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The Master's Written Thesis, Anne West, Graduate Studies, Center For Arts & Language

Thesis Writing

91 pages : illus. ; 26 cm; 2nd Edition. "This guide to thesis development is best used in discussion and negotiation with your Graduate Program Director and other thesis advisors. It may also be used as part of a workshop structure to explore in conversation with others the ideas and possibilities most appropriate to your own work." – Anne West, from the Introduction. "This remarkable handbook is a navigational instrument offered to assist each graduate student through the development of an independent, distinctive process of writing about—and with—one’s work." – Patricia C. Phillips, from the introduction. "The first edition of …

Flowers, Lies And Revolution: Contemporary Cuban Art, Jorge Daniel Veneciano, Sharon L. Kennedy, Britt-Marie Varisco

Sheldon Museum of Art: Catalogs and Publications

Flowers, Lies and Revolution surveys some themes that emerge in contemporary Cuban art, as revealed in three private collections in Lincoln, Nebraska. What a landlocked state and a sea locked nation share are the desires, comforts, and complexities of the other. This exhibition celebrates the transnational scope and vision witnessed in the breadth and focus of the three local collections: those of Karen and Robert Duncan, Kathy and Marc LeBaron, and Lisa and Tom Smith.

The collections represent the dominant trends of a new generation of Cuban artists that emerged in the last 30 years. Their work continues a tradition …

Voyage To Italia: Americans In Italy In The Nineteenth Century, Genevieve Ellerbee

Sheldon Museum of Art: Catalogs and Publications

ItalY had long been a destination for American travelers, but by the nineteenth century American tourists flooded into Rome and Florence, hunted for picturesque vistas on the Bay of Naples and roamed through ancient ruins in Paestum. Armed with Baedeker guidebooks or the Hand-Book for American Travellers in Europe, Collated from the Best Authorities, they sought the authentic spirit of Dante, Petrarch, and Virgil, and chronicled their lengthy tours in detailed journals and letters to friends. Americans traveled to Italy for various reasons: to gain social prestige, to pursue artistic and literary interests, or simply to enjoy a beautiful …

Dan Christensen: Forty Years Of Painting, Sharon L. Kennedy

Sheldon Museum of Art: Catalogs and Publications

Art critic Clement Greenberg described Dan Christensen (1942-2007) as "one of the painters on whom the course of American Art depends." 1 This retrospective exhibition documents Christensen's life-long quest to understand the possibilities of color, paint, and pictorial space. Though long associated with Color Field painting, Christensen's relentless experimentation with style and technique places him among this country's most ambitious abstract and gestural painters.

Christensen was born in Lexington, Nebraska and grew up outside of Cozad. As a teenager Christensen listened to music on radio stations from Shreveport and Little Rock and grew fond of soul, blues, and pop music. …

Divine Abstractions: Spiritual Expressions In Art, Susan J. Soriente

Sheldon Museum of Art: Catalogs and Publications

In Northern Europe during the early 1800s, artists began departing from the rationalism of the Enlightenment and the realism of traditional artwork. Their desire to express the mysterious and unseen essence of the divine through their artwork transformed the way we think about art. Called Romanticists, these artists valued subjective experience over reason and the individual experience rather than the collective. They abandoned conventional religious iconography and produced private, intensely meditative images, depicting the divine as something eternal and infinite. These artists believed that material reality hindered experiencing the divine. They sought to fracture the shell of physical reality to …

12th Biennial Symposium Program, Part 1, Textiles And Settlement: From Plains Space To Cyber Space

Textile Society of America: Symposium Proceedings

As President of TSA, I am delighted to welcome you to the 12th Biennial Symposium of the Textile Society of America. This gathering brings together an impressive number of scholars, artists, museum and gallery professionals, educators, and textile enthusiasts from around the world.

As an organization, TSA selects Symposium venues which through their unique site specific offerings broaden our understanding of diverse museum collections and institutions in different geographic settings, encouraging new and old members to discover what yet another location holds of serious interest to specialists. Each gathering has its own flavor and distinct sense of place. For this …

Head Coverings In The Virtual Umma: The Case Of Niqab, Heather Marie Akou

Textile Society of America: Symposium Proceedings

A growing body of literature points to the Internet as a place where Muslims are re-imagining themselves as part of a global, interconnected, religious culture—a new virtual umma. Along with issues such as politics, Islamic law, the interpretation of text, and procedures for rituals, hijab (modest dress) is a frequent topic of conversation. Compared to the physical world, where debates are heavily framed by time, place, and the habits of daily life, on the World Wide Web ideas and products flow much more easily. A new convert in Canada, for example, could use the Internet to read translated passages from …

Textiles And Tradition In The Marketplace, Philis Alvic

Textile Society of America: Symposium Proceedings

Textiles and traditional textile techniques have been part of economic crafts development in many countries for a long time. Many of the schemes for helping the poorest of the world’s poor involve using or adapting textiles and creating products to appeal to the tourist and export markets. Individual styles become marketing tools because they are unique to a particular culture. In coming up with items that will sell, rarely does the product honor the culture that it came from.

While any TSA member would realize the value of traditional textiles, most customers prefer that the fabric be used to make …

Beni Itajime: Carved Board Clamp Resist Dyeing In Red, Masanao Arai, Yoshiko Iwamoto Wada

Textile Society of America: Symposium Proceedings

Throughout Japanese textile history, Kyokechi or itajime shibori has been known as a resist dyeing process wherein a piece of folded cloth is sandwiched between wooden boards clamped tightly to protect selective areas of fabric from dye. This paper introduces a lesser known group of itajime textiles called beni ita, beni itajime, Kyo beni -- fine, lightweight silks patterned by clamp resist using boards carved with pictorial designs of flowers, birds, etc. These silks were used exclusively for under layers -- shitagi, an underkimono worn by women in the latter Edo Period (1603-1867) through the Meiji Period (1868-1912) and into …

Textiles Of Qaraqalpaqstan And Their Relationship To Central Asian Traditions And The Legacy Of Igor Savitsky, Marinika Babanazarova

Textile Society of America: Symposium Proceedings

The Karakalpak people are a semi-nomadic, Turkic-speaking tribe situated near the southern end of the Aral Sea in Uzbekistan, whose textile folk art forms a distinct thread in the larger fabric of the Central Asian textile tradition. The I.V. Savitsky State Art Museum of the Republic of Karakalpakstan in the northwest of Uzbekistan near the southern end of the Aral Sea houses the world’s most comprehensive collection of Karakalpak textile art. Passionately collected by Igor Savitsky despite Soviet prohibitions, he singlehandedly preserved records of a dying culture. This presentation will focus on aspects of the collection as it relates to …

Oriental Carpets, Spatial Dimension, And The Development Of Linear Perspective: From Grid To Projective Grid, Carol Bier

Textile Society of America: Symposium Proceedings

Studies of the origins of linear perspective in European painting tend to focus on developments in treatment of the spatial dimension, with attention especially devoted to mathematical principles that underlie the representation of three-dimensional space. The theoretical understanding of this is first articulated in Alberti’s treatise De pictura (1435). Given that carpets are relatively flat objects, and that their patterning, no matter how complex, was intended to be viewed as two-dimensional, the linking of carpets to the representation of three-dimensional space would seem to be paradoxical. But the relationship may actually find a basis in historical reality.

Carpets produced in …

Progressional Journeys: Compelling New Directions For Three “New Basketry” Artists, J. Penny Burton

Textile Society of America: Symposium Proceedings

The “New Basketry” movement of the late 1960s and the early 1970s was essentially spearheaded by Ed Rossbach. Many leading fiber artists and educators have been touched by this lasting legacy in some manner, whether from their own experiences as students of Rossbach’s, or merely from studying the fine technical and innovative basketry works that emerged during this period. Personal interviews with three dynamic women, who were active early on in this movement—Dorothy Gill Barnes, Patricia Hickman, and Kay Sekimachi—have revealed that an enduring engagement with materials remains central to their ongoing artistic practices. This has resulted in their exploration …

Natural Dyes, Our Global Heritage Of Colors, Dominique Cardon

Textile Society of America: Symposium Proceedings

In the past, each civilization throughout the world has selected its own specific range of plant and animal sources of color, each from their respective natural environments. These included dyes and colorants that were used for the hair and skin, for everyday or festive food, for clothing and furnishing textiles, matting, etc. Scientific research into the colorants present in historical and anthropological textiles and objects have revealed a common empiric logic for this selection, and astonishing parallels can be found in the technical processes developed by ancient and traditional dyers of all continents. This lecture will consist of a discussion …

The History And Analysis Of Pre-Aniline Native American Quillwork Dyes, Christina Cole, Susan Heald

Textile Society of America: Symposium Proceedings

Before beadwork, Native Americans used brightly-colored porcupine quills to decorate objects from moccasins to bags to wall hangings. Though the know-how of folding quills to create floral and abstract designs has survived, very little is known about the materials used to color the quills, particularly on the pre-aniline dyes used by communities east of the Mississippi, as historical recipes tend to be more reflective of Plains and Pacific Northwest quillwork traditions. Additionally, Native American artisans have expressed interest in having museum collections analyzed to further their knowledge of traditional materials. To address the literature gap and answer community questions, a …

Fueled By Silk: Victorian Crazy Quilt Mania, Patricia Cox Crews

Textile Society of America: Symposium Proceedings

Crazy quilts captured the imagination of American women who made thousands of them between 1880 and 1900. But, what sparked this craze at this particular period in time? Most scholars agree that several factors sparked the national rage for Crazy quilts in the late 19th century, the most important factor being the Japanese and British decorative arts displays at the Centennial Exhibition in Philadelphia in 1876. The other factor mentioned is the availability of affordable silk fabrics.

Specifically, scholars note how fascinated Americans became with the exotic goods displayed at the popular Japanese pavilion at the Centennial Exhibition. Scholars agree …

Kyrgyz Felt Of The 20th And 21st Centuries, Dinara Chochunbaeva

Textile Society of America: Symposium Proceedings

Kyrgyz people, representing the ancient nomadic civilization of Central Asia, manufactured felt from time immemorial and utilized it in all aspects of their lives. The portable house of Kyrgyz tribes, the yurt, was covered by felt, while the interior decoration and richly ornamented rugs, household goods, clothes, and toys were felt as well.

Felt also had sacral meaning and played an important role in the social life of the tribe. The elected leader was lifted up by tribe members on a piece of white felt, symbolizing public acknowledgment of his power; in funerary traditions a piece of felt was used …

Trousseaux: From Weaving Handwoven Textiles To Collecting Mass Commodities, Kimberly Hart

Textile Society of America: Symposium Proceedings

In rural Turkey, trousseaux are a personal and socially representative collection of textile practices, economies, and desires. This paper addresses the questions of how, when, why and in what forms handweaving gave way to the collection of mass-produced commodities and handmade goods reflecting urban styles in trousseaux. It considers how local communities abandon cultural heritage production for their own consumption and make the transition to desiring, making and buying decorative goods, which reflect current fashions in both local and national terms. The paper is based on long-term ethnographic research in rural villages in western Anatolia, where handweaving once demonstrated cultural …

Textile Society Of America Newsletter 22:1 — Winter 2010, Textile Society Of America

Textile Society of America: Newsletters

Symposium Planners Announce Native American Program Focus [Textiles and Settlement: From Plains Space the Cyber Space, 12th Biennial Symposium, Lincoln, Nebraska, October, 6–9, 2010]
From the President
TSA News
TSA Member News
Book Reviews
Tour Reviews
Textile News
Events Calendar-Conferences & Symposia, Exhibitions, Lectures, Workshops, Tours
Publication News

Mapping Textile Space: Stitched And Woven Terrains, Elizabeth Ingraham

Textile Society of America: Symposium Proceedings

Mapping is a fundamental way of converting personal knowledge to transmittable knowledge and maps are unique in the way they use space to represent space. Maps are selective in what they choose to represent, seductive in their contours and calligraphic marks and powerful in their ability to locate, describe, demarcate and ground.

I will present a visually rich journey through the work of contemporary artists who use stitching and weaving to map both literal and metaphorical terrains in a textile space. Among the artists we will look at are:
• Linda Gass, whose stitched topographic reliefs are at once descriptive …

Geometric Abstraction In Pre-Columbian Tapestry And Its Enduring Influence, Susan Iverson

Textile Society of America: Symposium Proceedings

Making art requires looking back and looking forward while maintaining a strong presence in the current cultural world. As a tapestry weaver, when I look back, I look at pre-Columbian weaving for inspiration. It is looking at the art and architecture of these ancient cultures that has allowed me to appreciate weaving as the basis for geometric pattern and abstraction. With an understanding that they developed their images for completely different reasons than those of the contemporary artist, I respond to their respect for the woven grid and their apparent desire to work with this structure instead of against it. …