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Christa Maiwald, Self-portrait with Vermeer's "The Lacemaker", 2013.
When Christa Maiwald emerged from art school in the mid 1970s, women artists, influenced by the "raised consciousness" of feminism, were claiming the subject of their own lives as a vital topic in their art. Exploring the intersection of art and life, Maiwald's early video work of this period focused on loss of innocence. Yet, interlaced with these weighty themes of sex and violence, was a narrative with often comic threads. Moving on to painting, sculpture and installation, Maiwald eventually landed on embroidery as a medium that enabled her to confront social issues in an indirect form. The art of stitching both emblazons and belies her provocative subject matter, permitting time for the powerful meaning of her works to penetrate.
Maiwald's embroidery is not your grandmother's. Her work is iconoclastic. In her new exhibition, Short Stories and Other Embroideries, on view at Guild Hall in East Hampton until January 5, 2014, Maiwald alternately sticks her needle into the heart of political stereotypes or investigates identity and artistic heritage.
http://www.guildhall.org/museum-2/current-exhibitions/
