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Wall to Wall: Carpets by Artists' studies some of the best contemporary art through the lens of craft: the woven carpet. Featuring 30 artists from across the globe, the exhibition shows this object to be a powerful locus of meaning today, one that cuts across issues of design, art, dâecor, production, and geopolitics. The \"artist carpet\" is a form that bears a long and distinguished historical pedigree, from Raphael and Peter Paul Rubens, to Pablo Picasso, Fernand Lâeger, and Joan Mirلo. Yet, 'Wall to Wall' takes as its point of departure a history of art rather than history of medium, focusing on the ways in which these objects advance relevant ideas and practices today. Unlike exhibitions that examine artist carpets through an ethnographic lens detached from the world of art, 'Wall to Wall' proposes that these carpets function in a continuum of modern art history as a critical form that is accelerating in use and application. The exhibition asks the simple question: Why? Exhibition: Museum of Contemporary Art (MOCA), Cleveland, USA (23.09.2016-08.01.2017).

Walk Under the Midnight Sun is a large-scale carpet installation originally designed for the Hungarian Pavilion of the 2023 Venetian Architecture Biennale, part of an exhibition proposal by Fuzzy Earth design studio and BÜRO imaginaire curator collective. The project invites the public to explore the entangled historical, social and architectural relationships within greenhouse cultivation practices. The protagonist of the installation is a regionally unique capsicum cultivar, the Hungarian wax pepper, known in Hungary as the Cecei paprika. The themes of the exhibition were inspired by Fuzzy Earth’s ‘Not Quite a California Wonder’ research project.

This study focuses on the making of African bark-cloth in the Caribbean and the use of plant fibers and pigments in the production and care of clothing for members of the colonized population. The material artifact of interest in this study is lace-bark, a form of bark-cloth, obtained from the bark of the lagetto tree found only in Jamaica, Cuba and Haiti. The fibres of the lagetto bark were removed by hand and dried, and the end result resembled fine lace or linen that was used by enslaved and freed women in Jamaica to make clothing as well as a substitute for manufactured lace. Although lace-bark is derived from the bark of a tree, it is different from other forms of bark-cloth. For instance, unlike most bark-cloth, the bark of the lagetto tree was not beaten into malleable cloth. The scientific name for the lace-bark tree is Lagetta lagetto; however, common names and spelling vary across regions. The author argues that a vibrant cottage industry based on African bark-cloth and lace-bark developed in Jamaica in response to economic conditions, and the insufficient clothing enslaved Africans received from their enslavers. Women dominated this industry and it fostered a creative space that allowed them to be expressive in their dress and simultaneously to escape, at least temporarily, the harsh realities of the plantation. The subjects of this study are women of African ancestry living in Jamaica from the seventeenth to the early twentieth century. By the late seventeenth century, a bark industry had developed in Jamaica that was responsible for producing exquisite bark material that was widely popular. The laghetto tree was known in Cuba as the Daguilla, and in Haiti as bois dentelle.

Textiles, Trade & Taste: Portugal and the World (TTT) is a project that aspires to bring new synergies to the field of textile studies by promoting different connections and interdisciplinary approaches involving art history, materials science, and conservation. The TTT research network is based at the Center for Humanities in the School of Social Sciences and Humanities at the Universidade NOVA de Lisboa and organizes workshops, conferences, tours, and lectures in museums and research institutions. The network's artistic and historical research has ranged from collating archival material to stylistic and iconographic studies, with the aim of placing textile objects in their historical, artistic, technological, and sociocultural contexts. Chemical analysis and characterization of dyes, textile fibers, and precious metal threads have provided important evidence for identifying the origins of raw materials and finished textiles, and for developing improved conservation treatments for their preservation for future generations. Recent research has examined the global circulation of dyes in the early modern period, especially reds, and also reconstructed the production and consumption of Indian, Chinese, and Portuguese embroideries and Islamic carpets. In 2011, TTT's work led to the classification of three \"Salting\" carpets as national treasures in Portugal. The team members have collaborated with national and international museums, including Museu Nacional de Arte Antiga and Calouste Gulbenkian Museum (Lisbon), as well as Abegg-Stiftung (Riggisberg), The Metropolitan Museum of Art (New York), Musée des Tissus, (Lyon), Museum für Islamische Kunst (Berlin), Museum für angewandte Kunst (MAK) (Vienna), Rietberg Museum (Zürich), Rijksmuseum (Amsterdam), George Washington University Museum and The Textile Museum (Washington, D.C.), National Gallery of Art (Washington, D.C.), and Victoria and Albert Museum (London). The team's art historians contributed to the platform \"Museum With No Frontiers\" to develop the online exhibition Discover Carpet Art involving Portuguese museums. TTT's scientists have strong links with the Freer Gallery of Art and Arthur M. Sackler Gallery (National Museum of Asian Art, Washington, D.C.), University of Zaragoza (Spain), Rijksdienst voor het Cultureel Erfgoed (Cultural Heritage Agency of the Netherlands, Amersfoort), and the University of Amsterdam. We have been encouraged by the positive response of the international community to the results of our initial research projects.

Geha features Mequitta Ahuja whose self-portrait, In Back Garden: Green Carpet, the painted figure is centered, filling most of the frame. Naked, her back toward the viewer, she has her face turned over her shoulder to confront an unseen camera as she holds its shutter release in her left hand. The image is emblematic of both her body of work and her process of building a picture. In Back Garden: Green Carpet reveals her performative self-portraiture in a very direct way. In most of her other works, however, posturing for the photo process provides Ahuja with figures that she sketches into more epic, fantastical landscapes.

An essay is presented that examines the post-postmodern approach to the analysis of objects. Art historians have turned their attention to the transportation of medieval and premodern objects. However, art should not be considered based on location but on personal histories. Examples are discussed with consideration of how historiography has treated objects and how they should be independently reconsidered.