Black Mountain College in North Carolina was the scene of an incredible stew of artistic talent in the 1930s, 40s, and 50s that included Rauschenberg, Twombly, the de Koonings, Merce Cunningham, and Buckminster Fuller. An exhibit at the ICA does an admirable job of recreating that feeling of so many people pushing the limits of their art and gaining inspiration from all the ideas and works in progress surrounding them.
I went to the exhibit expecting to see a lot of abstract paintings but didn't realize that one of the major artists there was Anni Albers, a weaver, who just happened to be married to Josef Albers. Unfortunately, her beautiful textiles were displayed under glass so that the textures were not as exposed and photos were exercises in frustration as reflections were always part of the picture. But I will share a few anyway.
|Large weaving based on ancient Mexican ruins|
|Detail of weaving on left|
|Nigel's Weaving (small)|
An exquisite untitled watercolor by Ray Johnson shows how he used both Anni's weavings and the color theory taught by Josef. (The white dots are, alas, reflections of lights across the room.)
On one of the walls of the exhibit in large letters was the word "Haptic." Now this was a word I discovered a number of years ago and was planning a blog post about that must have never gotten itself completed. Here is the description the ICA provided:
. . .If any description can encompass the whole of the Black Mountain aesthetic, it might the
haptic, as opposed to the purely optical. Defined as "relating to the sense of touch," the
haptic in art refers to works that appeal to touch through the selection of materials,
the process of making, and the bodily engagement of the maker. Haptic objects
intertwine visuality and tactility so thoroughly that they are inseparable.
And there you have a description of textile art. I like that idea of intertwining the visual and the tactile--and hope I can remember it when I am called upon to say something wise about the work I do.
And thanks for the company!