Copper Tapestry (Dallas Semiconductor, DS1000Z, 1999)
Artist:
Analia Saban
(Argentine, born 1980)
Date: 2019
Dimensions:
height: 86 3/4 in. (220.3 cm)
width: 65 1/2 in. (166.4 cm)
depth: 1/16 in. (0.2 cm)
Credit Line: San Antonio Museum of Art, Purchased with The Brown Foundation Contemporary Art Acquisition Fund
Object number: 2019.20
Copyright: © Analia Saban
Provenance: Purchased directly from the artist's dealer.
Label Text
Recalling the Bauhaus multi-dimensional approach to art and design production, Analia Saban has woven linen with the nontraditional material of copper to create a hybrid form. She modeled the pattern after a historical circuit board, recognizing that the earliest computers used punch cards for data processing modeled, in part, on the early punch-card technology of the first automated looms. On a more metaphorical level, this tapestry speaks to the interconnectedness of the handmade and machine-made, the analog and digital, in our mediated culture.
(Suzanne Weaver, 2020)
Recordando el enfoque multidimensional de la escuela de Bauhaus para la producción de arte y diseño, Analía Saban ha tejido lino con el material no convencional del cobre para crear una forma híbrida. Ella modeló la forma de esta obra en una placa de circuito antigua, reconociendo que las primeras computadoras usaban tarjetas perforadas y estaban modeladas en parte sobre técnicas de tejido. Los primeros telares automatizados, a su vez, también usaban las primeras tecnologías de tarjetas perforadas. En un nivel más metafórico, este tapiz habla de la interconexión de lo hecho a mano y lo hecho a máquina, lo analógico y lo digital, en nuestra cultura mediatizada.
(Suzanne Weaver, 2020)
Using a traditional loom, Analia Saban interweaves linen with the nontraditional material of copper. The artist modeled the pattern after a historical circuit board, recognizing that the earliest computers, which used punch cards, were modeled in part on weaving techniques, and that the first automated looms, in turn, used early punch-card technologies. This work emphasizes a connection between digital and analog methods of art production and underlines the tension and interconnectedness of the handmade and machine-made in our everyday surroundings.
Born in Argentina and based in Los Angeles, California, Saban uses many media to explore how art objects are conceived, constructed, and understood. She expands viewers’ expectations of what might constitute a “painting” or “sculpture,” offering hybrid forms that complicate such categories.
(Suzanne Weaver, 2020)
(Suzanne Weaver, 2020)
Recordando el enfoque multidimensional de la escuela de Bauhaus para la producción de arte y diseño, Analía Saban ha tejido lino con el material no convencional del cobre para crear una forma híbrida. Ella modeló la forma de esta obra en una placa de circuito antigua, reconociendo que las primeras computadoras usaban tarjetas perforadas y estaban modeladas en parte sobre técnicas de tejido. Los primeros telares automatizados, a su vez, también usaban las primeras tecnologías de tarjetas perforadas. En un nivel más metafórico, este tapiz habla de la interconexión de lo hecho a mano y lo hecho a máquina, lo analógico y lo digital, en nuestra cultura mediatizada.
(Suzanne Weaver, 2020)
Using a traditional loom, Analia Saban interweaves linen with the nontraditional material of copper. The artist modeled the pattern after a historical circuit board, recognizing that the earliest computers, which used punch cards, were modeled in part on weaving techniques, and that the first automated looms, in turn, used early punch-card technologies. This work emphasizes a connection between digital and analog methods of art production and underlines the tension and interconnectedness of the handmade and machine-made in our everyday surroundings.
Born in Argentina and based in Los Angeles, California, Saban uses many media to explore how art objects are conceived, constructed, and understood. She expands viewers’ expectations of what might constitute a “painting” or “sculpture,” offering hybrid forms that complicate such categories.
(Suzanne Weaver, 2020)
Not on view
In Collection(s)
The San Antonio Museum of Art is in the process of digitizing its permanent collection. This electronic record was created from historic documentation that does not necessarily reflect SAMA's complete or current knowledge about the object. Review and updating of such records is ongoing.
This resource has been made possible in part by the National Endowment for the Humanities: Exploring the Human Endeavor.
