Art Practice Commons^™

Taking Sides, But Who’S Counting? The Decagonal Tomb Tower At Maragha

Textile Research Works

Lu and Steinhardt introduced the term “girih tiles” to describe the set of equilateral polygons that structures a colorful two-dimensional decagonal tiling on the Darb-e Imam in Isfahan, Iran (1453 CE) with distant roots in the five-fold symmetries articulated in brick on the Gonbad-e Qabud, a tomb tower dated to the late 12th century CE located at Maragha in western Iran. Their work seeks to establish the early existence of quasi-crystalline tilings long before such means of covering the plane were understood mathematically in the West. Questions remained unanswered as to whether those who constructed these monuments were aware of …

Blanket Statements, Issue 106, Winter 2011–2012

Blanket Statements: News Publication of the American Quilt Study Group

Blanket Statements, Issue 106, Winter 2011–2012

Uncoverings: The Research Papers Of The American Quilt Study Group, Volume 32 (2011), Laurel Horton, Loretta B. Chase, Jan Coor-Pender Dodge, Aimee E. Newell, Phyllis S. Herda, Margaret M. Bingham, Valerie J. Davis, Jackie (Jacqueline) Schweitzer, Carolyn K. Ducey, Deborah E. Kraak

Uncoverings Journal

Preface by Laurel Horton

The Dublin Quilt: A Civil War Textile Document by Loretta B. Chase and Jan Coor-Pender

Dodge Seeking Enlightenment: A Quilt Historian's Guide to Freemasonry Aimee E. Newell Tivaevae: Women's Quilting in the Cook Islands by Phyllis Herda

The Collaborative Relationship between Professional Machine Quilters and Their Customers in the Contemporary Quilt Movement by Margaret M. Bingham

The Policy of Good Design: Quilt Designs and Designers from the WPA Milwaukee Handicrafts Project, 1935-1942 by Valerie J. Davis and Jackie Schweitzer

Reminiscences of Women's Work: Chintz Applique Album Quilts of the First Baptist Church of Philadelphia by Carolyn …

Blanket Statements, Issue 101, Fall 2010

Blanket Statements: News Publication of the American Quilt Study Group

Blanket Statements, Issue 101, Fall 2010

Blanket Statements, Issue 100, Summer 2010

Blanket Statements: News Publication of the American Quilt Study Group

Blanket Statements, Issue 100, Summer 2010

Once-Removed (And Other Familiar Relations), Emily Newman

School of Art, Art History, and Design: Theses and Student Creative Work

Conventional perceptions of space rouse my investigation of images as stand-ins for an objects reference. Removing the context of an object changes the once tangible form. No longer able to be touched, used or relate to its original environment, an object transformed into an image exists solely for our visual and psychological perceptions.

In substituting one for the other, image for object and vise versa, a hierarchy occurs. Its previous existence now establishes a mental presence, shifting the future recollection of such an image to precede or replace the actual object in memory. Proxy of image for object and object …

From Baa To Eye: Language As Images, Yinghua Zhu

School of Art, Art History, and Design: Theses and Student Creative Work

From Baa to Eye: Language as Images

Languages, as I understood, are the most direct confrontation of cultures because of their inherent culture iconicity. My approach to employ the English language as a subject matter is to interpret the culture it represents. I use language as a metaphor to address the boundary, the inadequacy, the longing, the contradiction, the adaptation, the curiosity, and the frustration that one encounters when different cultures clash. These clashes are valuable because they help me recognize and appreciate the differences, or in other words, the otherness. Otherness is a fundamental category of human thought. It …

Maelstrom, Gertrude L. Teijink

School of Art, Art History, and Design: Theses and Student Creative Work

My work is a confrontation with the conflict between our everyday activities, and the fleetingness of our existence. We are dragged through time and through space, but ultimately we are unavoidably lost in a swirl of oblivion. Given this dissonance, I question the meaning of our everyday activities. Can we find satisfaction with what we do? And why are we compelled to do it? The case I try to make for the meaning of life’s repetitive or renewal actions is made largely in reference to myself, which gives my work an undeniable autobiographical component.

For my thesis work, I photograph …

Breathe... Keep Breathing., Shaun C. Kiel

School of Art, Art History, and Design: Theses and Student Creative Work

I work with short-duration seamless video loops. My work simultaneously depicts and emulates the material composition of time, specifically how action composes time and how time can compose or construct objects.

My work is self-reflexive. Self-reflexive means that a product actively considers or examines its own production. In video this means breaking either the illusion of depicted time as real time or the illusion of the depicted image as real space. Video loops are self-reflexive by function. Their periodic recurrence points out the artifact of the medium.

The periodic recurrence of video loops also changes the narrative quality of the …

Cut, Bryan Drew

School of Art, Art History, and Design: Theses and Student Creative Work

The act of cutting is to sever, to divide an object or even an idea into separate parts of its original state. Non-tangibles can also in a sense be ‘cut’, like gaps in memories or modifications of beliefs or ideas. My work encompasses these definitions of cutting. Working mostly from photos, I use imagery from personal experience, such as meat from my hunting experience, patterns from nostalgic blankets, or photos of people in my life. Other times, I choose imagery simply because I feel compelled to paint it, or it feels somehow needed within the composition. My process begins by …

Blanket Statements, Issue 99, Spring 2010

Blanket Statements: News Publication of the American Quilt Study Group

Blanket Statements, Issue 99, Spring 2010

Black, White, Brown, Aisha S. Harrison

School of Art, Art History, and Design: Theses and Student Creative Work

BLACK, WHITE, BROWN Aisha Shani Harrison, M.F.A University of Nebraska, 2010

Adviser: Gail Kendall

I address emotions and perceptions that are complex and multifaceted. My goal is for the work to communicate these emotions in a way that makes them accessible to others. Most people have felt disconnected, longing, anticipation, relief, anger, frustration and have experienced internal conflict. While this work touches on these emotions, there is, because of who I am, a set of questions I am asking regarding racial identity.

This autobiographical work is a series of ceramic figures that are engaged with symbolic objects which together form …

I'Ve Fallen In Love With Every One Of You..., Kayleigh L. Speck

School of Art, Art History, and Design: Theses and Student Creative Work

Photographs best show and describe the world, capturing a split second in time without necessarily providing the viewer with any sort of explanation or answer as to why something looks the way it does. Although the camera captures images of the “real,” it has the ability to tell lies. It changes our perception of space, the color of light, and the way things look overall. This is the reason I have chosen this medium; I want to see what my world looks like in a photograph.

Through these photographs of the every day lives of my subjects and myself, I …

Blanket Statements, Issue 102, Winter 2010–2011

Blanket Statements: News Publication of the American Quilt Study Group

Blanket Statements, Issue 102, Winter 2010–2011

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 …

Uncoverings: The Research Papers Of The American Quilt Study Group, Volume 31 (2010), Laurel Horton, Virginia Gunn, Anita B. Loscalzo, Nao Nomura, Pamela Weeks, Jonathan Gregory, Jane Przybysz

Uncoverings Journal

Preface by Laurel Horton

McCall's Role in the Early Twentieth-Century Quilt Revival by Virginia Gunn

Prussian Blue: The Development of a Colorant and Its Use in Textiles Anita B. Loscalzo

The Development of Quiltmaking in Japan since the 1970s by Nao Nomura

"One Foot Square, Quilted and Bound": A Study of Potholder Quilts by Pamela Weeks

Wrapped in Meanings: Quilts for Families of Soldiers Killed in the Afghanistan and Iraq Wars by Jonathan Gregory

Bay Area Beginnings: The American Quilt Study Group and the Twentieth-Century California Fiber Art Movement by Jane Przybysz

Contributors

Index

Blanket Statements, Issue 97, Fall 2009

Blanket Statements: News Publication of the American Quilt Study Group

Blanket Statements, Issue 97, Fall 2009

Blanket Statements, Issue 96, Summer 2009

Blanket Statements: News Publication of the American Quilt Study Group

Blanket Statements, Issue 96, Summer 2009

Blanket Statements, Issue 95, Spring 2009

Blanket Statements: News Publication of the American Quilt Study Group

Blanket Statements, Issue 95, Spring 2009

Blanket Statements, Issue 98, Winter 2009–2010

Blanket Statements: News Publication of the American Quilt Study Group

Blanket Statements, Issue 98, Winter 2009–2010

Uncoverings: The Research Papers Of The American Quilt Study Group, Volume 30 (2009), Laurel Horton, Peggy Derrick, Linda Mcshannock, Sharon Fulton Pinka, Jane Amelon, Linda M. Pumphrey, Mary Reecy Fitzgerald, Virginia Gunn

Uncoverings Journal

Preface by Laurel Horton

Two Norwegian Silk Quilts in America by Peggy Derrick and Linda McShannock

William Pinch and the Rainbow Quilt Block Company by Sharon Fulton Pinka

The Persuasive Power of a Quilt: A Study of a Battered Women's Prison Project by Jane Amelon

The Stearns & Foster Company (1846-1900): The Inside Story by Linda M. Pumphrey

The Development of Geometric Pictorial Patchwork, 1800-1950 by Mary Reecy Fitzgerald

Reflections on Quilt History: Accomplishments and Challenges by Virginia Gunn

Contributors

Index

Louis A. Fuertes And The Zoological Art Of The 1926–1927 Abyssinian Expedition Of The Field Museum Of Natural History, Paul A. Johnsgard

Papers in Ornithology

The year 2009 marked the 110th anniversary of the first colored reproduction of a Fuertes painting; a watercolor of two seaside sparrows published in The Auk, when Fuertes was about 25 years old. Although Fuertes' life spanned little more than a half-century, and most living ornithologists were born after his tragic 1927 death, his influence on natural history art has not lessened. This manuscript is a testimony to his enduring artistic legacy.

I first looked in awe at the original set of Fuertes paintings in the summer of 1995, during a visit to the Field Museum in conjunction with …

Blanket Statements, Issue 93, Fall 2008

Blanket Statements: News Publication of the American Quilt Study Group

Blanket Statements, Issue 93, Fall 2008

Blanket Statements, Issue 92, Summer 2008

Blanket Statements: News Publication of the American Quilt Study Group

Blanket Statements, Issue 92, Summer 2008

Good Girl, Erika C. Navarrete Anderson

School of Art, Art History, and Design: Theses and Student Creative Work

I have always had a narrative sensibility, drawing from memory, stories, and personal experience. Perhaps it was the abundance of story telling and gossip I absorbed growing up. The dominance of women in my family had a profound influence on how I created narratives in my earlier work. They remain core influences, and through them I have developed further, reaching out past linear narrative and specific story to focus on the psychology of internal and external experience.

When I began my MF A it was the first time in two years I was 'getting intensive feedback on my work. What …

Blanket Statements, Issue 91, Spring 2008

Blanket Statements: News Publication of the American Quilt Study Group

Blanket Statements, Issue 91, Spring 2008

Warps & Wefts 2009, Carol Bier

Textile Research Works

The interlacing of warp and weft defines a woven fabric. The weaver strings warp yarns onto a loom, a frame designed to hold the warps parallel and taut, and then introduces the wefts sequentially. The process is weaving; the result is a textile.

When we think of textiles, we most often think of garments to clothe our bodies and furnishings to supply our domestic needs. But throughout history, textiles have also played a primary role in fashion, drawing on not only color and pattern but also draping qualities and the effects of tailoring to cover (or show off) the body. …

Blanket Statements, Issue 94, Winter 2008–2009

Blanket Statements: News Publication of the American Quilt Study Group

Blanket Statements, Issue 94, Winter 2008–2009

Documentary Film Presentation Local Colors: Natural Dyeing In A Milas Carpet Weaving Village, Ulara Tamura, John Wells

Textile Society of America: Symposium Proceedings

This documentary, filmed in 2006, examines the process of naturally dyed carpet production in a village in the Milas region of Muğla Prefecture in southwest Turkey, a region well known as a traditional Turkish carpet production area. In large numbers of villages of this region, carpet weaving is the household based work of every woman who lives there.

In this paper, I aim to add more detailed information and discussion specifically on the colors and dyes of the carpets shown in this film. First I will introduce the varieties of the natural dye materials the villagers use one by one. …

Uncoverings: The Research Papers Of The American Quilt Study Group, Volume 29 (2008), Laurel Horton, Susan Price Miller, Aimee E. Newell, Sue C. Cummings, Marin F. Hanson, Arlesa J. Shephard, Loretta B. Chase

Uncoverings Journal

Preface by Laurel Horton

The Circuit Rider's Quilt: Reality and Romance by Susan Price Miller

More than Warmth: Gift Quilts by Aging Women in Antebellum America by Aimee E. Newell

Irene Post: Quilt Artist and Neighbor of Bertha Stenge by Sue C. Cummings

Modern, Yet Anti-Modern: Two Sides of Late-Nineteenthand Early-Twentieth-Century Quiltmaking by Marin F. Hanson

Quilts for McKinley: Women's Involvement in Politics by Arlesa J. Shephard

Quilts in Transition: A Study of Strafford County, New Hampshire, Probate Inventories by Loretta B. Chase

Contributors

Index