1、外文标题： Fiber Art and the Hierarchy of Art and Craft, 196080 外文作者： Elissa Auther 文献出处： Journal of Modern Craft , 2008 , 1 (1) :13-33 英文 801单词， 4751字符，中文 1417汉字。 此文档是外文翻译成品，无需调整复杂的格式哦！下载之后直接可用，方便快捷！只需二十多元。 原文： Fiber Art and the Hierarchy of Art and Craft, 196080 Elissa Aut
2、her Abstract Fiber Art and the Hierarchy of Art and Craft, 1960 1980 both explores the artistic, historical, institutional and extra-aesthetic forces affecting the formation of the ber movement and evaluates the curatorial strategies of Mildred Constantine and Jack Lenor Larsen to negotiate the hier
3、archy of art and craft in order to elevate ber as a medium of high art. The analysis considers the emergence of the category of ber art in the 1960s and 1970s, the cultural contexts in which ber or textiles were utilized in the period, strategies of transcending the hierarchy of art and craft, and o
4、ther relations of dominance and subordination that dened bers marginality in the hierarchy of the arts and shaped the responses of artists, critics and curators to aesthetic boundaries. Alan Sarets Untitled (1968) (Figure 1), a work of rope and wire and Alice Adamss Construction (1966) (Figure 2), o
5、f rope and steel cable, share signicant formal similarities. Both works are oor based, of similar size and shape, and both utilize materials associated with craft, hand labor or industry. Indeed, one could conclude that the same artist made both works. But this is not the case, and the two artists w
6、ere associated with very different artistic circles in the 1960s: Saret was an anti-form sculptor, whereas Adams was associated with what came to be known as the ber art movement. Moreover, the works were exhibited and received very differently. Comparing the varied reception of these two similar objects reveals not only bers arrival as a new medium of high art but also how this elevation of ber issued from multiple sites or positions, each with a distinct location within the complex network
