Open Access. Powered by Scholars. Published by Universities.®

Art and Design Commons

Open Access. Powered by Scholars. Published by Universities.®

Articles 1 - 30 of 185

Full-Text Articles in Art and Design

Common Sense & Pin Money: The Material Culture And Legacy Of Lula Annie Butler 1909-2009, Robin Michel Caudell Jan 2018

Common Sense & Pin Money: The Material Culture And Legacy Of Lula Annie Butler 1909-2009, Robin Michel Caudell

Textile Society of America Symposium Proceedings

“Common Sense and Pin Money: The Material Culture and Legacy of Lula Annie Butler 1909-2009” examines local/global contexts of the late Mrs. Butler’s found quilts, her “make do” ethos, which made a way out of no way decades before recycle, re-purpose and green were hash tags. A lifelong Preston, Maryland resident and domestic worker, Mrs. Butler’s household was outfitted with quilts, tablecloths, aprons, pillows, and shopping bags she created from fabric-sample books and fabric remnants obtained from the late Mrs. Sarah Covey, her longest employer, who operated a drapery and upholstery business in Federalsburg, Maryland. Mrs. Butler ...


Threads, Twist And Fibre: Looking At Coast Salish Textiles, Liz Hammond-Kaarremaa Jan 2018

Threads, Twist And Fibre: Looking At Coast Salish Textiles, Liz Hammond-Kaarremaa

Textile Society of America Symposium Proceedings

Coast Salish textiles are: remarkable for their quality; unusual in the fibres used; notable in their designs; singular in the innovative processes used to manufacture them. Salish textiles were determined by geography, shaped by trade, and influenced by colonization. That the textile tradition has survived is a reflection of the prestige they hold and the importance of the textiles in the Coast Salish culture. Relatively unknown and underappreciated, the older textiles deserve to be looked at with fresh eyes and modern methods that bring to light the outstanding abilities of the Coast Salish women in the creation of these important ...


Tinctorial Cartographies: Plant, Dye & Place, Anna Heywood-Jones Jan 2018

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 ...


Occam’S Razor: Origins Of A Classical Turkish Carpet Design?, Sumru Belger Krody Jan 2018

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 ...


Sprang Bonnets From Late Antique Egypt: Producer Knowledge And Exchange Through Experimental Reconstruction, Carol James Jan 2018

Sprang Bonnets From Late Antique Egypt: Producer Knowledge And Exchange Through Experimental Reconstruction, Carol James

Textile Society of America Symposium Proceedings

Head coverings are a global phenomenon, worn by people everywhere with various roles and meanings within their respective societies. The sprang technique has been part of the hat-making tradition in various times and places, from Bronze Age bonnets in Scandinavia to hair nets found in modern Eastern Europe. Arid conditions in the Nile Valley communities of Egypt preserved hundreds of sprang bonnets dating to the Late Antique period (c. 3rd to 7th centuries) which are now held in many European and North American museums. Among these, the Deutsches Textilmuseum in Krefeld, Germany holds one of the largest collections ...


Ties That Bind: Finding Meaning In The Making Of Sacred Textiles, Janet Pollock Jan 2018

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 19th 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 ...


Threading Together Politics And Poetics In Cecilia Vicuña’S Fiber Art, Jacqueline Witkowski Jan 2018

Threading Together Politics And Poetics In Cecilia Vicuña’S Fiber Art, Jacqueline Witkowski

Textile Society of America Symposium Proceedings

In 2006, Chilean artist Cecelia Vicuña carried thick knotted red strands of unspun wool to Cerro El Plomo, a glaciated peak outside of Santiago. Done in response to government-sanctioned acquisitions of gold and silver mines sitting under the glacier by a Canadian corporation, Vicuña’s use of her quipu-an ancient mnemonic device-tied the historical disappearance of the Incan empire to an ecological devastation occurring in the new millennium. Her actions also referenced the Pinochet dictatorship, as well as her own exile when in 1979, she traveled to Colombia and with a red string tied to a glass of milk, spilled ...


Mind’S Eye And Embodied Weaving: Simultaneous Contrasts Of Hue In Isluga Textiles, Northern Chile, Penelope Dransart Jan 2018

Mind’S Eye And Embodied Weaving: Simultaneous Contrasts Of Hue In Isluga Textiles, Northern Chile, Penelope Dransart

Textile Society of America Symposium Proceedings

This article examines the use of hue in textiles woven during the twentieth century in Isluga, a bilingual Aymara/Spanish-speaking community of herders of llamas, alpacas and sheep in the highlands of northern Chile. It pays tribute to the weaving skills of Natividad Castro Challapa and other weavers of her generation, born early in the twentieth century. Aniline dyes were already known to them but, in the course of their lives, they witnessed increasing amounts of industrially manufactured, pre-dyed acrylic yarns arriving in the community. The article explores how weavers incorporated these brightly hued yarns in their textiles to form ...


Fish In The Desert – North Africa’S Textile Tradition Between Indigenous Identity And Exogenous Shifts In Meaning, Silvia Dolz Jan 2018

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 ...


The Tent-Dweller: Visual Markers Of Migration In Art, Sara Clugage Jan 2018

The Tent-Dweller: Visual Markers Of Migration In Art, Sara Clugage

Textile Society of America Symposium Proceedings

The current migrant crisis has brought new complexity to an object that enables transition: the tent. Tents are structures most often meant to be temporary-they both practically enable journeys and visually signify the temporary. A language of migration, territory, and dislocation is mapped onto canvas, ropes, and poles. Migration depends on concepts of land rights, movement, and the finite duration of a journey. As Deleuze and Guattari set for in “A Thousand Plateaus,” migrants move from one place to another but are defined as belonging to those spaces. Nomads, on the one hand, do not have land distributed to them-they ...


Reawakening Chahta Nan Tvnna (Choctaw Textiles), Jennifer Byram Jan 2018

Reawakening Chahta Nan Tvnna (Choctaw Textiles), Jennifer Byram

Textile Society of America Symposium Proceedings

Choctaw people have crafted textiles from the land for thousands of years. Native to Mississippi and Alabama, U.S.A., the Choctaw Nation of Oklahoma resides today in the Southeastern part of the state and numbers over 200,000 citizens. This paper comes out of the tribe’s Historic Preservation department’s work in conjunction with community efforts to reawaken Chahta nan tvnna, Choctaw textiles. By piecing together disparate parts of the Choctaw textile narrative, the Choctaw community is creating new textile work that recalls the ancestors and brings the identity of Chahta nan tvnna to new generations of Choctaw ...


Whitework: The Cloth And Call To Action, Sonja Dahl Jan 2018

Whitework: The Cloth And Call To Action, Sonja Dahl

Textile Society of America Symposium Proceedings

In the newly independent colonies of the American Northeast, styles of white-on-white quilting and embroidery became popular among women coming of age. Considered the epitome of their needleworking skills, whitework required patience, time, focus, precision, and a steady hand. Such detailed stitchwork on pure white cotton-then a booming industry in the American South-prepared these young women to make homes that were meaningful, full of symbolism and care. Drawing analogy between these historic textiles and current movements for decolonization and anti-racism, this talk expands the term Whitework to function as a call to action, for both myself and other white-identified scholars ...


Shipibo-Conibo Textiles 2010-2018: Artists Of The Amazon Culturally Engaged, Nancy Gardner Feldman Jan 2018

Shipibo-Conibo Textiles 2010-2018: Artists Of The Amazon Culturally Engaged, Nancy Gardner Feldman

Textile Society of America Symposium Proceedings

This paper considers the intersection of processes of making and cultural memory as contemporary Shipibo artists design, produce, and exchange of their contemporary textiles and art. One sees a continuation of traditional collaborative social networks both in Peru’s deep Amazon region and in new Shipibo communities of Pucallpa and Lima. In cities, they create new artistic networks and expressions of art in ceremony. In these artworks, one sees how Shipibo relationship to the natural world, the forest, plants, animals, and waters reflects deep spiritual beliefs, wisdom, and community knowledge. Shipibo communities in 2017 face ever-expanding challenges from intrusions into ...


Dresden Embroidery In Early Kentucky Counterpanes, Laurel Horton Jan 2018

Dresden Embroidery In Early Kentucky Counterpanes, Laurel Horton

Textile Society of America Symposium Proceedings

This paper examines four white embroidered bedcovers which include elements done in Dresden work, a distinctive technique combining pulled-thread embroidery with surface stitchery. The distinctive lace-like stitches of Dresden embroidery typically appear in delicate, small-scale applications, such as cuffs, collars, and handkerchiefs. These four counterpanes, made in Kentucky in the early nineteenth century, are among a small number of embroidered white bedcovers that include Dresden embroidery. In contrast with the ancient roots of other stitchery styles, Dresden embroidery emerged in Europe in the 1720s as an inexpensive alternative to delicate Flemish bobbin laces. The technique spread among cottage needleworkers in ...


Weaving Authenticity: Artesanías Or The Art Of The Textile In Chiapas, Mexico [Poster], Addison Nace Jan 2018

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 ...


The Future Of Textiles: Disruption And Collaboration, Susan Brown, Matilda Mcquaid, David Breslauer, Suzanne Lee, Anais Missakian, Abby-George Erikson, Salem Van Der Swaagh Jan 2018

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 ...


Italian Bedfellows: Tristan, Solomon & “Bestes”, Kathryn Berenson Jan 2018

Italian Bedfellows: Tristan, Solomon & “Bestes”, Kathryn Berenson

Textile Society of America Symposium Proceedings

Two surviving late fourteenth-century quilted furnishings, the Coperta Guicciardini in the Museo Nazinale del Bargello, Florence, and the Tristan Quilt in the Victoria and Albert Museum, London, depict scenes from the legend of Tristan, one of King Arthur’s knights. Both museums attribute the furnishings to a southern Italian atelier. Research to-date essentially treats these works as if, like Athena from the head of Zeus, they burst complete. Yet by the twelfth century Greek, Roman, Byzantine, and Norman occupation and active trade with the Levant, all had contributed to the culture of southern Italy. Prime evidence is the mosaic floor ...


Timberline Textiles: Creating A Sense Of Place, Annin Barrett Jan 2018

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 ...


Schoolgirl Embroideries: Integrating Indigenous Motifs, Materials, And Text, Lynne Anderson Jan 2018

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 ...


Eliza Calvert Hall, A Book Of Hand-Woven Coverlets, And Collecting Coverlet Patterns In Early Twentieth Century Appalachia, Philis Alvic Jan 2018

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 ...


Radical Access: Textiles And Museums, Michele Hardy, Joanne Schmidt Jan 2018

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 ...


Ancient, Indigenous And Iconic Textile Motifs In Contemporary Fashion Case Study: Defining Concepts Through Textile Designs: Appropriation, Collaboration, Provenance And Identity, Kristin Scheel Lunde Jan 2018

Ancient, Indigenous And Iconic Textile Motifs In Contemporary Fashion Case Study: Defining Concepts Through Textile Designs: Appropriation, Collaboration, Provenance And Identity, Kristin Scheel Lunde

Textile Society of America Symposium Proceedings

This paper investigates the material and visual characteristics of certain ancient and historical textile motifs with roots in Chinese and African culture, and their sudden appearance in new geographical and cultural context. Appropriated into western contemporary textile and fashion trends, this paper examines the new roles of these designs in context of foreigness, identity, and hybridity. Their consumption and reception both within and beyond their original cultures is a central theme, and it is evident that their reception in both locations, although different, exhibits some similarities. Exploring the transcultural consumption and reception that occurs in various cultural locations this paper ...


Place-Based Textiles In Post Wwii Poland, Jane Przybysz Jan 2018

Place-Based Textiles In Post Wwii Poland, Jane Przybysz

Textile Society of America Symposium Proceedings

When WWII broke out, textile art faculty Stefan and Helena Galkowski left the Arts Academy in Crakow, Poland to take refuge in the countryside. There, they continued their artistic practice, utilizing materials close at hand - undyed sheep’s wool – to make work they regarded as carrying on a distinctly Polish and politically-charged weaving tradition. After the War, even sheep’s wool was scarce. Polish textile artists like Magdelena Abakanowicz seized upon a plentiful local material – sisal – to improvise new textile art-making methods and forms. In the wake of WWII, the nascent Polish communist government saw in pre-WWII artisan cooperatives connected ...


Rahul Jain’S Reimagined Velvet Drawloom, Barbara Setsu Pickett Jan 2018

Rahul Jain’S Reimagined Velvet Drawloom, Barbara Setsu Pickett

Textile Society of America Symposium Proceedings

Indian textile traditions are exemplars of Deep Local, firmly rooted in geography and culture. Even family names denote specific occupations; Ansari are weavers; Chippa, block-print dyers; Khatri, bandhani dyers. In the 1980s, two exhibitions introduced me to Indian textiles. The Oregon Museum of Science and Industry’s show, “India Festival of Science included artisans demonstrating their specialties. Ansar Ahmed Ansari, a Varanasi silk brocade weaver, wove sari fabric on a Jacquard loom. After shadowing him for several days, he offered his business card and invited me to visit. In New York at the Met, the India Art and Culture exhibition ...


Local Wear: A Chat About Textiles & The Body, Emily J. Pascoe Jan 2018

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 Jan 2018

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.


The Modern Development Of Kyoto Textiles For The Kimono, Keiko Okamoto Jan 2018

The Modern Development Of Kyoto Textiles For The Kimono, Keiko Okamoto

Textile Society of America Symposium Proceedings

Hand painted yūzen dyeing and other types of yūzen dyeing are considered the main dyeing methods among Kyoto textiles. They were developed between the mid-17th century and early 20th century and are still used for the kimono. The kimono and its textiles were spotlighted in Western countries when Japan opened the country to the West in the late 19th century and had been popular into the early 20th century. Westerns collected them, wore them, or used them as motifs of their art works. Japanese also took Western motifs in the kimono textile designs, which in turn ...


Closing The Power Gap Through Internet Technology: The Artisan View, Judy Frater Jan 2018

Closing The Power Gap Through Internet Technology: The Artisan View, Judy Frater

Textile Society of America Symposium Proceedings

In India today, artisans are considered skilled workers who can realize the concepts of designers. But traditionally, craft was designed, produced, and marketed by artisans. As traditional artisans aimed for new markets, designers took on the role of “interventionists” to bridge the gap in familiarity with new consumers and bring craft into contemporary markets. While this works, unfortunately demoting artisans to worker status results in minimum value for their work, little to no opportunity for creativity or recognition, and waning interest in traditions. Co-design has potential to restructure the relationship between urban designer and artisan. However, often what is called ...


Batik Of Java: Global Inspiration, Maria Wronska-Friend Jan 2018

Batik Of Java: Global Inspiration, Maria Wronska-Friend

Textile Society of America Symposium Proceedings

Batik, the technique of patterning cloth through the application of wax, reached the highest level of complexity on the island of Java. While deeply embedded in local traditions and associated with the social order of Java, outside Indonesia batik became a powerful cultural intermediary connecting countries as diverse as Netherlands, Japan, Ghana, India, and Australia. In the early stages, this process was an outcome of the Dutch colonial agency. In the 17th and 18th centuries the Dutch East India Company sold Indian textiles destined for Indonesian markets as well as small quantities of Javanese batiks to the Japanese ...


The Techniques Of Samitum. Based On A Reconstruction Of A Silk From The Oseberg Burial, Åse Eriksen Jan 2018

The Techniques Of Samitum. Based On A Reconstruction Of A Silk From The Oseberg Burial, Åse Eriksen

Textile Society of America Symposium Proceedings

A collection of samitum was found in the Norwegian Viking burial Osebert (834 CE) in 2014. I got the opportunity to study some of the fragments and could reconstruct a nearly full pattern unit from six narrow bands, once cut from the same fabric. I wove a small piece of this fabric in my ordinary flatloom, using both modern dyestuff and fabric spun silk material. Fragments found in Egypt from 400 AD show that both tapestry and taquete were woven in the same fabric. When searching for the loom used for the original samitum fabric, I made a vertical warp ...