Art and Design Commons^™

Table Of Contents

The Quatrain

No abstract provided.

Letter From The Editor, Katelyn Swanson

The Quatrain

No abstract provided.

From The Dean, Donald Kaczvinsky

The Quatrain

No abstract provided.

Legacy Of Ruth Bader Ginsburg

St. Norbert Times

News

• Legacy of Ruth Bader Ginsburg
• Presidential Madness as Election Looms
• Lovelee Talks Art and Community
• Fall Sorority Recruitment
• CAUGHT: COVID Cash
• Beto O’Rourke Calls on Gen Z

Opinion

• Reality TV is the New Reality
• The Mystery of Multitasking
• Goodbye, RBG
• Impending Apocalypse and Puppeteering
• A Screaming Good Time in Wisconsin

Features

• Green Bay Farmers’ Market
• Kayaking on the Fox
• Career and Internship Fair Goes Virtual
• New Faculty: Elizabeth Danka (Biology)

Entertainment

• Student Spotlight
• Weeb Corner: What’s New in Anime?
• Review of “Avatar: The Last Airbender”
• Four of the Most Anticipated October Book Releases
• Junk Drawer: Favorite Fall Beverage

Sports …

72 Orchids, Lilly Hinckley

Manuscripts

No abstract provided.

Underground Lipstick, Garrett Davis

Manuscripts

No abstract provided.

Paris, Lilly Hinckley

Manuscripts

No abstract provided.

What I Do, Miriam Berne

Manuscripts

No abstract provided.

Stirring Movements, Brian Clow

Manuscripts

No abstract provided.

Post Postblack: Rethinking Contemporary Black Art In 2020 Art Culture, Brooke Finister

McNair Research Journal SJSU

For this study, I will be exploring the importance of advocacy in the art culture community. My research question is: Do we still need a postblack lens to look at black art and content? Historically, the black arts community’s perspective following the civil rights era and leading to the rise of the Black Arts Movement had been left out of exhibition spaces. I intend to evaluate the impact of arts foundations and organizations that contributed to the success of artists and curators within New York City from the late 1960s onward. In the 21st century we have much more inclusive …

If We Had A Kid, - Darrel -

Manuscripts

No abstract provided.

Zine Group A, Hailey Aspinwell, Tyler Amato, Ashlee Anderson, Destiny Andrade, Allison Beck, Owen Lavelle, Kenny Dyson, Vishal Fatania

Bryant Zines

No abstract provided.

Creativity And The Arts, Jenna Gardner, Megan Skasen, Erica Barley, Carley Pearson, Abby Rae, Lucy Smith, Owen Lavelle, Adibhav Gupta

Bryant Zines

No abstract provided.

Lcs Group C, Abigail Rae, Conor Manning, Darian Ramos, Derek Frame, Gabrielle Weiner, Haozhe Li, Juliana Mandile, Kasey Thomas, Yiming Huang

Bryant Zines

No abstract provided.

Lcs Zine Group, Julia Robertson, Liam Peterson, Collin Acampora, Hannah Bloomwald, Megan Lawlor, Maya Nguyen

Bryant Zines

No abstract provided.

Fall 2020, Valparaiso University

The Lighter, 1958-Last Year

No abstract provided.

Facing Others: Ray Johnson’S Portrait Of A Curator As A Network, Miriam Kienle

Art and Visual Studies Faculty Publications

Deploying various forms of art world communication (commercial, bureaucratic, and interpersonal), Ray Johnson made a portrait of the curator Samuel J. Wagstaff during the mid-1960s that unworked the singular and unified image of his subject and emphasized identity as contingent upon a person’s position in their social network. Although many have noted the networked character of Johnson’s mail art practice—wherein participants were connected to each other with and through continually circulated collaged correspondence—few have explored it in relation to contemporary network theory and none have examined how it relates to portraiture of the period. By analyzing the remains of Johnson’s …

Mexico And The People: Revolutionary Printmaking And The Taller De Gráfica Popular, Carolyn Hauk, Joy Zanghi

Schmucker Art Catalogs

During its most turbulent and formative years of the twentieth century, Mexico witnessed decades of political frustration, a major revolution, and two World Wars. By the late 1900s, it emerged as a modernized nation, thrust into an ever-growing global sphere. The revolutionary voices of Mexico’s people that echoed through time took root in the arts and emerged as a collective force to bring about a new self-awareness and change for their nation. Mexico’s most distinguished artists set out to challenge an overpowered government, propagate social-political advancement, and reimagine a stronger, unified national identity. Following in the footsteps of political printmaker …

Blanket Statements, Issue 145, Fall 2020

Blanket Statements: News Publication of the American Quilt Study Group

Blanket Statements, Issue 145, Fall 2020

Undocumented Migration And Political Community In Susan Meiselas's Crossings Photographs, Sarah Bassnett

Visual Arts Publications

In 1989, Magnum photographer Susan Meiselas (b. 1948) photographed irregular border crossings in southern California. At the time, it was relatively easy for undocumented migrants from Central America and Mexico to cross between ports of entry, even as there was growing pressure on American officials to address border security.1 One photograph in Meiselas’s Crossings series depicts a border patrol officer apprehending a migrant off the interstate near Oceanside (fig. 1). Two torsos fill the center of the image. The officer grasps the man’s clothing, propelling him toward the nearby vehicle. With heads cut off by the frame and backs turned, …

Manual / Issue 14 / Shadows, Sarah Ganz Blythe, Editor-In-Chief, Amy Pickworth, Editor, Andrea Achi, Emanuel Admassu, Anita N. Bateman, Makeda Best, Gina Borromeo, Rashayla Marie Brown, Shuriya Davis, Akwaeke Emezi, Tayana Fincher, Melanee C. Harvey, Kate Irvin, Sade Lanay, Dominic Molon, Oluremi C. Onabanjo, Kevin Quashie, Matthew Shenoda, Kelly Taylor Mitchell, Leslie Wilson

Journals

Manual, a journal about art and its making. Shadows. This anti-visibility is not the same as being invisible, rather it is the power to operate against systems of imperial domination, including the gaze. It asks: How do we force the gaze to surrender? What if explanation were off the table? By enabling a petit marronage that can be expressed in the visual and symbolic use of shadow, the gaze is challenged. This issue of Manual and the accompanying exhibition (opening at the RISD Museum Fall 2020) posit that the right to opacity de-burdens contemporary work by artists who identify as …

Power Of The Press, Isabella Naccarato

Fall Showcase for Research and Creative Inquiry

Students from Professor Cushman's CTZN 410 class put together a presentation of what was done over the course of the class period. From our many viewpoints came one unified, artistic print project that guaranteed all voices were recognized and heard. This production for public display connects the significance of the process from form to content and production to distribution via printed matter.

Can Data Be Manipulated Through The Use Of Visual Design?, Victoria Coleman

Fall Showcase for Research and Creative Inquiry

My poster goes over why data visualization is important and how data manipulation can occur when a designer uses visualization tools. I show example of visualizing data sets as well as how data can be manipulated.

Introduction To Illustration, Nathan P. Sensel

Open Educational Resources

Illustration is a visual interpretation of the world around us and is meant to communicate ideas in a clear and creative manner. The illustrator uses many different tools to convey their perspective, including painting and drawing, photography, digital media, printmaking and more.

This course is an introduction to the analog, non-digital, handmade 2-dimensional techniques and materials that illustrators use and the messages they are attempting to convey. Throughout the course, you will be asked to describe and analyze different techniques and apply them to your own work. As with any other skill, warming up, exercising and practicing are essential components …

Freedom Quilt: Collective Patchwork In Post-Communist Hungary, Christalena Hughmanick

Textile Society of America: Symposium Proceedings

The paper investigates the democratic and social values of patchwork quilting through its culture of open-source pattern sharing and communal group work – using The Freedom Quilt Hungary project as a primary example. I facilitated a social engagement artwork, developed in 2019 on the occasion of the 30th anniversary of the end of Socialist rule in Hungary in 1989. This change resulted in new laws, allowing for the formation of the Hungarian Patchwork Guild (HPG), with whom I worked closely to create the work. It provided members of this group and the public with a platform to define individual notions …

Prejudiced Commodities: Understanding Knowledge Transfer From India To Britain Through Printed And Painted Calicoes, 1720-1780, Aditi Khare

Textile Society of America: Symposium Proceedings

The eighteenth-century trade in calico between Europe and India was a function of global textile manufacture, exchange, and consumption on multiple levels. This trade had several political, cultural, and economic consequences— the most important of which, I suggest, was the transfer of useful knowledge from artisanal oral textile traditions in India to the receptive, commercial, and nascent cotton printing industry in Europe.

This paper explores the contribution of Indian cotton printing knowledge towards the development of Europe’s cotton industry and, consequently, its dissemination through European knowledge networks. In particular, the largely overlooked chemical knowledge pertaining to dyes and mordants responsible …

Schoolgirl Embroideries & Black Girlhood In Antebellum Philadelphia, Kelli Racine Coles

Textile Society of America: Symposium Proceedings

Embroideries stitched by girls at schools for Black children in the eighteenth and nineteenth centuries are rare finds in the antiques world. The few embroideries likely stitched by Black schoolgirls that do survive often offer historical evidence in the form of the names of their makers’ schools stitched onto their embroideries. Yet there is little scholarship on these embroideries or the education these schoolgirls were pursuing while creating their samplers. In scholarship using material culture as primary evidence, these embroideries provide valuable clues about the lives of Black girls in northern cities during the antebellum period. My work examines the …

Arpilleras The Vessels Of Chile’S Resistance, Soledad Fátima Muñoz

Textile Society of America: Symposium Proceedings

Most historians locate the beginning of the Chilean military government after the coup d’etat, which overthrew democratically elected President Salvador Allende, on September 11, 1973. However, I would like to focus on the ideological background that preceded this era through the investigation of arpilleras and their relationship to Western academic institutions in the making and writing of history—more specifically, to the University of Chicago as the “Ideological State Apparatus” responsible for the implementation of neoliberalism in Chile.

Arpilleras are patchwork-based textiles of narrative imagery, made with a technique of applique and embroidery on a burlap background. They are produced in …

Plants In The Tapestry (Literally), Ann H. Peters, Adriana Soldi S.

Textile Society of America: Symposium Proceedings

Among our studies of ancient Peruvian textiles created in tapestry technique, we have come across some surprising elements, both in the warp and the weft. Andean textiles created over the past 10,000 years have been preserved in certain locations along the Pacific desert coast. They are usually preserved in the cloth bundles that protect and adorn the dead, and composed of fibers from native cotton varieties of Amazonian ancestry, the hair of highland ancestors of today’s llama and alpaca, maguey leaves from the mid-valley canyons, and reeds from coastal marshes. Garment forms, techniques and imagery can indicate textiles produced in …

Kenyan Basketry (Ciondo) By Women From Central And Eastern Kenya, Mercy Wanduara

Textile Society of America: Symposium Proceedings

The Kenyan baskets commonly known as kiondo/kyondo (s)/ciondo (p) are made by women in different parts of Kenya mainly as utilitarian items for carrying goods around. The baskets are made using traditional/indigenous fibers that are readily available near where people live. The fibers may be from plant stems of shrubs, barks of trees, or banana fibers. The fibers are manually harvested, processed (spun), dyed, and woven into baskets. Dye stuffs are produced locally from natural sources such as mud (brown), leaves from specific plants (green), tree barks (red and brown), and charcoal (black), among other sources. Even though basketry is …