new-york

Nancy Friedemann

Cheryl Pelavin Fine Art

Like Elaine Reichek, Rosemarie Trockel, Ingrid Calame, and Polly Apfelbaum (and others as different from one another), Nancy Friedemann borrows from domestic craft, reinterpreting curtains, table runners, and other lace accents as fine-art objects, some on a monumental scale. Tracing segments of lace or crocheted textiles in ink onto a semitransparent Mylar sheet, she creates works that are more translations than re-creations. With the shift from thread to ink, a traditionally conservative activity, prescribed and sanctioned for girls and women and eventually lost to machines, morphs into a complex and individualistic practice. Six of these drawings (all 2003), along with seven monotypes from 2002, were on view in Friedemann’s first New York solo exhibition.

Larger works such as Untitled, a seven-and-a-half-by-fifteen-foot panel in blue ink, and She Muttered, a ten-by-three-and-a-half-foot

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