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Ancient Near Eastern Fibers And The Reshaping Of European Clothing, Elizabeth J. W. Barber

Textile Society of America: Symposium Proceedings

In April of 1994, an amazing story hit the news-stands. A group of naturally mummified corpses dated to 2000 BC and later had been found in Chinese Turkestan. Not only were their Caucasian features and blondish hair well preserved by the dry heat of the xinjiang desert, but also their clothes--brightly colored plaids and twills among them (Hadingham 1994). We know from later linguistic records that a group of Indo-European speakers we call the Tocharians had made their way to Xinjiang and the Tarim Basin in early times. We also know that the Indo-Europeans began to spread across Eurasia from …

Frontmatter - Contact, Crossover, Continuity - 1994

Textile Society of America: Symposium Proceedings

Frontmatter: cover, title page, and copyright page.

Technology And Change: The Incorporation Of Synthetic Dye Techniques In Abeokuta, Southwestern Nigeria, Judith Byfield

Textile Society of America: Symposium Proceedings

In the oriki (appellations) of an 18th-century oba (king) in Okuku, references to cloth and indigo were included in the verses that attested to the oba's wealth and greatness,

Abioye, my father, Olugbola, one who takes the image and all its children to dance

The beauty of cloth dyed in indigo does not fade

Adewale, the indigo is what gives the cloth its worth

The references suggestively point to the aesthetic as well as commercial value of indigo in Yoruba society. Scholars and travelers have long noted the importance of indigo dyed cloth in Yoruba society, and Yoruba women, the …

Akwete-Igbo Weavers As Entrepreneurs And Innovators At The Turn Of The Century, Lisa Aronson

Textile Society of America: Symposium Proceedings

In his discourse on trade commodities, Igor Kopytoff argues that commodities assume what he calls a "cultural biography" through which one sees "the social system and the collective understanding on which it rests" (Kopytoff, 1986:89). What Kopytoff means by this is that commodities take on a life of their own based on the social and economic factors that have come to affect them. This paper will address the "cultural biography" of cloth in Southeastern Nigeria from its origins through trade to its various levels of assimilation both in use and production.

The biography discussed in this paper reaches an important …

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 …

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.

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 …

The City Influence, Museum Of Contemporary Art At Wright State University

Exhibition and Program Catalogs

The gallery guide discusses the exhibition The City Influence shown at Wright State University from January 26 through February 21, 1992. The exhibition focused on abstract painting.

X6: New Directions In Multiples, The Aldrich Museum Of Contemporary Art, Museum Of Contemporary Art

Exhibition and Program Catalogs

This exhibit catalog shows work that is considered multiples, objects created by artists but not necessarily made by them or the idea of art works that could be easily reproduced with no diminution of meaning. The exhibit singled out six publishers with widely varying points of view to showcase: A/D, Artes Magnus, Kunst Editon New York, Editions Schellmann, Carl Solway Gallery, and Thea Westreich. The exhibit was originally shows at The Aldrich Museum of Contemporary Art from January 26-May 3, 1992 and then shown at Wright State University, hosted by the Dayton Art Institute Museum of Contemporary Art from June …

Words & #S, Museum Of Contemporary Art At Wright State University

Exhibition and Program Catalogs

The gallery guide discusses the exhibition Words and Numbers shown at Wright State University from April 7 through May 10, 1991. The exhibition focused on the combination of art and text.

Todt: Womb Wars, The Museum Of Contemporary Art, Wright State University

Exhibition and Program Catalogs

This catalog features work from the exhibition by artist collective TODT. The TODT: Womb Wars exhibition was held at Wright State University Art Galleries February 3 through March 8, 1991.

Perry Hoberman: Faraday's Garden, Museum Of Contemporary Art At Wright State University

Exhibition and Program Catalogs

In Perry Hoberman's electronic garden, evocative of happier and simpler times when the American Dream was the "General Electric Home," the concept of sculpture is being redefined and stretched to its limits. Hoberman, in a sort of tribute to Michael Faraday's electronic genius, recycles outdated and, at times, archaic-looking household appliances and tools in our room-sized installation. In this expanded version of the original Faraday's Garden, which was exhibited in 1990 at Postmasters Gallery in New York City, each of the appliances is activated by walking on electronic footpads on the floor, resulting in a sculpture that seems to have …

Assembled: Works Of Art Using Photography As A Construction Element, Wright State University Art Galleries

Exhibition and Program Catalogs

This catalog is from an exhibition featuring pieces that are a hybrid of work that combines two or more traditional disciplines, all employing photographs as a construction element. The exhibit was curated by Barry A. Rosenberg at the University Art Galleries at Wright State University and was shown from April 8 though May 13, 1990.

Joan Nelson Gary Stephan: Landscapes, Wright State University Art Galleries

Exhibition and Program Catalogs

A catalog of landscape paintings for a show held at The University Art Galleries at Wright State University from January 7 - February 2, 1990. The show featured works by landscape painters Joan Nelson and Gary Stephan. The catalog also includes an interview by the director of the gallery Barry A. Rosenberg.

Science/Technology/Abstraction: Art At The End Of The Decade, Wright State University Art Galleries

Exhibition and Program Catalogs

Science and technology are two dominant art themes that have been weaving their way through the 1980s. This show makes that point very strongly, but in doing so it does not I intend to show every work of art that has used scientific or technological subject matter, or has been hooked up to an electric outlet during this I decade. That would be both I indiscriminate and unrewarding. What this exhibition does set out to do is give enough breadth of focus to the subject to make it understandable that many artists in the past few years have been using …

Dr. Martin Luther King Jr. Peacekeeper, Wright State University Art Galleries

Exhibition and Program Catalogs

Organized by The Peace Museum, Peacekeeper was an exhibit held at Wright State University to document the life of Martin Luther King Jr. and his influence with The Civil Rights Movement. Included in the exhibit, was historical reference to his life, as well as, performances by the Wright State University Gospel Choir, and the Dayton Contemporary Dance Company. Peacekeeper was held at the Wright State University Art Gallery from November 5 through December 1st, 1989.

Contemporary Chinese Works On Paper, Wright State University Art Galleries

Exhibition and Program Catalogs

This a flyer that displays information for the Contemporary Chinese Works on Paper exhibit and lecture held at Wright State University. The dates that this exhibit was displayed was February 19th through March 17, 1989. Curated by Katherine Kadish, she held a curator talk about the collection on February 20, 1989. Bryan Choi, described as an architect and educator, held a lecture on the exhibit February 20, 1989.

Redefining The Object, Wright State University Art Galleries

Exhibition and Program Catalogs

This catalog features work from an exhibition of a collection of artists including Jeff Koons, Donald Lipski, and more. The ReDefining the Object exhibition was held at the Wright State University Art Galleries from February 22 through April 3, 1988

Prints From Presses, Wright State University Art Galleries

Exhibition and Program Catalogs

This catalog features a selection of works from an exhibition that featured Willem de Kooning, Wayne Thiebaud, Mark Lere, Chuck Close, and more. The exhibition was held at University Art Galleries, Wright State University, from September 21 through October 25, 1987.

William Bailey: Paintings And Drawings, Wright State University Art Galleries

Exhibition and Program Catalogs

This catalog features paintings and drawings from an exhibition of artist William Bailey. The William Bailey: Paintings and Drawings exhibition was held at Wright State University Art Galleries from March 30 through April 24, 1987.

Family Portraits, Ronald R. Geibert, Wright State University Art Galleries

Exhibition and Program Catalogs

The gallery guide discusses the exhibition Family Portraits shown at Wright State University from February 22 through March 20, 1987. The exhibition focused on black and white photography.

The Use Of Geometry In The 80s, Wright State University Art Galleries

Exhibition and Program Catalogs

This booklet showcases works included in the exhibit that celebrates and studies different attitudes towards contemporary Modernist heritage, comparing the classic tradition of modernism and Neo-conceptualist artists.

Toward An Interconnectedness Of All Things, Wright State University Art Galleries

Exhibition and Program Catalogs

This catalog features work by artist, Barbara Kasten, and details the creation of her installation at Wright State University mostly through photographs. The Toward an Interconnectedness of All Things installation focuses on the artist's exploration of three dimensional space using selected mixed media.

Quintessence: The Alternative Spaces Residency Program Number 6, Department Of Art And Art History, Wright State University

Exhibition and Program Catalogs

The gallery guide discusses the works involved with the Alternative Space Residency Program that was sponsored by the Dayton City Beautiful Council and Wright State University. Quintessence number six showcases the sixth and final year of a six year long project.