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A birthday gift for my sister... finally off of the needles!
Pattern: Printed Silk Cardigan, Interweave Knits, Spring 2008
Yarn: Frog Tree Pima Silk
Needles: Size US 3 and 5
I am thrilled with how this turned out!
red broken montaneous labyrinth
HAEGUE YANG
IN THE CONE OF UNCERTAINTY
NOV 2,2019-APR 5,2020
In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.
The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.
Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.
Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.
Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.
A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.
Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.
Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.
Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).
Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).
this is my swatch for the Venezia pullover by Eunny Jang on Interweave magazine winter 2006 issue. I used the original colours and yarn by Jamieson's (2 ply) and knitted with 3.0 mm needles. I got 30 x 31 stiches for 10 cm.
from Interweave crochet
still in progress. . . but definitely coming along. An anti-crochet friend of mine lets me crochet this at her house because it's so beautiful!
Icarus Shawl from IK Summer 2006 by Miriam Felton. My first shawl project. Knit in Misti Alpace Lace on US size 3 needles.
I started this in June 2008, but a bout with carpal tunnel relegated it to the unfinished object drawer for a few years. I dug it out recently, sewed it up and added the buttons. It's not a maternity pattern, so it should fit much better when I'm NOT 37 weeks pregnant!
The pattern is Pam Allen's Flutter Sleeve Cardigan from the Spring 2008 issue of Interweave Knits. I like negative ease, so I made the smallest size (36" finished bust). I used 4.5 balls of Classic Elite Classic Silk Yarn (cotton/silk/nylon blend) with needles size 2.5, 4 and 5.
I sewed the maternity polka-dot top in this photo as well, but the skirt is just a $2 thrift find.
my afghan design included in the Interweave book "Crochet at Home" edited by Brett Bara. made with over 25 different colors of cascade 220 and with no seaming, this blanket was so fun to make. i loved making it and i still love it.
Gaucho knot, tied with 0.9mm cord, on grooved stainless steel ring.
This is the same ring that I had tied blue and orange Spanish ring knots on for my dad, and he'd worn it often enough that the cord eventually was dark/dirty/discolored. stormdrane.blogspot.com/2013/12/spanish-ring-knots-on-rin...
I tried cleaning it up first with an old soft bristle toothbrush and liquid soap(works for cleaning up dirty/sweaty paracord bracelets) but it didn't clean up as well as I'd like, so I cut the old knots off and tied this new one.
I started with a three lead Turk's head knot, raised/expanded that into a five lead knot, then worked in the Gaucho interweave, using some orange 0.9mm cord from RW R&W Rope, and gave it a brushed on coat of krazy glue.
I started this in June 2008, but a bout with carpal tunnel relegated it to the unfinished object drawer for a few years. I dug it out recently, sewed it up and added the buttons. It's not a maternity pattern, so it should fit much better when I'm NOT 37 weeks pregnant!
The pattern is Pam Allen's Flutter Sleeve Cardigan from the Spring 2008 issue of Interweave Knits. I like negative ease, so I made the smallest size (36" finished bust). I used 4.5 balls of Classic Elite Classic Silk Yarn (cotton/silk/nylon blend) with needles size 2.5, 4 and 5.
I sewed the maternity polka-dot top in this photo as well, but the skirt is just a $2 thrift find.
Pattern: Josephine Top by Deborah Newton (Ravelry link), from Interweave Knits Summer 2007
Yarn: Karabella Vintage Cotton in white--6 skeins
Needles: 3.75mm circularsfor body, 3.25mm circulars for edging.
Modifications: Knit in the round rather than in pieces. I added some length to the allover texture pattern, and I also started the v-neck much higher than in the pattern (I started the neckline decreases at the same time I started the armholes). I like this top much more than I thought I would. The yarn was a pain to knit with, and the stitches looked sloppy at first, but a good blocking cured that. I wore this top last week, and found it to be very comfortable. The yarn held its shape (no stretching or bagging), and I like that it can be worn with or without a camisole underneath. Overall, a successful knit.
From Katie Pederson and Jacquie Gering's Quilting Modern!
We're giving a copy away to a lucky member at the June 21 PMQG meeting, thanks to Interweave. And I'll bring a copy to the all-day sew tomorrow for anyone to look through, too!
westcoastcrafty.wordpress.com/2012/06/01/quilting-modern/
portlandmodernquiltguild.blogspot.com/2012/06/quilting-mo...
Pattern: Printed Silk Cardigan from Interweave Knits Spring 2008
Yarn: 9 1/2 skeins of Elann Callista in Boysenberry bought last year with no project in mind
Needles: #3, #4 Knitpicks Options
Time to knit: A little more than two weeks, almost monogamously
Gripes: I'm pretty happy about how this turned it, my only gripe is the author's need to make the edges in garter stitch, I changed most of the edges to stockinette as to make seaming up easier. It took a lot of dedication and perseverance to do the finishing all in one day, I can't believe I did it!
Check out Jennifer Hansen's "Hairpin Bead Necklace" in Crochet Jewelry: 40 Beautiful and Unique Designs by Interweave Press.
Get the hairpin lace loom used to create this necklace: www.stitchdiva.com/ProductInfo.aspx?productid=EDJE06 Our Jenkins Woodworking loom can adjust from 1/2" to make this pendant, all the way to 61/8" - it is the most adjustable loom we have seen.
See our tutorials for hairpin lace, as well as our knit and crochet with wire tutorials if you need more tips on the technique used for the necklace.
And while you are at it - maybe you want to make some matching earrings? :o)
Day 29
Remnant skirt from Simplicity 7693.
Top Vogue 8392.
Cardigan crocheted from an Interweave pattern (Winter 2010) "Riverstone" using Cascade Heathers yarns .I like this cardi despite the fact that one of the bottom front edges curls up annoyingly no matter what I do to try and stop it from doing so.
Pattern: Snowball Hat designed by Katie Himmelberg
Pattern Source: Interweave Knits Fall 2007
Yarn: Malabrigo Merino Worsted in Mint (#506), about 1 ¼ skeins, and Cascade 109 in Red (#9404), 1 skein
I made Camdyn and myself these cute Snowball hats. Camdyn’s hat is made with a single strand of bulky yarn rather than double stranded worsted like the pattern calls for. I think they turned out pretty cute!
This is one of the two sweaters I knit (out of many) that actually looks good on me. This is the other one. They're both from Interweave Knits.
Check out Jennifer Hansen's "Chandelier Drop Earrings" in Crochet Jewelry: 40 Beautiful and Unique Designs by Interweave Press.
See our tutorials for crochet, as well as our knit and crochet with wire tutorials if you need more tips on the technique used for the earrings.
And while you are at it - maybe you want to make some more earrings? :o)
my afghan design included in the Interweave book "Crochet at Home" edited by Brett Bara. made with over 25 different colors of cascade 220 and with no seaming, this blanket was so fun to make. i loved making it and i still love it.
from Interweave Crochet Spring 2006. used F hook throughout and leftover yarns. unblocked size is 44.5" x 50"
Founded in 1895 in San Francisco’s Golden Gate Park,
the de Young Museum
The design of the new de Young Museum in Golden Gate Park embraces both art and nature. The landscape is brought into the building through a deep, penetrating exterior, the landscape court, while artwork is brought outside of the building in the sculpture garden. The interweaving of visitor, art, and landscape is reinforced on the ground level through ample opportunity to enter the museum and interact with the collection, and through the tower, a reference point linking Golden Gate Park with the San Francisco community beyond.
Architect: Herzog & de Meuron
Architect of Record: Fong and Chan Architects
Landcape Architect: Walter Hood
Contractor: Swinerton and Walberg Builders
About the Architects
Herzog & de Meuron
In 1978 Pierre de Meuron and Jacques Herzog established their office and became Herzog & de Meuron in 1997. Harry Gugger and Christine Binswanger joined the office as Partners in 1991 and 1994 respectively, followed by Robert Hösl and Ascan Mergenthaler in 2004. Today the firm has 10 associates and 182 employees worldwide, with branch offices in London, Munich, San Francisco, Barcelona, and Beijing.
Jacques Herzog and Pierre de Meuron both teach at Harvard University (1989 and since 1994, respectively), and at the ETH Studio Basel, Institute for the Contemporary City (since 1999).
Herzog & de Meuron received international attention very early in their career with the Blue House (completed 1980) in Oberwil, Switzerland; the Stone House in Tavole, Italy (1988); and the Apartment Building along a Party Wall in Basel (1988). The firm’s breakthrough project was the Ricola Storage Building in Laufen, Switzerland (1987). The Goetz Collection, a Gallery for a Private Collection of Modern Art in Munich (1992) stands at the beginning of a series of internationally acclaimed museum buildings such as the Küppersmühle Museum, for the Grothe Collection in Duisburg, Germany (1999), the Tate Modern in London (2000), and Schaulager® for the Laurenz Foundation in Basel (2003). Renown in the United States came with the Dominus Winery in Yountville, California (1998). On many projects, the architects have worked together with artists, including their collaborations with Rémy Zaugg (Fünf Höfe, Five Courtyards for the Munich City Centre, 2003) and with Thomas Ruff (for the Eberswalde Technical School Library in Germany, 1999).
Recently completed projects include the Laban Dance Center in London (2003, awarded with the RIBA Stirling Prize in 2003); the new flagship store Prada Aoyama Tokyo (2003); the Cottbus Technical University Library in Germany (February 2005); the expansion of the Walker Art Center in Minneapolis (opening April 2005); Allianz Arena, the new soccer stadium for Munich (opening May 2005, FIFA World Cup 2006); and finally the National Stadium for the 2008 Olympic Games in Beijing (groundbreaking December 2003, projected completion 2007).
Work by Herzog & de Meuron has appeared in numerous exhibitions, including Architektur Denkform at the Architekturmuseum Basel (1988); Herzog & de Meuron: une exposition, curated and designed by Rémy Zaugg at the Centre Georges Pompidou in Paris (1995); The Un-Private House at the Museum of Modern Art (1999); Works in Progress, at the Fondazione Prada in Milano (2001), and Herzog & de Meuron: Archéologie de l’imaginaire at the Canadian Centre for Architecture in Montréal (2002). In 2004 the Schaulager® Basel presented Herzog & de Meuron. No. 250. An Exhibition (8 May-26 September 2004). The exhibition is currently on display at the Netherlands Architecture Institute in Rotterdam (22 January-08 May 2005) and will then travel to Tate Modern London (01 June-28 August 2005).
The numerous prizes awarded the firm since 1987 include the Deutscher Kritikerpreis (1993), the Max Beckmann Award (1996), the Rolf Schock Prize for the Visual Arts (1999), and the Prix Equerre d’Argent (2001). In 2001 Jacques Herzog and Pierre de Meuron were awarded the Pritzker Architecture Prize for their complete works.
Fong & Chan Architects
Fong & Chan Architects (FCA) was established in August 1982 when Chiu Lin Tse-Chan and David G. Fong, colleagues, decided to interview as partners for the position of Associate Master Architect of San Francisco International Airport’s (SFIA) Master Plan. Although they had no portfolio or experience as a firm, they were awarded the position because of their well-rounded architectural skills and experience in airport design. Since then, FCA has grown into a respected firm with an extensive portfolio of award-winning work. FCA projects represent a wide range of building types, including international and domestic airport terminals, museums, hospitals and clinics, senior care facilities, and research laboratories for both the private and public sectors. Significant arts projects include the San Francisco Airport Commission Aviation Library / Louis A. Turpen Aviation Museum at the San Francisco International Airport and the American Center for Wine, Food, and the Arts in Napa, California. Other recent commissions include the Joint Mixed-Use Development Project between UC-Hastings College of the Law and the Central YMCA of San Francisco, in San Francisco’s historic Civic Center, and the Stanford University Medical Center in Stanford, California.
Fong & Chan Architects received the 2002 “Architecture Firm / Ten-Year Award” from the California Chapter of the Society of American Registered Architects and is a winner of multiple National Design Awards from the Society of American Registered Architects.
FCA works to benefit the profession by sponsoring an annual scholarship at the College of Environmental Design at UC Berkeley and participating in student internship programs. Principals serve as members, lecturers, and volunteers of many local, regional, and national architectural affiliations. FCA is a corporate member of the U.S. Green Building Council and employs LEED Certified Design Professionals.
Walter Hood
Walter Hood is a Professor and former Chair of Landscape Architecture and Environmental Planning at the University of California, Berkeley, and principal of Hood Design in Oakland, California. Hood has worked in a variety of settings including community design, urban landscape design, art, and research and has exhibited and lectured on his professional projects and theoretical works nationally and abroad. He was a fellow at the American Academy in Rome in Landscape Architecture, 1997.
Hood’s work was recently featured in Open, New Designs for Public Space, The Van Alen Institute (2003–04), the San Francisco Museum of Modern Art’s “Revelatory Landscapes” Exhibition (2000–2001) and the Cooper Hewitt Design Triennial (2000). He was awarded the American Society of Landscape Architecture National Award of Honor in 2003.
Recent commissions by Hood Design include the garden of the new Jackson Hole Center for the Arts in Jackson Hole, Wyoming; the Poplar Street improvement project in Macon, Georgia; and the renovation and streetscape improvement of Splash Pad Park, the new Lafayette Square Park, and the Oakland Waterfront, including designs for 10 new parks and a 6.6-mile trail, all in Oakland, California.
Hood’s published monographs Urban Diaries and Blues & Jazz Landscape Improvisations were awarded an ASLA Research award in 1996. His essay “Macon Memories” is featured in Sites of Memory, Princeton Press, 2001. He is currently researching and writing a book entitled ,i>Urban Landscapes; American Landscape Typologies, to be published soon.
L1170583
Yarn: Frog Tree Fingering Weight Brushed Suri
Needles: 4.5mm (7 US) Brittany
Pattern: Interweave Knits, Spring 2006
I use a baby soda bottle to store my lacing needles. It's just partially covered with a paracord gaucho knot interweave sleeve, a previous project that just happened to fit onto the bottle, so I kept it instead of taking it apart to reuse, even though it's neon pink (was a project for Ma (pink/breast cancer).
stormdrane.blogspot.com/2017/05/lacing-needles-and-case.html
I'd taken out a small lacing needle to use with the spool knit lanyard, to tie a single strand star knot at one end. It's been so long since I've tied one that I'll need to go watch my own tutorial again...
Check out Jennifer Hansen's "Hairpin Wire Bangle" in Crochet Jewelry: 40 Beautiful and Unique Designs by Interweave Press.
Get the hairpin lace loom used to create this bangle: www.stitchdiva.com/ProductInfo.aspx?productid=EDJE06 Our Jenkins Woodworking loom can adjust from 1/2" to make this pendant, all the way to 61/8" - it is the most adjustable loom we have seen.
See our tutorials for hairpin lace, as well as our knit and crochet with wire tutorials if you need more tips on the technique used for the bangle.
And while you are at it - maybe you want to make some matching earrings? :o)
My cupcakes in a magazine article! :)
Interweave Crochet Summer 2009 issue.
I share the page with candypopcreations.etsy.com!
She is a crochet artist and her work is amazing!
A birthday gift for my sister... finally off of the needles!
Pattern: Printed Silk Cardigan, Interweave Knits, Spring 2008
Yarn: Frog Tree Pima Silk
Needles: Size US 3 and 5
I am thrilled with how this turned out!