52aa Silver Waves, Adela Akers, linen, horsehair, paint & metal foil, 63” x 24”, 2014, $8,000
56aa Summer and Winter Adela Akers, sisal & linen, 54” x 66”, 1977-2015, $12,000
50aa Landscape Transformed, Adela Akers, linen, horsehair, paint & metal foil, 73" x 32" x 2", 2011, $10,000
43aa Circles in a Square, Adela Akers, sisal, linen, horsehair & paint, 50" x 50", 2010, $10,000
41aa Entrance/Exit, Adela Akers, linen, horsehair and metal, 68" x 42"; 172.75cm x 106.75cm, 2009, $9,800
38aa Traced Memories, Adela Akers, linen, horsehair, metal foil and paint, 48" x 58", 2007, $8,800
40aa Broken Circle, Adela Akers, linen, horsehair and paint, 63 " x 42", 2008, $9,000
11aa Midnight, Adela Akers, sisal, linen and wool, 74" x 84" x 6", 1988, $16,000
50aa Five Windows, Adela Akers, linen and metal foil, 29" x 60", 2005, $9,000, photo by Bob Stender
Selected collections and exhibition venues:
Metropolitan Museum of Art, New York, New York; Renwick Gallery, National Museum of American Art, Smithsonian Institution, Washington, D.C.; Cooper Hewitt Museum, New York, New York (Jacquard Textiles, traveling exhibition); Everson Museum of Art, Syracuse, New York; Modern Masters Tapestry (solo exhibition); Johnson Wax Collection, Museum of Arts and Design, New York, New York; American Craft Museum, New York, New York (Craft Today: Poetry of the Physical, traveling exhibition); Detroit Institute of Art, Michigan (Pacesetters & Prototypes: Weavers); Pennsylvania Academy of Fine Arts, Philadelphia (solo exhibition); Cleveland Museum of Art, Ohio (Fiberworks); Sonoma County Museum, Santa Rosa, California.
Award, Pollock-Krasner Foundation; Award, Flintridge Foundation; Fellowships, National Endowment for the Arts; Grant, Pennsylvania Council on the Arts.
American Craft Council.
28aa Morning Gate, Adela Akers, linen, horsehair and metal foil, 25" x 23", 2005, $3,200
Before attending the School of the Art Institute of Chicago and Cranbrook Academy of Art, I completed studies to be pharmacist. My background in science has strongly influenced my artwork. The choice of materials and process emerges from that experience. There is a mathematical discipline in the way the work is constructed. This mathematical sequence is in strong contrast to the to the organic process (handweaving) and materials (linen and horsehair) that bring the work to fruition.
Even when I don’t know the outcome, it is the transformation of the materials by the repetitive hand manipulation that leads me to the final expression. It is always a discovery when reaching the end.
All the steps are important and contribute to the final work. Narrow strips are woven sequentially; horsehair is inserted at intervals. When the metal foil is used, it is cut in narrow bands to fit at intervals.
It is my intention to externalize both process and materials and their interaction in order to create a richer surface, which is the focus of the work. In the search for answers or solutions, the questions get better and the possibility of a miracle is ever present. The completion of each piece raises questions that form the fabric of work to come.