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FWM Publications

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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."

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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 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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Best Seller

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.

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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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FWM Exclusive

FWM Exclusive

FWM Exclusive

FWM Exclusive

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 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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Free for members

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"

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Jonathan Lyndon Chase: Big Wash

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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FWM Exclusive

FWM Exclusive

FWM Exclusive

FWM Exclusive

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

A yellow book cover featuring a long tunic with a very busy hand-drawn pattern featuring orange, brown, and gray nude figures interacting with one another amid large brown leaves and a background of repeat textural marks. The book cover says "Will Stokes" in hand-written cursive.

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FWM Exclusive

FWM Exclusive

FWM Exclusive

FWM Exclusive

Will Stokes, Jr. x FWM

Will Stokes Jr.

A cover of a book featuring a gray scraggly rabbit as a puppet lounging in reference to Ingres' painting "La Grande Odalisque" and holding a clear and green bong.

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A book spread featuring two images (one on each page) of installation photos from the exhibition Jayson Musson: His History of Art. On the left is a window curtain referencing Gentileschi's "Judith Slaying Holofernes" in the style of Matisse's "Icarus." On the right is an image of three puppets wearing denim vests and pope hats.

Jayson Musson's His History of Art

A photo of a book, "Mary Reid Kelley & Patrick Kelley," featuring a kneeling female character who is holding her belly and tilting back in laughter. She has long hair and bug eyes and is rendered in warm grays with black accents. She is posed on gray floorboards against a green background.

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A photo of a model posing with a book and tote. The book has a photo of a woman dressed in black and white with long black hair and she is kneeling on her knees on the floor in front of a green screen. The tote is black and white and has the phases of the moon in a grid. Below the grid, the tote reads "Blood Moon" and the "O's" are also phases of the moon.

The Fabric Workshop and Museum and Gregory R. Miller & Co.

Mary Reid Kelley & Patrick Kelley

This is an image of a book cover. On the book cover is a photo of an artwork. The artwork is a wearable sculpture, has a hood and two long sleeves, all made of houndstooth patterned fabric. Where the hood and sleeves connect to the body, there is a thick red fabric acting as a border between the hood, the sleeves, and the body. The body of the sculpture is a rectangular shape, is light blue, and has a pattern of circles, all the same size. The circles are outlined with white text and read: "Saddle your dreams before you ride'em." There is a slit in the fabric at about knee-length for legs to emerge from the jacket.

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FWM Exclusive

FWM Exclusive

FWM Exclusive

FWM Exclusive

This is an image of a book concealed in a pink, transparent zip-loc plastic bag. On the book cover is a photo of an artwork. The artwork is a wearable sculpture, has a hood and two long sleeves, all made of houndstooth patterned fabric. Where the hood and sleeves connect to the body, there is a thick red fabric acting as a border between the hood, the sleeves, and the body. The body of the sculpture is a rectangular shape, is light blue, and has a pattern of circles, all the same size. The circles are outlined with white text and read: "Saddle your dreams before you ride'em." There is a slit in the fabric at about knee-length for legs to emerge from the jacket. On the plastic cover in the center of the book is a sticker that reads: "Under penalty of law this tag can only be removed by user Comfort Zone Ellen Lupton Visiting Curator The Fabric Workshop and Museum January 25–April 21 2022 1315 Cherry Street Philadelphia PA 19107 PH 215.568.1111 FX 215.568.8211 www.fabricworkshopandmuseum.org Gallery hours: Mon–Fri 9am–6pm Sat Noon–4pm Tours by appt All new material The exhibition program of The Fabric Workshop and Museum is supported by The Pew Charitable Trusts, Pennsylvania Council of the Arts, Institute of Museum and Library Services, National Endowment for the Arts, LLWW Foundation, The Philadelphia Cultural Fund, Independence Foundation, The Claneil Foundation, philip Morris Companies, Miller-Plummer Foundation, The Barra Foundation, and The Board of Directors and Members of The Fabric Workshop and Museum."

A book cover with varying levels of a smoky blue-gray. The foot of a curtain appears on the lower right. Small text at the center reads "habitus" and "ann hamilton"

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Prestel and The Fabric Workshop and Museum

Ann Hamilton: habitus