bauhaus
imaginista
Re-publication

Tapestry through the Ages. The Weaving of Tapestries, Part I+II

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Common Threads — Approaches to Paul Klee’s Carpet of 1927

Paul Klee’s Carpet, 1927, creates a conundrum for scholars as it does not neatly fit the existing theoretical models concerning how European artists engage with non-Western art and culture, while at the same time opening up exciting new avenues for inquiry. → more

●Article
Anni Albers and Ancient American Textiles

At the time Anni Albers wrote On Weaving in 1965, few discussions of Andean textiles “as art” had appeared in weaving textbooks, but there were numerous publications, many of which were German books published between 1880 and 1929, that documented and described their visual and technical properties. Albers almost single-handedly introduced weaving students to this ancient textile art through her writing and her artistic work.  → more

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Andean Weaving and the Appropriation of the Ancient Past in Modern Fiber Art

Ancient and indigenous textile cultures of the Americas played a critical role in the development of the work of fiber artists who came of age in the U.S. in the late 1950s and 1960s. Anyone who has studied fiber art of this period, myself included, knows this well. They openly professed an admiration for traditions ranging from Navaho weaving, to the use of the backstrap loom in Mexico and Central America, to the ancient weaving techniques of Peru. → more

●Article
The Bauhaus and Morocco

In the years when Western nations were committed in new projects of partnership, with what was then called the “Third World”, young artists and students from the Maghreb had grown up in the passionate climate of the struggle for independence, were talented, open to modernity, and eager to connect with twentieth-century international art movements, which were different in production and spirit from colonial ideology and culture. → more

●Article
Memories

I was sixteen years old when I undertook my first journey into finding a professional vocation, first in Asilah, then in Fez followed by Tétouan. 1952. Tangiers was, to me, an open book, a window on the world. The freedom of seeing, of discovering and of feeling, of weaving the narratives of my dreams. → more

●Artist Text
Research Project by Kader Attia

Looking into the history of objects, into their original practical and social function as well as into the circumstances of their transition to European and other countries of Western civilization, the artist Kader Attia aims at conveying the full identity of the objects and to follow the traces of their disappearance that still can be discovered today and call for repair. → more

●Report
On distance, objects and the body

On the 24th and 25th of March 2018, we met in Rabat to participate in the first event of the bauhaus imaginista project. We were attending a workshop with the French-Algerian artist Kader Attia, surrounded by an exhibition of archival materials from artists and students from the École des Beaux Arts in Casablanca and including the Maghreb Art magazine on the walls of Le Cube — independent art space that hosted Attia's show in Rabat. → more

●Editorial
Learning From, Rabat

In Morocco, a lessor known history is how Bauhaus ideas of synthesizing different cultural influences impacted on art and design practice and esucation in the post-colonial period. The synthesis of the craft production and modern means of production is considered by post-colonial artists as one possible pathway beyond the legacy of colonial art education. → more

●Re-publication
Work with Material

from: Black Mountain College Bulletin, No. 5, 1938. → more

●Re-publication
The Harriet Engelhardt Memorial Collection of Textiles

from: Black Mountain College Bulletin, Vol. 6, No. 4, May 1948. → more

●Re-publication
Tapestry Rugs in an Ancient Peruvian Design

from: Shuttle-Craft Bulletin, March 1941. → more

●Re-publication
The New Tapestry

from: Craft Horizons, Vol. XXIII, No. 2, March/April 1963, pp. 10–19, 48–49. → more

●Excerpt
Interview with Fiber Artist Sheila Hicks

On 3rd of February and 11th of March textile researcher and writer Monique Lévi-Strauss met with her friend of 37 years, American Fiber artist Sheila Hicks, for an interview at Hicks’ home in Paris, France. They talked about the artist’s education, inspiration and her journey through South America.

 

The entire interview transcript and an excerpt from the original audio recording can be viewed at the Archives of American Art, Smithsonian Institution. → more

●Re-publication
Forms of Life — Marguerite Wildenhain's Pond Farm

Excerpted from Live Form: Women, Ceramics, and Community by Jenni Sorkin


© The University of Chicago. Reproduced with permission. → more

●Re-publication
Le Gâchis / The Waste

in: Souffles, No. 7–8, 1967, pp. 1–14


"The Waste", translated by Kate Hugh McStevenson in the context of the SNF project “Ästhetik der Dekolonisierung. Das Magazin Souffles (1966–1972)“ (2014–16)


Courtesy of Abdellatif Laâbi. → more

●Interviews
Fiches et questionnaires

Fiches et questionnaire avec Farid Belkahia, Mohamed Chabaa, Mohamed Melehi

 

dans: Souffles, No. 7–8, 1967

 

Courtoisie de Abdellatif Laâbi. → more

●Re-publication
Témoignage sur un artiste occidental — Herbert Bayer

‘j’ai voyagé au maroc et j’ai beaucoup apprécié ses différentes traditions artisitiques; je suis impressionnable, et je peux dire que le maroc a signifié beaucoup pour moi.’
 

Publié dans: Integral, No. 12–13, 1978. → more

●Re-publication
Essai d'Inventaire des Styles dans les Arts Populaires du Maroc

Dans notre première publication nous avions distingué quatre traditions ou influences artistiques qui se font sentir au Maroc.
La tradition berbère,
La tradition Islamique,
L’art populaire marocain,
Les influences Sahariennes et Africaines

 

Publié dans: Maghreb Art, 1966 → more

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