Art and Design Commons^™

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.

Palimpsest, Heather Watkins, Fleet Library, Special Collections, Jan Baker

Stories

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

Rudolf Amheim: The Little Owl On The Shoulder Of Athene, Roy R. Behrens

Faculty Publications

The author discusses the life of Rudolf Arnheim (b. 1904), the celebrated art-theorist and psychologist, professor emeritus of the psychology of art at Harvard University and author of 15 books about perceptual psychology in relation to art, architecture and film, among them Film as Art, Art and Visual Perception, Visual Thinking and The Power of the Center. The article is a biographical overview of Arnheim's life and work, including his association with the gestalt psychologists in Berlin in the 1920s, his pioneering work as a film critic, his flight from Nazi Germany and his subsequent immigration to the United States …

Do Not Enter, Marlene Maccallum, Special Collections, Fleet Library

Artists' Books

tunnel book variation, enclosed in a paper 4 sided wrapper with a thread closure; outer folio, closed; front view, closed. Although the text warns the reader not to enter, the haunting images of curious empty spaces and the unfolding of the tunnel book structure draw the reader in.

One Night, John Risseeuw, Special Collections, Fleet Library

Artists' Books

instant book, pamphlet stitch cover; cover; interior spreads. Sounds are experienced through nonsensical words, using type size and color to convey intensity.

Snake, Maria G. Pisano, Special Collections, Fleet Library

Artists' Books

tunnel book variation with parallel concertina sides, enclosed in a printed wrapper; cover; accordion, folded out; colophon. A long, narrow tunnel book unfolds like a slithering snake.

Carol Haerer: The White Paintings, Daniel A. Siedell, Charles C. Eldredge

Sheldon Museum of Art: Catalogs and Publications

The Sheldon Memorial Art Gallery and Sculpture Garden is pleased to present Sheldon Solo: Carol Haerer, The White Paintings, an exhibition featuring Carol Haerer's white paintings of the mid to late 1960s. This exhibition is the most recent installment of the "Sheldon Solo" exhibition series, a series established in 1988 to feature the work of important American artists within the context of the Sheldon Gallery's nationally recognized collection of 20th-century American Art.

A midwestern native who attended Doane College and the University of Nebraska-Lincoln, Carol Haerer studied in Paris on a Fulbright Fellowship in 1955, and after receiving an M.F.A. …

United States Society For Education Through The Arts Collection, Zach S. Henderson Library Special Collections

Finding Aids

Spanning 1947-2005, this collection consists of organizational records for the United States Society for Education through the Arts, including conferences, newsletters, correspondence, expense reports, and periodicals.

Find this collection in the University Libraries' catalog

Art, Design And Gestalt Theory, Roy R. Behrens

Faculty Publications

Gestalt psychology was founded in 1910 by three German psychologists, Max Wertheimer, Kurt Koffka and Wolfgang Kohler. The author discusses gestalt theory's influence on modern art and design, describes its resemblance to Japanese-inspired theories of aesthetics and finds evidence of a mutual, if limited, interest between the gestalt psychologists and certain artists.

Plaids And Broadswords Of The Altamaha, Robert K. Weber

Dissertations, Theses, and Masters Projects

No abstract provided.

The New Plastic In Sculpture, Timothy M. Gallant

Honors Theses, 1963-2015

In his "new plastic" paintings, Piet Mondrian (1872-1944) created an aesthetic of universal dimensions through the unification of simplified visual elements. Through an intuitive process of trial and error, Mondrian achieved the unity required for his universal aesthetic by creating a delicate tension between simplified elements in simulated three dimensional space. Mondrian's "new plastic" (neoplastic) aesthetic in painting, however, is physically bound to the two dimensional surface of his canvas and allowed only the appearance of three dimensions. In my thesis, I outline the translation of Mondrian's aesthetic into a physically three dimensional context, creating a universal aesthetic in sculpture …

The Weft-Twined Structures Of Cloaks Of The New Zealand Maori, Margery Blackman

Textile Society of America Symposium Proceedings

The Maori cloak

After the settlement of New Zealand in about 1200 AD, Maori women adapted wefttwining techniques for constructing wann clothing suited to the cooler climate of their new habitat. The principal garment was the cloak made with yarns prepared by working and twisting the long fibres extracted from the sword-like leaves of the indigenous plant Phormium tenax, commonly known as New Zealand flax.

The historical evolution of the Maori cloak is largely unknown as only a few fragments and one cloak found in a burial cave are known to be earlier than the cloaks collected by Captain …

Marion Dorn: The American Years, Whitney Blausen

Textile Society of America Symposium Proceedings

Marion Dom, (1896-1964) was an American-born designer of both printed and woven furnishing fabrics and of rugs and carpets. Dorothy Todd, writing about Dom in 1932 for the Architectural Review, called her the "architect of floors".

Like many of her contemporaries, Dom's earliest textiles were batiks. She learned to design for industry by participating in the textile contests and classes championed by M.D.C. Crawford and sponsored, in part, by the trade paper Women's Wear.

In 1923 Dom emigrated to England, where she designed on a regular basis for such firms as Warner & Sons and the Wilton Royal Carpet …

Ilonka Karasz: Making Modern, Ashley Brown

Textile Society of America Symposium Proceedings

Born in Hungary and "discovered" in New York's Greenwich Village, Ilonka Karasz (1896-1981) brought a unique and remarkable talent to early American modem textile design. Though little known today, her contemporaries described her as "one of the best designers of modem textiles," and noted the "widespread influence among textile manufacturers" of her modem textile designs. Her exploration of textile design from 1915 to 1935 contributed to an exciting time in the history of American textiles when American manufacturers used American designs, experimented with new uses for textiles, and developed new textile materials. Karasz's textile designs from the 1910s reveal her …

Between Tradition And Modernity: Textile Design Education In Lyons At The Beginning Of The 20th Century, Florence Charpigny

Textile Society of America Symposium Proceedings

With regard to textile design in general, and Lyonnais designers in particular, there is still no global synthesis and very little detailed research available. Yet, some studies were published in Lyon, at the end of the 19th and beginning of the 20th century, by local historians with family, professional and cultural links with the silk manufactures. It is not coincidence that their work occurred at this period: at the end of the 19th century, the Lyonnais silk industry went through a series of serious economic and structural crises. The change begun at the beginning of the 19th century with the …

The Past Is Prologue, Lia Cook

Textile Society of America Symposium Proceedings

Since the early 1970s I have been interested in the construction of imagery in textiles and how the imagery that is an essential part of the structure can be altered through painting, dyeing, and finishing processes. My early pieces used a simple distortion of the vertical horizontal threads to create undulating parallel lines that defined what I called the "fabric landscape", a piece of fabric laid over a relief surface. In 1974-5 I applied photographs directly to the surface of my woven structures, sensitizing the cotton cords with photosensitive chemicals and processing the whole weaving as one would a photograph. …

The "New Deal" Child Artist: Textiles From The Educational Alliance Art School, Joanne Dolan

Textile Society of America Symposium Proceedings

INTRODUCTION

Progressive educational theories, many which had their roots in the late nineteenth century, were put to the test as a result of the Federal Art Project initiative. A small collection of printed textiles at the Museum at FIT produced during the second half of the nineteen-thirties at the Educational Alliance Art School in New York City reflect philosophies relevant to the period of the New Deal. The textiles represent and illustrate major social forces in America: the late nineteenth century settlement house providing services such as language, citizenship, and skills training; Roosevelt's New Deal and the federal relief efforts …

Transitions And Expansion: The Haskell Silk Company's· Switch From Thread Manufacture To The Production Of Yard Goods, 1880-1882, Jacqueline Field

Textile Society of America Symposium Proceedings

The Haskell Silk Company of Westbrook, Maine, operated from 1874-1930. At its peak it was above average in size and counted among major U.S. silk manufacturers. The most northerly situated silk mill, Haskell began as one of New England's numerous post-bellum machine thread makers, but within eight years shifted to weaving broadsilks. During this period many New England thread producers made a similar change and at the same time opted to relocate with new plants in the vicinity of New York and northern New Jersey, where a variety of social and economic factors provided an attractive business climate. The Haskell …

Tibeb, Art Of The Weaver In Addis Ababa Today, Jannes Waples Gibson

Textile Society of America Symposium Proceedings

Tibeb in this presentation refers to the decoration or pattern which is handwoven with supplementary weft into the border of the shamma (or shemma) worn by women and men in Ethiopia and Eritrea. The shamma traditionally was worn by the Christian populations of the northern and central highlands. Today one can find cloth with the woven tibeb in most markets. There is no imported textile sold in Ethiopia today that takes the place of these valued textiles. Ethiopian artist Maitre Afewerk Tekle has captured the special feeling among Ethiopians for the fine cotton shamma in his painting "Mother Ethiopia" …

The Fabrication Of Good Government: Images Of Silk Production In Southern Song (1127-1279) And Yuan (1279-1368) China, Roslyn Hammers

Textile Society of America Symposium Proceedings

In China, Gengzhi Tu or the Pictures of Tilling and Weaving as a distinct and separate genre was inaugurated in 1145 by Lou Shou, an official in the Southern Song bureaucracy. In that year he gave a set of two scrolls of poems and paintings to Emperor Gaozong. One was on the topic of cultivating rice and the other on the weaving of silk fabric. These scrolls formed a suite. The imagery and poetry, consisting of a breakdown of the procedures of production in a step by step manner, must be understood in their official context. The circumstances of Emperor …

A Horsehair Woven Band From County Antrim, Ireland: Clues To The Past From A Later Bronze Age Masterwork, Elizabeth Wincott Heckett

Textile Society of America Symposium Proceedings

Introduction

This paper has as its subject the narrow woven horsehair band from Cromaghs, Co. Antrim in Northern Ireland It is about two thousand eight hundred years old which places it in the Irish Later Bronze Age. Farming was well established in the country and skilled metal workers were producing tools, weapons and ornaments in bronze and gold. The horsehair ornament merits analysis because of its intricacy and outstanding artistry.

It is also important to explore what clues may lie within the band and the other finds associated with it. These may explain what the ornament represented to the people …

Creating Textiles In Belgium During Tbe 20th Century: A Large Weaving Manufacturer, A Small Textile Studio And A Contemporary Textile Designer., Elsje Janssen

Textile Society of America Symposium Proceedings

Belgium, and most of all Flanders, has a strong textile history with many large manufacturers as well as some promising young textile designers. This lecture will focuss on three periods in time: the beginning, the middle and the end of the 20th century, three different kind of makers: a large manufacturer, a small studio and an independent textile designer, three methods: machine woven jacquard interior fabrics, simple handwoven household textiles and exclusive samples handwoven on a 24 shafts computerised loom, and three types of markets: the export market, the local Belgian market and both.

Most of the weaving mills active …

Weaving For Your Life: Creating Textiles In Dolp A, Nepal, Anne M. Johnson

Textile Society of America Symposium Proceedings

High in the Himalayan mountains, two weeks walk from the nearest road, weaving is a necessity, not an option, for the women of the Dolpa region of Nepal. A woman weaves all of her life, and must weave for her family to survive the difficult life at this high altitude. Picture three weavers working outside in the late winter snowfall, seated on the ground within a low-walled enclosure. There can be more light and warmth outside, rather than inside, their stone houses. Weaving also provides a place of community, where men, women, and children gather to card fibers, spin, weave, …

Electronic Textiles: Hacking The Museum, Barbara Layne

Textile Society of America Symposium Proceedings

The subject of my presentation, Electronic Textiles: Hacking the Museum, is a project I orchestrated between the Marsil Museum of Textiles in St. Lambert, Quebec and the Glass Box Gallery at Salford University near Manchester, England. The purpose was to manipulate images of textile objects as a way to reconsider the practice of collecting, question the system of classification (and thereby the authority of the museum), and open up new possibilities for the collected object. The Marsil is the only museum in Quebec whose mandate is exclusively dedicated to textiles. Its catalogue system catagorizes the collection according to function …

Dressing By-The-Book: The Significance Of The Sample Book In The Marketing Of American Men's Apparel 1925-1930, Diane Maglio

Textile Society of America Symposium Proceedings

Dressing by-the-book, or using illustrated and swatched sample books to buy fashionable apparel, offered the American man extensive assortments of fabrics, colors, and styles, often more than he could get from the local merchant's stock. The sample book was convenient for the seller because he could offer more apparel options to his customers without purchasing inventory in advance of sales. Sample books were used both by retailers selling custom-made clothing for wholesale manufacturers and direct sellers. Direct sellers, representing manufacturing companies, carried a sample book straight to the customer by-passing the retail venue. In this paper two types of apparel …

Light And Shadow: The Textile Designs Of Edward Steichen, Lola Mcknight

Textile Society of America Symposium Proceedings

In response to a request from Kneeland [Ruzzie] Green, who was both Art Director of Stehli Silk Corporation and a close personal friend, Steichen contributed a group of modernist photographic designs to Stehli's Americana Prints collection, a series of artistdesigned textiles [1925-1927]. While several prominent graphic artists and national personalities contributed to this collection meant for use on silk dress fabric, the adaptations of Edward Steichen's silver gelatin prints received more attention from the Stehli company and from the contemporary press than any other single artist who designed Americana prints. These photographic images of weeds, carpet tacks, sugar cubes, thread …

Handwoven Dowries From The Gotse Delchev Region Of Bulgaria, Miriam Milgram

Textile Society of America Symposium Proceedings

In the Gotse Delchev area of Bulgaria, girls in many villages still bring hand-woven dowry items to their wedding. These items include bread cloths, aprons, baby carriers, horse rugs. floor rugs, and bed covers. The dowry items are prepared by the girl and her mother, beginning as early as the daughter's birth in some cases. Since a girl and her family are Judged upon the quality of the work, it is of great importance that the hand-woven items demonstrate skill and aesthetic values. The competition to have the best possible dowry items leads to 'stealing' especially fine patterns, which in …