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Full-Text Articles in Art and Design

Un/Dead Animal Art: Ethical Encounters Through Rogue Taxidermy Sculpture, Miranda Niittynen Aug 2018

Un/Dead Animal Art: Ethical Encounters Through Rogue Taxidermy Sculpture, Miranda Niittynen

Electronic Thesis and Dissertation Repository

Beginning in 2004, the Minnesota Association of Rogue Taxidermists began an art movement of taxidermied animal sculptures that challenged conventional forms of taxidermied objects massively produced and displayed on an international scale. In contrast to taxidermied ‘specimens’ found in museums, taxidermied ‘exotic’ wildlife decapitated and mounted on hunters' walls, or synthetic taxidermied heads bought in department stores, rogue taxidermy artists create unconventional sculptures that are arguably antithetical to the ideologies shaped by previous generations: realism, colonialism, masculinity. As a pop-surrealist art movement chiefly practiced among women artists, rogue taxidermy artists follow an ethical mandate to never kill animals for the ...


Los Productos Textiles De Los Andes Sur-Centrales: Guía Ontológica Centrada En La Región Aymara-Hablante, Denise Y. Arnold Jun 2018

Los Productos Textiles De Los Andes Sur-Centrales: Guía Ontológica Centrada En La Región Aymara-Hablante, Denise Y. Arnold

Textile Research Works

El presente libro ofrece una organización ontológica de los productos textiles andinos. A nivel mundial, los museólogos están dando cuenta de la utilidad de este recurso para estructurar sus colecciones de objetos y para vincularlas con datos de respaldo (registros, catálogos, dibujos, fotos, etc.). Una ontología es una especificación explícita de una conceptualización, que proporciona una estructura y los contenidos que codifican las reglas implícitas de una parte de la realidad, en este caso del dominio textil. Aquí presentamos una representación del conocimiento del dominio textil centrada en las ‘formas’ textiles, por decir los tipos de prendas (ahuayo, acso, unco ...


“After-Ozymandias”: The Colonization Of Symbols And The American Monument, H. R. Membreno-Canales May 2018

“After-Ozymandias”: The Colonization Of Symbols And The American Monument, H. R. Membreno-Canales

School of Arts & Sciences Theses

After-Ozymandias examines the visual rhetoric of American patriotism through its many symbols, including flags and monuments. My thesis project consists of photographs of empty plinths, objects, products and archival materials. Countless relics remain today memorializing leaders and empires that inevitably declined, from antiquity to modern times. Looking back at distant history feels like a luxury, though: the question for our time in America is whether we have the strength of mind as a society to scrutinize our history, warts and all.


Lumumba’S Iconography As Interstice Between Art And History, Matthias De Groof Apr 2018

Lumumba’S Iconography As Interstice Between Art And History, Matthias De Groof

Artl@s Bulletin

How does Congolese art and artistic representations of Lumumba “mediate past, present and future”? How do they relate to historical narratives and to the dialogues within the Global South? This contribution proposes Lumumba’s iconography as a case in point of the interstice between art and history. It positions the image of Lumumba as mediating between past, present and future for both the Congo and the Global South more broadly.


Creating A Textile Museum Exhibit: Conservation And Accessibility, Kelly M. Lorenz Apr 2018

Creating A Textile Museum Exhibit: Conservation And Accessibility, Kelly M. Lorenz

Honors Theses

This twofold study engages a collection of early-to-mid-20th century Levantine textiles held by the Institute of Archaeology and Siegfried H. Horn Museum. The first part of the study involves identifying the risks of physical deterioration posed to the collection and then providing a proposal for the storage and display of these artifacts. Keeping the museum's means in mind, the storage plan emphasizes preventive conservation, focusing on minimizing risks wherever possible to keep damage from happening in the first place. The second part provides written interpretive material for the display that informs visitors of the textiles' geographic, physical, and cultural ...


Digital Techniques For Documenting And Preserving Cultural Heritage, Anna Bentkowska-Kafel, Lindsay Macdonald Jan 2018

Digital Techniques For Documenting And Preserving Cultural Heritage, Anna Bentkowska-Kafel, Lindsay Macdonald

Collection Development, Cultural Heritage, and Digital Humanities

In this unique collection the authors present a wide range of interdisciplinary methods to study, document, and conserve material cultural heritage. The methods used serve as exemplars of best practice with a wide variety of cultural heritage objects having been recorded, examined, and visualised. The objects range in date, scale, materials, and state of preservation and so pose different research questions and challenges for digitization, conservation, and ontological representation of knowledge. Heritage science and specialist digital technologies are presented in a way approachable to non-scientists, while a separate technical section provides details of methods and techniques, alongside examples of notable ...


21st Century Chinese Art Market Boom, Ayca Deniz Ergin Jan 2018

21st Century Chinese Art Market Boom, Ayca Deniz Ergin

Summer Program for Undergraduate Research (SPUR)

This research paper provides a detailed analysis of how China has become the fastest growing art market around the world. How did the economic development in China led the country to the top in recent years, in contrast to its Western competitors? What is China’s role in the global art market scene? What changes have been made, in a socialist system, to accommodate foreign investors and what future changes should be made to sustain its growth?

Through focusing on the correlation between economic growth and art market expansions, this research develops the relationship through referencing various quantitative and qualitative ...


Abstracts Of Papers: Textile Society Of America 16th Biennial Symposium Jan 2018

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, Vancouver, and unceded territory

Joanne Arnett — The Best ...


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 ...


A Local Motif; Use Of Kōwhaiwhai Patterns In Printed Textiles, Jane Groufsky Jan 2018

A Local Motif; Use Of Kōwhaiwhai Patterns In Printed Textiles, Jane Groufsky

Textile Society of America Symposium Proceedings

This paper considers the role of patterns derived from kowhaiwhai in printed textiles, and how these have been used to project a national identity. Kowhaiwhai refers to the design traditionally used my Maori (the Indigenous people of New Zealand) on parts of meetings houses, canoe paddles, and other painted objects. Although kowhaiwhai art has developed to include figural representation, it is the curvilinear decoration based on the natural forms of koru (fern shoots), kape (crescent), and rauru (spiral) which has become a distinctly recognizable “New Zealand” pattern. Situated in the meeting house, kowhaiwhai designs have a style and meaning which ...


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 ...


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 ...


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 ...


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 ...


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 ...


Wrapped In Wool: Coast Salish Wool Weaving, Vancouver’S Public Art, And Unceded Territory, Alison Ariss Jan 2018

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 ...


Chilean Arpilleras: Writing A Visual Culture, R. Darden Bradshaw Jan 2018

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 ...


The Embroidery Artisans Of The Kashmir Valley: Cultural Imports And Exports From Historical And Contemporary Perspectives., Deborah Emmett Jan 2018

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 ...


Balancing Local Tradition And Global Influences: Design And Business Education For Traditional Artisans In Kachchh, India, Ruth Clifford Jan 2018

Balancing Local Tradition And Global Influences: Design And Business Education For Traditional Artisans In Kachchh, India, Ruth Clifford

Textile Society of America Symposium Proceedings

In the craft-rich region of Kutch, western India, and the historical sari weaving town of Maheshwar, central India, two institutes are providing design and business education to traditional artisans. These are Somaiya Kala Vidya (SKV) and The Handloom School (THS); they form case studies for my PhD research. SKV encourages students to focus on their traditional designs believing them to be their unique selling point, but to innovate upon these traditions making them relevant to contemporary markets. Graduates face challenges of balancing the maintenance of the traditional aspects of their craft, their identity and integrity, with urban and global market ...


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 ...


Kasb-E-Hunar (Skilled Enclave), Adil Iqbal Jan 2018

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 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 ...


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 ...


The Rayed Head And Stepped Platform: A Core Symbol Of The Southern Andean Iconographic Series, Nancy B. Rosoff Jan 2018

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 ...


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 ...


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.


Along A Continuum: Spirally-Woven Beadwork Of The Tlingit, Wasco, And Pit River Peoples, Alice Scherer Jan 2018

Along A Continuum: Spirally-Woven Beadwork Of The Tlingit, Wasco, And Pit River Peoples, Alice Scherer

Textile Society of America Symposium Proceedings

This presentation explores the impact of introducing glass beads on the weaving practices of three Pacific Northwest Indigenous groups. Although Native Americans made and used beads of bone, shell, seed, and stone prior to contact with Western European culture, the 18th-century introduction of glass beads brought new elements of sparkle, regularity, and color to native art and inspired creative expressions. Faced with the challenge of integrating these new materials, women turned to familiar basketry techniques for ideas, adapting traditional basket-making methods to weave beads and native-made fibers into bags, caps, straps, and hair ornaments. Visual evidence for this ...


The Untold Story Of Inuit Printed Fabrics From Kinngait Studios, Kinngait (Cape Dorset), Nunavut, Canada, Roxane Shaughnessy, Anna Richard Jan 2018

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 Radical Fiber Art Practices Of The Yarn Mission: A Case Study, Lila Stone Jan 2018

The Radical Fiber Art Practices Of The Yarn Mission: A Case Study, Lila Stone

Textile Society of America Symposium Proceedings

This paper aims to investigate how The Yarn Mission uses fiber arts practices to challenge racism and sexism through the lens of a case study. The Yarn Mission is a “pro-Black, pro-rebellion, pro-community” knitting collective that formed in St. Louis, Missouri in response to the tragic death of Mike Brown at the end of 2014. It now has chapters in Minneapolis, MN; Atlanta, GA; New York City; and Wilmington, DE. This research draws on a series of semi-structured interviews (with questions that prompt discussion) with selected founders and current members of The Yarn Mission. I will conduct both phone and ...


Living Organisms For Living Spaces: Shifting The Function Of Material, Juliana Silva Diaz Jan 2018

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.