Abstract
This essay briefly discusses Mariska Karasz’s early career as a fashion designer and her shift after the Second World War to the creation of embroidered wall hangings. The essay focuses on the few years surrounding 1957, when she produced Transcendence, a prime example of her large-scale abstract work. During this period, Karasz’s stature as an artist and craftsman grew quickly, as she exhibited regularly with the Bertha Schaefer Gallery in New York City, revised her influential needlework book Adventures in Stitches, and was active with the American Craft Council. She received extensive favorable press and was poised for continued success with her singular craft path when she died in 1960. The Museum of Contemporary Crafts in New York City presented a retrospective of her work the following year and her form of stitchery remained popular for about a decade. Although overlooked for many years as newer forms of fiber art dominated the scene, there is renewed interest in her work as historians reconsider the range of artists who shaped the history of craft.
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