Xenobia Bailey
Funktional Vibrations, 2015
Glass mosaic in three parts
Commissioned by the Metropolitan Transit Authority for the 34th Street Hudson Yards Subway Station
Xenobia Bailey
Mv:#9 (Mandala Cosmic Tapestry in the 9th Roving Moon Up-Close), 1999
Hand crocheted cotton and acrylic yarns, plastic pony beads, cotton backing, and cowrie shell
105 ½ × 105 ½ in (268 × 268 cm)
Allentown Art Museum, Allentown, Pennsylvania
Xenobia Bailey
Sistah Paradise and the Egungun, 1999
Hand crocheted cotton and acrylic yarn, plastic pony beads
80 × 56 × 56 in (203.2 × 142.2 × 142.2 cm)
Allentown Art Museum, Allentown, Pennsylvania
Xenobia Bailey
Bliss Bling, c. 2003
Hand crocheted cotton and acrylic yarns, plastic pony beads, cotton backing
75 × 78 in (190.5 × 121.9 cm)
Boston Children's Hospital, Boston, Massachusetts
Xenobia Bailey
Mini Bop-Flow, c. 2000
Hand crocheted cotton and acrylic yarns, plastic pony beads, cotton backing
36 × 24 in (91.4 × 61 cm)
Colgate-Palmolive Corporation, New York
Xenobia Bailey
Bit by Bit, Little by Little, 2000
Hand crocheted cotton and acrylic yarns, plastic pony beads, cotton backing
59 × 85 in (149.9 × 215.9 cm)
Fuller Craft Museum, Brockton, Massachusetts
Xenobia Bailey
Untitled, c. 2008
Hand crocheted cotton and acrylic yarns, plastic pony beads, cotton backing
60 × 76 in (152.4 × 182.9 cm)
Kamel Lazaar Foundation, Tunisia
Xenobia Bailey
Untitled, c. 2008
Hand crocheted cotton and acrylic yarns, plastic pony beads, cotton backing
43 × 65 in (109.2 × 165.1 cm)
Kamel Lazaar Foundation, Tunisia
Xenobia Bailey
Untitled, c. 2008
Hand crocheted cotton and acrylic yarns, plastic pony beads, cotton backing
90 × 90 in (228.6 × 228.6 cm)
Kamel Lazaar Foundation, Tunisia
Xenobia Bailey
Frequency Study #1, 2015
Hand crocheted cotton and acrylic yarns, plastic pony beads, cotton backing
72 × 72 in (182.8 × 182.8 cm)
Meta Open Arts, New York, New York
Xenobia Bailey
Untitled, 2015
Hand crocheted cotton and acrylic yarns, plastic pony beads, cotton backing
72 × 83 in (182.9 × 210.8 cm)
Meta Open Arts, New York, New York
Xenobia Bailey
Untitled, c. 2008
Hand crocheted cotton and acrylic yarns, plastic pony beads, cotton backing
72 × 72 in (182.9 × 182.9 cm)
Metropolitan Transit Authority, New York, New York
Xenobia Bailey
Where Did Our Love Go?, c. 2000
Hand crocheted cotton and acrylic yarns, plastic pony beads
48 × 60 in (121.9 × 152.4 cm)
Mott-Warsh Collection, Flint, Michigan
Xenobia Bailey
Zulu Queen Harvest Fire Coat, 2015
Acrylic, cotton four-ply yarn, glass beads, mirrors, buttons, single-stitch crocheted
50 × 29 × 15 in (127 × 73.7 × 38.1 cm)
Museum of Arts and Design, New York, New York
Xenobia Bailey
Think, 2008
Hand crocheted cotton and acrylic yarn, record collage on cotton canvas
39 × 60 in (99.1 × 152.4 cm)
Petrucci Family Foundation Collection, Asbury, New Jersey
Xenobia Bailey
Trilogy, 2000
Hand crocheted cotton and acrylic yarns, plastic pony beads, cotton backing
84 × 60 in (213.4 × 152.4 cm)
Sheldon Museum of Art, Lincoln, Nebraska
Xenobia Bailey
Abolut Bailey (Absolute Paradise_Fire!), 2002
Hand crocheted cotton and acrylic yarns, plastic pony beads, cotton backing
135 ¾ × 93 ¼ in (345 × 237 cm)
Spritmuseum, Stockholm, Sweden
Xenobia Bailey
Great Day in the Morning, c. 2000
Hand crocheted cotton and acrylic yarns, plastic pony beads
78 × 78 in (198.1 × 198.1 cm)
Collection of the United States Embassy, Djibouti
Xenobia Bailey
Bala Fala: I, c. 1999
Hand crocheted cotton and acrylic yarns, plastic pony beads, cotton backing
82 × 93 in (208.3 × 236.2 cm)
Collection of the United States Embassy, Ghana
Xenobia Bailey
Scat & Who, 2002
Hand crocheted cotton and acrylic yarns, plastic pony beads, cotton backing
19 7/8 × 23 ¾ in (50.5 × 60.3 cm)
Zimmerli Art Museum, Rutgers University, New Brunswick, New Jersey
Xenobia Bailey was born in 1955 in Seattle, Washington. Between 1970 and 1974, she attended Seattle Central Community College and the University of Washington, Seattle, where she studied with Jacob Lawrence and specialized in ethnomusicology. She received her B.I.D. from Pratt Institute in 1977. Her work has been the subject of numerous solo presentations, including exhibitions at the Brooklyn Museum of Art, Brooklyn; the New Museum of Contemporary Art, New York; the Museum of Arts and Design, New York; Northwest African American Museum, Seattle; the John Michael Kohler Arts Center, Sheboygan; the Fuller Craft Museum, Brockton; the Columbus Museum of Art, Columbus; the Jersey City Museum, Jersey City; the Museum of Fine Arts, Boston; the Allentown Art Museum, Allentown; Rush Arts, New York; Stux Gallery, New York; the Bronx Museum of the Arts, the Bronx; and the Indianapolis Museum of Art, Indianapolis.
Her work frequently features in major group exhibitions at public institutions both stateside and abroad, including presentations at the Studio Museum in Harlem, New York; the Mott-Warsh Collection, Flint; the National Academy of Design, New York; the Saint Louis Art Museum, Saint Louis; the Zimmerli Art Museum, Rutgers University, New Brunswick; the Museum of Arts and Design, New York; the New York Public Library, New York; the Sheldon Museum of Art, Lincoln; Nottingham Contemporary, Nottingham; De La Warr Pavilion, Bexhill-on-Sea; Arnolfini, Bristol; the Museum of the City of New York, New York; BRIC, Brooklyn; the ICA Boston, Boston; Wexner Center for the Arts, Columbus; Des Moines Art Center, Des Moines; Spelman College Museum of Fine Art, Atlanta; Sharjah Art Foundation, Dubai; the Herbert F. Johnson Museum of Art, Cornell University, Ithaca; the Seattle Art Museum, Seattle; the Renwick Gallery of the Smithsonian American Art Museum, Washington, D.C.; the Philadelphia Museum of Art, Philadelphia; Artists’ Space, New York; the Dallas Museum of Art, Dallas, the High Museum of Art, Atlanta; the Milwaukee Art Museum, Milwaukee; and the Virginia Museum of Fine Art, Richmond, among others.
Bailey’s work has been featured in several important films and advertising campaigns, including Spike Lee’s Do the Right Thing and Mo’ Better Blues, several episodes of The Cosby Show and A Different World, campaigns for United Colors of Benneton, and Absolut Vodka. In 1999, Bailey was an artist in residence at the Studio Museum in Harlem. She has received numerous grants and residencies, including fellowships from the New York State Crafts Alliance, the Marie Walsh Sharpe Art Foundation, the National Endowment, the Louis Comfort Tiffany Foundation, the Atlantic Center for the Arts, the New York Foundation for the Arts, the Joan Mitchell Foundation, Creative Capital, the Society for Contemporary Craft, the Nancy Graves Foundation, the Museum of Arts and Design, Anonymous Was A Woman, the McColl Center for Art + Innovation, and BRIC, among many others. In 2015, Bailey unveiled her mosaic “Funktional Vibrations” above the main entrance of the 34th Street/Hudson Yards subway station, the largest work ever commissioned by the MTA.
She frequently receives major public commissions for her work, including recent projects with PSE&G, Newark; the Coney Island Development Fund, Brooklyn; the Spa Beach Pier District, St. Petersburg; the Martin Luther King Jr. Memorial Library, Washington, D.C.; the National Black Arts Theater, New York; and the Association for Public Art, Philadelphia. Her work was featured in “SITElines.2016: New Perspectives on Art of the America,” the 2016 iteration of SITE Santa Fe. Bailey’s work is held in the permanent collections of numerous public institutions, including the Allentown Art Museum, Allentown; Fuller Craft Museum, Brockton; Meta-Open Arts, New York; Museum of Arts and Design, New York: Newark Museum of Art, Newark; Saint Louis Art Museum, Saint Louis; Schomberg Center for Research in Black Culture, New York Public Library, New York; Sheldon Museum of Art, Lincoln; Spritmuseum, Stockholm; and Zimmerli Art Museum, Rutgers University, New Brunswick, NJ. Bailey lives and works in Philadelphia, PA, and New York, NY.
Xenobia Bailey and Richard Mayhew will be featured in the exhibition American Duet: Jazz & Abstract Art at the Bellagio Gallery of Fine Art in Las Vegas, on view from November 15, 2024, through June 1, 2025.
From bright yarns, pony beads, and cowry shells, artist and activist Xenobia Bailey hand-crochets elaborate shooting stars, suspended shelters, and sacred forms.
Artist Xenobia Bailey’s “Radical Black Elite” spotlights the civic strength of 18th- and 19th-century Black residents in Philadelphia.
James Forten was a decolonizer, feminist, father, husband, and craftsman extraordinaire, an organizer, a leader of the elite free community of African Americans.
Acclaimed fiber artist Xenobia Bailey’s practice is rooted in African American design aesthetics.
Xenobia Bailey’s crocheted Sistah Paradise’s Great Walls of Fire Revival Tent (1993–) brings a psychedelic African-American funk aesthetic to a feminized remake of an evangelical missionary tent.
The West Side station took eight years and $2.42 billion to finish.
Fiber: Sculpture 1960–present is the first exhibition in more than 40 years to examine the development of abstraction and dimensionality in fiber art from the mid-twentieth century to the present.