In February of 1969, the Museum of Modern Art in New York installed a work by Sheila Hicks called “The Evolving Tapestry: He/She” (1967-68). The artwork was made of over 3,000 “ponytails” of linen thread stitched together, resembling something one might find in a fabric store. This piece challenged the traditional notions of sculpture and painting, combining elements of both. The exhibition featuring Hicks’s work, titled “Wall Hangings,” was a rare endorsement of fiber artists, particularly women, and expanded the definition of art.
Although these artists were working with fiber and textiles, their work faced criticism and was often classified as craft rather than fine art. This distinction can be traced back to the Renaissance when painting and sculpture were associated with liberal arts, while weaving and blacksmithing were seen as mechanical arts. The hierarchy placing art above craft was both gendered and outdated. However, there has been a recent shift in the art world as the narrow definition of artistic genius is being reconsidered. Fiber and textile art is becoming increasingly appealing in an age dominated by screens, offering a tactile and sensory experience.
A new generation of ambitious and experimental artists is embracing fiber and textiles, drawing inspiration from their own cultural traditions. They are using recycled materials and weaving personal narratives into their work. These artists challenge the historical view of fiber art and contribute to its reassessment in the art world. Major institutions such as the Los Angeles County Museum of Art, Tate Modern, and the Smithsonian American Art Museum have recognized the importance of fiber art and have dedicated exhibitions to its history.
The fiber art movement emerged during a time of profound questioning and social change, paralleling the women’s liberation, civil rights, and antiwar movements. While minimalism gained recognition in art history, fiber art was often overlooked due to its focus on technique. However, artists like Sheila Hicks discovered the cultural significance of textiles and brought attention to the medium. Even celebrated textile artist Anni Albers initially saw working with thread as “sissy,” but she eventually embraced it.
Tau Lewis, a contemporary artist, works with textiles because they are easily accessible to her. She uses materials she can find, such as recycled fabric, fur, and leather, to create figures and masks that reflect her cultural heritage. Other artists, like Marie Watt and Kira Dominguez Hultgren, use textiles to explore themes of identity, history, and place.
Overall, there is a growing recognition of fiber art’s importance, both historically and in contemporary practice. Museums and galleries are dedicating exhibitions to fiber art, and artists are pushing boundaries and challenging traditional notions of art. Fiber and textile art offer a unique sensory experience, contrasting the digital world we live in. As the art world continues to evolve, the hierarchy between art and craft is being dismantled, creating space for diverse perspectives and mediums.
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