Textiles and material loomed massive within the life and artwork of Louise Bourgeois. So her response to the 1969 present Wall Hangings on the Museum of Fashionable Artwork (MoMA) in New York now feels shocking.
In an interview in Craft Horizons journal, Bourgeois damned the works, which included items by Sheila Hicks and Magdalena Abakanowicz, with faint reward. “In the event that they have to be categorised,” Bourgeois mentioned, “they’d fall someplace between positive and utilized artwork.” She added that they “hardly ever liberate themselves from ornament”.
Bourgeois, then preoccupied with sculpture, wished Wall Hangings to be “wilder”, to discover textiles’ three-dimensionality extra profoundly. The set up restricted the viewers’s capability to see the works—like Abakanowicz’s towering knotted kinds, the Abakans—within the spherical. Nonetheless, it’s putting to learn a ordinary hierarchy-challenger like Bourgeois reinforcing the boundary between utilized and positive artwork.
New spirit of the weaver’s artwork
Now, as then, we’re witnessing—because the organisers of Wall Hangings put it—a “new spirit of the weaver’s artwork”. A cluster of group exhibits try to harness this second and discover it in various contexts. Woven Histories: Textiles and Fashionable Abstraction not too long ago closed on the Los Angeles County Museum of Artwork and now travels to the Nationwide Gallery of Artwork, Washington, DC (17 March-28 July), and finally to MoMA. In the meantime, Unravel: The Energy and Politics of Textiles in Artwork opens on the Barbican Artwork Gallery in London on 13 February (till 26 Might) earlier than heading to the Stedelijk Museum, Amsterdam (14 September-5 January 2025). And a Hayward Gallery touring present, Materials World: Modern Artists and Textiles, will seem in UK venues from October.
I hope nobody right this moment could be bothered concerning the distinction Bourgeois bolstered. As a result of such attitudes hampered the progress of the nice artists utilizing textiles in earlier durations, together with linchpins of the worldwide Fiber artwork motion of the Sixties, and thus necessitated their present re-investigation—Hicks solely had her first UK retrospective on the Hepworth Wakefield in 2022, whereas Abakanowicz’s Tate Fashionable present of that 12 months was her first in nearly half a century.
However there are causes to be hopeful: as the wonderful catalogue to Unravel suggests, textiles are uniquely positioned to navigate advanced socio-political moments. Their historic affiliation with norms of gender, sexuality and identification make them ripe for subversion and reimagining. They’re typically knowledgeable by neighborhood, indigenous or pre-colonial practices that give them a efficiency in commenting on legacies of exploitation and extraction. And they’re freighted with a metaphorical language—of entanglement, interweaving and threads—that lends them scope for transcultural lyricism.
Separated from previous hierarchies, we want not be suspicious, as Bourgeois was, of ornament, particularly when allied to advanced content material. One want solely have a look at Igshaan Adams, who options in Woven Histories and Unravel and has a solo exhibition on the ICA Boston opening this month (13 February-15 February 2025). Adams explores the reminiscences and topographies of Bonteheuwel, the segregated township in South Africa the place he grew up, in a manner that has each conceptual rigour and potent that means, alongside extraordinary craft and even a proper wildness that Bourgeois may need authorized of. He proves that textiles could be as radical as any medium.
