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Textile Society of America Newsletter 23:2 •Fl Spring/Summer 2011
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Newsletters Textile Society of America Spring 2011 Textile Society of America Newsletter 23:2 — Spring/Summer 2011 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 23:2 — Spring/Summer 2011" (2011). Textile Society of America Newsletters. 61. https://digitalcommons.unl.edu/tsanews/61 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Newsletters by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Textile VOLUME 23 n NUMBER 2 n SPRING/SUMMER, 2011 Society of America Tinkuy de Tejedores by Marilyn Murphy CONTENTS accompanied with translations in English, Quechua, and Spanish. 1 Tinkuy de Tejedores Topics covering fiber and natu- 2 TSA News ral dyes, ancient and traditional 3 From the President weaving, and the recovery and commercialization of textiles 4 TSA Study Tours were crammed into two days. 5 TSA Member News Representatives from the commu- 8 Tinkuy de Tejedores, cont’d. nities spoke alongside the scholars and other invited guests. Q&A 9 Conference Reviews time followed each presentation. 10 Symposium 2010: Reports by For most of the first day, the TSA Award Recipients questions came from the English- 11 Textile Community News speaking participants. But slowly, 13 Book Reviews the indigenous women’s voices emerged. 14 Publication News GATHERING OF WEAVERS The Welcome Ceremony The richness of Tinkuy went 15 Featured Collection: American took place in the Sacred was led by an Andean priest, far beyond the speakers and their Swedish Institute A Valley of Peru Nov. -
A Voyage of Discovery Through the Threads of Bengali Embroidery
a voyage of discovery through the threads of Bengali embroidery a voyage of discovery through the threads of Bengali embroidery . -
Textile Arts Council
The Bay Area Forum for artists, Textile Arts Council aficionados & collectors of weaving, rugs & tapestries, baskets, costume & wearable art January 2010 Upcoming Programs and Announcements Unless otherwise indicated*, all programs are held in the Koret Auditorium at the de Young Volume XXV, Museum in Golden Gate Park, 50 Hagiwara Tea Drive, San Francisco. Admission to the programs Number 1 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 from the garage level or the main floor entrance between the main and side doors to the Museum. (*alternate location, when indicated, is the Legion of Honor Museum, 34th Ave & Clement St., San Francisco.) Saturday, January 16, 2010, 10 a.m. 150th anniversary. Her work was shown in the 9th The Art Quilt, An Overview: 20 Invitational Triennial of Tapestry in Lodz, Poland. Years In The Development Of Major US museums own her quilts, as does the Quilts As Art Made For The Wall Chojun Textile Museum in Seoul, Korea. She has taught and lectured throughout the United States, With Yvonne Porcella Canada, Australia, Europe, and Japan. She is The definitive exhibit, “The Art Quilt,” toured the the Founder of Studio Art Quilt Associates; was United States for three years, showing overly- honored as an inductee in the Quilters Hall of Fame, large-sized quilts made by 16 artists. Curated Marion, Indiana; and was the 5th recipient of the by Michael Kile and Penny McMorris, Silver Star Award at the International Quilt Festival, the catalog for the exhibit defined the Houston, Texas. -
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 . -
View Resume/Vita
Email: [email protected] LinkedIn : https://www.linkedin.com/in/eulandasanders EDUCATION: 1997 Doctorate of Philosophy Human Resources and Family Sciences, University of Nebraska-Lincoln Dissertation Title: African American Appearance: Cultural Analysis of Slave Women’s Narratives Advisor: Joan Laughlin, Ph.D. 1994 Masters of Arts Design, Merchandising and Consumer Sciences, Colorado State University Thesis Title: AutoCAD for Hand-Knitted Garment Production: Art Deco Design Advisor: Diane Sparks, Ed.D. 1990 Bachelor of Science Apparel and Merchandising, Colorado State University Honors: Cum Laude 1987 Associate of Arts Liberal Arts, Lamar Community College Honors: President’s List and Graduation Student Speaker ACADEMIC POSITIONS: August 2012 - forward Professor and Donna R. Danielson Endowed Professorship in Textiles and Clothing, Department of Apparel, Events and Hospitality Management (AESHM), College of Human Sciences, Iowa State University Current: Teaching 60%, Research/Creative Scholarship 20%, Service 20% Lead the development of the apparel design and product development programs Mentor tenure-track and non-tenure track faculty in apparel design and product development Recruit, mentor, and advise top graduate students into the department Manage the Digital Apparel & Textile Studio (DATS) 1 June 2016 – forward Equity Advisor, College of Human Sciences, Iowa State University Chair the CHS Committee on Diversity, Equity, and Community (DEC) and represents the CHS on the ISU Committee on Diversity Coordinate regularly with -
Copyright Law and Quilted Art, 9 J. Marshall Rev. Intell. Prop. L
THE JOHN MARSHALL REVIEW OF INTELLECTUAL PROPERTY LAW PATCHWORK PROTECTION: COPYRIGHT LAW AND QUILTED ART MAUREEN B. COLLINS ABSTRACT Historically, quilts have been denied the same copyright protection available to any other expression in a fixed medium. When quilts have been considered protectable, the protectable elements in a pattern have been limited, or the application of the substantial similarity test has varied widely. One possible explanation for this unequal treatment is that quilting is viewed as 'women's work.' Another is that quilts are primarily functional. However, quilts have evolved over time and may now be expensive collectible pieces of art; art that deserves copyright protection. This article traces the history of quilt making, addresses the varying standards of protection afforded to quilts and concludes that consistent and comprehensive protection is needed for this art form. Copyright © 2010 The John Marshall Law School Cite as Maureen B. Collins, Patchwork Protection: Copyright Law and QuiltedArt, 9 J. MARSHALL REV. INTELL. PROP. L. 855 (2010). PATCHWORK PROTECTION: COPYRIGHT LAW AND QUILTED ART MAUREEN B. COLLINS * INTRODUCTION When is a quilt a blanket and when is it art? This question takes on greater importance as the universe of quilted art expands and changes. Once relegated to attics and church craft bazaars, the quilt has come out of the closet. Today, quilts are found in museums 2 and corporate headquarters. 3 They are considered to be among the most collectible "new" forms of art. 4 Quilting is a multi-million dollar industry. 5 Handmade quilts fetch asking prices in the tens of thousands of dollars. -
Alef-Bet Patchwork Quilt
Women’s League for Conservative Judaism CH #24 ALEF BET INSTANT PATCHWORK QUILT Patchwork and quilting are two separate arts that were combined by the early settlers of this country to make beautiful quilts. Patchwork is very simple, requiring only accuracy in making the units. The sewing of patchwork consists only of a straight seam. Quilting is the process of sewing the layers of quilt together by hand. Patchwork and quilting, while pleasant to do, take time and patience – but are indeed worth it. Instant patchwork quilting is fun to do, for in no time at all, beautiful and lasting easy care quilts, comforters and throws can be made for loved ones. The quilts can be made quickly because you use material with a patchwork design for the top layer of your quilt (there is no need to sew squares together). This patchwork material may be bought at your yard goods department or you may use a “patchwork design” sheet found in the line department. Bed sheets are excellent to use for both top and lining of your quilt. If you buy the no-iron sheets, they are practically care-free and come in widths to fit all beds. MATERIALS: 1. Patchwork material – fast dye, cotton fabric. 2. Lining – fast dye, cotton fabric of same good quality as top. 3. Scraps of plain colored material for alphabet. 4. Long needle with large eye. 5. Small ball of matching or contrasting yarn. 6. Batting – enough for 1 or 2 layers (I used two for added puffiness) 7. Dining room table or large work table. -