International Textile Art, 1960-1979

该奖学金旨在促进20世纪60年代和70年代国际纺织艺术的原创性和创新性研究及其在现代和当代艺术博物馆中的地位。博士项目将探讨纺织媒体在二十世纪世纪艺术国际电路中的历史接受，通过一系列的个案研究，将注意力集中在少数来自东欧和拉丁美洲的艺术家身上，他们在20世纪60年代和70年代西欧和北美的标志性展览中的作用。这些艺术家中的许多人都在西方主要的博物馆收藏和展览中展出，但迫切需要进一步的研究来深入研究他们的作品。这项研究将解决以下问题：西方对来自“别处”的实践的接受，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，以及在现代和当代艺术博物馆中的地位;以及国际展览线路和网络结构的重要性及其对纺织品艺术实践的影响。该项目将建立在Ann Coxon与（策展人，泰特现代美术馆）和Briony Fer（教授，艺术史，伦敦大学学院）在研究，策划和提出广受好评的安妮阿尔伯斯展览和泰特现代美术馆和伦敦大学学院的相关会议。学术界和公众对展览的广泛兴趣引发了许多关于纺织品艺术实践的问题。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，线或绳子的作品，其中许多作品没有被纳入二十世纪世纪艺术史的规范账户。例子包括展览纤维雕塑：1960年至今在伊卡波士顿，2014年;艺术与纺织品，在艺术博物馆沃尔斯堡，2014年;和纺织品：公开信在博物馆Abteiberg，门兴格拉德巴赫在2013年。此外，出版物，如字符串，毛毡，线程：美国艺术中的艺术和工艺层次，2009年由Elissa Auther或Fray：艺术和纺织品政治，2018年由Julia Bryan Wilson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，Lenore Tawney，Sheila Hicks和Olga de Amaral在20世纪60年代的纺织品作品在过去十年中被收购，并在2017-18年的Beyond Craft展览中展出，并在2018-19年的Anni阿尔伯斯大型回顾展中展出。尽管如此，尽管历史上曾试图在美国确立“纤维艺术”的重要性，或在20世纪60年代国际洛桑挂毯双年展上大幅扩展挂毯形式的重要性，但这些作品在学术和博物馆背景下仍然缺乏研究和代表性。虽然上述展览和项目主要集中在来自北美和西欧的艺术家身上，但本研究项目旨在探索东欧和拉丁美洲某些纺织品实践的历史和接受情况。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，他们在那里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。运动中的关键人物受到他们对前哥伦布时期纺织技术和实践的研究的启发，追溯到拉丁美洲地区。该项目将严格审查这些文化，历史和地理网络，同时考虑到东欧和拉丁美洲之间产生的“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.