INTERNA TIONAL Quilt STUDY CENTER
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Spring 2003 Newsletter
Nel5iasKa Lincoln NEWSLETTER Spring 2 0 0 3 From the Interim Director --Susan Belasco literature, and the workplace. Many of our students and faculty participated in the annual No Limits Conference Serving as the interim director of Women's held this year at UNO. Plans are well underway for No Studies during this semester has been a delightful Limits 2004, which will be held here at UNL and which experience for me-the chance to participate much will feature the experimental documentary filmmaker, more fully in the many activities of our program, get Lourdes Portillo, one of Ms. Magazine's Women of the to know our wonderful and dedicated staff, meet Year for 2002. current and prospective students, and observe first Thanks to the efforts of Joy and our staff, hand the impressive leadership of our director, Joy Women's Studies now has a reading room, adjacent to the Ritchie, who is on Faculty Development Leave this offices in 1214 Oldfather. The Women's Studies reading spring. room and offices (which already feature the artwork of The semester has been a busy one in staff member Glenda Moore) are filled with the artworks Women's Studies. Our Women's Studies of The Nebraska Women's Caucus for Art. The show, Colloquium series included "What Do You Do with "Storefront Window Dressing: Women Dressed/Women a Women's Studies Major?" featuring Kris Gandara, Addressed," opened on March 7 with a reception in the Gretchen Obrist, Cheri sa Price-Wells, Keri Wayne, Women's Studies offices. Rachel West, and moderated by Professor Elizabeth My term as Director ends in May, and I will Suter in Communications Studies. -
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. -
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. -
Establish NC Textile Museum. (Public) Sponsors
GENERAL ASSEMBLY OF NORTH CAROLINA SESSION 2021 H 1 HOUSE BILL 530 Short Title: Establish NC Textile Museum. (Public) Sponsors: Representatives McNeill and Hurley (Primary Sponsors). For a complete list of sponsors, refer to the North Carolina General Assembly web site. Referred to: Appropriations, if favorable, Rules, Calendar, and Operations of the House April 13, 2021 1 A BILL TO BE ENTITLED 2 AN ACT TO CREATE THE NORTH CAROLINA TEXTILE MUSEUM AND TO 3 APPROPRIATE FUNDS FOR THE SAME. 4 Whereas, the North Carolina Office of Archives and History was directed, pursuant 5 to S.L. 2019-118, to evaluate the feasibility of establishing a textile museum to preserve and 6 interpret the State's textile heritage and industrial history; and 7 Whereas, the feasibility study report was submitted to the North Carolina Historical 8 Commission on May 29, 2020, and approved unanimously at the Commission's meeting on 9 September 3, 2020; and 10 Whereas, the feasibility study report was submitted to the Joint Legislative Oversight 11 Committee on Agriculture and Natural and Economic Resources on July 17, 2020; and 12 Whereas, the Randolph Heritage Conservancy, Inc., a nonprofit corporation, is the 13 owner of real property in Franklinville and Cedar Falls on the Deep River in Randolph County, 14 which includes two of the earliest cotton textile mills in the State; and 15 Whereas, Randolph Heritage Conservancy, Inc., is also the custodian of 25,000 16 square feet of textile history artifacts and machinery acquired from the former American Textile 17 History -
Curatorial Care of Textile Objects
Appendix K: Curatorial Care of Textile Objects Page A. Overview.......................................................................................................................................... K:1 What information will I find in this appendix?...... ............................................................................. K:1 Why is it important to practice preventive conservation with textiles? ............................................. K:1 How do I learn about preventive conservation? ............................................................................... K:1 Where can I find the latest information on care of these types of materials? .................................. K:2 B. The Nature of Textiles .................................................................................................................... K:2 What fibers are used to make textiles? ............................................................................................ K:2 What are the characteristics of animal fibers? ................................................................................. K:3 What are the characteristics of plant fibers? .................................................................................... K:4 What are the characteristics of synthetic fibers?.............................................................................. K:5 What are the characteristics of metal threads? ................................................................................ K:5 C. The Fabrication of Textiles ........................................................................................................... -
The Textile Museum Thesaurus
The Textile Museum Thesaurus Edited by Cecilia Gunzburger TM logo The Textile Museum Washington, DC This publication and the work represented herein were made possible by the Cotsen Family Foundation. Indexed by Lydia Fraser Designed by Chaves Design Printed by McArdle Printing Company, Inc. Cover image: Copyright © 2005 The Textile Museum All rights reserved. No part of this document may be reproduced, stored in a retrieval system, or transmitted in any form or by any means -- electronic, mechanical, photocopying, recording or otherwise -- without the express written permission of The Textile Museum. ISBN 0-87405-028-6 The Textile Museum 2320 S Street NW Washington DC 20008 www.textilemuseum.org Table of Contents Acknowledgements....................................................................................... v Introduction ..................................................................................................vii How to Use this Document.........................................................................xiii Hierarchy Overview ....................................................................................... 1 Object Hierarchy............................................................................................ 3 Material Hierarchy ....................................................................................... 47 Structure Hierarchy ..................................................................................... 55 Technique Hierarchy .................................................................................. -
The Making of the Textile Museum Thesaurus
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DigitalCommons@University of Nebraska University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2006 Talking about Textiles: The Making of The Textile Museum Thesaurus Cecilia Gunzburger Anderson Textile Museum, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons Anderson, Cecilia Gunzburger, "Talking about Textiles: The Making of The Textile Museum Thesaurus" (2006). Textile Society of America Symposium Proceedings. 302. https://digitalcommons.unl.edu/tsaconf/302 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. Talking about Textiles: The Making of The Textile Museum Thesaurus Cecilia Gunzburger Anderson The Textile Museum 2320 S Street, NW, Washington DC 20008 202-667-0441x44 [email protected] The vocabulary for talking about textiles has always been rich and evocative, but at the same time quite varied based on many different factors, such as the specialties, nationalities, geographic foci, and professions of those involved in textile conversations. Textile artists and practitioners often use different terms than academic textile historians; researchers of European historical textiles use different terms than researchers of ethnographic textiles, who often introduce foreign terms into the discussion; and, even within the English language, North American textile specialists often use different terms than their British counterparts. -
Winter Volume 21, No.1
The Bay Area Forum for artists, Textile Arts Council aficionados & collectors of weaving, rugs & tapestries, baskets, costume & wearable art January 2006 Upcoming Programs and Announcements WE HAVE MOVED! All programs are held in the Koret Auditorium at the de Young Museum Volume XXI, in Golden Gate Park, 50 Hagiwara Tea Drive, San Francisco. Admission to the programs is FREE Number 1 to TAC members, $5 for non-members, and $3 for students with I.D. No additional Museum admission fee is necessary. You may enter from the lower garage level or from the main floor near the entrance. PROGRAMS Saturday, January 14, 2006, 10:00 A.M. in their carpets consider their home a great THE CONTEMPORARY AREA source of expression, inspiration, and energy. CARPET AS MESSENGER, Carpets need the right colors, textures, and SYMBOL & STRUCTURE design balances to make people comfortable With Hansine Pedersen Goran and to integrate all the components of a room. These things are unique to each client and Join Hansine Pedersen Goran environment. I personally go through a detailed for this highly visual, interactive process with clients to ensure that they’re lecture! Included among the topics completely satisfied with the final result.” The presented in her discussion will be resulting design that is developed is then hand- an exploration of the creation of tufted by her third-generation hand-tufting space as delineated by the area atelier. New Zealand “Fernmark” wool is used carpet, the spatial transformation for all her creations; it is lanolin-rich and comes that occurs in utilizing different from a healthy ecological system in which sizes and shapes of carpet, and a workers earn a living wage shearing sheep. -
Help a Sculpture and Other Abfunctional Potentials
Help a Sculpture and other abfunctional potentials Simone Ann Slee ORCiD: 0000-0001-9239-3371 Submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy (by creative work and dissertation) August 2016 Faculty of the VCA and MCM University of Melbourne Abstract This practice-led research investigates the relationship between sculpture and concepts of function in contemporary art. Since the Enlightenment, art and function have commonly been understood as mutually exclusive concepts. Associated with everyday life, function is considered outside the sphere of art, where the art object is predominantly positioned as “functionless” and hence “autonomous” from the everyday prerequisites of living. In the instances where art has incorporated function, this has frequently been framed in terms of dysfunction, “dissolving art into life,” or as an alternative strategy in the “dematerialisation of the art object.” Yet, a neologism that emerged from my own art practice – “abfunction,” meaning to move away from function – implies that function is implicit within art itself, suggesting that the neat separation between art and function is not so clear cut. This thesis, includes the artwork produced for the Help a Sculpture exhibition at the Margaret Lawrence Gallery, VCA in July 2016 and the written dissertation. The project asks: in what ways can the neologism abfunction reveal and divert the role of function within the production and end-effect of the contemporary artwork? Three bodies of artworks were produced for the project and have been used as case studies within the written dissertation. They are: How long (2008-ongoing), Houses that are happy to help with at least one of the possible problems of art (2010-ongoing) and the Hold UP series (2013-ongoing). -
Inhaltsverzeichnis Abstract Einleitung II. Patchwork- Und Quilt-Tradition 33
Inhaltsverzeichnis Abstract 5 Einleitung 9 1. Begriffliche Eingrenzung 14 1.1 Quilt. Funktion, Aufbau, Material 14 2. Quilten: Das Handwerk 16 2.1 Der Quiltstich 16 2.1.1 Das Handquilten 16 2.1.2 Quiltmuster 18 2.1.3 Stickmuster 19 2.2 Patchwork 20 2.2.1 Pieced Work 21 2.2.2 Applique/Applikation 21 2.2.3 Papier- oder Schablonentechnik 21 2.3 Den Quilt aufbauen 23 2.3.1 Arbeiten aus der Mitte 23 2.3.2 Blockstil 23 2.3.3 Streifentechniken 24 2.3.3.1 Seminole-Patchwork 24 2.3.3.2 Bargello-Technik 25 2.3.4 Scrap-Quilten 26 2.3.4.1 Crazy 26 2.3.4.2 Log-Cabin 28 2.3.5 Whole-Cloth 29 2.3.6 Blockstil 31 2.3.7 Weitere Techniken 31 II. Patchwork- und Quilt-Tradition 33 1. Antikes Patchwork und Quilts 33 1.1 Antikes Patchwork 33 1.2 Antikes Quilten 38 2. Die Quilts der amerikanischen Pioniere 41 2.1 Europäische Tradition im amerikanischen Quilt 42 2.1.1 Deutschstämmige 42 2.1. 2 England 43 2.1. 3 Mittelmeerländer 45 2.2 Traditionelle amerikanische Quiltkultur 46 2.2.1 Traditionelle Blockmuster und ihre Bedeutung 48 2.2.2 Quilttypen 50 3. Amische Quiltkultur 54 3.1 Kulturgeschichtlicher Hintergrund 54 3.2 Amische Quilttradtion 56 3.2.1 Quilts im Amischen Leben 56 3.3 Quilten nach der Amischen Philosophie 58 3.3.1 Material 58 3.3.2 Farbigkeit 59 3.3.3 Formen und Motive 59 3.3.4 Blockmuster der Amischen 62 7 http://d-nb.info/1025570448 III.