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Articles 61 - 75 of 75
Full-Text Articles in Art and Design
Tapestry Crochet In The Americas, Europe, Africa, And The Middle East: Tradition And Innovation, Carol Ventura
Tapestry Crochet In The Americas, Europe, Africa, And The Middle East: Tradition And Innovation, Carol Ventura
Textile Society of America Symposium Proceedings
Tapestry crochet was historically done in just a few countries, but globalization and the internet have spread this versatile art form around the world. Publications and online groups have helped keep this tradition alive and have inspired many innovative uses-from designer accessories to contemporary museum installations. Tapestry crocheted fabric is solid and smooth with motifs and imagery, much like tapestry woven cloth. Because of the similar look and feel, most people cannot tell the difference between the two. Techniques vary from place to place, perhaps because they developed from different types of looped bags, gloves, and bags. For instance, in …
Symposium 2018 -- Program & Information: The Social Fabric: Deep Local To Pan Global Textile Society Of America’S 16th Biennial Symposium
Textile Society of America Symposium Proceedings
The theme of TSA’s 16th Biennial Symposium is The Social Fabric: Deep Local to Pan Global. Located on the Pacific Rim, Vancouver offers a pertinent setting to probe the impact and influence of settlers and immigration on an already long-inhabited land, and how textile traditions have been influenced, changed, and/or adapted through and by cultural contact. In 2014 Vancouver city council unanimously voted to acknowledge that the city is on un-ceded Aboriginal territory, creating fertile ground for this conversation. We invite participants to examine textiles within the context of the “Deep Local,” defined as knowledge, beliefs, resources, and practices that …
Looking At The Past And Current Status Of Kenya’S Clothing And Textiles, Mercy V.W. Wanduara
Looking At The Past And Current Status Of Kenya’S Clothing And Textiles, Mercy V.W. Wanduara
Textile Society of America Symposium Proceedings
This paper analyzes and documents traditional textiles and clothing of the Kenyan people before and after independence in 1963. The paper is based on desk top research and face to face interviews from senior Kenyan citizens who are familiar with Kenyan traditions. An analysis of some of the available Kenya’s indigenous textile fiber plants is made and from which a textile craft basket is made. Kenya’s textile and clothing industry has undergone tremendous changes from pre-colonial era (before 1963) to date. Traditionally Kenyans donned clothing made out locally available materials; namely plants and animal skin. Color for these materials was …
Manipulating The Threads Of Culture: Contemporary Shibori Artist Yvonne Wakabayashi, Eileen Wheeler
Manipulating The Threads Of Culture: Contemporary Shibori Artist Yvonne Wakabayashi, Eileen Wheeler
Textile Society of America Symposium Proceedings
Deeply anchored in her practice of shaping and manipulating fibre are both the aesthetic integral to Yvonne Wakabayashi’s Japanese heritage and the inspiration of the natural environment she finds along the shores of her own birth place, Canada’s west coast. Wakabayashi’s journey to find her authentic voice in her varied textile works, engaged both historical craft practices of Japan and printmaking processes of the West. Most importantly, it led to the discovery of shibori with its ancestral links and innovative contemporary possibilities. This paper explores how an individual artist embraces her artistic cultural identity that also negotiates the upheaval wrought …
Getting Located: Queer Semiotics In Dress, C. Zimmerman
Getting Located: Queer Semiotics In Dress, C. Zimmerman
Textile Society of America Symposium Proceedings
From the effeminate Macarconis of the 18th century to the “future is female” shirts of 2017, the fashioned body has conveyed desire, signaled safety, and helped build affinity for queer people. This project will take the shape of a deep excavation and careful consideration of the historical precedence of queers encoding the nuances of dress with a multitude of identity affirming and identity challenging practices. Predominant research on unearthing how queer culture was (and is) expressed through dress had focused on the discernible gestures of normative gay male bodies; from ‘flagging’ (i.e. adorning the body with objects such as …
Yours, Mine & Ours: Beyond Appropriation, Suzi Ballenger, Charlotte Hamlin
Yours, Mine & Ours: Beyond Appropriation, Suzi Ballenger, Charlotte Hamlin
Textile Society of America Symposium Proceedings
As textile makers and researchers, we value the indigenous cultural wealth represented in the extraordinary array of textiles available to us through current worldwide channels. For millennia, textiles have been an effective vehicle for cultural intersection and exchange; traditions, materials, motifs, techniques, words, and beliefs are adopted, extended, and enriched by the meeting of peoples. Increasingly-and particularly with the advent of “fast fashion”-textile styles and motifs are being widely appreciated, and subsequently appropriated, without acknowledgement or compensation to the culture from which they derived. Is it possible to create productive collaboration across cultures without exhausting or dispossessing the custodians of …
The Fabric Of War: Wool And Local Land Wars In A Global Context, Madelyn Shaw, Trish Fitzsimons
The Fabric Of War: Wool And Local Land Wars In A Global Context, Madelyn Shaw, Trish Fitzsimons
Textile Society of America Symposium Proceedings
During the nineteenth century, exponential growth in sheep pastoralism in Australia and New Zealand, and in less predictable locales such as the Sandwich Islands (Hawaii) and Rapanui (Easter Island), fueled the alienation of Indigenous peoples from their lands. The sheep and their wool, at the heart of these ‘grass wars,’ fed a global industry that supported another kind of war – the mass, cold climate warfare characterizing the century between the Crimean and Korean wars. Not until the second quarter of the nineteenth century did mechanization and factory organization affect wool production, as assiduous Australasian sheep husbandry bred wool staples …
Timberline Textiles: Creating A Sense Of Place, Annin Barrett
Timberline Textiles: Creating A Sense Of Place, Annin Barrett
Textile Society of America Symposium Proceedings
Timberline Village holds an iconic place in popular culture, serving as a symbol of Western U.S. mountain tradition. Stanley Kubrick’s The Shining was filmed there, dozens of ski-wear advertisements feature it as background, and it has even been used for an immersive horror game setting. During the early 20th century, other great mountain lodges were built in the West, but what makes Timberline unique is its textiles. It receives almost two million visitors a year who come from around the world to admire this handcrafted building perched at 6000 fee elevation on Mt. Hood in Oregon. The Lodge was …
Wrapped In Wool: Coast Salish Wool Weaving, Vancouver’S Public Art, And Unceded Territory, Alison Ariss
Wrapped In Wool: Coast Salish Wool Weaving, Vancouver’S Public Art, And Unceded Territory, Alison Ariss
Textile Society of America Symposium Proceedings
Coast Salish blankets, lovingly woven with hand dyed, home spun, and commercially produced yarns, adorn the walls of an international airport, museum, universities, and national broadcasting studio, and a mixed-use development project in Vancouver. All of these publicly accessible sites are located in unceded Coast Salish territory, upon which this city exists. These weavings present a conundrum. Simultaneously viewed as public art and symbols of cultural revitalization, their recognition as fine art has been limited, as most discourse about Coast Salish blankets has occurred outside of the discipline of art history. How then, have these weavings found their way into …
The Embroidery Artisans Of The Kashmir Valley: Cultural Imports And Exports From Historical And Contemporary Perspectives., Deborah Emmett
The Embroidery Artisans Of The Kashmir Valley: Cultural Imports And Exports From Historical And Contemporary Perspectives., Deborah Emmett
Textile Society of America Symposium Proceedings
On a visit to the Kashmir Valley in northern India during the winter months I was given a pheran to wear. This long woolen garment is the customary apparel worn by Kashmiri men and women in cold weather. While the men’s are plain, the women’s pherans are embroidered on the front and sleeves. The skills of those Kashmiri artisans who hand embroider clothing such as the pherans, shawls, and other textiles including rugs, curtains, and cushions are well recognized in India and beyond. Considering the Kashmir Valley’s geographic position surrounded by the Himalayan Mountains, I presumed that their embroidery crafts …
Co-Creating Craft; Australian Designers Meet Artisans In India, Katherine Bissett-Johnson, David Moorhead
Co-Creating Craft; Australian Designers Meet Artisans In India, Katherine Bissett-Johnson, David Moorhead
Textile Society of America Symposium Proceedings
There is no word for design in India, creativity and making are intertwined. Craft and culture are inseparable, yet craft practice has become both a cultural and increasingly financial activity. The income from crafts in India is estimated to be only second to agriculture, yet many artisans still live in poverty. Precedents for designers working with artisans in India to develop products for both local and global markets have proven successful. Different types of co-creation (sometimes called co-design) activities have been documented between both local designers and local artisans, and, between foreign designers and local artisans. Although the outcomes of …
Balancing Local Tradition And Global Influences: Design And Business Education For Traditional Artisans In Kachchh, India, Ruth Clifford
Balancing Local Tradition And Global Influences: Design And Business Education For Traditional Artisans In Kachchh, India, Ruth Clifford
Textile Society of America Symposium Proceedings
In the craft-rich region of Kutch, western India, and the historical sari weaving town of Maheshwar, central India, two institutes are providing design and business education to traditional artisans. These are Somaiya Kala Vidya (SKV) and The Handloom School (THS); they form case studies for my PhD research. SKV encourages students to focus on their traditional designs believing them to be their unique selling point, but to innovate upon these traditions making them relevant to contemporary markets. Graduates face challenges of balancing the maintenance of the traditional aspects of their craft, their identity and integrity, with urban and global market …
Batik Of Java: Global Inspiration, Maria Wronska-Friend
Batik Of Java: Global Inspiration, Maria Wronska-Friend
Textile Society of America Symposium Proceedings
Batik, the technique of patterning cloth through the application of wax, reached the highest level of complexity on the island of Java. While deeply embedded in local traditions and associated with the social order of Java, outside Indonesia batik became a powerful cultural intermediary connecting countries as diverse as Netherlands, Japan, Ghana, India, and Australia. In the early stages, this process was an outcome of the Dutch colonial agency. In the 17th and 18th centuries the Dutch East India Company sold Indian textiles destined for Indonesian markets as well as small quantities of Javanese batiks to the Japanese. …
Closing The Power Gap Through Internet Technology: The Artisan View, Judy Frater
Closing The Power Gap Through Internet Technology: The Artisan View, Judy Frater
Textile Society of America Symposium Proceedings
In India today, artisans are considered skilled workers who can realize the concepts of designers. But traditionally, craft was designed, produced, and marketed by artisans. As traditional artisans aimed for new markets, designers took on the role of “interventionists” to bridge the gap in familiarity with new consumers and bring craft into contemporary markets. While this works, unfortunately demoting artisans to worker status results in minimum value for their work, little to no opportunity for creativity or recognition, and waning interest in traditions. Co-design has potential to restructure the relationship between urban designer and artisan. However, often what is called …
Dresden Embroidery In Early Kentucky Counterpanes, Laurel Horton
Dresden Embroidery In Early Kentucky Counterpanes, Laurel Horton
Textile Society of America Symposium Proceedings
This paper examines four white embroidered bedcovers which include elements done in Dresden work, a distinctive technique combining pulled-thread embroidery with surface stitchery. The distinctive lace-like stitches of Dresden embroidery typically appear in delicate, small-scale applications, such as cuffs, collars, and handkerchiefs. These four counterpanes, made in Kentucky in the early nineteenth century, are among a small number of embroidered white bedcovers that include Dresden embroidery. In contrast with the ancient roots of other stitchery styles, Dresden embroidery emerged in Europe in the 1720s as an inexpensive alternative to delicate Flemish bobbin laces. The technique spread among cottage needleworkers in …