By Jane Patrick
Hugely textured gadgets reminiscent of plaited paper baskets, woven lanterns, small fire rugs, and cork tables are featured during this beginner's consultant to nonloom weaving. the simple directions educate historic innovations comparable to braiding, stringing, and knotting - and phone for daily fabrics resembling copper tape, plastic sheeting, paper yarn, and granite tiles - to supply lovely modern designs for the house. a quick essay approximately common fabrics and the artistic approach introduces every one undertaking, and gorgeous images show off the ultimate effects: smooth window hangings, stick-and-string coasters, pillows coated in canvas tape, and woven paper playing cards. a listing of assets, an collection of weaving tips, and recommendations for extra examining are integrated.
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Extra info for Time to Weave: Simply elegant projects to make in almost no time
Sample text
Similarly perhaps for the painter Agnes Martin, who, though not strictly speaking part of the Cagean circle at this time, can be seen to perform a comparable closeting maneuver in her paintings of the late fifties. Martin also took silence to be an important part of her aesthetic enterprise. ”16 Such an interest set her apart from artists who were interested in making themselves the autobiographical subject of their art and instead led her to make an art of apparent self-negation. Her canvases are made up, one might almost say, of “nothing,” save for a delicately pencil-lined grid formation which is more or less visible depending upon the spectator’s proximity to, or distance from, the painting’s surface.
What this book offers that is unique, then, is precisely the diversity of point of view, which comes together only in the loosest possible way through intersecting arguments emphasizing a varied and heterogeneous range of characteristics associated with art made since 1945. ) The few thoughts that might pull the book together as a whole, without violating its vitality (precisely sparked by its lack of unified point of view), would revolve around very broad concepts. In closing, then, let me just note that the CTC-C01 14 04/01/2006, 04:57PM WRITING CONTEMPORARY ART INTO HISTORY, A PARADOX?
10 Which is to say that, whilst artistic practice in the western metropolis was undeniably transformed by the influx of artists from (increasingly former) colonies during the 1950s, artistic discourse was largely mired in US- and Eurocentric understandings, and was therefore largely unable to respond in a productive manner to the post-colonial challenges provided by the art of the day. This, alongside my comments about gender above, make of the discourses of 1950s abstract painting a curious amalgam of revolutionary and reactionary values and attitudes.