35 abstract around 1959. Peruvian (1962; 昀椀g. 41), an appro- priation of the checkerboard pattern characteristic of Andean textiles that 昀椀nds its 昀椀nest example in Inca tunics (see 昀椀g. 21), was a declaration of intentions. Constructed as a tubular weave, it shares the same structural principle as the double weave. Two layers of cloth are woven sepa- rately, though in one weaving operation—in tubular weaves there is no exchange of the two layers. A continuous weft thread alternatively weaves both layers in a spiral move - ment, closing both selvages and thus forming a tube in a method also practiced in ancient Peru. But it was Tawney’s signature “woven forms,” installation- like hangings that could be very narrow and as high as four meters long, that consecrated her jump from more classical forms of tapestry to radical innovations with the grid-based principles of weaving. Initiated in 1959, these pieces offered her a way to recontextualize the Peruvian traditions. The Bride (1962; 昀椀g. 42) combines multiple weaving structures in one piece, and the width variation provides the work with an unconventional shape, which she called “woven form.” In昀氀uenced by Peruvian woven caps with human or camelid hair braids, Tawney began to explore the addition of knots and fringes in this period. Experimenting with beginnings and endings was a char - acteristic feature of the 昀椀ber arts movement.36 Despite these off-loom methods, Tawney never gave up the loom, especially as she studied the effects of transparency in a gridded structure. According to Florica Zaharia, Conservator Emerita of textiles at The Met, “like Hicks, [Tawney] also wanted to break rules within the 37 discipline.” The hanging Morning Dove (1962; 昀椀g. 44) presents another idiosyncratic technique of the ancient 38 tradition: featherwork. Tawney had also been using the Peruvian openwork technique of gauze since 1955, emu- lating the 昀椀nest standards of lace making of coastal Peru in intricate, delicate works such as Untitled (1961; 昀椀g. 45). In Shrouded River (1966; 昀椀g. 43), the artist utilizes open- warp or vertical openings of slit tapestry. As historical photographs of her studio capture, she enjoyed placing such works away from the wall to allow light and air to come through. Transparency was one of Anni Albers’s key aspirations for the medium, and her book On Weaving includes an illustration of Tawney’s Dark River (1962), a 39 woven form with slits. Another participant in the 昀椀ber arts movement, Olga de Amaral applied to the Cranbrook Academy of Art in Bloom昀椀eld Hills, Michigan, while studying architectural Fig. 41. Lenore Tawney (American, 1907–2007). Peruvian, 1962. Linen, 86 × 18 in. (218.4 × 45.7 cm). Lenore G. Tawney Foundation, New York (1962.08) 39