Arts and Humanities Commons^™

X-Ray Rock Art Of Australia And Southeast Asia, Paul Faulstich

Pitzer Faculty Publications and Research

Throughout the world, cultures have expressed social, economic, and religious concerns through art. As the oldest surviving artistic form, rock art illustrates mankind's continuing effort to understand his place in the material and immaterial worlds. The study of rock art can lend an important insight into prehistory, as it provides the earliest illustration of beliefs, technologies, and activities.

Textile Society Of America Newsletter 2:3 – November 1990

Textile Society of America Newsletters

From the President
Notices
Books
Classes, Conferences, Lectures, Symposia
Exhibitions
Pertinent Names and Addresses

Beyond Memos: A Journal Of The Umf Faculty, Volume 3, Issue 1, Fall 1990, University Of Maine At Farmington

Beyond Memos: A Journal of the UMF Faculty

Beyond Memos is meant to be just that -- a forum where UMF faculty can share ideas and creative work that go beyond the day-to-day campus routine of teaching, advising, committees, and memos. We welcome submission of anything of general interest: poems, stories, essays, drawings, photographs, interviews, humorous pieces, etc.

Textile Society Of America Newsletter 2:2 – June 1990

Textile Society of America Newsletters

From the President
Late News Flash
The Symposium: Textiles in Trade
Pertinent Names and Addresses
What’s New
Calls for Manuscripts and Papers
Fellowships
Employment Opportunities
Exhibitions
The Network: An International Directory of Textile Scholars

Ua51/3/4 Piece By Piece: A Sampling Of Logan County Quilts, Wku Kentucky Museum

WKU Archives Records

Exhibition catalog from the Piece by Piece: A Sampling of Logan County Quilt exhibit.

Challenging Patterns, Rose Marie Tondl

Department of Textiles, Merchandising, and Fashion Design: Faculty Publications

In "Challenging Patterns" you can build on basic construction skills you learned in Sewing for Fun and Clothing Level 1 and Clothing Level 2. You will practice new skills by working with more detailed and intricate pattern designs. You will learn more about:
* Wardrobe building
* Selecting challenging patterns
* Coordinating pattern and fabric
* Design elements - line, color, texture
* Design principles - proportion, balance, rhythm, emphasis and harmony
* Face shapes - hair styles, necklines and accessories
* Selecting accessories
* Serger sewing
* Western wear
* Careers in textiles and clothing

Beyond Memos: A Journal Of The Umf Faculty Volume 2, Number 2, Spring 1990, University Of Maine At Farmington

Beyond Memos: A Journal of the UMF Faculty

Beyond Memos is meant to be just that -- a forum where UMF faculty can share ideas and creative work that go beyond the day-to-day campus routine of teaching, advising, committees, and memos. We welcome submission of anything of general interest: poems, stories, essays, drawings, photographs, interviews, humorous pieces, etc.

The New School Of Wood Engraving, Edward A. Gokey

The Courier

This article traces the history of modern wood engraving, including the argument in the art world that took place regarding whether wood engraving could be considered "art" in the first place. As the art form gained popularity with print publishers due to its convenience and beauty, internal debates took place about which direction the art form should take, especially within the "New School" of wood engraving that had emerged. Research for the article was aided by Syracuse University's Special Collections.

Evaluating Uv Absorbers , Patricia Cox Crews, David J. Clark

Department of Textiles, Merchandising, and Fashion Design: Faculty Publications

UV absorbers and antioxidants topically applied to upholstery fabrics to reduce fading, separately and in conjunction with soil repellent finish formulations containing UV absorbers, were evaluated in this study. Over fifty upholstery fabrics were initially evaluated and fourteen were selected for further study. The fabrics were then topically treated with commercially available soil repellent finishes (a fluorocarbon and a silicone finish) containing UV absorbers or immersion-treated with one of thirteen UV absorbers or antioxidants. Following light exposure, color changes were evaluated visually and instrumentally. The results showed that neither the fluorocarbon nor silicone-based soil repellent finishes containing UV absorbers significantly …

Textile Society Of America Newsletter 2:3 – February 1990

Textile Society of America Newsletters

From the President
A Call for Papers
What’s New
Exhibition
Fellowships
Lectures, Symposia, Seminars, Workshops
Study Tours
The Network: An International Directory of Textile Scholars

Contents- Textiles In Trade- 1990

Textile Society of America Symposium Proceedings

CONTENTS

Preface

A Brief History of the Textile Society of America. Milton Sonday

Speakers

Keynote Address: Silk in European and American Trade before 1783: A Commodity of Commerce or Frivolous Luxury? Natalie Rothstein

British Exports to the USA, 1776-1914: Organization and Strategy.

The British Linen Trade with the United States in the Eighteenth and Nineteenth Centuries. Negley Harte

Transatlantic Trade in Woollen Cloth 1850-1914: The Role of Shoddy. David T. Jenkins

Cottons and Printed Textiles. Stanley Chapman

The American Market for Indian Textiles, 1785-1820: In the Twilight of Traditional Cloth Manufacture. Susan S. Bean

The Manufacture and Trade of Luxury …

Trade And The Post War Textile Industry In The United States, Lynn Felsher

Textile Society of America Symposium Proceedings

A large portion of textiles designed for the United States are no longer being made in this country. Instead they are manufactured in Europe, the Pacific Rim, including Japan, China, Hong Kong, South Korea, the Philippines, Southeast Asia and the Caribbean.

The initial design source of these textiles may still be the United States, but even this in light of my current research is ambiguous. I intend to show several textiles which though made for the U.S. market were not manufactured in this country. Their provenance is based upon interviews conducted with the textiles' designers, the country of origin labels …

Allegories Unveiled: European Sources For A Safavid Velvet, Mary Anderson Mcwilliams

Textile Society of America Symposium Proceedings

Woven in Iran during the seventeenth century, the magnificent velvet that is the subject of this paper (figure 1) testifies to the splendor of the reign of the Safavid Shahs (1501-1722). A curious blending of Persian and European elements, it features four women holding various objects against the backdrop of a flowering landscape.

The figures stand along the weft axis. The fragment in figure 1, from the collection of the Cooper-Hewitt Museum in New York, features a full technical repeat unit, measuring over seven feet in warp direction, and 28 inches, or the full loom width, in weft direction. For …

Moccasins Into Slippers: Traditions And Transformations In Nineteenth-Century Woodlands Indian Textiles, Ruth B. Phillips

Textile Society of America Symposium Proceedings

Towards the middle of the nineteenth-century a swift and dramatic transformation occurred in textiles and other kinds of art made by Woodlands Indians in northeastern North America, This transformation was accomplished in part by a wholesale replacement of indigenous materials with Euro-American manufactures— cloth for hide, glass beads for porcupine quills and silk ribbon for paint. It also encompassed the introduction of entirely new object types and the substitution of a new vocabulary of floral imagery for older iconographic traditions.

It is not, of course, coincidental that this change in iconography and materials occurred simultaneously with the rapid growth of …

Studio And Soiree: The Use And Misuse Of Chinese Textiles In A European Setting, Verity Wilson

Textile Society of America Symposium Proceedings

George Smith's painting, ‘The Rightful Heir’, exhibited at the Royal Academy in 1874, serves as a melodramatic introduction to this paper. Sombre-suited gentlemen are depicted sitting around a table studying the disputed will. Two frightened ladies in crinolines and a small boy in a velvet suit confront the wicked usurper who is wearing a Chinese dragon robe. This angry Victorian was not unique in his choice of dressing gown.

The dragon robe, familiar from museum collections all over Europe and North America, was used in China in the seventeenth, eighteenth and nineteenth centuries as an hierarchical garment. It was worn …

Modern Traditions: The Impact Of The Trade In Traditional Textiles On The Sakaka Of Northern Potosi, Bolivia, Elayne L. Zorn

Textile Society of America Symposium Proceedings

An elegantly dressed woman, wearing the handwoven clothing characteristic of her ethnic group, stands in front of a vendor displaying the latest machine-woven shawls from Bolivia's capital city, La Paz. The women, her daughter, and friends have just walked five hours from their rural home to attend an annual festival in the region's only town. The merchant, a young man of indigenous origin, wearing jeans, a jacket, sneakers, and a baseball cap, urges her to try on his merchandise. Glancing at her women friends for support, she opens the large safety pin holding closed her handwoven shawl and deftly slips …

Portfolio, Donald Kurka

Historical Material

The Fall 1990 newsletter for the Ut Department of Art covers the establishment of student-run Gallery 1010, the grand opening of The Knoxville Museum of Art, the dedication of the Sculpture Tour permanent collection to Chancellor Jack Reese, a Ewing Gallery exhibition by Mary Beth Edelson, and the retirement of painting professor Richard Clarke.

Sculpture Tour 89 90 (Exhibition Catalogue), John Quinn, Dennis Peacock, Leeann Mitchell

Sculpture Tour

Curated by UT Department of Art sculpture professor, Dennis Peacock, and LeeAnn Mitchell, the 89/90 Sculpture Tour features twenty-five works by twenty-four artists from fourteen different states.

Participating artists were: Norman Keller, Christopher J. Saucedo, Stephen Montague, MIchael Aurbach, Thomas F. Shepherd, Alvin Frega, Mary Brownstein, Florence Neal, Jack Gron, Dan MIllspaugh, Robert Michael Smith, Virginia Van Horn, Greg Edmondson, Marcia Kaplan, Nick Taylor, Thomas Koole, John Payne, Mary Scrupe, Tom Gibbs, William Harrington, Robert Craig, John Mishler, Dirck Cruser, and Bill Barrett.

Habits Of Industry: White Culture And The Transformation Of The Carolina Piedmont (Book Review), Edward L. Ayers

History Faculty Publications

Review of the book, Habits of Industry: White Culture and the Transformation of the Carolina Piedmont by Allen Tullos. Chapel Hill: University of North Carolina Press, 1989.

Fantastic Figures Of Ocumicho, Joe Molinaro

Art and Design Faculty and Staff Scholarship

No abstract provided.

A Moment's Notice, Daphne Anderson Deeds

Sheldon Museum of Art: Catalogs and Publications

A Moment's Notice: Still Lifes From the Sheldon Memorial Art Gallery was selected and organized by Daphne Anderson Deeds, Curator/ Assistant Director of the Sheldon Gallery. Ms. Deeds was assisted by fellow staff members, Karen Janovy, Education Coordinator; Janice Roberts, Community Programs Coordinator; Kay Williams, Secretary to the Curator/Assistant Director; and Gregg Lanik, Assistant Preparator for the Statewide Traveling Exhibitions Program. Student intern Susan Robinson provided additional valuable assistance.

A Moment's Notice is the Sheldon Gallery's third annual statewide traveling exhibition. The 1989-90 statewide traveling exhibition program has been sponsored by the Statewide Council of the Nebraska Art Association. Additional …

Barns And Farms, Christin J. Mamiya

Sheldon Museum of Art: Catalogs and Publications

The art of Ed Ruscha has been a consistent and important presence on the art scene since 1960. Yet his works have not received the high visibility media coverage that the work of many of his peers, such as Jasper Johns and Andy Warhol, have garnered. This situation can, in part, be attributed to the fact that contemporary art criticism has tended to center around clearly defined movements, and Ruscha's work has resisted easy categorization. In addition, interpretations of his work have shifted over the past few decades--his work has been cited in discussions of Pop art, Conceptual art and, …

Native Visions: Art By Folks, Karen O. Janovy

Sheldon Museum of Art: Catalogs and Publications

Among the prestigious holdings of 20thcentury American art at the Sheldon Memorial Art Gallery, University of Nebraska-Lincoln, are outstanding examples of folk art that visitors frequently refer to as their favorites. Native Visions: Art by Folks includes Sheldon's sensitively rendered 19th-century shop sign Horse, the 18th-century limner portrait Girl with Rose and Book, and the 19thcentury watercolors Ship and Whale, both of the latter undated, by unknown artists, and found in whaling log books. In addition to these familiar pieces, the exhibition features 18th-, 19th- and 20th-century folk art objects selected primarily from private collections throughout Nebraska. Works …

Richard Lippold: Space As A Metaphor For The Spiritual In Art, Curtis L. Carter

Philosophy Faculty Research and Publications

No abstract provided.

A "Little Book Of Samples": Evidence Of Textiles Traded To The American Indians, Rita J. Adrosko

Textile Society of America Symposium Proceedings

The original inhabitants of the United States were hunters and farmers, who used the produce of the hunt and of their gardens for food, clothing and shelter, for ritual purposes and pleasure. While some textiles were produced by Indians before the arrival of Europeans, the colorful yardgoods, blankets, kerchiefs, ribbons, and tapes introduced by the Europeans quickly became popular items of trade.

As early as 1685 wool fabrics such as matchcoat (a cloak material), stroudwaters, blankets, and stocking were listed among goods traded by William Perm's agents for lands west of the Delaware River. Two years earlier in a similar …

Ancient West Mexican Clothing And Its Ecuadorian Origins: New Evidence Of Maritime Contacts, Patricia Rieff Anawalt

Textile Society of America Symposium Proceedings

Evidence of ancient cultural contacts between coastal Ecuador and the mountains of West Mexico exists in clothing similarities between the two areas, namely tunic-like shirts and short breeches for males and a. tropical mode of dress for females. This non-Mesoamerican attire is illustrated in the early sixteenth century codex Relacion de Michoacan and also appears on mortuary figurines from the deep shaft tombs of Ixtlan del Rio, Nayarit (400 B.C.- A.D. 400). Coeval prototypes of this West Mexican clothing occur archaeologically along that section of the Ecuadorian coast which was the homeland of long-distance merchant navigators. Their trade goods, described …

A Documentation Of African Trade Cloths In The Philadelphia Port Of History Museum, Lisa Aronson

Textile Society of America Symposium Proceedings

The Port of History Museum in Philadelphia houses a collection of textiles characteristic of the types the French were trading with Africa between 1880 and 1900 in the early stages of European colonial rule within that continent.¹ The collection emerged in the era of "cotton imperialism1 when Europeans began competing with African cloth industries by importing their own cloths to Africa. (Johnson) The economic historian Hopkins reports that by the turn of the century textiles constituted "about a third of the value of total imports into French West Africa and about a quarter of total imports in British West …

Reconstructing The Ancient Aegean/Egyptian Textile Trade, Elizabeth Barber

Textile Society of America Symposium Proceedings

For years archaeologists have commented on the occurrence of typically Aegean patterns on the ceilings of a fair number of Egyptian tombs, while musing that they could not see how such patterns were reaching Egypt. Certainly Minoan and Mycenaean potsherds had been found in fair numbers in Egypt; but the designs on the Egyptian ceilings were not the ones used by Aegean potters. To me, however, the particular patterns and layouts seemed strongly reminiscent of weaving —a craft I was quite familiar with, unlike most archaeologists, because my mother was a weaver. If the source of these ceiling patterns were …

Indian Trade Cloth In Egypt: The Newberry Collection, Ruth Barnes

Textile Society of America Symposium Proceedings

The Department of Eastern Art in the Ashmolean Museum, Oxford, holds what is undoubtedly one of the largest single collections of block-printed textiles produced in India, but exported to Egypt as part of the medieval Islamic Indian Ocean trade. These textiles, all now mere fragments, are of particular interest for two reasons. Firstly, fabrics of this type give us the earliest surviving examples of Indian weaving, although single fibre fragments have been found at the Indus Valley site of Mohenjo-Daro, dating to the second millenium B.C. , and we have numerous Vedic references to dress and textiles, as well as …

Carpets For Commerce: Rug-Weaving In The Caucasus, Carol Bier

Textile Society of America Symposium Proceedings

At the turn of the 20th century, Caucasian carpets were in great demand among burgeoning European and American middle-class markets. With a history of carpet production going back at least three hundred years, rug-weaving in the Caucasus soared at the turn of the 20th century, first with economic incentives and the encouragement of czarist regimes, later as part of the Soviet economic system. Today, in an age of perestroika and glasnost. rug-weaving in the Caucasus for commerce and export lends itself readily to individual initiatives and private enterprise. Commercial production of carpets continues to be recognized as a means …