Art Practice Commons^™

Taking In: Aib Photography 2004, Aib Students

Taking In

This book is the second edition in the Taking In: series. As was the case in Taking In: I, the work, dedication, detail, and graphic design is extraordinary and impressive. The work submitted by our students, and selected by our distinguished judges, reflects the eclectic vision, visual intelligence, perception, and promise of a talented student body. Taking In: is truly a collaboration of the images, ideas, and talents from all departments at AIB. The concept has always been a simple one...to showcase the artistic diversity and vision of students who incorporate photography in heir personal artistic expression.

Barbara Grossman: A Survey, Wright State University Art Galleries

Exhibition and Program Catalogs

An exhibit held at the Wright State Art gallery featuring the artworks of Barbara Grossman. Wanting to depict the nature of everyday life, her subjects deal with people interacting with their environments. Grossman is acclaimed for her use of space, color, patterns, and expression that invoke "emotional resonance" with the viewer. The exhibit was held at Wright State University Art Gallery September 12th through October 17th. It was also shown at: Lafayette College, Washington and Lee University, and New York Studio School of Drawing and Painting.

Patterns In Time And Space: Technologies Of Transfer And The Cultural Transmission Of Mathematical Knowledge Across The Indian Ocean, Carol Bier

Textile Research Works

This article explores the potential role of textiles in the transfer of mathematical knowledge from the Indian subcontinent to the central Islamic lands and west- ward to an emerging modern Europe through an inquiry into prospective tech- nologies of textile manufacture and pattern-making. Ikat textiles of the ninth and tenth centuries, found in Egypt but presumed to be from Yemen, serve as a means to explore possibilities of numeration and treatment of the spatial dimension. An initial attempt is made to separate patterning from the technology of textile pro- duction in an effort to treat the mathematical possibilities that patterning …

Mathematical Aspects Of Oriental Carpets, Carol Bier

Textile Research Works

When one looks at an Oriental carpet in the context of Western art, one usually perceives a richness of colors and patterns, and perhaps the contrast between central field and surrounding borders. A careful observer might notice the appearance of superimposed plane patterns in the central field and multiple linear patterns in the surrounding borders. Each of patterns, whether in the field or the borders, is composed of various design elements, which in combination are repeated according to the principles of symmetry, often with the addition of symmetry-breaking (Bier 1992, 1997, 1998, 2000a). The mathematical principles of pattern making according …

Art, Sport And The Sweet Spot, John Strassburger

Publications

This is the seventh in a series of occasional papers about the challenges confronting students and what Ursinus is doing to help them enter adult life.

Islamic Art At Doris Duke's Shangri La: Playing With Form And Pattern, Carol Bier, David K. Masunaga

Textile Research Works

Shangri La is the historic home of Doris Duke in Honolulu. It is filled with installations of Islamic tilework and other arts. Open to the public in late 2002, by reservation for tours arranged through the Honolulu Academy of Arts, today this home serves as a museum in which a walking tour can provide extraordinary visual opportunities for the study of geometry and pattern both in the arts that are installed and exhibited, and in the surrounding plantings and landscape. The house offers a plethora of educational opportunities, for which its full potential has not yet been tapped. A new …

Spanish And Mamluk Carpets: Comparisons Of Decoration And Structure, Carol Bier

Textile Research Works

Two recent exhibitions, Carpets of Andalusia and Mamluk Rugs from Egypt, at The Textile Museum afforded a rare opportunity to compare two radically different rug-weaving traditions from the perspectives of design and weave structure. While not often evident to the casual viewer, there is a significant relationship between design, pattern, and weave structure in all Oriental carpets. The opportunity to explore such differences warrants careful examination and critical viewing.

The Mamluk rugs all probably date from the last quarter of the 15th century. They comprise a cohesive group defined by color, a geometric style, and similarity of weave characteristics. The …

"Indigo" From Encyclopædia Iranica, Carol Bier

Textile Research Works

INDIGO (Pers. nil), the common name of a broad genus, Indigofera, with numerous species, widely distributed throughout Asia, Africa, and the Americas. A member of the leguminous pea family, indigo is variously classified as an herb or small shrub; its stalks are long, bearing raceme flowers. It is usually perennial, but in some areas annual. Native species are known from Arabia, including the Yemen, and around the Indian Ocean. In some sources Persia is not listed among those regions in which indigo occurs in a natural form (e.g., the website mentioned below). Hans Wulff (p. 192) mentions two local species …

Vellum On Boards, Peter D. Verheyen

Librarian Publications

Vellum is arguably one of the most beautiful binding materials in use, and at the same time one of the least used in modern design bindings. While it is often used in limp bindings, its use “over hard boards” has been much more limited. A study of the bookbinding literature reveals it being covered in-depth to a larger degree in German language trade manuals than in English. This could explain their seemingly greater popularity in Germany, as evidenced by reproductions in exhibition catalogs and other publications. With a decline in traditional training opportunities, it is becoming increasing difficult to find …

Blanket Statements, Issue 79, Winter 2005

Blanket Statements: News Publication of the American Quilt Study Group

Blanket Statements, Issue 79, Winter 2005

Uncoverings: The Research Papers Of The American Quilt Study Group, Volume 25 (2004), Kathlyn Sullivan, Barbara Brackman, Lucinda Reddington Cawley, Virginia Eisemon, Laurel Horton, Kaaren Beaver-Buffington, Loretta B. Chase, Pamela Weeks Worthen, Mary E. Gale, Margaret T. Ordoñez

Uncoverings Journal

Preface by Kathlyn Sullivan

Rocky Road to Analysis: Interpreting Quilt Patterns by Barbara Brackman

In Teppich: Quilts and Fraktur by Lucinda R. Cawley

Sunday School Scholars Quilt: Civil War Textile Document by Virginia Eisemon

Mary Black's Family Quilts: Changing Styles, Status and Fabric Availability by Laurel Horton

A Quilt For General Grant by Kaaren Beaver-Buffington

A Blue Hills Quilt: To Miss Charlotte Hawkins by Loretta B. Chase and Pamela Weeks Worthen

Eighteenth-Century Indigo-Resist Fabrics: Their Use in Quilts and Bed Hangings by Mary E. Gale and Margaret T. Ordoñez

Authors and Editor

Index

The Problem Of Objectivity And The Artistic Conception Of The Participant Observer: Thoughts On Using Lacan’S Psychological Model Of Representation In The Documentation Of Creative Arts Practice As Research, Lindsay Vickery

Creative Connections Symposium @ BEAP2004 September 4, 2004

This paper discusses issues relating to suitability of the artist as a participant observer researcher. It considers the fitness of the artist as a dependable witness in the process of production of their work. The Lacanian concepts of Real/Imaginary /Symbolic (RIS) and the matrix of the four discourses are examined as a potential source of validation for the participant observer model. Comparisons between this approach and the ‘gold standard’ of scientific research are made.

The Design Process And User Focused Digital Spaces, Elaine M. Keating

Masters

This thesis presents a qualitative inquiry into how the graphic design process is being reconfigured within the new digital media landscape. The literature review looks at the historical relationship between graphic design and technology from the invention of the printing press to the personal computer and reviews how this relationship is again affected by the emergence of the computer as a medium for communication. The products of digital design are no longer static and fixed but are dynamic and progressive. The digital media landscape is transforming not just the nature of design products but also the actual graphic design process. …

Cultural Hybridity And Visual Practice: Towards A Transformative-Repair Multicultural Pedagogy For Visual Arts Education, Kim Le

Theses: Doctorates and Masters

This research project examines how transitional multiculturalism, cultural hybridity and transformative-repair are practiced by a professional artist-researcher and novice artists. Transitional multiculturalism and cultural hybridity are examined through a series of artworks by a Vietnamese-born artist-researcher. This series of artwork, which reflects 35 years of creating art in both Vietnamese and Australia, demonstrate a personal engagement with issues of cultural diversity, upbringing, and related aesthetic studies. The intention of this exhibition is to chart the characteristics of the artist's expression, which is culturally hybridised. This part of the study aims to identify those artistic conventions associated with specific visual traditions …

Creatress: A Woman's Hand, Susan Isherwood Gibbs

College of Graduate Studies: Theses & Dissertations (1964–2006)

Using stylized and abstracted sculptural interpretations of She—Great Mother, Mother Nature, Earth Goddess, Creatress, Gaia, female sexuality, and the feminine aspects of nature; a wide range of differing chemicals and temperatures for the development of various clay bodies; and a vivid color palette to reflect ideas, feelings, and moods, I present a story of woman as metaphor for Earth and nature, an immense organic, ecological, and conscious whole. Incorporating found objects (natural and manmade) and fibers (organic and synthetic) with my clay imagery, I offer an awareness of the roles ofwomen from around the world in the spiritual and psychological …

Communicative Art Through A Critique Of Instrumental Reason, Sussi Porsborg Conlin

Theses : Honours

No abstract provided.

Clutch, Claire Canham

Theses : Honours

The research encompasses an analysis of Paradigms of practice, material as content, historical precedents, social and political conditions relative to the project themes and corresponding theoretical discourse. It reflects issues of domesticity and familial relationships, memory, narrative and the use of specific materials and methods sympathetic to these concerns. Aspects of the practices of Eva Hesse and Marcel Duchamp have been considered to contextualise and differentiate the creative work. The research also attempts to define and position the artworks through relative critical evaluation of contemporary art practices.

Holponiyochi: Contemporary Native American Sculpture, Wright State University Art Galleries

Exhibition and Program Catalogs

Nine artists participating in this exhibition share a concern with how practices of visual representation work to construct individual and collective identity. They examine and then reformulate familiar codes of visual culture, turning established conventions of visual representation against themselves. In highly sophisticated and nuanced critical commentary, they explore how both individual and group identities are shaped in and by one's cultural environment. At the same time, they recognize that limiting understanding can be an equally powerful influence in the shaping of one's sense of self and community.

Blanket Statements, Issue 74, Fall 2003

Blanket Statements: News Publication of the American Quilt Study Group

Blanket Statements, Issue 74, Fall 2003

Blanket Statements, Issue 73, Summer 2003

Blanket Statements: News Publication of the American Quilt Study Group

Blanket Statements, Issue 73, Summer 2003

Mentorship, Richard Bresnahan

Asian Studies Faculty Publications

Part of a special section on mentoring. Ceramist Richard Bresnahan discusses his role as a mentor. Since setting up his first studio at St John's University in Collegeville, Minnesota, in 1979, Bresnahan has trained 32 apprentices. To alleviate the poverty that is an extra burden for many apprentices, grants from the university, the studio, and regional foundations provide apprentices with housing, food, health care, and a small monthly stipend. As all the clays and glazes employed in the studio come from local sources and are processed on site, there is a ready supply of materials for both apprentices and visiting …

Inside Front & Back Covers: Artwork, Donna Stanton

Bridgewater Review

No abstract provided.

Metaphoric Vessels, Preston Saunders

Bridgewater Review

No abstract provided.

Lorna Simpson, Review, Niamh Ann Kelly

Articles

No abstract provided.

Pottery Of The Ecuadorian Amazon, Joe Molinaro

Art and Design Faculty and Staff Scholarship

No abstract provided.

Taking In: The Best Of Aib Photography 2003, Aib Students

Taking In

Welcome to the first edition of Taking In: the best of aib photography. During this first year Taking In has gone through many twists and turns in order to publish a professional portfolio representing the quality work produced by students at the Art Institute of Boston at Lesley University. Along with the portfolio there will be a gallery opening this Fall presenting all of the published pieces in a professional setting. Our intention is to bridge the gap between student creations and the greater art community through publication. The number of entries for our first publication were more than …

Blanket Statements, Issue 72, Spring 2003

Blanket Statements: News Publication of the American Quilt Study Group

Blanket Statements, Issue 72, Spring 2003

Bern Porter International: Volume 7 Number 2 (February 2003), Bern Porter, Sheila Holtz

Newsletters

A Literary Newsletter and Bulletin of the Institute of Advanced Thinking

Featuring "Why I Wrong" by Joel Dailey and "Barn Full of Air" by Daniel Russell.

Bern Porter International: Volume 7 Number 1 (January 2003), Bern Porter, Sheila Holtz

Newsletters

A Literary Newsletter and Bulletin of the Institute of Advanced Thinking

Featuring poems by Anna Carroll and David Stone.

Mamluk Rugs From Egypt: Jewels Of The Textile Museum's Collection (Exhibition), Carol Bier

Textile Research Works

Mamluk rugs are considered by many to be among the most beautiful of any rugs ever created. The brilliant reds, greens, and blues (figs. 1 and 2) are reminiscent of rubies, emeralds and sapphires; whether this was an intentional evocation is not known. But The Textile Museum's holdings of Mamluk rugs, unparalleled in the world, are truly the "jewels" of the collection. Simply by virtue of the fact that they date from the late 15th century, Mamluk rugs comprise one of the most significant groups of classical carpets. Their lustrous wool and wondrous color, as well as their geometric designs …