International Textile Art, 1960-1979

该奖学金旨在促进对20世纪60年代和70年代国际纺织艺术及其在现当代艺术博物馆中的地位的原创和创新研究。该博士项目将探索纺织媒体在20世纪国际艺术环路中的历史接受，通过一系列案例研究将注意力集中在来自东欧和拉丁美洲的少数艺术家身上，特别是他们在20世纪60年代和70年代在西欧和北美具有里程碑意义的展览中所扮演的角色。这些艺术家中的许多人已经在西方主要博物馆的收藏和展览中展出，但迫切需要进一步的研究来深入研究他们的作品。这项研究将解决西方接受来自“其他地方”的做法的问题，特别是来自压迫性政治制度下的国家；纺织实践与“民间”或土著传统之间的关系；纺织媒介的颠覆潜力；纺织品在全球艺术史中的地位，并在现代和当代艺术博物馆中呈现；以及国际展览线路和网络结构及其对纺织艺术实践的影响。该项目将建立在Ann Coxon（泰特现代美术馆策展人）和Briony Fer（伦敦大学学院艺术史教授）在泰特现代美术馆和伦敦大学学院研究、策划和展示广受好评的Anni Albers展览和相关会议的成功合作的基础上。广泛的学术和公众对展览的兴趣提出了许多关于纺织艺术实践的问题。最近的一些展览和研究项目回顾了20世纪60年代和70年代以纺织品为基础的艺术实践，“纤维艺术”或软艺术，试图重新发现和重新定义使用纤维、线或绳的作品，其中许多没有被包括在20世纪艺术史的规范叙述中。例如，2014年在波士顿ICA举办的“纤维雕塑：1960年至今”展览；艺术与纺织品展，沃尔斯堡艺术博物馆，2014；纺织品：2013年在Abteiberg博物馆的公开信，Mönchengladbach。此外，诸如2009年由Elissa Auther撰写的《线、毡、线：美国艺术中的艺术和工艺等级》或2018年由Julia Bryan Wilson撰写的《Fray：艺术和纺织政治》等出版物都考虑了美国纺织艺术和工艺实践的领域。在泰特现代美术馆，上世纪60年代Lenore Tawney、Sheila Hicks和Olga de Amaral的纺织品作品在过去十年中被收购，并在2017-18年的“超越工艺”展览中展出，并在2018-19年的“Anni Albers”大型回顾展中展出。尽管如此，尽管历史上试图确立“纤维艺术”在美国的重要性，或者20世纪60年代洛桑国际挂毯双年展上挂毯形式的根本扩展的重要性，这些作品在学术和博物馆背景下仍然没有得到充分的研究和代表。虽然上述展览和项目主要关注来自北美和西欧的艺术家，但本研究项目旨在探索来自东欧和拉丁美洲的某些基于纺织品的实践的历史和接受。来自东欧的艺术家在20世纪60年代的洛桑挂毯双年展上崭露头角，在那里他们从根本上扩展了挂毯的媒介，与来自北美和西欧的其他艺术家有着密切的联系。这场运动中的关键人物受到了他们对前哥伦布时期纺织技术和实践的研究的启发，并将线索追溯到拉丁美洲地区。该项目将批判性地审视这些文化、历史和地理网络，同时考虑到东欧和拉丁美洲之间的“其他跨大西洋”现代主义，以及基于纺织品的媒体的贡献。

This studentship is designed to promote original and innovative research into international textile art in the 1960s and 70s and its place in the museum of modern and contemporary art. The doctoral project will explore the historical reception of textile media in the international circuits of twentieth century art, using a series of case-studies to focus attention on a small number of artists from Eastern Europe and Latin America and in particular, their role in landmark exhibitions in Western Europe and North America in the 1960s and 70s. Many of these artists have been represented within major western museum collections and exhibitions and yet further research is urgently needed to look at their work in depth. This study will address questions about the western reception of practices from 'elsewhere', in particular from countries under oppressive political regimes; the relationships between textile practices and 'folk' or indigenous traditions; the subversive potential of the textile medium; the position of textiles within the global histories of art and as presented within the museum of modern and contemporary art; and the significance of international exhibition circuits and networking structures and their legacies for textile-based art practice.The project will build on the successful collaboration between Ann Coxon (Curator, Tate Modern) and Briony Fer (Professor, History of Art, UCL) in researching, curating and presenting the critically acclaimed Anni Albers exhibition and related conferences at Tate Modern and UCL. Broad academic and public interest in the exhibition has raised many questions about textile-based art practices. A number of recent exhibitions and research projects have looked back to textile-based art practice, 'fibre art' or soft art from the 1960s and 70s in an attempt to rediscover and redefine bodies of work using fibre, thread or rope, many of which have not been included in canonical accounts of twentieth century art history. Examples include the exhibition Fiber Sculpture: 1960 - present at the ICA Boston, 2014; Art & Textiles, at the Kunstmuseum Wolsburg, 2014; and Textiles: Open Letter at the Museum Abteiberg, Mönchengladbach in 2013. In addition, publications such as String, Felt, Thread: The Hierarchy of Art and Craft in American Art, 2009 by Elissa Auther or Fray: Art and Textile Politics, 2018 by Julia Bryan Wilson have considered the territory of textile art and craft practices in the US. At Tate Modern, textile works from the 1960s by Lenore Tawney, Sheila Hicks and Olga de Amaral have been acquired in the past decade and were brought together in the display titled Beyond Craft, 2017-18, and within the major retrospective exhibition Anni Albers, 2018-19. Despite this, and despite historical attempts to establish the importance of 'fiber art' in the US, or the significance of the radically expanded forms of tapestry at the international Lausanne Tapestry Biennial in the 1960s, these bodies of work remain under-researched and under-represented within academic and museum contexts. While the above-mentioned exhibitions and projects have focused predominantly on artists from North America and Western Europe, this research project aims to explore the history and reception of certain textile-based practices from Eastern Europe and Latin America. Artists from Eastern Europe came to prominence in the 1960s at the Lausanne Tapestry Biennials, where they radically expanded the medium of tapestry, having affinities with others from North America and Western Europe. Key figures in the movement were inspired by their studies of Pre-Columbian textile techniques and practices, tracing a thread back to the Latin American regions. This project will critically examine these cultural, historic and geographic networks, taking into consideration the 'other transatlantic' modernisms arising from and between Eastern Europe and Latin America and the contribution of textile-based media.