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Youth Handicraft - 20
YOUTH HANDICRAFT - 20 Committee: Danielle Brannon, April Davis, Barry Davis, Kailey Hubert Premiums: $3.00, $2.00, $1.00 Premiums Offered: $645.00 4TH THROUGH 8TH GRADES 20-01-01-00 .............................................................................. Paper Craft 20-01-02-00 ..............................................................................Plaster Craft 20-01-03-00 .....................................................................Bread Dough Craft 20-01-04-00 ......................................................................... Sculpture, clay 20-01-05-00 .................................................................Wall Hangings, fabric 20-01-06-00 ..........................................................................Handmade Doll 20-01-07-00 .......................................Candle, molded, poured, hand-formed 20-01-08-00 ...........................................................................Candle Holder 20-01-09-00 .................................................................... Handmade Basket 20-01-10-00 ................................................................................. String Art 20-01-11-00 ............................................................................. Plastic Craft 20-01-12-00 ................................................................................Metal Craft 20-01-13-00 .............................................................................Leather Craft 20-01-14-00 ................................................................................. -
Deaccessions July 2013–June 2014
MUSEUM OF FINE ARTS, BOSTON Annual Report Deaccessions July 2013–June 2014 Asia & Africa/African Object No. Artist Title Culture/Date/Place Medium Credit Line 1. 1991.1065 Head African, Edo peoples, Terracotta, traces of Gift of William E. and Bertha L. Teel Nigeria, Benin pigment kingdom, about 1750 Benin City, Nigeria 2. 1996.383a-c Memorial screen (duen fubara) African, Ijaw Kalabari Wood, pigments, Gift of William E. and Bertha L. Teel peoples, Nigeria, late fiber 19th century Ancient/Classical Object No. Artist Title Culture/Date/Place Medium Credit Line 1. 64.1195 Coin of Sibidunda with bust of Roman Provincial, Bronze Theodora Wilbour Fund in memory Gordian III Imperial Period, A.D. of Zoë Wilbour 238–244 Asia: Phrygia, Sibidunda Ancient/Egyptian Object No. Artist Title Culture/Date/Place Medium Credit Line 1. 19.3387 Bowl with incised decoration Nubian, A-Group to Pottery Archaeological Survey of Nubia C-Group, 3100–1550 B.C. Nubia, Egypt, el-Dakka, Cemetery 101, Grave 28 2. 20.3105 Miniature black-topped red Nubian, Classic Kerma, Pottery Harvard University–Boston polished beaker about 1700–1550 B.C. Museum of Fine Arts Expedition Nubia, Sudan, Kerma, Cemetery S, Tumulus IV, grave 425 3. 20.3170 Black-topped red polished beaker Nubian, Classic Kerma, Pottery Harvard University–Boston about 1700–1550 B.C. Museum of Fine Arts Expedition Nubia, Sudan, Kerma, Cemetery S, Tumulus III, grave 308 Annual Report Deaccessions July 2013–June 2014 Page 2 of 39 Ancient/Egyptian Object No. Artist Title Culture/Date/Place Medium Credit Line 4. 21.3009 Shawabty of King Taharqa Nubian, Napatan Gray serpentinite Harvard University—Boston Period, reign of Museum of Fine Arts Expedition Taharqa, 690–664 B.C. -
Job Description: Handicraft Director
Job Description: Handicraft Director Essential Functions: The Handicraft Director is responsible to the Program Director for the effective instruction of specialized craft skills and of any merit badges assigned by the Program Director. The Handicraft Director must possess organizational and managerial skills, creativity and originality, and a desire to work with youth of Boy Scout age. Setting up an area to which Scouts and Leaders may come for instruction in the following skills and their related merit badges: Training and supervising the work of the Handicraft Staff. Helping the Business Manager keep track of handicraft inventories in the Trading Post. When supplies of various craft items are running low in relation to expected need, the Director should bring this to the Business Managers attention. Making available and encouraging troops, patrols, and older Scouts to participate in special activities at the Handicraft area. Helping unit leaders to become aware of the Handicraft program possibilities available both in and out of Camp. Maintaining up-to-date and accurate inventories of all equipment used in the Handicraft program Ensuring the counselors-in-training assigned to the Handicraft area receive meaningful and relevant experiences. Turning in records of merit badge participation and badge completion to the Program Director. Assisting in the general Camp program in anyway possible, and completing any assignments given by the Program Director or the Camp Director. Working to maintain the morale of other Staff members assigned to the Handicraft area. Writing a report on the Handicraft Program, and turning it in to the Program Director before leaving Camp. This report should document the extent of use of the program and suggestions for improvements. -
Art and Life on the Upper M Is Sis Sippi 1890-1915
Minnesota 1900 Art and Life on the Upper M is sis sippi 1890-1915 MICHAEL CONFORTI, EDITOR With essays by Marcia G. Anderson, Michael Conforti and Jennifer Komar, Mark Hammons, Alan K. Lathrop, Louise Lincoln and Paulette Fairbanks Molin, and Thomas O'Sullivan ~ .DElAWARE Newark: University of Delaware Press London and Toronto: Associated University Presses in association with The Minneapolis Institute of Arts Appendixes APPENDIX I: BIOGRAPHIES OF PROMINENT MEMBERS OF THE HANDICRAFT GUILD OF MINNEAPOLIS . M ANY TALENTED WOMEN WERE E CAGED IN THE AP Suggestions, was published for the schools' drawing depart plied arts during this period only to abandon them to devote ments and gave monthly work outlines for teachers in all all their energies to husbands and families. So much of the grades. She identified useful instructional sources for teach work of consequence was carried out by professional ers. Ernest Batchelder's book, Design in Theory and Prac women. The stories below offer some hint of the commit tice, was always among them. Roberts also published a ment of these women and the inAuence they had both in series of booklets, tools really, called Picture Studies. Each Minnesota and nationally. focused on an individual artist (e.g., Murillo, Velasquez, and Rembrandt) with the purpose of preparing children for (MARY) EMMA ROBERTS beginning studies in painting as an art form. Emma Roberts, the founder of the Handicraft Guild, In 1913, Roberts moved into her new arts and crafts supervised drawing and art appreciation in the Minneapolis inAuenced home, designed and built by celebrated local public schools for twenty-four years. -
2008 Annual Town Report Is Dedicated to Colleen F
NEEDHAM Where Colonial Tradition ... MEETS … 21st Century Innovation T O W N O F N E E D H A M 1711 – 2008 ANNUAL REPORT Needham, Massachusetts Cover Photographs Jonathan Kingsbury House circa 1779, Rosemary Street, Needham, MA (top) Dasani Water Bottling, Coca Cola Plant, Needham, MA (bottom) This 2008 Annual Town Report is Dedicated to Colleen F. Schaller Colleen Schaller and her late husband Frank arrived in Needham in 1963, thinking they would be here only a few years. Born and raised in Connecticut, Colleen is a graduate of the Berkeley School in New York. She met Frank at her first job at Univac, where she was an assistant. They were married in 1961 and Frank’s profession as a mechanical engineer for Univac gave them the opportunity to live in four states in two years before they eventually settled in Needham. Over the next 46 years, Colleen and Frank raised two children and became grandparents four times. Colleen continues to live in this same home today. Colleen is a tireless volunteer and her efforts have benefited a long list of organizations within our community. Senior Center Exploratory Committee, Member Tercentennial Seniors Committee, Needham Board of Selectmen, Member Member/Vice Chair Needham Youth Commission, Member/Chair Needham Council on Aging Board of Directors, Needham School Committee, Member/Chair Member Needham Youth Center, Founding Member Needham Community Council Board of Directors, Member Needham High School Distinguished Career Charles River Center Board of Directors, Member Committee, Member Needham Cares, -
Rebranding “Made in India” Through Cultural Sustainability – Exploring and Expanding Indian Perspectives
REBRANDING “MADE IN INDIA” THROUGH CULTURAL SUSTAINABILITY – EXPLORING AND EXPANDING INDIAN PERSPECTIVES Thesis for Two year Master, 30 ECTS Textile Management Monica Boța-Moisin Raphael Schreiber Thesis Number: 2021.7.01 Title: Rebranding “Made in India” through Cultural Sustainability - Exploring and Expanding Indian Perspectives Year of publication: 2021 Authors: Monica Boța-Moisin and Raphael Schreiber Supervisor: Hanna Wittrock Abstract This exploratory study is a first attempt to translate the Indian cultural context from a socio- cultural, and legal perspective by identifying the values attributed to Indian textile craftsmanship by Indian textile and fashion stakeholders, and how their perspective is influenced by the global recognition and perception of Indian textile crafts and connotation of “Made in India”. At the same time the study investigates the meaning of “sustainability” in the Indian cultural context, in relation to textile craftsmanship, and how this relates to the Western concept of “sustainability”. Through field research in conjunction with a series of in- depth unstructured interviews, this study reveals that Cultural Sustainability is the dominating narrative in the Indian cultural context due to the prevalence of culturally embedded sustainability practices and the role of textile craftsmanship in sustaining livelihood, being a unique exercise of positioning Indian textile craftsmanship within a framework of cultural heritage as a valuable source of knowledge for sustainable practices in the fashion and textile industry. Unique about this study are the India-centric approach combined with the ethnicity of the subjects interviewed - who are, without exception, Indian nationals, whose work, voice and reputation are shaping India's contemporary textile craft-sustainability narrative (being referred to as the “Indian textiles and fashion elite”) and the framing of traditional craftsmanship from a legal perspective, introducing the notion of legal protection of traditional textile knowledge and traditional cultural expressions. -
Handicraft Guide Vedra 2019 1
HANDICRAFT GUIDE VEDRA 2019 1. DEFINITION OF HANDICRAFT AND CRAFTSMAN 2. THE DESIGN 3. GALICIAN MAPS 4. GALICIA’S HANDICRAFT 5. TRADITIONAL DECORATIVE TECHNIQUES a. Jewelry b. Ceramic c. BasKetry DEFINITION OF HANDICRAFT AND CRAFTSMAN 1. HANDICRAFT Definition according to the Royal Academy of the Spanish Language: CRAFT OR WORK OF CRAFTSMAN Other definitions are: Craft and Technique TO MANUFACTURE OR ELABORATE OBJECTS OR PRODUCTS BY HAND, WITH SIMPLE AND TRADITIONAL DEVICES. DEFINITION OF HANDICRAFT AND CRAFTSMAN • Handicrafts is a quest throughout the existence of the human being to achieve an easier life. We transform, through design, materials and manage to modify their shapes or properties with the sole purpose of maKing their use more efficient and improving the result of our actions. • When we talK about design, works of art are automatically presented in our minds, so called for having no use but the observation of their beauty, therefore they are elements that only decorate our surroundings. However, when maKing an object by hand, design is also applied, so handicrafts pieces are also work of art, we observe its beauty and we also use them. DEFINITION OF HANDICRAFT AND CRAFTSMAN • Then We will have ARTISTS and CRAFTSMAN, it is not assumed the underestimation of one compared to the other, they have as a common point the design, and therefore the originality and the aesthetics. • Until reaching industrialization and from the time of prehistory, craftsman had great social importance, which is seen in the power acquired by the guilds, both economic and social. Once the renaissance begins, a change occurs and the Fine Arts and the Applied Arts are separated, with different studies established for each of them. -
Woven Coverlets Tell Story of Past
Woven Coverlets Tell Story of Past Nancy Ostman, February 22, 2014 Photo caption: This 1832 woven coverlet was made by Archibald Davidson, a Scottish weaver who came to Ithaca in the late 1820s. Woven coverlets made in the U.S. pre-Civil War era were used as bed coverings. They were made of wool and cotton (or occasionally wool and linen) on floor looms by hand. Coverlets were woven of two or more colors, made to be reversible with a light and dark color pattern showing as a negative on the back side. The earliest era of coverlet making, judging from surviving pre-Revolutionary War period to 1820 examples, was a household craft practiced by women or itinerant weavers who used narrow looms that produced simple geometric designs. The boom in coverlet making was fueled by Joseph Marie Jacquard’s 1801 invention of a computer-like attachment to looms which picked up each warp (lengthwise) thread individually. This meant that elaborate “fancy” patterns could be woven. To make fancy coverlets, an expensive loom attachment was required. Thus, most coverlet making between 1820 and 1860 was generally practiced by men, who wove for clients in solitary to 6-person “factories” or workshops. Many weavers were born and trained in Europe. These Scotch, Irish, English, Dutch, and Germans came to the U.S. to practice their trade, as they were pushed out of business in Europe, where the industrial revolution occurred earlier than in the U.S. Once in the U.S., immigrant weavers often moved beyond coastal cities, where industrialization already had begun, to rural towns of New York, New Jersey, and Pennsylvania. -
Heidegger's Theories and the Stained Glass
1st Annual International Interdisciplinary Conference, AIIC 2013, 24-26 April, Azores, Portugal - Proceedings- HEIDEGGER'S THEORIES AND THE STAINED GLASS Ghioldus Andreea, Arch., Phd. Student University of Architecture and Town-Planning Ion Mincu, Bucharest , Romania Abstract: This paper work brings into discussion some of Martin Heidegger theories and analyze the way we can apply them in the stained glass situation. Will they apply in exactly the same way the philosopher says or there are some differences revealed by the different characteristic of the stained glass? The work is divided in two parts. The first part discuss the Heidegger's theories about technology. The philosopher says that the technology affects the way the people relate to the nature and that they began to think only about the ways to exploit it. Well in this case, about stained glass, this problem is different, because by it's nature, the stained glass making process never change the relationship between the artist and the glass. So, no matter the tools used for making stained glass, the traditional ones or the computer, the creative process remains the same. The second part analyze another of Heidegger's concepts from his work “The Origin of Work of Art” which are the thing, the tool and the work of art. Heidegger says that an object can be a thing or a tool or a work of art and that it can never accomplished more than one of these characteristics. Well here we can see that stained glass have different rules. It's duplicity allow it to be a work of art and a tool in the same time. -
India's Textile and Apparel Industry
Staff Research Study 27 Office of Industries U.S. International Trade Commission India’s Textile and Apparel Industry: Growth Potential and Trade and Investment Opportunities March 2001 Publication 3401 The views expressed in this staff study are those of the Office of Industries, U.S. International Trade Commission. They are not necessarily the views of the U.S. International Trade Commission as a whole or any individual commissioner. U.S. International Trade Commission Vern Simpson Director, Office of Industries This report was principally prepared by Sundar A. Shetty Textiles and Apparel Branch Energy, Chemicals, and Textiles Division Address all communications to Secretary to the Commission United States International Trade Commission Washington, DC 20436 TABLE OF CONTENTS Page Executive Summary . v Chapter 1. Introduction . 1-1 Purpose of study . 1-1 Data and scope . 1-1 Organization of study . 1-2 Overview of India’s economy . 1-2 Chapter 2. Structure of the textile and apparel industry . 2-1 Fiber production . 2-1 Textile sector . 2-1 Yarn production . 2-4 Fabric production . 2-4 Dyeing and finishing . 2-5 Apparel sector . 2-5 Structural problems . 2-5 Textile machinery . 2-7 Chapter 3. Government trade and nontrade policies . 3-1 Trade policies . 3-1 Tariff barriers . 3-1 Nontariff barriers . 3-3 Import licensing . 3-3 Customs procedures . 3-5 Marking, labeling, and packaging requirements . 3-5 Export-Import policy . 3-5 Duty entitlement passbook scheme . 3-5 Export promotion capital goods scheme . 3-5 Pre- and post-shipment financing . 3-6 Export processing and special economic zones . 3-6 Nontrade policies . -
Medical Prepayment Berg, Head of the Department of Neurology at the University Probing the Allegedly Power of Ilhnoia
’^ M P P P W i!! *.1 iJ- „ prvV T ^ ' ^ ' r z : ’ “i: ' •• i p f f - ' •’ r.. ' -1^4^ . • ^4-, / ' y ,. I ?4r ^ • . t '- __ V WEDNESDAY, DECEMBER 1^, 19te AT«ra»t Daily Net PrcM Ron THIRTY-TWO iKanrliMpf ^pralb Far tlM EaM The Weather V Dec. U , IMS Feeaeatft a< O. •. Weather S o n M 10,835 Partly cloudy, colder ioelcfet. Member « f tkm Ammt Friday fair and coMcr. BareM of CtrcvUttMM ' Mancheater^A City of Villoite Charm __________ ' -V________________ VOL. LXXII, NO. 67 (GeaU ned ah PaGo tS) MANCHESTER, CONN^ THURSDAY, DECEMBER 18,; 1952 (TWENTY-POUR PAGES—IN TWO SECTIONS) PRICE n V E CENTS Siamese Twin Grime Lord Faces Quiz By, Probers V - S | - Chicago, Dec. 18— (/P)—One of the Siamese twins separated New York, Dec. 18—(A*)— Wednesday in a history makinG operation was “dolAG badly” The New York State Crime ny-ron today and physicians doubted he would survive. Dr. Eric Old- commission today began Medical Prepayment berG, head of the department of neuroloGy at the University probinG the alleGedly power of IlHnoia. said surGeons “ had to^ ful ‘fule of Albert Anastasia make a choice" durinG the day and his Murder, Inc., hench lonG eurgteial operation and that Kodney Dee, the tmallcr of the men on the Brooklyn water After Their Korean G>nferei|ce 'twins, waa Given the beneflt be- France Set front. ‘ cause he showed the Greater Anutula, reputed lord hiGh ex fc> r ‘ 'chance for ultimate survival. ecutioner of the eld Murder, Inc., Program Seeks SinGle Brain CoverinG T o Remove mob and one of tha few men alive OtdberG said surgeonn''Tound the to come hack from the SiqG SinG twins had only a sinGle fused outer duU i houM, is expected to be hail brain coverinG containinG a sinGle ed before the commluion, perhaps 'snGtdtal sinus'i'vein' that drains T u n is B ey today. -
Handicraft & Hobby Exhibits
HANDICRAFT & HOBBY EXHIBITS LOCATION: First Presbyterian Church Sponsored by th ENTRIES ACCEPTED 5pm-7pm FRIDAY, SEPTEMBER 27 ONLY Saturday 12:00 p.m. - 7:00 p.m. Sunday 11:00 to 2:00 p.m. Entry Fee - Corn Festival Button Jeri Robinson—Chair / Co-chair RULES 1. Each entry must plainly show the entry number, class of exhibit and adult or youth entry (Youth under 14 years of age). 2. Youth entries will be judged by age. All youth entry tags must clearly show age. 3. All entries must be made by entrant within the last two years. 4. Responsible care will be used in handling and showing the entries, but no further responsibility will be taken for them. 5. Exhibits will be judged on workmanship, effect and cleanliness. Three places may be awarded in each class plus a Best of Show ribbon will be awarded. Professional exhibits will not be judged. There will be a people's choice ribbon awarded at the end of the weekend. Come out and vote! 6. Entries are not limited to Grundy County or any age group. JUDGING CLASSES FOR ADULTS AND YOUTH ENTRIES 1. YOUTH 5. AFGHANS a. Models a. Knitted b. Latch hook b. Crocheted c. Christmas c. Tunisian d. Beading 6. CHRISTMAS DECORATIONS e. Mosaic a. Table Linens f. Needlework b. Ornaments 1. Plastic Canvas c. Tree Skirts 2. Original d. Wreaths 3. Kit e. Decorations g. Plaster Craft f. Wall Hangings h. Jewelry (limit 4 entries per class) 7. CERAMICS 1. Kit 8. DOLLS 2. Homemade a. Rag i. Scrap booking b.