Drop by the BMA for a midday art fix! Join Hugh Kaul Curator of Contemporary Art Jade Powers for an in-depth discussion of the BMA’s new exhibition, “Interwoven: Stories in Fiber and Form.” Powers will discuss the artistic practices and themes that come together in this exhibition, while exploring connections that wind through other pieces in the Museum.
Image caption: Shan Goshorn (1957–2018), “Lifeline,” 2017, arches watercolor paper splints printed with archival inks, acrylic paints, artificial sinew; Museum purchase with funds provided by the Estate of Clyde W. Oyster, 2018.8
Description
Drop by the BMA for a midday art fix! Join Hugh Kaul Curator of Contemporary Art Jade Powers for an in-depth discussion of the BMA’s new exhibition, “Interwoven: Stories in Fiber and Form.” Powers will discuss the artistic practices and themes that come together in this exhibition, while exploring connections that wind through other pieces in the Museum.
Image caption: Shan Goshorn (1957–2018), “Lifeline,” 2017, arches watercolor paper splints printed with archival inks, acrylic paints, artificial sinew; Museum purchase with funds provided by the Estate of Clyde W. Oyster, 2018.8
ArtBreak, Interwoven: Stories in Fiber and Form
Drop by the BMA for a midday art fix! Join Hugh Kaul Curator of Contemporary Art Jade Powers for an in-depth discussion of the BMA’s new exhibition, “Interwoven: Stories in Fiber and Form.” Powers will discuss the artistic practices and themes that come together in this exhibition, while exploring connections that wind through other pieces in the Museum.
Image caption: Shan Goshorn (1957–2018), “Lifeline,” 2017, arches watercolor paper splints printed with archival inks, acrylic paints, artificial sinew; Museum purchase with funds provided by the Estate of Clyde W. Oyster, 2018.8
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Description
Drop by the BMA for a midday art fix! Join Hugh Kaul Curator of Contemporary Art Jade Powers for an in-depth discussion of the BMA’s new exhibition, “Interwoven: Stories in Fiber and Form.” Powers will discuss the artistic practices and themes that come together in this exhibition, while exploring connections that wind through other pieces in the Museum.
Image caption: Shan Goshorn (1957–2018), “Lifeline,” 2017, arches watercolor paper splints printed with archival inks, acrylic paints, artificial sinew; Museum purchase with funds provided by the Estate of Clyde W. Oyster, 2018.8