《【精品文档】03中英文双语毕设外文翻译成品：1960–1980年间的纤维艺术及艺术与工艺等级研究》由会员分享，可在线阅读，更多相关《【精品文档】03中英文双语毕设外文翻译成品：1960–1980年间的纤维艺术及艺术与工艺等级研究（8页珍藏版）》请在金锄头文库上搜索。
1、此文档是毕业设计外文翻译成品（ 含英文原文+中文翻译），无需调整复杂的格式！下载之后直接可用，方便快捷！本文价格不贵,也就几十块钱！一辈子也就一次的事！外文标题：Fiber Art and the Hierarchy of Art and Craft, 196080外文作者：Elissa Auther文献出处：Journal of Modern Craft , 2018 , 1 (1) :13-33(如觉得年份太老，可改为近2年，毕竟很多毕业生都这样做)英文801单词， 4751字符，中文1417汉字。原文：Fiber Art and the Hierarchy of Art and Craf
2、t, 196080Elissa AutherAbstract“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 ber movement and evaluates the curatorial strategies of Mildred Constantine and Jack Lenor Larsen to
3、 negotiate the hierarchy of art and craft in order to elevate ber as a medium of “high art.” The analysis considers the emergence of the category of ber art in the 1960s and 1970s, the cultural contexts in which ber or textiles were utilized in the period, strategies of transcending the hierarchy of
4、 art and craft, and other relations of dominance and subordination that dened bers marginality in the hierarchy of the arts and shaped the responses of artists, critics and curators to aesthetic boundaries.Alan Sarets Untitled (1968) (Figure 1), a work of rope and wire and Alice Adamss Construction
5、(1966) (Figure 2), of rope and steel cable, share signicant formal similarities. Both works are oor 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,
6、 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 ber art movement. Moreover, the works were exhibited and received very differently. Comparing the varied reception o
7、f these two similar objects reveals not only bers arrival as a new medium of “high art” but also how this elevation of ber 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 Unite
8、d States in the 1960s and 1970s. In 1972, Mildred Constantinea former curator of architecture and design at the Museum of Modern Art (MoMA), New Yorkreproduced Adamss Construction in Beyond Craft, the rst in-depth study of the emerging ber art movement.1 This important text, co-authored with textile
9、 designer Jack Lenor Larsen, chronicled the movements evolution, dened its aesthetic priorities and defended work made of ber as “ne art.” In 1963, Adamss unorthodox woven works had been included in New Yorks Museum of Contemporary Crafts exhibition Woven Forms (Figure 3), a show that Constantine an
10、d Larsens study singled out as groundbreaking.2In 1961, with Lenore Tawneys solo exhibition at the Staten Island Museum, ber art as it would be recognized in the following two decades made its public debut in a ne-art context. The show consisted of forty works produced between 1955 and 1961 in a tec
11、hnique now referred to as open-warp weave: a structure in which large parts of the warp are left unwoven. The reception of this and subsequent work demonstrates that from the start ber artists experienced considerable resistance from the realmsof both craft and ne art for the way their work violated
12、 conventions of both practices. Tawney recalled that her early “open-warp weaves . caused quite a controversy amongst weavers. No one had done this kind of weaving . Its against the rules and those people who go by the rules were against it” (Tawney 1978: n.p.).The rst major American exhibition of t
13、he new genre of ber art was MoMAs Wall Hangings (Figures 6 and 7), co-curated by Constantine and, at her invitation, Larsen. With this exhibition, the two established themselves as the ber movements leading experts and also set the canon of vanguard ber art (or “Art Fabric,” as they called it). Wall
14、 Hangings presented to the American museum-going public the rst international survey of primarily large-scale, abstract woven and off-loom work in ber.References Adamson, Glenn. 2007. Thinking Through Craft. Oxford and New York: Berg.Albers, Anni. 1940. Hand WeavingToday: Textile Work at Black Mount
15、ain College. The Weaver 6(1): 37.Albers, Anni. 1959. Pictorial Weaves. Cambridge, MA: MIT Press.Andreae, Christopher. 1970. String and Rope. The Christian Science Monitor, January 23.Atwater, Mary. 1941. Its Pretty, But is it Art? The Weaver 6 (3): 1314, 26.Battcock, Gregory. 1969. Claire Zeisler. A
16、rts Magazine, 43(6): 65.Bourgeois, Louise. 1969. The Fabric of Construction.Craft Horizons 29: 315.Collins, James. 1973. Review. Artforum 11(10): 8993.Constantine, Mildred. 1999. Personal interview with the author, February 23.Constantine, Mildred and Larsen, Jack Lenor. 1969.Wall Hangings. New York: Museum of Modern Art.Constantine, Mildred and Lars
