DOCSLIB.ORG

Textile Arts Council

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Textile Arts Council The Bay Area forum for artists, Textile Arts Council aficionados & collectors of weaving, rugs & tapestries, baskets, costume & wearable art April 2008 Upcoming Programs and Announcements All programs are held in the Koret Auditorium at the de Young Museum in Golden Gate Park, 50 Hagiwara Volume XXIII, Number 2 Tea Drive, San Francisco. Admission to the programs is FREE to TAC members, $10 for non-members and $5 for FAMSF members and students with I.D. No additional Museum admission fee is necessary. You may enter the auditorium from the garage level or the main floor entrance between the main and side doors to the Museum. Saturday, April 12, 2008, 10 a.m. In this lecture, Naeda Robinson will focus MacEDONIAN VIllaGE DREss: on the declining use of village garments and GOING, GOING, GONE their associated traditions and the effects of these changes on the lives of women With Naeda Robinson in remote mountain villages around Bitola. This presentation is based on field research Her presentation will include slides of the undertaken by Naeda Robinson that began in impressive wedding ensembles and what 1991 when she traveled to the former remained of dowry items in villages in 1995 Yugoslav Republic of Macedonia to and from the 2000-2006 Macedonian Dress train teachers of English under a U.S. Project as well as actual garments she Information Service program. For years, collected while doing her research. Please Naeda had heard rumors of the wonderful join us for what promises to be a lively and traditional dress of Macedonia with its rewarding look at Macedonian traditional exquisite weaving and embroidery. So clothing. wherever her teacher training assignments Saturday, May 10, 2008, 10 a.m. took her she asked about narodni nosli, national dress. But her questions CROssING STITchES AND about where she might find examples CROssING BORDERS: IU MIEN of Macedonian costumes were always EmbROIDERY IN A GlObal answered in vague terms. “Only people in COmmUNITY the mountain villages still have them,” she With Sandra Cate was told. The Iu Mien (Yao), an ethnic group of Undeterred, Naeda developed an Southeast Asia, are renowned for their Macedonian woman Earthwatch project in 1995 that put her in intricate embroidery. In Laos and Thailand displays a kosula made as part of her dowry. contact with the Ethnographic Museum in Bitola, they use colorful and densely patterned an ancient city in the southwestern part of the embroidery to decorate clothing, especially country, which became the home base for women’s costumes. In this presentation, her subsequent research. The original project Dr. Sandra Cate will consider the ongoing was to document and catalog garments in the relevance of Iu Mien traditional clothing, Bitola Museum. As she uncovered more and which reflects the many changes these more information about the village people, people—in both California and Southeast their traditions, their garments, and the role of Asia—have encountered. As refugees and women, however, the project expanded. And Fine Arts migrants adjusting to new environments, as the project grew, the documentation also Museums of many of the women have put away the San Francisco became more comprehensive, finally resulting clothing that marked them as Mien. In Laos in a book, Macedonian Village Dress: Going, and Thailand they now wear the tube skirt, de Young Going, Gone (Skopje, Macedonia: Gutenberg or phaasiin, of the lowland ethnic groups. In Legion Press, forthcoming). Programs continue on page 3, col. 1 of Honor 1 From the Chair April 1, 2008 Spring greetings to you all! The cherry trees are heritage and supporting them accordingly. *A document fabric is blooming in Golden Gate Park as I write this; it’s Hopefully, more will follow. a true reproduction one of my favorite annual events. of a textile that has Certainly ancient cultures also inspire and been documented by a How did your love of textiles start? Mine started inform current culture. I am a fan of “Project museum as originating early, as I suspect yours did. My grandmother, Runway” and I love that TV has become an at a particular date Lenore, was a fearless sewer, making herself ally in the renewed interest in sewing, knitting, (or date range). Often Chanel-style suits and jewelry to adorn them. and designing with fabric. The interior design the makers have the She once swathed her bedroom with ruffled business is also very active in this arena. original looms and the peach-colored moiré in every possible place Everywhere I look, I see the old and the original print screens fabric could be put. She traveled extensively and new mixing, and I love it. In my work, I sew in their archives and always brought back exotic wonders as gifts for both modern and antique fabrics. I see new they use these to the family: embroidered slippers from Turkey, silk fabrics using ancient designs from African and make the modern scarves from Italy, and more. Mayan cultures set in modern architecture, “document” textile in with handmade light fixtures and often with I designed and made my own doll clothes by the same way it was antique textiles framed as the artwork they hand and on a toy chain-stitch machine when made 100 or more are. Trevira and microfibers are very hot in I was in grammar school. I started sewing my years ago. Several the design business, and are being made own clothes on my first real sewing machine old companies—F. to mimic natural fibers in all their variety but when I was in junior high. In high school, I Schumacher, Stroheim without the vulnerability to sun damage, which started painting plain fabric with Rit dyes for my and Romann, is something very useful for upholstery and creations, and I wore fresh flowers as earrings. Brunschwig & Fils, sheer or outdoor curtains. I also get to work on When I was in college I did a lot of Macedonian Scalamandré to natural fiber document fabrics*, items with 200 dancing, loving the music and especially loving name a few—have or more years of history. I have sewn fabrics the embroidery on the examples of traditional been manufacturing made with spun steel, fiber optics, metallic clothing we saw in books. I also traveled to fabrics for more than threads, and triple weaves with crazy fibers Guatemala and fell in love with the traditional 100 years and have from everywhere in the world. Modern fabric weaving and embroidery there. My love of textiles samples, dye formulas, companies are looking to textile museums was woven into my heart at an early age and has jaquard patterns, etc. to inspire new lines. Donghia, for example, always seemed to be part of me. for all the fabrics they a fabric company that makes textiles for made over the years. The lecture on Macedonian village dress, coming interiors, drew inspiration for a whole line from Someone wanting to up on April 12, is a special treat and, as you samplers in the Rhode Island School of Design produce an authentic can see from my early textile experiences, is a Museum of Art. subject especially dear to my heart. This lecture, period interior, say How did your love of textiles begin? Think as well as the ones on the embroidery of the lu for a movie or just about how to share and nurture that love in the Mien and the story of kimono, all feature beautiful because they like next generation. ancient textile arts. Many of the techniques were the era, could order developed for sacred and celebratory purposes, Cheers, document fabrics of course. Often in ancient, nonliterate societies accurate for the time. Laurel Sprigg they were a way to record social status, tribal TAC Chair history, and family lineage. It is our modern challenge to find ways for these ancient traditions to be incorporated in the global economy so that the few makers left can earn a living in a way that nurtures the meaning and cultural value of their textile work. Some governments are actually establishing these arts as part of their national TAC Newsletter 2 Programs continued from page 1 considered haregi, or Sunday wear, for use only on special occasions. In her California they wear Western clothing. talk, Betsy Sterling Benjamin will look at Thus the centrality of embroidery as a not only the history but also the fashion marker of ethnicity and gender, that is, of kimono and the craft that produces as something that Iu Mien women do this wearable art. She will show images and wear, seems to have faded. Yet of some of the most beautiful kimono the global trade in such needlework; in existence, created as the highest infrequent but spectacular displays of artistic expression of the revered Ningen Iu Mien dress, such as at the King Pan’s Kokuho, or Living National Treasures. Birthday Festival in Oakland in the fall; the circulation of videos; and continuing conversations about their needlework among Mien women themselves, suggests its shifting, but still relevant, function in Mien culture. Following Mien women through local celebrations and a journey back to Laos, we will consider lu Mien woman embroidering in Ban Phon Khan, key changes in stitches and color palette Laos, 2006. and the shift from embroidering clothing left 30 years before. Dr. Cate’s research to decorating such objects as small interests generally focus on the material purses and aprons. We will also look and expressive culture of Southeast at how Mien embroidery exchanges Asia in such diverse manifestations negotiate relations between those living as Buddhist temple murals, festival in the United States and family members scrolls, the markets in silk and minority still in Southeast Asia, the status of Mien needlework, contemporary art, and in their nation of residence, and their traffic jams in Bangkok.
Load more

Recommended publications
  • Textile Society of America Newsletter 29:2 — Fall 2017 Textile Society of America
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Newsletters Textile Society of America Fall 2017 Textile Society of America Newsletter 29:2 — Fall 2017 Textile Society of America Follow this and additional works at: https://digitalcommons.unl.edu/tsanews Part of the Art and Materials Conservation Commons, Fashion Design Commons, Fiber, Textile, and Weaving Arts Commons, Industrial and Product Design Commons, Interdisciplinary Arts and Media Commons, and the Metal and Jewelry Arts Commons Textile Society of America, "Textile Society of America Newsletter 29:2 — Fall 2017" (2017). Textile Society of America Newsletters. 80. https://digitalcommons.unl.edu/tsanews/80 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 29. NUMBER 2. FALL 2017 Photo Credit: Tourism Vancouver See story on page 6 Newsletter Team BOARD OF DIRECTORS Editor-in-Chief: Wendy Weiss (TSA Board Member/Director of Communications) Designer: Meredith Affleck Vita Plume Member News Editor: Caroline Charuk (TSA General Manager) President [email protected] Editorial Assistance: Natasha Thoreson and Sarah Molina Lisa Kriner Vice President/President Elect Our Mission [email protected] Roxane Shaughnessy The Textile Society of America is a 501(c)3 nonprofit that provides an international forum for Past President the exchange and dissemination of textile knowledge from artistic, cultural, economic, historic, [email protected] political, social, and technical perspectives. Established in 1987, TSA is governed by a Board of Directors from museums and universities in North America.
    [Show full text]
  • 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.
    [Show full text]
  • Senior Textile Artist Badge Workshop
    Senior Textile Artist Badge Workshop An At-Home Program GSCCC Senior Textile Artist Badge Workshop (At-Home) • When you see fabrics, yarn, or string off all colors and textures what do you think of? Do you envision all of the things you could create? Let’s turn those visions into reality! Program Outline Materials: - Computer - Internet access - Materials for craft of choice Step 1: Choose your textile art There are a number of textile arts in the world from macramé to crocheting to quilting and much more. In this step you will be doing some research to learn about a textile art that you find interesting and that you would like to learn. Some of the most common textile arts are macramé, embroidery, cross-stitch, needlework, knitting, crocheting, weaving, and quilting. Do some research to find out about these or other textile arts. Below are some helpful links to start with. Here are a few links to get your search started – crochet, macramé, embroidery, weaving. Click here to see what some current textile artists are doing. Step 2: Find your tools and materials Now that you have chosen your art, you need to gather materials. Crocheting needs crochet hooks and yarn. Embroidery needs needles, embroidery floss, hoops, and fabric. Do some research about what you will need for your chosen textile art form. What all is involved? Do you know anyone who already has the supplies? Would they be willing to lend you some materials? Below are some great resources to learn about materials needed for the most common textile arts.
    [Show full text]
  • 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.
    [Show full text]
  • E. Heritage Health Index Participants
    The Heritage Health Index Report E1 Appendix E—Heritage Health Index Participants* Alabama Morgan County Alabama Archives Air University Library National Voting Rights Museum Alabama Department of Archives and History Natural History Collections, University of South Alabama Supreme Court and State Law Library Alabama Alabama’s Constitution Village North Alabama Railroad Museum Aliceville Museum Inc. Palisades Park American Truck Historical Society Pelham Public Library Archaeological Resource Laboratory, Jacksonville Pond Spring–General Joseph Wheeler House State University Ruffner Mountain Nature Center Archaeology Laboratory, Auburn University Mont- South University Library gomery State Black Archives Research Center and Athens State University Library Museum Autauga-Prattville Public Library Troy State University Library Bay Minette Public Library Birmingham Botanical Society, Inc. Alaska Birmingham Public Library Alaska Division of Archives Bridgeport Public Library Alaska Historical Society Carrollton Public Library Alaska Native Language Center Center for Archaeological Studies, University of Alaska State Council on the Arts South Alabama Alaska State Museums Dauphin Island Sea Lab Estuarium Alutiiq Museum and Archaeological Repository Depot Museum, Inc. Anchorage Museum of History and Art Dismals Canyon Bethel Broadcasting, Inc. Earle A. Rainwater Memorial Library Copper Valley Historical Society Elton B. Stephens Library Elmendorf Air Force Base Museum Fendall Hall Herbarium, U.S. Department of Agriculture For- Freeman Cabin/Blountsville Historical Society est Service, Alaska Region Gaineswood Mansion Herbarium, University of Alaska Fairbanks Hale County Public Library Herbarium, University of Alaska Juneau Herbarium, Troy State University Historical Collections, Alaska State Library Herbarium, University of Alabama, Tuscaloosa Hoonah Cultural Center Historical Collections, Lister Hill Library of Katmai National Park and Preserve Health Sciences Kenai Peninsula College Library Huntington Botanical Garden Klondike Gold Rush National Historical Park J.
    [Show full text]
  • Textile Society of America Newsletter 21:3 — Fall 2009 Textile Society of America
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Newsletters Textile Society of America Fall 2009 Textile Society of America Newsletter 21:3 — Fall 2009 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 21:3 — Fall 2009" (2009). Textile Society of America Newsletters. 56. https://digitalcommons.unl.edu/tsanews/56 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. T VOLUME 21 NUMBER 3 FALL, 2009 S A Conservation of Three Hawaiian Feather Cloaks by Elizabeth Nunan and Aimée Ducey CONTENTS ACRED GARMENTS ONCE to fully support the cloaks and and the feathers determined the worn by the male mem- provide a culturally appropriate scope of the treatment. 1 Conservation of Three Hawaiian bers of the Hawaiian ali’i, display. The museum plans to The Chapman cloak is Feather Cloaks S or chiefs, feather cloaks and stabilize the entire collection in thought to be the oldest in the 2 Symposium 2010: Activities and capes serve today as iconic order to alternate the exhibition collection, dating to the mid-18th Exhibitions symbols of Hawaiian culture. of the cloaks, therefore shorten- century, and it is also the most 3 From the President During the summer of 2007 ing the display period of any deteriorated.
    [Show full text]
  • Textile Arts Department Superintendent ~ Sue Brown 402-463-6767 (Office) 402-460-7988 (Mobile) Nebraska State Fair (NSF)
    Celebrating 150 years of the Nebraska State Fair with the “150th Fairabration Textile arts exhibits are displayed along with other departments of Competitive Exhibits in the Fonner Park Concourse which is adjacent to the east side of the Heartland Event Center. The closest entrance to Textile Arts is on the south end of the Concourse (south side of the Event Center). The most efficient way to enter is online. Instructions are found on the web site, www.statefair.org. For directions on entering by mail or in-person go to the entry information section in this book. Exhibits may be delivered to the fair grounds on designated entry days or by shipping. See Shipping Options for information on mailing or shipping exhibits. Textile Arts Entry Book Index Page 3 Textile Art Divisions, New in 2019, Important Dates Pages 3-5 Awards, Rules, How to Enter, Delivery and Return of Exhibits – Review this section carefully. Direct questions to Sue Brown 402-460-7988 or 402-463-6767 Pages 5-6 Division 5201 – Sewing for Children and Adults Pages 6-7 Division 5202 – Sewing for the Home Pages 8-9 Division 5203 – Crochet Pages 9-10 Division 5204 – Knitting Pages 10 Division 5205 – Lace Making Pages 11-12 Division 5206 – Stitchery (hand embroidery, counted cross stitch, needlepoint, other) Pages 12-14 Division 5207 – Weaving, Spinning & Felting Pages 14-16 Division 5208 – Fiber Arts (new wool classes & classes previously in rug making, creative fiber art & upcycling textiles) Pages 16-17 Division 5209 – Junior and Senior Youth Pages 17-18 Division 5210 – Senior Adults Pages 19 Division 5291 - Best in County Textile Arts 2 of 19 Textile Arts Department Superintendent ~ Sue Brown 402-463-6767 (office) 402-460-7988 (mobile) Nebraska State Fair (NSF) www.statefair.org Textile Arts is the use of fibers (plant, animal & synthetic), yarns or fabrics to construct practical or decorative items.
    [Show full text]
  • Joan Schulze Artist — Lecturer — Poet 808 Piper Avenue — Sunnyvale, CA 94087 — USA Tel 408.221.4309 [email protected]
    Joan Schulze Artist — Lecturer — Poet 808 Piper Avenue — Sunnyvale, CA 94087 — USA tel 408.221.4309 [email protected] www.joan-of-arts.com Birthdate 1936 Chicago, Illinois BS Ed University of Illinois 1958 SELECTED HONORS and AWARDS Fresno Art Museum, Council of 100, Awarded Distinguished Woman Artist for 2017 Tokyo International Forum,World Quilt '98. Gold Award. Rochester Institute of Tech, The Art Quilt. Best of Show Award Quilt National ‘95, The New Quilt, 3. Innovation Award BAACG Annual. Gold Award State Fair of California Fine Art Exhibitions, Silver Award Southampton, New York, Silk Institute Purchase Prize Discovery Magazine Award. California Departures Magazine, Award City Of Palo Alto, Purchase Award Skylark Prize, 2009, Publishing and Exhibition Visiting Artist Fine Art Museum of San Francisco Visiting Artist Nederlands Textile Museum Purchase Award, San Jose Museum of Quilts and Textiles Writer's Digest 2002 Honorable Mention Award for Reference Books SOLO & TWO PERSON EXHIBITIONS Beijing, China Tsinghua University Art Museum 2018 Beijing, China In a Different Voice: Fiber Art in a Care Narrative, Tsinghua University 2018 California Visions 2018 New Zealand Word Art 2018 Fresno, California Celebrating 80, Fresno Art Museum 2017 - 2018 Shenzhen, China Joan Schulze: Poetic License, Shenzhen University Art Gallery & Museum 2016 San Francisco, California Disappearing Conversations, Goodman 2 Art Building 2015 Lisbon, Portugal Colorida Art Gallery 2012 San Jose, California San Jose Museum of Quilts & Textiles, Retrospective 2010 Melbourne, Australia Ararat Regional Art Museum 2007 Mountain View, CA CSMA Finn Center, Mohr Gallery 2007 Birmingham, England National Exhibition Centre, Festival of Quilts 2005 Mittagong, Australia Sturt Gallery 2003 Mt.
    [Show full text]
  • Textiles - an Art Form for the 90'S: Advancing Fiber with New Concepts & Marketing Strategies
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 1998 Textiles - An Art Form For the 90's: Advancing Fiber With New Concepts & Marketing Strategies Elizabeth Gaston Fashion Institute of Technology, New York City Laura Hill Fashion Institute of Technology, New York City Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons Gaston, Elizabeth and Hill, Laura, "Textiles - An Art Form For the 90's: Advancing Fiber With New Concepts & Marketing Strategies" (1998). Textile Society of America Symposium Proceedings. 166. https://digitalcommons.unl.edu/tsaconf/166 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. Textiles - An Art Form For the 90's: Advancing Fiber With New Concepts & Marketing Strategies by Elizabeth Gaston and Laura Hill This panel discussion provided a forum for an exploration of the place and meaning of contemporary textile art. It was one of several concurrent panels held on the final afternoon of the Sixth Biennial Textile Society of America Symposium. Textiles­ An Art Form For the 90's brought together artists and enthusiasts from many backgrounds and with different perspectives. Four participants presented formal papers accompanied by slides. This was followed by a panel discussion. The chairperson was Patricia Malarcher, editor of Surface Design Journal. She shared the viewpoint of the media.
    [Show full text]
  • Download The
    1 Studies in Material Thinking, http://www.materialthinking.org Vol. 4 (September 2010), ISSN 1177-6234, AUT University Copyright © Studies in Material Thinking and the author. Cresside Collette Tutor in Tapestry Weaving and Drawing School of Fashion and Textiles RMIT University [email protected] Abstract Since Mediaeval times drawing has been the foundation for and the integrated content of woven tapestry. This paper traces the evolution of a rich, colourful, tactile medium in response to the drawn image, the shift in importance of the weaver as artist within the process, and the emergence of Tapestry as a Contemporary art form in its own right. Keywords Drawing, Tapestry, Cartoon, Artist, Weaver. “Found in Translation – the transformative role of Drawing in the realisation of Tapestry.” Introduction A bold definition of tapestry is that it is a woven work of art. It carries an image, made possible by virtue of what is known as discontinuous weft, i.e. the weft is built up in small shapes rather than running in continuous rows across the warp. The structure of the material comprises warp (vertical) and weft (horizontal) threads. Hand woven on a loom, the weft yarn generally covers the warp, resulting in a weft - faced fabric. The design, which is woven into the fabric, forms an integral part of the textile as the artist/weaver constructs the image and surface simultaneously. Of all the textile arts, tapestry is the medium that finds its form and expression most directly in the drawn line. Drawing is the thread, both literally and metaphorically, that enables the existence of woven tapestry and it has played both a supporting and a didactic role in the realisation of this image - based form.
    [Show full text]
  • RUTH BARNES Department of Indo-Pacific Art Yale University Art Gallery P.O
    RUTH BARNES Department of Indo-Pacific Art Yale University Art Gallery P.O. Box 208271 New Haven, CT 06520 203-432-3267 (direct) 203-432-3462 (Department) ACADEMIC TRAINING D.Phil. 1984 University of Oxford M.A. 1977 University of Edinburgh EMPLOYMENT 2010- Senior Curator, Department of Indo-Pacific Art, Yale University Art Gallery 1997- 2009 Textiles Curator, Ashmolean Museum, Oxford 1994-1997 Collection Researcher of the Vatter Collection (Eastern Indonesia), Museum für Völkerkunde, Frankfurt a.M. 1994-1997 Research Associate, Ashmolean Museum, Oxford (while on leave to research the Vatter Collection, Frankfurt) 1990-1994 Collection Researcher (Indian Trade Textiles), Ashmolean Museum, Oxford 1987-1989 Research Associate, Pitt Rivers Museum, Oxford 1986-1987 Visiting Scholar, Kelsey Museum, University of Michigan, Ann Arbor 1985-1986 Research assistant to the Curator of Musical Instruments, Pitt Rivers Museum, Oxford TEACHING EXPERIENCE 1990-2009 Supervision of undergraduate and graduate students, mostly at D.Phil. level, Oxford University 1990-2009 Lectures in the Faculty of Oriental Studies and School of Anthropology, Oxford University 1997 Invited Visiting Lecturer, Institute of Ethnology, University of Göttingen 1994-1998 Convenor, Lecturer and Examiner, The Arts of South-East Asia and Oceania, School of Oriental and African Studies and Sotheby’s Educational Services, University of London EXHIBITIONS AND GALLERY INSTALLATIONS 2009 Textiles Gallery, Ashmolean Museum, Oxford 2009 Asian Crossroads Orientation Gallery, Ashmolean Museum, Oxford 2009 West Meets East Gallery, Ashmolean Museum, Oxford 2006 Pilgrimage – The Sacred Journey, Ashmolean Museum, Oxford 2004 Textiles from the Islamic World: The Lloyd Cotsen Textile Traces Collection, Ashmolean Museum, Oxford 2003 An Englishman in Egypt - Edward Lane in Cairo (1825-35), Ashmolean Museum, Oxford 2001 A Stitch in Time.
    [Show full text]
  • Textile Traditions and Fashion Education in Mexico
    Textile Traditions and Fashion Education in Mexico Thomai Thessalia Papathanasiou and Alessandra Perlatti Introduction Mesoamerican textile weaving reflects a continuous history of interpretation based on ancient, historic, and modern ideologies and techniques. The textiles that are found in museums and private collections and among the indigenous people of Mesoamerica, where the ancient art of weaving continues today, are significant resources of information. (Klein, 1997, 1) The richness of textile traditions in Mexico is worldly recognized. Mesoamerican cultures are still alive nowadays in different parts of the country, and cultural heritage still survives among the indigenous peoples who inhabit modern Mexico. One of the strongest features of these cultures are their weaving, dyeing, embroidering, and looming techniques. Textile traditions, combined with craftsmanship, music, and dance are the foundation of popular culture in Mexico. Although popular culture has always been seen as trivial and of a lower level when compared to high culture, it provides the best way to detect and recognize a collective state of mind and the lifestyle of a particular society. It is through popular culture that we can more easily identify the colors, smells, sounds, and normative behavior of a community. Modern Mexican fashion designers nowadays therefore face a great challenge to find an in-between place where they can celebrate their cultural roots and at the same time create cutting edge designs. How can they honor indigenous craftsmanship without
    [Show full text]