loveMELT #037: The Future of Fiber Art
An artist's perspective
As part of my current body of work, I’m digging into the history of textiles. I realize I’d forgotten how much textiles instigated and ran the first Industrial Revolution, monumentally changing the trajectory of human life.
Why I’m noting textile inventions and movements will make itself known if you keep reading.
The precursor to “Tech” is Textiles
John Kay’s flying shuttle, invented in 1733, increased the speed of the weaving operation, and its success created pressure for more rapid spinning of yarn to feed the faster looms. Mechanical spinners produced in 1769 and 1779 by Sir Richard Arkwright and Samuel Crompton encouraged development of mechanized processes of carding and combing wool for the spinning machines. Soon after the turn of the century the first power loom was developed. The replacement of water power by steam power increased the speed of power-driven machinery, and the factory system became firmly established, first in England, later in Europe and the United States. Charles S. Whewell — Encyclopaedia Britannica
Some Key Inventions:
Flying Shuttle (1733)
A machine that represented an important step toward automatic weaving. It was invented by John Kay in 1733. In previous looms, the shuttle was thrown, or passed, through the threads by hand, and wide fabrics required two weavers seated side by side passing the shuttle between them.
—Editors of Encyclopaedia Brittanica
Spinning Jenny (1764)
It revolutionized the process of spinning yarn by allowing a single operator to spin multiple threads simultaneously… Prior to the introduction of this invention, spinning was primarily done in small-scale cottage industries by skilled artisans. With the spinning jenny, the spinning process could be mechanized, leading to the establishment of large-scale textile factories and the centralization of production.
— Reina Belardes, How Stuff Works
Power Loom (1785)
Cartwright’s invention of the power loom was significant because it used mechanization to automate much of the weaving process. — Elias, Beck History Crunch
Women and children were often employed in the textile industry during the first century of industrialization. Their smaller fingers were often better at threading the machinery. Despite routinely working 16 hours, or longer, a day they were paid little.
Cotton Gin (1793)
The cotton gin is an example of an invention directly called forth by an immediate demand; the mechanization of spinning in England had created a greatly expanded market for American cotton, whose production was inhibited by the slowness of manual removal of the seeds from the raw fibre. Eli Whitney, a Massachusetts Yankee visiting a friend in the South, learned of the problem and quickly solved it. Inspired by manual brushes invented by enslaved workers, Whitney crafted a device that pulled the cotton through a set of wire teeth mounted on a revolving cylinder, the fibre passing through narrow slots in an iron breastwork too small to permit passage of the seed. The simplicity of the invention—which could be powered by people, animals, or water—caused it to be widely copied despite Whitney’s patent; it is credited with fixing cotton cultivation, virtually to the exclusion of other crops, in the U.S. South and so institutionalizing slavery.
—The Editors of Encyclopaedia Brittanica
Jacquard Weaving Loom (1804)
Jacquard's invention transformed patterned cloth production, but it also represented a revolution in human-machine interaction in its use of binary code—either punched hole or no punched hole—to instruct a machine (the loom) to carry out an automated process (weaving).
The Jacquard loom is often considered a predecessor to modern computing because its interchangeable punch cards inspired the design of early computers.
Luddites (1811)
The Luddites were members of a 19th-century movement of English textile workers who opposed the use of certain types of automated machinery due to concerns relating to worker pay and output quality. They often destroyed the machines in organized raids. Members of the group referred to themselves as Luddites, self-described followers of "Ned Ludd", a legendary weaver whose name was used as a pseudonym in threatening letters to mill owners and government officials.
As the Industrial Revolution began, workers naturally worried about being displaced by increasingly efficient machines. But the Luddites themselves “were totally fine with machines,” says Kevin Binfield, editor of the 2004 collection “Writings of the Luddites”. They confined their attacks to manufacturers who used machines in what they called “a fraudulent and deceitful manner” to get around standard labor practices. “They just wanted machines that made high-quality goods,” says Binfield, “and they wanted these machines to be run by workers who had gone through an apprenticeship and got paid decent wages. Those were their only concerns.”
— Richard Conniff, Smithsonian Magazine
To dig deeper into textile history and the impact of the Industrial Revolution:
Industrial Revolution Timeline, Britannica
Industrialization, Labor, and Life, National Geographic
The Fabric of Civilization: How Textiles Made The World, Virginia Postrel (Book)
Worn, A People’s History of Clothing, Sofi Thanhauser (Book)
Women’s Work: The First 20,000 Years, Elizabeth Wayland Barber (Book)
[loveMELT challenge: if you decide to read one of these books, see if you can order it from your local bookstore if they don’t have it in stock. Or, check your library.]
Art Today
As an artist, I pay attention to what’s going on in the art industry. Currently, in the “capital A Art world” aka fine art, “fiber art”, the umbrella term being used in the industry for artists employing some type of fiber in their art production, has been “on the rise” in the art world since the ’60s and ’70s. Individuals, predominantly women, from marginalized groups led that movement, some of them highlighted below. However, since 2010 and in the 2020s, journalists and critics note it’s gaining traction at an increased speed. This is uncoincidentally in parallel with a large push on the art world to incorporate art from people from the global majority and/or who haven’t followed the traditional, Euro-centric fine art education path. This “alternative art” (what I’m referring to as not painting or traditional sculpture) continues to be led by females and historically marginalized groups from around the world using mediums outside of oil paint, stone, etc. These people use materials surrounding their livelihood that they spent years learning how to make and manipulate skillfully—fiber, textiles, ceramics, natural materials, etc. For a long time and still, this type of art receives condescendence such as it’s not truly fine art, it’s women’s work, it’s craft, it’s decorative, it’s not conceptual enough, it doesn’t retain value, it’s lacking in some form or another.
In parallel with politics and in lockstep with the stock market, the art world is currently going through hefty turbulence. Not surprisingly, it’s overarchingly receiving a lot of criticism and opinions from multiple perspectives. This isn’t novel, of course, criticism in art has been around for a long time. Historically, however, it was from a select few. Some of the critiques I’ve taken note of lately are “that there’s a lot of bad art right now”, “much of it is decorative”, “exhibitions and artists are too heavily focused on identity”, “we’re lacking art for art’s sake”, “it's very commercial or safe”. I have a lot of thoughts on these remarks.
First, there is a shitload of art. The more I immerse myself in the industry, the more I’m shocked at how much art is being made. There’s art fair after art fair and gallery opening after gallery opening. Open Instagram and one artist after another is in the feed. I cannot keep up. I can feel overwhelmed, inundated, and find it redundant rather than enchanting. I feel like a cog in its machine rather than a person in its community.
Art is a large industry now, it is commercial, it is capitalism, and just like we’ve witnessed in history, taking textiles as a prime example, when anything gets innovated upon for capital gain and commodified for scale, more gets produced, it becomes cheaply made, a ton of waste is made in pursuit of winning a zero-sum game. The thought becomes bigger, better, cheaper, faster to the punch, iterative, short-term thinking to win a game. Combine that with digital marketing and the rise of social media of who and what is popular increasing the value of that person’s work and the commercialness feel of art today makes total sense.
However, this is directly at odds with how fine art has been traditionally distinguished in the art world which requires years of learning, mastering a skill, experimenting, toiling away, conceptual at the highest level, genius-like, or fueled by extremely radical thinking. The two methods of operation are like oil and water. As an artist, it’s very difficult not to fall into the trap of making safe art or the same art that’s selling well because it’s faster to reproduce, you’ve been given a tight deadline, it’s a sure sell, money is desperately needed, or the gallery is asking for it because the market buys it.
Additionally, the art world is catering to a more general spectator now because it is at a mass market level. This perhaps bothers people who have been in the art world or worked in the industry for a long time. The press releases and exhibition statements put out can feel elementary or the exhibition text may feel watered down or just scratching the surface of a topic. Or the current art and documentation is of a language not spoken by those with a strong Euro-centric art history knowledge. I get both sides of this. As someone who very much enjoys critical thinking but never went to art museums and galleries as a kid, I get annoyed when I read a bunch of artspeak. Just give it to me straight. I’m not asking you to consider me dumb. I’m asking you to consider I may not yet be familiar with what you’re speaking to but I’m here to learn. There is a way to present things clearly that still goes deep, is authentic, and asks the audience to engage at a high level. While individuals take time to learn art history independently, speaking about art from ranging perspectives, not just through the traditional art canon, is vital to art’s evolution and relevancy to the world. Additionally, artists, institutions, and galleries are currently picking up the slack for the lack of cultural education being taught to American kids through schools, extracurricular activities, etc. So some of these “back to the basics” conversations happening in these environments have been a bit necessary. And getting back to the basics in the art world is where we’ve had to go to stand up for the value of different cultures, for self-expression, for the legitimacy of art in this political climate.
On that note, there is a lot of “bad art” right now. There’s also a lot of “good art”. But if you want to stereotype that it’s currently universally “bad”, then I say let it be bad for a moment. If we zoom out and look at this contemporary, diverse media work in the art history “canon”, it just got here, let it grow up, let it have growing pains. I’m not saying we shouldn’t critically think about it or push it to its max, I’m asking us to continue considering the context and continuously open up our own. Major historical events and a political shift propelled much of this “alternative”, multicultural art forward to the center stage of the art world. It’s in its early phase in this sphere and started in the realm of, “My apologies, we missed this earlier”. Companies, organizations, and institutions are engaging in introductory conversations with artists who speak different languages culturally and through their mediums. An initial conversation is quite basic, “hello, what’s your name?”, “What is your culture like?”, “What do you make?”, “Why is this important to you?”. I’m not saying that these are not necessary conversations to be had. The conversation has to start somewhere and it’s awkwardly taking place under a spotlight. However, these conversations limit the artists, the establishments, and ourselves. We are in the entryway of a space, that if allowed to go further, could transform our world. The timing is imminent. The mediums these artists use, fiber, textiles, building materials, discarded goods, or even say, advanced technology, are the same materials that could be the detriment to our civilization. Let artists play, question, experiment, toil, fail, explore, exalt, evolve, innovate.
There will be bad art along the way. There has been and always will be. Artists are allowed to make bad art. It is a journey. We do not go from one thing to the next as perfect. “Traditional” (painting, drawing, and sculpture) or Euro-centric art has had centuries to go through uncomfortable growth spurts and '-isms’ (Impressionism, Fauvism, Expressionism, Surrealism, Dadaism, Romanticism, etc.). And I can’t tell you how many artists I’ve read about who went through years, years of bad art-making.
An accessible yet thought-provoking way to exhibit and discuss this varying art is still being worked out and should pay heavy mind to the artist and their dialogue, not just what we’re traditionally accustomed to in the white walls of the Western art world. Additionally, our attention spans are shortening and the pressure to post what cool art thing we’re doing takes us, and everyone else around, out of the moment to genuinely engage and critically think about the work. Perhaps a movement around this from the gallery/museum, artist, or art viewer perspective can be taken regarding this…a middle ground or a new way found for being in the moment with the art, really considering it, and documenting it for our own purposes (noting that some exhibitions may require digital engagement as part of their experience).
The art world is in a precarious situation with a lot of weight on its shoulders to be forward moving, appeal to a mass audience, but ultimately follow the market demand…which is largely the demand of the wealthy elite, all the while many institutions and organizations rely on receiving funding amidst a current political administration that doesn’t revere art or acknowledge its value, or likely does and fears its power to move people.
I say all of this because my biggest concern with the rhetoric flying around in the art world right now at this specific moment is the notion that may be consciously used as disinformation, out of hate, or for political gain, and/or subconsciously conflated because of the dialogue happening within the art world amidst the American political climate at large— is the belief that these previously marginalized-medium arts, and artists who use them, are bad and should not be regarded as fine art or fine artists, that the galleries, organizations, and institutions showing them are bad, that this work should have never been introduced into the art world, it is merely craft, it does not hold value, it’s not a piece worth showing or collecting and is why the art industry is facing challenges or not doing well. And again, this art and its makers will be marginalized in history.
The ongoing shift toward conservatism in politics will likely continue shaping the fine art market, particularly within major auction houses and mega galleries, for at least the next four years—if not longer. This trend may push sales toward the "safety zone" of historically recognized works, primarily those already established within the “art canon”, which has long been dominated by white male artists.
The sales value* of works by women artists declined to $535.2m in 2024—a drop of more than 33% compared to 2023, and more than 25% compared to 2022, according to a recent report from ArtTactic. That total also made up only 13% of all sales by value under the hammer last year, down from 13.8% in 2023.
—Tim Schneider, The Gray Market. (*secondary art market sales value)
BUT, the specific mediums and practices being used, fiber, textiles, ceramics, natural materials, building materials, and discarded goods have such a strong presence in the daily lives of every single person. There is room for so much more to be done and said through them in the art world. Let its dialogue become nuanced, go into unforeseen spaces, and let it become dense and rich. Let it confront, collaborate with, and push the boundaries of technology and innovation. Let it have a long line of history to pull from and react to in an expanding “art canon”. Let the people making it feel free to say what they want and go to places previously and presently off-limits.
The textile inventions that changed the world, leading us to where we are today, were invented by white men who had the time, space, finances, and support to innovate. And as we’ve learned by studying inventors’ lives and journals is that innovation doesn’t come through pure logic. It first comes through imagination, asking questions, make-believing a thing, a world, steps to get there, ways of building it, using playful materials, using the “everyday materials”. Before an invention is ever fully realized, it takes creativity.
Artists using these materials should be involved in the conversation of how we innovate sustainably and ethically, how we adjust the way we perceive things, envision new worlds, and create alternate ways of being. It is a crucial time for diverse-medium artists to continue working, to innovate, to take bold risks, to collaborate, and to help us holistically be better. Do not go back to the tunnel-visioned, “safe” lane. It’s treacherous.
What I’m about to ask for may seem like a lot given federal funding being dismantled, the volatility of global politics, the stock market greatly affecting fine art purchases and current art world criticisms, but I’m going to ask anyway.
Museums, Galleries, Institutions, Foundations, Residencies
Show and support the art that needs to be witnessed, show its power, communicate its authentic dialogue, and exhibit challenging and radical work.
Five to seven-figure collectors, art dealers, art advisors
Find and collect the art speaking to you, regardless of the medium or pop-star likeness of an artist. Find the lesser-knowns, be the first to put an artist “on the map”, boost the mid-careers you believe in, and help cement their longevity in history. Bring pieces into your collection that challenge you.
Three to four-figure collectors, art dealers, art advisors
Find and collect the emerging artists speaking to you, regardless of medium and social popularity. Find ways to support and uplift their work so they can continue creating. Bring pieces into your collection that challenge you.
Journalists, critics, writers, communications/press
Scope out the alternative and underground movements happening. Do the research and fieldwork outside of the ordinary go-tos and traditional art scenes. Experience and critique that work, and help bring it to light.
Artists, Art students, and young adults
Do not be deterred, make the art you need to make, regardless of current acceptance. Let yourself be bad at something, it will lead you somewhere. Believe in what you’re doing. Push it forward, and make it known, continue evolving. Go see art, join groups, challenge yourself, and lead by example.
People
Incorporate art into your life, go see it, question it, question yourself, make it, collect it, and talk about it. If there’s ever been a time to do it, it’s now.
Relevant art world readings and listening:
“The Vibe Shifted in Art, Now What?” — The Art Angle (podcast) | 2025
“7 Highly Specific Art Industry Predictions for 2025” — The Gray Market | 2025
“The Painted Protest: How Politics Destroyed Contemporary Art”— Harper’s | 2024
“2024 Was the Year of the Art World’s High Fiber Diet” — Art in America | 2024
“How Textiles Took Over the Art World” — The Art Angle (podcast) | 2024
“Why Fiber Art Is (Still) Having a Moment as Prices and Recognition Continue to Climb” — Artnet | 2024
“Looming Large” — Artforum | 2024
“Fiber is the New Painting: A Younger Generation of Artists is Weaving Personal Histories” — Art in America | 2023
“Fiber Art is Finally Being Taken Seriously” — New York Times | 2023
Behind-the-Scenes with Sadie
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A short list of selected inspiring, pioneering ‘fiber artists’, or artists incorporating fiber, and their impact.
Drop into their world for a moment.
Pacita Abad (1946 – 2004)
Faith Ringgold (1930 – 2024)
Barbara Chase-Riboud (1939—)
Magdalena Abakanowicz (1930 – 2017)
Gee’s Bend Quilters (19th century –)
Eva Hesse (1936 – 1970)
Jagoda Buić (1930 – 2022)
Sheila Hicks (1934–
Miriam Schapiro (1923 – 2015)
A small selection of contemporary artists – focused in fiber/use it in their work:
Tau Lewis
Upcoming Exhibition: Spirit Level At David Zwirner, Los Angeles | February 13 - March 29, 2025
Do Ho Suh
Upcoming Exhibition: The Genesis Exhibition: Do Ho Suh: Walk the House at Tate Modern, London | May 1, 2025 – October 19, 2025
Tamara Kostianovsky
Upcoming Exhibition: Moved by Forces at Cheekwood, Nashville, TN | April 26 - June 26, 2025
Ernesto Neto
Upcoming Exhibition: The Serpent at Le Bon Marché Rive Gauche, Paris |January 10, 2025 - February 22, 2025
Nick Cave
Current Exhibition: Amalgams and Graphts, Jack Shainman Gallery, New York | January 10, 2025 - March 29, 2025
Igshaan Adams
Current Exhibition: Lynloop, ICA Boston | Feb 13, 2024 - January 26, 2025
Mathilde Denize
Current Exhibition: Sounds of Figures, Perrotin, New York, NY | January 11 - February 19, 2025
I want to follow up with more emerging/lesser-known artists to check out as well. If you’re an artist working in fiber, textiles, ceramics, discarded goods, tech, sound, “otherness”, hit me up and let me know about you. If we’re already connected, tell me about your current work and upcoming shows or DM me your website, etc.
More soon,
Sadie
Great piece. The jacquard technology being a precursor to the computer was mind blowing...