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A thick book standing upright, its pages slightly spreading. The cover features an out-of-focus portrait of a person in blue light with red lipstick. The title at the top reads in serif font, "Suzanne Bocanegra: Poorly Watched Girls."

A book spread showing on the left page an older white woman in a minimally designed long-sleeve white dress smiling at the viewer. She appears lit as if on a stage with her shadow behind her. On the right is an extreme close-up with a soft focus of her smiling face at a three-quarter angle,

MW Editions and The Fabric Workshop and Museum

Suzanne Bocanegra: Poorly Watched Girls

A photograph of a black hardcover book with the title "Doug Aitken A-Z Book (Fractals)" written repeatedly in a circle and echoing itself getting smaller towards the center. In the center is a black circle with "A-Z" written inside.

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The Fabric Workshop and Museum and Hatje Cantz Publishers

Doug Aitken: A-Z Book (Fractals)

A photograph of a book propped upright on top of a pair of laterally stacked copies of the same book. The cover of the book features a cream-colored woven textile with two thin red stripes that stretch from corner to corner. The text on the top-left corner reads, "Sonya Clark: Monumental Cloth, The Flag We Should Know."

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A photograph of a book spread with a photo on the left and text on the right. The book image features two creating a white chalk rubbing of a woven texture against a black ground.

MW Editions and The Fabric Workshop and Museum

Sonya Clark: Monumental Cloth, The Flag We Should Know

An image of a book cover featuring a gray-haired woman in the woods standing in front of a tall, dark, mossy, stump. The stump is taller than the woman.

A one-page preview featuring an image and text. The image at the top of the page is of a roll of white gauze being unrolled from the center on a black background. The text reads: "content often diverge. The telling of the event becomes a scene of projections and of other rich subjective disclosures but also a means for the witnesses to question the nature of their own seeing. Phenomenological detail is clearly consuming and seemingly infinite in these narrations; the flesh of each witness has been enfolded into the performers' entwining. Observation turns granular. A genuine accident within the live performance - the smashing of an opaque glass of water-ricochets through the retellings: within every event there is some other purer event, more vibrant and more real and more urgently told. These micro-events-elevated in perception-seem to suggest that the act of communal swallowing itself was securitized by its occurrence as a privately received ritual. Home sanctions such risks. Rhythm and tempo are recurrent witness' concerns, and the description of the performers' parting seems over too quickly for many. The freight of this separation-for some too much to countenance—is sadness at the withdrawal from a state of interconnectedness and visceral proximity, which has quickly accrued idealization. The affinity between Antoni and Petronio troubles articulation, and cannot be mapped onto familiar dyads of romantic investment or artistic collaboration. In each telling there is always a punctum, a small observed detail that becomes a conduit for a stream of realizations. I ask each witness what they will remember of the act, and here in the very process of the archival capture of that memory lives the most hesitation, doubt and ingenuity of response. In conceiving the act as destined to disappear, the artists have also given it potential, animated its afterlives through a social discourse whose plurality will drive its continued retelling. One late afternoon in the last week of November 2015, Antoni performs Paper Dance for Halprin on the dance deck. It is a year since our last weeklong visit to Kentfield, and over three years since Antoni began to carefully entangle her work with Halprin's. Although she improvises the performance on each occasion, Antoni has accumulated a repertoire of gestural images and sculptural possibilities from her earlier labors with the paper. Physical fragments will be played out, differentiating themselves in the unfolding of the event. Before dusk falls, Hugo Glendinning will shoot the first full video recording of the work, stabilizing it in time in wholly other ways. Since our last visit, Antoni's Paper Dance has grown in length and detail through numerous discussions and re-workings. A flexible dramaturgy is emerging where specific image-events are sequenced in relation to the developing state"

Hirmer Publishers and The Fabric Workshop and Museum

Ally: Janine Antoni, Anna Halprin, Stephen Petronio

An image of a book with a yellow, teal, and charcoal geometric, abstract watercolor and pencil drawing on the cover. The title reads: "Elisabeth Kley Minutes of Sand" at the top left. At the bottom left the cover reads "The Fabric Workshop and Museum / Bemis Center for Contemporary Arts"

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An image of a book spread featuring two geometric watercolor and pencil drawings, one on each page. The drawing on the left is red, teal, and yellow. The credit line reads "Red Benedictus Lotus, 2020 Pencil and watercolor on paper, 24 x 18 inches." The drawing on the right is emerald, red, and baby blue and the credit line reads "Red Fan Lotuses, Green Background, 2020 Pencil and watercolor on paper, 17 x 14 inches."

The Fabric Workshop and Museum and The Bemis Center for Contemporary Arts

Elisabeth Kley: Minutes of Sand

A photo of a softcover book with a craft paper-like cover. The title of the book is swarm by Ellen Lupton and Abbott Miller.

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A photograph of a spread of an open book. On the left there is a photograph of a big pile of green individually wrapped candies on the floor and against a white wall. Below the photo is a description of the work. On the right there is a close up photo of the individually wrapped candies densely packed and taking up the whole page.

A photograph of a magenta book with a yellow spine stacked on two other books of the same size but in a light blue and green. The book reads "New Material as New Media: The Fabric Workshop and Museum."

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A photo of a book spread with a full-bleed photograph of artwork by Mel Chin on each page. On the left is a mostly blue picture of a corner of a room with a triangular grid of clouds above. On the right is a mostly green corner of a room with a wave-like texture on the triangular-shaped ceiling above. The edges of the wall and ceiling glow a bright green.

The Fabric Workshop and Museum and MIT Press

New Material as New Media: The Fabric Workshop and Museum

A square, red-orange catalogue cover with a royal-blue checkerboard pattern overlayed. Two hand-drawn butterflies with kissing figures appear on the top-left and bottom-right quadrants, on top of the checkerboard. The top reads "Jonathan Lyndon Chase" and "Big Wash." The bottom reads "2021 Wet Dry, 2021 Clean Soiled" and "The Fabric Workshop and Museum"

Jonathan Lyndon Chase: Big Wash

This is an image of a book cover. On the book cover is a The image is of a red three-panel privacy screen (the left panel is cut out of the image so we only see the center and right panels) with strings of green leaves on the center and right panels and on the center panel, a figure of a woman standing as she is completely covered in blue fabric and the only part of her body you can see is her right thigh, right arm and her right hand is touching her head. We also see gold embroidered text which reads "Of Adam's eye." There is a solid black background and to the right of the privacy screen is white text that reads "Carrie Mae Weems The Fabric Workshop/Museum"

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The image is of a two-page spread in a book and there is an image in the center. The image is of a red three-panel privacy screen with green leaves and gold embroidered text. This is an artwork by Carrie Mae Weems. The text describes the work and reads: "The Apple of Adam's Eye This work marks a point of departure for Weems in terms of her use of media which she undertook as part of her residency at The Fabric Workshop/Museum. She worked in collaboration with Mary Anne Friel, who executed the artist's design. Initially, the figure appeared in the round (seen frontally on the face of the central panel, and from behind on the reverse); in Cette œuvre marque un point de départ pour Weems en ce qui con- cerne l'utilisation de moyens explorés au cours de sa résidence au Fabric Workshop/ Museum. Elle a travaillé en collaboration avec Mary Anne Friel, qui a réalisé les dessins de l'artiste. Initialement, le personnage apparais- sait en ronde bosse (vu de devant sur la face du panneau central et de derrière au dos); dans cette version finale, le personnage au dos du panneau a été remplacé par un texte. Des versions this final version, the figure on the back has been replaced with text. Earlier versions linked images plus anciennes associaient des images de pommes et de serpent au texte placé sur le devant des pan- of an apple and snake with the text on the front side panels, but these were later discarded in favor of neaux latéraux, mais elles ont été abandonnées au profit d'un feuillage serpentin qui se déroule serpentine foliage that continues around the figure and on the reverse of the side panels. The autour du personnage et au dos des panneaux latéraux. L'image photographique monochromatique monochromatic photographic image became more sensual as it was saturated with a fiery Chinese red- est devenue plus sensuelle lorsqu'elle a été saturée d'une couleur vive rouge-orangé chinoise pour le orange colored background, the veil in royal blue, and the skin in a bronze hue. Underprinting of gold fond, de bleu royal pour le voile, et d'une teinte de bronze pour la peau. Des impressions sous-jacentes leaves, accidentally arrived at, and overpainting the red background with green and gold foliage à la feuille d'or, obtenues par hasard, et la peinture d'un feuillage vert et or sur le fond rouge offrent offered a rich, glowing resolution. The text, at first intended to be printed, was finally embroidered in un contraste riche et brillant. Le texte, qui devait d'abord être imprimé, a finalement été brodé au fil gold silk thread that added to the sumptuousness of the work. Finally, a printed-fabric covered frame de soie dorée, ajoutant au caractère somptueux de l'œuvre. Pour finir, un premier cadre recouvert de was abandoned in favor of an exposed frame of delicately patterned Australian lacewood. tissu imprimé a été remplacé par un cadre en bois de sycomore australien aux motifs délicats."

Carrie Mae Weems

Book cover titled New American Voices with bold yellow text along the left edge, featuring a snarling wildcat in the background and a surreal sculptural form with spindly wires in the foreground.

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A photograph of an open book showing two images of abstract quilts, one on each page. The quilts have colorful borders made of solid and patterned fabric. The interior of the quilt is abstract with colorful and gestural lines and illustrations.

New American Voices

An image of a thin, rectangular book, more tall than it is wide. The cover of the book depicts a variety of colorful fabrics in various patterns.

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An image of a thin, rectangular book, more tall than it is wide. The book is open to show two artworks made of colorful, patterned fabrics.

A Decade Of Pattern: Prints, Patterns and Prototypes

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A book spread with text and an image on the left and a full spread image on the right. The two images of both of an art installation consisting of large sheets of white fabric flowing from circular armatures suspended in a vast warehouse space.

MW Editions and The Fabric Workshop and Museum

Process and Practice: The Fabric Workshop and Museum