Art and Design Commons^™

Colcha Embroidery As Cartography: Mapping Landscapes Of Memory And Passage, Suzanne P. Macaulay

Textile Society of America: Symposium Proceedings

Stitching is one of the oldest forms or technologies of textile craft – if we regard technology in its elemental sense as artistry, process, invention or method. This presentation explores the notion of embroidered maps as creations of a cartographic visionary imagination. In terms of the Symposium’s theme promoting new links between traditional textile-based concepts and contemporary digital processes, these cartographic embroideries are viewed as compositions of space-time in which landscapes are rendered as illusions of three dimensions (space) with an implied fourth dimension (time). In these pictorial embroideries, time melds with memory in order to transcend the physical division …

Shipibo Textile Practices 1952-2010, Claire Odland, Nancy Feldman

Textile Society of America: Symposium Proceedings

indigenous Shipibo communities. In Part One, we will describe our work with a 1952 film on the Shipibo by Harry Tschopik, Jr., Associate Curator of Anthropology of the American Museum of Natural History. In 2007, one of the presenters compiled this footage into a DVD, called El Pueblo Shipibo: Men of the Montaña. This silent film is unique; no other historic film of these people and their heritage has been found to exist. Shipibo communities at preliminary screenings in 2008 reacted with delight as they saw images validating their ancestral knowledge. Men of the Montaña provides authentic visual images and …

Metalling With Fibers: A Design Series Exploring The Reuse Of Metal Findings Through The Use Of Technology, Eulanda A. Sanders

Textile Society of America: Symposium Proceedings

When analyzing “socially responsible” along the supply-chain of apparel production, there has not been an emphasis on the purchase of findings used in production of clothing and how surplus items are used or discarded. Hawley (2006) describes the mechanical sorting of findings to assist in the post-consumer recycling of apparel to aid in reclaiming fiber from products. Her research raised the following questions: 1) What happens to these findings after they are removed from the garment? 2) Is it possible to use these items in wearable or fiber art projects? 3) Where are additional sources for obtaining or reclaiming surplus …

Woven Images: All Techniques Considered, Tommye Mcclure Scanlin

Textile Society of America: Symposium Proceedings

What motivates an artist to create images using textile media? What weaving techniques are suitable for image making? Weavers through the ages have taken colored weft threads in hand and inserted them into the warp, row-by-row, building shape upon shape in the powerful and nuanced, yet structurally simple, technique of weft-faced tapestry. With the invention of the jacquard loom, the kind of complex image making that was previously only common in tapestry weaving became mechanized, and available on a commercial level that involved faster production rates, lower costs and the creation of multiples. In recent years, the innovations in, and …

Hooked: Between Personal And Public Space, Patricia Tinajero

Textile Society of America: Symposium Proceedings

This paper explores the proliferation of sculptural forms made exclusively by crocheting. Crochet is explored as a tool and medium that create sculptural forms and installations of grand scale.

My presentation compares and contrasts the connections between personal and private space as they are presented in the artwork of Andrea Zittle “Uniform Project” with the public and collective artwork of artist, Jennifer Marsh, and her “International Fabric Collective” project. The scope and scale in which these artists work present two different methodologies for developing large-scale projects that are based on the use of crochet techniques.

Chinese Blue And White Itajime (Jiaxie): Folk Tradition Of Carved Board Clamp Resist Dyeing In Zenjiang Province, Tomoko Torimaru, Ana Lisa Hedstrom

Textile Society of America: Symposium Proceedings

This is a report on our field studies taken to identify and observe in China the process of itajime shibori, or carved board clamp resist dyeing known as Jiaxie in Chinese and Kyokechi in Japanese. There is very little known history of this craft as generally not much attention is paid in China to their folk traditions.

In 2003 and 2004, we visited Yishan, Cangnan, Zhejiang Province at a workshop which is now officially designated as Zhongnuo Minjian Gongyi Jiaxie Zuofang, or roughly ‘Chinese People’s Art Craft Jiaxie Studio’. As this designation suggests, we observed some interest by the local …

Locating Textile Arts Pedagogy: Do We Ever Settle?, Mary Lou Trinkwon

Textile Society of America: Symposium Proceedings

Contemporary textile arts include a diverse continuum of practices ranging from DIY strategies rooted in grassroots culture often intentionally and intensely anti-intellectual, relational aesthetics based in social or collective practices and hyper technological electronically reliant practices often conceptual in nature. Contemporary educational practices also have a broad range of approaches and ideologies, which manifest in many forms, from applied situated social studio learning to e-learning platforms and distance learning, dependant upon social media and e-resources.

Given this complex range of diverse approaches and practices, how do we locate ourselves as educational practitioners? How do we settle into our educational spaces …

A A Rice Sacks Secrets: Once Hidden From Ourselves And Others, Flo Oy Wong

Textile Society of America: Symposium Proceedings

In this paper I will discuss the intersections of art and history with a focus on family and community and will examine immigration, resettlement, loyalty, and mental health concepts in a traditional Chinese American perception.

During my 30 year career as an artist, I have used oral history as a foundation to explore the impact of the 1882 Chinese Exclusion Law on my family and community, including later immigrants; I have transformed these little-known chronicles into art that speaks to the universality of adjustment to space and place. The iconic materials that I have used to convey these narratives are …

Figured Velvets From Simple Looms: Velvet Pick-Up And Related Techniques For Handweavers, Wendy Landry

Textile Society of America: Symposium Proceedings

Much historical velvet was designed to be figural, often in elaborate curvilinear floral motifs, and multiple colours. These complex patterns could be efficiently designed for and executed on the available drawlooms and their successors, the jacquard looms. Faced with such complexity, and the unavailability of jacquard looms and drawlooms, few handweavers have attempted to add velvet technique to their repertoire. However, the basic principles and weave structures of velvet are relatively simple and can be executed on simpler handlooms. Pick-up techniques and simple loom modifications make figured velvet accessible for weavers without access to complex jacquard velvet looms, allowing them …

Jacquard: A Loom Of Opportunity Workshop, Julie Holyoke

Textile Society of America: Symposium Proceedings

Workshop 2: Jacquard: A Loom of Opportunity
Teacher: Julie Holyoke
Place: New Media Center Computer Lab, Architecture Hall,
University of Nebraska, City Campus
Workshop fee: $125, pre-registration required
One Teitelbaum Family Support award
Maximum students: 15

Workshop Description: This Jacquard design workshop for educators, artists, and designers will be a fun and stimulating day during which many weave and design ideas for figured textiles will be presented and the medium’s potential explored. Using Jacquard design software, participants will follow a series of exercises on how to create, modify, and evaluate weave structures and graphics for visual and textural effect. Samples …

View From The Shoulders Of Thar Masters: New Space For Ply-Split Braiding, David W. Fraser

Textile Society of America: Symposium Proceedings

Men of the Thar Desert in the Indian states of Rajasthan and Gujarat and the Pakistan state of Sindh have been the traditional masters of ply-split braiding. They have focused on trappings for camels, including elaborately decorated girths, bridles and other accoutrement, made of goat hair or cotton. Particularly since the 1998 publication of Collingwood’s The Techniques of Ply-split Braiding, fiber artists have explored other possibilities for using ply-split braiding to create vessels and other three-dimensional structures. Most of those innovations have been done in what Collingwood calls single-course oblique twining (SCOT), which allows great freedom in color patterning because …

Surrounded: Large And Small Work By Lillian Elliott Awardees, Concurrent Exhibitions, Tugboat Gallery

Textile Society of America: Symposium Proceedings

Tugboat Gallery
www.tugboatgallery.com
(402) 477-6200

Surrounded: Large and Small Work by Lillian Elliott Awardees
October 1 - 29, 2010

Featuring Lillian Elliott Awardees Frances Dorsey (1995), Marcie Miller Gross (1996) and Soonran Youn, (2002)
Lillian Elliott tapestry, “Color it Twill” on exhibit, available for bidding in silent auction.

New Material World: Rethreading Technology, Concurrent Exhibitions, The Sheldon Museum Of Art

Textile Society of America: Symposium Proceedings

Sheldon Museum of Art
www.sheldonartgallery.org
12th & R St.
(402) 472-2461

New Material World: Rethreading Technology
October 8, 2010 - January 2, 2011

From manipulating old techniques in new ways to coupling new tools and digital
processes with traditional methods, this work explores what it means to be an
artist integrating such approaches in the 21st century.

Participating artists: Lyn Carter, Kyoung Ae Cho (1997 Lillian Elliott Awardee),
Sonya Clark (2000 LEA), Ishida Tomoko Hashimoto (1998 LEA), Kyoko Kumai,
Cat Mazza, Janice Lessman-Moss, Geraldine Ondrizek, Jessica Smith, and
Grethe Sørensen.

Color And Pattern: Tribal And Contemporary Ikats Of India And Laos, Concurrent Exhibitions, Lentz Center For Asian Culture

Textile Society of America: Symposium Proceedings

Lentz Center for Asian Culture
www.unl.edu/lentz/
1155 Q St.
(402) 472-5841

Color and Pattern: Tribal and Contemporary Ikats of India and Laos
September 20 - October 15, 2010

Jill Heppenheimer and Joanna Smith have curated this exhibition of contemporary and traditional Lao tribal apparel, drawing upon centuries-old motifs.

Wendy Weiss and Anjali Karolia have curated a presentation of dazzling single and double ikat from India, including documentation of warp and weft ikat preparation.

Mr. Vaghelu G. Vitthalbhai of Somasar, Surrendranagar, Gujarat will demonstrate weft binding in October.

The Landscape Tapestries Of Louise Nevelson, 1972-1997, Ann Hedlund

Textile Society of America: Symposium Proceedings

This presentation examines the varied negotiations involved in creating a series of modern tapestries designed by American sculptor/collagist Louise Nevelson, woven at Dovecot Studios of Edinburgh Tapestry Company in Scotland, and orchestrated by Gloria Ross, a New York tapestry éditeur (in a role paralleling that of film producer). Information comes from unpublished letters, sketches, photographs, and other materials in the Archives of American Art. Voices include those of artist, weavers, producer, galleries, museums, critics, and collectors. In keeping with conference themes, this paper explores old techniques and materials used in innovative ways, in the service of both technology and nature. …

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. …

Digital Costume Display, Katia Johansen

Textile Society of America: Symposium Proceedings

Costume is popular in museum exhibitions, but it requires a lot of preparation, careful handling, well-appointed space and special conditions. And it can’t even tolerate the light for very long – all good reasons to supplement traditional display with digital presentations. At the Royal Danish Collections, however, we have gone further, creating encounters unheard of in conventional exhibitions: turning the costume to see every detail and zooming in close enough to count threads and stitches.

Kongedragter.dk (Royal costume) is an interactive presentation of 16 garments worn by the 16 Danish monarchs from King Frederik II (died 1588) to the reigning …

Walnut Dye For Wool And Silk And Development Of A Color Palette For A Product Line, Anjali Karolia

Textile Society of America: Symposium Proceedings

The use of natural dyes has attracted increasing worldwide attention as the carcinogenicity and environmental pollution problem of synthetic pigments are becoming a great concern. In this paper, leaf, bark, and fruit covering of the walnut tree were used to extract dye for obtaining a color palette on natural protein fibers. Wool and silk fabrics were pre-mordanted by four metallic mordants i.e. alum, tannic acid, copper sulphate, ferrous sulphate and three natural mordants i.e. tea, coffee and pomegranate, at three different pH
conditions (self, acidic and alkaline) for development of a color palette. Dyed samples were tested for color yield …

Morphological Differences Between Ramie And Hemp: How These Characteristics Developed Different Procedures In Bast Fiber Producing Industry, Min Sun Hwang

Textile Society of America: Symposium Proceedings

Ramie and hemp fiber are two major fibers among the four traditional fibers (cotton, wool, hemp, and ramie) of Korea. They have a very long history going back to as early as the first century AD Ramie fabric, as summer clothing, was enjoyed by upper class/royal families and scholars. On the other hand, hemp fabric was worn by the lower class, such as people who worked in labor intensive fields. Hemp fabrics were also used for funerary costumes and shrouds; this tradition continues to the present time.

After four years of on-site research, I presented two papers on two distinct …

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 …

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 …

Sustaining The Magnificent Craft Of Songket Weaving In Malaysia, June Ngo Siok Kheng

Textile Society of America: Symposium Proceedings

Mass-production of songket utilising jacquard looms can swiftly diminish the songket weaving cottage industry. Investing in a jacquard or dobby loom can be expensive and thus may not be affordable for practical use in the cottage songket industry as traditional weavers tend to operate on a small scale basis in villages. This paper highlights the production of contemporary Malaysian handwoven songket which is currently being funded by Yayasan Tuanku Nur Zahirah (YTNZ). The YTNZ is a foundation founded under the royal patronage of her Majesty Tuanku Nur Zahirah, the reigning Queen of Malaysia. YTNZ aims to help under-privileged communities in …

Woven Blooms Of Nationalism: Russian Handwoven Tapestry-Technique Shawls 1825-1855, Tanya Wetenhall

Textile Society of America: Symposium Proceedings

Russian handwoven, tapestry-technique shawls of the nineteenth century form an understudied group of textile art, especially when compared to Russia’s widely-known printed shawl industry. Often considered by Western textile and fashion historians to be a parallel industry to the production of woven shawls of the Kashmir style in France and Britain, further investigation suggests the contrary. The manufacture of Russian tapestry-technique shawls developed as a distinctly separate industry, addressing nineteenth-century Russia’s established shawl trade and shifting geopolitics. The Russians continued the production of these extravagant shawls long after the Kashmir shawl’s fall from fashion grace in the West due to …

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 …

Binary Fiction: Digital Weaving 2010, Concurrent Exhibitions, Eisentrager-Howard Gallery

Textile Society of America: Symposium Proceedings

Eisentrager-Howard Gallery
www.unl.edu/art/facilities_eisentrager-howard.shtml
Richards Hall, 1st floor
Stadium Dr. & T St.
(402) 472-5025

Binary Fiction: Digital Weaving 2010
October 4 - 29, 2010

The artists in this exhibition, Laurie Addis, Catharine Ellis, Gail Kenning, Chia-Hui Lu, Christy Matson, Vita Plume, Michael Radyk, Ismini Samanidou, Ruth Scheuing, Pauline Verbeek-Cowart and Bhakti Ziek, use weaving combined with the generative capabilities of the computer to create planar
objects imbued with beauty and meaning. Drawing on various sources of inspiration mediated by digital technology, they transform virtual designs into material form using the matrix of threads on the loom. The binary language of …

Woven Color In China/ The Five Colors In Chinese Culture And Polychrome Woven Textiles, Zhao Feng

Textile Society of America: Symposium Proceedings

There existed the yin-yang theory and the five color system, including red, blue, yellow, black and white, in ancient Chinese culture. Each color refers to one of the five directions, east, west, north, south and middle, also one of the five planets, Venus, Jupiter, Mercury, Mars and Saturn, as well as one of the five materials, metal, wood, water, fire and earth. This idea was also widely used in the Chinese polychrome woven textiles from the Han dynasty (2c. BC-2c. AD), to the Ming dynasty (14-17c). Based on the analysis of all available samples of polychrome woven silks with cloud …

Needlepoint By Stephen Beal, Concurrent Exhibitions, Gallery 9

Textile Society of America: Symposium Proceedings

A small exhibition held in conjuntion with the Textile Society of Americas 12th Biennial Symposium, From Plains Space to Cyberspace, displaying needlepoint work of the late Stephen Beal, the 2008 Lillian Elliott Awardee.

12th Biennial Symposium Program, Part 2: Concurrent Local Exhibitions At Participating Museums And Galleries

Textile Society of America: Symposium Proceedings

• Cooper Gallery at Morrill Hall -- A Turning Point: Navajo Weaving in the Late Twentieth Century  http://www-museum.unl.edu
• Eisentrager-Howard Gallery -- Binary Fiction: Digital Weaving 2010  http://www.unl.edu/art/facilities_eisentrager-howard.shtml
• Lentz Center for Asian Culture -- Color and Pattern: Tribal and Contemporary Ikats of India and Laos   http://www.unl.edu/lentz
• Nebraska History Museum -- Willa Cather: A Matter of Appearances  http://www.nebraskahistory.org
• Rotunda Gallery -- Fiber, Textiles, and Clothing: UNL Graduate Students in Textiles, Clothing, and Design   http://union.unl.edu/city/rotunda_gallery.php
• Sheldon Museum of Art -- New Material World: Rethreading Technology  http://www.sheldonartgallery.org
• International Quilt Study Center & Museum http://www.quiltstudy.org  -- South Asian Seams: Quilts from India, Pakistan and Bangladesh
• International …

Promoting The Tactile In A Virtual World: An Overview Of Fiberscene.Com, Susan Taber Avila, Myra Block Kaiser

Textile Society of America: Symposium Proceedings

After ten years of public service, FiberScene.com, will go offline in Spring 2011. This website, co-founded by Susan Taber Avila and Myra Block Kaiser, played a significant role in promoting fine art with a textile sensibility. Prior to creating this site, there was nothing in cyberspace devoted to Fiber Art.

FiberScene’s initial goal was to enhance visibility for fiber artists, especially those who lived in the San Francisco Bay Area, once a Mecca for fiber art. The website contained individual pages of local artists, a resource page, an event calendar, and a virtual gallery. The gallery provided a comprehensive overview …

Of Gods And Gangs: Indigo As A New Educational Model, Jenny Balfour Paul

Textile Society of America: Symposium Proceedings

In late August 2009, a multi-year educational initiative called Silk Road Connect was launched in five pilot schools in underserved neighbourhoods of New York City as part of its Department of Education’s Campaign for Middle School Success. The brainchild of cellist Yo Yo Ma and his Silk Road Project, Silk Road Connect ‘inspires passion-driven learning by empowering students and educators to seek connections across all areas of study and to follow their interests from the familiar to the foreign. In a spirit of playfulness and investigation, collaboration and creativity, this program invites students to experience learning as a continual process …