Contemporary art comes in many shapes and forms, but close your eyes and think of what an artist looks like and nine times out of 10, I bet you are still thinking of a painter in front of a canvas. If recent interest for museums and galleries is any indication, however, that image should be joined by another one: the fiber artist.
Think of a weaver seated at the loom or a quilt-maker laboriously stitching together layers of fabric. The textile arts have experienced a quiet but steady groundswell of interest in the last decades, and recently I've noticed that it feels as if it is kicked into a new, even higher level, from the many kinds of textile based art throughout the most recent Venice Biennale to the major show "Woven Histories: Textiles and Modern Abstraction," which is on a tour of some of North America's most important museums right now.
As many textile scholars will tell you, tapestry was once as exalted as painting as an art form, and it may be so again. This surge of interest is bringing new audiences, new histories, and new vocabularies into the center of the action that are worth getting familiar with, and to unravel all the different threads, I turned to Elissa Auther, a scholar who looked at the tangled history of fiber art in her book String Felt, Thread: The Hierarchy of Art and Craft in American Art. More importantly, she's been closely observing and encouraging the contemporary boom in textile art as the chief curator at the Museum of Arts and Design in New York. This week she joins me on the podcast to discuss what's behind the resurgence of interest in this medium.
—Ben Davis
Fiber Art Is (Still) Having a Moment
Artists working in fiber and textile are increasingly visible at art fairs, museums and galleries, and there's no sign of a slowdown.
