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A few years ago, the artist Alexandra Zuckerman bought herself a loom, following through on her long-held ambitions to weave. She was drawn to the loom’s strict arrangements of warp and weft, vertical and horizontal, that could expand her experiments with ready-made color, repetition, and the legacies of modernist abstraction. But as she honed her skills, textile after textile, Zuckerman came to the same conclusion.
“The colors lost luminosity. The finished textiles got nowhere close to that feeling of finding spools of dry color side-by-side in the thread store.”
Instead, the artist found this feeling at weaving’s beginnings: in “color cards” or “yarn wraps.” A weaver plans patterns with color tests, tightly binding different yarns around a small board in parallel stripes of different hues and widths.
In “Back and Forth,” Zuckerman dramatically scales up this tradition of the weaver’s sketch: making mesmerizing stripe paintings without paint, and weaving lush...More
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Press Release
A few years ago, the artist Alexandra Zuckerman bought herself a loom, following through on her long-held ambitions to weave. She was drawn to the loom’s strict arrangements of warp and weft, vertical and horizontal, that could expand her experiments with ready-made color, repetition, and the legacies of modernist abstraction. But as she honed her skills, textile after textile, Zuckerman came to the same conclusion.
“The colors lost luminosity. The finished textiles got nowhere close to that feeling of finding spools of dry color side-by-side in the thread store.”
Instead, the artist found this feeling at weaving’s beginnings: in “color cards” or “yarn wraps.” A weaver plans patterns with color tests, tightly binding different yarns around a small board in parallel stripes of different hues and widths.
In “Back and Forth,” Zuckerman dramatically scales up this tradition of the weaver’s sketch: making mesmerizing stripe paintings without paint, and weaving lush...More
