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Thread of Life Japanese Textiles
Thread of Life Japanese Textiles Saturday 26 June - Sunday 3 October 2021 Thread of Life Japanese Textiles The Japanese word boroboro (abbreviated to boro) can be translated to rags, but there is a deeper meaning and history hidden within the threads and stitches of these patched textiles. Characterised by meticulous stitching, hues of indigo, and many-layered patchwork, boro originated as a thrifty utilitarian technique since before the 19th century but is now considered a highly prized form of unintentional abstract textile art. Collector Leanne O’Sullivan first encountered the intriguing indigo patchwork while living in Japan in the 1980s. O’Sullivan’s collection has been gathered on return trips to Japan over the past 25 years, from the snow country of Nagano in the north, around the mountains of Fuji to the seas of Japan, with some pieces dating back to the Meiji era (1868-1912). “Whilst living in Japan I was constantly inspired by the extreme contrasts around me – everywhere I looked there seemed to be a mix of the traditional and contemporary co-existing beautifully.” Leanne O’Sullivan lives and works in Melbourne, Australia, where she designs fashion accessories and craft kits, and teaches workshops in traditional Japanese crafts and culture. Cover image: Unknown Maker, Japanese, Futon Panel (detail) late 19th century, cotton, indigo dye, handwoven kasuri (ikat), handstitched, pieced and patched, 65 x 160cm © Leanne O’Sullivan Unknown Maker, Japanese, Panel (detail) early 20th century, cotton, indigo dye, handwoven kasuri (ikat), katazome (resist stencil dyed), handstitched, pieced and patched, 30 x 183cm © Leanne O’Sullivan In response to these textile pieces, this exhibition includes a small selection of objects from the TAMA Collection, originating from The Art of the Japanese Package, an exhibition curated by Hideyuki Oka that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. -
Changes in the Way of Traditional Cloth Makings and the Weavers’ Contribution in the Ryukyu Islands Toshiyuki Sano Nara Women’S University, Too [email protected]
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 9-2014 Changes in the Way of Traditional Cloth Makings and the Weavers’ Contribution in the Ryukyu Islands Toshiyuki Sano Nara Women’s University, [email protected] Yuka Matsumoto Follow this and additional works at: http://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons, and the Art Practice Commons Sano, Toshiyuki and Matsumoto, Yuka, "Changes in the Way of Traditional Cloth Makings and the Weavers’ Contribution in the Ryukyu Islands" (2014). Textile Society of America Symposium Proceedings. 885. http://digitalcommons.unl.edu/tsaconf/885 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. Changes in the Way of Traditional Cloth Makings and the Weavers’ Contribution in the Ryukyu Islands Toshiyuki Sano and Yuka Matsumoto This article is based on a fieldwork project we conducted in 2013 and 2014. The objective of the project was to grasp the current state of how people are engaged in the traditional ways of weaving, dyeing and making cloth in the Ryukyu Islands.1 Throughout the project, we came to think it important to understand two points in order to see the direction of those who are engaged in manufacturing textiles in the Ryukyu Islands. The points are: the diversification in ways of engaging in traditional cloth making; and the importance of multi-generational relationship in sustaining traditional cloth making. -
Integrating Malaysian and Japanese Textile Motifs Through Product Diversification: Home Décor
Samsuddin M. F., Hamzah A. H., & Mohd Radzi F. dealogy Journal, 2020 Vol. 5, No. 2, 79-88 Integrating Malaysian and Japanese Textile Motifs Through Product Diversification: Home Décor Muhammad Fitri Samsuddin1, Azni Hanim Hamzah2, Fazlina Mohd Radzi3, Siti Nurul Akma Ahmad4, Mohd Faizul Noorizan6, Mohd Ali Azraie Bebit6 12356Faculty of Art & Design, Universiti Teknologi MARA Cawangan Melaka 4Faculty of Business & Management, Universiti Teknologi MARA Cawangan Melaka Authors’ email: [email protected]; [email protected]; [email protected]; [email protected]; [email protected]; [email protected] Published: 28 September 2020 ABSTRACT Malaysian textile motifs especially the Batik motifs and its product are highly potential to sustain in a global market. The integration of intercultural design of Malaysian textile motifs and Japanese textile motifs will further facilitate both textile industries to be sustained and demanded globally. Besides, Malaysian and Japanese textile motifs can be creatively design on other platforms not limited to the clothes. Therefore, this study is carried out with the aim of integrating the Malaysian textile motifs specifically focuses on batik motifs and Japanese textile motifs through product diversification. This study focuses on integrating both textile motifs and diversified the design on a home décor including wall frame, table clothes, table runner, bed sheets, lamp shades and other potential home accessories. In this concept paper, literature search was conducted to describe about the characteristics of both Malaysian and Japanese textile motifs and also to reveal insights about the practicality and the potential of combining these two worldwide known textile industries. The investigation was conducted to explore new pattern of the combined textiles motifs. -
T.C. Istanbul Aydin Üniversitesi Sosyal Bilimler Enstitüsü
T.C. İSTANBUL AYDIN ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ TEKSTİLDE SHIBORI VE STENCIL BASKI TEKNİĞİNİN SANATSAL UYGULAMALARI YÜKSEK LİSANS TEZİ Emine YILDIZ (Y1312.240003) Görsel Sanatlar Ana Sanat Dalı Görsel Sanatlar Programı Tez Danışmanı: Prof. Dr. Bayram YÜKSEL Ocak, 2017 YEMİN METNİ Yüksek lisans tezi olarak sunduğum” Tekstilde Shibori Ve Stencil Baskı Tekniğinin Sanatsal Uygulamaları” adlı çalışmanın, tezin proje safhasından sonuçlanmasına kadarki bütün süreçlerde bilimsel ahlak ve geleneklere aykırı düşecek bir yardıma başvurulmaksızın yazıldığını ve yararlandığım eserlerin Bibliyoğrafya’da gösterilenlerden oluştuğunu, bunlara atıf yapılarak yararlanılmış olduğunu belirtir ve onurumla beyan ederim.( 05.01.2017) Emine YILDIZ iii ÖNSÖZ İnsanoğlunun örtünme ve doğa koşullarından korunma gereksinimi ilk insandan bu yana varolagelmiştir. Zaman içerisinde, sosyal, ekonomik ve kültürel değişimin yaşanması giyiminde farklı yönlere kaymasını engelleyememiştir. Giderek globalleşen dünyamız da, tekstil ürünlerinin desen, kumaş, renk çeşitliliğine rağmen, düşünsel gelişimin, sanatsal yaklaşımına yetemediği anlaşılmıştır. Günümüz insanları teknolojinin ilerlemesi ve aynı tarz giyimden bıkmış ve farklı tasarım ve farklı kumaş desenli kıyafet isteğine yönelmiştir. Japon sanatı shibori çok eski geleneği bu gün yeryüzüne tekrar çıkarmıştır. İnsanlarımızın bu isteğine cevap veren ve hatta duygularını kumaşıyla bütünleştiren bu sanat, bir çok teknikte değişik etkileşimler ve değişik formlar meydana getirmiştir. Shibori tekstil ürünlerini hiçe -
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KIRANADA STERLING BENJAMIN www.KiranadaSterlingBenjamin.com Lectures on Kesa, Rozome and Resist-Dye Techniques, Japanese Textiles, Costume, and Design All are illustrated lectures utilizing slides and/or video *Requests for special topic lectures for particular audiences welcomed. *Please contact for rates and availability ROZOME/RESIST TEXTILES The World of Rozome Liquid dye on thirsty cloth, molten wax and a steady hand. These are the elements of rozome. Many cultures consider fabric dyeing an art form. Historically it has been seen as clothing to designate rank or status, ritual cloth created to celebrate or commemorate life passages, soft hangings to narrate old stories of religion and myth or to depict honored royalty and even deities. In Japan wax-resist is not called batik but roketsu-zome or the shortened form, ro-zome (wax-dyeing). Although modern European and American batik have been inspired by the wax-resist fabrics of Indonesia, Japan has its own historical source flowing from the Asian continent; a flow that inspired the textile treasures stored in the Shosoin Repository of Nara for more than 1200 years. Japanese rozome is a sister of the batik of Indonesia, but the Japanese process has many distinctive techniques; a unique product of Japanese inventiveness. In current time it has grown out of the area of ethnology and decorative arts and into the field of fine arts where it has dazzled thousands with its dynamic possibilities. Japanese Resist-Dyeing: History and Practice Japan has an ancient tradition of fine resist-dyed textiles extending over 1200 years. During the Nara Period (645-794 CE), three resist techniques flourished: rokechi (wax resist), kokechi (bound resist) and kyokechi (clamp resist). -
Imaginary Aesthetic Territories: Australian Japonism in Printed Textile Design and Art
School of Media Creative Arts and Social Inquiry (MCASI) Imaginary Aesthetic Territories: Australian Japonism in Printed Textile Design and Art Kelsey Ashe Giambazi This thesis is presented for the Degree of Doctor of Philosophy of Curtin University July 2018 0 Declaration To the best of my knowledge and belief this thesis contains no material previously published by any other person except where due acknowledgment has been made. This thesis contains no material which has been accepted for the award of any other degree or diploma in any university. Signature: Date: 15th July 2018 1 Acknowledgements I would like to sincerely express my thanks and gratitude to the following people: Dr. Ann Schilo for her patient guidance and supervisory assistance with my exegesis for the six-year duration of my candidacy. To learn the craft of writing with Ann has been a privilege and a joy. Dr. Anne Farren for her supervisory support and encouragement. To the staff of the Curtin Fashion Department, in particular Joanna Quake and Kristie Rowe for the daily support and understanding of the juggle of motherhood, work and ‘PhD land’. To Dr. Dean Chan for his impeccably thorough copy-editing and ‘tidying up’ of my bibliographical references. The staff in the School of Design and Art, in particular Dr. Nicole Slatter, Dr. Bruce Slatter and Dr. Susanna Castleden for being role models for a life with a balance of academia, art and family. My fellow PhD candidates who have shared the struggle and the reward of completing a thesis, in particular Fran Rhodes, Rebecca Dagnall and Alana McVeigh. -
Loom Abbreviation S JF January/February RH
Handwoven Index, 2012 – January/February 2018 Both authors and subjects are contained in the index. Keep in mind that people’s names can be either authors or subjects in an article. The column “Roving Reporters” is not indexed, nor is the “Letters” or “From the Editor,” unless it is substantial. Projects are followed by bracketed [ ] abbreviations indicating the shaft number and loom type if other than a regular floor loom. To find an article, use the abbreviations list below to determine issue and loom type. For instance, “Warped and twisted scarves. Handwoven: MJ12, 66-68 [4]” is a 4-shaft project found on pages 66-68 of the May/June 2012 issue. Issue Loom abbreviat abbreviation ions: s JF January/February RH Rigid heddle MA March/April F Frame loom MJ May/June P Peg or pin loom SO September/October C Card/tablet weave ND November/December I Inkle loom T Tapestry loom D Dobby loom 3-D weaving Weaving in 3-D. Handwoven: ND14, 63-64 A Abbarno, Luciano A weaver on the verge. Handwoven: ND12, 11 Abernathy-Paine, Ramona An Elizabethan sonnet in a shawl. Handwoven: JF14, 54-56 [10] Warped and twisted scarves. Handwoven: MJ12, 66-68 [4] absorbency Reflections on absorbency. Handwoven: SO14, 70-71 Acadian textiles Boutonné snowflake pillow. Handwoven: SO15, 67-68 [2, RH] Boutonné: an Arcadian legacy. Handwoven: SO15, 66-67 Cajun cotton. Handwoven: JF15, 66-67 Cajun-inspired cotton dish towels. Handwoven: JF15, 67-68 [4] Adams, Mark Tapestry through the ages. Handwoven: MJ15, 6 Adams, Theresa Blooming leaf runner. Handwoven: MA12, 36-37 [4] Adamson, Linda Summer and winter with a twist polka-dot towels. -
Textile Society of America Newsletter 25:2 — Spring/Summer 2013 Textile Society of America
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Newsletters Textile Society of America Spring 2013 Textile Society of America Newsletter 25:2 — Spring/Summer 2013 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 25:2 — Spring/Summer 2013" (2013). Textile Society of America Newsletters. 66. https://digitalcommons.unl.edu/tsanews/66 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. Textile VOLUME 25 n NUMBER 2 n SPRING/SIMMER, 2013 Society of America New TSA Program: Textiles Close Up CONTENTS First event in this new series: For our inaugural workshop, is it…The installation is enrap- participants will join curator and turing, as intricately patterned 1 Textiles Close Up Indonesian Textiles TSA member Dr. Ruth Barnes as the Indonesian textiles and 3 From the President at the Yale University for an exclusive day-visit to the Borneo carvings that fill it.” 4 TSA News, TSA Study Tours Art Gallery Yale University Art Gallery, New After the gallery tour, par- Haven, CT, and its rich collec- ticipants will gather for an à-la- 7 TSA Member News MAY 16, 2013 tion of textiles from Indonesia. carte luncheon at the Union 9 In Memoriam: Irene Good The small-group visit begins at League Café. -
Portrait Drawing
LILLSTREET ART CENTER 10-Week Classes Begin September 14. 5-Week Classes Begin September 14 & October 19. FALL CATALOGUE save ly and ear up n- ig Pay in full by S August 31 and receive $20 off your 10-week class and $10 off your 5-week class. CONTENTS First-Time Artist 3 Ceramics 4 Metalsmithing 6 & Jewelry Painting & Drawing 8 Kidstreet Special Section 11 Policies & Procedures 14 Glass 15 Printmaking 16 Textiles 18 Full Schedule 22 REGISTER TODAY! Gallery Information 24 VISIT WWW.LILLSTREET.COM OR CALL 773.769.4226 THIS IS YOUR ART CENTER When you take a class as Lillstreet Art Center, you'll enjoy professional instruction from our outstanding faculty. But being a student here means so much more. Many of your materials are included in your class fee, you'll have access to our facilities during generous open studio hours, and you'll be part of a unique community of artists sharing experiences and techniques with one another. You won't find a better value! Pay in full by August 31 and receive $20 off your 10-week class and $10 off your 5-week class. Book Your Holiday Party Here! Create a memorable event at Lillstreet. Choose from casual cocktail hours in the gallery, to hands-on workshops with projects to take home. Bring in your own caterer or select from First Slice's delicious options. Evenings and weekends available. Call 773-769-4226 for details. FIRST SLICE PIE CAFE‘ Stop by First Slice Pie Cafe before or after your class! Enjoy a cup of coffee with your friends, a quick snack, or a complete meal, and support this great nonprofit organization that helps fight hunger while satisfying yours. -
Textile Center Winter Workshops
TEXTILE CENTER WINTER WORKSHOPS JANUARY - APRIL 2019 • TEXTILECENTERMN.ORG PAINTING WITH ACID DYES - NEW! Wednesday, February 20, 6-9 pm ADULT Candy Kuehn $58 WORKSHOPS NATURAL DYES: RED/MADDER - NEW! Wednesdays, February 27 & March 6, 10 am-1 pm CREATIVITY Ceci Lewis $110 BALL ROLLING FOR HAPPY, HEALTHY HANDS - NEW! SHIBORI: ARASHI Thursday, January 17, 6-8 pm Thursday, March 7, 6-9 pm Angela Kneale Sandra Brick $25 $58 INTRO TO COLOR & DESIGN THEORY GET STARTED: THERMOFAX SCREEN Sunday, March 24, 10 am-5 pm PRINTING Sandra Brick Wednesday, March 13, 6-8 pm $130 Sandra Brick DYEING & SURFACE DESIGN $47 GO BIG OR GO HOME: RESIST DYED YARDAGE - NEW! Mondays, January 14, 21, 28 & February 4, 10 am-1 pm Ceci Lewis SAVE THE DATE! $210 SHIBORI: ITAJIME Vintage Camp Wednesday, January 16, 6-9 pm Sandra Brick Saturday, February 16 $58 SNOW DYEING VINTAGE UPCYCLED JEWLERY Saturday & Sunday, January 19 & 20, 9:30-11:30 am 9:30 am-12:30 pm $40 Annabella Sardelis $110 ART SPEAKS: VINTAGE CAMP PANEL PRESENTATION NATURAL DYES: BLUE/INDIGO - NEW! 12-1 pm Thursdays, January 31 & February 7, $15 nonmember / $10 member 10 am-1 pm Ceci Lewis VINTAGE OVERDYE $110 2-4 pm $40 ECO PRINTING & COCHINEAL Saturday, February 2, 11am-4 pm MEMBER FULL DAY: $72 Robbin Firth $90 NONMEMBER FULL DAY: $85 Includes admission to all events SHIBORI WOOL SCARF - NEW! Wednesday, February 13, 1-4 pm Carole Hallman $58 NATURAL DYES: YELLOW/MARIGOLD - NEW! Members receive 10% off registration. Fridays, March 15 & 22, 10 am-1 pm Ceci Lewis $110 FELTED BANGLES - NEW! Thursday, February -
Sheila Hicks
VOLUME 28. NUMBER 2. FALL, 2016 Sheila Hicks, Emerging with Grace, 2016, linen, cotton, silk, shell, 7 7/8” x 11”, Museum purchase with funds from the Joslyn Art Museum Association Gala 2016, 2016.12. Art © Sheila Hicks. Photo: Cristobal Zanartu. Fall 2016 1 Newsletter Team BOARD OF DIRECTORS Letter from the Editor Vita Plume Editor-in-Chief: Wendy Weiss (TSA Board Member/Director of External Relations) At TSA in Savannah we welcomed new board members and said good-bye to those President who have provided dedicated service for four or more years to our organization. Designer and Editor: Tali Weinberg (Executive Director) [email protected] ALL Our talented executive director, Tali Weinberg has served us well, developing Member News Editor: Caroline Charuk (Membership & Communications Coordinator) F 2016 procedures that will serve us into the future and implementing board directed Editorial Assistance: Vita Plume (TSA President) Lisa Kriner Vice President/President Elect NEWSLETTER CONTENTS changes during her tenure. Tali is now stepping out to pursue her artwork with a [email protected] full time residency in Tulsa, Oklahoma for a year. I wish her well even as I will miss 3 Letter from the Editor working with her. Our Mission Roxane Shaughnessy Past President 4 Letter from the President [email protected] Our organization has embarked on developing a strategic plan in 2016 and is in the The Textile Society of America is a 501(c)3 nonprofit that provides an international forum for 6 Letter from the Executive Director process of gathering input from a broad range of constituents, both members and the exchange and dissemination of textile knowledge from artistic, cultural, economic, historic, Owyn Ruck non-members. -
HIGH CONTRAST: the Wearable Art of Amy Nguyen by MARCIA YOUNG
LEFT: Wool Artist Coat; 2011; hand-dyed itajime shibori on locally-sourced wool, stitched, pieced. n a recent breezy Boston afternoon textile artist Amy TOP RIGHT: Amy credits much of her business and Nguyen gracefully served tea and sweets in hand thrown creative development to the strong partnership she has with her husband, Ky. cups and plates, each movement carefully constructed, BOTTOM RIGHT: Tea is served gracefully and simply simple, beautiful. Amy’s life path of meditation and at Amy Nguyen’s home and studio. intentional action is borne out in her life’s work, which is the design and Oconstruction of handmade clothing. Amy Nguyen’s textile work is marked by high contrast, a chiaroscuro of light and dark, clear and obscure. Her artwear is the product of a construction, deconstruction, and reconstruction process. She designs and dyes the silk, using one or more methods. Most of it is dyed using the shibori method. At times she employs rozome or katazome, depending on the nuance, texture, and effect she hopes to achieve. She then bravely cuts the dyed yardage into pieces, only to sew them back together as an extraordinary garment. “Construction is a major part of my work. From HIGH CONTRAST: the Wearable Art of Amy Nguyen BY MARCIA YOUNG dyeing, designing, and pattern making to cutting and constructing, it is all quite work intensive, much like weaving.” Amy’s years of learning and honing her craft began with a degree in studio art from the College of Charleston, South Carolina. She’s held positions in the costume shop at the College of Charleston and New York University’s Department of Design for Stage and Film.