https://www.sabrinag.com/artwork daily 1.0 2026-03-18 https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1502944804105-8MJW1E91MRZRUYKUINS1/no_idle%29hands_still3.jpg Artwork https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1502859074971-79JNOY1AO1Z4WEYGA45M/Phototactic.jpg Artwork - "Phototactic Behavior in Sewn Slides," 2004. 35 mm slides, Kodak Ektapro slide projector, cotton thread, dimensions variable. I shot several rolls of 35 mm slides to document a film loop. The slides came back blurry and were unusable as documentation, so I created a new piece from the rejected slides. This was an impulse in part defined by the handcraft ethos of mending and recycling. I sewed onto the slides with a sewing machine, using two different kinds of thread. When the slides are projected, the pattern of the thread and the holes left by the sewing needle become the foreground imagery. The fan of the slide projector blows the thread, which causes an unusual kind of animation, and the projector’s automatic focus struggles to focus on the 3 dimensional thread hanging in front of and behind the slides. The title of the piece refers to the response of object to machine: phototaxis is the movement of an organism or a cell toward or away from a source of light. During the installation, each sewn slide is projected for ten seconds onto a large projection screen such that the images are sized 15 x 12 feet or larger. The slide projector runs in a continuous loop. Exhibited at LMAK Projects, NY; Anthology Film Archives, NY, and The Robert Hull Fleming Museum, Burlington, VT, among others. https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1502904796912-J44G8VOE8UF4BVLR5KW8/crochetfilm1.jpg Artwork - "Crochet Film," 2004. 16 mm film, wool, plastic, wood, dimensions variable. "Crochet Film" was a site-specific installation created for SculptureCenter, a museum in Long Island City, NY. Suited to SculptureCenter's 40-foot long lower-level gallery, "Crochet Film" explored the duration and movement of a projected image as it collapsed into the immobility of a tactile object. I shot a 16mm film measuring 80 feet (double the length of the gallery) depicting myself crocheting an 80-foot film replica out of wool yarn, an object that took nearly 10 hours to create. The actual film stretched from a projector to the opposite end of the space and looped back to the projector, with the crocheted replica installed nearby, merging space and material. Both objects were labeled with their length and duration: Film: 80 feet, 2:14 min. Film replica: 80 feet, 575 min. The piece was modified in length and installed at the G Fine Art gallery in Washington DC (2005); York Quays Gallery, Harbourfront Centre, Toronto, Canada (2007); the Contemporary Arts Museum Houston, TX (2010), and Hessel Museum of Art, CCS Bard Galleries (2019). Photo: SculptureCenter https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1669848901369-ANCD3DVKWY10MAIYBN4W/Weho_billboard.jpg Artwork https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1502855700321-5WHJYKO8GM3FBTR5S4YV/WartimeKnittingCircle.jpg Artwork - "Wartime Knitting Circle," 2007. Acrylic, cotton, wood, various knitting notions, dimensions variable. The installation used knitting as a mechanism for meditation on war, an outlet for political expression, and a provocation for dialogue among people with differing political viewpoints. Taking the form of machine knitted “photo portrait blankets” – which in 2005 were a popular way for families to honor relatives who had been deployed to Iraq and Afghanistan – nine images culled from newspapers, historical societies and library archives depicted how knitting was for civic participation, protest, therapeutic distraction, and even direct attack during times of war. Amidst this historical backdrop, a table, materials and instructions provided space and materials for museumgoers to knit wartime projects. Knitters were invited to bring in their own projects, or they could choose to work on one of four wartime knitting patterns provided. The patterns included Lisa Anne Auerbach’s Body Count Mittens, which memorialized the number of US soldiers killed at the time the mittens were made; a simple square to be used for blankets, which were either mailed to Afghans for Afghans or to US soldiers recovering in military hospitals; balaclavas to be sent either to troops in Iraq and Afghanistan or to Stitch for Senate (microRevolt.org’s war protest project); and stump socks, sent to war veterans and Iraqi children. Often, several different people would knit one object; one knitter would cast on, add a few stitches or rows, then put the project down, and later another knitter would advance the piece. Anonymous museumgoers as well as diverse groups such as Grandmothers for Peace, Daughters of the American Revolution, Quakers Against War, microRevolt and Stitch and Bitch Astoria gathered at the installation. Participants often came back for return visits, like one woman who came to knit every day during her lunch break during the three and a half month run of one exhibition. Notable war critic Phyllis Rodriguez, whose life and work inspired the piece, was another return visitor. Photo: Museum of Arts and Design (MAD) Exhibited at the Museum of Arts and Design, NY; Bucharest Biennale IV, Romania; Indiana State Art Museum, Indianapolis, and the Scottsdale Museum of Contemporary Art, AZ, among others. https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1689628692407-RG5IKZQAONS6GRFQH2KJ/still_SFP_copy.jpg Artwork - "Sewn Film Performance," 2003. 4:44 min. (double screen projection), color, sound I cut several Super-8 films that I had previously made into short strips. I then altered them via handcraft: I sewed bits of fabric onto them, and painted them, and cut some of them in half vertically in order to sew mismatched halves together. I used all of these film pieces in a performance, which took place in 2003 at the Dirt Palace’s Movies with Live Soundtrack festival. I sat on the floor, within the crowd, and fed strips of film into a Super 8 projector one by one. Live video of my hands was projected next to the film. The soundtrack was simply the sound of the film projector's motor. This video is documentation of the performance, and shows what the audience saw. From 2003-2005, I made several small quilts from the film I used in the performance. These were my first film quilts. https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1713582072206-2UVOV84R9TYP1J0MCSBC/Sabrina_Gschwandtner_150MediaStream_4.jpg Artwork https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1502820007724-FE9YYSH839N03ICA02T4/handsatwork2017.jpg Artwork - "Hands at Work," solo exhibition, 2017. Shoshana Wayne Gallery, Los Angeles. From 2009-2018 I worked from a collection of 16 mm films that were de-accessioned from the Fashion Institute of Technology and given to me by the Archivist of Anthology Film Archives. These short textile documentaries, dated between 1950 and 1980, explored textiles as art, craft, industry, fashion, military camouflage, political expression, and scientific metaphor. Not only had the movies’ subject matter - mostly that of women creating textiles - been deemed unworthy of archiving, but some of the film had faded or discolored, adding an additional layer of valuelessness. I’ve always thought of movie film as a kind of textile. Because it takes 24 frames of still images to equal one second of motion, film contains sequential images that resemble patterned fabric. When I received these de-accessioned films, I immediately thought of "string quilts," made by sewing together long, thin fabric scraps left over from other projects. In an act meant to recast the undervalued histories of women’s handcraft work and celebrate the film medium, I made my first 16mm film quilt by cutting and sewing lengths of film together into a string quilt formation. As I continued to work with the footage, I would cut and sew it into configurations based on popular American quilt motifs. I would carefully dismantle the narratives of the historical films, and re-interpret them. Sometimes I chose a scene, a subject, or a narrative style from a documentary to critique; other times, to honor. Occasionally I added in my own personal film footage, shot new film footage to insert into the quilts, printed over film with lithography ink, drew on the film, or scratched out certain scenes. In each piece, I intermingled footage to create a dialogue between the images inside the frames and the overall quilt patterns. I drew inspiration from quilt pattern books and museum quilt collections. I found, re-used, and honored patterns that have given shape to feminist narratives. I thought of my sewing as a three-dimensional form of cinematic editing, and a reconfiguring of the notion of "filmic suture" (the use of editing to draw audiences into a story). From a distance, the back-lit and illuminated film quilts resemble stained glass. Up close, viewers discover narratives from the photographic stills they see on a material that is usually projected and not examined within tactile proximity. The works are displayed within LED light boxes, or occasionally, on windows. By linking the crafts of quilt-making and film editing, this body of work calls attention to neglected material histories of cinema. In 1895, the Lumiere brothers adapted sewing machine mechanisms to advance film sprocket holes in their camera/projector called a Cinematograph, which they used to create the first motion picture. In the early days of Hollywood, women were employed as film editors because of their sewing experience. The thread I used to sew together pieces of film is a material bond that re-connects these handcraft histories to cinema. Made by my own hands on a Bernina sewing machine, my film quilts recuperate sewing’s essential role in cinema, while expanding material possibilities for quilt-making. In the era of streaming video, with film on the brink of obsolescence, I drew from the craft of quilting salvaged remnants to create a feminist future for film. In this work, film becomes a textile; a quilt composed of photographic material embedded with history. This body of work has been exhibited within the context of film, photography and media; textiles, quilts and handcraft; and feminist art. Select exhibitions include: “Power of Making,” Victoria and Albert Museum, London, 2011 (catalog) “alt_quilts: Sabrina Gschwandtner, Luke Haynes, Stephen Sollins,” American Folk Art Museum, New York, 2013 (brochure) “Purple States,” Andrew Edlin Gallery, New York, NY, 2014 “The Enchanted Loom (Part II),” (solo), RISD Museum, 2014 - ongoing “Film Quilts,” (solo), Shoshana Wayne Gallery, Los Angeles, CA, 2015 “Luminous Flux 2.0: new + historic works from the digital art frontier,” Thoma Foundation Art House, Santa Fe, NM, 2015 (brochure) “Connections: Contemporary Craft From the Permanent Collection,” Renwick Gallery, Smithsonian American Art Museum, Washington DC, 2016 (catalog) “Life After Media,” Orange Door Chicago, Thoma Collection, Chicago, IL, 2016 “Year of the Woman,” Mint Museum, Charlotte, NC, 2016 “Storyline: the Contemporary Quilt,” Houston Center for Contemporary Craft, TX, 2017 “Light & Matter: The Photographic Object,” Michener Art Museum, PA, 2017 (catalog) “Hands at Work” (solo), Shoshana Wayne Gallery, Los Angeles, CA, 2017 “Digital Artifacts,” Thoma Foundation Art House, Santa Fe, NM, 2018 “Punctures: Textiles in Digital and Material Time,” Squeaky Wheel, Buffalo, NY, 2020 “Radical Tradition: American Quilts and Social Change,” Toledo Museum of Art, 2020 (catalog) “Crafting America,” Crystal Bridges Museum of American Art, Bentonville, AR, 2021 (catalog) “Fabric of A Nation: American Quilt Stories,” Museum of Fine Arts, Boston, 2021 “The Sum of the Parts,” Craft Contemporary, Los Angeles, CA, 2022 “Women's Work,” Lyndhurst, Tarrytown, NY, 2022 “Social Fabric: Textiles and Contemporary Issues,” Newport Museum of Art, RI, 2022 “Implicit Explicit,” Hauser & Wirth, Los Angeles, CA, 2024 Photo: Joshua White https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1715090945246-PGTWTKV0SE7SBUICT0FW/Later_in_Life_installation_Gschwandtner1.jpg Artwork https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1647397074898-NZLVOS1CEDIQZU44WPLF/IBG_0457_1.jpg Artwork - "Scarce Material," solo exhibition, 2022. Shoshana Wayne Gallery, Los Angeles. This series utilizes film footage created by women cinema pioneers whose work from the late 1800s - early 1900s is woefully under-recognized. I re-printed footage from their films, sourced from archives around the world, onto black and white 35 mm film stock, and then cut and sewed the footage into configurations based on quilt motifs. Photo: Ian Byers-Gamber. Exhibited at Hauser & Wirth Los Angeles; Skirball Cultural Center, Los Angeles; Los Angeles Municipal Art Gallery; Len Lye Centre/Govett-Brewster Art Gallery, New Zealand, and the Walker Art Center, Minneapolis, MN, among others. https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1762475431374-45QATS1RS77K1OADF0BE/_DSC1452-2-small.jpg Artwork - "Absinthe, Smoke, Sugar, Choice," solo exhibition, 2025- 2026. Shoshana Wayne Gallery, Los Angeles. After the overturning of Roe v. Wade, I looked back to the “pre-Roe” era, drawing on early film and familial memory to explore how women have taken control of their bodies and lives. Two early films directed by women anchor this body of work. The first, Alice Guy-Blaché’s 1906 film Madame’s Cravings, portrays a pregnant protagonist who gleefully disrupts social norms — stealing absinthe, tobacco, and candy while her partner tends to their child. Her untamed desires and public act of childbirth, captured more than a century ago, subvert prescribed ideals of maternal propriety and bodily control. I heightened this subversion by hand-painting passages of the film — green for absinthe, and yellow, red, and blue for the lollipop — transforming the protagonist’s cravings into vivid, material expressions of desire and agency. The second film, a 1931 documentary by Marvin Breckinridge, chronicles the Frontier Nursing Service, which delivered maternal care by horseback in rural Appalachia and dramatically reduced maternal and infant mortality rates. Together, these films challenge the omission of reproductive life on screen. After the implementation of the 1934 Hays Code, depictions of pregnancy and childbirth disappeared from American cinema for decades. By revisiting works made before this period, I recover a visual history that resists the cultural erasure of reproductive experience. Photo: Robert Wedemeyer https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1613507186054-R812SQOD5XDHWCGWU00H/Serpentine+Dance+Square+1.jpg Artwork - "Serpentine Dance Square 1," 2021. B/W silver gelatin photograph with watercolor and photo dye. 18 9/16 x 18 1/2 x 1 1/2 inches (frame size). Photo: Ian Byers-Gamber. To create this work I accessed footage shot in 1897 by Alice Guy-Blache, who is known as the first female filmmaker and who was key to the invention of narrative cinema. I chose to work with Guy-Blache’s film of Mrs. Bob Walter performing Walter’s version of the “Serpentine dance,” created by Loie Fuller. I wanted to address the double erasure the film represents - not only has Alice Guy-Blache been under-recognized for her work, but because Loie Fuller couldn’t copyright her dance, she was heavily imitated. When creating a film quilt from the footage, I chose a pattern that could mimic the kind of circular movement the dancer performs for the camera. The seams in the quilt cut off various parts of the dancer’s body, creating new forms that are in keeping with interpretations of the billowing dress, which can resemble flowers or insects. Because Loie Fuller combined her choreography with projected light onto her silk costumes, early film documenting the Serpentine dance was hand-painted to replicate the colored lighting. 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https://www.sabrinag.com/text daily 0.75 2026-03-25 https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1774400424317-BGSENU8E42A22LOD5BEK/Screenshot+2026-03-24+at+6.00.11%E2%80%AFPM.png Press "Video Craft, Museum of Craft and Design" By Scott Snibbe. Roborant Review. March 17, 2026. https://static1.squarespace.com/static/5992311f7131a51fca3aacba/623fefb42d9bea5d9e7490bb/63d1825d80f1c167a1def1f5/1674675327460/image-asset.jpg Press - This Artist Uses 35mm Film to Create Quilts That Honor Women in Film | KCET “The Work of Women Filmmakers Lives on in 35mm Film Quilts.” KCET PBS SoCal. Jan. 25, 2023. https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1774400424317-BGSENU8E42A22LOD5BEK/Screenshot+2026-03-24+at+6.00.11%E2%80%AFPM.png Press "Video Craft, Museum of Craft and Design" By Scott Snibbe. Roborant Review. March 17, 2026. https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1767910771157-TWA6VFNNORMNNTFAEBI0/image-asset.jpg Press Visual Art Source review of “Absinthe, Smoke, Sugar, Choice” at Shoshana Wayne Los Angeles 24 Nov 2025. https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1767910907197-1UR0U2GTDJPY9TK8Y3X5/image-asset.jpeg Press Visual Art Source review of "Absinthe, Smoke, Sugar, Choice” at Shoshana Wayne Gallery 24 Nov. 2025. https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1745977863665-YUTFY1JXZS5C1FJJG9G1/image-asset.jpeg Press "Interlaced: Animation and Textiles" by Alla Gadassik. New Zealand: Govett-Brewster Art Gallery | Len Lye Centre, 2025. https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1739828709469-0DUC77ST29NCZVPUMFE1/image-asset.jpeg Press "New Women’s Work" by Angelik Vizcarrondo-Laboy. Melbourne: Smith Street Books, 2024. https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1713560450408-DU4JNWT2LGTMESFFQLWB/image-asset.jpeg Press Artforum review of “Implicit Explicit” at Hauser & Wirth Los Angeles March 2024 https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1674789619989-XGKKDGSS0O6AQ5LGAGBE/image-asset.jpeg Press “The Work of Women Filmmakers Lives on in 35mm Film Quilts.” KCET PBS SoCal. Jan. 25, 2023. https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1674790699058-2PP230X664RKMLEB9GMQ/image-asset.png Press Ljungbäck, Hugo. “Hands at Work’: Patching Women’s Film Histories through Sabrina Gschwandtner’s Film Quilts.” Cinéma & Cie. Film and Media Studies Journal Milano University Press Vol 22 No 39, 127-145, 2022. https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1669759176549-KX7BF3VSN9SVEMO2XZHR/image-asset.jpeg Press “Who is American? Skirball Exhibition in LA Answers the Question With Quilts.” By Leigh-Ann Jackson. LA Times 29 Nov. 2022 https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1669515616973-W52EYANGJTYUIAZSM7YF/image-asset.jpeg Press “Quilting exhibit at Skirball stitches together art, activism.” Spectrum 1 News 21 Nov. 2022 https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1664857587664-54EMCYZH769LW42V4R0K/image-asset.jpeg Press Hudson, Suzanne. Review: “The Sum of the Parts: Dimensions in Quilting.” Artforum Oct 2022. https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1649910260951-93II8B3YZ97PVCKXL80E/image-asset.jpeg Press Ollman, Leah. “Moving Images: Sabrina Gschwandtner at Shoshana Wayne Gallery.” Art in America. May 2022. https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1648443119664-F78VCGQLSHHQBTG01BB5/image-asset.jpeg Press Tigerman, Bobbye. “Screen Credit: Artist Sabrina Gschwandtner on Filmmaking, Quilting, and the Forgotten Labor of Women,” Unframed. 8 Mar. 2022. https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1648443229956-M7ZU3HF7AWX98IWP0LQL/Remediating_Archive-1.jpg Press Rémy, Lola. “Film Quilts as Forms of Material Knowledge.” Frames Cinema Journal. Spring 2022. https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1648445328906-5ZKLJJZ8PD9XXUSI6ZAW/Crafting_America_SG.jpg Press Adamson, Glenn and Jen Padgett. “Crafting America.” Fayetteville, AR: Crystal Bridges Museum, 2020. https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1648445444512-ANNHEKU1E6YYS5AI5T4Z/RadicalTradition.jpg Press Applebaum, Lauren. “Radical Tradition: American Quilts and Social Change.” Toledo, OH: Toledo Museum of Art, 2020. https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1648445852271-VJA58D6444RRT455AZR8/COLA_catalog_essayjpg.jpg Press "Sabrina Gschwandtner." By Rita Gonzalez. In “COLA 2019.” Los Angeles: City of Los Angeles Department of Cultural Affairs, 2019. https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1648445959132-ZBLSTINFQTSKO6R80JN1/Photograph%2Bmagazine%2Barticle%2Bby%2BLeah%2BOllman.jpeg Press “Sabrina Gschwandtner.” By Leah Ollman. Photograph. May/June 2018. https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1648446014066-NLZ6RV5WR3M1VBI62F45/Sabrina%2BGschwandtner%2B-%2Bartforum.com.web.jpg Press "Sabrina Gschwandtner: Shoshana Wayne Gallery." By Jennifer Peterson. Artforum.com. June 2017. https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1648446066778-13B7O3T7D7N7TRB26QF4/SG_LA%2BTimes_Print_2017.jpg Press "Her Quilts Are Made From 16 mm Film. Here's What They Reveal, Frame by Frame." By Leah Ollman. LA Times. June 30, 2017. https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1648446194650-A8EEL90BQF70WNVEMSPE/Artillery.jpeg Press "Review: Shoshana Wayne Gallery: Sabrina Gschwandtner." By Eve Wood. Artillery. July 5, 2017. https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1648446248085-NFZO432VJXNHBR1MBOMA/Flowers.jpg Press "Sabrina Gschwandtner: Camouflage." Interviews with Pat Ferrero and Leslie Thornton. Center for Ongoing Research and Projects (COR&P), 2014. https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1648446333320-Z6LFJRS1PWKADA5SM9DI/NYT_FAM_003.jpg Press "Memories, Stitched Together, For Gallery Walls." By Karen Rosenberg. New York Times. December 26, 2013. https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1648446381435-GMXYWH4KQ4C4LXS17CAL/BOMB_interview-1.jpg Press "Sabrina Gschwandtner Interview." By Andrew Lampert. BOMB magazine. December 19, 2013. https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1648446473430-QVDD8YFDN0RRS48LI2ED/Sunshine_and_Shadow_catalog_cover.jpg Press "Sabrina Gschwandtner: Sunshine and Shadow." Text by Glenn Adamson, Sarah Archer, and Julia Bryan-Wilson. Philadelphia Art Alliance, 2013. https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1648446520075-VISHJPSD1Q5TQHUP5G8X/SGschwandtner_Village.jpg Press "Sabrina Gschwandtner: ‘Sunshine and Shadow.’" By Robert Shuster. Village Voice. October 3, 2012. https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1648446565469-UU5BLT001L2GPKYSJXQS/image-asset.jpeg Press "The Politics of Craft." Edited by Julia Bryan-Wilson. Modern Painters. February 2008. https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1648446871675-7RZ3F9O4TPRLA96QG3XX/JMC_2008.jpg Press "Knitting is..." (A Statement of Practice by Sabrina Gschwandtner). Journal of Modern Craft. Issue 1 Volume 2 July 2008. https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1648446943083-BNI12VWQ0YKPCHIU5FLD/NYT_2.jpeg Press "Flair and Flash, not Frumpiness." By Martha Schwendener. New York Times. January 27, 2007. https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1648446994784-NVAGONW3FELZSI9F498X/NYT-1.jpeg Press "Needling More Than The Feminist Consciousness." By Karen Rosenberg. New York Times. December 28, 2007. https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1648447129357-LU2IO0D06Q5SLTVZ72KM/newyorkerboth*.jpg Press "Unraveling Gathering." By John Donahue. The New Yorker. February 2, 2004. https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1648447058042-02V1Y0SWBT5XR75ZNA8K/artforumpick2006.jpg Press "A Fold in the Fabric." By Lauren O'Neill-Butler. Artforum. December 2006. https://www.sabrinag.com/about daily 0.75 2026-03-06 https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1649913742233-WVQQNMDDHZAM5L2A7VBY/SerpentineDanceSquare5.PhotobyIanByers-Gamber_frame.jpg About https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1648164683560-9FX5G011Z8RQBOAEEL3O/Scarce_Material_exhibition.jpg About Sabrina Gschwandtner’s solo exhibition “Scarce Material” at Shoshana Wayne Gallery (2022). Photo by Ian Byers-Gamber. https://www.sabrinag.com/contact daily 0.75 2023-10-17 https://www.sabrinag.com/editions daily 0.75 2022-12-05 https://www.sabrinag.com/editions/serpentine-dance-print-3-2024 monthly 0.5 2024-12-05 https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/c26b6685-2c11-4996-b14d-387046ead45e/SerpentineDanceSquare3.2.TO_PRINTforedition_FINAL_version.jpg Editions - Inkjet print on matte photo paper, 2024 https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/25b16995-885c-4db5-b2e6-13f871ddbe2b/SerpentineDanceSquare3.Framed_printversion.PhotobyIanByers-Gamber_frame.jpg Editions - Inkjet print on matte photo paper, 2024 https://www.sabrinag.com/editions/inkjet-print-on-photo-matte-paper monthly 0.5 2024-12-05 https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1670216333125-JT9L4WRWI3YVXT8JQIFX/Inkjetprint.jpeg Editions - Inkjet print on matte photo paper, 2022 https://images.squarespace-cdn.com/content/v1/5992311f7131a51fca3aacba/1670216629881-G2MXQBQEWI7926KZN5T3/print_framed.jpg Editions - Inkjet print on matte photo paper, 2022