Art Practice Commons^™

The Fabric Of War: Wool And Local Land Wars In A Global Context, Madelyn Shaw, Trish Fitzsimons

Textile Society of America: Symposium Proceedings

During the nineteenth century, exponential growth in sheep pastoralism in Australia and New Zealand, and in less predictable locales such as the Sandwich Islands (Hawaii) and Rapanui (Easter Island), fueled the alienation of Indigenous peoples from their lands. The sheep and their wool, at the heart of these ‘grass wars,’ fed a global industry that supported another kind of war – the mass, cold climate warfare characterizing the century between the Crimean and Korean wars. Not until the second quarter of the nineteenth century did mechanization and factory organization affect wool production, as assiduous Australasian sheep husbandry bred wool staples …

Abstracts Of Papers: Textile Society Of America 16th Biennial Symposium

Textile Society of America: Symposium Proceedings

Abstracts of 175 papers:

Monisha Ahmed — The Kashmir / Cashmere Shawl – Tradition and Transformation

Philis Alvic — Eliza Calvert Hall, The Handwoven Coverlet Book, and Collecting Coverlet Patterns in Early Twentieth Century Appalachia

Sarah Amarica — Global Threads: Histories of Labour and Cloth in Ann Hamilton and Ibrahim Mahama’s Installation Art

Lynne Anderson — Schoolgirl Embroideries: Integrating Indigenous Motifs, Materials, and Text

Jennifer Angus — Education through Co-Design

Margaret Olugbemisola Areo and Adebowale Biodun Areo — Egungun: Concept, Content and the Dynamic Contextual Manifestations of Yoruba Ancestors Masquerade

Alison Ariss — Wrapped in Wool: Coast Salish wool weaving, …

Milingimbi Artists Partnerships, Louise Hamby

Textile Society of America: Symposium Proceedings

Aboriginal women artists who live on the island of Milingimbi in eastern Arnhem Land in the Northern Territory of Australia have had a long engagement with people outside of the community. This began with the arrival of Macassan traders over 400 years ago who came primarily in search of trepang. They brought new things and ideas with them; some became absorbed into the lifestyle of the local people. One item in particular is most relevant to the Deep Local and those operating outside of it. The praus that brought the Macassans to Arnhem Land were powered by sails. The Arnhem …

Kasb-E-Hunar (Skilled Enclave), Adil Iqbal

Textile Society of America: Symposium Proceedings

Kasb-e-Hunar (Skilled Enclave) is a sensory film showing a visual documentation of Shu (woolen cloth) making a short interviews with an elderly artisan community for the village of Madaklasht. It invites the audience to engage with the past and present and seeks to provoke conversations about the future and the responsibilities we have, given past mistakes. The film was made over three weeks of anthropological fieldwork in Shishi Koh Valley, Chitral, Northern Pakistan. The film investigates the cultural significance of woolen craft skills, exploring memories relating to handiwork, and the challenges of globalization. It shows the value of traditional skills …

Tinctorial Cartographies: Plant, Dye & Place, Anna Heywood-Jones

Textile Society of America: Symposium Proceedings

We live in a plant-dominated biosphere, and yet the relevance and meaning of vegetal life, beyond its contribution to human existence, is rarely considered. This way of thinking has led us to see nature as external to ourselves, as “other,” as that mysterious realm beyond the human sphere of being. As in visual culture, plant life possesses signifiers and coded meanings in its contextual configurations. Botanical literacy offers insight into environmental, sociocultural, and historical narratives of place, as the forests and herbaceous margins of our communities speak of complex past, a parallel history of survival and adaptation. Plants and textiles, …

Radical Access: Textiles And Museums, Michele Hardy, Joanne Schmidt

Textile Society of America: Symposium Proceedings

This presentation discusses recent initiatives at Glenbow and Nickle Galleries that endeavor to provide new, radical levels of access to textile collections as a means to build community and affect creativity. While locking textiles away in environmentally controlled rooms and minimizing handling are useful methods for preservation, they are less effective in building vibrant communities or creating future relevance form museum collections. This paper, building on Hemming’s post-colonial textile theory, as well as Onciul’s theories on decolonizing engagement, challenge the apparent dichotomy between access and preservation. It argues that preservation without radical access, without shared community meaning making, without respecting …

Weaving Authenticity: Artesanías Or The Art Of The Textile In Chiapas, Mexico [Poster], Addison Nace

Textile Society of America: Symposium Proceedings

In Chiapas, Mexico textiles live in different institutions from the market to the museum. In these spaces tourists, art professionals, and weavers manifest their varying perspectives of the authenticity of textiles. I examine the construction of authenticity through these spaces. In the museum, textiles become authentic because they represent a vision of an idyllic past. The authenticity created by the market is entangled in the acts of production by weaving cooperatives and consumption by tourists. Weavers see their work in intertwined thread with identity, culture, art, and economic necessity. Tourists often fetishize the handmade and cultural ties of the objects, …

Embroidering Paradise: Suzanis As A Place Of Creative Agency And Acculturation For Uzbek Women In 19th Century Bukhara, Shannon Ludington

Textile Society of America: Symposium Proceedings

Central Asian women have long been a point of fascination, written and sung about by others. Exoticized as an oriental “other,” there are many legends but only few historic details known, and then recorded not by themselves but by foreign men. A number of excellent books on women in Uzbekistan under the Soviet Union, and on Uzbek craft and culture in general have been published but most authors conclude there simply is not enough evidence to say anything more about Uzbek women from their own perspective before Soviet times. In Embroidering Paradise: Suzanis as a Place of Creative Agency and …

Occam’S Razor: Origins Of A Classical Turkish Carpet Design?, Sumru Belger Krody

Textile Society of America: Symposium Proceedings

This case study will explore the origins of a Turkish carpet design by discussing a thirteenth century Mamluk textile cover in The Textile Museum’s collection. Seemingly little connected textile types help us understand how textile motifs and designs moved from one to another, from one to another type, from one culture to another, from one part of the world to another, and from one period to another through the old trade routes. Examining these factors and looking beyond a single type of textile are of paramount importance for understanding and evaluating textile design traditions. The first section of the paper …

Ties That Bind: Finding Meaning In The Making Of Sacred Textiles, Janet Pollock

Textile Society of America: Symposium Proceedings

I was a novice weaver when I began constructing a Rakusua-Buddhist ceremonial garment-as an initiation into a spiritual community in my hometown. Years later, in the Jewish Museum in Amsterdam, I was drawn to an early 19^th century Tallit Katan, a ritual silk undergarment that had been made for a Jewish poet who later converted to Christianity. I had just inherited my father-in-law’s prized collection of silk neckties. He was a troubled man who had embraced his faith late in life. Those ties became the weft for three works-a handwoven tallit, a woven timeline, and a small keepsake for …

The Untold Story Of Inuit Printed Fabrics From Kinngait Studios, Kinngait (Cape Dorset), Nunavut, Canada, Roxane Shaughnessy, Anna Richard

Textile Society of America: Symposium Proceedings

The Textile Museum of Canada holds a collection of close to 200 printed fabrics designed by Inuit artists at Kinngait Studios in Kinngait (Cape Dorset), Nunavut, Canada in the 1950s and 1960s. The pieces are owned by the West Baffin Eskimo Co-operative (WBEC) and are on longterm loan to the Museum. Building on centuries-old Inuit graphic traditions, printmaking was introduced in Kinngait in 1957 as part of a larger initiative to encourage handicraft production for sale in the Canadian south. By the 1960s, the studio had a number of Inuit artists who contributed to the Kinngait Studios’ print program which …

The Rayed Head And Stepped Platform: A Core Symbol Of The Southern Andean Iconographic Series, Nancy B. Rosoff

Textile Society of America: Symposium Proceedings

This paper will explore various manifestations of the Rayed Head motif that is found on textiles produced by the Nasca, Sihuas, and Pucara cultures during the Early Intermediate Period (200 BCE – 600 CE), in the southern Andean region of South America. The Brooklyn Museum’s famous Nasca mangle, also known as “The Paracas Textile,” features repeating images of the Rayed Head motif on its interior cotton panel. Sihuas mantles also display distinctive manifestations of the motif in the form of a large rectangular head with highly stylized features and surrounded by radiating appendages. The late textile scholar and archaeologist Joerg …

Living Organisms For Living Spaces: Shifting The Function Of Material, Juliana Silva Diaz

Textile Society of America: Symposium Proceedings

This document explains the creative and analytical processes behind the project Living Organisms for Living Spaces. This art project examines the conceptual considerations around material by analyzing ‘objects’ – specifically fabric and textile ornaments – from Colombia’s material culture. The project explores the symbolic meaning of these objects that have both a Catholic and colonial legacy in society.

Other People’S Clothes: The Second-Hand Clothes Dealer And The Western Art Collector In Early Twentieth-Century China, Rachel Silberstein

Textile Society of America: Symposium Proceedings

In Chinese culture, as in many other cultures, new clothes were a powerful symbol of prosperity and beginnings. Yet, with the development of the Qing economy, the second-hand clothes seller (guyi) thrived alongside the pawnshop business to occupy a vital role in the wider system of clothing provisioning: enabling the poor a means of covering their bodies, the privileged an opportunity to liquidate value in clothing possessions, and pretenders a chance to dress their way into different social roles. At the end of the nineteenth century, this established clothing system encountered seismic change, as Western dress systems were introduced, imperial …

Local Wear: A Chat About Textiles & The Body, Emily J. Pascoe

Textile Society of America: Symposium Proceedings

In this presentation, I propose that worn-in garments are a shared aspect of the relationship between humans and textiles, while also being unique to the user. The relationship between natural, cultural, and material forms, resulting in wear on textiles, begins with the human body. The human body is the most universal local. It is the essential qualifier to be a part of the human species. Although it is a biological form, how the body behaves, and the shapes it is molded into, are influenced by culture. The textiles that enclose the body accrue signs of the interactions. Even if the …

Silk Velvets Identified As Byzantine: Were Warp-Looped Silk Pile Velvets Woven Under The Byzantine Empire?, Sumiyo Okumura

Textile Society of America: Symposium Proceedings

This paper will examine the possibility of whether warp-looped pile velvets, made of silk, were woven during the Byzantine Empire. This study is a continuation of my research for “Velvet and Patronage: the Origin and Historical Background of Ottoman and Italian Velvets.” Research has been conducted under these five themes: 1. Byzantine silk industry; 2. The terminology of velvet in Greek; 3. Velvets in Byzantine written sources; 4. Historical background: the relation between Byzantines and Latin powers, Turks and the Middle East; 5. Latin trade in the Black Sea and 6. Velvet production in Anatolia in the Byzantine period.

Warp And Weft Twining, And Tablet Weaving Around The Pacific, Tomoko Torimaru, Kathryn Rousso, Laura Filloy Nadal, Alejandro De Ávila B

Textile Society of America: Symposium Proceedings

Warp and weft twining predates loom-woven textiles in the archaeological record. Although it was displaced by other techniques to produce fabric in areas where it is recorded from early times, such as Egypt, this particular approach to building woven structures is still maintained in scattered areas around the world as part of local traditions with deep significance in ritual and festive life, as well in the heavy subsistence work of agricultural and hunting/fishing communities.

In this roundtable, we propose to describe, illustrate and compare warp and weft twined, and tablet woven textiles from Central America, Mexico, Canada, Alaska, China, Myanmar …

Sanquhar Gloves: An Exemplification Of Deep Local To Pan Global?, Angharad Thomas

Textile Society of America: Symposium Proceedings

Hand knitted gloves with unique patterning have been produced in the small Scottish town of Sanquhar for probably 200 years. They continue to be produced there today, demonstrating a “deep local” presence spanning many generations. Meanwhile, knowledge of the gloves has spread globally, including the English-speaking world as well as Europe and Scandinavia. Aided by modern social media they have become “pan global” as exemplified in the author’s blog documenting “The Glove Project” (https:knittinggloves.wordpress.com/), the Ravelry group dedicated to Sanquhar knitting (http://www.ravelry.com/groups/sanquhar-knitting-group) and an ongoing online exhibition for the Center for Knit and Crochet USA (http://sanquhargloves.centerforknitandcrochet.org). …

Symposium 2018 -- Program & Information: The Social Fabric: Deep Local To Pan Global Textile Society Of America’S 16th Biennial Symposium

Textile Society of America: Symposium Proceedings

The theme of TSA’s 16th Biennial Symposium is The Social Fabric: Deep Local to Pan Global. Located on the Pacific Rim, Vancouver offers a pertinent setting to probe the impact and influence of settlers and immigration on an already long-inhabited land, and how textile traditions have been influenced, changed, and/or adapted through and by cultural contact. In 2014 Vancouver city council unanimously voted to acknowledge that the city is on un-ceded Aboriginal territory, creating fertile ground for this conversation. We invite participants to examine textiles within the context of the “Deep Local,” defined as knowledge, beliefs, resources, and practices that …

Getting Located: Queer Semiotics In Dress, C. Zimmerman

Textile Society of America: Symposium Proceedings

From the effeminate Macarconis of the 18^th century to the “future is female” shirts of 2017, the fashioned body has conveyed desire, signaled safety, and helped build affinity for queer people. This project will take the shape of a deep excavation and careful consideration of the historical precedence of queers encoding the nuances of dress with a multitude of identity affirming and identity challenging practices. Predominant research on unearthing how queer culture was (and is) expressed through dress had focused on the discernible gestures of normative gay male bodies; from ‘flagging’ (i.e. adorning the body with objects such as …

The Classical Versus The Grotesque Body In Edith Wharton's Fiction, Joshua T. Temples

College of Graduate Studies: Theses & Dissertations

In her landmark works The House of Mirth (1905), The Custom of the Country (1913), and The Age of Innocence (1920), Edith Wharton responds to earlier depictions of the classical, pure Victorian and Edwardian woman. Wharton's "inconvenient" women overturn popular stereotypes. Subsequently, they are barred from their social groups, but they are independent, unlike the complicit and obedient women of the classical body, most of whom ascribe to the trope of the "Angel in the House." The grotesque seeks to undercut the unrealistic expectations enforced by the classical through its embodiment of progression and humanity, and Wharton is drawn to …

Facing The World: The Unapparent Merits Of Makeup, Ishbel A. Mccann

Scripps Senior Theses

The act of applying makeup is a ritual shared by many, often beginning at an early age. Though makeup is presented as a final product in the public sphere, the process of applying makeup can be just as, if not more important. This thesis acts as the theoretical basis for my digital art project, Facing the World. My work gives insight into the lesser understood motivations behind wearing makeup while shedding the stigma that wearing it is merely a superficial act or sign of vanity. The project Facing the World presents the makeup routines and personal narratives of seven …

Blanket Statements, Issue 136, Seminar 2018

Blanket Statements: News Publication of the American Quilt Study Group

Blanket Statements, Issue 136, Seminar 2018

Blanket Statements, Issue 137, Winter 2018–2019

Blanket Statements: News Publication of the American Quilt Study Group

Blanket Statements, Issue 137, Winter 2018–2019

Irrational Aggregates, Courtney N. Ryan

College of Graduate Studies: Theses & Dissertations

This thesis paper examines the work included in my Master of Fine Arts thesis exhibition entitled Irrational Aggregates. The goal of this work is to facilitate a dialogue between our natural environment and the excessive consumer-based environments in which we live. Combining a variety of ceramic techniques including hand building, wheel throwing, and casting these sculptures appear to be grown from, and even taken over by nature itself.

Often drawing inspiration from my personal narrative, that of consistent upheaval, relocation, and adjustment to new places, my work can appear both grounded and in a state of motion. I believe …

The Pond, Jordan Loeppky-Kolesnik

Theses and Dissertations

A collection of creative texts written concurrently with the creation of the artist’s thesis exhibition. A range of written forms coexist - poetry, prose, and dialogue - to open up the narrative and emotional space of the visual work. The text emerges from the point-of-view of different voices, describing experiences and body states that hinge upon the physical and conceptual space of the pond. Amphibiousness offers a gateway to a state of becoming and transformation. Some of the following texts appear in video works by the artist.

Drawings With River, Greg Piwonka

Theses and Dissertations

These paintings are a record of my recent past, a past with a new son, major life shifts, big decisions and risks. These paintings are a record of my distant past, of my relationship with my father and siblings. These paintings are a record of my present, my relationship to art, current, past, good and bad. These paintings are both joyful and cathartic, simple and confusing. They are about my life, and my attempt to not repeat the mistakes of the past, but to try create joys for the future.

Through My Window, Haiyin Liang

Theses and Dissertations

I convey my thoughts through art jewelry; making jewelry is my language of communication and commemoration. Inspired by historical Chinese art and contemporary jewelry, my practice pays attention to bring classical Chinese aesthetics of hazy poetic and ideal arrangement into the contemporary jewelry field. The attention to detail refers to the quiet contemplation and emotional experiences encouraged by each of my works. Through my research, I use metalsmithing language to communicate with non-precious materials finding my own way of expression and meditation. Meanwhile, I build environments that display jewelry off the body in order to construct a picturesque landscape. The …

Uncoverings: The Research Papers Of The American Quilt Study Group, Volume 39 (2018), Janice E. Frisch, Kathryn Berenson, Ronda Harrell Mcallen, Joyce Fullerton Smith, Xenia E. Cord, Marla R. Miller

Uncoverings Journal

Preface by Janice E. Frisch

Political Partisanship in the Tristan Furnishings by Kathryn Berenson

The Chintz Gardens of Achsah Goodwin Wilkins, a Baltimore Quilter by Ronda Harrell McAllen

Family, Friends, Merchants, and Religion in the Early 1840s by Joyce Fullerton Smith

Ohio, the Border State: A Regional Study of Vessel, Vine, and Floral Quilt Borders by Xenia E. Cord

Invited Paper

Embedding: Putting Hadassah Chapin Ely’s Wholecloth Quilt in Context by Marla R. Miller

Contributors

Index

Subsistence To Agribusiness: American Farmstead Imagery In The Nineteenth Century, Eileen Yanoviak

Art Inquiries

No abstract provided.