Art Practice Commons^™

Ciencia De Las Mujeres: Experiencias En La Cadena Textil Desde Los Ayllus De Challapata, Denise Y. Arnold, Elvira Espejo

Textile Research Works

En el contexto de la crisis económica que atravesó Bolivia en los años ochenta, una comunidad de puna de pastores andinos, Livichuco, que forma parte integral del ayllu mayor de Qaqachaka, emprendió por iniciativa propia un proceso de mejoramiento de su producción textil, con un programa de rescate de los tintes naturales de la región. Con recursos mínimos, los comunarios compraron ollas y bateas metálicas, y comenzaron a preguntar a las personas mayores sobre sus conocimientos prácticos tradicionales en el ámbito de la tinción de textiles. Durante un período de diez años, y en coordinación con varias instituciones —incluida la …

Developing A Local Clay Body: Augusta County, Virginia, Olivia Heeb

Honors Projects

Several samples of raw clay from Augusta County, Virginia were analyzed, and one was chosen to develop into a clay body that could successfully be thrown on the wheel, fired, and made into functional ware. The characteristics of plasticity, strength, absorption, and glaze effects were important when deciding what materials to add to the raw clay samples. Issues included low plasticity when throwing, cracking while drying, warping when firing, and pinholing in the glaze fire. A recipe was developed that worked well for the chosen clay, found in a roadside in Craigsville, Virginia.

Thomas Kong Interview, Jon Lovisetto

Asian American Art Oral History Project

Artist bio: Thomas Kong is an artist working in collage and assemblage, using advertising, packaging and other surplus material from his convenience store, Kim's Corner Food, located in the Rogers Park neighborhood of Chicago.

Kim's Corner Food features an evolving installation of Kong's work, and is open to customers and visitors 7 days a week from 8AM - 8PM at 1371 W. Estes Ave, Chicago, IL 60626.

The Back Room, an experimental project space in the store's former stock room, operated from October 2015 – March 2019, and has now closed. Bio from: https://thomaskong.biz/

Japanese-English Translation: Kitaōji Rosanjin—Why I Became A Potter (1933), Christopher Southward

Comparative Literature Faculty Scholarship

A translation of「なぜ作陶を志したか」、北大路魯山人著、1933年

Source, Aozora Bunko (a digital archive of public-domain Japanese-language works):

General website: https://www.aozora.gr.jp

Current text: https://www.aozora.gr.jp/cards/001403/files/55082_54782.html

All rights reserved, Christopher Southward, 2019

Kathy Liao, Lei Chen

Asian American Art Oral History Project

Artist Biography: Kathy Liao currently resides in Kansas City, MO, and teaches at Missouri Western State University as the Director of the Painting and Printmaking Studio Art Program. Drawing inspirations from her diverse cultural background and personal history, Kathy Liao mixed media work is about the intimate yet universal concept of relationships. Liao received her MFA in Painting from Boston University and BFA in Painting and Drawing from University of Washington, Seattle. Liao is a recipient of various awards including the StudiosINC Studio Residency Program, Charlotte Street Foundation Studio Residency, Elizabeth Greenshield Foundation Grant, Artist Grants from Anderson Ranch Arts …

Sky Cubacub Interview, Spencer Nieto

Asian American Art Oral History Project

Artist Bio: Rebirth Garments are designed and made by hand by Sky Cubacub. Sky is a non-binary queer and disabled Filipinx human from Chicago, IL with life long anxiety and panic disorders. Sky first dreamed of this collection while in high school and couldn’t find a place where they could buy a chest binder as a person who was under 18, and who didn't have access to a credit card to buy one online. Sky is especially interested in Rebirth Garments being accessible to queer and disabled youth and is working on creating a program for making free/reduced priced garments …

Kai Duc Luong Interview, Stuart Hutson

Asian American Art Oral History Project

Artist Bio Born in 1975 in Phnom-Penh, KAI-DUC LUONG fled the oppressive Khmer Rouge regime from Cambodia to Vietnam to France, where his family settled in Paris, in 1978. KAI-DUC operates between Chicago and Paris. His artistic projects include video (art / doc / film), photography, and mixed media installations. His unconventional path as a self-taught outsider artist, trained in digital communication & systems engineering, gives him a unique perspective, at times questioning subject matters through the understanding of transmission and systems (e.g. the primary emotions, the five senses, the stages of grief, the art industry). His works have been …

Heather C. Lou Interview, Katie O’Reilly

Asian American Art Oral History Project

Artist Bio: heather c. lou, m.ed. (she/her/hers) is an angry gemini earth dragon, multiracial, asian, queer, cisgender, disabled, survivor/surviving, depressed, and anxious womxn of color artist based in st. paul, minnesota. her mixed media pieces include watercolor, acrylic, gold paint pen, oil pastel, radical love, & hope. each piece comments on the intersections of her racial, gender, ability, & sexual identities, as they continue to shift and develop in complexity each day. her art is a form of healing, transformation, and liberation, rooted in womxnism and gender equity through a racialized borderland lens. heather works in education as an administrator. …

Chamindika Wanduragala Interview, Vincent To

Asian American Art Oral History Project

Chamindika Wanduragala is a Sri Lankan American visual artist, cook, DJ ( DJ Chamun), puppeteer and stop motion animation filmmaker based in Minneapolis. Her work deals with personal experience through mythic stories. She is also the founder and Director of Monkeybear's Harmolodic Workshop, which supports Native/POC in developing creative and technical skills in contemporary puppetry.

Bio from: http://chamindika.com/index.html

Tori Hong Interview, Eliza Lemus

Asian American Art Oral History Project

Artist Bio: Tori Hong is a self-taught visual artist exploring homelands and homecomings. In order to create meaning out of the often ambiguous, disruptive, and generative spaces they occupy, Hong creates narrative-driven illustrations, portraits, and zines. The people Hong centers in their work are LGBTQ Asian Americans and people with marginalized identities. Hong is based in Minneapolis, MN.

Kelvin Burzon Interview, Maya Boustany

Asian American Art Oral History Project

Kelvin Burzon is a Filipino-American artist whose work explores intersections of sexuality, race, gender and religion. He was born on March 26, 1989, in Bataan, Philippines. As a child growing up in a Filipino culture, Burzon’s initial ambition was to become a Catholic Priest. “I have always been interested in the religion’s role in culture and familial relationships and have been drawn to the religion’s traditions, imagery, theatricality, and its psychological vestige.” His work is inspired by cerebral influences growing up in and around the church. “My cultural and familial identity, my memories as a child, cannot be separated from …

Jennifer Tshab Her, Allison Bautista

Asian American Art Oral History Project

Artist Bio: My work demonstrates and complicates the politics of displacement through my experience as a second-generation Hmong-American woman. As a nation-less ethnic minority from Southeast Asia, I fear cultural extinction. I create work that reveals the diaspora of the Hmong, questioning the roles of site and place, and instead looking in-between. My work engages political and cultural space through multidisciplinary practices such as embroidery, installation, and social practice. I use color as a dialogue–a tool for bringing attention to space, claiming space and recognizing how spaces are claimed. I interpret the question of ownership, whether land or body, through …

Between And Beyond, Noah F. Heil

Art and Art History Honors Projects

Between and Beyond is a series of handbuilt and wheel-thrown ceramic objects which explore intimate queer relationships through the human figure. I assemble slabs of clay to create openings and negative spaces within the sculptures, implying the ways in which the human form also acts as a vessel. The sculptures as well as the figures themselves remain open and vulnerable, literally and metaphorically. The body is depicted through fragmented sections, alluding to the ways in which society and culture break up gender and sexuality into limiting binaries. These intimate, private moments are meant to conjure an imagined future free of …

This Is Just To Say, Iren Tete

School of Art, Art History, and Design: Theses and Student Creative Work

My memories are marked by the desire to evade logic. At a young age I became a proficient player of the “What If” game.

What if I could hold light in my hands?

What if shadows had form that could be touched?

What if I could see through structures?

These mental exercises affected my relationship with reason and validity. Aware of the threat of the ordinary, I embraced the inherent magic in the notion of possibility. I understand possibility as the limitless potential of object, thought, or scenario. This potential extends beyond the apparent and prompts more questions than it …

Entangled, Katherine Cox

School of Art, Art History, and Design: Theses and Student Creative Work

I create objects to incite wonder through their exuberance, inviting one to explore the beauty found in the strange and offering the viewer a way to interact with the discomfort of the unknown. Mysculptures are an assembly of engaging surfaces and forms revealing varying texturesandvibrant colors referencing natural and fabricated worlds. Each sculpture is entangled within its own environment or narrative and each is adorned for its own role, finding a balance between discord and harmony, captivation and repulsion.

Each is an individual exploration of the distinct qualities inherent within each object. They are precious in scale and stimulate …

Contemporary Muslim Fashions: De Young Museum, San Francisco, Ca, Carol Bier

Textile Research Works

Calico, chintz, damask, muslin, cashmere, seersucker, taffeta, shawl, caftan, and cummerbund-all English terms derived from Islamic textiles and dress-are the products of textile technologies that resulted from colonization and trade. Their cultural origins are long forgotten, shrouded in the fast-moving commercialized fashion industry and haute couture ofthe West that developed during the 20th century. The exhibition, Contemporary Muslim Fashions, is a game-changer.

The exhibition organizers, Jill D'Alessandro and laura Camerlengo, curators of costumes and textiles at the De Young Museum in San Francisco, worked with Reina Lewis in London as a curatorial consultant. Together, they drew upon the local advice …

Socio-Political Criticism In Contemporary Indonesian Art, Isabel Betsill

Independent Study Project (ISP) Collection

The objective of this paper is to understand the connections between contemporary art and politics in Indonesia both in terms of how politics has shaped art practices, and in terms of how art influences politics. Questions I was interested in exploring include how contemporary art practices have changed considering the political changes over the past 30 years; if and how contemporary art is being used to facilitate political dialogues in the country; if and how contemporary art is being used to criticize and invoke change regarding social issues; and what the role of art spaces, collectives and foundations is in …

Z4, A Slow Puncture: An Autoethnographic Exploration Of Language, Embodiment, And Meaning-Making, Charlotte Rose Samuels

Independent Study Project (ISP) Collection

In my ISP, I explored language as it relates to the ways in which people living in Cato Manor make sense of HIV/AIDS in their community. With 7.1-7.2 million people living with HIV (PLWHIV) in South Africa, individuals across the country are either infected or affected by illness. KwaZulu-Natal (KZN), the province with the highest rate of HIV, is also the province that was surveyed with the disproportionately highest internal stigma rates for PLWHIV. High prevalence of HIV, particularly in KZN, calls for a constant contextualization of life in the presence of illness.

Throughout the world, metaphor and symbolism is …

Painting Down, Claire Stankus

MFA Statements

No abstract provided.

Here's What I Know, Kelsey Miller

MFA Statements

INTRODUCTION

Now, at the end of three years of graduate school, is a time for reflection—and a time to piece together a narrative of how I got to now. In our first semester here, we were given an assignment in a drawing class to gather pictures, text, and objects that informed or inspired our studio practice, a Collectanea. At the end of that semester, we documented and compiled our collection into a photo book—an atlas of our thoughts and observations. That book became the bones of the work I have made over these last three years. New thoughts and …

Exhibition Catalog For Learning To Count To One; Can The Center Hold? Tesserae @ .25 : .5 : 1 : 2 : 3 : 4 : 6 : 12 : 24 : 48 : 72 : 96 : 120. Attraction And Entanglement, Ron Mills-Pinyas

Exhibition Catalogs, Essays, and Related Materials

This catalog provides information on the exhibit Learning to Count to One; Can the Center Hold? Tesserae @ .25 : .5 : 1 : 2 : 3 : 4 : 6 : 12 : 24 : 48 : 72 : 96 : 120. Attraction and Entanglement, by Ron Mills-Pinyas. This exhibit was presented by the Linfield Gallery and the Department of Art at Linfield College from February 8 through March 23, 2019.

Writing About Art, Ana Marjanovic

Open Educational Resources

The course focuses on practice in the styles and forms of expository writing required in the arts. It recommends the readings that acquaint students with standards of good writing about the arts.

Japanese-English Translation: Kitaōji Rosanjin--A Few Words For Aspiring Potters, Or Concerning The Relation Of The Person To The Work Of Art, Christopher Southward

Comparative Literature Faculty Scholarship

Translation of 「陶芸家を志す者のために：芸術における人と作品の関係について」、北大路魯山人著—a speech delivered by Japanese potter, painter, lacquer artist, and restaurateur Kitaōji Rosanjin at Alfred State University, NY in April 1954. Part of a noncommissioned work in progress: Kitaōji Rosanjin: Reflections on Pottery, Travel, and Culinary Life All rights reserved, Christopher Southward (2019). Source, Aozora Bunko (a digital archive of Japanese-language literary work in the public domain): General website: https://www.aozora.gr.jp/ Current text: https://www.aozora.gr.jp/cards/001403/files/55081_54778.html

The Alchemical Vessel, River Soma

MFA Statements

My work comes from a place of deep feeling on a bodily level. Amidst the decorative play, there is a sense of the primitive and primordial, and also a certain humanity and clumsiness through struggle. Through the hermetic tradition I relate the alchemical vessel and its symbolic process of interior development to my artistic practice. Focusing in mixed media sculpture, I discovered a concentrated accumulation of symbolism specific to my practice, but also the full recognition of my practice as a ritualized psychological undertaking.

Sufism, Beauty, Love: Ecstasy And Rapture Of Islam In Asia. Study Guide, Carol Bier

Textile Research Works

Key Vocabulary: Concepts, Practices, Buildings, Masters/Leaders/Disciples

Major Sufi Figures

Suggested Readings

Ciencia De Tejer En Los Andes: Estructuras Y Técnicas De Faz De Urdimbre, Denise Y. Arnold, Elvira Espejo

Textile Research Works

Las estructuras y técnicas de los textiles andinos, en las piezas arqueológicas y en las piezas tanto históricas como contemporáneas, se cuentan entre las más complejas del mundo. Si bien el tapiz o faz de trama quizá sea el más conocido de todos los tipos de tela de la región, es sin duda en las telas de faz de urdimbre donde estas estructuras y técnicas han alcanzado su máximo desarrollo, sobre todo en nuestros tiempos. Varios estudios anteriores han intentado describir las estructuras y técnicas de faz de urdimbre, fundamentalmente los libros clásicos Textiles of Anciente Peru and their Techniques, …

Uncoverings: The Research Papers Of The American Quilt Study Group, Volume 40 (2019), Laurel Horton, Terry Tickhill Terrell, Katha Kievit, Linda Welters, Margaret T. Ordoñez

Uncoverings Journal

Preface by Laurel Horton

Prickly Elegance: Identifying and Dating Disocactus Motifs on Early Chintz by Terry Tickhill Terrell

Edmund Potter: Nineteenth Century Calico Printer by Katha Kievit

Delaines: A Forgotten Fabric by Linda Welters and Margaret T. Ordoñez

Contributors

Index

Introduction To Drawing, Panagiotis Mavridis

Open Educational Resources

No abstract provided.

The Aleppo Minbar: Symmetry And Islamic Aesthetics, Carol Bier

Textile Research Works

The Aleppo minbar (pulpit for Friday sermons) is a monumental architectural sculpture commissioned in the middle of the 12th century in Aleppo, Syria, by Nur al-Din al-Zangi, who was ruling from Damascus. Envisioning the end of the Crusades, Nur al-Din sought to place the minbar in the Aqsa Mosque after Muslims reclaimed Jerusalem, where it was installed in 1187 by the Ayyubid ruler, Saladin. Richly ornamented with many geometric forms and designs, the wooden minbar expresses an algorithmic Islamic aesthetic based on symmetry, with patterns that imply an infinite expanse contained within borders. Manifesting an aesthetic that persisted for …