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Olaf Holzapfel's work proves the indissoluble connection between human settlement, technique, and abstraction. Elementary space-generating methods like plaiting, weaving, and latticing - age-old settler techniques - stem from natural linear entities. These techniques are exceptional in that they don't differentiate between technique or machine, or whether a structure is purely functional, for living, or auxiliary. Holzapfel scrutinizes the perception and presence of material within space and whether an image discourse can exist without these physical modules. For him the landscape, and the material it contains, is more than a symbol that fixes identity; rather, it becomes a transmitter. Holzapfel's exhibition at the Lindenau-Museum Altenburg, on occasion of being awarded the Gerhard-Altenbourg Prize 2014, explores the interstices between craft and art, and consequently, between orality and literacy. Much of his work presented in this catalogue--framework installations, hay images, and straw images are displayed in this book--was made together with farmers and craftspeople; by transforming age-old handiwork into contemporary art, Holzapfel unsettles the division between nature and culture, and tradition and modernity.

Art, German --- Environment (Art) --- kunst --- eenentwintigste eeuw --- Duitsland --- beeldhouwkunst --- installaties --- houtsculptuur --- Holzapfel Olaf --- 73.071 HOLZAPFEL --- textiel --- textielkunst --- Holzapfel, Olaf, --- Exhibitions --- Holzapfel, Olaf

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"The Bauhaus school in Germany has long been understood through the writings of its founding director, Walter Gropius, and well-known artists who taught there such as Wassily Kandinsky and László Moholy-Nagy. Far less recognized are texts by women in the school's weaving workshop. In Bauhaus Weaving Theory, T'ai Smith uncovers new significance in the work the Bauhaus weavers did as writers. From colorful, expressionist tapestries to the invention of soundproofing and light-reflective fabric, the workshop's innovative creations influenced a modernist theory of weaving. In the first careful examination of the writings of Bauhaus weavers, including Anni Albers, Gunta Stözl, and Otti Berger, Smith details how these women challenged assumptions about the feminine nature of their craft. As they harnessed the vocabulary of other disciplines like painting, architecture, and photography, Smith argues, the weavers resisted modernist thinking about distinct media. In parsing texts about tapestries and functional textiles, the vital role of these women in debates about medium in the twentieth century and a nuanced history of the Bauhaus come to light. Bauhaus Weaving Theory deftly reframes the Bauhaus weaving workshop as central to theoretical inquiry at the school. Putting questions of how value and legitimacy are established in the art world into dialogue with the limits of modernism, Smith confronts the belief that the crafts are manual and technical but never intellectual arts."--Publisher's description.

Textile design --- Weaving --- Women textile designers --- Modernism (Art) --- Art and craft debate --- 745.52 --- 7.01 --- 7.037 --- Berger Otti --- Stözl Gunta --- Albers Anni --- fotografie --- kunst en architectuur --- architectuur --- Bauhaus --- twintigste eeuw --- Duitsland --- esthetica --- kunsttheorie --- textielkunst --- textiel --- kunst --- Art, Modernist --- Modern art --- Modernism in art --- Modernist art --- Aesthetic movement (Art) --- Art, Modern --- Art/craft debate --- Art-craft hierarchy --- Art versus craft debate --- Craft and art debate --- Craft/art debate --- Craft versus art debate --- Art --- Handicraft --- Textile designers --- Women designers --- Warping --- Textile industry --- Decoration and ornament --- Design --- History --- Bauhaus. --- Staatliches Bauhaus --- Baohaosi --- Bauhaus Dessau --- weaving --- industrial design --- art theory --- feminisme --- gender --- 746.037(430) --- 746.1 --- 746.01 --- Textielkunst ; 1ste helft 20ste eeuw ; Bauhaus --- Textielkunst ; 1900 - 1950 ; Duitsland --- Textielkunst ; weven --- Textielkunst ; theorie, filosofie, esthetica

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Art --- installations [visual works] --- color [perceived attribute] --- cloth --- fiber art --- mixed media works --- Tuttle, Richard --- kunst --- conceptuele kunst --- concept art --- minimalisme --- beeldhouwkunst --- installaties --- textiel --- textielkunst --- Tuttle Richard --- twintigste eeuw --- eenentwintigste eeuw --- Verenigde Staten --- 746.07 --- 7.07 --- Beeldende kunst ; met textiel ; 2014 ; Richard Tuttle --- Installaties ; met textiel --- Tentoonstellingscatalogi ; Londen ; Tate Modern --- Tuttle, Richard °1941 (° Roselle, New Jersey, Verenigde Staten) --- Textielkunst ; textielkunstenaars --- Kunstenaars met verschillende disciplines, niet traditioneel klasseerbare, conceptuele kunstenaars A - Z --- Exhibitions

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tapestries --- Applied arts. Arts and crafts --- Coecke van Aelst, Pieter --- 7.07 --- 746.07 --- 75.07 --- 741.07 --- 76.034 --- 72.07 --- 7.034 --- Wandtapijten ; ontwerpers ; Noordelijke Renaissance --- Beeldende kunst ; Zuidelijke Nederlanden ; 16de eeuw ; P. Coecke Van Aelst --- Tapijten ; ontworpen door kunstenaars ; Renaissance --- Kartons voor tapijten --- Coecke Van Aelst, Pieter 1502-1550 (°Aalst, toen Graafschap Vlaanderen, België) --- Tentoonstellingscatalogi ; New York ; Metropolitan Museum of Art --- Kunstenaars met verschillende disciplines, niet traditioneel klasseerbare, conceptuele kunstenaars A - Z --- Textielkunst ; textielkunstenaars --- Schilderkunst ; schilders --- Tekenkunst ; tekenkunstenaars A - Z --- Grafische kunst ; Renaissance. Barok. Rococo --- Architecten. Stedenbouwkundigen A - Z --- Kunstgeschiedenis ; Renaissance. Barok. Rococo --- Exhibitions --- Arts [Renaissance ] --- Belgium --- Tapestry [Renaissance ] --- Tapestry [Flemish ]