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University of California Berkeley Regional Oral History Office University of California The Bancroft Library Berkeley, California Fiber Arts Oral History Series Kay Sekimachi THE WEAVER'S WEAVER: EXPLORATIONS IN MULTIPLE LAYERS AND THREE-DIMENSIONAL FIBER ART With an Introduction by Signe Mayfield Interviews Conducted by Harriet Nathan in 1993 Copyright 1996 by The Regents of the University of California Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the Nation. Oral history is a modern research technique involving an interviewee and an informed interviewer in spontaneous conversation. The taped record is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The resulting manuscript is typed in final form, indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ************************************ All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Kay Sekimachi dated April 16, 1995. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. No part of the manuscript may be quoted for publication without the written permission of the Director of The Bancroft Library of the University of California, Berkeley. -
Textile Society of America Newsletter 28:1 — Spring 2016 Textile Society of America
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Newsletters Textile Society of America Spring 2016 Textile Society of America Newsletter 28:1 — Spring 2016 Textile Society of America Follow this and additional works at: https://digitalcommons.unl.edu/tsanews Part of the Art and Design Commons Textile Society of America, "Textile Society of America Newsletter 28:1 — Spring 2016" (2016). Textile Society of America Newsletters. 73. https://digitalcommons.unl.edu/tsanews/73 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Newsletters by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME 28. NUMBER 1. SPRING, 2016 TSA Board Member and Newsletter Editor Wendy Weiss behind the scenes at the UCB Museum of Anthropology in Vancouver, durring the TSA Board meeting in March, 2016 Spring 2016 1 Newsletter Team BOARD OF DIRECTORS Roxane Shaughnessy Editor-in-Chief: Wendy Weiss (TSA Board Member/Director of External Relations) President Designer and Editor: Tali Weinberg (Executive Director) [email protected] Member News Editor: Caroline Charuk (Membership & Communications Coordinator) International Report: Dominique Cardon (International Advisor to the Board) Vita Plume Vice President/President Elect Editorial Assistance: Roxane Shaughnessy (TSA President) [email protected] Elena Phipps Our Mission Past President [email protected] The Textile Society of America is a 501(c)3 nonprofit that provides an international forum for the exchange and dissemination of textile knowledge from artistic, cultural, economic, historic, Maleyne Syracuse political, social, and technical perspectives. -
2006 MNA Navajo Textile Report
THE NAVAJO TEXTILE COLLECTION AT THE MUSEUM OF NORTHERN ARIZONA BY LAURIE D. WEBSTER, PH.D. JANUARY 2006 1 TABLE OF CONTENTS Introduction 3 The Navajo Textile Collection at the Museum of Northern Arizona 4 Classic Period Textiles (to ca. 1870) 4 Late Classic Period Textiles (ca. 1868-1880) 4 Transition Period Blankets and Rugs (ca. 1880-1890) 5 Specialized Styles of the Nineteenth Century 7 Chief-style Blankets and Rugs 7 Women's Wearing Blankets 8 Women's Two-Piece Dresses 8 Rio Grande Influence ("Slave Blankets") 9 Moqui Pattern Blankets and Rugs 10 Wedge Weave Blankets 11 Germantown Blankets and Rugs 11 Overview of Textiles from the Early Rug Period (ca. 1890-1920) 12 Overview of Textiles from the Early Modern Period (ca. 1920-1940) 13 Overview of Textiles from the Modern Period (ca. 1940-present) 14 Regional Styles 14 Hubbell Revival Weavings 14 Ganado/Klagetoh Rugs 15 Early Crystal Rugs 16 Two Grey Hills Rugs 16 Teec Nos Pos Rugs 16 Red Mesa Outline Rugs 17 Early and Modern Chinle Rugs 17 Modern Crystal Rugs 18 Wide Ruins/Pine Springs Rugs 19 Burntwater Rugs 19 Nazlini Rugs 20 Sawmill Rugs 20 Other Specialized Styles and Miscellaneous Weavings 20 Storm Pattern Rugs 20 Modern Revival Rugs 21 Rugs with Compound Designs 21 Yei and Yeibichai Weavings 21 Sandpainting Rugs and Tapestries 22 Pictorial Weavings 23 Raised Outline Rugs 24 Tufted Rugs 24 Twill-woven Rugs and Saddle Blankets 25 Two-Faced Rugs and Saddle Blankets 26 Tailored and Non-Tailored Garments 26 Belts and Garters 26 Miscellaneous Textiles 27 Important Sub-Collections of Navajo Textiles at MNA 28 2 Summary and Recommendations 33 References Cited 36 Appendix I: List of Navajo Textiles at the Museum of Northern Arizona 37 Appendix II: Navajo Textiles in Good or Excellent Condition for Rotating Exhibit 61 3 INTRODUCTION The Museum of Northern Arizona is home to one of the largest and most important collections of Navajo textiles in the world. -
Dare We Forget?
AJR Information Volume XLIX No. 4 April 1994 £3 (to non-members) Don't miss . Reflections on the Hidden Children New title competition p3 Dare we forget? The Survivor's ta.\e pi2 welve days into the countdown from the but to speak out in order to lighten their burden and A Republic Second Seder Night to the beginning of Shavuot to help themselves and each other to come to terms there is a day of quite distinctive sadness which, with their traumatic legacy. without T in the opinion of one Jewish theologian, 'the thinkers Republicans p/6 A book has just been published which records in and the rabbis do not yet know how to observe'. deeply moving fashion the details of a number of these In 1991 it was observed by sixteen hundred Jewish 'secret survivors of the Holocaust'. In it, the 'few men and women meeting in New York for what was speak for the many' of their shared past, of their False analogy possibly one of the most significant experiences of ordeal in the hiding places of their war-time years, their adult lives. They came together to remember that their liberation from immediate danger and its which they would rather have forgotten and to aftermath and of their need to find a way to being fter the Hebron examine that which, after five decades, they were healed at last and so to be released from the prison mosque unable to forget: their childhood innocence destroyed without bars of their mental anguish and despair. A for no good reason other than that they were Jews. -
Francisco De Goya Y Lucientes
FRANCISCO DE GOYA Y LUCIENTES Francisco José de Goya y Lucientes is regarded as the most important Spanish artist of the late eighteenth and early nineteenth centuries Francisco was born in Fuendetodos, Spain on March 30, 1746. He took his first art lessons from his father, who was a master gilder. Francisco also learned etching from friendly local monks. He became an apprentice at age 14 to a village painter and realized that he wanted to become an artist. However, the art academy rejected him in 1763 and 1766, which greatly disappointed the young man. Goya didn't give up on his dream of becoming a painter, though, and traveled to Italy to study. He learned how to paint in the bold Rococo style and even won second prize in a painting contest in Rome. Goya triumphantly went back to Spain in 1771 and began painting frescoes in the local cathedral. He also studied with an artist named Francisco Bayeu and later married Bayeu's sister, Josefa. His marriage helped him get a job creating designs for the royal tapestry factory in Madrid from 1775 until 1792. He designed 42 tapestries that showed scenes from everyday life, and he developed new techniques that helped weavers do their craft with precision. Tapestry design was fun, but Goya still wanted to be a full-time painter. Goya's big break came in 1783. One of the king's friends asked Goya to paint his portrait, which turned out well. Soon, Goya had other patrons. He became popular for his amazing portraits. Many of them had an element of mystery to them. -
To Consignors Hip Color & No
Index to Consignors Hip Color & No. Sex Name,Year Foaled Sire Dam Barn 5 Property of Adena Springs Broodmares 1445 ch. m. Siphonette, 2001 Siphon (BRZ) Peaceable Mood 1461 gr/ro. m. Stick N Stein, 1998 Darn That Alarm Salem Fires 1470 b. m. Sweet Tart, 2004 Lemon Drop Kid Willa Joe (IRE) 1478 dk. b./br. m. Thrill Time, 2006 Running Stag Awesome Thrill 1495 b. m. Wedded Woman, 2003 Siphon (BRZ) Erinyes 1504 b. m. Wilderness Call, 2001 Roy Forest Song 1514 dk. b./br. m. All Enchanting, 2005 Cherokee Run Glory High 1516 dk. b./br. m. Angel Dancer, 2001 Incurable Optimist Cotuit Bay 1548 gr/ro. m. Dancing Cherokee, 2004 Yonaguska Dancapade 1567 b. m. Elle, 1999 Mr. Prospector Calendar Lady 1582 gr/ro. m. Five by Five, 2004 Forestry Erin Moor 1603 dk. b./br. m. Good Fun, 2006 Awesome Again Miss Joker 1606 gr/ro. m. Graciously Soft, 2005 Vindication Siberian Fur 1642 b. m. Lonesome Lady, 2005 Running Stag Racey Lady 1656 ch. m. Maria Clarissa, 2001 Maria's Mon Cypherin Sally Barn 9 Property of Ann Marie Farm Broodmares 1448 b. m. Sky Blue Girl (GB), 1998 Sabrehill Nemea 1533 ch. m. Brazen Beauty, 1997 Lord At War (ARG) Secret Squaw Yearling 1449 b. f. unnamed, 2009 Kafwain Sky Blue Girl (GB) Barn 4 Consigned by Baccari Bloodstock LLC, Agent I Yearlings 1440 gr/ro. c. unnamed, 2009 Macho Uno Shesarealdoll 1502 ch. f. unnamed, 2009 With Distinction Wholelotofimage 1522 gr/ro. f. unnamed, 2009 Senor Swinger A Wonder She Is 1628 dk. -
Lilil^^ • .??Ift8 Vky&I
SpHpf ;-a^3®p||& j&«£l§!IS*i3 lilil^^ • .??ift8 vky&i. KtfH .. -™, a-, •; jll|ifffpl.-;;<;.'^--":. •'. j'.vr".-•' THURSDAY, FEBRUARY IS, 1912 o L, x x x 11, N £ others,, who. fought it from the first: stockholders 'agree' to go tliriae years A,t different times surveys were made without drawing any interest. This, PC-; for this sewer,, but these were never with the surplus of $10;000 showing : zsrm ''"'•-v^^^V- ~-'~ used, as the former personnel of the on the books, would offset the losses Point's Pride board were afraid to lay the sewer be '•$&f ' • • •••• by reason of Converse's peculations. cause of Davis' opposition. Finally, Many flaws were quickly picked in «T Against M. E. when, after some changes in the this plan by the depositors' commit sewer, board, it was determined to tee and by Commissioner Holt. In VSS3% briild the sewer, Merrill & Sears were ' -•i':V>;t» on the first place it was asked how the .•a®- not engaged to submit plans for this Receiver depositors could be forced to accept sewer "arid -had absolutely nothing 90 per cent, of their savings instead "• t'Cs? Continued for Four Weeks whatever to do with it. The estimated of the original 100. A court order v •'& i8S£KP£ cost of building this sewer was PROGRESS IN TWO YEARS igtii Mass "Meeting Held Last Thursday would be necessary to enforce this ar $10,000, but the contract was let for Nl^fc-^CoBfimittee Appointed to rangement. How could a court order droM FIatly Denies Charges and te(ls How He Saved about one-half that sum. -
Abstracts & Author Biographies for Textile Society of America, 15Th
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2016 Abstracts & Author Biographies for Textile Society of America, 15th Biennial Symposium (2016): Crosscurrents: Land, Labor, and the Port Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Materials Conservation Commons, Art Practice Commons, Fashion Design Commons, Fiber, Textile, and Weaving Arts Commons, Fine Arts Commons, and the Museum Studies Commons "Abstracts & Author Biographies for Textile Society of America, 15th Biennial Symposium (2016): Crosscurrents: Land, Labor, and the Port" (2016). Textile Society of America Symposium Proceedings. 1061. https://digitalcommons.unl.edu/tsaconf/1061 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Dr. Heather J Abdelnur, Ph.D. Associate Professor of History, Augusta University The British are Coming! A Contraband Cloth Tsunami Flows Over Maya Handicrafts and Homespun in the Kingdom of Guatemala, 1760-1820 1 B. Colonial Export Latin America today has a lower perceived place on the global scale of development in comparison to other Western regions, however incorrect that assumption may be. And, Central American nations, in particular, -
June 03,1892
PORTLAND DAILY PRESS. ESTABLISHED JUNE 23, 1862—VOL. 30. PORTLAND, MAINE, FRIDAY MORNING, JUNE 3, 1892. SKS! PRICE THREE CENTS. each THIS MORNING’S NEWS. MISCELLANEOUS. pleased with the situation now that at ers of the Democracy had for other, the and a desire to to Augusta BOUND FOB HUBS any time 4 ring oontest LEWISTON’S DEMOCRACY. expresses go GREENLAND. HslWERDS’ was an Page 1. and help frame the laws. Here Obituary. opportunity to forge another golden link Weather chairman fassett. indications. TEMPORARY in the chain of concord and it was agreed General telegraph news. That la the Arrangement Now Reported that Mr. T. F. Callahan should go to the Page 2. From Minneapolis. legislature. he The Relief Will Sail Funeral of Rev. John Cobb. AVER’S Mr. Blaine, It Is Said, Will Write No Remote Antiquity of the Callahan- And did. Peary Party General sporting news. IjtiNNkATOiiis, Mina., June 2.—Today’s But Mr. Callahan did not exactly trains in the custodians of both This Month. Page 3. More Letters. brought McGillicuddy Feud. Satisfy tile Party. Rich men’sfpalaces. the Harrison and Blaine booms. The Church made Sarsaparilla He may have worked for what lie easy. going executive committee, it has been A beautiful trophy. given thought w*as right and probably did, but Page 4. out, has agreed on Ji Sloat Fassett for 1*4 the supremacy of the Lewiston Democra- Editorials. 1 SEPTEMBER’S ARRIVAL WITH NO HIS NAME WILL BE PRESENTED temporary chairman and Col. Charles W. A REFRACTORY CITY GOVERNMENT Page S. cy was not the only thing to which he Johnson of Minneapolis for NEWS MEANS DESPAIR. -
The Image of Adventure in Literature, Media, and Society: 2019 SASSI
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Society for the Academic Study of Social Imagery School of Communication 2019 The mI age of Adventure in Literature, Media, and Society: 2019 SASSI Conference Proceedings Thomas G. Endres University of Northern Colorado, [email protected] Follow this and additional works at: https://digscholarship.unco.edu/sassi Part of the Critical and Cultural Studies Commons, Film and Media Studies Commons, Journalism Studies Commons, and the Rhetoric and Composition Commons Recommended Citation Endres, Thomas G., "The mI age of Adventure in Literature, Media, and Society: 2019 SASSI Conference Proceedings" (2019). Society for the Academic Study of Social Imagery. 3. https://digscholarship.unco.edu/sassi/3 This Conference Proceeding is brought to you for free and open access by the School of Communication at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Society for the Academic Study of Social Imagery by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. THE IMAGE OF ADVENTURE in Literature, Media, and Society 2019 Conference Proceedings Society for the Academic Study of Social Imagery Edited by Thomas G. Endres Published by University of Northern Colorado ISSN 2572-4320 (online) THE IMAGE OF ADVENTURE in Literature, Media, and Society Proceedings of the 2019 Conference of the Society for the Academic Study of Social Imagery March 2019 Greeley, Colorado -
The Tapestry Cartoons and New Social Spaces
Promenades in Enlightenment Madrid: the tapestry cartoons and new social spaces Book or Report Section Accepted Version Lee, S. (2014) Promenades in Enlightenment Madrid: the tapestry cartoons and new social spaces. In: The Flâneur Abroad. Historical and International Perspectives. Cambridge Scholars, Newcastle upon Tyne, pp. 66-93. ISBN 9781443860161 Available at http://centaur.reading.ac.uk/48642/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Publisher: Cambridge Scholars Publisher statement: Published with the permission of Cambridge Scholars Publishing All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Promenades in Enlightenment Madrid - The Tapestry Cartoons and new social spaces Under the reign of Charles III (1759-1788), Madrid underwent an ambitious re-building programme designed to beautify and embellish the city and to turn it into a modern European capital. Since its creation as capital by Philip II in 1561, the city had not been treated as an autonomous municipality, but as an inadvertent extension of the court.1 While Hapsburg Madrid was a canvas for displaying royal authority in processions and temporary ceremonial architecture enacted before a passive populace, Borbón Madrid was fashioned into a permanent reminder of a modern and enlightened monarchy that invited open air public participation and interaction. -
Goya Y Lucientes, Francisco De
GOYA Y LUCIENTES, FRANCISCO DE BIBLIOGRAPHY Bayeu’s influence that the artist was invited to the Primary Sources court of Madrid in 1774 to paint designs (also Go´ngora, Luis de. Polyphemus and Galatea. Introduction by known as cartoons) for the royal tapestry factory. Alexander A. Parker. Translated by Gilbert F. Cunning- ham. Austin, 1977. Translation of Fa´ bula de Polifemo y Goya’s ability was soon recognized, and he was Galatea (1612). given permission to paint tapestry cartoons ‘‘of his —. The Solitudes. Translated by Gilbert F. Cunning- own invention’’—that is, he was allowed to develop ham. Baltimore, 1968. Translation of Soledades (1612– original subjects for these images. He painted three 1614). series of tapestry cartoons for rooms in the royal Rivers, Elias L., intro. and ed. ‘‘Luis de Go´ngora.’’ In Re- residences before the tapestry factory cut back pro- naissance and Baroque Poetry of Spain, pp. 157–198. duction in 1780 because of a financial crisis engen- New York, 1966. Prospect Heights, Ill., 1988. Selec- dered by Spain’s war with England. The decade of tion of poems with prose translations. the 1780s was nevertheless one of great advance- Secondary Sources ment for the artist, beginning with his election to Beverley, John. Aspects of Go´ngora’s ‘‘Soledades.’’ Amster- the Royal Academy of Fine Arts of San Fernando in dam, 1980. 1780 and continuing as he won patronage for reli- Collins, Marsha S. The ‘‘Soledades,’’ Go´ngora’s Masque of the gious paintings and portraits from the grandest fam- Imagination. Columbia, Mo., 2002. ilies in Spain, including the duke and duchess of Gaylord [Randel], Mary.