DOCSLIB.ORG

The Smithsonian Craft Show

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

The Smithsonian Craft Show April 25 – 28, 2013 National Building Museum Washington, DC Celebrating 39 years of living a crafted life The Art and Craft of Adornment be ads . c lo thing. jewe lry . orn ament Subscribe Renew Give a Gift 5 inspiring issues l year $29?9 Includes print & digital 800.888.8950 ornamentmagazine.com I Welcome to the 2013 Smithsonian Craft Show Congratulations and many thanks to the Smithsonian Women’s Committee for 47 years of service, and more than $10 million in contributions to the Smithsonian! — Wayne Clough SeCretary of the SmithSonian inStitution 31st Annual Smithsonian Craft Show National Building Museum Contents 401 F Street, NW Washington, DC 20001 Letter from the Secretary 3 Salute from the Honorary Chairman 5 April 25 – 28, 2013 Craft Show Leadership 6 Produced by the Smithsonian Women’s Committee Welcome from the Co-Chairs 7 Daily Features 8 All proceeds support education, outreach, Special Events 9 conservation and research at the Smithsonian Corporate and Foundation Sponsors www.SmithsonianCraftShow.org and Special Friends 11 Online Auction 12 Preview Night Benefit Raffle 13 2013 Grants Awarded by the Wednesday, April 24, 2013 Smithsonian Women’s Committee 15 6:30 – 9:30 PM The Art of Repurposing 19 Jurying 20 Craft Show Hours Jurors 21 Thursday, April 25 10:30 AM – 8:30 PM Smithsonian Craft Show Awards 23 Exhibitors by Media 31 Friday, April 26 10:30 AM – 8:30 PM Map of Exhibition Hall 32 Saturday, April 27 10:30 AM – 5:30 PM Exhibitor Directory 34 Sunday, April 28 11:00 AM – 5:00 PM Smithsonian Women’s Committee 60 Preview Night Sponsors 62 Program Sponsors 62 Special Thanks 63 Cover Artwork by (Left to Right): Index of Advertisers 64 Christine & Michael Adcock, David Bryce, Namu Cho, Mike Shuler, Bengt Hokanson & Trefny Dix “Things just seem funnier when they are tiny.” — Ann MArie CiAnCiolo, Jewelry All of our exhibitors have stories to tell. A few share their vision and their inspiration in quotes throughout the program. All are available in their booths each day to chat, to answer your questions and show you their beautiful work. Don’t fail to take advantage of this opportunity to enjoy one of the Craft Show’s unique pleasures. 2 31st Annual Smithsonian Craft Show Letter from the Secretary Dear Friends: Welcome to the 31st annual Smithsonian Craft Show, proudly produced by the Smithsonian Women’s Committee, now in its 47th year. The show, in its own unique style, tells America’s story through the art of craft. It is always a special event, and this year it is exciting n nia because Martha Stewart is our honorary chair and we thank her for that. o hs t Smi , n se The Craft Show is an all-volunteer effort by the Women’s Committee. An n a H . C l integral part of the Smithsonian, the Committee returns the net proceeds r a C from the Craft Show to the Smithsonian in the form of competitive grants. Over the years, this remarkable group has given more than $10 million Wayne Clough is the 12th Secretary of the to the Smithsonian — an impressive record. We are grateful for all the Smithsonian Institution, Committee does to help the Smithsonian advance its research, education leading the world’s largest museum and and outreach mission, and to spark the learning in everyone. research complex with 19 museums, With its many special events, including an online auction, a raffle, 9 research centers, the National Zoo and lectures, demonstrations, food and drink, the show is engaging and research activities in fun. It is a coveted venue for craft artists from many disciplines and we more than 90 countries. welcome the 121 who have been accepted into this year’s event, including 44 first-time exhibitors. Congratulations to the president of the Committee, Emily B. Willey, who has given so much of her time, talent and resources. Special thanks and congratulations to the chairs of this year’s outstanding show, Nancy Low and Anne Marie Shuyler. We applaud the jurors, the judges, the award donors, and our business and foundation supporters for their generous commitments to the Craft Show and the Smithsonian. And finally, many thanks to all of the dedicated Smithsonian Women’s Committee members who have worked tirelessly to assemble this masterful display of creative arts. Enjoy the show! Sincerely, G. Wayne Clough SECRETARy, SMITHSONIAN INSTITuTION 31st Annual Smithsonian Craft Show 3 Martha Stewart is an enthusiastic maker and enjoys finding and spotlighting artisans from around the country who share her passion. The MARTHA STEWART AMERICAN MADE program was created as a result of this spirit. American Made celebrates craft, artistry, and entrepreneurial drive, and the people behind a movement fueling a new economy in this country. Congratulations to all the artisans at the PLEASE VISIT MARTHASTEWART.COM FOR INFO RMATION ON OUR 2013 AMERICAN MADE PROGRAM Salute from the Honorary Chairman As a passionate advocate for excellence in all things, I am delighted to act as Honorary Chairman of the Smithsonian Craft Show. This renowned exhibition and sale of fine American craft brings joy and inspiration to everyone who comes to admire, to learn, and to shop. I am particularly excited to be here having recently completed our first “Made in America Challenge,” an initiative that celebrates and rewards design, creativity and entrepreneurship. The 121 craft artists selected for this year’s Smithsonian Craft Show epitomize all three qualities. Looking at the crafts on display one can see the masterful work of talented human hands. Look for an object that speaks most particularly to you. It could be an exquisite ceramic serving piece, a beautifully woven blanket, a painstakingly carved wooden spoon, or an eye-catching hat. Perhaps you will find a brilliant glass artifact, a breathtaking example of paper art, or a piece of jewelry to enhance the fabric of your everyday life. I commend the Smithsonian Women’s Committee for producing this outstanding show, for supporting the artists and encouraging their entrepreneurship. I am also pleased to know that the proceeds will be distributed throughout the Smithsonian by the Committee in the form of grants, many of which help fund innovation and research. Thank you for including me. Martha Stewart HONORARy CHAIRMAN 31st Annual Smithsonian Craft Show 5 Craft Show Leadership Co-Chairs Vice Co-Chairs Preview Night Benefit Nancy Low Ruth Conant Susan Vallon* Anne Marie Shuyler Mary Beth Nethercutt Jane Battle Carolyn Lewis Advance and Group Sales Suzanne Willett Marie Canny* Ann Creager Program Suzanne Noonan* Becky Arrangements Bostick Susan Sue Beddow Labovich Judy Lynn Prince Awards Winkie Crigler Public Relations Jane Mason and Advertising Amy Meadows* Craft Show Office Amanda Ohlke Lucy Bremner* Rita Roth Ann Peel Trudi Small Development Raffle Annelise Brand Susan Bradshaw Exhibitor Relations Special Events Peg Butner JoAnn Symons* For Your Eyes Only Lee Klousia Ruth Conant SWC Office Liaison Jinny Saylor Margaret Collins Jurying Treasurer Tansy Blumer Ethelyn Owen* Valerie Burden Loading Dock Louise Millikan Volunteers Online Auction Sharon Fawcett* Kathy Sommerkamp* Pat Fiske Mary Ann Meigs Website Photographers Marianne O’Brien Anne Keiser Amy Lamb * Denotes Committee Chair Kay Springwater “My first quilt was a love letter.” — liz JAff, Decorative fiber 6 31st Annual Smithsonian Craft Show Welcome from the Co-Chairs every year, the Smithsonian Craft Show celebrates the best of American craft by inviting juried artists from around the country to showcase their creations in an expertly curated collection of fascinating works. We are delighted to welcome Martha Stewart as this year’s Honorary Chairman. Her “Made in America” presentation is just one of the special events that enrich the experience of attending the 2013 show. In other programs, well-regarded local experts share clever and creative ways to bring art into your home; Co-Chairs Nancy Low (R) and Anne Marie Shuyler (L) a panel of passionate collectors discusses how to acquire and live with fine craft; and five prominent interior designers open their homes to donate and host five fabulous Dinners by Design for lucky auction winners. We are so proud to be able to champion American craft — and even prouder to champion the work of the Smithsonian. Over the years, proceeds from our Craft Shows and Craft2Wear have helped the Smithsonian Women’s Committee fund more than $10 million in special grants to support Smithsonian projects — everything from elephant research in Africa and bronze age excavations in the Middle East, to an innovative “Future Female Scientist” program for high school students and a Smartphone app visitors can use to get a virtual look inside Smithsonian museums. We want to thank this year’s 121 amazing artists (out of more than 1,200 applicants) who are here to meet you and share their one-of-a-kind crafts. Thanks to the dedicated members of the Smithsonian Women’s Committee who have worked so hard over the past year to produce this marvelous show. And most of all, thanks to you and to all our show patrons for helping to keep craft alive and well in America and for making all of this possible. Nancy Low and Anne Marie Shuyler CO-CHAIRS, 2013 SMITHSONIAN CR AF T SHOW 31st Annual Smithsonian Craft Show 7 Daily Features Emerging Artists Demonstrations Online Auction Students from the Savannah College of Art and Design (SCAD) Shop online while you are at the Craft Show or in the comfort present daily demonstrations of their innovative work. of your own home, day or night. The online auction offers a wide variety of beautiful and unique craft pieces donated by talented Transformation of Paper—Working with Hanji Paper artists from Smithsonian Craft Shows past and present.
Recommended publications
  • A Blitz on Bugs in the Bedding

    A Blitz on Bugs in the Bedding

    THE MAGAZINE OF THE INSTITUTE OF CONSERVATION • SEPTEMBER 2011 • ISSUE 36 A blitz on bugs in the bedding Also in this issue PACR news and the new Conservation Register Showcasing intern work in Ireland A 16th century clock WILLARD CONSERVATION EQUIPMENT visit us online at www.willard.co.uk Willard Conservation manufactures and supplies a unique range of conservation tools and equipment, specifically designed for use in the conservation and preservation of works of art and historic cultural media. Our product range provides a premier equipment and technology choice at an affordable price. Visit our website at www.willard.co.uk to see our wide range of conservation equipment and tools and to find out how we may be able to help you with your specific conservation needs. Willard Conservation Limited By Appointment To Her Majesty Queen Elizabeth II Leigh Road, Terminus Industrial Estate, Chichester, West Sussex PO19 8TS Conservation Equipment Engineers Willard Conservation Ltd, T: +44 (0)1243 776928 E: [email protected] W: www.willard.co.uk Chichester 2 inside SEPTEMBER 2011 Issue 36 It is an autumn of welcomes. 2 NEWS First, welcome to the new version of the Conservation Interesting blogs and Register which went live at the end of August. Do take a look websites , research projects, at it at www.conservationregister.com and help with putting uses for a municipal sculpture right any last minute glitches by filling in the feedback survey and a new bus shelter form. 7 Welcome, too, to the latest batch of Accredited members. 4 PROFESSIONAL UPDATE Becoming accredited and then sustaining your professional Notice of Board Elections and credentials is no walk in the park, so congratulations for the next AGM, PACR updates, completing the first stage and good luck in your future role as training and library news the profession’s exemplars and ambassadors.
  • A Selection of Details from My Graduate Portfolio - Created to Display My Year Process As an ‘Exhibition’

    A Selection of Details from My Graduate Portfolio - Created to Display My Year Process As an ‘Exhibition’

    AMELIA WANG a selection of details from my graduate portfolio - created to display my year process as an ‘exhibition’ instagram: @ameliawang.design email: [email protected] AMELIA WANG exhibition, curation, display. I hope for my graduate collection to be viewed as an exhibition. It is a halt in time, to capture and re-tell memories that are held within clothing. I have specifically placed focus on personal family stories since the Chinese Cultural Revolution (1966-1976). The collection objectifies and presents the experiences of three generations within my family: from my Popo (paternal Chinese grandmother) to my Baba (father), and also me. I have designed garments which cross classical fashion boundaries, steering from what usual connotations of ‘fashion’ are, and instead functioning across both commercial and non-commercial contexts. The collection should be appreciated as a build-up of memories and experiences coming together with the present in both wearable and scultpural ways; to be appreciated whether it is on a living and moving body or not. AMELIA WANG Developing new dimensions for my portfolio. ROOM 4 ROOM 5 ROOM 6 textile select react and and and craft refine adjust ROOM 3 respond and develop ROOM 7 Making a 2D illustrations exhibition space that can be CENTRAL SPACE navigated by the INTRODUCTION viewer. ROOM 2 COLLECTION PLACEMENT curate, hang, MY GRANDMA AS MY MUSE display Project stages ROOM 8 technical drawings divided into rooms. ROOM 1 ROOM 9 research accessories and communicate Taking a walk through my graduate collection. exhibition map AMELIA WANG room plan to imagine my 2D work in a 3D setting.
  • Opens March 30 at Smithsonian American Art Museum's

    Opens March 30 at Smithsonian American Art Museum's

    March 30, 2018 Media only: [email protected] Media website: americanart.si.edu/pr “No Spectators: The Art of Burning Man” Opens March 30 at Smithsonian American Art Museum’s Renwick Gallery Exhibition Brings Large-Scale Installations From Famed Desert Gathering to Washington Cutting-edge artwork created at Burning Man, the annual desert gathering that is one of the most influential events in contemporary art and culture, will be exhibited in the nation’s capital for the first time this spring. “No Spectators: The Art of Burning Man” will take over the entire Renwick Gallery building, exploring the maker culture, ethos, principles and creative spirit of Burning Man. Several artists will debut new works in the exhibition. In addition to the in-gallery presentation, the Renwick exhibition will expand beyond its walls for the first time through an outdoor extension titled “No Spectators: Beyond the Renwick,” displaying sculptures throughout the surrounding neighborhood. Nora Atkinson, the museum’s Lloyd Herman Curator of Craft, is organizing the exhibition in collaboration with the Burning Man Project, the nonprofit organization responsible for producing the annual Burning Man event in Black Rock City. The outdoor extension of the exhibition is presented in partnership with Washington, D.C.’s Golden Triangle Business Improvement District, a 43-square-block neighborhood that stretches from the White House to Dupont Circle. The Burning Man community was instrumental in suggesting artworks for inclusion in the exhibition. “No Spectators: The Art of Burning Man” opens March 30, 2018. The Renwick is the sole venue for the exhibition, which will close in two phases.
  • 2019 Proceedings Las Vegas, Nevada

    2019 Proceedings Las Vegas, Nevada

    Las Vegas, Nevada 201 9 Proceedings Art is the Flower, Life is the Green Leaf Erin French, Iowa State University, USA Keywords: Quilt, art, Mackintosh, Scotland Contextual Review and Concept Submission context. Charles Rennie Mackintosh (1868-1928) was a Scottish architect, interior designer, and artist who designed the Glasgow School of Art (GSA) building (Macaulay, 2010). The GSA as an institution of higher education and as a building made a major contribution to a unique visual movement known as the Glasgow Style, which was characterized by forms found in nature such as roses, seeds, and leaves as well as by its emphasis on linearity through vertical lines, elongated forms, and repeated squares (Euler, 2008; Wood, 2004). Nearly a century after Mackintosh’s death, his design, buildings, and artwork continue to inspire fashion designers, fabric designers, and fiber artists. Within the past 10 years, collections by Giorgio Armani, Christopher Kane, and Issey Miyake have featured garments influenced by Mackintosh and the Glasgow Style (Blank, 2010; Blank, 2015; Mower, 2018). Campbell (2008) created a kimono from digitally printed fabric that was inspired by Mackintosh’s fabric designs and the GSA building. In terms of fiber arts, Wood (2004) demonstrated how the major motifs of Mackintosh’s work could serve as inspiration for embroidery designs. I studied, lived, and worked in the Glasgow area for five years and was granted library privileges at the GSA as I studied for my master’s degree. These experiences led me to form an intellectual and emotional bond with the GSA building that moving back to the United States did not break.
  • The Smithsonian Comprehensive Campaign

    The Smithsonian Comprehensive Campaign

    1002435_Smithsonian.qxp:Layout 1 6/29/10 10:03 AM Page 1 JUNE 2010 briefing paper for the smithsonian comprehensive campaign Smithsonian Institution 1002435_Smithsonian.qxp:Layout 1 6/29/10 10:03 AM Page 2 SMITHSONIAN CAMPAIGN BRIEFING PAPER Smithsonian Institution at a Glance MUSEUMS Anacostia Community Museum Cooper-Hewitt, National Design Museum Freer Gallery of Art and Arthur M. Sackler Gallery Hirshhorn Museum and Sculpture Garden National Air and Space Museum and Steven F. Udvar-Hazy Center National Museum of African American History and Culture National Museum of African Art National Museum of American History, Kenneth E. Behring Center National Museum of the American Indian and the George Gustav Heye Center National Museum of Natural History National Portrait Gallery National Postal Museum National Zoological Park Smithsonian American Art Museum and the Renwick Gallery RESEARCH CENTERS Archives of American Art Museum Conservation Institute Smithsonian Astrophysical Observatory Smithsonian Environmental Research Center Smithsonian Institution Archives Smithsonian Institution Libraries Smithsonian Marine Station at Fort Pierce Smithsonian Tropical Research Institute (Panama) EDUCATION AND OUTREACH Center for Folklife and Cultural Heritage National Science Resources Center Office of Fellowships Smithsonian Affiliations Smithsonian Asian Pacific American Program Smithsonian Center for Education and Museum Studies Smithsonian Institution Traveling Exhibition Service Smithsonian Latino Center The Smithsonian Associates 1002435_Smithsonian.qxp:Layout 1 6/29/10 10:03 AM Page 1 SMITHSONIAN CAMPAIGN BRIEFING PAPER The Smithsonian Stands in Singular Space WE ARE KEEPERS OF THE AMERICAN SPIRIT and stewards of our sacred objects. We speak with voices that reflect our diversity and tell the stories that define our common experience.
  • A GLOSSARY of THEATRE TERMS © Peter D

    A GLOSSARY of THEATRE TERMS © Peter D

    A GLOSSARY OF THEATRE TERMS © Peter D. Lathan 1996-1999 http://www.schoolshows.demon.co.uk/resources/technical/gloss1.htm Above the title In advertisements, when the performer's name appears before the title of the show or play. Reserved for the big stars! Amplifier Sound term. A piece of equipment which ampilifies or increases the sound captured by a microphone or replayed from record, CD or tape. Each loudspeaker needs a separate amplifier. Apron In a traditional theatre, the part of the stage which projects in front of the curtain. In many theatres this can be extended, sometimes by building out over the pit (qv). Assistant Director Assists the Director (qv) by taking notes on all moves and other decisions and keeping them together in one copy of the script (the Prompt Copy (qv)). In some companies this is done by the Stage Manager (qv), because there is no assistant. Assistant Stage Manager (ASM) Another name for stage crew (usually, in the professional theatre, also an understudy for one of the minor roles who is, in turn, also understudying a major role). The lowest rung on the professional theatre ladder. Auditorium The part of the theatre in which the audience sits. Also known as the House. Backing Flat A flat (qv) which stands behind a window or door in the set (qv). Banjo Not the musical instrument! A rail along which a curtain runs. Bar An aluminium pipe suspended over the stage on which lanterns are hung. Also the place where you will find actors after the show - the stage crew will still be working! Barn Door An arrangement of four metal leaves placed in front of the lenses of certain kinds of spotlight to control the shape of the light beam.
  • Pennsylvania Avenue Cultural Landscape Inventory

    Pennsylvania Avenue Cultural Landscape Inventory

    National Park Service Cultural Landscapes Inventory Pennsylvania Avenue, NW-White House to the Capitol National Mall and Memorial Parks-L’Enfant Plan Reservations May 10, 2016 Pennsylvania Avenue, NW-White House to the Capitol National Mall and Memorial Parks-L’Enfant Plan Reservations Table of Contents Inventory Unit Summary & Site Plan ............................................................................................ Page 3 Concurrence Status ...................................................................................................................... Page 10 Geographic Information & Location Map ................................................................................... Page 11 Management Information ............................................................................................................. Page 12 National Register Information ..................................................................................................... Page 13 Chronology & Physical History ................................................................................................... Page 24 Analysis & Evaluation of Integrity .............................................................................................. Page 67 Condition Assessment .................................................................................................................. Page 92 Treatment ....................................................................................................................................
  • NGA | 2017 Annual Report

    NGA | 2017 Annual Report

    N A TIO NAL G ALL E R Y O F A R T 2017 ANNUAL REPORT ART & EDUCATION W. Russell G. Byers Jr. Board of Trustees COMMITTEE Buffy Cafritz (as of September 30, 2017) Frederick W. Beinecke Calvin Cafritz Chairman Leo A. Daly III Earl A. Powell III Louisa Duemling Mitchell P. Rales Aaron Fleischman Sharon P. Rockefeller Juliet C. Folger David M. Rubenstein Marina Kellen French Andrew M. Saul Whitney Ganz Sarah M. Gewirz FINANCE COMMITTEE Lenore Greenberg Mitchell P. Rales Rose Ellen Greene Chairman Andrew S. Gundlach Steven T. Mnuchin Secretary of the Treasury Jane M. Hamilton Richard C. Hedreen Frederick W. Beinecke Sharon P. Rockefeller Frederick W. Beinecke Sharon P. Rockefeller Helen Lee Henderson Chairman President David M. Rubenstein Kasper Andrew M. Saul Mark J. Kington Kyle J. Krause David W. Laughlin AUDIT COMMITTEE Reid V. MacDonald Andrew M. Saul Chairman Jacqueline B. Mars Frederick W. Beinecke Robert B. Menschel Mitchell P. Rales Constance J. Milstein Sharon P. Rockefeller John G. Pappajohn Sally Engelhard Pingree David M. Rubenstein Mitchell P. Rales David M. Rubenstein Tony Podesta William A. Prezant TRUSTEES EMERITI Diana C. Prince Julian Ganz, Jr. Robert M. Rosenthal Alexander M. Laughlin Hilary Geary Ross David O. Maxwell Roger W. Sant Victoria P. Sant B. Francis Saul II John Wilmerding Thomas A. Saunders III Fern M. Schad EXECUTIVE OFFICERS Leonard L. Silverstein Frederick W. Beinecke Albert H. Small President Andrew M. Saul John G. Roberts Jr. Michelle Smith Chief Justice of the Earl A. Powell III United States Director Benjamin F. Stapleton III Franklin Kelly Luther M.
  • White House Neighborhood Focuses on the History and Architecture of Part of Our Local Environment That Is Both Familiar and Surprising

    White House Neighborhood Focuses on the History and Architecture of Part of Our Local Environment That Is Both Familiar and Surprising

    Explore historic dc Explore historic CHILDREN’S WALKING TOUR CHILDREN’S EDITION included WHITE HOUSE inside! NEIGHBORHOOD WASHINGTON, DC © Washington Architectural Foundation, 2017 Welcome to the cap Welcome to Welcome This tour of Washington’s White House Neighborhood focuses on the history and architecture of part of our local environment that is both familiar and surprising. The tour kit includes everything a parent, teacher, Scout troop leader or home schooler would need to walk children through several blocks of buildings and their history and to stimulate conversation and activities as they go. Designed for kids in the 8-12 age group, the tour is fun and educational for older kids and adults as well. The tour materials include... • History of the White House Neighborhood • Tour Booklet Instructions • The White House Neighborhood Guide • Architectural Vocabulary • Conversation Starters • The White House Neighborhood Tour Stops • Children's Edition This project has been funded in part by a grant from the Dorothea DeSchweinitz Fund for the District of Columbia of the National Trust for Historic Preservation. This version of the White House Neighborhood children’s architectural tour is the result of a collaboration among Mary Kay Lanzillotta, FAIA, Peter Guttmacher and the creative minds at LookThink. White house neigh History of the White House Neighborhood The president's neighborhood hen Pierre L’Enfant designed the plan of Washington, W DC, in 1791, he selected the site for the President’s House west of the downtown. Next to the President’s House was an orchard, which was identified as President’s Park. When President Jefferson moved into the President’s House in 1801, he noted that the country residence was “free from the noise, the heat...and the bustle of a close built town.” Over the next 100 years, the neighborhood developed with many fashionable homes, including the Octagon and the Ringgold Residence.
  • Charles Rennie Mackintosh (1868 –1928)

    Charles Rennie Mackintosh (1868 –1928)

    Duncanrig Secondary School Department of Art&Design Art & Design Studies Learner’s N4/5 Outcome 1 Design Factsheet Design Studies Textiles/Pattern N4: Describe the things that have inspired and influenced designers and their work by: N4: 1.1 Describing how designers use design materials, techniques and/or technology in their work N4: 1.2 Describing the things that have influenced these designers and the work they produce N4: 1.3 Expressing facts and personal opinions about the designers’ work A study of Charles Rennie Mackintosh (1868 –1928) Tobacco Flower textile design, Watercolour design for Rose & Teardrop, Watercolour & Gouache, 1915-23 Furniture Fabric, 1915-23, Watercolour Textile Design, 1915-23 CLICK ON LINK BELOW TO VIEW RELEVANT IMAGES https://s-media-cache-ak0.pinimg.com/originals/f1/e5/70/f1e570055e84b7871a46482a091b610e.jpg https://s-media-cache-ak0.pinimg.com/originals/a9/77/25/a977252411cd1fd494da9bf6e5dae80e.jpg https://s-media-cache-ak0.pinimg.com/originals/5d/46/4a/5d464aa612facc9e943a0e7484abf2a5.jpg Images from The Hunterian Museum, Mackintosh Collection What is Textiles Design? Textile design is a creative field that fulfills a variety of purposes in our lives such as our clothing, carpets, drapes, towels, and historically wall coverings. The creations of patterned textiles are not only important for their use, but also for the role they play in the fashion industry. Textile designers have the ability to inspire collections, trends, and styles. The textile industry, while being a creative art form, is a very business savvy industry. Textile designers marry a creative vision of what a finished textile will look like with a deep understanding of the technical aspects of production and the properties of fibre, yarn, and dyes.
  • A Dictionary of Men's Wear Works by Mr Baker

    A Dictionary of Men's Wear Works by Mr Baker

    LIBRARY v A Dictionary of Men's Wear Works by Mr Baker A Dictionary of Men's Wear (This present book) Cloth $2.50, Half Morocco $3.50 A Dictionary of Engraving A handy manual for those who buy or print pictures and printing plates made by the modern processes. Small, handy volume, uncut, illustrated, decorated boards, 75c A Dictionary of Advertising In preparation A Dictionary of Men's Wear Embracing all the terms (so far as could be gathered) used in the men's wear trades expressiv of raw and =; finisht products and of various stages and items of production; selling terms; trade and popular slang and cant terms; and many other things curious, pertinent and impertinent; with an appendix con- taining sundry useful tables; the uniforms of "ancient and honorable" independent military companies of the U. S.; charts of correct dress, livery, and so forth. By William Henry Baker Author of "A Dictionary of Engraving" "A good dictionary is truly very interesting reading in spite of the man who declared that such an one changed the subject too often." —S William Beck CLEVELAND WILLIAM HENRY BAKER 1908 Copyright 1908 By William Henry Baker Cleveland O LIBRARY of CONGRESS Two Copies NOV 24 I SOB Copyright tntry _ OL^SS^tfU XXc, No. Press of The Britton Printing Co Cleveland tf- ?^ Dedication Conforming to custom this unconventional book is Dedicated to those most likely to be benefitted, i. e., to The 15000 or so Retail Clothiers The 15000 or so Custom Tailors The 1200 or so Clothing Manufacturers The 5000 or so Woolen and Cotton Mills The 22000
  • Smithsonian American Art Museum

    Smithsonian American Art Museum

    SMITHSONIAN AMERICAN ART MUSEUM APPLICATION OF OPERATING RESOURCES FEDERAL GENERAL DONOR/SPONSOR- GOV’T GRANTS APPROPRIATIONS TRUST DESIGNATED & CONTRACTS FTE $000 FTE $000 FTE $000 FTE $000 FY 2007 90 11,596 7 576 16 5,619 2 183 ACTUAL FY 2008 98 8,577 7 1,058 13 5,701 3 184 ESTIMATE FY 2009 98 8,835 7 955 13 6,919 3 195 ESTIMATE STRATEGIC GOALS: INCREASED PUBLIC ENGAGEMENT; STRENGTHENED RESEARCH; SECURITY AND SAFETY; AND ENHANCED MANAGEMENT EXCELLENCE Federal Resource Summary by Performance Objective and Program Category Performance Objective/ FY 2008 FY 2009 Change Program Category FTE $000 FTE $000 FTE $000 Increased Public Engagement Public Programs Engage and inspire diverse audiences 16 1,468 16 1,525 0 57 Provide reference services and information 4 326 4 327 0 1 Exhibitions Offer compelling, first-class exhibitions 20 1,710 20 1,766 0 56 Collections Improve the stewardship of the national collections 29 2,390 29 2,496 0 106 Strengthened Research Research Ensure advancement of knowledge in humanities 5 532 5 539 0 7 Security and Safety Provide a safe and healthy environment 1 102 1 102 0 0 Enhanced Management Excellence Information Technology Modernize the Institution’s IT systems/infrastructure 7 656 7 679 0 23 Management Operations Strengthen an institutional culture that is customer 6 558 6 559 0 1 centered and results oriented Ensure that the workforce is efficient, collaborative, 1 92 1 92 0 0 committed, innovative, and diverse Modernize the Institution’s financial management 3 208 3 214 0 6 and accounting operations Enhance the reputation of the Smithsonian by 5 488 5 489 0 1 maintaining good relations with the news media and with federal, state, and local governments Modernize and streamline the Institution’s 1 47 1 47 0 0 acquisitions management operations Total 98 8,577 98 8,835 0 258 107 BACKGROUND AND CONTEXT The Smithsonian American Art Museum (SAAM) is the nation’s Museum dedicated to the arts and artists of the United States from colonial times to the present.