Fiber Arts & Installation
Michael Radyk is an artist who explores woven textiles and the qualities inherent in their structure, production, design, craft, and history. He uses both the hand loom and Jacquard loom to produce his work. Michael designs, weaves, cuts, sculpts, and manipulates his textiles into both two and three-dimensional sculptural forms. Also, Michael’s work involves the repurposing and reinvention of manufactured and industrial materials.
His work Swan Point is included in the Textile Collection of the Cleveland Museum of Art.
Recent exhibitions include: “Structured,” Textile Center, Joan Mondale Gallery, Minneapolis, MN; “Focus: Fiber-Kent State University Museum,” Kent, OH; and the Invitational Biannual Exhibition, “International Fiber Art Fair,” Seoul Arts Center, Hangaram Art Museum, Seoul, South Korea.
Michael’s work is featured in the books Artistry in Fiber, Vol.1: Wall, and Artistry in Fiber, Vol. 2: Sculpture, published by Schiffer Publishing Ltd. and the exhibition catalogues Influence and Evolution: Fiber Sculpture…then and now, and Blue/Green: color/code/context published by browngrotta arts.
Michael received his MFA from the Rhode Island School of Design and Brown University’s Sheridan Center for Teaching and Learning. He has taught at SCAD, RISD, Kutztown University, and the University of Georgia in Athens. He served as the Area Chair of Crafts and Textiles Area at Kutztown University of Pennsylvania from 2011-2016. He is the former Director of Education for the American Craft Council from 2016-2019 and was the founding Editor in Chief of the journal American Craft Inquiry.
The making of woven cloth is at the core of my artistic practice. In my work I use both the industrial Jacquard loom and the traditional hand loom in parallel research. This connective process activates both my textiles and structures to exploit their potential for sculptural surfaces and forms. My investigation into weaving and textiles is inspired by the qualities inherent in their structure, production, design, craft, and history.
I have been researching weft cut textiles including corduroy and fustian. Fustian is a fabric made by weaving two or more sets of wefts, or fillings. The word has come to denote a class of heavy cotton fabrics, some of which have pile surfaces, including moleskin, velveteen, and later renamed and rebranded as corduroy. Fustian most likely originated in Al-Fusṭāṭ, now part of Cairo, about AD 200, and eventually spread to Spain and Italy, where there were guilds of fustian weavers in the 13th century. As the material became popular its production spread northward; southern Germany and Switzerland had a rising fustian industry in the 14th century, and French weavers were making fringed and roughened fustians in the 16th. These early fustians appear to have been smooth fabrics with a soft raised nap; eventually, a ribbed pile surface was developed. By the 19th century cotton was being used for the warp as well as the filling especially in the weaving centers in Manchester, England. In all fustians one of the sets of filling yarns is made up of floats (yarns that skip over two or more adjacent warp yarns). When a pile fabric is desired, the weft floats must be cut, a process originally performed by hand with a fustian knife but now done mechanically.
For me the fustian and corduroy textile structures represent an example of the early transition from home or cottage based workshops to the consolidation to mills with industrial production and material. As the Industrial Revolution expanded its reach both hand weaving and hand cut textiles were subverted. In England, the cutting of fustian had always tended to be a cottage industry, carried on in homes or small workshops close to weaving mills and manufacturers of the cloth. The cutting required a careful eye and a steady hand but the fustian cutters were seen as unskilled labor.
My goal is to bring the artists hand and contemporary sensibility to the process of fustian cutting and weaving. I find inspiration in repurposing and the reinvention of a variety of industrial and machine-made materials I can integrate into my work. The ubiquitous nature of the materials I use are interesting to me because they usually defy desire and beauty: cotton, re-purposed plastic tape and gimp, recycled polyester, industrial dyed feathers, retro-reflective safety tape, phosphorescent and holographic tapes.
McLanahan Gallery, Penn State University, Altoona, PA
Artist in Residence Exhibition, Oregon College of Art and Craft, Portland, OR
Solo Exhibition, Takashimaya, New York, NY
Focus on Fiber: The Work of Michael Radyk and Timea Tihanyi, Two-Person Exhibition, Society for Contemporary Craft, Pittsburgh, PA
International Fiber Art Fair, Hangaram Art Museum, Seoul, South Korea (catalogue)
Structured, Joan Mondale & Studio Galleries, Textile Center, Minneapolis, MN
Focus: Fiber 2019, Kent State University Art Museum, Kent, OH (catalogue)
Super Surfaces, In the Paper Gallery, Seoul, South Korea (catalogue)
Blue/Green: color/code/context, browngrotta arts, Wilton, CT (catalogue)
Still Crazy After All These Years, 30th Anniversary Exhibition, browngrotta arts, Wilton, CT, (catalogue)
Focus: Fiber 2016, Kent State University Museum, Kent, OH (catalogue)
Influence and Evolution: Fiber Sculpture-Then and Now, browngrotta arts, SOFA, Chicago, IL
Somewhere Between Black & White, Harry Wood Gallery, Arizona State University, Tempe, AZ
The Constant Thread, Hambidge Center, Rabun Gap, GA
Influence and Evolution: Fiber Sculpture-then and now, browngrotta arts, Wilton, CT (catalogue)
Focus: Fiber 2014, Erie Art Museum, Bacon Gallery, Erie, PA (catalogue)
Small Expressions, Fuller Craft Museum, Brockton, MA
Fibremen 4, International Exhibition, Kherson Museum, Kherson, Ukraine
International TECHstyle Art Biennial, San Jose Museum of Quilts & Textiles, San Jose, CA
Ebb & Flow Yardage Exhibition, Handweavers Guild of America, Convergence, Providence, RI
Rijswijk Textile Biennial, Museum Rijswijk, Netherlands
National Fiber Directions 2013, Wichita Center for the Arts, Wichita, KS
Victory for Tyler; Victory for All, ICE Box Project Space, Crane Building, Philadelphia, PA
Faculty Biennial Exhibition, Miller Gallery, Kutztown University of Pennsylvania. Kutztown, PA
Inside/Outside the Box, ICE Box Project Space, Crane Building, Philadelphia, PA
Fiber Options: Material Explorations, Maryland Federation of Art, Annapolis, MD
New Weave: Five Contemporary Weavers, Common Wealth Gallery, School of Human Ecology, Design Gallery, University of Wisconsin, Madison, WI
Fibremen 1, International Exhibition, Kherson Museum, Kherson, the Ukraine
Binary Fiction: Digital Weaving, Eisentrager-Howard Gallery, University of Nebraska, Lincoln
34th Annual Philadelphia Museum of Art Craft Show, Philadelphia, PA
New Fibers 2010, FAN Gallery, Eastern Michigan University, Ypsilanti, MI
ART Healing Lives, Textile Center, Joan Mondale Gallery, Minneapolis, MN
Materials: Hard & Soft, Greater Denton Arts Council, Center for the Visual Arts, Denton, TX
Spotlight 2009, Clayton Gallery, Kennesaw State University, Kennesaw, GA
Extreme Threads: Works in Fiber, Stitch and Surface, Defoor Center, Atlanta, GA
Inaugural Faculty Exhibition, Lamar Dodd School of Art, University of Georgia, Athens, GA
RISD Textiles: New Talent, New York Design Center, New York, NY
RISD MFA Thesis Show, Rhode Island Convention Center Providence, RI
Craft Forms International, Wayne Art Center, Wayne, PA
Content in Context, Sol Koffler Gallery, Providence, RI
Jiseon Lee Isbara: Displaced-Part 2, with Textiles Center, ACC-On View Gallery, Minneapolis, MN
Memory Persuaded: Jayden Moore, ACC-On View Gallery, Minneapolis, MN
ENGAGE: Color, Ritual, Material Studies, conference and exhibition, Miller Gallery, Kutztown, PA
“Highlight,” TxP- Textile Plus Magazine, Netherlands, Summer 2020, issue 252. 46.
“Moving On,” RISDXYZ, Providence, RI, Fall/Winter 2019/20. 90.
“International Fiber Art Fair,” catalogue, Seoul, South Korea, 2019. 12.
“Focus Fiber: Kent State University Museum,” catalogue, Kent, OH, 2019. 50-51.
Radyk, Michael, "American Craft Inquiry," journal, Minneapolis, MN, 2016-18, Vol. 1-2.
Radyk, Michael, "Juror Statement-Burke Prize MAD Museum," New York, NY, 2018. 11.
Grotta, Tom, "Blue/Green:color/code/context,” catalogue, Wilton, CT, 2018. 90-91.
"Super Surfaces," catalogue, Seoul, South Korea, 2018. 34-35.
Lee, Helen; Rooney, E. Ashley, "Artistry in Fiber, Vol. 2: Sculpture," 2017. 12, 150-151.
Lee, Helen; Rooney, E. Ashley, "Artistry in Fiber, Vol. 1: Wall Art," 2017. 150-151.
Grotta, Tom, “Still Crazy After All These Years,” catalogue, Wilton, CT, 2017. 124-125.
Shales, Ezra, "Influence and Evolution: Fiber Sculpture…then and now," catalogue, Wilton, CT, 2015. 16, 122-125.
Radyk, Michael, "ENGAGE: Color, Ritual, Material Studies," exhibition catalogue, Miller Gallery, Kutztown, PA
Fellowships & Residencies
Hambidge Artist Residency, Rabun Gap, GA
2019 - 2020
Clothworkers’ Center for Textiles, London, UK
Virginia Center for the Creative Arts, Amherst, VA
Hambidge Artist Residency, Rabun Gap, GA
Oregon College of Art and Craft Residency Program, Portland, OR
Artist Relief Grant, Organized by United States Artists, Chicago, IL
Gus Foundation Research Fellowship, Clothworkers’ Centre Archive, V & A, London, UK
2012 - 2016
College of Visual & Performing Arts Faculty Development Grant, Kutztown University, Kutztown, PA
Kutztown University Foundation Grant for Engage Conference and Exhibition, Kutztown University, Kutztown, PA
Ruth and Harold Chenven Foundation Grant
Textile Society of America Presenter Symposium Grant, Lincoln, NE
Presidents Prize, FOCUS; Fiber, Textile Art Alliance of the Cleveland Museum of Art, Erie Art Museum, Bacon Gallery, Erie, PA
Award, Ebb and Flow Yardage, Handweavers Guild of America Convergence, Providence, RI
Visionary Award of Excellence, Craft Forms International, Wayne Art Center, Wayne, PA
Cleveland Museum of Art, Purchase with the Textile Alliance of the Cleveland Museum of Art, Cleveland, OH
Special Collections Library, University of Georgia, Athens, GA
Special Collections Library, Rhode Island School of Design, Providence, RI
2016 - 2019
Director of Education, American Craft Council, Minneapolis, MN
Editor in Chief, American Craft Inquiry Journal, American Craft Council, Minneapolis, MN
Workshop Instructor, Kent State University, Blossom Art Summer, Kent, OH
2012 - 2016
Crafts Area Head, Kutztown University of Pennsylvania, Kutztown, PA
2011 - 2016
Associate Professor of Textiles, Kutztown University of Pennsylvania, Kutztown, PA
2010 - 2011
Professor in Fibers, Savannah College of Art and Design (SCAD), Savannah, GA
2008 - 2010
Visiting Professor of Art, University of Georgia, Lamar Dodd School of Art, Athens, GA
2006 - 2008
Instructor in Textiles, Rhode Island School of Design (RISD), Providence, RI
Lecturer, Guest Critic, Juror
Awards Juror, American Craft Exposition, Evanston, IL
Fellowship Juror, Jerome Foundation Exhibition Grants, Textile Center, Minneapolis, MN
Inaugural Selection Juror, Burke Prize for Craft, MAD Museum, New York, NY
Selection Juror, Philadelphia Museum of Art Craft Show, Philadelphia, PA
2017 - 2019
Juror and Organizer, Emerging Voices Awards, American Craft Council, Minneapolis, MN
Juror, Rare Craft Awards, sponsored by Balvenie Distillery and Anthony Bourdain, New York, NY
Lecture, Cleveland Museum of Art, Cleveland, OH
Lecture, Kent State University, Kent, OH
Lecture, Wayne State University, Detroit, MI
Rhode Island School of Design, Providence, RI
Brown University, Sheridan Center for Teaching and Learning, Providence, RI
Certificate in Collegiate Teaching
Tyler School of Art, Temple University, Philadelphia, PA
BFA, Fibers & Material Studies, Art History Minor