Art and Design Commons^™

X6: New Directions In Multiples, The Aldrich Museum Of Contemporary Art, Museum Of Contemporary Art

Exhibition and Program Catalogs

This exhibit catalog shows work that is considered multiples, objects created by artists but not necessarily made by them or the idea of art works that could be easily reproduced with no diminution of meaning. The exhibit singled out six publishers with widely varying points of view to showcase: A/D, Artes Magnus, Kunst Editon New York, Editions Schellmann, Carl Solway Gallery, and Thea Westreich. The exhibit was originally shows at The Aldrich Museum of Contemporary Art from January 26-May 3, 1992 and then shown at Wright State University, hosted by the Dayton Art Institute Museum of Contemporary Art from June …

The City Influence, Museum Of Contemporary Art At Wright State University

Exhibition and Program Catalogs

The gallery guide discusses the exhibition The City Influence shown at Wright State University from January 26 through February 21, 1992. The exhibition focused on abstract painting.

Altarpiece Exhibit Slated At Ud's Marian Library

News Releases

News release announcing an exhibit of altarpieces from the Marian Library collection at University of Dayton. The exhibit included artwork by artists Malaika Favorite, Kathleen Girdler-Engler, and Janice E. Williams.

Southwinds - Spring 1992

Southwinds: The Literary and Arts Magazine of Missouri S&T

Volume XX

Pennsylvania Folklife Vol. 41, No. 2, Nancy Kettering Frye, William B. Fetterman, Annette Lockwood

Pennsylvania Folklife Magazine

• The Meetinghouse Connection: Plain Living in the Gilded Age
• Paul Wieand's Contributions to Pennsylvania German Folk Theater
• Amish Cottage Industries
• Aldes un Neies (Old and New)

Clothing And Textiles Of Ottoman Egypt: Examples From Art And Archaeology, Nettie Adams

Textile Society of America Symposium Proceedings

INTRODUCTION

How many of us, all keenly interested in textiles, have not looked at paintings of a bygone age and thought: how was that garment put together? What sort of stitches were used for the seams? Or when leafing through a book with pictures of exotic places which of us has not wondered: what sort of fabric was that? Was the artist depicting a wovenin or an applied decoration?

The answers to these questions for one part of the world have been found at the archaeological site of Qasr Ibrim.1 It is located in Egyptian Nubia some 30 miles north …

Ruth Reeves' "Personal Prints" Printed Textiles From The 1930’S And 40'S, Whitney Blausen

Textile Society of America Symposium Proceedings

Introduction

Ruth Reeves pioneered the use of vat dyes and the screen-print process for furnishing fabrics in the late 1920's. Reeves had a positive genius for publicity, and if she was not the first American to experiment with these techniques, which she may well have been, she was without doubt one of the best known.

Reeves was one of a new breed of textile designers who emerged in the aftermath of the First World War. To hope to work as a textile designer was a risky experiment in itself. American mills employed buyers and copyists in far greater numbers than …

Lace Production On The Island Of Pag, Croatia, From 1900 To The Present, Vjera Bonifacic

Textile Society of America Symposium Proceedings

INTRODUCTION

In her publication "Peacocks and Penguins: The Political Economy of European Cloth and Colours", Jane Schneider (1978) describes the flow of gold and slaves from northern Europe to the Middle East in exchange for colourful textiles, during the Middle Ages. Schneider argues that European-made black cloth and clothing constituted both practical and symbolic means to resist luxury textiles from the Orient, and in this way reverse the balance of trade and power. I believe that, a few centuries later, lace played a similar role in this process; uti1izing 1ocally grown and processed white 1inen thread and the intensive labour …

German Jugendstil Tapestries: The Daily Life Of The People Who Made Them, Marianne Carlano

Textile Society of America Symposium Proceedings

INTRODUCTION

In the context of daily life of artists and artisans, I sought to learn about the intimate thoughts, conversations and ideas of the artists who provided the designs for the tapestries of the Kunstwebschule Sherrebek in Germany (1896-1903), as well as those of the artists/weavers who translated such designs into woven forms. Like many an intellectual endeavor, my industrious search revealed little information of this type. Nonetheless, it is possible, though surely only second best without the voices of the artists themselves, to glean some understanding of the founding of the Sherrebek institution, the people who worked there, and …

Contents- Textiles In Daily Life- 1992

Textile Society of America Symposium Proceedings

TEXTILES in DAILY LIFE

Proceedings of the Third Symposium of the Textile Society of America, September 24-26,1992.

Preface

Featured Speaker: Iwao Nagasaki

Textiles in the Everyday life of Artisans, Merchants, and Consumers of Fez, Morocco

• Embroidery in the Everyday Life of Artisans, Merchants and Consumers in Fez, Morocco in the 1980s.
Louise W. Mackie ........................................9

• Trimmings in Fez, Morocco.
Frieda Sorber................................ 21

• Weaving in the Everyday Life of Artisans, Merchants and Consumers in Fez, Morocco in the 1980s.
Lotus Stack................................ 33

• Artisans and Handmade Textiles in a Complex Traditional Culture.
Susan Schaefer Davis …

Fez Fabrications: Artisans And Handmade Textiles In A Complex Traditional Culture, Susan Schaefer Davis

Textile Society of America Symposium Proceedings

INTRODUCTION

This paper grows out of a group process of studying handmade fabric, embroidery, and trim in Fez, Morocco in the late 1980s and early 1990s.1 The group included three textile scholars, a video specialist and myself, an anthropologist.2 While the textile scholars began the project with an interest in the textile products and their means of production, we all became interested in more social aspects of the work.

Other scholars have noted the cues cloth can give in understanding the social relations of a culture. Reddy (1986) looks for hints of the social tensions leading to the French Revolution …

Textile Tribute In The Antebellum South, Ann Dupont

Textile Society of America Symposium Proceedings

The involuntary immigration of African slaves to America in the early nineteenth century had a secondary impact on the slaves as well as slaveholders related to the possession and use of clothing and textiles in daily life. The slaves were not allowed to bring their clothing, or other attributions of their native culture to America. Rather, the slaveholders were required by law to provide for their slaves' adequate "clothing and basic needs." These requisitions were influenced by the slaveowner's philosophy of slave management, wealth, and temperament. Dependency for these basic necessities of life on the slaveowner reinforced the dichotomy of …

The Persistence Of Bandhani Production In Barmer, Rajasthan, India, Mary Ann Fitzgerald

Textile Society of America Symposium Proceedings

In Barmer, Rajasthan, India, traditional alizarin and alizarin-indigo cotton bandhani¹ (tie-dye) garments are produced and distributed to rural populations. The producers of these garments are the Khatri, traditional Hindu dyers and weavers of cotton and silk, while the garments are purchased and worn by Sindhi Muslims and the Hindu Khumbhar women. Thus, the producers and consumers are socially distinct groups. This historical association between producers and consumers has created a tradition of bandhani production that is currently threatened by the introduction of inexpensive screen-printed textiles.

There are two aspects of this traditional bandhani production that may play an important …

The Jinbaori: Oneupmanship On The Battlefield, Valerie Foley

Textile Society of America Symposium Proceedings

There are very few absolute statements that can be made about jinbaori in the sociological, cultural or historical sense, except that they were worn only by males of the military class in military settings. Some believe that the jinbaori constituted a kind of formal wear, which vassals wore in audience with their lords, yet there is some evidence to contradict this - for example, the fact that very few portraits exist of men in jinbaori, while portraits of men in armor abound. Indeed, one scroll shows a lord in jinbaori, his retainers in armor. There are several theories as to …

A Glimpse Of Japanese Dyeing Workshops, Mary V. Hays, Ralph E. Hays

Textile Society of America Symposium Proceedings

While in Japan in September 1991 we were fortunate to be taken to several small dyeing establishments that make fukusa, furoshiki and kosode. We were most fortunate to have an entre into these establishments because without the proper introduction we would never have been able to make the contacts necessary for an invitation to observe their operation. We were fortunate also in being able to attend a special exhibition of kimono produced by contemporary textile artists. We could not help but be impressed by the cost of these kimono, which are one of a kind works of art. Those …

Sparto: A Greek Textile Plant, Helen Bradley-Griebel

Textile Society of America Symposium Proceedings

INTRODUCTION

Cotton and flax are known as plants whose fibers are used in the manufacture of textiles, and hemp and jute are known as plants used to make rope. Less well known for its contribution to both textile and rope manufacture is the plant sparto (Spartium iunceum L.; Spanish broom) which grows wild over much of the Mediterranean region in brushwood localities of the mountainous and semi-mountainous zones, including the area of my fieldwork village on the West Coast of the Greek Peloponnesos.

Sparto is a perennial broom, growing as a shrub not reaching over 3m. in height. Its …

Textiles In The Everyday Life Of Artisans, Merchants, And Consumers In Fez, Morocco, In The 1980s, Louise W. Mackie

Textile Society of America Symposium Proceedings

The four authors contributing to this topic are collaborating to document the manufacture and use of handmade textiles in daily life in Fez, Morocco.¹ Fez is the only city in the western world in which there is both a supply and a demand for many types of handmade urban fabrics. A dozen different types exist. They are all part of a continuous, not revived, tradition. Some types are flourishing, some marginal, and one is the equivalent of an endangered species.

Our comments are based on at least three field trips to Fez between 1986 and 1990 by three textile …

Japanese Textiles Of Daily Life, Iwao Nagasaki

Textile Society of America Symposium Proceedings

The main function of textiles in daily life is that of clothing. Along with food and shelter, clothing the body from the elements has been one of the most essential conditions since primitive times. Since the time when animal hides and plant parts were used to protect one's body from the external world, clothing has always been closely related to human life. Therefore, it can be said that clothes were invented and developed for daily use and, at the primitive level, one type of garment served all purposes.

At this level, the material and style of clothing were one hundred …

Trimmings In Fez Morocco, Frieda Sorber

Textile Society of America Symposium Proceedings

Decorative finishes are an integral part of textiles in many traditional cultures, both past and present. Unfortunately they have often escaped the attention of textile scholars. Published material on detailed observation in the field is often lacking. However, research into trimmings can give valuable information on technological, social and economical aspects of a culture. The city of Fez is an excellent place to study the production and function of trimmings in an urban setting with a wide variety of crafts¹.

Types of trim made in Fez

Research into trimmings in Fez started with detailed field observation of a …

Handweaving In The Everyday Life Of Artisans, Merchants And Consumers In Fez, Morocco, In The 1980'S, Lotus Stack

Textile Society of America Symposium Proceedings

My original desire to study an urban center which still produced elaborate handmade textiles was to provide some possible clues to more seriously consider the practical side of historic production. In other words, what were the physical concerns and limitations of cloth production. In the end I learned that textiles often function in a very complex, multidimensional form and cannot be truly understood without considering many facets of the society which produced them. Conversely, in societies where textiles are highly valued, their study can add much to understanding everything from cultural values, economics and technology to international politics.

In addition …

Normal Editions Workshop Newsletter, 1992, Wonsook Kim School Of Art

Normal Editions Workshop Newsletter

Annual newsletter for the Normal Editions Workshop, School of Art, Illinois State University.

Ua37/21/2 Research Interview, William Jenkins, Suzanne Hansen

Faculty/Staff Personal Papers

Research interview with Suzanne Hansen owner-operator of Recycled Revolution. The tape has quite a lot of background noise which occasionally make it difficult to hear what is being said.

For more information regarding Recycled Revolution see:

• Apodaca, Rose. New-Age Junkies, Los Angeles Times, 4/23/1993.

• Kelly, John. Bowling Green Firm Turns Old Junk Into Fashion, Kentucky News Era, 11/1/1993

Carolina Paraquets, John A. Ruthven

Morehead State University Art Collection

A 1992 watercolor print of three birds near branches.

Current Currents (Exhibition Catalogue), Sam Yates, Beauvais Lyons, Pamela Longobardi

Ewing Gallery of Art & Architecture

Catalogue produced to accompany the exhibition Current Currents curated by Beauvais Lyons and Pam Longobardi as part of the Southern Graphic Council's 1992 conference held in Knoxville, Tennessee.

Participating artists were: Rosemarie Bernardi, Randy Bolton, Alexander Brodsky, Ilya Utkin, Charles Cave, Jack Damer, Tim Ely, William Fick, Pascual Fort, Daniel B. Freeman, Lane Hall, Lisa Moline, Jody Issacson, David Johnson, Mario LaPlante, Madam X, David Massuchelli, Richmond Lewis, Phyllis McGibbon, Jan Mehn, Russell McKnight, Deborah Mersky, Carmela Venti, and Bill Whorrall.

The Intimate Collaboration: Prints From Teaberry Press (Exhibition Catalogue), Sam Yates, Timothy Berry

Ewing Gallery of Art & Architecture

Catalogue produced to document the exhibition The Intimate Collaboration: Prints from Teaberry Press. This exhibition documented the significant contributions to contemporary printmaking by Teaberry Press, an independent intaglio press owned by San Francisco-based artist, Tim Berry.

Artists represented in The Intimate Collaboration were: William Allen, Terry Allen, Robert Arneson, Charles Arnoldi, John Baeder, Timothy Berry, Roger Brown, Squeak Carnwath, Christo, Gordon Cook, Robert Cottingham, Laddie Dill, James Ford, Rupert Garcia, Oliver Jackson, Jacob Kainen, Tom Knechtel, Don Nice, Jim Nutt, Claes Oldenburg, Deborah Orapallo, Sabina Ott, Ed Paschke, Philip Pearlstein, Ed Ruscha/Jim Ganzer, Irvin Tepper, Pat Steir, Anne Thornycroft, …

Ruth Weisberg, Rich Gere, And Andrew Rubin, Department Of Art

Historical Material

Printmakers Ruth Weisberg (left) Rich Gere (center) and Andrew Rubin (right) work on a collaborative print during the 1992 Southern Graphics Council conference hosted by the University of Tennessee.

Portfolio, Donald Kurka

Historical Material

The Fall 1992 newsletter for the Ut Department of Art covers the retirement of department head, Don Kurka, the death of Joseph Delaney, a spotlight on art history faculty member Fred Martinson, and the 1992 Southern Graphics Council Conference hosted by UT.

1992 Stanley A. Bauman Photograph Collection Index, Stonehill College Archives

Bauman Indexes

Chronological Listing of all negatives taken by Stanley A. Bauman during 1992. The numbers to the left of each entry indicates the envelope those of negatives are found in. Please use this number when requesting contact sheets for images.

The Mockingbird, Etsu Department Of English, Etsu Department Of Art

The Mockingbird

Elizabeth Abbott [Capitalism; Childhood; Untitled Poem]; Kim Barker [Crumbling Myth]; Tamara Baxter [Pennies Kill the Fishes]; Theresa Bellamy [Cotton Teez]; Tyler Bishop [Dune]; David Blatchley [Fishing Lies]; Maria Bledsoe [Gentility of Steel; The Coming of the Need]; Julie Branham [Carpe Noctem; Nightmares]; Sabrina Chambers [A Walk Through the Attic]; Brian Thomas Chisom [The Universal Appalachian Poet]; Ben Dowdy [Gulf War Sketchbook #4]; Katherine Gibson [Untitled Graphic]; Eileen Glaven [Whimsy: Water in Wood]; Bill Hightower [Winter Walk]; Adam Johnson [A Wisconsin Memory]; Christine Keys [Music Man]; Tommas Koehler [Hell; The Gargoyle]; Katherine Kopp [2020]; W. E. Layne [Duke '91]; Sarah Maulden …

1992 The Analysis, Deborah Rzepela

Philadelphia University Yearbooks

No abstract provided.