Sheila Hicks: Free Threads – Alison Jacques

Veronica Ryan: Multiple Conversations

WHITECHAPEL GALLERY, LONDON: UNTIL 14 JUNE

Donald Locke: Resistant Forms

CAMDEN ART CENTRE, LONDON: UNTIL 30 AUGUST

Ana Mendieta

‘SEVERAL ETERNITIES IN A DAY: FORMS IN THE AGE OF LIVING MATERIALS’, HAMMER MUSEUM, LOS ANGELES: UNTIL 23 AUGUST

Ian Kiaer

‘RETHINKING ROMANTICISM’, CAMeC – CENTRO D’ARTE MODERNA E CONTEMPORANEA, LA SPEZIA, ITALY: UNTIL 13 SEPTEMBER

Carol Rhodes

‘EARTH MATTERS: SEEING SOIL THROUGH ART’, INVERLEITH HOUSE GALLERY, EDINBURGH: UNTIL 1 NOVEMBER

Lenore Tawney

‘MADE IN TENSION’, THE SOLOVIEV FOUNDATION, NEW YORK: UNTIL DECEMBER

Ana Mendieta & Hannah Wilke

‘BODY. IDEAL, GAZE, FREEDOM’, GOTHENBURG MUSEUM OF ART: UNTIL 17 JANUARY 2027

Birgit Jürgenssen

‘ENDLESS SUNDAY: MAURIZIO CATTELAN AND THE CENTRE POMPIDOU’, CENTRE POMPIDOU-METZ: UNTIL 2 FEBRUARY 2027

Ailson Wilding

‘A LIVING COLLECTION’, HEPWORTH WAKEFIELD: UNTIL MARCH 2027

Veronica Ryan

‘A BRUSH WITH…’ PODCAST, THE ART NEWSPAPER

Maeve Gilmore

‘REFRAMING NARRATIVES: WOMEN IN PORTRAITURE’, NATIONAL PORTRAIT GALLERY, LONDON: ONGOING

Takuro Kuwata

‘ROPPONGI CROSSING 2025: WHAT PASSES IS TIME. WE ARE ETERNAL.’, MORI ART MUSEUM, TOKYO

Sophie Barber: Mackerel sky, mackerel sky, never long wet, never long dry

HASTINGS CONTEMPORARY

Sheila Hicks: The Travelling Thread

MUSÉE DU QUAI BRANLY - JACQUES CHIRAC, PARIS

Museo Amparo presents a major exhibition dedicated to Sheila Hicks; the first in Mexico after her collaboration with Antonio Souza Gallery in 1962.

‘Free Threads: Textile and its Pre-Columbian Roots, 1954-2017’ offers a new and original interpretation of Hicks’s work, allowing a new appreciation of a large number of works that have not been exposed for several decades, including some made in Mexico in the 1960s. With approximately 120 works made at different times, as well as numerous photographs and archival documents, the exhibition will provide a broad overview of her artistic work, highlighting the Latin American roots and influences.

A student of Josef Albers at Yale University, Sheila Hicks received a solid pictorial training; two oil paintings from 1954 and 1957, never exhibited before, are to be displayed in this exhibition. It was during that period that she developed a sensitivity marked by the power and effects of colour. Her work underwent a radical change in 1957 when she began a series of trips through Chile and the region, during which she became acquainted with Pre-Columbian textiles and ancient Andean weaving techniques. Through this approach, the exhibition aims to confront Sheila Hicks’ art with 20 Pre-Columbian textiles from the collections of the Museo de Arte de Lima.

This exhibition proposes a new reading, emphasizing that the achievements of her training in the field of abstract painting did not disappear when her work turned to textiles, and that the artist addressed pictorial abstraction in a unique way, manifesting itself very quickly through an openness to spatial concerns. In addition to these pictorial and structural considerations, the importance of architecture and decoration in the art of Sheila Hicks are explored, as well as colour considered as form and texture, and language issues. A gallery dedicated to the Andean and Mexican contexts will include Hicks’ travel documents on Latin America, her thesis on Pre-Columbian textiles, presented at Yale University in 1957, and records of her years in Mexico as a witness and participant in the creative turmoil of the time, during which she met important figures like Felix Candela, Luis Barragán and Mathias Goertiz.

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