ART ON VIEW 68 rimuovere il fondo York–based artists in the late 1950s, gaining momentum and infl uence throughout the 1960s and into the 1970s. Perhaps drawing upon a shared zeitgeist, this is the same time period when experimentation in textile making came to be accepted as fi ne art, rather than the decorative tradition to which Western perceptions had long relegated much of it. While most textile works, and certainly non-Western ones, are not conceived of within the conscious framework of minimalism, they nevertheless share many traits with artworks defi ned in that milieu. Both are preconceived before they are constructed. Both frequently, although not always, rely on a grid structure. Both exploit concepts of repetition. This aesthetic of minimalism in textiles is particularly apparent when the textile is not fi ghting against itself to go outside the parameters of its manufacture but rather follows its core principles as defi ned by its development on the loom. A difference is that minimalism is characterized by the absence of “hand,” especially as defi ned by Donald Judd, while the textiles in this exhibition are strongly delineated by FIG. 4 (above): Man’s mantle, llacota. Aymara people, Ubinas district, Moquegua region, Peru. 18th–19th century. Sheep or camelid wool; warpfaced plain weave. 109.2 x 115 cm. The Jeffrey Appleby Andean Textile Collection, Fine Arts Museums of San Francisco, inv. 1992.107.65. FIG. 5 (left): Ceremonial shawl, huallas. Aymara people, Acora district, Puno province, Peru. Mid 19th century. Alpaca wool, vegetable dyes; warp-faced plain weave. 118.1 x 101.6 cm. Gift of William Siegal in celebration of the Museum Centennial, Fine Arts Museums of San Francisco, inv. 1994.160.12. Image courtesy of the Fine Arts Museums of San Francisco.
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