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oom, that freedom within her creation to speculate,<br />
interpret and understand.<br />
Second Vatican Council Wrap is one of the show’s<br />
most intense pieces. Synthetic and natural yarn<br />
and metallic threads are combined in a hearty wall<br />
hanging that makes you feel its weight by just<br />
eyeing it. The Second Vatican Council was active<br />
in the 1960s to address relations between the<br />
modern world and the Catholic Church. If it is<br />
a direct reference to religion in Pepe’s own life,<br />
then it would probably be a fair assumption that it<br />
involved complexity.<br />
Hanging fiber pieces aren’t all you will see. Short<br />
Stack is one of Pepe’s wood sculptures that also<br />
feature paint and gloss to create a platform of loosely<br />
stacked black pieces. They support a wood square on<br />
top that slightly resembles the back of the witnessstand<br />
seat in a courtroom. There’s also Oversewn<br />
Object with Different Things Underneath, which<br />
uses fabric over accumulated armature to create an<br />
abstract figure. This piece has a distinct sense of<br />
whimsy that isn’t prominent in Pepe’s work.<br />
Currently, Pepe is the Core Critic in the Painting +<br />
Printmaking Department at Yale, following years of<br />
teaching at numerous universities, including Bard<br />
College, Brandeis University and RISD. With a vast<br />
number of acclaimed solo and group exhibitions<br />
under her belt—in both galleries and museums—this<br />
mid-career survey was due. In 2018, the exhibition<br />
travels to the Everson Museum of Art and the Bemis<br />
Center for Contemporary Arts.<br />
Sheila Pepe: Hot Mess Formalism<br />
Through January 28<br />
Phoenix Art Museum<br />
www.phxart.org<br />
Sheila Pepe, Red Hook at Bedford Terrace (detail with artist), 2008. Shoelaces,<br />
cotton yarn, and nautical towline. Variable dimensions. Smith College Museum<br />
of Art, Purchased with gifts from members of the Museum’s Visiting Committee<br />
in honor of the retirement of Ann Johnson.<br />
Sheila Pepe, Short Stack, 2017. Wood, paint, gloss medium. Collection of the<br />
artist. Photo by Alan Weiner.<br />
Sheila Pepe, Second Vatican Council Wrap, 2013. Synthetic and natural yarn,<br />
and metallic thread. Collection of the artist.<br />
Sheila Pepe, Common Sense II, 2010. Crocheted baby and worsted weight<br />
yarns, rope, and community participation. Installation view, Hand + Made: The<br />
Performative Impulse in Art & Craft, Contemporary Art Museum Houston, Texas.<br />
Sheila Pepe, Put Me Down Gently, 2014. Parachute cord, laces, yarn and hardware.<br />
Installation view, Des Moines Art Center, Iowa. Collection of the artist.<br />
Photo: Rick Lozier Photography.<br />
JAVA 19<br />
MAGAZINE