Abstract
In the Metropolitan Museum of Art’s exhibition ‘Weaving Abstraction in Ancient and Modern Art’, formal comparisons were drawn between the respective weaving practices of ancient Andean textile producers and the modern textile artists Anni Albers, Sheila Hicks, Lenore Tawney, and Olga de Amaral. This review interrogates the exhibition’s periodised framework, proposing that through linking such practices formally, the aesthetic principles of the modern artists take primacy over the historical conditions of ancient workers.
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