Preamble
For your convenience I have listed below other posts on tapestries:
The Australian Tapestry Workshop
The Australian Tapestry Workshop (1976 – 1985)
The Australian Tapestry Workshop (1986 – 1995)
The Australian Tapestry Workshop (1996 - 2004)
Tapestry Creations of the 1980s
Tapestries from the USA
Modern Australian Tapestries
Introduction by Patrick McCaughey[1]
Tapestries fall between the fine-arts and the decorative arts. It has played a time-honoured role with regard to architecture, humanising and ameliorating the living spaces of buildings both public and private. It has furnished, decorated and enriched architecture by its natural warmth and medium, its 'give' compared to marble, stone, brick, glass or steel.
Yet tapestry is more than just furniture, more than an additive to architecture. It depends on the quality of its conception as well as the excellence of its craft for its aesthethic merit. And its conception arises out of pictorial tradition. Tapestry cannot easily divorce itself from the pictorial tradition and survive as an important art.
The difficulty the medium has faced at different stages of its history is how to translate effectively certain kinds of pictorial conceptions into decorative objects. The more the pictorial conceptions depended on creating powerful illustrations of human action and feelings, the less certain and convincing the tapestry looked. The more the pictorial conception leant towards the creation of rhythms, patterns and emblems, the more effective the role of tapestry in adding to and merging the conception and tradition which feeds it.
Hence, the new role or at least the new possibilities for tapestry now. The modern pictorial tradition has in general depended less on illustration and more on finding ways of making decoration lively, interesting and substantial. Thus, some of the central concerns of modern painting are readily translatable into tapestry. Indeed, the decorative character of tapestry as a medium can stablize, make tangible some of the more fugitive qualities of modern painting. In many ways painting remains embarrassed with artistic decoration.
It constantly feels that it should somehow be more decorative. Tapestry bears no such grudge against the world and that's its strength as a medium. By accepting the decorative, tapestry wins for itself a special role and claim for itself as a medium because decoration is an inalienable part of pictorial art.
Art has a right to console as well as a duty to change and decorative supplies that right. What gives substance to the decorative supplies that right. What gives substance to the decorative, what stops it from becoming trival, is the medium taspestry makes its appeal to the hand as well as to the eye, to the sense of touch as well as sight, it invites the senses as well as the mind to delight.
The outside building of the Australian Tapestry Workshop, 262-266 Park Street, South Melbourne, Victoria, Australia.
Inside the work space of the Australian Tapestry Workshop.
Modern Australian Tapestries
Artist: Adam Pyett.
Title and Year: Intergalactic (1999).
Size: 25 cm (length) x 25.5 cm (wide).
Weaver: Merill Dumbrell.
Artist: Euan Heng.
Title and Year: Hat Trick (1999).
Size: 19.5 cm (length) x 26.5 cm (wide).
Weaver: Katia Takla.
Artist: Euan Heng.
Title and Year: Head Study (1999).
Size: 24.5 cm (length) x 22.0 cm (wide).
Weaver: Merill Dumbrell.
Artist: Bruno Leti.
Title and Year: TNL 29 (1999).
Size: 12 cm (length) x 10 cm (wide).
Weaver: Cheryl Thorton.
Artist: Yvonne Boag.
Title and Year: Ginza (1999).
Size: 18.5 cm (length) x 24 cm (wide).
Weaver: Claudia Lo Priore.
Artist: Yvonne Boag.
Title and Year: Untitled (1999).
Size: 18.5 cm (length) x 24 cm (wide).
Weaver: Merill Dumbrell.
Artist: Craig Barrett.
Title and Year: Ochre Gate (1999).
Size: 24 cm (length) x 26 cm (wide).
Weaver: Irene Creedon.
Artist: Bob Jenyns.
Title and Year: Untitled (1999).
Size: 20.5 cm (length) x 13.5 cm (wide).
Weaver: Caroline Tully.
Artist: Bob Jenyns.
Title and Year: Untitled (1999).
Size: 19.5 cm (length) x 13.0 cm (wide).
Weaver: Caroline Tully.
Artist: Adam Pyett.
Title and Year: Untitled (1999).
Size: 17.5 cm (length) x 17.5 cm (wide).
Weaver: Merill Dumbrell.
Artist: Craig Barrett.
Title and Year: Red Tree (1999).
Size: 28 cm (length) x 19 cm (wide).
Weaver: Irja West.
Reference:
[1] Patrick MecCaughey, Modern Australian Tapestries, Edited by S. Walker, The Beagle Press, (1999).
[2] Modern Australian Tapestries, Edited by S. Walker, The Beagle Press, (1999).
For your convenience I have listed below other posts on tapestries:
The Australian Tapestry Workshop
The Australian Tapestry Workshop (1976 – 1985)
The Australian Tapestry Workshop (1986 – 1995)
The Australian Tapestry Workshop (1996 - 2004)
Tapestry Creations of the 1980s
Tapestries from the USA
Modern Australian Tapestries
Introduction by Patrick McCaughey[1]
Tapestries fall between the fine-arts and the decorative arts. It has played a time-honoured role with regard to architecture, humanising and ameliorating the living spaces of buildings both public and private. It has furnished, decorated and enriched architecture by its natural warmth and medium, its 'give' compared to marble, stone, brick, glass or steel.
Yet tapestry is more than just furniture, more than an additive to architecture. It depends on the quality of its conception as well as the excellence of its craft for its aesthethic merit. And its conception arises out of pictorial tradition. Tapestry cannot easily divorce itself from the pictorial tradition and survive as an important art.
The difficulty the medium has faced at different stages of its history is how to translate effectively certain kinds of pictorial conceptions into decorative objects. The more the pictorial conceptions depended on creating powerful illustrations of human action and feelings, the less certain and convincing the tapestry looked. The more the pictorial conception leant towards the creation of rhythms, patterns and emblems, the more effective the role of tapestry in adding to and merging the conception and tradition which feeds it.
Hence, the new role or at least the new possibilities for tapestry now. The modern pictorial tradition has in general depended less on illustration and more on finding ways of making decoration lively, interesting and substantial. Thus, some of the central concerns of modern painting are readily translatable into tapestry. Indeed, the decorative character of tapestry as a medium can stablize, make tangible some of the more fugitive qualities of modern painting. In many ways painting remains embarrassed with artistic decoration.
It constantly feels that it should somehow be more decorative. Tapestry bears no such grudge against the world and that's its strength as a medium. By accepting the decorative, tapestry wins for itself a special role and claim for itself as a medium because decoration is an inalienable part of pictorial art.
Art has a right to console as well as a duty to change and decorative supplies that right. What gives substance to the decorative supplies that right. What gives substance to the decorative, what stops it from becoming trival, is the medium taspestry makes its appeal to the hand as well as to the eye, to the sense of touch as well as sight, it invites the senses as well as the mind to delight.
Modern Australian Tapestries
Title and Year: Intergalactic (1999).
Size: 25 cm (length) x 25.5 cm (wide).
Weaver: Merill Dumbrell.
Title and Year: Hat Trick (1999).
Size: 19.5 cm (length) x 26.5 cm (wide).
Weaver: Katia Takla.
Title and Year: Head Study (1999).
Size: 24.5 cm (length) x 22.0 cm (wide).
Weaver: Merill Dumbrell.
Title and Year: TNL 29 (1999).
Size: 12 cm (length) x 10 cm (wide).
Weaver: Cheryl Thorton.
Title and Year: Ginza (1999).
Size: 18.5 cm (length) x 24 cm (wide).
Weaver: Claudia Lo Priore.
Title and Year: Untitled (1999).
Size: 18.5 cm (length) x 24 cm (wide).
Weaver: Merill Dumbrell.
Title and Year: Ochre Gate (1999).
Size: 24 cm (length) x 26 cm (wide).
Weaver: Irene Creedon.
Title and Year: Untitled (1999).
Size: 20.5 cm (length) x 13.5 cm (wide).
Weaver: Caroline Tully.
Title and Year: Untitled (1999).
Size: 19.5 cm (length) x 13.0 cm (wide).
Weaver: Caroline Tully.
Title and Year: Untitled (1999).
Size: 17.5 cm (length) x 17.5 cm (wide).
Weaver: Merill Dumbrell.
Title and Year: Red Tree (1999).
Size: 28 cm (length) x 19 cm (wide).
Weaver: Irja West.
Reference:
[1] Patrick MecCaughey, Modern Australian Tapestries, Edited by S. Walker, The Beagle Press, (1999).
[2] Modern Australian Tapestries, Edited by S. Walker, The Beagle Press, (1999).
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