Art and Materials Conservation Commons^™

A Walk Through Contemporary South Asian Textile “Daatsans”, Rohma Khan

Textile Society of America Symposium Proceedings

Dasatangoi is a Persian word for the centuries old, rich tradition of oral storytelling as practiced in the subcontinent. The epics that have passed on from one generation to another tell magical stories of adventure, war, religious anecdotes with immense details such as Arabian Nights, Dastaan-e-Ameer Hamza, and Mahabharata. Inspired by this subcontinental tradition, the presentation focuses on how these rich epics were translated into visual narratives in various indigenous textiles such as in Persian shikar-gahs and the subcontinent’s Chamba rumaals. In addition, it shows how these guided and made skeletal references for contemporary textile artists in Pakistan. Therefore, the …

Textile Memory In Colchane: Weavers Revitalizing The Aymara Tradition, Soledad Hoces De La Guardia

Textile Society of America Symposium Proceedings

In Aymara culture, textiles have played a fundamental role as highly valued community possessions and significant media for ritual and tradition. In Chilean territory, the Colchane community has been fortunate, because they have here retained, with fidelity and vigor, their culture and traditional textile practices. However, the average age of active weavers is rising and those younger do not have the technical expertise of their elders, which has led to the loss of a significant part of traditional technical knowledge.

To not forget the “handwork” became an urgent concern for artisans in the community, members of the Aymar Warmi association, …

The Maker’S Mark?: An Examination Of An Embroidered Rebozo And Its Potential Signature, Eleanor A. Laughlin

Textile Society of America Symposium Proceedings

Mexican rebozos (scarves/shawls) range in material, design, and function from those worn by indigenous women made of maguey or cotton and used to carry children or heavy loads, to those made of silk that feature fancy dyes or embroidery, which serve as accessories for special events. Among the historic embroidered examples is a subtype called the “landscape” rebozo, which featured scenes of quintessentially Mexican locations or events stitched into the fabric of the scarf. Most rebozos, in the past as in the present, were made by anonymous artisans. However, one example bears a sign that may be a signature and …

Ways Of Life And Works Of Weaving And Dyeing In Okinawa: Toward A Possible Solution Of Carry On Concern, Yuka Matsumoto

Textile Society of America Symposium Proceedings

Okinawa, Japan’s southernmost insular prefecture, has a rich variety of weaving and dyeing traditions, but it is in the midst of issues including an aging local population and depopulating rural communities. Thus, one of the most vexing concerns is how to carry on the weaving and dyeing traditions. This study aims to find ways to ameliorate the condition in Okinawa by analyzing how the lives of Okinawa people relate to the traditional weaving and dyeing in the modern era and by understanding the current significance of them to people’s lives.

This study uses nineteen cases from all over Okinawa, and …

Henna Ritual Clothing In Anatolia From Past To Present: An Evaluation On Bindalli, Ozlen Ozgen, Feryal Soylemezoglu, Zeynep Erdoğan, Sevinc Arcak

Textile Society of America Symposium Proceedings

The rites of matrimony, which are formed with various rituals and activities, have been accepted as one of the main components of Anatolian traditions from the Ottoman period to the present time. The marriage is celebrated with ceremonies that include a series of entertainment activities. The henna rituals are conducted prior to marriage. In these rituals, first, various folk songs are sung to make brides, who will be away from their parents, cry. Then, fun music is played to entertain the bride, who wears dress in traditional henna clothes called bindalli on henna night. The material, colors, motif, and ornaments …

The Hidden Story Of The Quilted Cover In The Benaki Museum Collection, Sumiyo Okumura

Textile Society of America Symposium Proceedings

There is a big, green linen quilt cover, a so-called Mamluk quilt, in the collection of the Benaki Museum (Athens). It looks like a Mamluk cover in terms of colors and designs such as endless knots and flower motifs, but the emblem showing a double-headed eagle in the center of the cover is not the same as other Mamluk blazons. It raises the question of where and when this quilt cover was made. A similar type of linen textile, the so-called trapunto fiorentino, can be seen in a private collection in Florence. It shows similar motifs on the green-colored ground. …

From Birth To Death. The Silk-Flower Industry In Mexico., Adriana Sanromán Peyron

Textile Society of America Symposium Proceedings

For centuries silk flowers have been used by different societies as personal and spatial adornments. Flowers, both natural and man-made, have diverse meanings in daily life and rites of passage, accompanying individuals from birth to death. During the nineteenth century, the use of silk flowers gained in popularity and, thanks to the industrialization of textile weaving and the discovery of chemical dyes, silk flowers became available not only to elites but to the growing bourgeoisie, and later, even low-income classes. During this boom, Judith Deschamps and Etiesenne Pucheu met and were married, both of them florists. After the 1851 great …

Project To Recover Prehispanic Textile Techniques In Peru: A Brief Review, From Its Initiation To Today, Yuki Seo

Textile Society of America Symposium Proceedings

I have lived in Peru for approximately 20 years, devoted to research and the study of prehispanic textiles. Because of the rich heritage and enormous quantity of tangible textile patrimony that exists in this country, I have chosen Peru to be able to pursue several interests. Over time, I worked in different museums, which motivated me to promote the study, understanding and recovery of prehispanic techniques. I proposed to give them life, so that they would be appreciated in these times. Along the way, I have met admirable self-taught persons who come from my country, Japan. This led me to …

Wool Sells Itself: Tracing The Movement Of Navajo-Raised Wools, Emily Winter

Textile Society of America Symposium Proceedings

Every June for the last eight years, a coalition of commercial wool buyers, the Diné College Land Grant Office, and the Black Mesa Water Coalition has hosted a multi-site wool buy in the Navajo Nation of New Mexico/Arizona. Historically, the primary outlets for Navajos to sell their wool were trading posts and border towns, which paid far below market price. Over the last several years, the wool buy has effectively doubled the price per pound paid to Navajo producers by bringing them into direct contact with buyers. In June 2019, an estimated 160,000 pounds of wool were purchased from over …

India In Situ: Textile History And Practice, A Team Approach, Annin Barrett, Carol Bier, Anna Jolly, Louise W. Mackie, Barbara Setsu Pickett

Textile Society of America Symposium Proceedings

Five textile specialists from various backgrounds came together to explore shared interests in Indian fabrics, histories, and architectural patterns. Guided by Rahul Jain’s extraordinary scholarship and generosity, we visited weaving workshops producing exquisite fabric and metallic yarn in our quest to understand the naqsha system for drawloom patterning. In Cholapur and Varanasi, we studied drawlooms set up to weave velvet, lampas, and samite, and a distinguished naqshaband demonstrated the making of a naqsha that provides the design for drawloom lifts. We examined rare historic textiles in New Delhi’s National Museum, Ahmedabad’s Calico Museum of Textiles, Varanasi’s Bharat Kala Bhavan Museum, …

Four Artists: My Angels And Mentor, Polly Barton

Textile Society of America Symposium Proceedings

Interwoven into my life at the loom are the stories of four women: a weaver, a painter, an embroiderer, and a fiber artist. Their histories have guided and pulled me forward in my own growth as an artist. Yet it is to their art that I feel a heartfelt, visceral, and almost spiritual resonance. I would like to present to the TSA conference in 2020 my research into the lives of Sumiko Deguchi (1883-1952), Helen Frankenthaler (1928- 2011), Adya van Rees-Dutilh (1876- 1959), and Pat Hickman (b.1935).

As an artist who has wound, tied, dyed, and woven silk into contemporary …

Woven By The Grandmothers: The Development Of The National Museum Of The American Indian Throughout The 1990s, Lucy Winokur

Scripps Senior Theses

In 1994, the National Museum of the American Indian (NMAI) opened the George Gustav Heye Center in New York City, the first of what would be three campuses. Ten years later, in 2004, the NMAI opened its main campus in Washington, D.C., already having cemented their place as leaders in a movement to center indigenous voices within museums housing indigenous material culture. By examining the history of the NMAI from the first acquisition of George Gustav Heye to its earliest approaches to exhibition design and collections management policy in the 1990s, it is possible to track the development of the …

Permutation, Ryan K. Caldwell

Graduate Student Theses, Dissertations, & Professional Papers

Caldwell, Ryan, M.F.A, Spring 2020 Ceramics

Abstract:

Chairperson: Trey Hill

Permutation, is an exploitation of utilitarian pottery and domesticity within the gallery setting through the use of handmade tables and cabinetry. The gallery is transformed into a more comfortable environment and exhibits a casual essence. This paper explores the thoughts, interpretations, influences, reflections, and definitions of his most recent work created for his Masters of Fine Arts Thesis Exhibition. Caldwell presents his work as an ongoing continuum of conceptual research and physical exploration of form and surface.

Enigmatic Mediterranean Silk Quilts, Kathryn Berenson

Textile Society of America Symposium Proceedings

Nearly two dozen centuries-old, corded quilts and fragments made of jewel-toned silks rest in North American and European collections. Expertly designed, they are variously stitched with imagery of ships sailing over waters that teem with fish, musicians who play amidst animals that gambol and prance to their music, armed hunters and their dogs in pursuit of boar, wolf, and even lion, and arcaded galleries where half-dressed women pose beneath the arches. Double-headed eagles, a symbol of both political and religious significance, and roundels featuring profiles of men wearing turbans or crowns, are also common motifs.

Each quilt is completely reversible; …

Intertwining The Past And The Present Through Textiles, Experiences In The Communities, A Vision From Peru, Rommel Angeles Falcón

Textile Society of America Symposium Proceedings

In recent years in Perú, a number of initiatives have been independently developed by collective groups, taking prehispanic textile heritage as a reference and beginning to replicate and teach ancient techniques. These initiatives were born from diverse interests, in many cases based on the experiences of weavers from the Andean highlands, textile traditions of the coast and a notable interest on the part of young people. Resist dye techniques, warp-faced weaving and tapestry have been most fully developed. This presentation reviews the principle initiatives developed in the Lima region, the ‘norte chico’ region and the far north coast.

Aso Òkè Weaving Techniques And Perception In Iseyin, Oyo State, Nigeria, Idowu Jamiu Diyaolu, Halima Ronke Omotosho

Textile Society of America Symposium Proceedings

There is need for more women to be involved in weaving activities in southwestern Nigeria. The study examined the techniques employed in local weaving in Iseyin and associated factors, as well as the perceptions of consumers on the woven fabrics. The study was carried out in Iseyin, a city in Oyo State, Nigeria, reputed for weaving aso-oke. Cluster sampling was used to select twenty weavers while simple random sampling was used to select eighty consumers. Interviews and questionnaires were used to collect data then analyzed and interpreted using descriptive statistics and correlation. The result showed that most of the weavers …

Behind The Scenes: Hidden Stories Of Craftswomen Of Punjab, India, Anu H. Gupta

Textile Society of America Symposium Proceedings

Creating phulkari, an embroidered craft of Punjab, for the market involves a value-chain of people for converting a solid fabric to an ornamented piece with embroidery. A pillar of this value-chain is domestic craftswomen. Being part of an informal sector, these women are susceptible to being exploited at home as well as by designers, vendors, and several others involved in the value-chain of production and marketing of craft. Many of them are pushed to the background not only by their family members but also by the people or vendors who give them work. Their individual contribution is acknowledged only when …

Contemporary Oneida Beadwork: Revitalized Identity Through An “Adopted” Art Form, Beverly Gordon

Textile Society of America Symposium Proceedings

A relatively new type of raised beadwork has “become a way of life” for the Oneida people of Wisconsin. “Beading extravaganzas” are important social events, and beadwork adorns ritual objects such as graduation stoles. This examination of contemporary Oneida beadwork functions as an intriguing update to Ruth Phillip’s 1990 TSA paper, “Moccasins into Slippers: Traditions and Transformations in Nineteenth-Century Woodlands Indian Textiles.” Phillips documented how indigenous forms “morphed” into objects made for sale to non-natives at sites such as Niagara Falls. While even tourist art was part of native cultural identity, its greatest significance was as a source of income …

Where Can Objects Take You? The Case Of The World War Ii Japanese Airman's Suit, Madelyn Shaw, Trish Fitzsimons

Textile Society of America Symposium Proceedings

“Dad always said that ‘It’s made out of Australian wool,’ and I thought that was just a joke because you couldn’t see how the Japanese would get hold of Australian wool during the war…. But it is a fine material…. They weren’t scrapping for something to wear.” —Wally Lanagan

In December 1942, the Yokosuka Military Department manufactured, surely among hundreds of others, a flying suit, which may or may not have ever been worn by a Japanese pilot. It did, however, end up on display at the Pioneer Park Museum in Dalby, a small town in rural Queensland, Australia. It …

Modernist Influences In Churchill Weavers Textiles: 1922-1949, Sarah Stopenhagen Broomfield

Textile Society of America Symposium Proceedings

“Modernist Influences in Churchill Weavers Textiles: 1922-1949” is an interdisciplinary study of the Berea, Kentucky, handweaving production center, Churchill Weavers, which operated from 1922 to 2007. It documents craft production from Kentucky’s Appalachian foothills that exhibited a fusion of traditional and modern craft practices while incorporating a modernist design style. The study highlights traditional hand weaving production with a modern look from the interwar period, coming from a location not typically thought of as a center for innovation, national, or international movements. The study examines textiles designed by Eleanor Churchill in the beginning decades of the company and woven on …