Fiber, Textile, and Weaving Arts Commons^™

Textile As Cultural Technology: The Evolution Of Robert Rauschenberg’S Jammers, 1975–6, Katya Oicherman

Textile Society of America: Symposium Proceedings

Robert Rauschenberg suggested that any material has a “humanitarian reportage” or a history built into it, that opens art to the “strange and unpredictable” experience only comparable to everyday reality. Developing this idea, I will focus on the Jammers, a series of works with significant textile presence produced in 1975–76, and discuss how Rauschenberg’s relationship to textiles evolved from treating them as “materials” to recognizing them as cultural technologies. In 1975 he was on a fellowship in Ahmedabad, India, a period of intense experimentation.

Textiles were already a significant presence in his art, playing a subservient role of materials …

Inconclusive Objects: Sample Making As Inquiry-Driven Practice, Etta Sandry

Textile Society of America: Symposium Proceedings

In Inconclusive Objects: Sample Making as Inquiry-driven Practice I will discuss craft sample making as a valuable practice of critical thought and experimentation. Craftspeople, artists, and designers make samples to practice technical skills and to demonstrate results on small scales. It is process work, typically used to learn a new technique or a hidden step on the way to a final product. However, as a cumulative process of research, material probing, and play, sampling is a critical aspect of design and creation. What can a closer study of sampling reveal about creative practice and knowledge production in craft and beyond? …

Textile Ways Of Thinking As A Trauma-Informed Design Tool To Research And Understand Communities, Smrti Ganesan, Nishanth Srikanth

Textile Society of America: Symposium Proceedings

There has been a shift in methodologies in the broader world of design. Today, co-design and participatory methods are a vital part of the modern designer's toolkit, and designers are finding new ways to interact with communities and design solutions that are more responsive to the actual needs of those communities.

Textile design has historically been a medium for expressing and processing traumatic experiences, reflecting individual and collective traumas in society. Textiles have also historically served not only as a form of artistic expression but also as a powerful tool in activism, particularly within feminist movements. Recent developments have seen …

Solidarity Dividend With Us Wool And Community Engagement To Address Socioeconomic Inequities, Helen X. Trejo, Angela Becerril

Textile Society of America: Symposium Proceedings

As a long-standing natural fiber, wool provides an opportunity for community engagement and reflexive practice. Our process involved sourcing wool from US sheep and wool farms in lower income areas and hands-on textile development, and intersectional reflection. Being at a Hispanic Serving Institution, informed approaches to engage with concepts, such as the “zerosum paradigm” and “Solidarity Dividend” based on Heather McGhee’s NY Times Best Selling book “The Sum of Us.” It explores how racism affects intergenerational wealth among minorities. The zero-sum paradigm is the idea that progress is a tradeoff; benefits to some is at an expense for others. The …

Lavenz, Valenz, Levenxë, Lavexha, Lavenzka: Woven Felted Blankets From The Korçë Region In Southeastern Albania, Alexis Zoto

Textile Society of America: Symposium Proceedings

This paper will look at and document colors and patterns and motifs of woven and felted blankets from the Korçë region of southeastern Albania. Very little is published on these textiles. This paper will document the disappearing and under appreciated textile, and why are they no longer understood or valued. In Albania and in Albanian diaspora communities this textile has had different names in prewar, prewar Korçare dialect and now.

I will be drawing from information gathered interviewing parishioners who volunteered to share their heirlooms and information gathered from examining the textile(s). These heirlooms belong to members of multiple generations …

Exploring The Potential Of Soy-Based Materials: Sustainable Textile Design And Apparel Production, Kasandra L. Wright, Lance Cheramie

Discovery, The Student Journal of Dale Bumpers College of Agricultural, Food and Life Sciences

This study investigated the potential of soy-based materials as a sustainable alternative in fashion design, focusing on creating textiles using batik techniques. The process involved producing soymilk, bonding pigments, repurposing soy pulp, employing batik methods, and enhancing textures with soy fibers. The resulting sample showcased a visually captivating moth motif on soy textile, demonstrating soy materials' aesthetic and environmental potential. The findings affirm the viability of soy textiles in fashion, offering a biodegradable, renewable option with reduced water and chemical usage compared to traditional materials. Further research is recommended to explore additional design applications and commercial feasibility, contributing to the …

Recollection, Shelby Ann Theis-Lukenbill

Graduate Theses/Dissertations

My work is inspired by life's transient nature and objects' enduring capacity to house memories. The delicate sculptures I create combine second-hand objects with paper to capture the essence of moments and possessions that define personal histories. The objects I use represent more than their form or chemistry; they are imbued with fragments of history and memory that I am driven to preserve. In this work, the sentimental nature and purpose of my belongings hold an equal or greater value than the physical nature and purpose of those belongings. I illuminate an object’s sentimentality by combining its form with painted …

Return To Soil, Lindsay Jo Mccarty

Graduate Theses, Dissertations, and Problem Reports (ETD)

This document outlines my artistic research on building a symbiotic relationship with land throughout life and death, eco-philosophy, and the significance of natural decomposition. It explores green burial practices in Western society, delves into the history of basketry, and draws inspiration from the mutualistic effort of returning our organic energy to the Earth. The recontextualization of what “death” is and reciprocal outlooks are central to this work. My aim is to honor this cycle through creations that incorporate plant matter in hopes that, one day, I can create artwork with completely compostable materials.

My art embodies these themes and is …

Uncoverings: The Research Papers Of The American Quilt Study Group - Volume 45 (2024), Joanna E. Evans, Sarah L. Schameloh, Michelle M. Marciniak, Kristin Barrus, Cathy Erickson, Mary Fons, Sharon Fulton Pinka, Kathleen L. Moore, Terry Tickhill Terrell, Nancy Curry Bavor

Uncoverings Journal

Contents

Preface

Lapis Prints: A Forgotten Beauty, Sara L. Schamerloh and Michelle M. Marciniak

Ways of Seeing the Rotary Cutter: An Interdisciplinary Examination of Technology’s Impact on Quiltmaking, Kristin Barrus

Southeast Pennsylvania Papercut Quilts: Mary Worrall Parry’s Quilt and Related Appliqué Quilts, 1844 to 1852, Cathy Erickson

Who’s That Girl? The Shifting Identity of Use-Quilts in the Fine Art System, 1900–2024, Mary Fons

William Pinch and the Rainbow Quilt Block Company (An Update), Sharon Fulton Pinka

The Mystery of the Harlequin Star Quilts: Finding and Naming a Previously Unidentified Regional Design (An Update), Kathleen L. Moore

Peacock among the Ruins …

How To Forget, Jesse D. Hoyle

Theses and Dissertations

How To Forget was born from a need to give tangible form to the psychic residue left behind by a life lived. Through the use of silk-screening of red clay mud onto ink-jet photographs, archival textiles, and site-specific installations, I attempt to tie and/or divorce myself from my own and my family's extended history and examine the function of memory within the dynamics of the archive. How To Forget takes a non-linear, non-chronological approach to this examination, compressing decades of time and space through the manipulation of the archive and my own self-portraiture, designed specifically to deny myself from its …

First Course Portfolio For Tmfd 213: Merchandising I: Textile And Apparel Industry, Na Young Jung

UNL Faculty Course Portfolios

This portfolio presents a comprehensive overview of TMFD 213: Merchandising I, a foundational course in the Department of Textiles, Merchandising, and Fashion Design at the University of Nebraska-Lincoln. The course is designed to equip students with critical thinking, analytical skills, and industry-specific knowledge necessary for professional success in the textile and apparel industry. The portfolio outlines the course’s objectives, teaching methodologies, and the impact of instructional strategies on student learning outcomes. It includes detailed analyses of quantitative and qualitative data collected through pre- and post-test surveys, assignments, and reflections. Quantitative results demonstrate significant improvements in key areas such as familiarity …

Embody, Lillian Luna Bennett

Graduate Student Theses, Dissertations, & Professional Papers

In this paper I will discuss my studio process, material, content and context as it relates to each piece or installation in my thesis exhibition, Embody. My work explores and reacts to the effects that the current political climate has on our physical bodies and identity. I investigate value systems that are embedded into America’s visual language. Often morphing into ruins and relics of an old world while simultaneously being grafted onto contemporary culture. Through large scale textile sculpture, I explore one of my main themes: melding classical architectural motifs that America has adopted, with contemporary textile techniques and material …