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Textile Society of America: Symposium Proceedings

Contributing Authors

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Nettie Adams

Monisha Ahmed

Gloria Seaman Allen

Jeni Allenby

Elizabeth Wayland Barber

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Bobbie Sumberg

Rebecca Trussell

Yoshiko Iwamoto Wada

Stephen Wagner

Torn Notebook: The Creative Process, Daniel A. Siedell

Sheldon Museum of Art: Catalogs and Publications

Torn Notebook: The Creative Process features twenty artworks related to Torn Notebook, a large-scale public sculpture made by Claes Oldenburg and Coosje van Bruggen in 1996 and installed in downtown Lincoln, Nebraska. This exhibition focuses on one of their more recent public sculptures and celebrates the creative process that characterizes all serious artistic endeavors.

The unique artistic collaboration between Claes Oldenburg and Coosje van Bruggen, which began in 1976 with the installation of Trowel, a colossal hand tool installed permanently on the grounds of the Kroller-Muller Museum in Otterlo, The Netherlands, has resulted in more than twenty-eight large-scale public …

Textile Society Of America Newsletter 14:1 – Winter 2002, Textile Society Of America

Textile Society of America: Newsletters

TSA Symposium
Collections News
From the Listserve
Letter from the President
Textile Art and Design at Southern Illinois University
New Education Programs
Member News, Letter from the President
TSA News: Shep Award Winner
Calls for Papers, Conferences & Symposia
Conference Reviews, Exhibit Reviews
Exhibitions Calendar
Lectures/Workshops
Tours/Courses, Publications
Shep Award Call for Nominations

Torn Notebook: The Creative Process, Daniel Siedell

Sheldon Museum of Art: Catalogs and Publications

Torn Notebook: The Creative Process features twenty artworks related to Torn Notebook, a large-scale public sculpture made by Claes Oldenburg and Coosje can Bruggen in 1996 and installed in downtown Lincoln, Nebraska. This exhibition focuses on one of their more recent public sculptures and celebrates the creative process that characterizes all serious artistic endeavors.

For A Son In France, Deborah Narin-Wells

Birmingham Poetry Review

p. 37

Night Fishing, Maureen Tolman Flannery

Birmingham Poetry Review

p. 18

Onions, Vera Kroms

Birmingham Poetry Review

p. 27

Letting The Garden Go, James Mersmann

Birmingham Poetry Review

pp. 35-36

Why I Live In The South, Patricia Waters

Birmingham Poetry Review

p. 41

Blessing The Boats: New And Selected Poems 1988-2000, Maria Morrison

Birmingham Poetry Review

pp. 44-46

Birmingham Poetry Review 25 (Complete Issue), Birmingham Poetry Review Staff

Birmingham Poetry Review

No abstract provided.

My Puerto Rican Past, Joe Benevento

Birmingham Poetry Review

p. 6

Death Of An Overseer: Reopening A Murder Investigation From The Plantation South, Jennifer Marie Wilson

Vulcan Historical Review

pp. 77-79

History And Progress Of The Vulcan Statue's Restoration, Jerry Tiarsmith

Vulcan Historical Review

pp. 92-95

Vulcan Historical Review 6 (End Matter), Vulcan Historical Review Staff

Vulcan Historical Review

No abstract provided.

Glimpsing Medusa: Astoned In The Troilus, Timothy D. O'Brien

Quidditas

In these pages I would like to consider the role of Medusa in Chaucer's Troilus—a modest enough enterprise except for the fact that there is not a single reference to this puzzling figure in the entire work, or in any of Chaucer’s other works for that matter. Such an absence does not of course mean absence of influence. After all, Chaucer does not mention Boccaccio, even though his Il Filostrato supplies the narrative material for and fundamental shape of the Troilus. Obscuring authorial indebtedness because of some “anxiety of influence” is one thing; alluding to a figure from …

From The Village House To The Urban Markets: The Evolution Of Silk Production In Laos, Linda S. Mclntosh

Textile Society of America: Symposium Proceedings

This paper examines the development of silk textile production in Laos (Lao People's Democratic Republic). Silk textiles have important socio-cultural roles in Lao society, as markers of identity and wealth in contemporary Lao society as they had in the past. The various Tai ethnic groups, including the Lao, who have been the political majority of Laos since the 14th century CE, are the producers of silk textiles in Laos. Women are historically the producers of textiles for domestic consumption and exchange at the village level and beyond. Silk textiles signify special occasions such as weddings, religious events, and funerals and …

Marketplace Handwork Of India: Impacts On Artisan Capabilities, Mary A. Littrell, Marsha A. Dickson

Textile Society of America: Symposium Proceedings

At the 1998 TSA Symposium in New York City, we presented a paper that documented the work of three textile artisan enterprises. All embraced a fair trade approach to their work. Known as Alternative Trade Organizations (ATOs), these enterprises are deeply committed to a mission of sustainable, people-centered development (Littrell and Dickson 1997). More specifically, this fair trade partnership between textile artisans and retailers involves joint commitment to:

• paying fair wages within a local context,

• providing healthy and safe working conditions,

• sustaining the environment,

• promoting capacity building through business and technical training, and

• honoring cultural …

Knitted Silk And Silver: Those Mysterious Jackets, Deborah Pulliam

Textile Society of America: Symposium Proceedings

This is a preliminary consideration of the late sixteenth/early seventeenth century gilt and silk knitted jackets, based on close examination of seventeen examples held in various collections in North America and Europe. Little is known about them, so that mostly speculation has been published as fact. They have been identified as jackets for men, created on knitting frames and on knitting machines, and in the past, were almost always identified as of Italian origin or manufacture.

My argument, having closely examined seventeen, is that

• they were in fact handknitted: the technology simply did not exist in the early seventeenth …

The Invention Of Machine Twist The Nonotuck Silk Company, From Moths To Millions, Marjorie Senechal

Textile Society of America: Symposium Proceedings

Introduction. Cocoons and raw silk; thrown silk and dyed silk; spun silk yarns and fabrics; plain woven silks; lutestrings, sarsenets, satins, serges, foulards, tissues for hat and millinery purposes; figured silk piece goods, woven or printed, upholstery silks; crapes, velvets, gauzes; cravats, handkerchiefs, hosiery, knit goods, laces, scarves, ties, veils, all descriptions of cut and made-up silks; ribbons, plan fancy, and velvet; bindings, braids, cords, galloons, ladies' dress trimmings, upholsters', tailors', military and miscellaneous; machines for the manufacture of silk goods: the American silk industry's proud display "had the post of honor at the east end of the Main …

Entrepreneurship And Control In Eighteenth Century Silk Manufacture: The Case Of Philippe Lasalle, Lyonnais Silk Designer Extraordinaire, Lesley Ellis Miller

Textile Society of America: Symposium Proceedings

As early as 1787, the abbe Bertolon lauded the achievements of the Lyonnais designer and manufacturer Philippe de Lasalle (1723-1804). In the course of this now oft-cited eulogy, Bertolon called Lasalle variously designer, manufacturer, and businessman, three terms that Lasalle himself was happy to adopt from the late 1740s onwards. In the 1770s. Lasalle added to these social descriptors, those of inventor and Chevalier de I 'Ordre de Saint Michel, having been rewarded for his improvements to the drawloom, one of a long list of services and inventions for which he sought State subsidies from the late 1750s. While …

Managing Mapula: Defining Markets For An Embroidery Project In Post-Apartheid South Africa, Brenda Schmahmann

Textile Society of America: Symposium Proceedings

My aim in this paper is to explore the kinds of strategies used to market a contemporary needlework project in South Africa - one entitled "Mapula" (which means "mother of rain"). Members of Mapula embroider cushion covers and, more occasionally, tablemats. But the art form that has been especially successful and provided members of the project with the widest scope for innovation is embroidered cloths - works that were first made in 1996.

The Formation of Mapula

While currently operating in a post-apartheid South Africa, Mapula was in fact formed in 1991, three years prior to the first democratic …

Threads Of Resistance: Unraveling The Meanings Of!9ih Century Tlingit Beaded Regalia, Megan A. Smetzer

Textile Society of America: Symposium Proceedings

Although not the first to make the connection, Ensign Albert Niblack of the U.S. Navy wrote most succinctly in 1888: "There seems nothing unreasonable in tracing the origin of much of the dance and ceremonial paraphernalia to customs originating in war." Since that time, numerous scholars have suggested and disputed links between Tlingit carved and painted armor and ceremonial regalia. Beaded regalia, on the other hand has been almost entirely neglected in Northwest Coast ethnographic literature due to notions of authenticity and cultural degeneration. In 1945, anthropologist Erna Gunther for example, explained beaded dance collars as a mere disguise for …

Expressions In Silk: Embroidered Miniatures On Historic Textiles From The Armenian Apostolic Churches Of Istanbul, Marlene Breu, Ronald T. Marchese

Textile Society of America: Symposium Proceedings

"The perfection of execution, the rendering of figures, garments and faces is as magnificent as the best embroidery work of any period and any nation." (Kouymjian 1992, 59)

Introduction

The assessment of Armenian embroidery offered by Kouymjian in his publication The Arts of Armenia is reflected in a collection of textile objects housed in the treasuries of the 33 Armenian Apostolic Churches and the Patriarchate (the official residence of the Patriarch) in Istanbul, Turkey. The textiles, many donated by devout members of the Church community, are still used in celebrations of the Divine Liturgy. The collections contain examples of the …

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 …

Re-Inventing Cultural Heritage: Palestinian Traditional Costume And Embroidery Since 1948, Jeni Allenby

Textile Society of America: Symposium Proceedings

Prior to 1948, when the State of Israel was declared, Arab society in Palestine consisted of three main groups - the townspeople, a small percentage of nomadic or semi-nomadic bedouin tribes, and the villagers or "people of the land" who made up three quarters of the population. Over eight hundred villages were scattered from the coastal plains to the Jordan River. While costume in the urban regions historically reflected the current occupiers of the country (for example, Turkish styles during the Ottoman period, and European fashions under the British Mandate) Palestine's many villages were economically and socially independent, and difficulties …

The Associated American Artists: Textile Art For The Masses, Karen Herbaugh

Textile Society of America: Symposium Proceedings

The American Textile History Museum acquired its first Associated American Artists fabric in 1996. From a curatorial viewpoint the fabric was intriguing because although it’s rare that useful information is printed in the selvage, this fabric was labeled “A SIGNATURE FABRIC "GAY FACADE" © CREATED BY JOHN HULL OF ASSOCIATED AMERICAN ARTISTS.” As the Museum expanded its collection of AAA fabrics it was discovered that most of these fabrics also have the date printed on them. The selvage inscriptions and the nature of the designs and fabric names prompted further exploration of the organization.

Organizational History

In 1934 the Associated …

Marketplace Handwork Of India: Impacts On Artisan Capabilities, Mary A. Littrell, Marsha A. Dickson

Textile Society of America: Symposium Proceedings

At the 1998 TSA Symposium in New York City, we presented a paper that documented the work of three textile artisan enterprises. All embraced a fair trade approach to their work. Known as Alternative Trade Organizations (ATOs), these enterprises are deeply committed to a mission of sustainable, people-centered development (Littrell and Dickson 1997). More specifically, this fair trade partnership between textile artisans and retailers involves joint commitment to:

• paying fair wages within a local context,

• providing healthy and safe working conditions,

• sustaining the environment,

• promoting capacity building through business and technical training, and

• honoring cultural …

Entrepreneurship And Control In Eighteenth Century Silk Manufacture: The Case Of Philippe Lasalle, Lyonnais Silk Designer Extraordinaire, Lesley Ellis Miller

Textile Society of America: Symposium Proceedings

As early as 1787, the abbé Bertolon lauded the achievements of the Lyonnais designer and manufacturer Philippe de Lasalle (1723-1804). In the course of this now oft-cited eulogy, Bertolon called Lasalle variously designer, manufacturer, and businessman, three terms that Lasalle himself was happy to adopt from the late 1740s onwards. In the 1770s, Lasalle added to these social descriptors, those of inventor and Chevalier de l’Ordre de Saint Michel, having been rewarded for his improvements to the drawloom, one of a long list of services and inventions for which he sought State subsidies from the late 1750s. While Lasalle’s prominence …

A Tradition Of Weft-Oriented Silk Weaving In Japan: Samit And “Post-Samit” From Japanese Temple And Shrine Collections In American Museums, Yuko Fukatsu

Textile Society of America: Symposium Proceedings

During the twentieth century, American museums acquired rare ancient and medieval textiles derived from Japanese temple collections. Among them, several types of weft-oriented polychrome silks from the eighth to fourteenth centuries can be identified.

Polychrome silks brought to Japan through the Silk Road had been treasured among the Japanese aristocracy, and mainly preserved in Hōryuji temple, and the Shōsoin of Tōdaiji temple. They contained a specific group of early weft-oriented silk textiles called ‘samit,’ a type of weft-compound weave that was dominant in China as well as in the Byzantine world. The weaving technique was introduced to Japan from China …