin – Ginger Wolfe-Suarez – Lordy Rodriguez

SFAC Advisory Board – Walter Logue – Alexander Cheves – Paul Clipson

Glen Helfand – Christine Wong Yap – Pablo Guardiola – James Tantum

Enrique Chagoya & Kara Maria – Justine Lai – Emily North – Angie Wilson

Desiree Holman – Joshua Churchill – Jasmin Lim – Cameron Soren

Judy Moran – Michael Arcega – Suzanne Husky – Amy Balkin

SFAC Gallery Window Installation Site at 155 Grove St.

Kamau Amu Patton – Chris Bell – Elaine Buckholtz – Floor Van Herreweghe

SFAC Gallery at City Hall, Ground Floor

Abby Chen – Hui-Ying Tsai – James S. Kang – Scott Polach

Rupert Jenkins – Gabriela Hasbun – Karna Kurata – David Paul Morris

Kari Orvik – Robyn Twomey – James Chiang – Josh Kirschenbaum