Dress and Textile Specialists Newsletter
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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. -
Tooth-Tool Use and Yarn Production in Norse Greenland
TOOTH -TOOL USE AND YARN PRODUCTION IN NORSE GREENLAND G. Richard Scott University of Nevada Reno, Department of Anthropology/MS 096, Reno, NV 89557; [email protected] Ruth Burgett Jolie Department of Anthropology, University of New Mexico ABSTRACT During a dental study of medieval Norse skeletons from Greenland, Iceland, and Norway, a distinct pattern of wear was observed on twenty-two anterior teeth of twelve Greenlanders. Further examina- tion revealed that cultural notches were limited almost exclusively to settlement-period Greenlandic females interred at Thjodhild’s church ad( 1000–1150). The most likely explanation for this patterned wear revolves around the manner in which females manipulated woolen thread on their maxillary in- cisors and canines during the production of a coarse woolen cloth (frieze) that was generated in large amounts during the early medieval period for local consumption and export to Europe. keywords: teeth, abrasion, wool INTRODUCTION Anthropologists have long studied normal crown wear to As the most directly visible aspect of the skeletal sys- evaluate the diet and dietary behavior of earlier human tem, teeth are also subject to the vagaries of human cultur- populations (Hinton 1981, 1982; Kieser et al. 2001; Molnar al behavior (cf. Milner and Larsen 1991). For that reason, 1971, 1972; Molnar et al. 1983; Walker 1978; Walker and they are useful in bioarchaeological research for making Erlandson 1986). Several methods have been developed inferences on the behavior of past human populations. to score such wear (Brothwell 1963; Dreier 1994; Murphy Behaviorally induced alterations fall under four general 1959; Scott 1979; Smith 1984) with the primary empha- categories: (1) intentional mutilation; (2) unintentional sis on pattern of dentine exposure. -
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. -
Contemporary Art Society Annual Report 1967-68
Front Cover: Henry Moore Knife Edge-Two Piece. Presented to the Nation by the Contemporary Art Society and the artist, 1967. Chairman's Report June 27th 1968 Foundation Collection. Our most recent Patron I have pleasure in presenting my report which covers the Society's activities party at the Tate was held on May 16th to mark the close of the Barbara Her Majesty Queen Elizabeth The Queen Mother from June last year until today. Peter Meyer, whom we were very pleased to Hepworth Exhibition. Dame Barbara welcome back on the Committee as was the Guest of Honour, first at a Executive Committee Honorary Treasurer at last year's buffet supper in the restaurant, and later Whitney Straight CBE MC DFC Chairman Annual Meeting, will be dealing with at a party in the Gallery, where Anthony Lousada Vice-Chairman the Society's financial affairs in his hundreds of our members were able to Peter Meyer Honorary Treasurer speech which follows mine and deals meet Dame Barbara and have a last The Hon John Sainsbury Honorary Secretary with our financial year which ended on look at the wonderful exhibition. This G. L. Conran was such a successful evening that we Derek Hill December 31st 1967. As well as welcoming Peter Meyer are very much hoping to repeat one on Bryan Robertson OBE similar lines at the end of the Henry The Hon Michael Astor back to the Committee we were very The Lord Croft happy to elect Joanna Drew, whose Moore Exhibition in September. We are, Alan Bowness knowledge will I am sure be of great as always, most grateful to the Trustees James Melvin value. -
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. -
Course Syllabus & Itinerary, THTR 216, Maymester 2015 the Art
Course Syllabus & Itinerary, THTR 216, Maymester 2015 The Art, History, & Business of London Fashion We will explore many facets of the business of style that make London one of the most cutting-edge and influential fashion capitals of the world. Our study will begin with an overview of fashion history and its connection to the fine and decorative arts. We will learn about the origins of Haute Couture, from its roots in England and France in the 19th century, to today’s well known designers and trendsetters who have kept this cosmopolitan city at the forefront of the industry. Dynamic British designers from the 20th and 21st century at the heart of our study, who have continually pushed boundaries and changed rules of etiquette in their quest for fashion to mirror political, economic, and sociopolitical changes in society, include: Charles Frederick Worth, considered to be the father of Haute Couture; Mary Quant and her mini-skirt revolution; Vivienne Westwood and her influence on the world of punk fashion; Alexander McQueen and his creation of artful garments; and Stella McCartney and her ethical, sustainable approach to design. Excursions will include trips to: world renowned museums, to study works of fine and decorative art and historic examples of clothing; theatrical performances, to compare the theatricality of stage costumes and the principles of stage design to both runway and everyday fashion; the Making of Harry Potter, to see how designers create artful film designs; and a variety of commercial fashion venues, in which contemporary -
Health and Well-Being
NOVEMBER/DECEMBER 2019 FITNESS THERAPY SOLACE + HEALING Health and Well-Being Cover_ND19_V1.indd 1 10/14/19 3:35 PM IFC-005 TOC_Pres Message.indd 2 10/14/19 3:24 PM GETTING PEOPLE IN THE DOOR IS HARD WORK. THESE STUDIES CAN HELP. Taking Out the Guesswork: A Guide to Using Research to Build Arts Audiences Learn about three tasks key to successful audience building: understanding potential audiences, creating effective promotional materials, and tracking and assessing progress. The Road to Results: Effective Practices for Building Arts Audiences Ten arts organizations that took on ambitious audience-building projects. This guide identifies nine practices their most successful efforts had in common. Download these reports and many more free resources to help build audiences: Wallacefoundation.org IFC-005 TOC_Pres Message.indd 1 10/14/19 3:25 PM NOVEMBER DECEMBER 2019 ISSUE CONTENTS PROTECT. SURROUND. KEEP A LOW PROFILE. DEPARTMENTS 5 From the President and CEO 6 By the Numbers 8 First Look FEATURES 14 Point of View Museums as 22 Fitness Never Looked So Fun Public Health The Children’s Museum of Indianapolis Assets has worked with the local children’s 18 Point of View hospital to create an engaging health Becoming and fitness experience. OutGoing By Alli Stitle and Kimberly Harms 46 Tributes and 28 Museum Therapy Transitions The Montreal Museum of Fine Arts 48 Reflection nurtures resilience and renewal through its programs and practices. By Marilyn Lajeunesse and Stephen Legari 34 Sites of Healing The Michigan State University Cover: © Bedelgeuse “master Museum turned to community of the mind,” mixed media collage co-curation to tell survivors’ stories of sexual violence. -
Junya Watanabe Comme Des Garçons 89 & 90
THE NEW MILLENNIUM ERA: THE FUTURE OF TEXTILES By Sarah E. Braddock Clarke TOKYO ZOKEI UNIVERSITY – 23 June 2016 Going back to the 1960s (and 1967 to be precise) British fashion designer Mary Quant said: “Some day we will blow clothes the way we blow glass. It’s ridiculous that fabric should be cut up to make a flat thing go round a round person.” At the very end of the 1990s there were many predictions for what the clothing of the new millennium would look like - The French fashion designer Thierry Mugler said: “The future of fashion? It has none. The trend is no fashion. We are getting nakeder and nakeder.” Continuing with that theme the French philosopher Jean Baudrillard said: “In this new erotic world every illusionistic element is missing (…) the body is present, even over-exposed, but only as part of the technical equipment.” And British designer John Galliano thought that: “The only way to get forward in fashion is to return to construction.” While Karl Lagerfeld believes the future of fashion is in the textiles used… Slide List OPENING 1. Lifestyle & Sport – We Can Make the World Stop by The Glitch Mob – 2011 used by GoPro to show extreme sports of many types, all around the world. The decade of 2000s saw a huge rise in adventure holidays and adrenalin-fuelled extreme sports and this music sums the decade up. Video – 05:12: http://www.youtube.com/watch?v=gOLY7bjCTTE UK 2. Dress of the Year at the Fashion Museum, Bath (started in 1963) – with images and a description of each winner in 2000s from 2000 to 2009: http://www.fashionmuseum.co.uk/galleries/dress-year BOUDICCA 3. -
Cecil Beaton (1904–80) Was One of the Great Creative Figures of the British Twentieth Century
Access Guide Please return at the end of your visit We hope this guide supports your visit. Please speak to any member of staff for more information. VERSION 2 Map Entrance Contents TBC Introduction Cecil Beaton (1904–80) was one of the great creative figures of the British twentieth century. Chiefly known as a photographer of portraits and fashion, through his work for Vogue magazine from 1924 to 1979, he was also recognised as a significant war photographer. An illustrator and caricaturist, a writer and commentator on taste and manners, Beaton was a theatre designer and art director of world renown and an influential stylist of his own homes. This exhibition focuses on Beaton’s early years. Born in Hampstead to a then prosperous timber merchant, Ernest Beaton and his wife Esther (‘Etty’), Cecil was first given a camera in 1914, aged ten. His first subjects were his mother and his willing sisters, Nancy and Barbara (‘Baba’). His transformation from middle-class suburban schoolboy to dazzling society figure against the backdrop of the Roaring Twenties and the Age of Jazz revealed a social mobility barely thinkable before the First World War. Here, then, are the Bright Young Things who brought an extraordinary era vividly to life and in so doing, nurtured and refined a remarkable photographic talent. The strength of his singular vision is such that, when we think of the Bright Young Things, we think of them in Beaton’s costumes, through Beaton’s lens and as Beaton’s friends. For full details of all events please see the What’s On guide or npg.org.uk/events Friday 20 March, 19.00 Lecture ‘When I die I want to go to Vogue’: Cecil Beaton’s Most Enduring Patron with Robin Muir Curator Robin Muir looks at the Cecil Beaton’s long working relationship with Vogue. -
Autumn Newsletter 2011
DATS Dress and Textile Specialists Autumn Newsletter 2011 Contents Page Committee 3 Conference 2011 4 News & Events 7 Exhibitions 9 New Books 13 Front cover image: Fashion & Textile Gallery, The Bowes Museum, image courtesy of The Bowes Museum 2 DATS Committee 2011 Chair Secretary Christine Stevens Rebecca Quinton e-mail [email protected] Curator, European Costume and Textiles Glasgow Museums Tel: 0141 287 0509 Email: [email protected] Treasurer Membership Secretary Danielle Sprecher Ruth Battersby Tooke Leeds Museums and Galleries Norfolk Museums and Archaeology Service, Discovery Centre Shirehall, Market Avenue, Carlisle Road, Norwich, NR1 3JQ Leeds, Tel: 01603 223873 Tue-Fri) LS10 1LB email: [email protected] Tel: 0113 214 1557 e-mail: [email protected] Newsletter Editor Web Editor Alex Ward Kate Reeder Assistant Keeper, Social History Curator Art and Industrial Division, Beamish North of England Open Air Museum, National Museum of Ireland, Beamish, Collins Barracks, Co. Durham, DH9 0RG Dublin 7, Ireland Tel: 0191 370 4009 Tel: 00 353 1 6486469 e-mail: [email protected] e-mail: [email protected] SSN Officer (Acting) National Museums Representative Cassie Davies-Strodder Currently vacant Assistant Curator, Department of Furniture, Textiles and Fashion, Victoria & Albert Museum, South Kensington, London, SW7 2RL Tel: 020 7942 2290 e-mail: [email protected] Conservation Representative South East England Representative Janet Wood Fiona Woolley Conservation and Collections Care, Keeper of Fine and Applied Art, Apt 37, Maidstone Museum and Bentlif Art Gallery, Hampton Court Palace, St. Faith‟s Street, Surrey, KT8 9AU Maidstone, Tel: 020 3166 646 Kent, ME14 1LH e-mail: [email protected] Tel: 01622 602850 e-mail: [email protected] South West England Representative North of England Representative Paula Martin Caroline Whitehead Assistant Curator of Costume and Textiles, Email: [email protected] Royal Albert Memorial Museum, Queen Street, Exeter, EX4 3RX Tel. -
New Frameworks in Deconstructivist Fashion
New Frameworks in Deconstructivist Fashion: Its Categorization in Three Waves, Application of the Notions of Plasticity, De-design and the Inclusion of Bora Aksu and Hussein Chalayan as the Third Wave Turkish Deconstructivist Designers Gizem Kızıltunalı A thesis submitted in partial fulfilment of the requirements of the Manchester Metropolitan University for the degree of Doctor of Philosophy The Manchester School of Art MIRIAD Manchester Metropolitan University August 2017 Contents Abstract……………………………………………………………………………………4 Acknowledgements……………………………………………………………………5 List of Figures……………………………………………………………………………6 Introduction…………………………………………………………………………….16 Literature Review……………………………………………………………………..30 Methodology…………………………………………………………………………….64 Chapter One: Theoretical qualities of deconstructivist fashion design ……………………………………………………………………………………………….73 Chapter Two: Observing plasticity, the de-designs and deconstructions of the first wave Japanese and the second wave Belgian deconstructivist designers …………………………………………………………88 Chapter Three: Third wave Turkish deconstructivist designers: Hussein Chalayan and Bora Aksu.…………………………………………………………..159 Chapter Four: The de-designs and deconstructions of the third wave deconstructivist designers: Hussein Chalayan and Bora Aksu..………170 Chapter Five: Commonalities of the third wave Turkish deconstructivist designers: Metamorphosis of the fashion system, deconstruction through culture………………………………………………………………………..244 Conclusion……………………………………………………………………………….365 Bibliography…………………………………………………………………………….376 -
Window Shopping: Commercial Inspiration for Fashion in the Museum." Fashion, History, Museums: Inventing the Display of Dress
Petrov, Julia. "Window Shopping: Commercial Inspiration for Fashion in the Museum." Fashion, History, Museums: Inventing the Display of Dress. London: Bloomsbury Visual Arts, 2019. 31–62. Bloomsbury Collections. Web. 30 Sep. 2021. <http://dx.doi.org/10.5040/9781350049024.ch-003>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 30 September 2021, 00:32 UTC. Copyright © Julia Petrov 2019. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 2 WINDOW SHOPPING: COMMERCIAL INSPIRATION FOR FASHION IN THE MUSEUM In his work on the “exhibitionary complex,” Tony Bennett (1996) showed how nineteenth-century museums and galleries were intimately connected in their design and conception to the expanding commercial architecture of the same period. The technical possibilities and visual experiences of industrial exhibitions and shopping arcades found analogous applications in museum spaces. As Mackie noted, “Both the retail shop and the public repository are designed for the display of information that is predominantly visual: looking is a means for possession as well as knowledge” (1996: 325). This blurring of commercial and intellectual cultures within the museum continues to create unease and controversy, particularly in the case of fashion exhibitions (Anaya 2013; Gamerman 2014). This chapter investigates how the introduction of fashion—an increasingly important economic and social product in the industrial period—into museums created new connections and tensions between these two worlds. It was because of its position between the disciplines of economy and history that historical fashion entered and was interpreted in museums.