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Articles 2221 - 2250 of 4668
Full-Text Articles in Art Practice
Recipe For A Broken Heart, Brooke Bergstedt
Ode To My Apologies, Alyson Laplante
Love On 5th And 66th, Rajesh Naidu
Gorgonized Ii, Jacob Charles Weston
Doodles Of The Pen, Nevia Buford
When The Earth Went To Counseling, Avery Cooley
Maiden Of The Mist, Jennifer Kirk
Desert Pigeons For Dessert Pigeons, Mustafa E. Mustafa
Desert Pigeons For Dessert Pigeons, Mustafa E. Mustafa
Allusions
No abstract provided.
Angles Of Drama #3, Tristan Crutchfield
Today I Am A Woman, Sarah Mattingly
Hourglass Figure, Alyson Laplante
A Self-Portrait In A Pane Of Frosted Glass, Matthew Fash
A Self-Portrait In A Pane Of Frosted Glass, Matthew Fash
Allusions
No abstract provided.
Critique, Sam T. Morlan
Vacation, Rajesh Naidu
Pain, Sam T. Morlan
I Wish I Hadn’T Died Alone, Nevia Buford
Vulnerable, Mckenzie C. Wright
Strokes, Sam T. Morlan
Eraser, Elizabeth Sinders
One More, Brianna Nichols
Artist Residency Programs Resources, Becca Albee
Artist Residency Programs Resources, Becca Albee
Open Educational Resources
A handout on artist residency programs resources.
The Future Of Textiles: Disruption And Collaboration, Susan Brown, Matilda Mcquaid, David Breslauer, Suzanne Lee, Anais Missakian, Abby-George Erikson, Salem Van Der Swaagh
The Future Of Textiles: Disruption And Collaboration, Susan Brown, Matilda Mcquaid, David Breslauer, Suzanne Lee, Anais Missakian, Abby-George Erikson, Salem Van Der Swaagh
Textile Society of America: Symposium Proceedings
The textile field, while not “local” in the geographic sense, is a community: a group of people with a shared language, history, and practices that date back thousands of years. As deeply-rooted as those materials and practices are, textiles is also an area that has historically experienced enormous disruptions due to changing technology and globalization. In the 21st century, we are undergoing something like a second Industrial Revolution. Advances in digital and robotic technologies and shifting labor markets are driving a revolution in where and how things are made. Global climate change, lack of food security for much of …
Timberline Textiles: Creating A Sense Of Place, Annin Barrett
Timberline Textiles: Creating A Sense Of Place, Annin Barrett
Textile Society of America: Symposium Proceedings
Timberline Village holds an iconic place in popular culture, serving as a symbol of Western U.S. mountain tradition. Stanley Kubrick’s The Shining was filmed there, dozens of ski-wear advertisements feature it as background, and it has even been used for an immersive horror game setting. During the early 20th century, other great mountain lodges were built in the West, but what makes Timberline unique is its textiles. It receives almost two million visitors a year who come from around the world to admire this handcrafted building perched at 6000 fee elevation on Mt. Hood in Oregon. The Lodge was …
Wrapped In Wool: Coast Salish Wool Weaving, Vancouver’S Public Art, And Unceded Territory, Alison Ariss
Wrapped In Wool: Coast Salish Wool Weaving, Vancouver’S Public Art, And Unceded Territory, Alison Ariss
Textile Society of America: Symposium Proceedings
Coast Salish blankets, lovingly woven with hand dyed, home spun, and commercially produced yarns, adorn the walls of an international airport, museum, universities, and national broadcasting studio, and a mixed-use development project in Vancouver. All of these publicly accessible sites are located in unceded Coast Salish territory, upon which this city exists. These weavings present a conundrum. Simultaneously viewed as public art and symbols of cultural revitalization, their recognition as fine art has been limited, as most discourse about Coast Salish blankets has occurred outside of the discipline of art history. How then, have these weavings found their way into …
Schoolgirl Embroideries: Integrating Indigenous Motifs, Materials, And Text, Lynne Anderson
Schoolgirl Embroideries: Integrating Indigenous Motifs, Materials, And Text, Lynne Anderson
Textile Society of America: Symposium Proceedings
Hand embroidery was an integral part of female education in Europe, America, and their colonized territories until the late 19th century. All girls embroidered at least one sampler and many stitched more than one. Because needlework was part of the school’s curriculum; a sampler’s composition, technique, and text communicate a great deal about the teacher’s goals, as well as community and family expectations, including those of indigenous students. This presentation explores ways in which indigenous motifs, materials, and text were integrated into schoolgirl samplers and other girlhood embroideries, leaving visible evidence of cross-cultural accommodations. Motifs are recurring patterns or …
Eliza Calvert Hall, A Book Of Hand-Woven Coverlets, And Collecting Coverlet Patterns In Early Twentieth Century Appalachia, Philis Alvic
Eliza Calvert Hall, A Book Of Hand-Woven Coverlets, And Collecting Coverlet Patterns In Early Twentieth Century Appalachia, Philis Alvic
Textile Society of America: Symposium Proceedings
In her 1912 book, Eliza Calvert Hall describes looking out of her window and seeing coverlets thrown over tobacco wagons on way to market. She would run out and try to bargain with the owner for the coverlet. She collected coverlets, their design names, and their patterns. Since Hall supported herself with her writing, she counted on her coverlet book appealing to the wide audience of people interested in the Colonial Revival in home decoration. Although hall published the book, she was just the more visible of those interested in coverlets during the early twentieth century. Throughout Appalachia, there were …
Chilean Arpilleras: Writing A Visual Culture, R. Darden Bradshaw
Chilean Arpilleras: Writing A Visual Culture, R. Darden Bradshaw
Textile Society of America: Symposium Proceedings
This paper highlights a recent inquiry into the contemporary visual culture of the Chilean arpillera from a cross-global perspective. This art form derived from political, social, and economic conditions of the times yet contemporary manifestations do not address these origins. Arpilleras, historically created in the home and sewn by hand, are constructions in which bits of discarded cloth and burlap were used to compose pictorial narratives. The art form arose in Chile during a period of intense political oppression. This manifestation of women’s fiber art has and continues to serve as both seditious and reconstructive forms of visual culture. While …
The Embroidery Artisans Of The Kashmir Valley: Cultural Imports And Exports From Historical And Contemporary Perspectives., Deborah Emmett
The Embroidery Artisans Of The Kashmir Valley: Cultural Imports And Exports From Historical And Contemporary Perspectives., Deborah Emmett
Textile Society of America: Symposium Proceedings
On a visit to the Kashmir Valley in northern India during the winter months I was given a pheran to wear. This long woolen garment is the customary apparel worn by Kashmiri men and women in cold weather. While the men’s are plain, the women’s pherans are embroidered on the front and sleeves. The skills of those Kashmiri artisans who hand embroider clothing such as the pherans, shawls, and other textiles including rugs, curtains, and cushions are well recognized in India and beyond. Considering the Kashmir Valley’s geographic position surrounded by the Himalayan Mountains, I presumed that their embroidery crafts …
Fish In The Desert – North Africa’S Textile Tradition Between Indigenous Identity And Exogenous Shifts In Meaning, Silvia Dolz
Fish In The Desert – North Africa’S Textile Tradition Between Indigenous Identity And Exogenous Shifts In Meaning, Silvia Dolz
Textile Society of America: Symposium Proceedings
Among the oldest handcraft products of North Africa are woven, knotted, and embroidered textiles (flat woven fabrics, knotted carpets, clothing) primarily made of wool and hair from sheep, goats, or camels. Those products have great importance, beyond their practical purpose, as a communicative and artistic medium. Changes and re-evaluations of the textile from a utilitarian object with potent pre-Islamic and Islamic symbolism towards a modern abstract art object reveal centuries of cultural transfer between the Middle East, North Africa, and Europe on the one hand, and between North and West Africa on the other. At the same time, this has …
Co-Creating Craft; Australian Designers Meet Artisans In India, Katherine Bissett-Johnson, David Moorhead
Co-Creating Craft; Australian Designers Meet Artisans In India, Katherine Bissett-Johnson, David Moorhead
Textile Society of America: Symposium Proceedings
There is no word for design in India, creativity and making are intertwined. Craft and culture are inseparable, yet craft practice has become both a cultural and increasingly financial activity. The income from crafts in India is estimated to be only second to agriculture, yet many artisans still live in poverty. Precedents for designers working with artisans in India to develop products for both local and global markets have proven successful. Different types of co-creation (sometimes called co-design) activities have been documented between both local designers and local artisans, and, between foreign designers and local artisans. Although the outcomes of …