reviews

  • View of “In Poetry and Silence: The Work and Studio of Lenore Tawney,” 2019–20. From left: Waterfall, 1974; Waters Above the Firmament, 1976; In Fields of Light, 1975.

    View of “In Poetry and Silence: The Work and Studio of Lenore Tawney,” 2019–20. From left: Waterfall, 1974; Waters Above the Firmament, 1976; In Fields of Light, 1975.

    Lenore Tawney

    John Michael Kohler Arts Center

    IN 1957, at the age of fifty, Lenore Tawney (1907–2007) left Chicago and moved to 27 Coenties Slip in New York to begin creating the second half of her pioneering oeuvre. Prior to her move, she had studied with Alexander Archipenko, László Moholy-Nagy, Emerson Woelffer, and Marli Ehrman at the Institute of Design in Chicago, and with Finnish textile artist Martta Taipale in North Carolina. These experiences shaped her early career as a weaver skilled enough to develop a diaphanous, nonhorizontal, drawing-like technique dubbed “open-warp.” In the catalogue for her current show at the John Michael

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