Art Practice Commons^™

Ancient, Indigenous And Iconic Textile Motifs In Contemporary Fashion Case Study: Defining Concepts Through Textile Designs: Appropriation, Collaboration, Provenance And Identity, Kristin Scheel Lunde

Textile Society of America: Symposium Proceedings

This paper investigates the material and visual characteristics of certain ancient and historical textile motifs with roots in Chinese and African culture, and their sudden appearance in new geographical and cultural context. Appropriated into western contemporary textile and fashion trends, this paper examines the new roles of these designs in context of foreigness, identity, and hybridity. Their consumption and reception both within and beyond their original cultures is a central theme, and it is evident that their reception in both locations, although different, exhibits some similarities. Exploring the transcultural consumption and reception that occurs in various cultural locations this paper …

Nd’Awakananawal Babijigwezijik Wd’Elasawawôganôl: “We Wear The Clothing Of Our Ancestors”, Vera Longtoe Sheehan

Textile Society of America: Symposium Proceedings

When thinking of Native American people, a typical image is of tanned people with long dark hair wearing leather and furs in the distant past, but that is not an accurate depiction of the Abenaki people or their textiles. As an Abenaki scholar, artist, and educator, my research into the textile traditions of the Abenaki people includes archaeological evidence, primary resources, and oral history interviews. Abenakis themselves have different ideas of what it traditional because textile and fiber arts evolved over many millennia throughout N’dakinna, the Abenaki homeland which once encompassed Vermont, New Hampshire, northern Massachusetts, and parts of New …

Manipulating The Threads Of Culture: Contemporary Shibori Artist Yvonne Wakabayashi, Eileen Wheeler

Textile Society of America: Symposium Proceedings

Deeply anchored in her practice of shaping and manipulating fibre are both the aesthetic integral to Yvonne Wakabayashi’s Japanese heritage and the inspiration of the natural environment she finds along the shores of her own birth place, Canada’s west coast. Wakabayashi’s journey to find her authentic voice in her varied textile works, engaged both historical craft practices of Japan and printmaking processes of the West. Most importantly, it led to the discovery of shibori with its ancestral links and innovative contemporary possibilities. This paper explores how an individual artist embraces her artistic cultural identity that also negotiates the upheaval wrought …

Resist: A Controversial Display And Reflections On The Academic Library’S Role In Promoting Discourse And Engagement, Stephanie Beene, Cindy Pierard

Urban Library Journal

Libraries engage communities in a variety of ways, including through exhibitions and displays. However, librarians may not always know how to promote critical discourse if controversy arises surrounding exhibits or displays. This article reflects on one academic library’s experience hosting a controversial display during a divisive political time for the library’s parent institution, its broader urban community, and the United States as a whole. The authors contextualize the display, created by a local art collective, against the backdrop of creative activism, and consider implications for library displays and exhibits within similar environments. Rather than retreating from controversy, libraries have an …

Review Of Martens, Sacred Scraps: Quilt And Patchwork Traditions Of Central Asia, Carol Bier

Textile Research Works

Sacred Scraps: Quilt and Patchwork Traditions of Central Asia

Author: Christine Martens

Published by: International Quilt Study Center & Museum, University of Nebraska-Lincoln, 2017.

Drawing upon years of extensive travel, field research, and personal interviews with craftsmen and scholars in Central Asia, Chris Martens has produced a magnificent book to accompany the 2017 exhibition at the International Quilt Study Center & Museum in Lincoln, Nebraska, for which she served as guest curator. This book, and the exhibition, documents the prolific quilt and patchwork traditions of Turkmenistan, Tajikistan, Uzbekistan, Kazakhstan, and Kyrgyzstan. Funds for travel, research, and systematic collecting came from …

Review Of The Cultural Legacy Of Uzbekistan In World Collections Conference, Michele Hardy, Carol Bier

Textile Research Works

In May 2017, over 370 scholars convened in Tashkent and Samarkand, Uzbekistan, to share their research and mark the publication of an important new series of handsomely produced volumes. Among the participants were former TSA President, Carol Bier, and past TSA Board Member, Michele Hardy. The Cultural Legacy of Uzbekistan in World Collections is a ten-volume series that documents the richness and diversity of Uzbek tangible and intangible heritage, particularly in the collections of international museums. The volumes-each lavishly illustrated, trilingual (Uzbek, Russian, and English), and beautifully bound-examine some of the richest collections of Uzbek art and culture: the Tretyakov …

Textile Terminologies From The Orient To The Mediterranean And Europe, 1000 Bc To 1000 Ad, Salvatore Gaspa, Cécile Michel, Marie-Louise Nosch

Zea E-Books Collection

The papers in this volume derive from the conference on textile terminology held in June 2014 at the University of Copenhagen. Around 50 experts from the fields of Ancient History, Indo-European Studies, Semitic Philology, Assyriology, Classical Archaeology, and Terminology from twelve different countries came together at the Centre for Textile Research, to discuss textile terminology, semantic fields of clothing and technology, loan words, and developments of textile terms in Antiquity. They exchanged ideas, research results, and presented various views and methods.

This volume contains 35 chapters, divided into five sections: • Textile terminologies across the ancient Near East and the …

Black Matter, Kahlil Irving

Graduate School of Art Theses

History as we know it, is inherited. Racism, fascism, white supremacy, and Eurocentric dominance have been presented as normal and acceptable within our society for many years. This has allowed police officers to execute Black American’s and not be acquitted for their horrendous crimes. As an activist I want to challenge the status quo. As an artist I am interested in investigating how I can present ideas embody or reflect contemporary issues and concerns. Using different colors can aggressively change how an object is perceived. Historical objects hold many important.

I explore many mediums, but an anchor material that I …

The Visual And Material Culture Of Death In Commemorative Exhibitions In National Cultural Institutions In Ireland, Siobhan Doyle

Conference papers

My doctoral research concerns the material and visual culture of modern Ireland with particular focus upon the role of exhibition display in commemoration and collective memory. Like many countries, Ireland has a chaotic past which results in challenges for museums in presenting history to satisfy the education and expectation of both national and transnational audiences. The Easter Rising of 1916 is the pivotal event in the creation of the modern Irish state and is widely recognised as a historical event upon which the cultural identity of Ireland is founded and consolidated. My research examines the challenges of displaying death and …

Walter De Maria: Meaningless Work, Amanda Dalla Villa Adams

Art Inquiries

Book review of Walter De Maria: Meaningless Work, by Jane McFadden.

Monstrous Allure: Polyphemus In Pompeii, Glenda Swan

Art Inquiries

No abstract provided.

Front Matter

Art Inquiries

No abstract provided.

Cross Country: The Power Of Place In American Art, 1915-1950, Naomi Slipp

Art Inquiries

No abstract provided.

The West Virginia New Deal: Blanche Lazzell’S Mural In Morgantown, Kendall J. Martin

Art Inquiries

No abstract provided.

Francis Picabia: Our Heads Are Round So Our Thoughts Can Change Direction, Jordan Amirkhani

Art Inquiries

No abstract provided.

Drawings For Paintings In The Age Of Rembrandt, Saskia Beranek

Art Inquiries

No abstract provided.

Insecurities: Tracing Displacement And Shelter, Elizabeth Berkowitz

Art Inquiries

No abstract provided.

Arts: A Guide For Conservators, Curators, And The Curious, Kari Rayner

Art Inquiries

Book review of Arts: A Guide for Conservators, Curators, and the Curious, by Roy S. Berns.

Artemisia Gentileschi E Il Suo Tempo (Artemisia Gentileschi And Her Times), Marjorie Och

Art Inquiries

No abstract provided.

Marilyn Minter: Pretty/Dirty, Susan Richmond

Art Inquiries

No abstract provided.

Dispatches, Sunny Spillane

Art Inquiries

No abstract provided.

Shattered Landscapes: Revolutionary Ruins In The Virginian Watercolors Of Benjamin Henry Latrobe, Julia A. Sienkewicz

Art Inquiries

No abstract provided.

An Interview With Eloisa Guanlao, Karissa Bushman

Art Inquiries

No abstract provided.

Architecture And Memory In Jacques-Louis David’S Sabine Women, Heidi E. Kraus

Art Inquiries

No abstract provided.

Back Matter

Art Inquiries

No abstract provided.

American Women Artists, 1935-1970: Gender, Culture, And Politics, Lucy Curzon

Art Inquiries

Book review of American Women Artists, 1935-1970: Gender, Culture, and Politics, edited by Helen Langa and Paula Wisotzki.

After Caravaggio; Caravaggio And The Creation Of Modernity, Donald Schrader

Art Inquiries

Book review of After Caravaggio, by Michael Fried, and of Caravaggio and the Creation of Modernity, by Troy Thomas.

Art Inquiries, Xvii:2, Full Issue

Art Inquiries

No abstract provided.

Algorithmic Aesthetics: Redefining Traditional Islamic Art, Carol Bier

Textile Research Works

The recent exhibition, “Reverberating Echoes: Contemporary Art Inspired by Traditional Islamic Art,” organized by the Center for the Arts & Religion at the Graduate Theological Union afforded an opportunity for me as curator to reconsider the definition of ‘traditional Islamic art.’ This effort led to the identification of an algorithmic aesthetic of pattern that characterizes artistic production in all media from the 9th through the 12th centuries in what were then Islamic lands, centered in Baghdad, but extending from Spain across North Africa through the Middle East and Iran to Central Asia and the Indian Subcontinent.

Reframing Islamic Art For The 21st Century, Carol Bier

Textile Research Works

The celebrated Islamic galleries at The Metropolitan Museum of Art in New York reopened in 2011 as “Galleries for the Art of Arab Lands, Turkey, Iran, Central Asia, and Later South Asia.” Other major collections of Islamic art have been reorganized and reinstalled in Berlin, Cairo, Cleveland, Copenhagen, Detroit, Kuwait, London, Los Angeles, Paris, and Singapore, and new museums of Islamic art have been established in Doha, Qatar; Honolulu, Hawaii; Kuala Lumpur, Malaysia, and Sharjah, U.A.E. In addition, the first museum in North America dedicated to Islamic art recently opened in Toronto, Ontario, Canada. This article explores this global phenomenon, …