Abstract This essay considers women’s tapestry weaving in the Mediterranean Middle East in the 1960s. At once a mode for experimental arts pedagogy, envisioned social uplift, and critical creative inquiry, the medium held possibilities for the expression– and often fusion– of artistic and social concerns. Artists’ negotiations of the tensions demarcating “fine art” from “handicraft” assumed gendered dimensions in art schools and studios, where weaving’s association with the feminine was often reinforced. Women designed and wove tapestries through innovative collaborations and formed a constellation of interconnecting textile and design practices. While dynamic in their confluences and divergences over time, these modernist practices and affiliated artistic networks have been overshadowed by the work of male-dominated lineages. Focusing on the poetics of renewal and “new blood” explored by artists Safia Farhat and Etel Adnan, this essay threads personal and conceptual practices and approaches underlying women’s tapestry production.

中文翻译：

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妇女的挂毯和更新的诗学：贯穿中世纪实践

摘要 本文探讨了 1960 年代中东地中海地区的妇女织锦。作为实验艺术教学法、设想的社会提升和批判性创造性探究的一种模式，这种媒介为艺术和社会关注的表达——通常是融合——提供了可能性。艺术家们对区分“美术”和“手工艺”的紧张局势进行的谈判在艺术学校和工作室中假定了性别维度，在那里，编织与女性的联系经常得到加强。女性通过创新合作设计和编织挂毯，并形成了一个相互关联的纺织和设计实践的星座。虽然随着时间的推移它们的融合和分歧充满活力，但这些现代主义实践和附属艺术网络已被男性主导的世系作品所掩盖。