Textile Society of America Newsletter 28:1 — Spring 2016 Textile Society of America
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Weaverswaver00stocrich.Pdf
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. -
Workshops Open Studio Residency Summer Conference
SUMMER 2020 HAYSTACK MOUNTAIN SCHOOL OF CRAFTS Workshops Open Studio Residency Summer Conference Schedule at a Glance 4 SUMMER 2020 Life at Haystack 6 Open Studio Residency 8 Session One 10 Welcome Session Two This year will mark the 70th anniversary of the 14 Haystack Mountain School of Crafts. The decision to start a school is a radical idea in and Session Three 18 of itself, and is also an act of profound generosity, which hinges on the belief that there exists something Session Four 22 so important it needs to be shared with others. When Haystack was founded in 1950, it was truly an experiment in education and community, with no News & Updates 26 permanent faculty or full-time students, a school that awarded no certificates or degrees. And while the school has grown in ways that could never have been Session Five 28 imagined, the core of our work and the ideas we adhere to have stayed very much the same. Session Six 32 You will notice that our long-running summer conference will take a pause this season, but please know that it will return again in 2021. In lieu of a Summer Workshop 36 public conference, this time will be used to hold Information a symposium for the Haystack board and staff, focusing on equity and racial justice. We believe this is vital Summer Workshop work for us to be involved with and hope it can help 39 make us a more inclusive organization while Application broadening access to the field. As we have looked back to the founding years of the Fellowships 41 school, together we are writing the next chapter in & Scholarships Haystack’s history. -
'Nameless Motif'
112 Fig. 1 Anonymous, Tataouine area, Tunisia, c. 1920-50. Knotted rug with primary ‘nameless motif’. Wool, 156 x 128 cm. paul vandenbroeck The ‘Nameless Motif’: On the Cross-Cultural 113 Iconography of an Energetic Form Paul Vandenbroeck * As I strolled through a quiet Tuscan townlet on a late summer’s afternoon in * KMSKAntwerpen/IMMRC-KULeuven 1973, in the days before the rural hinterland was changed for ever by the tourist invasion, I was struck by the sight of an elderly lady sitting at a table by the entrance to her house. Displayed on the tabletop were various home-made items of lace and textile that she was offering for sale. As a student of the his- tory of art, I was all too familiar with canonised Art, with capital A, but en- tirely ignorant about domestically crafted textiles. Yet I stopped in my tracks, captivated as I was by an ungraspable aesthetics that was quite alien to me, as it was light years away from the universe of male-dominated Renaissance art. There was one piece, featuring both abstract and stylised patterns, that I found particularly attractive – despite myself. When I enquired about the price, the woman asked: ‘Are you married?’. I told her I was not. ‘Then I cannot sell this piece to you’, she said. I stood there dumbfound, unable to comprehend why this should be the case, and tried to assure her that I found the piece genuinely beautiful. Speaking in the local dialect, slowly and clearly for my benefit, she said she believed me, but that that was not the point. -
Dressing for the Times: Fashion in Tang Dynasty China (618-907)
Dressing for the Times: Fashion in Tang Dynasty China (618-907) BuYun Chen Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 BuYun Chen All rights reserved ABSTRACT Dressing for the Times: Fashion in Tang Dynasty China (618-907) BuYun Chen During the Tang dynasty, an increased capacity for change created a new value system predicated on the accumulation of wealth and the obsolescence of things that is best understood as fashion. Increased wealth among Tang elites was paralleled by a greater investment in clothes, which imbued clothes with new meaning. Intellectuals, who viewed heightened commercial activity and social mobility as symptomatic of an unstable society, found such profound changes in the vestimentary landscape unsettling. For them, a range of troubling developments, including crisis in the central government, deep suspicion of the newly empowered military and professional class, and anxiety about waste and obsolescence were all subsumed under the trope of fashionable dressing. The clamor of these intellectuals about the widespread desire to be “current” reveals the significant space fashion inhabited in the empire – a space that was repeatedly gendered female. This dissertation considers fashion as a system of social practices that is governed by material relations – a system that is also embroiled in the politics of the gendered self and the body. I demonstrate that this notion of fashion is the best way to understand the process through which competition for status and self-identification among elites gradually broke away from the imperial court and its system of official ranks. -
Cultural Council & Films and Media Council Festival Name Host
Cultural Council & Films and Media Council Festival Name Host Institution Tentative Dates (for the Tentative 2014-15 year) Contingent size Cultural+FMC Carpe Diem IIIM Calcutta 31st January to 2nd 40 + 20 February Fiesta FMS Delhi 31st January to 2nd 40 + 20 February Alcheringa IIT Guwahati 30th January to 2nd 40 + 20 February Oasis BITS Pilani 24th to 28th October 40 + 20 Springfest IIT Kharagpur 26th to 29th January 40 + 10 Kolosseum KIIT Bhubneshwar 16th November to 17th 40 + 10 November Fluxus IIT Indore 7th to 9th February 40 + 10 Thrust NIT Warangal 27th to 29th December 40 + 10 Ignus IIT Jodhpur 27th February to 2nd March 40 + 10 Vaayu NMIMS Mumbai 29th November to 2nd 40 + 20 December Baptizer Christ University, 2nd February 25 + 10 Bangalore Parliamentary Debate RML NLU Lucknow 20th to 22nd October 15 + 0 Parliamentary Debate IIT Delhi 20th March to 22nd March 15 + 0 Mood-Indigo* IIT Bombay 23rd to 27th December 120 + 30 Rendezvous IIT Delhi 16th to 20th October 120 + 30 Chaos IIM Ahmedabad 28th to 31st December 40 + 10 Nihilanth (Inter IIT- Depends on IIT/IIM Depens on IIT/IIM which 30 IIM Quiz Meet) which wins the bid wins the bid Varchasva* IIM Lucknow 3rd to 6th October 30 + 10 Thomso IIT Roorkee 2nd to 4th October 40 + 20 Saarang IIT Madras 8th to 12th January 40 + 10 Pearl BITS Hyderabad 6th to 9th March 30 + 10 Xavotsav St. Xavier's College, 22nd to 24th January 0 + 10 Calcutta Jagaran Film Festival* Jagaran Media Around 25th July 0 + 50 Institute, Kanpur Technix IIT (BHU), Varanasi 24th to 27th January 0 + 10 Moments -
Historic Costuming Presented by Jill Harrison
Historic Southern Indiana Interpretation Workshop, March 2-4, 1998 Historic Costuming Presented By Jill Harrison IMPRESSIONS Each of us makes an impression before ever saying a word. We size up visitors all the time, anticipating behavior from their age, clothing, and demeanor. What do they think of interpreters, disguised as we are in the threads of another time? While stressing the importance of historically accurate costuming (outfits) and accoutrements for first- person interpreters, there are many reasons compromises are made - perhaps a tight budget or lack of skilled construction personnel. Items such as shoes and eyeglasses are usually a sticking point when assembling a truly accurate outfit. It has been suggested that when visitors spot inaccurate details, interpreter credibility is downgraded and visitors launch into a frame of mind to find other inaccuracies. This may be true of visitors who are historical reenactors, buffs, or other interpreters. Most visitors, though, lack the heightened awareness to recognize the difference between authentic period detailing and the less-than-perfect substitutions. But everyone will notice a wristwatch, sunglasses, or tennis shoes. We have a responsibility to the public not to misrepresent the past; otherwise we are not preserving history but instead creating our own fiction and calling it the truth. Realistically, the appearance of the interpreter, our information base, our techniques, and our environment all affect the first-person experience. Historically accurate costuming perfection is laudable and reinforces academic credence. The minute details can be a springboard to important educational concepts; but the outfit is not the linchpin on which successful interpretation hangs. -
C O Ra G in Sb U R G Mo De
CORA GINSBURG • MODERN TITI HALLE CORA GINSBURG LLC A Catalogue of 20th century costume & textiles 2018 by appointment 19 East 74th Street tel 212-744-1352 New York, NY 10021 fax 212-879-1601 www.coraginsburg.com [email protected] LES JETS D’EAU RAYON AND COTTON WALL COVERING BY EDOUARD BÉNÉDICTUS FOR BRUNET-MEUNIÉ French, 1925 Edouard Bénédictus (1878–1930) is known today primarily for his textile, wallpaper, and carpet designs. However, over the course of his prolific career spanning the first three decades of the twentieth century, from the Art Nouveau to the Art Deco movements, he was also a chemist, musician, composer, poet, critic, and theatrical costume designer. Born in Paris, Bénédictus entered the École des Arts Décoratifs in 1897 and, in 1900, he traveled to Darmstadt, Germany, to study chemistry, an interest that he continued to pursue after his return to Paris. Between 1900 and 1910, he worked primarily in cuir incrusté (inlaid leather), a technique for which he became well known; his panels and boxes featuring flowers, birds, and animals were regularly exhibited at the Salon des Artistes Décorateurs. He also provided the illustrations for a series of articles by the artist Maurice Verneuil for Art et Décoration on adapting motifs from nature for decorative purposes. Bénédictus’s renderings of insects, reptiles, and butterflies reflect the sinuous, organic forms of the Art Nouveau style. The 1920s represent the high point of Bénédictus’s professional career in terms of his contribution to the Art Deco aesthetic and his public recognition. He produced gouaches with repeating patterns for large-format hand-colored pochoir albums: Variations (1924), Nouvelles Variations (1926), and Relais (published posthumously in 1930). -
Batik V I S U a L M a G I C O N F a B R I C
EZCC Batik V I S U A L M A G I C O N F A B R I C Batik is an ancient form of a manual wax- dyes. India had abundant sources of cotton, resist dyeing process, which is practiced in as well as several plant and mineral sources Indonesia, Malaysia, Japan, China, Thailand, from which the dyes could be extracted. Philippines, Sri Lanka, Nigeria, Middle East, Traditional colours of batik have always India and some other countries. The exact been indigo, dark brown and white – origin of batik is not known, but it is widely colours that represent the gods of the practiced in Indonesia. In India, the resist Hindu trinity – Brahma, Vishnu and Shiva. method of printing designs on fabrics can The art probably declined over the years as be traced back 2000 years, to the 1st it was a tedious and labour intensive century AD. Religious tapestries of ancient process. India bear testimony of the fact that batik The word batik means ‘wax writing’, and printing has existed in our country for a involves three major processes – waxing, long time. Also, traditionally batik was done dyeing and de-waxing – and several sub- only on cotton and silk fabrics, using natural processes – starching, stretching the fabric dipped in boiling water to melt off the layers on a frame and outlining the design using a of wax, to get the final pattern. Colours are special Kalamkari pen. Depending on the significantly changed by the preceding number of colours being used, creating a colour on the fabric as the process involves batik print on a fabric can take several days. -
Kalamkari, the Art of Painting with Natural Dyes
Chitrolekha International Magazine on Art and Design, (ISSN 2231-4822), Vol. 5, No. 2, 2015 URL of the Issue: www.chitrolekha.com/v5n2.php Available at www.chitrolekha.com/V5/n2/08_Kalamkari.pdf Kolkata, India. © AesthetixMS Included in Art Full Text (H.W. Wilson), EBSCOHOST, Google Scholar, WorldCat etc. Kalamkari, the Art of Painting with Natural Dyes Sharad Chandra Independent Researcher Kalamkari means painting with a pen. It is an exquisite form of textile art with a heritage dating back to the ancient times. The origin of the term can be traced to the early period of alliance between the Persian and Indian trade merchants which identified all painted textile art from India as Kalamkari. ‘Kalam’ is the Persian word for pen, and ‘kari’ in Urdu implies the craftsmanship involved. Hence, ‘Kalamkari’ denotes the myriad manifestations of hand painted textiles with natural dyes. The pen referred to in the term is a short piece of bamboo or date- palm stick, shaped and pointed at its end to form a nib. Created without the use of chemicals or machine Kalamkari art is entirely a handicraft using natural or vegetable dyes and metallic salts called mordants to fix the dye into the cotton fibers. An exact resist process, complex and careful dyeing, sketching and painting of the design and, occasionally, even the addition of gold or silver tinsel into it are the other integral components of this art. The Kalamkari works are mostly produced in the small towns of Kalahasti, Machilipatnam and other interior regions of Andhra Pradesh by rural craftsmen and women, and is a household occupation passed from generation to generation as heritage. -
Traditional Indian Textiles Students Handbook + Practical Manual Class XII
Traditional Indian Textiles Students Handbook + Practical Manual Class XII CENTRAL BOARD OF SECONDARY EDUCATION Shiksha Kendra, 2, Community Centre, Preet Vihar, Delhi-110301 In collaboration with National Institute of Fashion Technology Traditional Indian Textiles – Class XII Students Handbook + Practical Manual PRICE : ` FIRST EDITION : 2014 © CBSE, India COPIES : No Part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, electronic, mechanical photocopying, recording or otherwise without the prior permission of the publisher. PUBLISHED BY : The Secretary, Central Board of Secondary Education, Shiksha Kendra, 2, Community Centre, Preet Vihar, Delhi - 110301 DESIGNED & LAYOUT : M/s. India Offset Press, A-1, Mayapuri Industrial Area, Phase-1, New Delhi - 110064 Hkkjr dk lafo/kku mísf'kdk ge Hkkjr ds yksx Hkkjr dks ,d ^¿lEiw.kZ izHkqRo&laiUu lektoknh iaFkfujis{k yksdra=kRed x.kjkT;À cukus ds fy,] rFkk mlds leLr ukxfjdksa dks % lkekftd] vkfFkZd vkSj jktuSfrd U;k;] fopkj] vfHkO;fDr] fo'okl] /keZ vkSj mikluk dh Lora=rk] izfr"Bk vkSj volj dh lerk izkIr djkus ds fy, rFkk mu lc esa O;fDr dh xfjek vkSj jk"Vª dh ,drk vkSj v[k.Mrk lqfuf'pr djus okyh ca/kqrk c<+kus ds fy, n`<+ladYi gksdj viuh bl lafo/kku lHkk esa vkt rkjh[k 26 uoEcj] 1949 bZñ dks ,rn~}kjk bl lafo/kku dks vaxhÑr] vf/kfu;fer vkSj vkRekfiZr djrs gSaA 1- lafo/kku ¼c;kfyloka la'kks/ku½ vf/kfu;e] 1976 dh /kkjk 2 }kjk ¼3-1-1977½ ls ÞizHkqRo&laiUu yksdra=kRed x.kjkT;ß ds LFkku ij izfrLFkkfirA 2- lafo/kku ¼c;kfyloka la'kks/ku½ -
ACHIEVEMENTS 2016-17 1.Yatinsharma, B.COM 1St Year Student, Secures 3Rd Position in Solo Western Dance Competition at Socio
ACHIEVEMENTS 2016-17 1.YatinSharma, B.COM 1st year student, secures 3rd position in solo western dance competition at socio- culturalliterary sports festival of AIIMS "PULSE'16" . 2.Atul Kumar yadav, B.TECH 4th year student, wins 2nd prize in "MunshiPremchandkahanipratiyogita" in MaharajaAgrasena College, university of Delhi. 3.Navrang- the theatre society of Pgdavcollege secures 1st position In stage play competition at socio- culturalliterary sports festival of AIIMS "PULSE'16". 4.Impressions, the Fine Arts Society and Iris, The Photography and Film Making society of PGDAV College wereinvited to participate in "Swachh Bharat Pakhwada", VimalYatra festival of SangeetNatakAcademi. Both the societies are exhibited their work from 22.9.16 to 24.9.16. 5.GitikaWahal and Surily Sahay, students of B.A(H) Economics, first year secured 1st position as the Best Team in'Conventional Debate' at Daulat Ram College, University of Delhi. 6.Devansh Chaudhary, student of B.A(H) English third year along with AkshitKukreti student of B.A(H) Economicsthird year won first prize as the 'Best Speakers' at Symbiosis University 'Parliamentary Debate' competition. 7.AkshitKukreti, student of BA (Hons.) Economics third year won first prize in 'Parliamentary Debate' competition atSymbiosis University. 8.Atul Kumar, student of B.Tech (H) computer science, secured Ist prize in Poetry Recitation held at Dayal Singhcollege (morning), University of Delhi. 9.The Folk Dance society of Pgdavcollegewins 2nd prize in Dance competition at Lovely professional university'sAnnual Fest Youth Vibe'17. 10.Navneet Singh, student of Btech computer science 4th year, wins 1st & 2nd prize in crossword and scavenger17.0 respectively at Shaheed rajguru college, University of Delhi . -
Explanatory Documents from the Public.Pdf
SCULPTURE HONORING DR. MAYA ANGELOU ARTISTS SELECTION MEETING 2 SUMMARY MEETING DATE August 9, 2019 VOTING SELECTION PANELISTS Indira Allegra, Artist and Independent Curator JD Beltran, Commissioner, San Francisco Arts Commission Angela Hennessy, Artist and Associate Professor of Fine Arts, CCA Maria Jenson, Executive Director, SOMArts Cultural Center Guy Johnson, Caged Bird Legacy Dr. Shokooh Miry, Commissioner, Commission on the Status of Women Shawna Sherman, Librarian, African American Center, San Francisco Public Library Connie Wolf, Library Commissioner PROCESS The following artists presented an overview of their practice and proposals for the Sculpture Honoring Dr. Maya Angelou Artist Selection Panel: Jules Arthur Kenyatta A. C. Hinkle Lava Thomas The panelists were asked to discuss and evaluate each of the proposals on the following criteria: – Aesthetic quality – Appropriateness of the proposed artwork for the site and project goals – Demonstrated feasibility of the preliminary proposal and the proposal budget – Demonstrated maintainability and durability of the artwork’s design, materials, fabrication and installation methods The panelist then ranked the artists 1, 2, or 3 (1 = highest rank) accordingly. RESULTS Lava Thomas 10 Jules Arthur 18 Kenyatta A. C. Hinkle 20 ARTS COMMISSION APPROVAL Motion: Motion to approve the selected artist Lava Thomas for the Sculpture Honoring Dr. Maya Angelou public art opportunity, as recommended by the artist selection panel. Motion: Motion to authorize the Director of Cultural Affairs to enter into a contract with the selected artist Lava Thomas for an amount not to exceed $180,000 for the design, engineering, fabrication, transportation and consultation during installation of an artwork for the Sculpture Honoring Dr.