Textile arts are rarely associated with the stillness, quietude, and self-conscious theatricality of minimalism and post-modernism. Often the phrase “textile arts” erroneously encourages on to conjure visions of patchwork , crazy quilts, and large swaths of bright weavings. One of the great successes of the Textile Art Center is its persistent expansion of our understanding of textile art’s limitations and vulnerabilities through its diverse exhibitions program.
MoMA PS1, too, is currently contributing to the reframing of textile arts in a contemporary context with its current exhibition of the paintings of Berlin-based artist Sergej Jensen. The term “paintings” here is used loosely and echoes the words of artist Ghada Amer (in a presentation recently featured on the TAC blog). Created from a diverse selection of found textiles, Jensen’s works on view include both pieces produced over the past eight years, as well as a number of new works created on site in a studio in PS1. His large canvasses echo the staunch minimalism of Callum Innes and Barnett Newman, and Jensen is remarkable in his ability to replicate the themes of classic abstraction in traditionally maximalist materials like silks, cashmere, diamond dust, and wool.
Jensen’s “paintings” invite the viewer to evaluate the traces of the artist’s mark on the fabric. Silks are pulled and stretched, wools are painted in oils, silk is powdered with diamond dust. Bleach, dye, and stitching are as important as color, shape, and balance. The intentional is lost in the accidental, a natural by-product of working with soft materials which are pulled, stressed, prodded, and manipulated. Jensen is able to physically shape images with the unique attributes found only in textiles and textile arts, balancing the forms of fabric with the classic shapes of modern art.
This exhibition is deceptively pictorial, the works challenging both as paintings and as pieces of textile art. Can painting and textile be so seamlessly combined? Is it possible to display both artistic expressions without one medium being lost or overtaken by the other? Jensen is masterful in the way he elegantly blurs these boundaries with a weighed consideration for his materials and their relationships.
A perfect example of Jensen’s talent for the balance between textile and painting is Blessed, a succinct and surprisingly poetic meditation on fabric and art history. The “painting” is simple in its composition: two pieces of sheer grey cashmere wool (one in a lighter shade, one in a darker shade) are sewn together, cutting the canvas in half horizontally. The resulting artwork looks like a horizon line—the endless expanse conjures references to traditional seascapes, Mark Rothko, and the Western landscape canon.
Collection of Charlotte and Bill Ford
United Nations is another work which sums up the possibilities for merging the two-dimensionality of painting with the multi-dimensionality of textiles and crafts. The piece features a rainbow-striped, machine-knit afghan stretched and sewn on a linen ground. By framing a piece of machine-made textile as a work of art, Jensen encourages the viewer to consider the divide between high and low art and the gulf between textiles and “fine arts.”
Jensen is consistent in his experimentation and thoughtful pursuit of found textile as a meaningful medium. His works are challenging, intelligent, and humorous statements about the imposed and negligible chasms between art media. Highly recommended.
Sergej Jensen is organized by the Aspen Art Museum. The exhibition is curated by Heidi Zuckerman Jacobson and organized at MoMA PS1 by Peter Eleey, Curator of MoMA PS1.
Lauren Palmor’s experience in the art world has included positions at museums, art magazines, non-profits, and artist foundations. Read more at her blog http://theartobject.blogspot.com