Arts and Humanities Commons^™

Silk In Ancient Nubia: One Road, Many Sources, Nettie K. Adams, William S. Webb

Textile Society of America: Symposium Proceedings

Silk in ancient Africa? Most of us think of ancient Africans as members of a tribe, living by subsistence farming or herding, in villages of grass houses. But Nubia, the ancient Kush, located along the Nile in southern Egypt and the northern part of the Sudan, (Fig.l) was inhabited by an African people who, by 1800 BC, had developed their own high civilization. The Kushites were suppliers of ivory, ebony, gold, ostrich feathers, animal skins, and slaves to ancient Egypt and elsewhere in the Mediterranean world. In exchange they received a wide variety of manufactured goods.

By the fourth century …

From Benaras To Leh - The Trade And Use Of Silk-Brocade, Monisha Ahmed

Textile Society of America: Symposium Proceedings

A weaver in Benaras sits at his pit loom meticulously creating a textile piece of Mahakala. the god of protection for Buddhists.

A lama at the festival ('cham) at Hemis monastery performs the religious dance, the Mahakala image on his apron (pang-kheb) gazing out at the devotees as he pirouettes around the courtyard.

The two descriptions given above demonstrate the beginning and end of the journey of silkbrocades from Benaras to Leh. This paper looks at the historical context of the trade in silk-brocades from Benaras to Leh, and discusses how this trade first started. It …

Woven Bands, Medicines And Recipes: Cod. Pal. Germ. 551. The Adventures, Provenance And Contents Of A 15' Century Manuscript Held At The Library Of Heidelberg University In Germany., Ute Bargmann

Textile Society of America: Symposium Proceedings

Today, we are going to visit Heidelberg, the city where the earliest German University was founded in 1386. On account of its romantic setting, it became one of the internationally popular institutions in the 19th century. Here, we will visit the University Library, where the manuscript we are to discuss today is housed. It is on the shelf in the Department of Manuscripts, bound in a modest working cover of the 19^th century.

History. - We shall embark on a journey of more than 500 years into the past and through some very trying times that helped shape …

Peacock Alley: Highway 41 And The Growth Of The Chenille Bedspread Industry, Ashley Callahan

Textile Society of America: Symposium Proceedings

In the fall of 1935. a newspaper editor traveled from Oklahoma City to Atlanta to attend a baseball game, and along the way encountered a stretch of road near Dalton. Georgia known as Bedspread Boulevard. He recorded his experiences in his daily column: "Twisting through northern Georgia late Saturday afternoon, dodging cotton wagons and trying to get an eyeful of the gorgeous tints that glorified the turning trees in the mountains, I thought I saw a washing strung on a line by the roadside. Soon another flashed past. Then they followed in regular succession. . . . Is it possible …

From Court To Convent: A Silk Embroidered Sampler From Colonial Mexico, Bobbie Sumberg

Textile Society of America: Symposium Proceedings

Silk appears frequently in many Mexican textiles and garments such as rebozos, skirts, and huipils or blouses. In this paper I discuss a different tradition, that of sampler embroidery in the urban style.

Yrene Escandon was reported to be a lady in waiting for Empress Carlotta, who reigned in Mexico with her husband Emperor Maximilien from 1 863-1867. During this time and before entering a convent after her service she and some friends embroidered a sampler replete with floral, religious, animal, and bird motifs. Using this remarkable piece in the collection of the Museum of International Folk Art in Santa …

"Dichotomies In Silk: Past And Future", Yoshiko Iwamoto Wada

Textile Society of America: Symposium Proceedings

The traditions of silk weaving and hand dyeing of silk cloth have been an integral part of the Japanese society and aesthetic, as exists in the Imperial Court of Japan. To this day, the Empress still cultivates the same strain of silkworm koishimaru, dating back to the Nara period (645-794).

Currently, only a fraction of the raw silk materials (reeled silk yarn and cocoons) used to produce Japanese silk textiles are actually produced by Japan. Competition from current foreign imports, textile manufacturers' indifference to the quality of raw materials, and decreasing usage of kimonos challenge the viability of labor-intensive …

The Impact Of Silk On Ottonian And Salian Manuscripts, Stephen Wagner

Textile Society of America: Symposium Proceedings

In keeping with the theme of the symposium's title, "Silk Roads, Other Roads," the medieval roads that this essay will travel converge in a number of ways. Most importantly, two distinctive art forms came together for a brief period in Germany during the tenth and eleventh centuries, the period of Ottonian and Salian rule. The two products, silk and illuminated manuscripts shared important qualities. Not only were they among the most luxurious objects of the middle ages, but they also assisted bishops and rulers advance their political programs. This phenomenon developed as a result of increased interaction with a major …

Drs Quarterly Council Report: Issue 1, Alec Robertson

Quarterly Council Reports

This was the first issue of the QCR - an initiative of the Design Research Society Council with the aim of providing a regular overview of Council member views and activity to the DRS members.

Contents

International Reports

• Australia (East), Vesna Popovic
• Australia (West), Terence Love
• Greece, Artemis Yagou
• The Netherlands, John L. Heintz
• Turkey, H. Alpay Er
• USA, Christopher Nemeth

Officers' Reports
• Honorary Secretary, Rachael Luck
• Publications Officer, Alec Robertson

Blanket Statements, Issue 71, Winter 2003

Blanket Statements: News Publication of the American Quilt Study Group

Blanket Statements, Issue 71, Winter 2003

Autotopography: Graffiti, Landscapes, & Selves, Deirdre Heddon

Reconstruction: Studies in Contemporary Culture

[First paragraph]

For some time now I have been interested in autobiographical performance -- some form of the theatrical, in which performers explicitly use personal material in their work. Within this general field of autobiography and performance, one area of research concerns performances that are dependent on being located in personalised space -- what could be called, then, site-specific autobiographical performance. A recent example of this would be the performance Bubbling Tom (2000), by the UK based performer Mike Pearson, which saw Pearson return to the village of his childhood, to reflect upon and re-enact certain memories, events and persons …

Lifeworlds [On Wendy Kirkup's Echo], Renee Baert

Reconstruction: Studies in Contemporary Culture

No abstract provided.

Passaic Boys Are Hell: Robert Smithson's Tag As Temporal And Spatial Marker Of The Geographical Self, Felicity Colman

Reconstruction: Studies in Contemporary Culture

[First paragraph]

Robert Smithson seductively created stories about his activities as an artist with attention to his duration; his time of existence. Born in 1938 in the New Jersey suburb of Passaic, Smithson lived in the New Jersey suburbs of Rutherford and Clifton with his family until 1957 when he moved to live in downtown Manhattan, New York (Hobbs 1981, 231-232; Tsai 1991, 6). Smithson's adult life was undeniably shaped by his Pascalian/Sopranos awareness of engaging the circumference by which to navigate the centre of everyday life. In 1972 Smithson described New Jersey as: a kind of destroyed California, …

Why Do You Always Make Us Think? Maintaining A Journal In The Beginning Design Studio, Karl Puljak

Proceedings of the 18th National Conference on the Beginning Design Student

No abstract provided.

The Sandbox: An Introduction To Form & Form Making Through Notions Of Surface, Brian T. Rex

Proceedings of the 18th National Conference on the Beginning Design Student

Visual Literacy is a two-year-old cross-disciplinary instruction unit that encompasses a "learning community" of Textile and Clothing Design, Architecture, Interior Design, and Fine Art students in their first year of foundation design education. This pedagogy is a three week long unit (with 9 hours of contact time per week) in a two semester long program. Each faculty member teaches one of four thematically charged instructional units through which studio sized groups of students rotate over the course of a semester. The thematic foci of the four units are Drawing, Color; Frame, and Form. This specific unit is the Form unrt:. …

Uncoverings: The Research Papers Of The American Quilt Study Group, Volume 23 (2002), Virginia Gunn, Melissa Jurenga, Connie J. Nordstrom, Judy Elsley, Kim M. King, Carolyn O'Bagy Davis, Marilyn Goldman

Uncoverings Journal

Preface by Virginia Gunn

She Hath Done What She Could: Discovering Memories on a New York Friendship Quilt Vll by Melissa Jurenga

One Pot of Flowers Quilt Pattern--Blossoming Through Centuries by Connie J. Nordstrom

Read Me a Story: Cultural Values in Children's Quilt Fiction by Judy Elsley

Quiltmakers' Online Communities by Kim M. King

Fanny and the Busy Bees by Carolyn O'Bagy Davis

The Wilkinson Quilt Company: "America's Original Makers of Fine Quilts" by Marilyn Goldman

Authors and Editor

Index

Reginald Marsh Prints: Whitney Museum Of American Art Portfolio, Part Two, University Of Richmond Museums

Exhibition Brochures

Reginald Marsh Prints: Whitney Museum of American Art Portfolio, Part Two

January 8 to June 29, 2002

Joel and Lila Harnett Print Study Center

Introduction

It is only fitting that this two-part, yearlong inaugural exhibition for the Joel and Lila Harnett Print Study Center feature one of America's most important artists whose talents were honed during the 1920s and 1930s, a period when American printmaking experienced a surge in popularity. Reginald Marsh (1898-1954) created images that revealed the society and tempo of his environment and his time, and he was considered a Social Realist along with such artists as Isabel …

Lights And Shadows - 2002, University Of North Alabama

Lights and Shadows

Art and Literature Magazine

The Marble Faun (Bookcover), Gabrielle Bordwin, Sky Bergman

Art and Design

Cover design: Gabrielle Bordwin Cover photograph: © Sky Bergman

A Book About Sushi, Christopher Visit, Fleet Library, Special Collections, Jan Baker

Food

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

In A Foreign City I Remember Everything I Forgot, Hadassa Goldvicht, Fleet Library, Special Collections, Jan Baker

Culture

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

Plant Deconstructions, Louise Kohrman, Fleet Library, Special Collections, Jan Baker

Nature

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

Black Ice And Rain: Psalms 6.6, Barbara Tetenbaum, Special Collections, Fleet Library

Artists' Books

pamphlet stitch with hard cover and silk covered boards; cover; title page; interior pages; colophon. Michael Donaghy recounts a true story of love and loss, illustrated by Tetenbaum's use of very tactile dyed and collaged handmade paper.

Look Back, Lynn Marshall-Linnemeier, Special Collections, Fleet Library

Artists' Books

32 unnumbered pages : illustrations (some color), facsimiles, map, portraits. Cover title. Collaborative response in an artists' book format to the letters of Anna Matilda Page King to her family (written between 1817 - 1859) from "Retreat", her St. Simons Island, Georgia plantation. Includes bibliographical references. Stapled. Gift of Jan Baker.

Warped Words, Bonnie Stahlecker, Special Collections, Fleet Library

Artists' Books

[1] folded sheet ([6] leaves) : color ill.. Title from cover. "Bonnie Stahlecker started this book in 1998 while she was visiting artist at Arizona State University. Using Bembo Roman and Lydian Bold Italic from their great type collection, she printed ten copies on Somerset book cover, with intaglio and paste paint providing additional layers. After four years on the shelf, it was finally finished in 2002 at the artist's Indiana studio (no lie)."--Colophon. Numbered, signed and dated in pencil by the artist. Six page accordion fold with three reversed pop-ups. Pop-up structure prevents fully extending sheet. Folded sheet mounted …

Artwork: Art At Work In The Gdso, Carolyn Louth

Honors Capstones

No abstract provided.

Urban Noise : Inner Voice, Shelly Hays, Fleet Library, Special Collections, Jan Baker

Senses

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

The Evolution Of Money, Jessica Rosenkranz, Fleet Library, Special Collections, Jan Baker

Stories

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

Power Pop, Ug, Special Collections, Fleet Library

Artists' Books

1 volume, 10 unnumbered pages. Cover title. Publisher name, copyright date, and edition number from page [4] of cover. Edition of 100. First and last pages are pastedowns. Five double-pages pop-ups, silkscreen-printed in pixilated style of the 8-bit video and arcade games of the 1980s. Illustrations depict cityscapes and robots.

Big Man On The Dot, Ken Leslie, Special Collections, Fleet Library

Artists' Books

1 volume (unpaged) : color illustrations. Doughnut-shaped leaf folded to a fan shape (24 cm, folded to 7 cm), text and illustrations on both sides ; issued in a paper slipcase. Text titled "Big man" appears on one side and "Our Dot" on the verso. Cover title. Contemplates our place in the physical and metaphysical universe. Opens to reveal verso size comparison of "Our Dot" Earth, the Sun, Saturn, and Jupiter. "Brad Freeman, Director, Nexus Press"--back of slipcase. Conical accordion fold in printed paper slipcase. Gift of Jan Baker.

All On The Same Page, Abxchange, Sara Durkacs, Ann E. Gregory, Ed Hutchins, Roberta Lavadour, Sibyl Rubottom, Robyn Sassen, Alice Simpson, Shu-Ju Wang, Special Collections, Fleet Library

Artists' Books

8 folded & cut sheets : ill. (some color) + 7 folded sheets in pocket. Title from container. "Part of the 'Once in a while' series of artists' book portfolios created by the gang at Abxchange"--portfolio box. Fall 2002. Limited edition of 35 copies. "Eight artists approach the book form within the limits of one standard sheet of 8 1/2 by 11" paper, printed just on the front, or front and back and folded, cut, glued, sewn and/or fastened into a small work of art." Includes 7 pages of templates which outline the construction of seven of the 8 books. …