Abstract

Textiles have traditionally fallen beyond the collecting and exhibiting remit of museums of modern and contemporary art. In recent years, however, there has been a re-appraisal of their place within canonical narratives of fine art history and practice. Beginning with a consideration of the expanded retrospective of the work of Anni Albers staged at K20 Düsseldorf and Tate Modern in 2018, this paper questions received categories of art and craft and the history and place of textile art within twentieth and twenty-first century art museums. Homing in on some further examples of textile works brought into the Tate collection and displayed at Tate Modern, I propose that museum practices become increasingly transparent and the craft of exhibition making be used to bring about an expanded, inclusive recognition of diverse media and multiple stories in the history of art.

摘要

纺织品传统上已经超出了现代和当代艺术博物馆的收藏和展览范围。然而，近年来，人们重新评估了它们在美术史和实践的规范叙述中的地位。本文从考虑 2018 年在杜塞尔多夫 K20 和泰特现代美术馆举办的安妮·阿尔伯斯作品的扩展回顾展开始，探讨了艺术和工艺的类别以及纺织艺术在 20 世纪和 21 世纪艺术博物馆中的历史和地位. 回顾一些被泰特收藏并在泰特现代美术馆展出的纺织作品的更多例子，我建议博物馆的实践变得越来越透明，并利用展览制作工艺来扩大，