A Crafty Portrayal of Art

This spring the Mead Gallery exhibits the work of the former Bauhaus member, Anni Albers. The combination of Albers’ related roles as a pioneer of modernism, pre-eminent textile artist, and jewellery maker, dictate the underlying concept of the exhibition – Albers questions the definition of an artisan, addressing the unclear distinction between an artist and a craftsman.

The collection exudes a wealth of non-objective, abstract art, encouraging the personal interpretation of the viewer, and as such, adheres to the contemporary conceptual foundations of the gallery – she seems to belong here. Her work is focused around the potential textile weaving, seeing the collection span from two-dimensional designs, based around the woven structure, to examples of textile weave itself. Further exploration is made by Albers regarding the relationship between structure, form and colour, through her varied approach to mediums. This in turn ensures that each piece is dynamic and fresh. From woven jewellery pieces, paintings, studies, fabric samples, to even large-scale installation. In this exhibition the boundaries between art and craft are thoroughly questionable.

Comprised of works that span the modernist’s career, the gallery portrays a broad overview of her artistic concepts and techniques. As such, the Mead’s use of space may at first appear ambitious, yet as the exhibition retains a sense of aesthetic and conceptual relevancy throughout. The placement of pieces follows no apparent chronology, however this does not mean that their positioning adds no significance to the exhibition.

The central floor space of the gallery gives way to the structural representations of the weave, presenting sample weaves, woven jewellery and hangings, where as the designs, sketches and paintings are designated to the gallery walls. As such, the viewer establishes a visual comparison. There is a general recognition of the various interpretations of woven structures and the ability to depict these through a variety of means. However, on a subtler note, the comparison between the floor-based and hanging pieces, creates a sense of inspiration vs. result. This separation creates a distinction between the stages of design, as well as giving a focus to question of what defines a piece as being that of art or craftwork – is it defined by medium or could it be related to process?

The exhibition acts as a successful and interesting portrayal of the work of a female artist. Her abstract forms and bold use of colour encourages the personal interpretation of the viewer thus creating a relationship between the audience and the exhibition. Simultaneously, the presentation of the collection provides a narrative of the progression of a piece. Her choice of theme provokes controversy over medium and technique, arousing questions as to the limits of art. Overall, the combination of collection pieces and theme provide a recommendable viewing experience.