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Full-Text Articles in Art and Design
Bombay To Bauhaus: Design Influences In Churchill Weavers Textiles From 1922-1949, Sarah Stopenhagen Broomfield
Bombay To Bauhaus: Design Influences In Churchill Weavers Textiles From 1922-1949, Sarah Stopenhagen Broomfield
Textile Society of America Symposium Proceedings
Churchill Weavers, a nationally known handweaving center founded in 1922 in the Cumberland foothills in Berea, Kentucky, created a marketing niche by promoting the Modernist look in its textile products. Modernist textiles focused on woven structure, texture, yarn and fabric properties as the major design elements. Bauhaus artists codified and disseminated a theory of modern textiles as Europe rebuilt in the interwar period, while in America Modernist textiles were commodified as a marketing trend in early 20th century consumerism. Eleanor Churchill, co-owner and the company’s first designer was influenced by textile designs from India, from Modernist textiles, and from Swedish …
Transnational Influences On Louisiana Samplers: Traditions, Teachers, Techniques, And Text, Lynne Anderson
Transnational Influences On Louisiana Samplers: Traditions, Teachers, Techniques, And Text, Lynne Anderson
Textile Society of America Symposium Proceedings
Louisiana’s early history is colored with multinational interests and domination by a succession of nations speaking diverse languages. Although “discovered” by the Spanish in the 1600s, the French were the first to colonize the area, founding New Orleans in 1718 with financial support (and administrative control) from the Company of the Indies. New Orleans became Louisiana’s colonial capital in 1721. Most of the earliest immigrants to Louisiana were either French military personnel or French Canadian adventurers and traders. Their number was augmented by the forced immigration of criminals, prostitutes, and those incarcerated in French workhouses. By all accounts this made …
“The British Are Coming! A Contraband Cloth Tsunami Flows Over Maya Handicrafts And Homespun In The Kingdom Of Guatemala, 1760-1820”, Heather J. Chiero
“The British Are Coming! A Contraband Cloth Tsunami Flows Over Maya Handicrafts And Homespun In The Kingdom Of Guatemala, 1760-1820”, Heather J. Chiero
Textile Society of America Symposium Proceedings
Latin America today has a lower perceived place on the global scale of development in comparison to other Western regions, however incorrect that assumption may be. And, Central American nations, in particular, seemingly fulfill that notion. One might ask, why did the nations of Middle America not become industrialized at an earlier point in their histories? If those nations had at their disposal adequate land, natural resources, and labor, as well as ports for exit for their products, why did they not advance in the 18th and 19th centuries alongside other northern hemispheric nations? This research paper investigates the thriving …
From Chintz To Chita: A Brazilian Textile And The Construction Of National Identity, Willian Nassu
From Chintz To Chita: A Brazilian Textile And The Construction Of National Identity, Willian Nassu
Textile Society of America Symposium Proceedings
Bilingualism has always been a constant in my life. My father’s side of the family migrated from Japan as my surname suggests, whereas my mother is of Polish descent. But while my father comprehends Japanese and my mother grasps some Polish, I was denied learning either languages. Since I was born and raised in Brazil, I have Portuguese as my first language, and acquired English as my second. The ability to use these two languages – sometimes mixed and other times switching – along with this multicultural background, has had some ripple effects. The first one was an inclination to …
Drawloom Velvet: Exploring A Centuries Old Tradition, Wendy Landry
Drawloom Velvet: Exploring A Centuries Old Tradition, Wendy Landry
Textile Society of America Symposium Proceedings
Since 1986, I have been pursuing my passionate interest in handwoven velvet, both practically and academically. By velvet, I mean extra-warp pile, rather than weft-woven types of pile, such as weft-looping or knotting. Simple, monochrome plain velvets have been woven since the early Coptic period, requiring only simple looms and two simple warp tensioning systems, one for the foundation cloth and another for the pile warp.1 ( On the basis of such a simple set-up, early velvet figuration could be created through the following colour effects using: (a) striped pile warp; (b) ikat/chiné (spaced dyed) pile warp; (c) painted or …
The Power Of Color: Anatolian Kilims, Sumru Belger Krody
The Power Of Color: Anatolian Kilims, Sumru Belger Krody
Textile Society of America Symposium Proceedings
The kilims of Anatolia are great contemplative and minimalist works of art as stated by a kilim enthusiast.1 Created by women who had a magnificent eye for design and an awesome sense of color, these textiles are prized for the purity and harmony of their color, the integrity of their powerful overall design, their masterfully controlled weave structure, and their fine texture. The kilims are large tapestry-woven textiles. The visually stunning and colorful Anatolian kilims communicate the aesthetic choices of the village and nomadic women who created them. Yet, while invested with such artistry, Anatolian kilims first and foremost were …
For What It’S Worth: The French Knot As A Basic Trade Commodity, Jeana Eve Klein
For What It’S Worth: The French Knot As A Basic Trade Commodity, Jeana Eve Klein
Textile Society of America Symposium Proceedings
For nearly twenty years, my primary studio production has been in the form of mixed media quilts. These quilts draw—both visually and conceptually—on the abandoned houses that color the landscape of my North Carolina mountain home. They are constructed using traditional quilting techniques married with digital processes and acrylic paint—a hybrid product that lands at the intersection of fibers, photography, painting and digital media. Although their conceptual purpose is to investigate the narrative past, present and future of these homes and their values, the questions with which I am most often quizzed at exhibitions focus purely on time and technique: …
"Knit A Bit For Our First Line Of Defense": Emotional Labor, Knitters, And Comforts For Soldiers During The First World War, Rebecca Keyel
"Knit A Bit For Our First Line Of Defense": Emotional Labor, Knitters, And Comforts For Soldiers During The First World War, Rebecca Keyel
Textile Society of America Symposium Proceedings
During the First World War, American women were encouraged to support national defense by conserving food, sewing clothes for refugees, and knitting comforts for servicemen sent abroad to fight. Groups like the Navy League and the Red Cross promoted knitting for the troops as a necessity for the security of the home front, and for the comfort of servicemen abroad. By the end of the war, knitters had hand-knit millions of garments to send to servicemen, an act of compliance that supported an overseas war--one that had aroused bitter resistance only a few years before. Defense knitters knit in private, …
The Story And The Stitch., Alice Kettle
The Story And The Stitch., Alice Kettle
Textile Society of America Symposium Proceedings
This paper explores my work and the connection between stories and stitching. It seeks to find meaningfulness and purpose in these narratives and activities and see how they are a reflection of everyday encounters. It asks if there are mnemonic properties to stitching and stories that can offer ways to understand and transform actual experience and to represent the past by making it physical and continuous. Tim Ingold uses this textile vocabulary to present its close connection with story telling; “To tell a story then, is to relate, in narrative the occurrences of the past, retracing a path through the …
Shifu: A Traditional Paper Textile Of Japan, Hiroko Karuno
Shifu: A Traditional Paper Textile Of Japan, Hiroko Karuno
Textile Society of America Symposium Proceedings
Looking back at the history of Japanese textiles, the beginning seems to be braiding and/or netting fibers made from tree bark or tall grass (Jomon period - approximately C13th - C10th BC.). Weaving seems to appear after the mid-Jomon period. Silk was brought into Japan in the late-Jomon to the Yayoi period (600BC-200AD), and for a long time its use was restricted to the upper class. During the Momoyama period (1573-1603) cotton seeds were introduced and cotton grown in Japan. By the mid-Edo period (1603-1868) cotton cultivation had spread over the southern part of Japan, and cotton became available to …
Imperial Versus Local Perceptions Of Indian Textiles, Donald Clay Clay Johnson
Imperial Versus Local Perceptions Of Indian Textiles, Donald Clay Clay Johnson
Textile Society of America Symposium Proceedings
The 1851 Crystal Palace exhibition in London brought together arts and crafts from around the world particularly those produced in the British empire. The great popularity of the exhibition documented how much people in Britain delighted in seeing the huge diversity of artistic expression from around the world. The following decades witnessed similar exhibitions in various European cities as well as contained the growth and development of museums. While Indian textiles had long fascinated people in Britain and had been eagerly purchased, museum holdings in both India and Britain of these distinctive fabrics have remained minimal. British collecting activities and …
Resilient Threads Telling Our Stories Hilos Resilientes Cosiendo Nuestras Historias, Carolina Paz Gana, Lynne M. Jenkins
Resilient Threads Telling Our Stories Hilos Resilientes Cosiendo Nuestras Historias, Carolina Paz Gana, Lynne M. Jenkins
Textile Society of America Symposium Proceedings
Sewing is traditionally women’s work. Often characterized as homespun, even quaint, it is associated with the domestic sphere. What at first glance may appear charming belies the persuasive ways in which women work with textiles to depict apartheid in South Africa,1 identity,2 forced migration,3 grass roots activism,4 encoded messages,5 and remembrance of murdered and missing indigenous women.6 Perhaps that is why the powers that be are mostly unaware of its subversive potential, and thankfully so, as this potential remains under the radar “sew” to speak while galvanizing those at the margins. How might sewing bring women together in a circle …
Drawing, Stitch, Translation, Archive, Janis Jefferies
Drawing, Stitch, Translation, Archive, Janis Jefferies
Textile Society of America Symposium Proceedings
The Constance Howard Resource and Research Centre in Textiles was founded in 2002. Inspirational textiles teacher, Constance Howard, established the Collection in 1980. Constance joined Goldsmiths as a teacher in 1945 and founded the acclaimed textile courses which closed in 2008. Internationally respected, she remained involved with the College until her death in 2000, when she donated her textiles collection to the College on the basis that it would be stored in perpetuity. . It is important to note that modern, historians have relied – often of necessity – on documentary or visual sources to research textile history. We have …
Recycling Sprang, Carol James
Recycling Sprang, Carol James
Textile Society of America Symposium Proceedings
In this talk I would like to explore some of the evidence of sprang in history, how sprang travelled from place to place and some of the ways it was modified as it travelled. I will then suggest that sprang could be an exciting technique for the 21st century. First let me explain how this technique works. Sprang is a braiding technique. The worker winds one continuous thread around and around a frame. The worker then manipulates the threads at one end, and a mirror-image structure magically appears at the other end of the frame. Structures that lend themselves to …
Byzantine And Oriental Silks From A Royal Shrine In Denmark Ad 1100, Anne Hedeager Krag
Byzantine And Oriental Silks From A Royal Shrine In Denmark Ad 1100, Anne Hedeager Krag
Textile Society of America Symposium Proceedings
In Denmark, in Odense, the Danish King Canute IV was murdered July 10, 1086, from behind in front of the altar in Albani Church. The king was killed together with his brother Benedict and seventeen of his knights, by Danish rebels. His half-brother Eric I “the Evergood” (ruling 1095-1103) achieved Canute’s recognition as a saint from Pope Urban II in 1098, and in 1100 the shrine containing the body of St. Canute was installed at the high altar of Odense Cathedral.1 St. Canutes remains were wrapped in a silk weaving with eagle motif and put into a shrine. Today the …
Batik, Ja, Batik: Wiener Werkstätte Batik From The Los Angeles County Museum Of Art And Cotsen Textile Traces Collections, Michaela Hansen
Batik, Ja, Batik: Wiener Werkstätte Batik From The Los Angeles County Museum Of Art And Cotsen Textile Traces Collections, Michaela Hansen
Textile Society of America Symposium Proceedings
In 1919, the Viennese cultural critic Adolf Loos addressed a newspaper column to the “ninety percent” of female artists who “call themselves that because they can batik.” Bemoaning shop windows filled with batik cloths and neckties, Loos stated: “To the modern human being…batik [is] an abomination.” Derisively likening the skill required of a batik artist to “drop[ing] a May bug into an inkwell and then let[ting] it crawl around on a prettily dyed, magnificent piece of…pongee silk,” Loos advised practitioners to seek a dry cleaner to “fix” their dye work by erasing it. “The danger is great,” he went on; …
Seafarer People And Their Textiles From Erub Arts, Torres Strait, Australia, Louise Hamby, Valerie Kirk
Seafarer People And Their Textiles From Erub Arts, Torres Strait, Australia, Louise Hamby, Valerie Kirk
Textile Society of America Symposium Proceedings
A quote from Florence Gutchen, an artist from Erub (Darnley Island) in the Torres Strait, 180 kms NE of mainland Australia, sets the scene for this document. “We hear the wind…We are seafarer people. Our livelihood depends on the sea. We are saltwater people and we are the seafarers.” The geographic location of her current home is crucial to the understanding of not only the textiles artists produce but to all of their work. Their island in the eastern part of Torres Strait plays a major part in how their identity as Erubians is expressed through textiles. This paper primarily …
The Effect Of Colonization And Globalization In The Shaping Of Phulkari: A Case Study Of The Textiles Of Punjab, India, Anu H. Gupta, Shalina Mehta
The Effect Of Colonization And Globalization In The Shaping Of Phulkari: A Case Study Of The Textiles Of Punjab, India, Anu H. Gupta, Shalina Mehta
Textile Society of America Symposium Proceedings
Hand woven fabrics and embroidery are known to be some of the most ancient form of handicraft nurtured in almost every corner of Indian subcontinent. Embroidery is often an expression of the maker especially women depicting their emotions on fabric and their lived histories. Usefulness of this form of decoration is reflected in the fabrics used in clothing for humans as well as domesticated animals, household articles and decorations in temples. Besides being practical, these ethnic embroideries have symbolic and traditional purposes.1 It expresses several cultural metaphors of a community. It is also one of most distinct forms to study …
Early Modern Needlework Pattern Books: Tracing The International Exchange Of Design, Lisa Vandenberghe
Early Modern Needlework Pattern Books: Tracing The International Exchange Of Design, Lisa Vandenberghe
Textile Society of America Symposium Proceedings
Needlework pattern books, a genre that first appeared in the early 16th century as printing-press technology became widely available, were some of the first art books for the common people. Their pages offered charted, linear, and figurative designs in a wide range of complexities and styles. I use the term “needlework” to represent the group of decorative textile-arts which these books target. This includes a range of techniques that use a needle alone or with other tools, such as embroidery, lacemaking, knitting, and tablet and small-loom weaving. Students of women’s history may know the pattern books for their introductory pages …
Some National Goods In 1871: The Rebozo, Marta Turok
Some National Goods In 1871: The Rebozo, Marta Turok
Textile Society of America Symposium Proceedings
The history of rebozos and jaspe (ikat) in Mexico still presents many enigmas and fertile field for research. Public and private collections in Mexican and foreign museums preserve a variety of rebozos from the mid-18th through the 20th centuries. However, it has been complicated to correlate these extant pieces with exact places of production and dates. Other sources such as written accounts and images focus mostly on their social uses, sometimes places of production or sale are merely mentioned yet techniques and designs are the information least dealt with. Virginia Davis mentions this problem while analyzing the Frederick Church collection …
The Merchants And The Dyers: The Rise Of A Dyeing Service Industry In Massachusetts And New York 1800-1850, Linda Jean Thorsen
The Merchants And The Dyers: The Rise Of A Dyeing Service Industry In Massachusetts And New York 1800-1850, Linda Jean Thorsen
Textile Society of America Symposium Proceedings
Histories of dyeing in the United States have tended to emphasize home craft processes, early textile manufacturing, or the growth of synthetic dyes. But in the first decades of the nineteenth century, a vibrant independent dyeing service industry emerged in U.S. port cities. Using natural dyes, working with a variety of fibers, colors, and finishing processes, and developing sophisticated skills and equipment, these dyers served import merchants, retailers, elite households, and businesses such as hotels. They received cloth, garments, or home furnishings, cleaned, bleached, and/or dyed them, and then returned them “like new.” To satisfy customers, these businesses had to …
Exploring Origins: The Technical Analysis Of Two Yoruba Masquerade Costumes At The National Museum Of African Art, Rebecca Summerour, Odile Madden
Exploring Origins: The Technical Analysis Of Two Yoruba Masquerade Costumes At The National Museum Of African Art, Rebecca Summerour, Odile Madden
Textile Society of America Symposium Proceedings
Egúngún masquerades are traditions in which composite ensembles are worn and danced to commemorate lineage ancestors in West African Yoruba communities. This technical analysis of two 20th century Egúngún in the collection of the Smithsonian’s National Museum of African Art (NMAfA), referred to as 2005-2-1 and 2009-15-1 (fig. 1), investigates materials in these colorful costumes. The Yoruba are a cultural group rooted in Southwestern Nigeria, Benin, and Togo with a diaspora in Africa and the Americas. In their traditional belief system, Egúngún are the embodiment of lineage ancestors. Fully concealed maskers incarnate individual or collective spirits, providing opportunity for the …
Mending As Metaphor: Finding Community Through Slow Stitching In A Fast Paced World, Ruth Katzenstein Souza
Mending As Metaphor: Finding Community Through Slow Stitching In A Fast Paced World, Ruth Katzenstein Souza
Textile Society of America Symposium Proceedings
There is a growing movement toward repair and mending to combat the waste and over consumption that is so toxic to our planet. The environmental damage caused by textile production is the second greatest source of pollution after the oil industry.2 In light of these immense issues that are complex and overwhelming I found myself asking; “what can I do to add to the repair of the world?” I realized that we need to mend what we can in our immediate life; to truly see what needs our attention and to assess what is broken and see beauty in the …
Importing Irish Linen And Creating American ‘Art Moderne’: An Analysis Of An Early 20th Century Trade Catalog, Lacy Simkowitz
Importing Irish Linen And Creating American ‘Art Moderne’: An Analysis Of An Early 20th Century Trade Catalog, Lacy Simkowitz
Textile Society of America Symposium Proceedings
During the late 1920s, a collaborative effort was launched by designers and manufacturers in the United States to develop indigenous modern decorative arts and unite art with industry. They were motivated by the realization that Europe surpassed U.S. in the production of contemporary furnishings—a fact made evident at the Exposition Internationale des Arts Décoratifs et Industriels Modernes in 1925, an event that the U.S. tellingly declined to participate in because it believed it could not meet the requirement of presenting new and original designs.1 The exhibition, a selection of which toured the US in 1926, became a model for the …
“The Consular Collections At The National Museum Of American History” Opening Plenary Session: Crosscurrents: The Transnational Flows Of Textiles, Madelyn Shaw, Amy J. Anderson
“The Consular Collections At The National Museum Of American History” Opening Plenary Session: Crosscurrents: The Transnational Flows Of Textiles, Madelyn Shaw, Amy J. Anderson
Textile Society of America Symposium Proceedings
Hidden away for decades within the Department of Textiles, Division of Home & Community Life, National Museum of American History, was an extraordinary group of nearly 1000 textile samples collected by US consuls around the world between about 1898 and about 1920. The Commerce Department transferred them to the U.S. National Museum (now NMAH), in the 1920s. The samples range in size from just a few inches square to a few feet. The information that came into the collection with each sample, from lists or scraps of paper attached by the consuls, was typed onto onionskin typing paper or cardstock …
A Morenada Dance Costume: An Example Of The Interconnection Of The Americas, Spain And Africa, Nancy B. Rosoff
A Morenada Dance Costume: An Example Of The Interconnection Of The Americas, Spain And Africa, Nancy B. Rosoff
Textile Society of America Symposium Proceedings
This paper will explore the interconnection of the Americas, Spain and Africa as exemplified by a 19th century festival costume in the collection of the Brooklyn Museum, worn for the Moreno or Morenada, a dance developed after Spain’s conquest and colonization of the Inca Empire in the 16th century. Two other costumes were also examined, one in the collection of the American Museum of Natural History in New York City, and the other in the collection of the Museo Nacional de Etnografía y Folklore in La Paz, Bolivia. Today, the Moreno or Morenada is one of the most popular dances …
Imagining Conquest: El Tapiz And Postrevolutionary Mexico*, Regina A. Root
Imagining Conquest: El Tapiz And Postrevolutionary Mexico*, Regina A. Root
Textile Society of America Symposium Proceedings
When submitting my abstract over a year and a half ago, I had many questions of the artifact to which I would dedicate a year of intense study, the so called Tillett tapestry. I took a giant leap of hope, planning ahead with radical optimism, knowing that nothing had been published before about this subject and thinking through the material I had. Following the leads in this project became more of a Pandora’s box than imagined because its archival recovery process and oral interviews with family members and relatives converged and diverged in unexpected ways. What seemed remarkably obvious became …
Sadu Weaving: The Pace Of A Camel In A Fast-Moving Culture, Lesli Robertson
Sadu Weaving: The Pace Of A Camel In A Fast-Moving Culture, Lesli Robertson
Textile Society of America Symposium Proceedings
As a Fulbright Specialist in Kuwait in 2015, I was introduced to a textile known as sadu, which loosely translated means “moving at the pace of a camel.“ This rich textile has been a part of the traditionally nomadic Bedouin culture of the Middle East, and is front and center in fast moving Kuwait. Hugging the shores of the Arabian Gulf, Kuwait is at the intersection of desert and gulf, a nation full of progress, forward thinking, and contemporary approaches to practically everything. On Gulf Road, right in the heart of Kuwait City sits the center of sadu weaving, Beit …
West African Indigo Textiles Under Influences The Fouta-Djallon Wrapper & The Mauritanian Melhafa, Annie Ringuede
West African Indigo Textiles Under Influences The Fouta-Djallon Wrapper & The Mauritanian Melhafa, Annie Ringuede
Textile Society of America Symposium Proceedings
The cloth-dyers of West Africa are known to produce indigo textiles which reputation needs no making. These various productions, often times centuries old, have been continuously exposed to the turmoil of a variety of external events which have often made them very fragile or, on the other hand, have brought about prosperity. Among those events, let us cite the caravan trade across the Sahara and the Sahel, the establishment of trading posts by the Europeans on the Atlantic Coast, the Senegal River and the Niger, the slave trade, the development of small indigo factories, colonization by the English, the French …
Velvet And Patronage: The Origin And Historical Background Of Ottoman And Italian Velvets, Sumiyo Okumura Dr.
Velvet And Patronage: The Origin And Historical Background Of Ottoman And Italian Velvets, Sumiyo Okumura Dr.
Textile Society of America Symposium Proceedings
Velvets are one of the most luxurious textile materials and were frequently used in furnishings and costumes in the Middle East, Europe and Asia in the fifteenth to sixteenth centuries. Owing to many valuable studies on Ottoman and Italian velvets as well as Chinese and Byzantine velvets, we have learned the techniques and designs of velvet weaves, and how they were consumed. However, it is not well-known where and when velvets were started to be woven. The study will shed light on this question and focus on the origin, the historical background and development of velvet weaving, examining historical sources …