Arts and Humanities Commons^™

Carolina Paraquets, John A. Ruthven

Morehead State University Art Collection

A 1992 watercolor print of three birds near branches.

1992 Stanley A. Bauman Photograph Collection Index, Stonehill College Archives

Bauman Indexes

Chronological Listing of all negatives taken by Stanley A. Bauman during 1992. The numbers to the left of each entry indicates the envelope those of negatives are found in. Please use this number when requesting contact sheets for images.

Parnassus 1992

Parnassus

The 1992 edition of the student literary journal, Parnassus, published by Taylor University in Upland, Indiana.

Review Of Scribes, Script, And Books: The Book Arts From Antiquity To The Renaissance, By Leila Avrin, Fred W. Jenkins

Roesch Library Faculty Publications

No abstract provided.

Spring 1992, 90.9 Wmpg Fm

WMPG Program Guides

Newsletter format.

Winter 1992-1993, 90.9 Wmpg Fm

WMPG Program Guides

WMPG Program Guide Winter 1992-1993

Art, Quentin Lee Webb

Inscape

No abstract provided.

Moving Pictures, Melissa Ann Mcclure

Dissertations and Theses

My thesis work includes 10 large drawings that explore the narrative qualities of line movement. I use line in these drawings as a recording device to document both the physical activity of the process and the personal experience that the lines represent. Through this work I attempt to develop a language of visual imagery that is autobiographical in nature. A system of personal symbols and recurring forms make up the structure of this visual vocabulary. Line movement and rhythm provides a sense of the dialog.

Southwinds - Spring 1992

Southwinds: The Literary and Arts Magazine of Missouri S&T

Volume XX

Reflections 1992, Kathy Henson, Barry Martin, Joyce Compton Brown

Reflections

The 1992 issue of Reflections is edited by Kathy Henson and Barry Martin with Joyce Compton Brown serving as faculty adviser. Award winners of the student writing contest include: Markell Lynch, Kathy Henson, and Johnny Leon Morris. Award winners of the student art contest include: Dunsey Harper, Kathleen Brown, and Jonathan Tucker.

The Allure Of Illusionism: Trompe L'Oeil In Contemporary American Painting, Steven W. Rosen, Rose M. Milovich

Exhibit Catalogues

The creators of trompe l'oeil works, whether drawings, paintings, or three-dimensional objects are less concerned with replicating reality using pictorial devices such as perspective, and instead concentrate their efforts on precisely rendering the richness of the material world. The object then goes beyond a work of art and becomes a carefully defined artifact which frces the eyse to contront its absolute reality.

Blanket Statements, Issue 31, Winter 1992

Blanket Statements: News Publication of the American Quilt Study Group

Blanket Statements, Issue 31, Winter 1992

Broken Sky, Arpie Gennetian, Fleet Library, Special Collections, Jan Baker

Nature

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

A Russian Soup Book, Julia Sedykh, Fleet Library, Special Collections, Jan Baker

Food

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

Ivy Leaves, 1991-1992, Ivy Leaves Editorial Staff

Ivy Leaves

The 1992 edition of the Anderson College journal of art and literature, Ivy Leaves.

The names of the known editors for this issue of Ivy Leaves were Forrest Christian Parker, Paige Andrews, James Campbell, Ali Wynn, Brenda DuBose, Teresa Culpepper, Michelle Hayes, Guy Kohn, Donnie Henderson, Lynn Smith, Doug Davison and Susan Wooten. Cover design by Teresa Culpepper.

The Mockingbird - 1992, Department Of Literature And Language, East Tennessee State University, Etsu Department Of Art

The Mockingbird [magazine]

Elizabeth Abbott [Capitalism; Childhood; Untitled Poem]; Kim Barker [Crumbling Myth]; Tamara Baxter [Pennies Kill the Fishes]; Theresa Bellamy [Cotton Teez]; Tyler Bishop [Dune]; David Blatchley [Fishing Lies]; Maria Bledsoe [Gentility of Steel; The Coming of the Need]; Julie Branham [Carpe Noctem; Nightmares]; Sabrina Chambers [A Walk Through the Attic]; Brian Thomas Chisom [The Universal Appalachian Poet]; Ben Dowdy [Gulf War Sketchbook #4]; Katherine Gibson [Untitled Graphic]; Eileen Glaven [Whimsy: Water in Wood]; Bill Hightower [Winter Walk]; Adam Johnson [A Wisconsin Memory]; Christine Keys [Music Man]; Tommas Koehler [Hell; The Gargoyle]; Katherine Kopp [2020]; W. E. Layne [Duke '91]; Sarah Maulden …

Pennsylvania Folklife Vol. 41, No. 2, Nancy Kettering Frye, William B. Fetterman, Annette Lockwood

Pennsylvania Folklife Magazine

• The Meetinghouse Connection: Plain Living in the Gilded Age
• Paul Wieand's Contributions to Pennsylvania German Folk Theater
• Amish Cottage Industries
• Aldes un Neies (Old and New)

The Fashion's In The Bag: Recycling Feed, Flour, And Sugar Sacks During The Middle Decades Of The 20th Century, Rita Adrosko

Textile Society of America: Symposium Proceedings

A modest temporary exhibit, FEED BAGS AS FASHION, opened in the National Museum of American History about a year ago (See fig. I).1 The enthusiastic and personal reactions evoked by the exhibit, and a story about it picked up by newspapers throughout the United States and Canada, made clear that the subject had touched a popular nerve. The responses of those who called or wrote, and visitors' comments, revealed that the recycling of flour, sugar, and animal feed sacks was a common, if not universal practice in the States between the 1920s and 1960s, still remembered vividly by both country …

Textiles As History; Clothing Clues To 500 Years Of Mexican Acculturation, Patricia Anawalt

Textile Society of America: Symposium Proceedings

INTRODUCTION

The history of peasant peoples all too often is sparsely recorded and poorly understood. This paper suggests that sometimes there are clues in the clothing of certain present day groups that can provide insight into their past experience. To demonstrate the point, a group of contemporary Mexican costumes are examined that reflect the sixteenth century collision of the Old and New Worlds and the subsequent melding of these two disparate civilizations. This, then, is a study of the acculturation process through an analysis of peasant clothing viewed against a time line extending over almost 500 years, from Spanish Conquest …

Ruth Reeves' "Personal Prints" Printed Textiles From The 1930’S And 40'S, Whitney Blausen

Textile Society of America: Symposium Proceedings

Introduction

Ruth Reeves pioneered the use of vat dyes and the screen-print process for furnishing fabrics in the late 1920's. Reeves had a positive genius for publicity, and if she was not the first American to experiment with these techniques, which she may well have been, she was without doubt one of the best known.

Reeves was one of a new breed of textile designers who emerged in the aftermath of the First World War. To hope to work as a textile designer was a risky experiment in itself. American mills employed buyers and copyists in far greater numbers than …

Lace Production On The Island Of Pag, Croatia, From 1900 To The Present, Vjera Bonifacic

Textile Society of America: Symposium Proceedings

INTRODUCTION

In her publication "Peacocks and Penguins: The Political Economy of European Cloth and Colours", Jane Schneider (1978) describes the flow of gold and slaves from northern Europe to the Middle East in exchange for colourful textiles, during the Middle Ages. Schneider argues that European-made black cloth and clothing constituted both practical and symbolic means to resist luxury textiles from the Orient, and in this way reverse the balance of trade and power. I believe that, a few centuries later, lace played a similar role in this process; uti1izing 1ocally grown and processed white 1inen thread and the intensive labour …

German Jugendstil Tapestries: The Daily Life Of The People Who Made Them, Marianne Carlano

Textile Society of America: Symposium Proceedings

INTRODUCTION

In the context of daily life of artists and artisans, I sought to learn about the intimate thoughts, conversations and ideas of the artists who provided the designs for the tapestries of the Kunstwebschule Sherrebek in Germany (1896-1903), as well as those of the artists/weavers who translated such designs into woven forms. Like many an intellectual endeavor, my industrious search revealed little information of this type. Nonetheless, it is possible, though surely only second best without the voices of the artists themselves, to glean some understanding of the founding of the Sherrebek institution, the people who worked there, and …

Contents- Textiles In Daily Life- 1992

Textile Society of America: Symposium Proceedings

TEXTILES in DAILY LIFE

Proceedings of the Third Symposium of the Textile Society of America, September 24-26,1992.

Preface

Featured Speaker: Iwao Nagasaki

Textiles in the Everyday life of Artisans, Merchants, and Consumers of Fez, Morocco

• Embroidery in the Everyday Life of Artisans, Merchants and Consumers in Fez, Morocco in the 1980s.
Louise W. Mackie ........................................9

• Trimmings in Fez, Morocco.
Frieda Sorber................................ 21

• Weaving in the Everyday Life of Artisans, Merchants and Consumers in Fez, Morocco in the 1980s.
Lotus Stack................................ 33

• Artisans and Handmade Textiles in a Complex Traditional Culture.
Susan Schaefer Davis …

The Decline Of Jaspe (Ikat) Rebozo Weaving In Oaxaca A Video Interview With Fidel Diaz Valencia, The Last Maestro Of Jaspe Weaving, Virginia Davis

Textile Society of America: Symposium Proceedings

The dark blue and white jaspe (ikat) rebozo is a traditional shawl-like garment still worn daily in Mexico by many women and girls, especially in the State of Oaxaca. Formerly,this type of rebozo was mainly produced locally in tatteres (workshops) in Oaxaca. Now such rebozos are almost entirely made in other centers, most probably Tenancingo and Chilapa de Guerrero, and brought into Oaxaca. When asked about the number of jaspe reboceros in Oaxaca in former times, informants would reply "a lot," or "many." By the early 1960's, eight of these remained. Not only had other types of weaving become more …

Statements From The Loom And The Needle: Woven And Embroidered Anatolian Textiles In The Home Environment, Serim Denel

Textile Society of America: Symposium Proceedings

INTRODUCTION

With their innovative images and messages, Anatolian textiles bring statements from history and witness social change as well. This conversation with the past appears on embroideries (isleme), weavings (dokuma), flat woven carpets (kilim), rugs (hali), needlelace (oya), or a variety of other artifacts from the loom and the needle. They take their impetus from Turkish culture and traditions. However, they extend well beyond these, into the lives and roots of the many peoples of Anatolia who have left their marks on the multi-cultural urban, rural, or semi-nomadic environments. Since their themes and motifs appear on architecture and artifacts alike, …

Textile Tribute In The Antebellum South, Ann Dupont

Textile Society of America: Symposium Proceedings

The involuntary immigration of African slaves to America in the early nineteenth century had a secondary impact on the slaves as well as slaveholders related to the possession and use of clothing and textiles in daily life. The slaves were not allowed to bring their clothing, or other attributions of their native culture to America. Rather, the slaveholders were required by law to provide for their slaves' adequate "clothing and basic needs." These requisitions were influenced by the slaveowner's philosophy of slave management, wealth, and temperament. Dependency for these basic necessities of life on the slaveowner reinforced the dichotomy of …

A Wisteria Grain Bag And Other Tree Bast Fiber Textiles Of Japan, Mary Dusenbury

Textile Society of America: Symposium Proceedings

Throughout most of Japan's long prehistory (Jomon period: ca.8,000- 300 B.C.)/ the hunting and gathering Jomon people stripped the bark of a variety of native trees, shrubs, and grasses and processed it into cordage, baskets, nets, and various twined textiles. Impressions of cloth on the bottom of some of the distinctive cord-patterned pottery for which the period was named, suggests that weaving was not practiced until the very end of the period.

Dislocated by the expansion of central Chinese authority, groups of immigrants from the continent moved to Japan in the third and second centuries B.C. These peoples brought irrigated …

The Jinbaori: Oneupmanship On The Battlefield, Valerie Foley

Textile Society of America: Symposium Proceedings

There are very few absolute statements that can be made about jinbaori in the sociological, cultural or historical sense, except that they were worn only by males of the military class in military settings. Some believe that the jinbaori constituted a kind of formal wear, which vassals wore in audience with their lords, yet there is some evidence to contradict this - for example, the fact that very few portraits exist of men in jinbaori, while portraits of men in armor abound. Indeed, one scroll shows a lord in jinbaori, his retainers in armor. There are several theories as to …

Sparto: A Greek Textile Plant, Helen Bradley-Griebel

Textile Society of America: Symposium Proceedings

INTRODUCTION

Cotton and flax are known as plants whose fibers are used in the manufacture of textiles, and hemp and jute are known as plants used to make rope. Less well known for its contribution to both textile and rope manufacture is the plant sparto (Spartium iunceum L.; Spanish broom) which grows wild over much of the Mediterranean region in brushwood localities of the mountainous and semi-mountainous zones, including the area of my fieldwork village on the West Coast of the Greek Peloponnesos.

Sparto is a perennial broom, growing as a shrub not reaching over 3m. in height. Its …

Embroidery In The Everyday Life Of Artisans, Merchants, And Consumers In Fez, Morocco, In The 1980s, Louise W. Mackie

Textile Society of America: Symposium Proceedings

Many inhabitants of Fez welcome modern lifestyles. But they also value their Muslim faith and cultural traditions which identify their Fezi heritage. One prominent symbol of that distinctive heritage is embroidery. It is highly visible throughout the city on decorative covers used in daily life and on special occasions, especially weddings.¹

Although many cities in Morocco and abroad had distinctive styles of embroidery in the past, embroidery continues to prosper today almost exclusively in Fez. Its widespread manufacture and use provide insight not only into current practices but also into comparable customs elsewhere which have been mechanized.

The continuing …