The Lausanne Tapestry Biennial sets the stage for a revolution An unintentional revolution had taken place – a movement away from wall-based tapestry and towards free form textile art.
All the same, young female artists received the greatest accolades in the press in the first and in subsequent Biennials.
Reasons for the spirit of departure Jenelle Porter believes that Lenore Tawney’s 1961 solo exhibition at the Staten Island Museum, N.
The reason usually given is that tactile qualities take on greater significance in our digitized world.
Moreover, they emphasize social relationships which are so easily visualized by means of textile media.
Positive changes that have taken place The fine art scene has been increasingly interested in textile art for nearly a decade, to the point that textile works accounted for almost a third of the exhibits presented at the recent Venice Biennials.
The same phenomenon has been noted at art fairs and major art exhibitions.Y., constituted the first step in North America, “the point at which Art Fabric was healthfully and joyously launched in America”.The oral history interviews conducted with artists like Tawney, Zeisler et al.Exhibition from 25th March to 29th May at the Lausanne Musée Cantonal des Beaux-Arts, Palais de Rumine Palais de Rumine, the former venue of the Lausanne Tapestry Biennial, is housing an exhibition that draws on a long history.The Biennial last had access to the beautiful Palais in 1992; now Bernard Fibicher, the current director of the Lausanne Cantonal Museum of Fine Art, has invited the Toms Pauli Foundation – the Biennial successor – to present its collection of contemporary art at this very venue.The conquest of three-dimensional space began in the late Sixties.