[vc_row 0=””][vc_column 0=””][vc_tta_tour 0=””][vc_tta_section title=”Artist Statement” tab_id=”1493541130652-9d9ea39e-3ae8″][vc_column_text el_class=”artist_statement”]

Art is interactive. Using classical realism painting techniques from the old Italian Renaissance Masters, I search for what we share in common, finding the uniqueness in people and objects while emphasizing the dynamics between them in symbolic ways. People are my muses. They intrigue me to find meaning, making my interpretations through non-verbal, visual commentaries.

Artists witness society, describing it either abstractly or realistically through the vehicles of color, light and shade, texture and the emotions they evoke. My work incorporates elements from nature and daily life. I add humor, the common, and the absurd into my paintings whose titles often give clues to the dialogue. Sometimes they are intentionally composed, other times they occur organically. Tropical colors are my passion. My oil paints make visual music. I use simple and extreme lighting to create drama.

I’ve worked in a variety of mediums on three different continents for the past 46 years incorporating different architectural scales into pieces for the walls, interiors and fashion while using the hardness of bronze and clay, the softness of wool and silk, or Canvas with it’s colorful and muted oils. My artwork is collected & exhibited nationally and internationally in museums, and group shows. I’ve had numerous commissions, and grants. My work is published in a variety of books and publications both in the fine art world and fashion world.

Retuning to my first love of classical realistic and surrealistic oil painting, my work continues with similar related themes, expressed differently due to the variety of perceptions life experiences bring. I discover what we share in common, making our humanity visible while emphasizing nuances, which makes each person and object unique.

Annette Kaplan
March 12, 2017
Florence, Italy[/vc_column_text][lab_button title=”Download Artist Statement” type=”outlined” size=”btn-small” button_bg=”custom” link=”url:http%3A%2F%2Fdev.annettekaplan.com%2Fwp-content%2Fuploads%2F2017%2F05%2F2C.2017_0507_AK_ARTIST_STATEMENT.pdf|||” button_bg_custom=”#8e8e8e”][/vc_tta_section][vc_tta_section title=”Awards/Honors” tab_id=”1493909480502-f000b985-0479″][vc_column_text el_class=”artist_statement”]

1984	Fulbright Grantee to Brazil – Grant extended to photograph in Argentina, 1985
1980	International World Art Directory (1980-1983)
1983	McNamara Grant – Alternate Finalist Economic Dev. Institute of the World Bank
1983	Fulbright Grant Alternate Candidate
1981	Dictionary of Women Artists compiled by Prof. Lamia Documato, U Colorado.
1976	National Endowment for the Arts Grant, (1976-1977).
1975	National Endowment for the Arts Grant, (1975-1976)
1971	Numerous prizes and commissions for Tapestries (1971-1983)

[/vc_column_text][lab_button title=”Download Complete Awards” type=”outlined” size=”btn-small” button_bg=”custom” link=”url:http%3A%2F%2Fdev.annettekaplan.com%2Fwp-content%2Fuploads%2F2017%2F05%2F17C2017_0507_AK_Awards_Honors.pdf|||” button_bg_custom=”#8e8e8e”][/vc_tta_section][vc_tta_section title=”Bio” tab_id=”1493736517905-f03b301d-ff40″][vc_column_text el_class=”artist_statement”]

[/vc_column_text][lab_button title=”Complete CV” type=”outlined” size=”btn-small” button_bg=”custom” link=”url:http%3A%2F%2Fdev.annettekaplan.com%2Fwp-content%2Fuploads%2F2017%2F05%2F3C.2017_05014_AK_LongCV_10pgs.pdf|||” button_bg_custom=”#8e8e8e”][/vc_tta_section][vc_tta_section title=”Collections ” tab_id=”1493542490514-ada28ea4-3e05″][lab_heading title_tag=”H4″ title=”Selected Permanent Collections in USA”][/lab_heading][vc_column_text 0=””]

2014	Alexis Smith, NYC.NY. Drawing.
2011	Novartis Permanent Art Collection.
2006	Kendall Jackson Art Collection.
1997	Kendal Jackson Art Collection – Serigraph on Silk. Santa Rosa, Ca.
1990	Elizabeth Arden, New York City NY. Sale of scarves.
1986	Phillip Bloom, New York, NY. Tapestry and Bronze Sculpture.
1986	Silvia Maricochi, Buenos Aires, Argentina. Drawings.
1985	Susan Pearlstine and Bruce Foster, Charleston, South Carolina. Imperial Skywalker -painting January.
1984	Rick Eastman, Santa Rosa, California. Tapestry.
1984	Carl Ramatt. Pleasanton CA. Serigraph, Watercolor and Abstract Drawing. Feb.
1984	Bruce Saxon, New York, NY. Photograph. February.
1983	Judah Magnus Museum Permanent Art Collection, Tapestry #165, “Shoshana/ Latada”. December
1983	David and Fran Frey. Tapestry #80. Squarambus. November.
1983	Alan Kean, London, England. Watercolor. November
1983	Joel Mark Cohen, Washington, DC, Commission Aubusson Tapestry. (Nov).
1983	Public Art Trust, Washington, DC, Listed in slide registry. (October).
1982	Suzanne Sachs Collection, Paris, France.
1982	DesignWare, Inc. Collection, San Francisco, California.
1982	Piero Mussi Collection, Berkeley, California.
1982	Mrs. D. Dolby Collection, San Francisco, California.
1982	Alan Kean Collection, London, England.
1982	Sir Roland Penrose Collection, London, England.
1981	IBM World Headquarters. Commission, Armonk, NY.
1981	Cavellini Collection, Italy. Guglielmo A Cavellini, Italian artist and art collector.
1980	Marvin Sloves Collection, New York, NY.
1979	Smithsonian Institution, Museum of History & Technology: Two Tapestries #79 “Pushme Pullyou Abstracted”, #71 “Pushme Pullyou” from series of 12 tapestries catalogued with the Smithsonian Institution as well. Washington, DC.
1979	Curator of Textiles, Art Institute of Chicago, Chicago, Illinois. Works and bibliography on file.
1978	National Collection of Fine Arts, Washington DC. Permanent Collection (Drawing)
1976	General Service Administration (GSA) Purchase for Health Education & Welfare Building, Washington, DC. #23 “Evolutionary Notes to WK”.
1976	General Services Administration (GSA Permanent Art Collection, Court House Building, New Orleans, Louisiana. Purchase #17 “Journey Two”.
1975	American Crafts Council Permanent Slide Collection.
1975	Contemporary Crafts of the Americas, Two-Year Traveling Slide Show Collection.
1974	Peter Collingwood Slide Collection, London, England. (Included in collection).

[/vc_column_text][lab_heading title_tag=”H4″ title=”Selected Permanent Collections in Brazil”][/lab_heading][vc_column_text 0=””]

1986	Rosa and Elihau Chut, Sao Paulo, Brazil. Painting.
1986	Oswaldo Nery da Fonseca, Brasilia, Brazil.
1986	Dr. Edson Antonio de Oliveira, Rio de Janeiro, Brazil. Painting.1986
1985	Vera and Louis Carlos Batista Cavalcanti, Rio de Janeiro, Brazil Paintings.
1985	Roberto Burle Marx, Rio de Janeiro, Brazil. Drawing.
1985	Gail Guillksen Art Collection, USA Cultural Attache, Sao Paulo, Brazil. Three. Drawings, March.
1984	Klaus Peters, Sao Paulo, Brazil.Watercolor BR1212 8″ x 6″ September 27,1984.
1984	Oglivy Mather, Irma Turtle, Sao Paulo, Brazil. Watercolor. March.
1984	Silvio Ferraz, Sao Paulo, Brazil. Watercolors March.
1984	Mauricio Segall, Museum Segall, Sao Paulo, Brazil. Watercolor March.
1982	Senator Fernando Henrique Cardoso Collection, Sao Paulo, Brazil (President of Brazil 1995-2002).

[/vc_column_text][lab_button title=”Complete PDF (Date Order)” type=”outlined” size=”btn-small” button_bg=”custom” link=”url:http%3A%2F%2Fdev.annettekaplan.com%2Fwp-content%2Fuploads%2F2017%2F05%2F5C.2017_0514PermCollUSBrYRS3pg.pdf|||” button_bg_custom=”#8e8e8e” el_class=”buttom_pub” css=”.vc_custom_1494686600727{margin-top: 6px !important;margin-right: 6px !important;margin-bottom: 6px !important;margin-left: 6px !important;}”][lab_button title=”Complete PDF (Alphabetical Order)” type=”outlined” size=”btn-small” button_bg=”custom” link=”url:http%3A%2F%2Fdev.annettekaplan.com%2Fwp-content%2Fuploads%2F2017%2F05%2F11C.2017_0514USBrPermColAlpha4p.pdf|||” button_bg_custom=”#8e8e8e” el_class=”buttom_pub” css=”.vc_custom_1494686621214{margin-top: 6px !important;margin-right: 6px !important;margin-bottom: 6px !important;margin-left: 6px !important;}”][/vc_tta_section][vc_tta_section title=”Publications” tab_id=”1493544520881-a3465e8c-5362″][lab_heading title_tag=”H4″ title=”Selected Publications in USA”][/lab_heading][vc_column_text 0=””]

1999	International Who’s Who of Professionals
1986	University Week, University of Washington, Seattle, WA. Tapestry, January16.
1985	Shirley E. Held, A Handbook of Fiber Arts, c. 1978 1973 pg. 98.
1984	Lee Christiano, Editorial Ltda., Rio de Janeiro, Brazil, January slides.
1984	Fulbright Finalist notification received. January.
1983	Art Diary – International World Art Directory. November Listing
1983	International World Art Directory. November
1982	Stanford University, Ca. Bay Area Artists: Eight Interviews, by D. Goldfine and N. Turner, July.
1982	Arteder 82, Bilbao Spain International Photographic Show, Published Book Section III Fotografia, pg. 891.
1981	Sotheby Park Bernet catalog 4546M, March 14, 1981.
1981	Renwick Gallery, Smithsonian Institution Catalog, Animal Imagery Show.Highland Villager, January 28, 1981, St. Paul, Minnesota.
1981	Book, Pattern Devices for Handweavers, 1981, by Doramay Keasbey pub same. pg. 19, 40.
1981	Weaving Woman Dictionary of Women Artists,1981, compiled by Prof. Lamia Doumato,University of Colorado
1980	Review, Leslie Plumber, New York Arts Journal, Vol. 20, November 13, 1980.
1980	Review, Robin Baker, New York Daily News, November 12, 1980.
1980	Fine Art for Federal Buildings 1972-1979, National Collection of Fine Art, Across the Nation, published by the Smithsonian Institution, June 4, 1980, pp. 30 & 31.
1980	Article, American Craft, May 1980.
1980	“The Place of Art in the World of Architecture” by Donald W. Thalacker, Art and Architecture Program Director for GSA. Introduction, by Paul Goldberger, New York Times Architecture Critic. 1980.
1979	The Washington Post, Style Section, Dec. 16, 1979. Interview and photo.
1979	Article, Texas Architect Magazine, October 1979.
1979	Portfolio of Six Artists, American Craft Magazine, lead issue, June 1979, p. 46 Published by the American Crafts Council.
1979	Architecture in Art, Mention of G.S.A. purchases, G.S.A. Catalog, March 1979.
1978	Article, Craft Horizon Magazine, August 1978, p. 85.
1978	Article, The Cultural Post, N.E.A. Publication, issue 18, p. 20, August 1978.
1978	Article about Phillips Collection Show, What ís Up in Art, Alexandria, Virginia, April 1978.
1978	Review of the Phillips Collection Show, The Washington Post, Sun April 1978.
1978	Annette Kaplan Tapestries, Catalog, The Phillips Collection. Apr15-May 14,1978.
1977	Interview and photograph, Interior Design Magazine, May 19, 1977, p. 229
1975	Oakland Museum Christmas Art Exhibition, Oakland, California.
1975	Art Week, November 8, 1975, volume 6, # 38.
1975	Fiber 5, Dolph Baumann & Associates, Los Angeles, California.

[/vc_column_text][lab_heading title_tag=”H4″ title=”Selected Publications in Brazil”][/lab_heading][vc_column_text 0=””]

1994	1994-1984 Published in Brazilian Fashion Magazines: Vogue • Elle • Claudia Moda • TV Globo, • TV Manchete, • Journal do Brazil • Brazil Herald
1993	Pareau on cover of Elle Magazine – Brazil
1988	Estilo of Journal do Brazil Caderno – July 2, 1988, Skirts – Maria Bonita.
1988	Magazine, Claudia Moda, No. 32 Ano VIII, pg. 112.
1988	Magazine, Claudia Moda, No. 40 Ano VIII.
1988	Magazine Domingo of Journal do Brazil, May 22, 1988, Ano 12, No 629, Pg. 34.
1988	TV Globo – Brazil. Shorts used on novela Mandala. Capitulo 139 May 1988.
1988	Interview TV 2 Program 1988 Jan. 14, 1988
1988	Various Scarves I designed for private clients are being used on Brazilian National TV programs, Novellas, International News, TV Globo and TV Manchete.
1987	Magazine Claudia Moda Fenatec Summer 87/88 pg. 4..
1987	Magazine Vogue Brazil Sept. 1987 No. 146 pg. 132, photographs and interview.
1987	Magazine O Hebreu Aug/Sept. 1987 No. 89, pg. 28.
1987	Magazine Toda Moda Ano 6 No. 93, February 1987, last page, Sericitextil.
1987	Journal do Brazil Caderno – pg. 10 Estilo skirt, Maria Bonita.
1987	Magazine Toda Moda Ano 6 – No. 92, Jan. 1987.
1987	Magazine Capricho pg. 18, dress made from fabric designed for DeMaia. Sao Paulo.
1987	Magazine Revista de Moda Ano 11 No 8, January 1987, pg. 31-32. Four textile designs, Brazil.
1986	Magazine Todo Modo Ano 6 – No. 92, October, Winter 1987. Last page, textile designs.
1986	Magazine Catalogo Moda Ano 11 No. 7, pg 10-11, Oct. 1986.
1986	Magazine Catalogo Moda Ano 11 No. 7, pg 10-11, Oct. 1986.
1985	Published Cover Design, magazine O Hebreu, Sao Paulo, Brazil.
1984	Lee Christiano, Editorial Ltda., Rio de Janeiro, Brazil, Januuary

[/vc_column_text][lab_button title=”Download Complete Publications” type=”outlined” size=”btn-small” button_bg=”custom” link=”url:http%3A%2F%2Fdev.annettekaplan.com%2Fwp-content%2Fuploads%2F2017%2F05%2F8C.2017_0514_Publications_3pg.pdf|||” button_bg_custom=”#8e8e8e”][/vc_tta_section][vc_tta_section title=”Reviews/Comments” tab_id=”1493546251284-432da347-9afd”][lab_heading title_tag=”H4″ title=”Comments About Annette Kaplan’s Tapestries”][/lab_heading][vc_column_text el_class=”.artist_statement”]“. . . Ms. Kaplan has succeeded to a remarkable degree, in meeting the challenges of exceedingly complex mechanical devices. In addition to making a strong aesthetic statement, her work reflects her fascination with and thorough understanding of her medium.”

Rita Adrosko
Curator, Division of Textiles
Smithsonian Institution
February 28, 1978

 

“. . . Annette Kaplan is one of the highly talented and disciplined artists who have been inspired by the processes of a particular medium to create unique works of art . . .”

Elena Canavier Assistant for the Arts,
Mrs. Mondale’s Staff Office of the Vice President
(Formerly: Crafts Coordinator, Visual Arts, National Endowment for the Arts)
February1978

 

“. . .Your proposal . . was in the group of finalists considered by the Panel . . ..”

Price Gittinger Coordinator
McNamara Fellowship Program
Economic Development Institute of the World Bank
March 18, 1983

 

“. . . You have been selected as a candidate.”

Wayne S. Peterson, Chief American Republics Branch USIA
Fulbright Committee
April 7, 1983

 

“. . . Ms. Kaplan is a very well trained artist, as well as a seasoned and productive journeyman in a number of media. Her tapestry work is especially impressive.”

David Frey
Business Consultant & Art Collector
October 22, 1983

 

“Annette Kaplan’s black and white tapestries are striking. She has employed the possibilities offered, but seldom explored by artists, in using the jacquard loom. She is an inventive weaver, stimulated as an artist and as a technician to use the capability of her tools . . .”

Lloyd Herman, Director
Renwick Gallery, Smithsonian Institution
December 3, 1980

 

“. . . Everyone is equally impressed with the high purpose and dedication she brings to her unique art form. She is indeed an artist that will produce memorable works . . .”

Samuel Phillips, Art Collector
November 23, 1981

 

“. . . she is a serious artist and has remarkable energy in pursuing new ideas which she can use creatively. The number of exhibitions of her work which she has presented attests both to her creativity and her energy in getting her work recognized.”

Lloyd Herman, Renwick Gallery
National Collection of Fine Arts
Smithsonian Institution
January 24, 1980

 

“The illustrations you sent of your works demonstrated to me that your tapestry shows research work and personal realization . . .”

Walter Zanini, General Curator
Fundacao Bienal de Sao Paulo
October 1982

 

“. . Ms. Kaplan has the most interesting didactic resources and a deep commitment to her work.”

Professor Anna Carolina K. P. Regner
Porto Alegre, Brazil
August 19893

 

Tapestries by Annette Kaplan were first exhibited in 1972, and her work is now in the Smithsonian Institution Art Collection, the Phillips Collection, the National Collection of Fine Arts and the Health, Education, and Welfare Building, all in Washington, D.C. Her art work also appears in the Gulf Resource Art Collection, Houston; IBM World Headquarters Art Collection, Armonk, New York; Bank of America Corporate Collection, San Francisco, Sir Roland Penrose, curator of the Picasso Estate, plus numerous other public and private collections in the United States, England, Spain, France, and Brazil.[/vc_column_text][lab_heading title_tag=”H3″ title=”Introduction”][/lab_heading][vc_column_text el_class=”.artist_statement”]Tapestries and walls have long had a natural affinity for each other. The bright colors, soft textures and intricate patterns of fiber works contribute complementary qualities to solid walls of stone and concrete. Large textile wall hangings have also been used to provide physical as well as visual warmth – and, given the current energy crisis, insulation may once again become a factor in the selection of wall art.

The United States has had no major tradition of architectural tapestries – the great weaving studios have been and remain centered in Europe. Our textile arts have been associated with the useful fabrics of the home- woven bedspreads, embroideries, small rugs, and quilts- created by thrifty and artistic women.

Today, however, the textile arts in America are flourishing in new and innovative ways. Perhaps we can be thankful for the lack of a strong historical tradition in this area; for the contemporary works are being created by artists, not by artisans. The result is a rich and provocative outpouring of textile art. Instead of artisans faithfully executing cartoons drawn by painters, we have trained artists exploring the techniques, processes, methods and materials of the fiber media.

Annette Kaplan is one of the highly talented and disciplined artists who have been inspired by the processes of a particular medium to create unique works of art. Her inspiration came from the technology of production weaving.

Given the great and growing demand for architectural fiber works, it seems inevitable that we will soon have shops of highly specialized artisans executing the designs of artists. Therefore it seems that we should take special pleasure in the present time- and in this exhibition – for it marks a particular creative moment in the history of fiber art. A time when artist and artisan are one and the same, weaving both aesthetic and technical knowledge into the work.

Elena Canavier
Assistant for the Arts, Mrs. Mondale’s Staff
Office of the Vice President

 

Seen at Perlcol Gallery, the tapestries of Annette Kaplan are perhaps a bit different than most of contemporary fiber art as they do not emphasize texture; rather, their con­ centration is, like painting, design. This exhibit is a retrospective of works from 1974 to the present, with the pieces done up until 1979 executed mainly in back and white; after that, the artist began to work more extensively with color. The black and white pieces are rich in their special geometry; compelling effects are achieved through intricate fractured grids and sections of highlight.

Such an optic achievement gives an impression of dimensionality, particularly in the· instances where Kaplan turns the grid loose, allowing the pattern to branch out and develop along Its own lines. The technical constant of the medium, the loom, dictates the grid as being the structural basis for all the tapestries; it is the artist’s obvious skill which can modify that demand and adapt It for her own aims.

“Energies in Silver,” a horizontal that stretches thirteen feet along the wall at a height of five feet, is woven from wool and linen and is seen as a major breakthrough In the works that deal with color. Yellow, red, blue, black, and white strands soar through the composition in an asymmetric rhythm, sometimes in hard and sharp configurations, but more often in looser images that are found In the earlier work. The patterns are more intimate in tone and construction, as they are a visual translation of a musical score for piano and flute. Looking at “Energies In Silver,” one can almost hear the music to which it corresponds.

Annette Kaplan’s art Is very personal purposeful; she has chosen a difficult medium through which to express her thoughts and emotions, and has successfully done so with her extraordinary talents.[/vc_column_text][lab_heading title_tag=”H3″ title=”Comments on the Artist’s Technicques”][/lab_heading][vc_column_text el_class=”.artist_statement”]Annette Kaplan is one of the very few contemporary textile artists who has successfully used a loom equipped with a Jacquard mechanism.

This mechanism makes use of punched cards to control the development of woven patterns. After each interlacing of the design is plotted on graph paper and a card is punched for each horizontal line (weft), the Jacquard mechanism makes it possible to weave patterns with relatively little effort. Motifs can be handled as straight repeats or as vertical and/or horizontal mirror images. It is also possible to rearrange the order of the cards to form new designs.

The Jacquard was designed by Joseph Marie Jacquard in Lyon, France in 1804 as an aid to weavers of elaborately patterned silks. Until that time, drawlooms, which were used for the same purpose, required a weaver and one or two drawboys or drawgirls to lift different combinations of warp yarns in the process of weaving

large-scale patterns in brocarded cloths and damasks. The drawloom was less accurate and more time – and labor- consuming than the Jacquard which replaced it.

Ironically, Ms. Kaplan, in executing her most recent works, has gone back to a modern version of the drawloom, a loom she finds more flexible than the Jacquard. It also frees her from the demands of hand punching and setting up the Jacquard cards.

Ms. Kaplan has succeeded to a remarkable degree, in meeting the challenges of exceeding complex mechanical devices. In addition to making a strong aesthetic statement, her works reflect her fascination with and thorough understanding of her medium

Rita J Adrosko
Curator, Division of Textiles
Smithsonian Institution
February, 28, 1978[/vc_column_text][lab_button title=”Download Complete Reviews” type=”outlined” size=”btn-small” button_bg=”custom” link=”url:http%3A%2F%2Fdev.annettekaplan.com%2Fwp-content%2Fuploads%2F2017%2F05%2F4C.2017_0510_AKQuotes_Comm_5p.pdf|||” button_bg_custom=”#8e8e8e”][/vc_tta_section][vc_tta_section title=”Representations” tab_id=”1494155406076-30c7792c-b2c9″][lab_heading title_tag=”H4″ title=”Art Representation in USA & Brazil”][/lab_heading][vc_column_text 0=””]

2013-1994	Freelance Fine Artist, USA designing for commissioned artworks: Designed Rugs for Roche Bobois; Designed Ceramic tile & plates at Heath Ceramics; Printed on silk for private clients; Sold paintings.
1994-1984	Maria Candida Sarmento of Maria Bonita, Rio de Janeiro, Brazil
1984	Susan Atherton, Los Angeles, California.( January)
1983	Shelly Guggenheim, Shelly Guggenheim Gallery.
1983	Galeria Bonino, NYC NY, Mrs. Fernanda Bonino ( October).
1983	Eve Mannes Gallery, Atlanta, Georgia. (September)
1983	The Stewart Gallery John Houston, , Dallas, Texas. (February)
1978	Galerie Denise Rene, New York, NY. (prior to her moved to Europe)
1978	Susan Caldwell Gallery, New York, NY.
1971	Modern Master Tapestries, New York, NY.

[/vc_column_text][lab_button title=”Download Complete Representations” type=”outlined” size=”btn-small” button_bg=”custom” link=”url:http%3A%2F%2Fdev.annettekaplan.com%2Fwp-content%2Fuploads%2F2017%2F05%2F16C.2017_0507_AK_Art_Rep_USA.pdf|||” button_bg_custom=”#8e8e8e”][/vc_tta_section][/vc_tta_tour][/vc_column][/vc_row]