Quilt National ’21 Prospectus Official Rules and Entry Information
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FP Library Main List.Xlsx
Bin # 1 Title 1 101 Quilt Blocks and Borders 1 Convergence Quilts 1 The Country Bride Quilt Collection 1 The Quilt that Walked to Golden 1 Little Quilts (copy 1) 1 Little Quilts (copy 2) 1 15 Memorable Projects for Quilt Lovers (copy 1) 1 15 Memorable Projects for Quilt Lovers (copy 2) 1 The Quilter's Book of Design 1 Decorate with Quilts & Collections 1 The Quilter's Book Resource Quilt Making Traditions from Around the World 1 Great American Quilts Book 8 1 Wisconsin Quilts‐Stories in Stitches 1 Enduring Grace‐Quilts from the Shelburne Museum 1 Hearts and Flowers Quilt Block Designs 1 The Complete Book of Quilting 1 Making History Quilts from 1890‐1970 1 Bloom Creek Quilts 1 Interpretations Innovations 1 A Quilter's Life in Patchwork 1 Scraps for all Seasons 1 I Can't Believe It's Not Sewn 1 40 Bright and Bold Paper‐Pieced Blocks 1 Quick Quilts from the Heart 1 Spirit of the Northwoods 1 Our Best Seasonal Quilts 1 Stars all Around Us 1 Design Quilts 1 Small Wonders Tiny Treasures in Patchwork and Applique 1 Surprisingly Simple Quilts 1 Legacy‐The Story of Talula Gilber Bottoms&Her Quilts 1 A Child's Comfort‐Baby Doll Quilts in American Folk Art 1 Great American Quilts Book 6 1 The Quilt Digest 1 Quilts in Bloom 1 Homage to Amanda 1 Yesterday's Charm 1 500 Traditional Quilts 1 Quick and Easy Quilting 1 Small Quilts 1 Dear Hannah 1 More Feather and Other Fancies 1 Quaint Quilts to Love 1 Piecing‐Expanding the Basics 1 Patriotic Little Quilts 1 Quilting with Jodie in Cotton Country 1 The McCalls Book of Quilts 1 Color Magic for Quilters -
With Dada and Pop Art Influence
With Dada and Pop Art Influence The non-art movement • 1916-1923 • Reaction to the horror of World War I • Artists were mostly French and German. They took refuge in neutral Switzerland. • They were angry at the European society that had allowed the war to happen. • Dada was a form of protest. • It’s intention was to provoke and shock The name “Dada” was chosen because it was nonsensical. They wanted a name that made the least amount of sense. • They used any public forum to spit on: nationalism rationalism materialism and society in general Mona Lisa with a Mustache “The Fountain” “The Bride Stripped Bare by her Bachelors, Even” George Groz “Remember Uncle Augustus the Unhappy Inventor”(collage) Raoul Hausmann “ABCD” (collage) Merit Oppenheim “Luncheon in Fur” Using pre-existing objects or images with little or no transformation applied to them Artist use borrowed elements in their creation of a new work • Dada self-destructed when it was in danger of becoming “acceptable.” • The Dada movement and the Surrealists have influenced many important artists. Joseph Cornell (1903-1972) became one of the most famous artists to use assemblage. His work is both surreal and poetic. A 3-D form of using "found" objects arranged in such a way that they create a piece of art. The Pop American artist, Robert Rauschenberg, uses assemblage, painting, printmaking and collage in his work. He is directly influenced by the Dada-ists. “Canyon” “Monogram” “Bed” “Coca-cola Plan” “Retroactive” • These artist use borrowed elements in their creation to make a new work of art! • As long as those portions of copyrighted works are used to create a completely new and different work of art it was OK. -
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. -
Sculpture I – Assemblage
Name Sculpture I – Assemblage Artist: Joseph Cornell was a collector and carefully juxtaposing found objects in small, glass-front boxes, Cornell created visual poems in which surface, form, texture, and light play together. Using things we can see, Cornell made boxes about things we cannot see: ideas, memories, fantasies, and dreams. http://www.josephcornellbox.com/gallery_menu01.htm Learning Targets: Sculpture I understand how color can change a sculpture. I know there are many types of sculptures. I know that there is a wide variety of materials used in sculpture. I know how to implement the elements and principles of design into my Sculpture I know how create an sculpture with assemblage of recyclables I can create 3•D sculpture from cardboard, using paper construction methods such as scoring, mitering edges. I know how to work with paper construction techniques and Mache; learn about grain, bending, cutting, scoring, and quality of different types of paper. I know and understand the work of artist Joseph Cornell . Standards A: Skills and Techniques: The student understands and applies media, techniques and processes B: Creation and Communication: the student creates and communicates a range of subject matter, symbols and ideas using knowledge of structures and functions of visual arts. C: Cultural and Historical Connections: The student understands the visual arts in relation to history and culture. D: Aesthetic and Critical Analysis: The student assesses, evaluates and responds to the characteristics of works of art. E: Applications to Life: the student makes connections between the visual arts, other disciplines and the real world. Assessment: Design Considerations: o Outside Design, Color, Pattern, etc. -
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. -
The Quilt As Concept
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2009 The quilt as concept. Denise Mucci Furnish University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Furnish, Denise Mucci, "The quilt as concept." (2009). Electronic Theses and Dissertations. Paper 472. https://doi.org/10.18297/etd/472 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE QUILT AS CONCEPT By Denise Mucci Furnish B.A. University of Kentucky, 1972 B.F.A. University of Louisville, 2008 A Thesis Submitted to the Faculty of the Graduate School of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Arts Department of Fine Arts University of Louisville Louisville, Kentucky May 2009 Copyright 2009 by Denise Mucci Furnish All rights reserved TIlE QUILT AS CONCEPT By Denise Mucci Furnish B.A. University of Kentucky, 1972 B.F.A. University of Louisville, 2008 A Thesis Approved on March 9, 2009 By the following Thesis Committee: Thesis Director ii DEDICATION This thesis is dedicated to Guy M. Furnish whose dedication to education has made this possible. iii ACKNOWLEDGEMENTS I would like to thank my major professor, Lida Gordon, for years of inspiration, guidance, and patience. -
Assemblage Art Combine Various Materials Together to Explore the Concept of Assemblage Art
Assemblage Art Combine Various Materials together to explore the concept of assemblage art. Big Idea Recycled materials can be used to create art. Standards 4.A Listens effectively in formal and 26.A Understand processes, traditional informal situations. tools and modern technologies used in the arts. 9.A Demonstrate and apply geometric 31.A Develop a positive self-concept. concepts involving points, lines, planes and space. 25A Understands the sensory elements, organizational principle and expressive qualities of the arts. Materials • Used cardboard boxes (lids are good too) • Metal scraps (make sure • Scissors these are not sharp) • Glue/tape • Popsicle sticks • Markers (for names and to • Other recycled materials, like decorate) buttons, lids, fabric, etc. • Scraps of sanded wood • Photographs of Louise (check with local lumber Nevelson work (search on yards, hardware stores or internet) parents) Inspirational Artwork & Resources Big Black by Louise Nevelson An American Tribe to the British People by Louise Nevelson The Art of Assemblage historical document by William Seitz Vocabulary Assemblage: a group of things gathered or collected; an assembly; collection Collage: a technique of composing a work of art by pasting on a single surface various materials Negative space: empty space, space around an object or form; also called white space Recycle: to extract useful materials from garbage or waste Recyclable: fit for or capable of being recycled Setup Find a clean space to work, either a table or floor area and cover it with newspaper. One may want access to a sink to wash hands. Directions 1. Describe assemblage to children and other vocabulary definitions. -
Cultural Ramifications of the Found Object in Contemporary African Art
International Journal of Multiculturalism Volume 2, Number 1, 2021. 50-74 DOI: 10.30546/2708-3136.2021.2.1.50 CULTURAL RAMIFICATIONS OF THE FOUND OBJECT IN CONTEMPORARY AFRICAN ART Clement E. AKPANG FRSA : https://orcid.org/ 0000-0002-5510-4304 Cross River University of Technology, Calabar, Nigeria © The Author(s) 2021 ABSTRACT ARTICLE INFO Arguably Found Object genre represents the most dominant form of ARTICLE HISTORY contemporary artistic expression with unlimited possibilities of material exploration and conceptual ideation. However, Found Object discourse Received: institutionalized in European art history is exclusively western and dismisses 17 November , 2020 Accepted: those of other cultures as mimesis and time-lag. This paper aims to prove that the dominant contemporary discourse of „Recyla Art‟ which many African sculptors 8 February, 2021 Published: have been absorbed into, problematically blurs the conceptual and ideological 25 April, 2021 differences in European and African exploration of discarded objects in art Available online: creation. Using a triangulation of Formalism, Iconography and Interviews as 25 April, 2021 methodologies, this paper subjects the works of El Anatsui, Delumprizulike, Nnena Okore, Bright Eke, Olu Amonda and others to formalistic and interpretative analysis to establish the postcolonial context of the found object in contemporary African art. Findings demonstrate that European and African appropriation of discarded objects in art differs according to societal context in KEYWORDS form and content. The paper therefore concludes that found object art is culture- specific and defined by unique cultural ramifications, thus, to fully understand Found Object, Art, the dynamism of this art genre, a culture-specific or localized reading is required Culture, Ramifications, because the context of its emergence in Europe stands in contradiction to its Africa, Europe conceptualism in contemporary African art-space. -
Assemblage Art Made from “Throwaways”
Assemblage Art made from “throwaways” Art has been created from cast-off materials since art has been in existence. Certain artists are drawn to making something out of what would generally be considered nothing — taking what most people would view as useless and arranging it in an artistic manner, or placing it with traditional materials or in a particular setting that elevates it from junk to art. Art created in this manner is often referred to as “assemblage” and endless varieties of it exist. It can be very sculptural, as seen in the recycled automobile parts assembled Materials by John Angus Chamberlain. It can Blick® Economy Canvas Panels, resemble a stage set, as demonstrated in 8" x 10", classroom package of 24 (07015-1012) Ed Kienholz’s large-scale installations. Or it Wood pieces, use scrap or any of the can be confined to a plane or box, such as following: the assemblages of Joseph Cornell. Treasure Chest of Wood, 10-lb In this particular lesson plan, students will assortment (60919-0000) look closely at the work of Louise Nevelson, Creativity Street® Wood Shapes, known for her abstract sculptures made 1000 piece assortment (60453-1000) from cast-off pieces of wood — actual street “throwaways” — uniformly coated Craftsticks, box of 1000 (60401-1001) with black or white spray paint. Students Economy Wood Project Bag, will create their own assemblages from 72 cu inch (60416-8480) wood pieces and other cast-off objects on a panel. Cast-off objects, such as buttons, machine parts, wire, toy parts, recycled plastic pieces, old jewelry, foamboard or heavy cardboard Nevelson is credited with saying “I think all scraps, small boxes, lids and so on. -
Found Object/Readymade Art in the Treatment of Trauma and Loss
Journal of Clinical Art Therapy Volume 3 Issue 1 Journal of Clinical Art Therapy, 3rd Article 3 Edition July 2016 Found Object/Readymade Art in the Treatment of Trauma and Loss Michal Bat Or University of Haifa, [email protected] Orna Megides University of Haifa, [email protected] Follow this and additional works at: https://digitalcommons.lmu.edu/jcat Part of the Clinical Psychology Commons, Counseling Psychology Commons, Psychological Phenomena and Processes Commons, and the Social Work Commons Recommended Citation Bat Or, M. , Megides, O. (2016). Found Object/Readymade Art in the Treatment of Trauma and Loss. Journal of Clinical Art Therapy, 3(1), , retrieved from: https://digitalcommons.lmu.edu/ jcat/vol3/iss1/3 This Peer Reviewed Article is brought to you for free and open access by the Marital and Family Therapy at Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in Journal of Clinical Art Therapy by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. Found Object/Readymade Art in the Treatment of Trauma and Loss Cover Page Footnote Acknowledgments:To my teachers- Judith Siano and Tamar Hazut, for their unforgettable invitations to create readymade; to my students, Michal Rubens, Noa Lavie, and Sivan Kfir who have deepened my observation; and to Etiya Hayut for her precious psychoanalytic insights. This peer reviewed article is available in Journal of Clinical Art Therapy: https://digitalcommons.lmu.edu/jcat/vol3/ iss1/3 Bat Or and Megides: Found object/Readymade 1 Abstract Found object/readymade art is a familiar expressive medium in art therapy that has been insufficiently explored. -
Aug 2012 Newsl
www.WestsideQuiltersLosAngeles.org Vol. 3, No. 3 August 2012 MESSAGE FROM OUR PRESIDENT PROGRAMS ROBERTA WALLEY AND SHARON WHELAN TINA NORD Program Co-Chairs Learning To Be Color-Wise On Friday, August 10 we feature author and quilter Judy This year at Asilomar I was lucky to have Ursula Kern as my Sisneros’ Circle Pizzazz workshop. Please note that there is some teacher. Ursula taught color, design and textiles at the art institute in homework to be done beforehand. We have Judy's templates Basel, Switzerland for 30 years. Among her gems: Use no more than ready to send to you, or you can pick them up and cut your fabric three color families in a quilt. Her white, brown and pink quilt evoking so as to be ready to go. the last of winter’s melting snow was a perfect example. She also recommended blue as an accent color with any palette. Ruth McDowell taught me to use white a few times in each quilt. This dictum led me to collect batiks with white (rare!) and printed fabrics with medium-size white motifs. While shopping with a friend at The Cotton Shop, I noticed our two stacks of bolts at the cutting station. My friend had earth tones and I had jewel tones. About that time I took a “New York Beauty” class taught by Becky McClure at Sewing Arts. Her class sample used vibrant fabrics that I couldn’t seem to find. When asked, Becky said her friend near San Diego hand-dyed fabric. By telephone, I ordered a At our General Meeting on Saturday, August 11 Nancy King will slew of bright colors. -
Civil Society and the State in Democratic East Asia
PROTEST AND SOCIAL MOVEMENTS Chiavacci, (eds) Grano & Obinger Civil Society and the State in Democratic East Asia East Democratic in State the and Society Civil Edited by David Chiavacci, Simona Grano, and Julia Obinger Civil Society and the State in Democratic East Asia Between Entanglement and Contention in Post High Growth Civil Society and the State in Democratic East Asia Protest and Social Movements Recent years have seen an explosion of protest movements around the world, and academic theories are racing to catch up with them. This series aims to further our understanding of the origins, dealings, decisions, and outcomes of social movements by fostering dialogue among many traditions of thought, across European nations and across continents. All theoretical perspectives are welcome. Books in the series typically combine theory with empirical research, dealing with various types of mobilization, from neighborhood groups to revolutions. We especially welcome work that synthesizes or compares different approaches to social movements, such as cultural and structural traditions, micro- and macro-social, economic and ideal, or qualitative and quantitative. Books in the series will be published in English. One goal is to encourage non- native speakers to introduce their work to Anglophone audiences. Another is to maximize accessibility: all books will be available in open access within a year after printed publication. Series Editors Jan Willem Duyvendak is professor of Sociology at the University of Amsterdam. James M. Jasper teaches at the Graduate Center of the City University of New York. Civil Society and the State in Democratic East Asia Between Entanglement and Contention in Post High Growth Edited by David Chiavacci, Simona Grano, and Julia Obinger Amsterdam University Press Published with the support of the Swiss National Science Foundation.