Arts and Humanities Commons^™

Ogunian Heroes And Grand-Masters: The Rise Of Moral Systems And Language In Shaping Tragedy In "The Man Who Would Be King" And Death And The King's Horseman, Harini Angara

Criterion: A Journal of Literary Criticism

No abstract provided.

Katherine Anne Porter And The Problem Of Critical Assessment Across Borders, Max O. Johnson

Criterion: A Journal of Literary Criticism

No abstract provided.

Collaborative Ethnic Studies: Reference, Influence, And Comparison Of Richard Wright's Uncle Tom's Children In Carlos Bulosan's America Is In The Heart, Timothy Rowan

Criterion: A Journal of Literary Criticism

No abstract provided.

Contributors

Criterion: A Journal of Literary Criticism

No abstract provided.

Pod Network News Fall 2010

POD Network News

Notes from the POD Office 35th

Annual POD Conference

The Idea Center-35th Anniversary

Call for Manuscripts: To Improve the Academy

Guest Column

Call for Core Self Nominations

MERLOT ELIXR Digital Case Stories

Review Of Teaching Graphic Novels, By Katie Monnin, Susan Spangler

SANE journal: Sequential Art Narrative in Education

No abstract provided.

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

Sheldon Museum of Art Catalogues 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. …

Women Artists In The Collection

Sheldon Museum of Art Catalogues and Publications

This special exhibition of the permanent collection focuses exclusively on the contributions of American women artists. The fact of women's historical exclusion from the art world is part of the exploration, "Why have there been no great women artists?"-art historian Linda Nochlin famously asked in a 1971 essay. Her findings pointed to the past exclusion of women from working with male nude models, hence apprenticeships, then professions and academies, to which we add commercial gallery exhibitions, art criticism, and art history. Over the centuries this vicious cycle has shaped the current phenomenon: the predominance of male artists in museum collections …

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 …

Choreographed Cartography: Translation, Feminized Labor, And Digital Literacy In Half/Angel’S The Knitting Map, Deborah Barkun, Jools Gilson

Textile Society of America Symposium Proceedings

The Knitting Map was a large-scale, durational textile installation by the Irish-based performance production company half/angel that took place during Cork’s year as European Capital of Culture (2005). Bringing a decade of experience with emergent technologies and art practice, half/angel developed technologies to connect the physical busy-ness of Cork City (captured via a series of CCTV cameras) with correspondingly complex knitting stitches (stitches became more complex when the city was busy), and Cork weather (captured by a weather station) to yarn color. The resulting textile was an abstract documentation of a year in the life of an Irish city, in …

Conversation With Nature, Kyoung Ae Cho

Textile Society of America Symposium Proceedings

I am engaged in a conversation with nature. Each work produced is the result of an intimate dialogue between artist and materials. The conversation may begin as I gather recycled organic matter and collect man-made objects of little value, or it may commence with a sudden discovery: of the beauty in a corn leaf, for example. Leaves and flowers that have fallen to earth are dried, ironed, flattened and stitched: processes that I view as ceremonial transitions from one stage of being to another. Through preparing the materials, I am attentive to the ways they reveal, through shape, pattern, color, …

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 …

The Fiber Of Our Lives: A Conceptual Framework For Looking At Textiles’ Meanings, Beverly Gordon

Textile Society of America Symposium Proceedings

Based on the model explicated in my forthcoming (Thames & Hudson, Fall 2010) book, The Fiber of Our Lives: Why Textiles Matter, I will present a holistic framework that can be used to articulate and compare the meanings of textiles of any given culture or historic period. The framework considers the range of human activities and concerns, including meeting practical survival needs and securing physical, psychological and psychic protection; social interactions; the propensity to seek and wield power; the communication of ideas and aesthetic expression; and activities geared to transcending the limits of human experience—i.e., the spiritual realm. This approach …

Future Reliquaries, Barbara Heller

Textile Society of America Symposium Proceedings

As a tapestry weaver, spinner, and dyer, I cherish the handmade. But, as a full-fledged member of the electronic age, I realize that the haptic has had a hard time maintaining its status. My Future Reliquary Series is an attempt to reconcile three apparently separate but, in my mind, connected histories: weaving, computing, and religion.

Weaving is a binary system of up/down, just as computing is a binary system of on/off. The first computer was a jacquard loom, complete with punch cards. The process of mechanization removed the human hand from weaving. In an analogous manner, today’s computers have introduced …

Spin Artists, And How The Internet Fuels The Art Yarn Movement, Tracy P. Hudson

Textile Society of America Symposium Proceedings

This presentation examines the surprisingly intimate relationship between handspinning and the Internet, focusing on several individual art yarn spinners. These spinners produce unconventional yarns by experimenting with various techniques, and approach spinning itself as a form of creative expression. In every case, the Internet has been integral to the spinners’ technical and artistic development, career, or expression. A community has formed in which these spinners encourage and challenge each other, pushing the art form ever forward. The spinners interviewed initiate swaps, thematic challenges, technical experiments, and sometimes entire websites online, in order to stimulate the exchange of ideas and images. …

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. …

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 …

Low Tech Transmission: European Tapestry To High Tech America, Christine Laffer

Textile Society of America Symposium Proceedings

European tapestry techniques reached the U.S. in several waves of cultural transmission, starting in the late 1800s when the first tapestry studios were established on the east coast. The differences between the two continents and their focus on different types of technical knowledge appeared almost instantly. In Europe, institutions guarded the logic and purity of their techniques through systems ranging from educational programs to state-run tapestry studios over several hundred years. In the U.S., tapestry existed primarily as a commercial enterprise serving a small sector of the population over a few decades. Further, the lack of an educational component prevented …

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 …

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 …