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Architectonic: Thought on the Loom

Abstract In the late 1960s, fiber artists moved off the loom, began using hand-knotting techniques, and created work that was often rope-like and textured with soft and yielding contours. By contrast, fiber artists of the late 1970s, as documented in Mildred Constantine and Jack Lenor Larsen's third exhibition catalog, The Art Fabric: Mainstream, from 1981, moved back on the loom and began generating highly structured objects. These works, which Constantine and Larsen describe as following an “architectonic logic,” demonstrate an interest in the geometric and three-dimensional possibilities of this woven craft. Thus, the work of artists seen in the 1981 catalog, such as that by Kay Sekimachi, Gerhardt Knodel, and Warren Seelig, reconsidered the textile structures that had preoccupied an earlier generation influenced by the Bauhaus in order to think on, through, and then beyond the limits of the loom's architecture. Coming out of Cranbrook's new Department of Fiber in the 1970s, the director Knodel and student Seelig navigated the discursive-technical boundary of the “designer-craftsman” and “fiber artist” through different approaches to the architectural dimensions of textiles. While Knodel sought to share or perform the dimensionality of weaving in the built environment, Seelig considered woven structure as an organic source for new, tectonic dimensions in the fabric plane.