Art Practice Commons^™

Ancient Near Eastern Fibers And The Reshaping Of European Clothing, Elizabeth J. W. Barber

Textile Society of America: Symposium Proceedings

In April of 1994, an amazing story hit the news-stands. A group of naturally mummified corpses dated to 2000 BC and later had been found in Chinese Turkestan. Not only were their Caucasian features and blondish hair well preserved by the dry heat of the xinjiang desert, but also their clothes--brightly colored plaids and twills among them (Hadingham 1994). We know from later linguistic records that a group of Indo-European speakers we call the Tocharians had made their way to Xinjiang and the Tarim Basin in early times. We also know that the Indo-Europeans began to spread across Eurasia from …

Frontmatter - Contact, Crossover, Continuity - 1994

Textile Society of America: Symposium Proceedings

Frontmatter: cover, title page, and copyright page.

Technology And Change: The Incorporation Of Synthetic Dye Techniques In Abeokuta, Southwestern Nigeria, Judith Byfield

Textile Society of America: Symposium Proceedings

In the oriki (appellations) of an 18th-century oba (king) in Okuku, references to cloth and indigo were included in the verses that attested to the oba's wealth and greatness,

Abioye, my father, Olugbola, one who takes the image and all its children to dance

The beauty of cloth dyed in indigo does not fade

Adewale, the indigo is what gives the cloth its worth

The references suggestively point to the aesthetic as well as commercial value of indigo in Yoruba society. Scholars and travelers have long noted the importance of indigo dyed cloth in Yoruba society, and Yoruba women, the …

Akwete-Igbo Weavers As Entrepreneurs And Innovators At The Turn Of The Century, Lisa Aronson

Textile Society of America: Symposium Proceedings

In his discourse on trade commodities, Igor Kopytoff argues that commodities assume what he calls a "cultural biography" through which one sees "the social system and the collective understanding on which it rests" (Kopytoff, 1986:89). What Kopytoff means by this is that commodities take on a life of their own based on the social and economic factors that have come to affect them. This paper will address the "cultural biography" of cloth in Southeastern Nigeria from its origins through trade to its various levels of assimilation both in use and production.

The biography discussed in this paper reaches an important …

The Conversion Of Chinese Court Robes Into Japanese Festival Hangings, Gloria Granz Gonick

Textile Society of America: Symposium Proceedings

Decorated silken robes historically worn in China to garb the emperor and his family were disassembled and resewn in Japan into hangings for Kyoto's Gion Festival during the 16th to 18th centuries. The twenty robes, which were converted into coverings for festival carts called yama and hoko, include silk tapestry weaves (kesi), brocades, and embroidered examples. Eleven date from the Ming Dynasty (1368–1644) and nine from the early to mid Qing Dynasty (1644–1911). This distribution contrasts with other world collections of Chinese imperial robes, in which Qing Dynasty examples are far more numerous. In addition to the …

Raphael’S Acts Of The Apostles Tapestries: The Birth Of The Tapestry Reproduction System, Marjorie Durko Puryear

Textile Society of America: Symposium Proceedings

As a younger fiber artist at the beginning of my teaching career, I rarely found European tapestries of the 16th through 18th centuries to be more than copies of paintings in a woven mask. The weaver's hand and spirit were only apparent in finite details which were resplendent with meticulous hatching, shading, and delicate slit work, unchanged from the Medieval past. But it was against my art school training to separate art concept from process. I wasn't ready to accept that the weavers were not the artists, and that tapestry was in fact an industry.

More recently, my point of …

Ottoman Silks And Their Legacy, Diane Mott

Textile Society of America: Symposium Proceedings

During the late Middle Ages and the early Renaissance, luxury silks of Asia that had for centuries trickled into Europe began to enter in large numbers, fueling an appetite for the rich and exotic that was to have a lasting effect on Western textile design. In turn, expanded trade with the Levant carried Western designs and advances in weaving eastward. The Ottoman Empire, standing at the thresholds of Europe and Asia, was perfectly poised to transmit these East-West currents. Weavers in manufactories in the successive Ottoman capitals of Bursa and Istanbul, the western outposts of the Asiatic silk routes, absorbed …

Charmingly Quaint And Still Modern: The Paradox Of Colonial Revival Needlework In America, 1875–1940, Beverly Gordon

Textile Society of America: Symposium Proceedings

Despite the self-conscious modernism of the early 20th century, American needlework was filled with images of flower baskets, cozy cottages, spinning wheels, and women in hoopskirts. It was dominated by seemingly old-fashioned and "quaint" techniques, such as cross stitch, patchwork, crewel, and rug hooking. In an era with teeming cities, radio, and cars pouring off the assembly line, needlework came to stand for a romanticized, seemingly simpler and nobler American past. And in an era when women were winning the vote and re-entering the professional work force, needleworkers, in turn, became identified with the domestic homebody of the past. In …

Ancient Andean Headgear: Medium And Measure Of Cultural Identity, Niki R. Clark, Amy Oakland Rodman

Textile Society of America: Symposium Proceedings

From the earliest recorded periods of southern Andean history, distinctive clothing styles have served to identity specific socio-cultural groups and provide clues about cultural origins. Unique environmental conditions, especially present along the arid Pacific coast of South America, have allowed the preservation of a vast archive of usually perishable material. From the far south coast of Peru to the northern desert regions of Chile, textiles, and especially headgear forms were worn to distinguish between the diverse populations who established permanent settlements along the narrow river valleys linking highland regions and the coast.

The south central Andes region has always known …

(Re-)Fashioning Identity: Late Twentieth-Century Transformations In Dress And Society In Boliva, Elayne Zorn

Textile Society of America: Symposium Proceedings

The members of most of Bolivia's large indigenous ethnic groups, such as the nearly 22,000 people of ayllu Sakaka of northern Potosi, continue to wear a distinctive daily dress. Such dress nationally and internationally is emblematic of the Sakaka's separate, and to many inferior, identity as Indians. To the wearers also, or perhaps fundamentally, such dress marks a division between clothed indigenous humans (runa) and naked foreign outsiders (q'ara). This interpretation coincides with hegemonic non-Indian evaluations of Indian separateness, but reverses the hierarchy.

Yet most members of these large indigenous ethnic groups, whom I refer to …

Contact, Crossover, Continuity: Proceedings Of The Fourth Biennial Symposium Of The Textile Society Of America (1994) [Entire]

Textile Society of America: Symposium Proceedings

Preface 7

Contact, Crossover, Continuity: Fiber and Garment

Featured Paper: Ancient Near Eastern Fibers and the Reshaping of European Clothing Elizabeth J. W. Barber 9

Wreath and Cap to Veil and Apron: American Modification of a Slavic Ritual Patricia Williams 19

Panel: Textile Transformations and Cultural Continuities in West Africa

Akwete-Igbo Weavers as Entrepreneurs and Innovators at the Turn of the Century Lisa Aronson 31

What’s in a Name: The Domestication of Factory Produced Wax Textiles in Cote d’Ivoire Kathleen E. Bickford 39

Technology and Change: The Incorporation of Synthetic Dye Techniques in Abeokuta, Southwestern Nigeria Judith Byfield 45

The …

Perceptions In Color And Light, Judith Ann Richardson

Theses

An artist creates to communicate ideas with others. Creating art involves study, practice and perception. The media and materials used and the particular style of the artist are all integral to the discussion of art. While an analytical approach is necessary in any evaluation of art, just as important is the intuitive nature of the work.

The manner in which the artists perceives the world is a powerful instrument in his/her creations. Perception involves not merely the eyes, but all of the senses, as well as the intellect and the soul. This culminating project is the result of my intuitive, …

Paint The City, Paint The Life, Ya-Ling Huang

Theses

Unavailable.

Uncoverings: The Research Papers Of The American Quilt Study Group, Volume 15 (1994), Virginia Gunn, Fawn Valentine, Merikay Waldvogel, Jennifer F. Goldsborough, Sunny Falling-Rain, American Quilt Society, Beverly Dunivent, Kathleen Curtis Wilson

Uncoverings Journal

Preface by Virginia Gunn

Research Papers

Aesthetics. and Ethnicity: Scotch-Irish Quilts in West Virginia by Fawn Valentine

Mildred Dickerson: A Quilt Pattern Collector of the 1960s and 1970s by Merikay Waldvogel

An Album of Baltimore Album Quilt Studies by Jennifer F. Goldsborough

A Literary Patchwork Crazy Quilt: Toni Morrison's Beloved by Sunny Falling-rain

Kit Quilts .in Perspective by Anne Copeland and Beverly Dunivent

Weaving Cloth and Marketing Nostalgia: Clinch Valley Blanket Mills, 1890-1950, Cedar Bluff, Virginia by Kathleen Curtis Wilson

Authors and Editor

Index

Blanket Statements, Issue 34, Fall 1993

Blanket Statements: News Publication of the American Quilt Study Group

Blanket Statements, Issue 34, Fall 1993

Blanket Statements, Issue 33, Summer 1993

Blanket Statements: News Publication of the American Quilt Study Group

Blanket Statements, Issue 33, Summer 1993

Tappeti Safavidi: L'Evoluzione Storica E Culturale Dell'arte Tessile Iraniana Dal Xvi Al Xviii Secolo, Carol Bier

Textile Research Works

In Iran l'epoca safavide coincide con il periodo aureo dell'arte tessile: proprio nel XVI secolo infatti si completò l'evoluzione stilistica del tappeto persiano classico e la tessitura di sete e velluti giunse ai massimi livelli per tecnica e per decorazioni.

Nelle fasi successive della storia persiana nei tessuti e nei tappeti continuarono a vivere le straordinarie innovazioni dell'epoca safavide, tuttora insuperate.Nella storia l'Iran è stato uno dei più importanti paesi produttori di tessili.

In epoca medievale le sontuose sete ed i tappeti erano ricercati dalle case regnanti e dalla nobiltà europea per la qualità eccellente e per la bellezza fuori …

Gravity: A New Play By Greg Belanger, Greg Belanger

Senior Scholar Papers

Gravity was first performed at Strider Theatre, Colby College in Waterville, Maine. It was directed by the author with the following cast: STEVEN: Harold Withee PAMELA: Sue Larsen JEREMY: Jason Reifler IXXTOR: Amanda Starr MOTHER: Catherine C. Coyne BREIT: Scott W. Cole TONI: Laura Smishkiss

Blanket Statements, Issue 32, Spring 1993

Blanket Statements: News Publication of the American Quilt Study Group

Blanket Statements, Issue 32, Spring 1993

Sites Of Recollection: Four Altars And A Rap Opera, Museum Of Contemporary Art At Wright State University

Exhibition and Program Catalogs

A program from an exhibition featuring the works of artists Jenni Lukač, Angel Suarez-Rosado, James Luna, Renée Stout, and Y. David Chung. The exhibiton also included a panel discussion called As the World Turns-Culture, Compromise, and Ritual in the '90s.

Falcons And Flowers: Safavid Persian Textile Arts, Carol Bier

Textile Research Works

The Safavid period in Iran was a golden age for textile arts. It was in the 16th century that the Classical Persian carpet evolved to its fully developed form, and it was then that woven silks and velvets reached the highest technical and aesthetic standards of all time. In subsequent periods of Persian history, textiles and carpets reflect the extraordinary achievements of the Safavid era which have never been surpassed.

Under the reign of Shah Abbas I, who reigned from 1588 to 1629, Iran established important economic ties not only with the rapidly emerging European powers, but with the Mughal …

What Is An Oriental Carpet?, Carol Bier

Textile Research Works

Have you ever just stared at an Oriental carpet? Have you ever wondered what makes it so attractive, fascinating, or puzzling? Have you admired its simplicity or its intricacy? Have you ever wondered where it came from? Or, how it was made?

What is an Oriental Carpet? attempts to answer some of these questions. Conceived in response to visitors' requests for more basic information about textiles, this educational approach encourages the viewer to participate in an exploration of Oriental carpets.

Although the terms carpet and rug are often interchanged, here a carpet is defined as a fairly large pile-weaving intended …

Blanket Statements, Issue 35, Winter 1993

Blanket Statements: News Publication of the American Quilt Study Group

Blanket Statements, Issue 35, Winter 1993

Piety And Power In Early Sasanian Art, Carol Bier

Textile Research Works

Sasanian art has long been considered a royal art: An art in service of royalty. Indeed, traditions of kingship in Iran became a paradigm for kingship throughout the world (though not always recognized as such). But the significance and strength of Iranian kingship no doubt led, in part, to scholarly paradigms in which nearly all in historical Iran has been cast in the shadow of kingship. But there are other ways to look at kingship in Iran. This paper explores the representation of royal images in early Sasanian art from a religious perspective, a view perhaps eclipsed by the ever-present …

Knots And Bolts: Design And Technology In The Caucasus, Carol Bier

Textile Research Works

In the largest sense, Oriental rugs represent both the social history and manufacturing traditions of their particular cultures and are related to the human needs, economies, and ecological constraints of those societies. Each textile or fragment represents a complex set of human interactions between user and viewer, implying a social response, and between user and maker, sometimes resulting from economic transactions among buyer and seller, lender, merchant, and trader. Suppliers of raw materials and market superintendents or commissioners for fair trade and quality control may also have been involved. The quality and appearance of any given textile results from the …

Uncoverings: The Research Papers Of The American Quilt Study Group, Volume 14 (1993), Laurel Horton, Judy Elsley, Bets Ramsey, Patricia Cox Crews, Pat Crothers, Mary Jane Furgason, Sandra German, Emma Grahame, Jeannette Lasansky, Kristin Miller, Laurel Thatcher Ulrich

Uncoverings Journal

Preface by Laurel Horton

Research Papers

Art and Quilts: 1950,1970 9 Pat Crothers: Gender Misapprehensions: The "Separate Spheres" Ideology, Quilters, and Role Adaptation, 1850, 1890 by Bets Ramsey

Innovative Group Quiltmaking in an Isolated Coastal Community in British Columbia, Canada: Out of the Mainstream by Kristin Miller

Southwestern Quilts and Quiltmakers in Context by Jeannette Lasansky

The Smithsonian Quilt Controversy: Cultural Dislocation by Judy Eisley

Surfacing: The Inevitable Rise of the Women of Color Quilters' Network by Sandra K. German

Quiltmaking in Australia and the 1988 Bicentennial Celebrations by Emma Grahame

Prizes from the Plains: Nebraska State Fair Award, Winning …

Blanket Statements, Issue 30, Fall 1992

Blanket Statements: News Publication of the American Quilt Study Group

Blanket Statements, Issue 30, Fall 1992

Blanket Statements, Issue 29, Summer 1992

Blanket Statements: News Publication of the American Quilt Study Group

Blanket Statements, Issue 29, Summer 1992

Quotations: The Second History Of Art, The Aldrich Museum Of Contemporary Art, Museum Of Contemporary Art, Wright State University

Exhibition and Program Catalogs

This catalog discusses the Quotations: The Second History of Art, an exhibit originally displayed at The Aldrich Museum of Contemporary Art from May to September of 1992 and then was displayed at the Museum of Contemporary Art at Wright State University from October to November of 1992.

"The art in Quotations is 120 about hero worship, ego inflation, or mimicking. It is about our times and it addresses questions concerning the value of originality. These artists' seemingly casual selection of historical works and periods make reference to today's consumer-driven society and to the compression of art history into a marketable …

Blanket Statements, Issue 28, Spring 1992

Blanket Statements: News Publication of the American Quilt Study Group

Blanket Statements, Issue 28, Spring 1992