Art and Design Commons^™

The Organization Of Work On Ancient Peruvian Embroideries: Putting People Back Into The Cloth, Anne Paul

Textile Society of America Symposium Proceedings

During the early years of this century, treasure hunters working the arid Peruvian south coast discovered well-preserved textiles that were unlike anything previously known from the Central Andes. Simple in structure (plain weave with embroidery) but stunning in appearance, these textiles had been hidden from human eyes for almost two millennia, buried in desert graves on the Paracas Peninsula. One of these textiles, a mantle in the collection of the American Museum of Natural History in New York, is the subject of this essay. It and other Paracas textiles are so remote from us in time and in culture that …

"Scutulis Dividere Gallia": Weaving On Tablets In Western Europe, Carolyn Priest-Dorman

Textile Society of America Symposium Proceedings

Tablet weaving is a structurally intricate, flexible art indigenous to pre-industrial Europe and northwest Asia. It has been used to reinforce the borders of woven textiles as well as to create sturdy, often decorative bands used as strapping, belts, a variety of garment trimmings, and ecclesiastical vestments. To some extent the history of tablet weaving can be correlated with the history of costume.

There are no known early written sources describing how to tablet weave, although a few sources make reference to an art which may be tablet weaving. Historical depictions of tablet weaving are few, and most are fraught …

Drawing On Tradition, Cynthia Schira

Textile Society of America Symposium Proceedings

Over the forty years that I have been weaving, my work has changed conceptually and technically. In the late fifties, after studying in Aubusson, I worked in the tapestry technique. What I perceived to be a rigidity within the working process pushed me toward investigating ways of incorporating the spontaneity of the painters of that period into my textile art. The integration of resist-dyeing along with the use of supplementary wefts provided the potential for changes and additions during the weaving process that I sought. The imagery on my work then was formed by and contained within the supplementary wefts. …

The Timelessness Of Damask, Milton Sonday

Textile Society of America Symposium Proceedings

The damask technique as we know it today is probably one of the oldest techniques (if not the oldest) for weaving figured patterns that has an unbroken tradition that continues today in forms that are commercially and artistically strong.

The origin of the technique can be placed in the Far East centuries before the opening of the Christian era. The specific loom mechanisms that are often used to define damask weaving were used in China before the Tang period (A.D. 618-907). A remarkable number of silks survive from early periods of development.

In addition to being defined as a specific …

"Alienor Regina ... Me Fecit": Production And Patronage Of Medieval Tabletwoven Bands, Nancy Spies

Textile Society of America Symposium Proceedings

Someone, somewhere in northern Europe late in the fifth century or early in the sixth century AD, successfully translated a technique known from woven fabrics to the simple methodology of tablet weaving and started adding supplemental brocading wefts of precious metallic threads to bands woven with fine wool and imported silk warp threads. F or the next thousand years until the new art of lacemaking grew in popularity during the sixteenth century, brocaded tabletwoven bands were one of the favorite forms of ornamental fabric trim in Europe. The question of who wove these beautiful bands is one which has not …

Starlets And Masters: Meisen Posters Published By The Textile Makers, Yoshiko Iwamoto Wada

Textile Society of America Symposium Proceedings

A group of more than a dozen original paintings of "kimono beauties" or bijinga, literally "picture of a beauty," is in the collection of the Ashikaga Museum of Modem Art, Ashikaga, Tochigi Prefecture. They were painted by well-respected master painters between 1920s and 1930s, commissioned by the Ashikaga Meisen Weavers Association to be reproduced in postcards and posters to promote their products, Ashikaga meisen.

Another group of large posters of movie actress "beauties" wearing meisen kimonos is in the collection of Shimojo Koichiro, a former meisen dealer/producer, now a drapery manufacturer in lsesaki, Gunma Prefecture. These posters were …

Introduction To The Panel, Yoshiko Iwamoto Wada

Textile Society of America Symposium Proceedings

The socio-historical factors of this era, including the effect of foreign culture, influenced consumer choice and production decisions regarding meisen textiles. Industrialization brought by the West generated demand for a new urban labor force, thereby providing for women work and educational opportunities that had not previously existed The cloth produced duringJhis time in history spoke of a kind of freedom and a conspicuous popular taste that celebrated women is changing position. Looking at the way women expressed themselves through textiles provides a wonderful approach to understanding this period of recent Japanese history.

Meisen was a commercial term for a popular, …

Exploring Pattern In Woven Design: A Comparison Of Two Seventeenth Century Italian Textiles, Melinda Watt

Textile Society of America Symposium Proceedings

This paper explores the differences in both pattern and technical features between two similar woven silk textiles from the collection of The Metropolitan Museum of Art. The two textiles are seventeenth century Italian woven silks. They have in common an identical brocaded pattern consisting of four floral motifs, two are large and two are small. It is the differences between the two textiles that provoke comparison, more than do their similarities. First, the ground colors are different, as are the ground weaves. Second, the individual brocaded motifs, while identical in detail, are a mirror reflection from one textile to the …

Tracing Intricate Thread Control Systems: The Bamboo Drum Or Swine Basket Loom To The Tc-L, Carol D. Westfall

Textile Society of America Symposium Proceedings

I use the word "primitive" with great care and caution and a certain humility for we now send men and women into space clad in triaxially woven fabrics which stem from a basic hexagonal basket structure perfected eons ago by some "primitive" Chinese artisan. I am consistently amazed by the extraordinary accomplishments of our common ancestors.

Man's need to adorn his or her body with imagery which acts as a signifier of status or aesthetic is a time honored tradition. The transference of this imagery onto textiles was a natural occurrence, once the need for garments was established - either …

Morris De Camp Crawford And The "Designed In America" Campaign, 1916-1922, Lauren D. Whitley

Textile Society of America Symposium Proceedings

The start of the First World War stimulated among other things a reassessment of America's relationship with Europe. Many in the art world voiced the need for the industrial arts to assert independence and William Laurel Harris echoed popular sentiment when he wrote in Good Furniture magazine:

We are ..... a great industrial nation without an industrial art. Now is the time, and now is the hour, when by intelligent action our manufacturers can rectify this lack of practical thought in our educational efforts. The manufacturers, the educators and the artistic portion of the nation must join hands in creating …

Tea Bowl: Imperfect Harmony, Gretchen A. Mehring, Greater Lafayette Museum Of Art

Exhibit Catalogues

These tea bowls, with their intimate scale and individual personalities, simultaneeously offer an apprectiation of the past and the contemporary. The subtle beauty of traditional-style bowls contrasts with the more exuberant contemporary idiom, raising an awareness of the role that art has, and can play, in everyday life.

Seasonal Turns: Four Accordion Books, Bea Nettles, Special Collections, Fleet Library

Artists' Books

4 accordion fold books, enclosed in a plastic box; cover; four small books; three accordion books; two interior spreads . The four seasons are depicted through images of nature and human interactions with it.

Smoke In My Dreams, Mark Wagner, Special Collections, Fleet Library

Artists' Books

case bound in hard cover with exposed spine and paper covered boards; cover; interior spreads and pages. Using images of tobacco processing machines, wafting smoke, ephemera such as maps, hospital parking lot tickets and all the paper found in a pack of Camel cigarettes, the artist conveys his longing to be able to smoke in his dreams, a far safer option than smoking

The Anxiety Alphabet, Emily Martin, Special Collections, Fleet Library

Artists' Books

coptic stitch binding, paper covered boards with common pins and needles inserted; cover; interior pages; back cover. The subject of anxiety is conveyed with humorous alphabetic verse.

Tribal Alphabet, Mary Mccarthy, Special Collections, Fleet Library

Artists' Books

case bound with cloth covered boards, endbands; cover; title page; interior pages; colophon. Twenty-six African tribes are represented with their masks, in alphabetical order. This book is the facsimile version of the original collage copy.

Twenty-Five Years Ago, Joan Lyons, Special Collections, Fleet Library

Artists' Books

saddle stitch with soft cover; cover; interior spread and pages; back cover. The artist's wallet is recovered in an old air vent in her child's former school 25 years after she had visited his 4th grade classroom. The contents reveal life in the early 1970's.

Vision Shifts, Carol Barton, Special Collections, Fleet Library

Artists' Books

accordion, pop-up panels with cut-out windows, pocket inside back cover with 6 illustrated cards; pg 3-4; "between thought and its expression ..."; pg 7-8; "from familiar ground ...". copy 51 of 500, signed by the artist

Which One Are You?, Marylee Bytheriver, Special Collections, Fleet Library

Artists' Books

A yellow ribbon holds the book together, 26 pages, chiefly illustrations. Edition limited to 100 copies, signed by the artist. Consists of a Jacob's ladder structure in which photographs are attached on both sides. Photographs of the artist's family are scanned and manipulated onto Rives Lightweight and glued to foam core. Printed paper strips hold book sections together. Texts on paper strips use three different type faces: one reflecting the artist's recollections of her childhood; one quoting from The birth order book : why you are the way you are, by Dr. Kevin Leman; and the last quoting from the …

Octopus, Elizabeth Mcdevitt, Julie Chen, Special Collections, Fleet Library

Artists' Books

1 volume. Title from case. Accordion style binding to produce a three-dimensional effect. In case. Letterpress printed from photopolymer plates; collographic prints. Edition of 100 copies.

Hybrid Cartographies: Seoul's Consuming Spaces, Jeannie Meejin Yoon, Special Collections, Fleet Library

Artists' Books

1 folded sheet. "Text/ photographs/ concept/ design, Jeannie Meejin Yoon" Accordion fold, printed both sides of single sheet. Artists' statement: like my experience of the city, this detour/map is not linear. it has been laid out on the front and back of a 60 cm x 60 cm flat surface. A 12 cm by 12 cm module was inscribed to create a 25 square grid on both sides. the surface was in turn cut along the module line, beginning on the bottom right hand corner and spiralling inward the center module. the manipulate surface was then folded in on itself …

Far Horizons, Scott Mccarney, Special Collections, Fleet Library

Artists' Books

maze book, folded and enclosed in a printed wrapper; cover; interior; interior, folded out. An accordion variation made by folding a piece of paper printed on one side into 12ths and cutting it so that the resulting accordion flow turns in multiple directions. Once unfolded, the resulting poster resembles a tradional quilt pattern called "Far Horizons".

Book Of Hours #51 Turkish Suite (As Theodora), Sherrill Edwards Hunnibel, Special Collections, Fleet Library

Artists' Books

1 book object : color illustration. Altered book, mounted in acrylic case. The pages are sealed together to form a base for construction. Mixed media, collage, and assemblage techniques. Book cover is mounted to the acrylic backing with one rivet in each corner. Title information from back of case. Signed and dated on back. RISD Alumna, gift of the artist. Fleet Library at RISD Alumni Collection. Curated title for Fleet Library Special Collections exhibition Stacked & Altered, summer 2022.

Rangoli, Jeannine Colaco, Fleet Library, Special Collections, Jan Baker

Culture

This book was completed for Jan Baker's artists' book class.

Things Exist For A Reason, Andrew Kuo, Fleet Library, Special Collections, Jan Baker

Culture

This book was completed for Jan Baker's artists' book class.

Winter Garden, Leland Burke, Fleet Library, Special Collections, Jan Baker

Nature

This book was completed for Jan Baker's artists' book class, Printed Books.

The Flower Book, Stacey Dietz, Fleet Library, Special Collections, Jan Baker

Nature

This book was completed for Jan Baker's artists' book class, Papermaking.

Grandpa's Tools, Cheryl Hanba, Fleet Library, Special Collections, Jan Baker

Senses

This book was completed for Jan Baker's artists' book class, Printed Books.

Yellow, Orange, Red, Green, Blue, Purple, Sara Osten, Fleet Library, Special Collections, Jan Baker

Senses

This book was completed for Jan Baker's artists' book class, Printed Books.

Weaving, Molly Schoenhoff, Fleet Library, Special Collections, Jan Baker

Senses

This book was completed for Jan Baker's artists' book class, Printed Books.

A Radical Vision, Molly Schoenhoff, Fleet Library, Special Collections, Jan Baker

Stories

This book was completed for Jan Baker's artists' book class, Printed Books.