Art and Design Commons^™

The Conversion Of Chinese Court Robes Into Japanese Festival Hangings, Gloria Granz Gonick

Textile Society of America: Symposium Proceedings

Decorated silken robes historically worn in China to garb the emperor and his family were disassembled and resewn in Japan into hangings for Kyoto's Gion Festival during the 16th to 18th centuries. The twenty robes, which were converted into coverings for festival carts called yama and hoko, include silk tapestry weaves (kesi), brocades, and embroidered examples. Eleven date from the Ming Dynasty (1368–1644) and nine from the early to mid Qing Dynasty (1644–1911). This distribution contrasts with other world collections of Chinese imperial robes, in which Qing Dynasty examples are far more numerous. In addition to the …

Raphael’S Acts Of The Apostles Tapestries: The Birth Of The Tapestry Reproduction System, Marjorie Durko Puryear

Textile Society of America: Symposium Proceedings

As a younger fiber artist at the beginning of my teaching career, I rarely found European tapestries of the 16th through 18th centuries to be more than copies of paintings in a woven mask. The weaver's hand and spirit were only apparent in finite details which were resplendent with meticulous hatching, shading, and delicate slit work, unchanged from the Medieval past. But it was against my art school training to separate art concept from process. I wasn't ready to accept that the weavers were not the artists, and that tapestry was in fact an industry.

More recently, my point of …

Ottoman Silks And Their Legacy, Diane Mott

Textile Society of America: Symposium Proceedings

During the late Middle Ages and the early Renaissance, luxury silks of Asia that had for centuries trickled into Europe began to enter in large numbers, fueling an appetite for the rich and exotic that was to have a lasting effect on Western textile design. In turn, expanded trade with the Levant carried Western designs and advances in weaving eastward. The Ottoman Empire, standing at the thresholds of Europe and Asia, was perfectly poised to transmit these East-West currents. Weavers in manufactories in the successive Ottoman capitals of Bursa and Istanbul, the western outposts of the Asiatic silk routes, absorbed …

Charmingly Quaint And Still Modern: The Paradox Of Colonial Revival Needlework In America, 1875–1940, Beverly Gordon

Textile Society of America: Symposium Proceedings

Despite the self-conscious modernism of the early 20th century, American needlework was filled with images of flower baskets, cozy cottages, spinning wheels, and women in hoopskirts. It was dominated by seemingly old-fashioned and "quaint" techniques, such as cross stitch, patchwork, crewel, and rug hooking. In an era with teeming cities, radio, and cars pouring off the assembly line, needlework came to stand for a romanticized, seemingly simpler and nobler American past. And in an era when women were winning the vote and re-entering the professional work force, needleworkers, in turn, became identified with the domestic homebody of the past. In …

Ancient Andean Headgear: Medium And Measure Of Cultural Identity, Niki R. Clark, Amy Oakland Rodman

Textile Society of America: Symposium Proceedings

From the earliest recorded periods of southern Andean history, distinctive clothing styles have served to identity specific socio-cultural groups and provide clues about cultural origins. Unique environmental conditions, especially present along the arid Pacific coast of South America, have allowed the preservation of a vast archive of usually perishable material. From the far south coast of Peru to the northern desert regions of Chile, textiles, and especially headgear forms were worn to distinguish between the diverse populations who established permanent settlements along the narrow river valleys linking highland regions and the coast.

The south central Andes region has always known …

(Re-)Fashioning Identity: Late Twentieth-Century Transformations In Dress And Society In Boliva, Elayne Zorn

Textile Society of America: Symposium Proceedings

The members of most of Bolivia's large indigenous ethnic groups, such as the nearly 22,000 people of ayllu Sakaka of northern Potosi, continue to wear a distinctive daily dress. Such dress nationally and internationally is emblematic of the Sakaka's separate, and to many inferior, identity as Indians. To the wearers also, or perhaps fundamentally, such dress marks a division between clothed indigenous humans (runa) and naked foreign outsiders (q'ara). This interpretation coincides with hegemonic non-Indian evaluations of Indian separateness, but reverses the hierarchy.

Yet most members of these large indigenous ethnic groups, whom I refer to …

Contact, Crossover, Continuity: Proceedings Of The Fourth Biennial Symposium Of The Textile Society Of America (1994) [Entire]

Textile Society of America: Symposium Proceedings

Preface 7

Contact, Crossover, Continuity: Fiber and Garment

Featured Paper: Ancient Near Eastern Fibers and the Reshaping of European Clothing Elizabeth J. W. Barber 9

Wreath and Cap to Veil and Apron: American Modification of a Slavic Ritual Patricia Williams 19

Panel: Textile Transformations and Cultural Continuities in West Africa

Akwete-Igbo Weavers as Entrepreneurs and Innovators at the Turn of the Century Lisa Aronson 31

What’s in a Name: The Domestication of Factory Produced Wax Textiles in Cote d’Ivoire Kathleen E. Bickford 39

Technology and Change: The Incorporation of Synthetic Dye Techniques in Abeokuta, Southwestern Nigeria Judith Byfield 45

The …

Daniel Serra-Badué: Dreamt Reality, University Of Richmond Museums

Exhibition Brochures

Daniel Serra-Badué: Dreamt Reality

1994

Marsh Art Gallery

Introduction

Daniel Serra-Badué is an artist of uncompromising vision who dwells upon memory as if it were tangible. "All that we see or seem - Is but a dream within a dream," wrote Edgar Allan Poe , and Serra-Badué seeks to place his audience within that dream. His evocative images compel us toward experiences that combine described reality with surreal impossibilities and dreamlike remembrances. Serra-Badué's world is a world of dreamt reality.

The lithographs in this exhibition, ranging in date from 1964 to 1992, demonstrate Serra-Badué's mastery of clarity of line, exactitude …

Ephraim Rubenstein: The Rilke Series, University Of Richmond Museums

Exhibition Brochures

Ephraim Rubenstein: The Rilke Series

January 28 to February 27, 1994

Marsh Art Gallery

Introduction: Rilke and Rubenstein

The first time I met Ephraim Rubenstein, some eight years ago, and looked at his early paintings I immediately sensed a powerful poetic quality coming out of his paintbrush. This ambitious exhibition not only confirms my initial feeling, but surpasses anything I could have thought of at that time. It is rare these days to find a young artist inspired, not by pop culture or the mass media, but by a classic of literature. I find it interesting and refreshing to …

Lights And Shadows - 1994, University Of North Alabama

Lights and Shadows

Art and Literature Magazine

Inscape Fall 1993, Morehead State University

Inscape: Art & Literary Magazine Archive

The Fall 1993 edition of the Inscape: Literary and Art Magazine.

Inscape Spring 1993, Morehead State University

Inscape: Art & Literary Magazine Archive

The Spring 1993 edition of the Inscape: Literary and Art Magazine.

Sites Of Recollection: Four Altars And A Rap Opera, Museum Of Contemporary Art At Wright State University

Exhibition and Program Catalogs

A program from an exhibition featuring the works of artists Jenni Lukač, Angel Suarez-Rosado, James Luna, Renée Stout, and Y. David Chung. The exhibiton also included a panel discussion called As the World Turns-Culture, Compromise, and Ritual in the '90s.

The Big Yes And The Little No, Agnieszka Taborska, Steven L. Jobe, David L. Campbell, Christopher F. Lowery, Paul Phillips, Elsie T. Hill, Priscilla Yeh, Adele Abide, Miriam Borchherdt, Dawn Marie Caulfield, Mimi Chung, Daniela Fiss, Hector Gonzalez, Akiko Hamazaki, Sarah R. Kreiger, Luciana L. Mallozzi, Ervin Ramos, Katherine Sheehan, Vanessa Sterbenz, Bruce Jason Tennis, Antanas Vainius, Andrea Winter, Julie Wollaeger, Ofra Yacobi

Programs

Program for the sixth annual RISD Cabaret held in the cellar at the top of the Waterman Building. Design and layout by Nonie Close. View the Performance Recording.

President's House, Yvonne Baldwin

Morehead State University Art Collection

A 1993 painting of the President's house on Morehead State's Campus done by Yvonne Baldwin.

John H. Payne, Yang Neng Chiang

Morehead State University Art Collection

An oil painting of John H. Payne created in 1993 by artist Yang Neng Chiang.

William J. Baird, Yang Neng Chiang

Morehead State University Art Collection

An oil painting of William J. Baird created in 1993 by artist Yang Neng Chiang.

Charles R. Spain, Yang Neng Chiang

Morehead State University Art Collection

An oil painting of Charles R. Spain created in 1993 by artist Yang Neng Chiang.

Art: Andi Nufer, Andi Nufer

Inscape

No abstract provided.

Full Issue

Inscape

No abstract provided.

About The Artists

Inscape

No abstract provided.

Beulah Nunn, Walton Jones

Morehead State University Art Collection

An 1993 oil painting of Beulah Nunn by Walton Jones.

Ivy Leaves, 1992-1993, Ivy Leaves Editorial Staff

Ivy Leaves

The 1993 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 David R. Peebles, Kim Emanuelson, Marissa Glover, Sharon Keaton, Tracey Kulesh, Alison L. Lowery, Melissa Perry, John Skardon, Shanon Betsinger, Tyler Butler, Wendy Church, Karla Fousek, Lisa Hadden, Amanda Hughes, David Moore, Rion Pinckney, Jeffrey S. Walker, Anita Albert, Dr. Wayne Cox, Doug Davison, and Susan Wooten. Cover art by Shannon Betsinger.

Harvey A. Babb, Yang Neng Chiang

Morehead State University Art Collection

An oil painting of Harvey A. Babb created in 1993 by artist Yang Neng Chiang.

Lights And Shadows - 1993, University Of North Alabama

Lights and Shadows

Art and Literature Magazine

Front Matter

Inscape

No abstract provided.

Inscape Fall 1992, Morehead State University

Inscape: Art & Literary Magazine Archive

The Fall 1992 edition of the Inscape: Literary and Art Magazine.

Quotations: The Second History Of Art, The Aldrich Museum Of Contemporary Art, Museum Of Contemporary Art, Wright State University

Exhibition and Program Catalogs

This catalog discusses the Quotations: The Second History of Art, an exhibit originally displayed at The Aldrich Museum of Contemporary Art from May to September of 1992 and then was displayed at the Museum of Contemporary Art at Wright State University from October to November of 1992.

"The art in Quotations is 120 about hero worship, ego inflation, or mimicking. It is about our times and it addresses questions concerning the value of originality. These artists' seemingly casual selection of historical works and periods make reference to today's consumer-driven society and to the compression of art history into a marketable …

Painter's Wilderness, Eddie Peters

Dissertations and Theses

Painter's Wilderness is a transition between painting strictly from imagination to painting with the use of drawings and sketches to interpret and authenticate an observation. The transition became an exploration of value patterns, compositional shapes and color correspondence in building a technically successful painting while allowing the piece to have its own life.

Inscape Spring 1992, Morehead State University

Inscape: Art & Literary Magazine Archive

The Spring 1992 edition of the Inscape: Literary and Art Magazine.