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The Journal of Modern Craft

ISSN: 1749-6772 (Print) 1749-6780 (Online) Journal homepage: http://www.tandfonline.com/loi/rfmc20

Fiber Art and the Hierarchy of Art and Craft, 1960–80

Elissa Auther

To cite this article: Elissa Auther (2008) Fiber Art and the Hierarchy of Art and Craft, 1960–80, The Journal of Modern Craft, 1:1, 13-33

To link to this article: http://dx.doi.org/10.2752/174967708783389896

Published online: 16 Apr 2015.

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The Journal of

Modern Craft

Volume I—Issue I

March 2008

pp. 13–34

Reprints available directly from the publishers

Photocopying permitted by licence only

copy; Berg 2008

Fiber Art and the Hierarchy of Art and Craft, 1960–80

Elissa Auther

Elissa Auther is Assistant Professor of Contemporary Art at the University of Colorado at Colorado Springs. Her essay for the Journal of Modern Craft is derived from her book manuscript about the innovative use of fiber across the art world in the 1960s and 1970s. Recent publications about the position of craft under modernism include “The Decorative, Abstraction and the Hierarchy of Art and Craft

in the Art Criticism of Clement Greenberg,” Oxford Art Journal 27(3) (December 2004) and “Andy Warhol, Wallpaper and Contemporary Installation Art,” for the forthcoming edited collection Extra/Ordinary: Craft Culture and Contemporary Art.

Abstract

“Fiber Art and the Hierarchy of Art and Craft, 1960– 1980” both explores the artistic, historical, institutional and extra-aesthetic forces affecting the formation of the fiber movement and evaluates the curatorial strategies of Mildred Constantine and Jack Lenor Larsen to negotiate the hierarchy of art and craft in order to elevate fiber as a medium of “high art.” The analysis considers the emergence of the category of fiber art in the 1960s and 1970s, the cultural contexts in which fiber or textiles were utilized in the period, strategies of transcending the hierarchy of art and craft, and other relations

of dominance and subordination that defined fiberrsquo;s marginality in the hierarchy of the arts and shaped the responses of artists, critics and curators to aesthetic boundaries.

Keywords: fiber, craft, feminism, decorative, hierarchy, modernism, Mildred Constantine, weaving.

The Journal of Modern Craft Volume 1—Issue 1—March 2008, pp. 13–34

14 Fiber Art and the Hierarchy of Art and Craft, 1960–1980 Elissa Auther

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Fig 1 Alan Saret, Untitled, 1968, rope and wire, variable dimensions.

Alan Saretrsquo;s Untitled (1968) (Figure 1), a work of rope and wire and Alice Adamsrsquo;s Construction (1966) (Figure 2), of rope and steel cable, share significant formal similarities. Both works are floor based, of similar size and shape, and both utilize materials associated with “craft,” hand labor or industry. Indeed, one could conclude that the same artist made both works. But this is not the case, and the two artists were associated with very different artistic circles in the 1960s: Saret was an anti-form sculptor, whereas Adams was associated with what came to be known as the fiber art movement. Moreover, the works were exhibited and received very differently. Comparing the varied reception of these two similar objects reveals not only fiberrsquo;s arrival as a new medium of “high art” but also how this elevation of fiber issued from multiple sites or positions, each with a distinct location within the complex network of power relations governed by the application of the term “craft” in the United States in the 1960s and 1970s.

In 1972, Mildred Constantine—a former curator of architecture and design at the Museum of Modern Art (MoMA), New York—reproduced Adamsrsquo;s Construction in Beyond Craft, the first in-depth study of the emerging fiber art movement.1 This important text, co-authored with textile designer Jack Lenor Larsen, chronicled the movementrsquo;s evolution, defined its aesthetic priorities and defended work made of fiber as “fine art.” In 1963, Adamsrsquo;s unorthodox woven works had been included in New Yorkrsquo;s Museum of Contemporary Craftsrsquo; exhibition Woven Forms (Figure 3), a show that Constantine and Larsenrsquo;s study singled out as groundbreaking.2

Significantly, critic Lucy Lippard also exhibited Adamsrsquo;s Construction in her eclectic, “post-minimalist” sh

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