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BWW Reviews: More than Schmattas: Textiles and Art, Where's the Line? Interwoven Globe at the MET

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More than Schmattas: Textiles and Art, Where's the line?

Interwoven Globe at the MET: The worldwide Textile trade 1500-1800

By Barry Kostrinsky

Interwoven Globe: The worldwide Textile trade 1500-1800 opens September 16th and runs through January 5th 2014 at the Metropolitan Museum of Art. This is a story of hidden treasures speaking to one another on a cross-cultural global connection told through design and traveled by boat.

BWW Reviews: More than Schmattas: Textiles and Art, Where's the Line? Interwoven Globe at the MET

The abduction of Helen. From a set of the story of Troy. China for the Portuguese market, 17th Century, cotton embroidered with silk and gilt-paper-wrapped thread, pigments and a Coverlet Embroidered (Colcha) Mexican 1786 Cotton embroidered with silk.

Base-cemented for years within the METS vaults, now resuscitated, alive in nine galleries you can even see what Louis XVI commissioned but never got to; he lost his head too soon. About a third of the show comes from key loans and add to this intriguing smattering of all things textiles circa 16_19 C including dresses, quilts, tapestries, Warrior wear, waste coats, covers for bed and chair, coifs, copes, capes, curtains, carpet, coverlets, chintz, chasuble, settees, shawls, sashes, surcoats, a man's morning gown, robes priestly and mundane, a bizarre alter hanging, petticoat fragments (breathe in better girls), banyans, panels, ceremonial hanging pieces a sampler and a salt cellar with some oil on canvas to boot and a Reuben no sauerkraut nor mustard.

BWW Reviews: More than Schmattas: Textiles and Art, Where's the Line? Interwoven Globe at the MET
Dress Italian 1725-40 linen Palampore Indian, for European market 1690-1720 cotton, linen

Countries and Empires covered include China and Japan, France and Great Britain, Italy, India, Spain, Portugal, Mexico, Peru, Islam, Russia, Poland, Turkey. Some surprise bed partners. I hope they packed limes for the float into distant ports.

Amelia Peck the bright headed chief of the curator clan on this broad scoped show mixing many departments of the hallowed home of art and objects, explained how since those roaring days almost a centennial ago the MET has been endowed with a great wealth of objects from various cultures dealing in textiles. Unfortunately they have been mostly unhung, dead in a basement for 50-75 years. Indeed three to four times the amount of the work in the show could have been exhibited but even a great space dictates the limitations.

BWW Reviews: More than Schmattas: Textiles and Art, Where's the Line? Interwoven Globe at the MET
Carpet Islamic 17th century Silk (warp, weft, and pile), metal wrapped thread; asymmetrically knotted pile, brocaded and Robe Netherlands 1720-40 cotton, linen

The importance of trade and transportation as it impacted design is at the core of the show and represented in the boats of Armadas passed, docked large at the exhibit entrance in the Tisch galleries on the second floor. Ships set sail from Portuguese ports to kick of this textile romp through the vaults of the METS (no Yankees). There is a detailed trail of fabric and lace, influence and confluence and sampled copies from countries with taste preference that makes the international style presented in this exhibit quite bizarre as cultures blend and collide. The material trail is complicated and a simple tune is China for Embroidery and India for dying and painting. Adjacent art works are curated at the highest level in a very good way and indeed the trail is not easy to see without a read or the help of a guide: an intellectual walking stick of sorts. Red is strong as a base or highlight color through out as are the natural pale tones. At times I felt folk formalized made for the market high-end items were as beautiful as artwork can get. The trail of the cross-cultural pollination of ideas about design preferences travels many waterways. I get seasick quick and though not a zoo fan I did go a zoo hunting with imagery bows in quiver.

BWW Reviews: More than Schmattas: Textiles and Art, Where's the Line? Interwoven Globe at the MET

details quilt and Coverlet Chinese, for the European market 17th century Silk satin, embroidered with silk and gilt-paper-wrapped thread

Oddly enough I found myself cataloguing a list of the animals presented in all the art works. This could be the ultimate family Frisbee zoo at the MET. Just a list of the variety is enlightening and makes for a fun where's Waldo the wart hog journey. I came across various birds including eagles sometimes gone two headed en homage to Hapsburgian folk perhaps, a rooster ready for a fight, parrots, what looks like an egret on steroids and a peacock to name a few.

BWW Reviews: More than Schmattas: Textiles and Art, Where's the Line? Interwoven Globe at the MET
Chinese, Macao for export to Iberian market second half 16th century

Big game prowled heavy in Lions and Jaguar adorning great fantasmagorical, exotic blends of creatured and vined decorative designs. Well antlered deer, elephants, monkeys, camels and the bad bunny from Pythons "Holy Grail" were in the normal creatures section. At times the artist blended animals or worked with Harry's buddy Hagrid's barned pets conjuring up dragons, centaurs and trippy butterflies.



About Author

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Barry Kostrinsky Barry Kostrinsky is the founder of Haven Arts Gallery a large gallery and performance space that reinvigorated the South Bronx arts scene from 2004-2009. The Municipal Arts Society (MAS) awarded haven Arts a certificate of merit in 2006.

Barry has contributed to a variety of panels including a NYC Department of Cultural Affairs (DCA) Percent for art program, and a Bronx Museum symposium for the Artist in the Artists in Marketplace (AIM) program. Barry formed and moderated a talk for the Artists Talk on Art(ATOA) Series at The School of Visual arts (SVA) that discussed the history of contemporary arts in the Bronx.

Currently Barry serves as a member of the Arts in Public Places (AIPP) committee for Rockland County.

His past experiences managing a family run manufacturing company in the South Bronx for 20+ years gives him a uniquely balanced view of the art world.

He worked in finance and banking from 2010-2013 for a small independent company and then for Bank of America. As a result he sees the art world from both the aesthetic side and the financial market it is.

As an artist Barry has exhibited in group shows in NYC. He works in a variety of medium including oil paints, acrylics, watercolor,photography and mixed medium. Where as the oil paintings are mostly plein-air works not unlike the impressionists and post-impressionist, his acrylic work is quite contemporary and often on found objects including car parts, light bulbs, beds and more. His photographic work ranges from serene nature shots, to street detritus and include playing with simple I-Phone applications to manipulate photos taken with his phone. He shoots with old fashioned polaroids and enjoys the restrictions compelled by the lack of choices with the toy like cameras.

Barry special ability is to be able to see others artists work from the eyes of an artist and to dialogue with artists in a meaningful way about their art and where they are going.

As a youth Barry was a math major at Vassar College and graduated in 1982. His High School days at New Rochelle High enabled him to develop his artists talents, Mr. Blackburn was an inspiring teacher. He spent the summer before senior year at Rhode Island School of Design (RISD) and had a firm footing in the arts before college. By chance Vassar had one of the best art history departments in the US and he studied with Linda Nochlin, Susan Kuretsky and in is rookie year, Ken Silver.

He is a proud father of three grown kids ages 25,25 (twins is the way to start) and 20.

Like so many of us he is recently divorced.

Barry has a strong passion for all things arts related and his love for cooking and eating run a close second.



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