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Weaving Modern Forms: Fiber Design in the United States, 1939-1959.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Weaving Modern Forms: Fiber Design in the United States, 1939-1959./
Author:	Mills, Sarah V.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2019,
Description:	255 p.
Notes:	Source: Dissertations Abstracts International, Volume: 81-06, Section: B.
Contained By:	Dissertations Abstracts International81-06B.
Subject:	Art history. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=27539712
ISBN:	9781392894651

Weaving Modern Forms: Fiber Design in the United States, 1939-1959.
Mills, Sarah V.

Weaving Modern Forms: Fiber Design in the United States, 1939-1959. - Ann Arbor : ProQuest Dissertations & Theses, 2019 - 255 p.

Source: Dissertations Abstracts International, Volume: 81-06, Section: B.

Thesis (Ph.D.)--City University of New York, 2019.

This item is not available from ProQuest Dissertations & Theses.

This dissertation traces the emergence and development of modern weaving in the United States. In a series of case studies, it follows the paths of three weavers: Anni Albers, Marianne Strengell and Dorothy Liebes, who make inroads in the field of American textile design from the late 1930s to the late 1950s through their teaching, writing and weaving practices. In the 1930s, these women, alongside other professional weavers in the United States, retooled hand weaving in a practice of prototype designing for power loom (machine) production. In adapting their skills to the design of machine-loomed textiles, their artistic agency expands. Their woven fabrics, designed mainly for furnishings, reveal textural emphases, which exploit the materiality and structures of weaving, forming the basis of a new period in American textile design. This dissertation recognizes and contextualizes this new period, while arguing that during it perceptions of weaving shift: instead of being seen as a flat object with a ground plane, the woven textile becomes understood as a three-dimensional sculptural form, wherein texture is visualized as a material and structural quality rather than as a byproduct of pattern. At midcentury, this is further evidenced in exhibitions at the Metropolitan Museum of Art, the Museum of Modern Art and the Brooklyn Museum, which celebrate for the first time the textile not as an article of clothing or furnishing fabric, but as a unique material form itself.

ISBN: 9781392894651Subjects--Topical Terms:

2122701
Art history.
Subjects--Index Terms:

Anni Albers

Weaving Modern Forms: Fiber Design in the United States, 1939-1959.
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245 1 0 $a Weaving Modern Forms: Fiber Design in the United States, 1939-1959.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2019
300 $a 255 p.
500 $a Source: Dissertations Abstracts International, Volume: 81-06, Section: B.
500 $a Advisor: Haag Bletter, Rosemarie;Ball, Jennifer.
502 $a Thesis (Ph.D.)--City University of New York, 2019.
506 $a This item is not available from ProQuest Dissertations & Theses.
506 $a This item must not be sold to any third party vendors.
520 $a This dissertation traces the emergence and development of modern weaving in the United States. In a series of case studies, it follows the paths of three weavers: Anni Albers, Marianne Strengell and Dorothy Liebes, who make inroads in the field of American textile design from the late 1930s to the late 1950s through their teaching, writing and weaving practices. In the 1930s, these women, alongside other professional weavers in the United States, retooled hand weaving in a practice of prototype designing for power loom (machine) production. In adapting their skills to the design of machine-loomed textiles, their artistic agency expands. Their woven fabrics, designed mainly for furnishings, reveal textural emphases, which exploit the materiality and structures of weaving, forming the basis of a new period in American textile design. This dissertation recognizes and contextualizes this new period, while arguing that during it perceptions of weaving shift: instead of being seen as a flat object with a ground plane, the woven textile becomes understood as a three-dimensional sculptural form, wherein texture is visualized as a material and structural quality rather than as a byproduct of pattern. At midcentury, this is further evidenced in exhibitions at the Metropolitan Museum of Art, the Museum of Modern Art and the Brooklyn Museum, which celebrate for the first time the textile not as an article of clothing or furnishing fabric, but as a unique material form itself.
590 $a School code: 0046.
650 4 $a Art history. $3 2122701
650 4 $a Textile research. $3 2153103
653 $a Anni Albers
653 $a Dorothy Liebes
653 $a fiber art
653 $a industrial design
653 $a Marianne Strengell
653 $a weaving
690 $a 0377
690 $a 0994
710 2 $a City University of New York. $b Art History. $3 1032236
773 0 $t Dissertations Abstracts International $g 81-06B.
790 $a 0046
791 $a Ph.D.
792 $a 2019
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=27539712