Art and Design Commons^™

Artisanal Textile Manufacturing, Bethanne Knudson

Textile Society of America: Symposium Proceedings

Two entrepreneurs from North Carolina went to the International Textile Machinery Association exposition in Paris, in 1999. Opening their own mill was a possibility. However, the “state of the art” in industrial textile machinery was not to make interesting fabric, but to make a lot of it, and fast. Of course the machine manufacturers would cater to the demands of the textile manufacturers, but those manufacturers had begun failing in “western” countries—North America and Europe.

By mid-2000 the American textile industry would be unrecognizable. The two went to the next exhibit, in Birmingham, England, in 2003, and saw more of …

New Insights From The Archives: Historicizing The Political Economy Of Navajo Weaving And Wool Growing, Kathy M'Closkey

Textile Society of America: Symposium Proceedings

After the formation of the reservation in 1868, the government issued licenses to regulate trade in wool, textiles, and pelts that traders acquired from Navajos. In 1890, blanket sales were 10% of wool sales; by 1930, weavers processed one-third of the clip, their textiles were valued at $1 million, and provided one-third of reservation income. Only Navajos raised hardy coarse-wooled churros whose wool is ideal for hand processing. Recently analyzed archival evidence reveals that blankets were transformed into rugs when tariff removal (1894-97) triggered imports of one billion pounds of duty-free wool, much of it from China. Thus Navajos underwent …

Sustaining The Magnificent Craft Of Songket Weaving In Malaysia, June Ngo Siok Kheng

Textile Society of America: Symposium Proceedings

Mass-production of songket utilising jacquard looms can swiftly diminish the songket weaving cottage industry. Investing in a jacquard or dobby loom can be expensive and thus may not be affordable for practical use in the cottage songket industry as traditional weavers tend to operate on a small scale basis in villages. This paper highlights the production of contemporary Malaysian handwoven songket which is currently being funded by Yayasan Tuanku Nur Zahirah (YTNZ). The YTNZ is a foundation founded under the royal patronage of her Majesty Tuanku Nur Zahirah, the reigning Queen of Malaysia. YTNZ aims to help under-privileged communities in …

Woven Blooms Of Nationalism: Russian Handwoven Tapestry-Technique Shawls 1825-1855, Tanya Wetenhall

Textile Society of America: Symposium Proceedings

Russian handwoven, tapestry-technique shawls of the nineteenth century form an understudied group of textile art, especially when compared to Russia’s widely-known printed shawl industry. Often considered by Western textile and fashion historians to be a parallel industry to the production of woven shawls of the Kashmir style in France and Britain, further investigation suggests the contrary. The manufacture of Russian tapestry-technique shawls developed as a distinctly separate industry, addressing nineteenth-century Russia’s established shawl trade and shifting geopolitics. The Russians continued the production of these extravagant shawls long after the Kashmir shawl’s fall from fashion grace in the West due to …

Development Of A Personal And Non-Pictorial Style In Contemporary Tapestry, Michael F. Rohde

Textile Society of America: Symposium Proceedings

Some contemporary American tapestry weavers are working in a style that deliberately breaks the link with centuries of European tapestry weaving, which most often aims to be representational or pictorial in content. While a great number of remarkable works by contemporary tapestry artists are produced in this pictorial manner and are well worth consideration and commendation, a strong case can be made for more abstract imagery. The few American tapestry weavers who consciously break from the linkage to European style have developed styles that may be said to be more American, than from other influences. By examining my own work …

Binary Fiction: Digital Weaving 2010, Concurrent Exhibitions, Eisentrager-Howard Gallery

Textile Society of America: Symposium Proceedings

Eisentrager-Howard Gallery
www.unl.edu/art/facilities_eisentrager-howard.shtml
Richards Hall, 1st floor
Stadium Dr. & T St.
(402) 472-5025

Binary Fiction: Digital Weaving 2010
October 4 - 29, 2010

The artists in this exhibition, Laurie Addis, Catharine Ellis, Gail Kenning, Chia-Hui Lu, Christy Matson, Vita Plume, Michael Radyk, Ismini Samanidou, Ruth Scheuing, Pauline Verbeek-Cowart and Bhakti Ziek, use weaving combined with the generative capabilities of the computer to create planar
objects imbued with beauty and meaning. Drawing on various sources of inspiration mediated by digital technology, they transform virtual designs into material form using the matrix of threads on the loom. The binary language of …

Woven Color In China/ The Five Colors In Chinese Culture And Polychrome Woven Textiles, Zhao Feng

Textile Society of America: Symposium Proceedings

There existed the yin-yang theory and the five color system, including red, blue, yellow, black and white, in ancient Chinese culture. Each color refers to one of the five directions, east, west, north, south and middle, also one of the five planets, Venus, Jupiter, Mercury, Mars and Saturn, as well as one of the five materials, metal, wood, water, fire and earth. This idea was also widely used in the Chinese polychrome woven textiles from the Han dynasty (2c. BC-2c. AD), to the Ming dynasty (14-17c). Based on the analysis of all available samples of polychrome woven silks with cloud …

Needlepoint By Stephen Beal, Concurrent Exhibitions, Gallery 9

Textile Society of America: Symposium Proceedings

A small exhibition held in conjuntion with the Textile Society of Americas 12th Biennial Symposium, From Plains Space to Cyberspace, displaying needlepoint work of the late Stephen Beal, the 2008 Lillian Elliott Awardee.

Mementos, Matthew Patterson

Art & Art History Masters of Fine Arts Theses - Archive

Written portion of creative MFA thesis published as a book. Physical copies are available for viewing in the Art & Art History Department office.

Amy Price Artist Statement, Amy Price

OUR Journal: ODU Undergraduate Research Journal

No abstract provided.

Kelly Herring Artist Statement, Kelly Herring

OUR Journal: ODU Undergraduate Research Journal

No abstract provided.

Kjerstin Torpmann-Hagen Artist Statement, Kjerstin Torpmann-Hagen

OUR Journal: ODU Undergraduate Research Journal

No abstract provided.

Lots (Of Things), But Nothing (I Could Use), Iris Bechtol

Art & Art History Masters of Fine Arts Theses - Archive

Written portion of creative MFA thesis published as a book. Physical copies are available for viewing in the Art & Art History Department office.

Images Of Work 2007-2010, Clinton Rawls

Art & Art History Masters of Fine Arts Theses - Archive

Written portion of creative MFA thesis published as a book. Physical copies are available for viewing in the Art & Art History Department office.

Dit Graduate Exhibition Show Of The School Of Art, Design And Printing 2010, Dublin Institute Of Technology

DIT Publications

Exhibition committee staff Kieran Corcoran Peter Jones Paul White Robert Tully Neville Knott John Short Brenda Dermody Clare Bell Brenda Duggan Annette Buckley Pat Muldowny Joe Hanly Exhibition commitee student representatives Lucy Clarke Margaret Flynn Kate Geoghegan Gavin Gogarty Fiona O'Keeffe Cian McKenna Becky O'Hara Catalogue concept and design Paul Woods - www.paultheillustrator.com Maeve Keane - www.andstudio.ie Photography by Gillian Buckley. Typeset in DIN 9pt and 24pt. Printed on 140gsm Revive 50/50 by Future Print, Dublin. DIT Graduate Exhibition 2010

The Only Way Out Is Through, Lia Halloran

Art Faculty Creative Works – Exhibitions

"DCKT Contemporary is pleased to present LIA HALLORAN’s third New York solo exhibition. The exhibition includes new paintings of crystal caves and personified icebergs, along with ink on vellum works. HALLORAN uses science and the natural world to map out physical and psychological spaces in her painting and addresses time in ways that stretch our notions of perception."

This exhibition can also be viewed on DCKT's website.

Foreword To Irina Yazykova, Hidden And Triumphant: The Underground Struggle To Save Russian Iconography, Wendy Salmond

Art Faculty Books and Book Chapters

Wendy Salmond's foreword to Irina Yazykova's Hidden and Triumphant: The Underground Struggle to Russian Iconography, in which Yazykova discusses how the art of icon painting survived during years of Russian Communism and is now poised to launch a new era that reflects modern experience.

How America Discovered Russian Icons: The Soviet Loan Exhibition Of 1930-32, Wendy Salmond

Art Faculty Books and Book Chapters

On 14 October 1930, the first exhibition of Russian icons ever to take place in the United States opened at the Museum of Fine Arts in Boston. Over the next nineteen months it traveled to nine venues across the country, introducing the American public to a form of medieval painting virtually unknown outside Russia. Billed as the "Union of Soviet Socialist Republics Loan Exhibition," its avowed goal was to share with the outside world the full story of Russian icon painting's evolution from the twelfth to the nineteenth centuries, thereby adding a vital missing chapter to the history of medieval …

Baciccio's Beata Ludovica Albertoni Distributing Alms, Karen J. Lloyd

Art Faculty Articles and Research

This article focuses on the artistic relationship between Baciccio and Gian Lorenzo Bernini.

Windhorse, Sara W. Tower

The Mercury

No abstract provided.