Woven Histories: Textiles and Modern Abstraction, presented by Los Angeles County Museum of Art


The Los Angeles County Museum of Art (LACMA) presents Woven Histories: Textiles and Modern Abstraction, an exhibition exploring the intersection of abstract art and woven textiles over the past century. The nexus of textiles and abstraction embodies key political, social, economic, and aesthetic issues that have shaped the history of the modern era. Beginning in the first decades of the 20th century, the exhibition presents a diverse range of genres, materials, processes, and technologies, which artists have utilized when probing these issues: painting; basketry; photography and film; woven, knitted and felted cloth; costume; attire; and tapestry. Further, it foregrounds the increasingly important role of textile heritages today as affordances in constructing identity, kinship, and community.


On display from Sep 17th, 2023 – Jan 21st, 2024.

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Los Angeles County Museum of Art
5905 Wilshire Blvd.
Los Angeles, CA 90036

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Woven History Exhibition photo of a woven artwork on left and a hand felted dress on the right
Ed Rossbach, Damask Waterfall, 1977, cotton welting cord, commercial fabric, plastic, satin damask, wrapped, LongHouse Reserve, photo credit: © Charles Benton, courtesy The Artists’ Institute
Andrea Zittel, ‘White Felted Dress #3’ from A-Z Fiber Form Uniforms, 2002, wool, hand-felted, Los Angeles County Museum of Art, purchased with funds provided by David and Susan Gersh. © Andrea Zittel, photo © Museum Associates/LACMA

Group Info

Featuring over 150 works, the exhibition assembles a roster of transnational and intergenerational artists. Works by pioneering women artists from the historic avent-gardes are put into dialogue with those of contemporary creators: Anni Albers, Jeffrey Gibson, Hannah Hoch, Yvonne Koolmatrie, Ulrike Mueller, Liubov Popova, Sophie Taeuber-Arp, Rosemarie Trockel, Andrea Zittel, and others.

Curation Credits

This exhibition is organized by the National Gallery of Art, Washington, in collaboration with the Los Angeles County Museum of Art, the National Gallery of Canada, Ottawa, and The Museum of Modern Art, New York.

Subversive, Skilled, Sublime: Fiber Art by Women exhibition, organized by the Smithsonian American Art Museum


Cotton, wool, polyester, silk — fiber is felt in nearly every aspect of our lives. The artists in Subversive, Skilled, Sublime: Fiber Art by Women mastered and subverted the everyday material throughout the twentieth century.

The thirty-four selected artworks piece together an alternative history of American art. Accessible and familiar, fiber handicrafts have long provided a source of inspiration for women. Their ingenuity with cloth, threads, and yarn was dismissed by many art critics as menial labor. The artists in this exhibition took up fiber to complicate this historic marginalization and also revolutionize its import to contemporary art. They drew on personal experiences, particularly their vantage points as women, and intergenerational skills to transform humble threads into resonant and intricate artworks.

Visitation Details

May 31, 2024 – January 5, 2025

Renwick Gallery [website]

Pennsylvania Avenue at 17th Street, NW
Washington, DC 20006 [map]

Open Daily, 10:00 a.m.–5:30 p.m.


woven tapestry of a naked woman jumping with her hair flying in the wind, silhouetted against a background of colorful with red and yellow boxes of color
Emma Amos, Winning, 1982, acrylic on linen with hand-woven fabric, Smithsonian American Art Museum

Group Info


The project is curated by Virginia Mecklenburg, senior curator; Mary Savig, the Lloyd Herman Curator of Craft; and Laura Augustin, curatorial assistant.

Takaezu & Tawney: An Artist is a Poet, at the Crystal Bridges Museum of American Art


Takaezu & Tawney: An Artist is a Poet debuts 12 new acquisitions to the Crystal Bridges collection that tell the story of a remarkable friendship between the two artists. The exhibition highlights how these two women shaped craft history in the US by expanding and redefining the possibilities of their preferred mediums: Takaezu in ceramics, Tawney in weaving.


On display from Oct 14th, 2023 – Mar 25th, 2024

Crystal Bridges Museum of American Art
600 Museum Way, Bentonville, AR 72712

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(479) 418-5700
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stoneware by Toshiko Takaezu, closed forms including spheres and closed rounded cylindrical shapes, different color glazes
Toshiko Takaezu, Crater Moon, 1990s, stoneware, 22 in. diameter; Tall Closed Form, 1970s, stoneware, 24 1/4 x 12 in. diameter; Tall Closed Form, 1974, stoneware, 48 x 9 in. diameter; Tall Closed Form, 1980s, stoneware, 36 1/2 x 11 in. diameter; Alchemy Gold Moon, 1990s, stoneware, 21 in. diameter; Tall Closed Form, 1980s, stoneware, 35 ½ x 7 in. diameter; Form Blue #31, 1990, porcelain, 19 in. x 8 1/4 in. Crystal Bridges Museum of American Art, Bentonville, Arkansas, Purchased with the Fund for Craft, 2022.6, 2022.2, 2022.3, 2022.5, 2022.4, 2021.20. Photography by Edward C. Robison III.

Group Info

The presentation includes seven ceramic sculptures by Takaezu and two major weavings, two drawings and an intimately scaled assemblage sculpture by Tawney. The display showcases the dramatic scale and presence of Tawney’s fiber works and the dynamic glazing and textured surfaces of Takaezu’s varied ceramic forms.

Curation Credits

Curated by Windgate Curator of Craft Jen Padgett

Tawney’s studio environment on view – Kohler Arts Center’s Art Preserve

Lenore Tawney Installation
Objects from the Lenore Tawney Collection displayed at the Art Preserve, Sheboygan, WI. John Michael Kohler Arts Center Collection, gift of the Lenore G. Tawney Foundation and Kohler Foundation Inc.

The John Michael Kohler Arts Center worked closely with the Lenore G. Tawney Foundation to acquire hundreds of key components from the artist’s last studio environment in 2019, with assistance from Kohler Foundation, Inc. The 486-piece collection includes artwork, collages, assemblages, furniture, and supplies.

An installation of Tawney’s studio environment is on view at the John Michael Kohler Arts Center’s Art Preserve, which opened in 2021 and provides the public and researchers year-round access to an unparalleled collection of art environments that now includes works by more than 30 artists.

Tuesday, Wednesday, Friday: 10:00 a.m.–5:00 p.m.
Thursday: 10:00 a.m.–8:00 p.m.
Saturday, Sunday: 10:00 a.m.–4:00 p.m.

John Michael Kohler Arts Center: 608 New York Avenue, Sheboygan, WI
Art Preserve: 3636 Lower Falls Road, Sheboygan, WI

Free admission at both locations

Art Preserve

Making Knowing: Craft in Art, 1950–2019 to open at the Whitney Museum of American Art

Lenore Tawney, Four Petaled Flower II, 1974.

Making Knowing: Craft in Art, 1950–2019 (November 22, 2019 –January, 2021) provides new perspectives on subjects that have been central to the artists in the display, including abstraction, popular culture and feminist aesthetics. The works reveal how craft-informed techniques of making carry their own kind of knowledge, one that is crucial to a more complete understanding of the history and potential of art.

Drawn primarily from the Whitney’s permanent collection, the exhibition will include works by Ruth Asawa, Eva Hesse, Mike Kelley, Liza Lou, Howardena Pindell, Robert Rauschenberg, Elaine Reichek, and Lenore Tawney, as well as featuring new acquisitions by Shan Goshorn, Kahlil Robert Irving, Simone Leigh, Jordan Nassar, Erin Jane Nelson, and Mickalene Thomas.

Weaving Beyond the Bauhaus on view at the Art Institute of Chicago

Lenore Tawney, The Bride Has Entered, 1982.

Established in 1919, acclaimed German art school the Bauhaus was home to an innovative weaving workshop whose influence stretched across the Atlantic.

Like the larger institution, the weaving workshop embraced the principal of equality among artists and the arts alike. Although the realities of the Bauhaus never quite matched its utopian vision, the workshop nonetheless served as an effective incubator of aesthetic and pedagogical talent. In the decades following the school’s forced closure in 1933, the Bauhaus went on to have a wide-reaching impact on American art—due in part to the large number of affiliated artists who immigrated to the US, where they continued to practice and teach in the spirit of the school’s educational system and theories.Weaving beyond the Bauhaus (on view through February 17, 2020)  traces the diffusion of Bauhaus artists, or Bauhäusler, such as Anni Albers and Marli Ehrman, and their reciprocal relationships with fellow artists and students across America. Through their ties to arts education institutions, including Black Mountain College, the Institute of Design, the Illinois Institute of Technology, and Yale University, these artists shared their knowledge and experiences with contemporary and successive generations of artists, including Sheila Hicks, Else Regensteiner, Ethel Stein, Lenore Tawney, and Claire Zeisler, shaping the landscape of American art in the process.