Adela Akers

Linen, Horsehair & Metal foil
36” x 36”

Mark, detail

Linen, Metal foil
29” x 60”


1963 Cranbrook Academy of Art, Bloomfield Hills, MI
1960 School of the Art Institute of Chicago, Chicago, IL
1955 BS, Pharmacy, University of Havana, Cuba

Professional Experience
1995 Professor Emeritus, Tyler School of Art, Temple University, Philadelphia
1972-95 Professor and Chair Fiber Area, Tyler School of Art, Temple University, PA
1991-92 Visiting Professor, Chairperson Textile Area, San Francisco State University
1968-70 Artist in Residence, Penland School of Crafts, Penland, NC

2006  Flintridge Foundation Award Recipient
One of five California artists recognized whose work "demonstrates high artistic merit and a distinctive voice for 20 or more years."

Selected Exhibitions
1998 "Modus Operandi: A Survey of Contemporary Fiber", Snyderman/Works Galleries, Philadelphia, PA
  "Defining Fiber", Braunstein/Quay Gallery, San Francisco, CA
  "Fabricated from Flax", Contemporary Crafts Gallery, Portland, OR
1997 "Weaving Metaphors", Arts Benicia, Benicia, CA
1992 Asheville Art Museum, Inqugual Exhibition, Asheville, NC
  Baylor University, Textile Invitational, Waco, TX
1991 Philadelphia Museum of Art, Philadelphia, PA
  Helen Drutt Gallery, Philadelphia, PA
1986 "Craft Today: Poetry of the Physical", American Crafts Museum, NY and traveling nationally for two years
1982 Jacquard Textiles, Museum of Art, Rhode Island School of Design, RI
  Cooper Hewitt Museum, The Smithsonian Institution's National Museum of Design, NY

Selected Public Collections
  Renwick Gallery of the Smithsonian Institution, Washington, DC
  Everson Museum of Art, Syracuse, NY
  Johnson Wax Collection, Museum of Contemporary Crafts, NY
  Bell Atlantic, Philadelphia, PA
  Blue Cross/Blue Shield, Indianapolis, IN
  E.I. Dupont De Nemours & Co. Wilmington, DE

My current work reflects my interest in coded messages and record keeping as it pertains to memorials. I am dealing with ideas, but I am also responding to the immediate tactile involvement of doing. I am interested in both process and materials as ways to build up an image and to encourage others to connect.

It is my intention to externalize both process and materials and their interaction in order to transcend the theoretical and create a richer surface that is the focus of the work.

These works are made up of fine linen woven strips sewn together. Horsehair is inserted as part of the woven structure to add stiffness and create an illusion of movement and space. Paints and inks are used by direct application to the warp threads prior to weaving or to the finished woven cloth. Thin strips of lead (recycled from wine bottles) are cut and stitched to the strips in order to build up the surface and to suggest language and written records.

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