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#textiles exhibition catalogue
fashionbooksmilano · 5 months
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Dal vicino occidente
tessuti e tappeti sardi dal 16°secolo ad oggi
Alberto Boralevi, Silvia Mucci, Maurizio Cohen, Antonio Costantino, Gerolama Carla Mantiglia, I.S.O.L.A.
Ass.Cukturale Il Tappeto Parlante, Roma 1997, 100pagine, 20x20cm,
euro 30,00
email if you want to buy [email protected]
Quaderno n.3 "Dal vicino occidente" edito in occasione dell'esposizione di tessuti e tappeti sardi dal 16°secolo ad oggi Roma, Perugia, Firenze 1997
02/11/23
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garadinervi · 1 month
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Otti Berger Weaving for Modernist Architecture, Edited by Judith Raum, Bauhaus-Archiv Berlin / Museum für Gestaltung, Hatje Cantz Verlag, Berlin, 2024
Texts: Esther Cleven, Magdalena Droste, Tanya Harrod, Juliet Kinchin, Corinna Rader, Judith Raum, Katja Stelz Design: Lamm & Kirch
Exhibition: Otti Berger. Weaving for Modernist Architecture, An installation by Judith Raum, the temporary bauhaus-archiv, Berlin, March 15 – August 8, 2024
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alessandro55 · 6 months
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Rachid Koraïchi 7 Variations autour de l'indigo
René Guitton, Danièle Giraudy
Photographies Jean Bernard, Rachid Koraïchi, Jean Pierre Linuésa
Éditions Alors Du Temple/Musées de Marseille, 2003, 48 pages, 21x27,5cm, ISBN 978291793248
euro 40,00
email if you want to buy : [email protected]
Exposition du 28 janvier au mars 2003 Galeries de la Vieille Charité, Musées de Marseille
Associant les techniques ancestrales des tampons de bois en usage à Alep (Syrie) et la couleur traditionnelle des indigotiers marseillais, R. Koraïchi a créé de nouvelles étoffes : aujourd'hui exposées sous forme de bannières ou de carrés, elles se déclinent autour du chiffre 7 et de sa mystique.   L'artiste méditait. Il était venu chercher l'inspiration dans cette cité vieille de plusieurs millénaires. Alep au nord de la Syrie. Comme les couleurs voyagent, il voulait retrouver des traces de bleu sur cette route de l'Inde d'où venait l'indigo. Car en Alep, au fil des siècles, cette teinture avait été l'objet de nombreuses études dont certains secrets furent peu à peu révélés: indigo mêlé d'écorce de grenade avec addition d'eau de dattes ou de suc de raisin noir broyé ou de figues piétinées. Ces macérations étranges conféraient à l'indigo d'Alep une haute réputation dans toute la Méditerranée, Rachid Koraïchi souhaitait aussi acquérir de la soie, chiner de ces tampons anciens que les imprimeurs de tissu utilisaient encore au début du XXe siècle. Il les mêlerait aux siens qu'il allait créer ici, inspiré, comme nulle part ailleurs, par les étoffes imprimées. L'ambassade de France, à Damas, et les responsables des services culturels, sensibles au projet à ce point prometteur lui accordèrent une aide chaleureuse et il fut hébergé en une demeure, vestige du Mandat français, toute proche de la citadelle. L'artiste allait y travailler en paix et remonter la mémoire de l'indigo et des routes de la soie.
23/09/23
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wilberave · 1 year
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screaming and crying when i see “vintage sellers” online selling 18th century waistcoats and shit for like $90 so someone can either destroy it with sweat and dirt and wear or they can shove it in a garment bag in the back of their closet where no one can see it or learn from it. this is definitely like. nuanced and it’s hard to draw the line between something that’s vintage and something that’s.. idk an “artifact” that should be preserved and museums definitely do not always do what they should or treat their collections perfectly BUT gd it’s gotta be better than the dpop girlies
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jontrayner · 5 months
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Notes on women in early printmaking
While in Baltimore for the SCSC this year I attended a panel related to the exhibition Making Her Mark – A History of Women Artists in Europe 1400-1800 at the Baltimore Museum of Art.  As part of this, the methodological approaches the curators took towards the attempted identification of female artists amongst the various anonymous objects within museum collections was discussed. 
This, apart from being interesting in its own right, sparked something relating to an ongoing conversation I had been having with several other conference attendees about who were all these anonymous formschneider (cutters of the wood blocks for relief print illustrations) who made the images that we were considering.  I asked the exhibitions curator, Theresa Kutasz Christensen, about this and she said absolutely, women were involved in the early print industry and there was an essay in the catalogue on this subject.
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Yolanda Bonhomme, Extravagantes viginti Joannis Vigesimissecundi…, Paris, 1549.
I fortunately had time to see the exhibition – which was excellent – and get a copy of the catalogue.  The essay, by Madeleine C. Viljoen, focused mainly on later intaglio printing in Italy but did highlight the work of the nuns at the convent of San Jacapo di Ripoli in Florence in the late fifteenth century – who I was aware of from their brief employment of Niccolò di Lorenzo in 1480 – and the amazing work of Yolande Bonhomme in Paris in the sixteenth.  Bonhomme, from a printing family, ran the press at the sign of the Unicorn and was the first documented woman to print publish an edition of the Bible (in Latin) in 1526.  This, while all interesting background stuff, did not really help with the discussion on woodblock printing in the German speaking lands that are my particular focus.
Another essay in the catalogue, on the printing of textile patterns, by Alexa Greist did however have some useful information on the activities of the Augsburg printer Johann Schönsperger the younger who took over his father’s press in ca.1521.  Most of the output from this press I am aware of relates, naturally, to radical political and religious pamphlets and merges with the work of Jörg Gastel who appears to have taken many of Schönsperger’s blocks to Zwickau in 1523-4.  Following this, between 1525 and 1529 Schönsperger published A New Book of Forms – one of the first commercial pattern books for lace and embroidery. 
This work, intended for the emerging “feminine” trades of textile production (see Sebald Beham’s The Spinning Bee, ca.1524), does not necessarily prove the involvement of female labour the workshops of Schönsperger and Gastel at this time.  But, taken with the wider discussion on the topic from Viljoen and Kutasz Christensen, can be at the very least be used to demonstrate its possibility.  This connection between the radical printers of pamphlets of the “common man” and the female worker gives an important reminder that the assumptions around gender so commonly made about the early history of printing are precisely that – assumptions.
***
Primary sources:
Sebald Beham, Spinning Bee, ca. 1524, Ashmolean Museum of Art and Archaeology, Oxford.
Yolanda Bonhomme, Extravagantes viginti Joannis Vigesimissecundi…, Paris, 1549. Collection of Lisa Unger Baskin.  (Author’s photograph.)
Johann Shönsperger the Younger, Ein ney Furmbüchlein, Augsburg, ca.1525-9.  The Metropolitan Museum New York, 18.66.1(1-33).  (Available at: https://www.metmuseum.org/art/collection/search/354716)
Secondary sources:
Böninger, L., 2021, Niccolò di Lorenzo della Magna and the Social World of Florentine Printing, ca. 1470-1493, Cambridge: Harvard University Press.
Greist, A., 2023, “Prints and Needles: Women Makers and European Textile Pattern Books”, in A.B. Banta, A. Greist and T. Kutasz Christensen (eds.), Making Her Mark – A History of Women Artists in Europe 1400-1800, Fredericton: Goose Lane.  30-41.
Kutasz Christensen, T., 2023, “Too Good to be by a Woman: Locating Pre-Modern Women Makers in Museum Collections” SCSC, Baltimore, MD.
Stewart, A., 2003, “Distaffs and Spindles: Sexual Misbehavior in Sebald Beham’s Spinning Bee”, Faculty Publications and Creative Activity, School of Art, Art History and Design, University of Nebraska – Lincoln.  4. (Available at: https://digitalcommons.unl.edu/artfacpub/4)
Viljoen, M.C., 2023, “Multiple Challenges or the Challenge of Multiples: Early Modern Women as the Creators of Prints”, in A.B. Banta, A. Greist and T. Kutasz Christensen (eds.), Making Her Mark – A History of Women Artists in Europe 1400-1800, Fredericton: Goose Lane.  58-75.
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romanov-ramblings · 2 years
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Voided velvet upholstery used for the Maple Living-Room of Her Majesty at the Alexander Palace in Tsarskoe Selo
In the Maple Living-Room of Her Majesty, a variety of textiles were used to decorate the Empress’s informal reception-room which was made up of forty pieces of built-in and free-standing furniture. Among these various chairs, tables, sofas, etc. were a folding-screen with leaded-glass inserts, small stools or benches with curved arm rests and an upholstered wingback chair which was built in the same shape as the one from the Lilac Cabinet of Her Majesty.  In the collection of GMZ Tsarskoe Selo, there are pieces of these textiles which were cut from the furniture by the last chief curator of the Palace-Museum, Anatoly M. Kuchumov to preserve the textiles used, in the event a restoration were to happen as was hoped for. However this did not happen, and what had been left of the Maple Living-Room was stripped by the early 1950′s and a load-bearing wall was placed in the middle of the four windows, effectively making two exhibition halls. Today, the post-war configuration has been removed and the room faithfully reconstructed to how it looked prior to the Second World War. One of the textiles in particular, a voided velvet ground of green with a stylised, blue and green peacock feather motif was used to decorate several pieces of furniture - a wingback chair, folding-screen, curved benches, and seat cushions for the seats of some of the wooden armchairs - all of which was designed and executed by the firm of F.F. Meltser & Co. - the Court Decorator being R.F. Meltser.  Currently, furniture is still in the production stage for the Maple Living-Room by the Tsarskoselskaya Restoration Workshop, and in the future the room will be filled with more pieces until the stage for this room is completed.  ________________________________________________________________ Please enjoy these images, and If you'd like to share them elsewhere, you can download them yourself and if you do so, PLEASE remember to credit the institution/news source/author/photographer - in this case Gosfond, and GMZ Tsarskoe Selo, Mr. Newman appropriately! Thank-you.   ________________________________________________________________ Photographs:
1. Remnant of the voided velvet used for upholstering furniture. This piece of textile is in the collection of GMZ Tsarskoe Selo (digitised via Gosfond). 2. An upholstered stool/bench from the furniture suite of the Maple Living-Room. Manufactured by the firm of F.F. Meltser & Co. Photograph from “Antiques, Objects of Art and Collectibles,” Circa. 2004. 3. An overstuffed, wingback chair from the furniture suite of the Maple Living-Room. Manufactured by the firm of F.F. Meltser & Co. Photograph from “Antiques, Objects of Art and Collectibles,” Circa. 2004. 4. Cropped detail of a photograph of the Maple Living-Room taken in 1928, by American photographer, “Mr. Newman” showing the folding-screen. Sources:
Gosfond (State Museum Catalogue of the Museum Fund of Russia) GMZ Tsarskoe Selo (Tsarskoe Selo State Museum Reserve) "Antiques, Objects of Art and Collectibles," Circa. 2004. Mr. Newman, Photographer. Circa. 1928. Link of courtesy:   www.goskatalog.ru https://antiqueland.ru/articles/1507/
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604miaaa · 1 year
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French illustrator Lou Benesch ️
Lou Benesch is an artist and illustrator from Paris. His illustrations are full of imagination and storytelling. He is inspired by folklore, animals and literary works. The colors are simple and clean, and the brush strokes are well-polished. They are very stretched and exquisite. Her works have two characteristics, one is the anthropomorphic expression, her love for animals and insects in nature, and the other is the combination of fairy tales and bold brain holes to create brushstrokes that belong to her own way of expression. The animals in her works are often the main elements of the picture, and they are preserved as much as possible. The attitude of creation, the shape of animals, has an otherworldly creative thinking.Lou Benesch's expertise in designing layouts for exhibition catalogues, creating illustrations for books, textiles, packaging, and developing her own artistic practice has given her a broader creative direction and reference to frame her narratives in abstract and more explicit ways s story. Her love for literature, folk tales, Greek myths and fairy tales made her work more deviating from reality and bolder ideas, and to interpret pictures and stories closer to her inner expression. For example, she painted a dragon-like creature. , wrapping themselves around one head, and the other seeing a subject covering their eyes with their hands, and a snail crawling over their fingers. In her creation, she uses a notebook as a draft, and then slowly conceives the picture, the composition is interesting, and the color is simple and vivid.
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arthistoryanimalia · 1 year
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One more for #MosaicMonday:
House of the Rams' Heads Floor Mosaic Roman, Antioch late 400s - early 500s C.E. marble & limestone tesserae 76.2 × 208.3 cm (30 × 82 in.), 463 lb. [Worcester Art Museum 1936.33]
"This is one of four extant parts of an elaborate wide border that presumably framed a large central panel now lost (see Kondoleon catalogue, p. 134). The design is made up of the repeated motif of two confronted rams' heads (actually the foreparts or protomes of the rams) set on a pair of open wings with gray ribbons fluttering below. The ram's heads are mainly in shades of yellow, ranging from dark to light, with some white and flesh-colored tesserae as well; their horns are of light and dark gray, indicating striations, and the horns of every second pair of rams are outlined in black; they wear red collars. Red-pink roses with gray stems punctuate the spaces between the confronted rams' heads and again between the pairs.
Several features of the design have led scholars to connect this mosaic and a related pavement found on the upper level of the House of the Phoenix, also from Daphne and today in the Louvre (see Kondoleon catalogue p. 134, fig. 2) to Sasanian art (*1). The motifs of wings with a fluttering ribbon and ram protomes above wings, distinctive to Persian art, are found on the textiles, rock carvings, seals and metalwork of the Sasanian period (*2). The juxtaposition of the borders featuring rams' protomes and the two stucco pieces decorated with rams in WAM's Antioch exhibition (cat. Nos.21 and 22) reflects the close correspondence between the Antioch mosaics and Sasanian art, but the path of transmission remains unclear. Although the individual components of the border are distinctly Sasanian, their specific use is not. In Sasanian art the protome motifs appear either singly, as in the case of the Worcester pattern block, or in pairs rising from a shared base, though almost always facing outward, stressing their more abstract and ornamental aspect (*3). Can the confronted Antiochene version of the motif be an illustration of the innate naturalistic tendencies of Hellenistic-Roman art? Since there is evidence for the borrowing of Greco-Roman artistic vocabulary, especially in Sasanian metalwork, we might assume that Antiochene workshops had a reciprocal interest in Sasanian motifs. The two Daphne borders demonstrate such an interest. Undoubtedly, motifs and designs were carried through the exchange of portable arts, most likely coins, textiles, and metalwork."
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mybeingthere · 2 years
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"Hamon" by Akira Takashina, shibori and sashiko, indigo dyed cotton, 1990. This spectacular piece of indigo dying is from Ana Berger's exhibition and her catalogue  "Japon TEXTIles, 2016.". 
Ana writes about Akira: "She was born in 1955, on the island of Kyushu. From the age of 20 she worked with indigo, but her deep engagement with this colour began in 1985."
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daniele-burlando · 2 years
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Re-Weaving an Indian textile from Artek
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The idea of re-weaving a fabric from the collection of the Alvar Aalto Foundation first hit me when I was visiting the Foundation’s furniture collection in 2020. I had been working, at that point, closely with the Foundation for a while, and also researching Artek and Aalto textiles for a long time, but somehow I had not arrived earlier to the conclusion that I could marry my theoretical insight to my developing weaving practice.
With my delight, the idea was well received by the Foundation, whose curators asked me to inspect a cushion coming from the Experimental House in Muuratsalo [Jyväskylä, Finland], that Alvar and Elissa Aalto had designed and built between 1952-54 as their summer residency, and as a project to develop an intimate architecture research centre on the shores of lake Päjiänne.
The cushion belonged to a rattan chaise-longue in two parts – seat and ottoman – designed by Alvar’s first wife and Artek founder Aino Aalto. The element I had to work on consisted in the padding for the ottoman part. It was threadbare on one side in the middle section and, as the house is open for visitors in the summer, curators wished to attempt substituting it with a reproduction.
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The textile turned out to be an Indian plain-weave cotton fabric, belonging to the selection that Artek marketed between the 1960s-70s. Designer Sinikka Killinen had been traveling to the weaving mill in India – Commonwealth Trust Ltd. [Calicut, Kerala] – and had designed some textiles for Artek on location. This was possibly inspired by a 1965 display at Artek of textiles by Sheila Hicks, that she had created while working for Commonwealth Trust. Artek marketed both Killinen’s designs, as well as the producer’s own catalogue fabrics, to which the one I was dealing with belonged. Exhibitions of these textiles had been taking place at Artek in 1970 and 1976, the latter involving performative weaving by invited Indian weavers in the Artek shop, for the visitors to witness.
I started approaching the textile in what would be a discovering process for me, because it was the first time I embarked on such a project. I started by counting the thread density in the warp, which was 24 per millimetre, and sitting with a pantone catalogue, trying to match each coloured thread to the corresponding shade. I did so using the small bits of torn yarn sticking out in the threadbare section, in order to not have the colours distorted by the interaction with the weft, which was a bright emerald green. The weft was composed of a repeating pattern of four stripes of different width: three shades of blue and black.
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I tried then to retrieve similar yarns, both by visiting yarn shops and checking leftover yarns on sale in different contexts, and by referring to the catalogue of yarns available in Finland. I managed, in the end, to match almost all the colours quite closely by recurring to Bockens Bomullsgarn yarn: Ne 8/2, Tex 74x2 for the warp [colours 603, 137, 522] and Ne 16/2, Tex 36x2 for the weft [colour 3060].
There was only one colour I could not match: the lighter shade of blue. After some research and pondering I found some crochet cotton yarn from Esito [Ne 8/4, Tex 74x4, colour: 9051] which was way bigger than the size I needed, but that I could try to divide in smaller sections: extracting the four individual yarns twisted into the bigger size. This was a solution whose implications I did not entirely grasp: the fact that it would be extremely time consuming, and that the yarn would have been very fragile and difficult to work with.
However, the end result was the one I had hoped: the final yarn had the right size and colour! In order to obtain it, I twice divided the original yarn by rolling the yarns, as I was splitting them, on a cardboard cylinder. After I obtained the right size, I had to spin it again in order to attempt making it a bit more resistant, which I did by using a spindle – as I don’t have a wheel. After this process, which required some trial-and-error, I had to steam the small resulting yarn balls, to lock the yarn in its twist and avoid the warp yarns knotting themselves with each other as soon as they were left with no tension during the dressing of the loom.
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Finally, I was ready to wind the warp! I first tried to create a smaller sample, to test my own process with reproducing the fabric, and to gain feedback from the Aalto Foundation before engaging with the bigger-size weaving. Results for the sample were satisfying – except for the light-blue yarn, that made it clear it needed to be dealt with very carefully – and the sample come out resembling quite closely the original.
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I then started approaching the full-size reproduction, and wound a tree-meter long warp, for a final product that had to be two meters long and about seventy centimetres wide. I wound the warp in two sections, and then started dressing the loom. Once the warp was ready, I got going with weaving! The weft consisted of two threads of green yarn at once. Throughout the process I had to be careful to keep the warp quite humid, to try to minimize snaps in the light-blue yarns, which ended up happening anyhow several times, though probably not as much as I feared.
The warp was also so dense that it did not open very easily, as the small loom I was using could not provide a strong enough pull. I had, thus, to help the opening with my fingers, pretty much throughout the process, which made it quite slow, but also ended up making me interact very closely with the textile, and allowed me to control the fragile warp constantly.
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Eventually, the weaving process proceeded rather smoothly, and I decided to deal with the broken light-blue threads by embroidering them into the fabric afterwards, as they were not so many, and the yarn was too problematic to add additional threads in correspondence to the broken ones during the weaving process. This ended up working quite well, with the final result managing to look like a finite fabric. Of course the ends of the broken and added threads still stuck out on one side of the fabric, but this did not matter, because It was going to be used as upholstery anyway.
I was quite satisfied with the final result, which looked quite well, and had managed to reproduce the pattern of the original quite closely. The colour, in the end, ended up being slightly different that the original, more so compared to the sample I had woven. This was unexpected, but I came to the conclusion that perhaps the very dense warp had packed the weft very tightly in, and thus the green note was less evident. This had perhaps happened slightly less in the sample, which consisted of a narrower warp. At the same time, the original had been used on the outside – as the chaise longue was often placed in the patio of the Experimental House – for perhaps six decades, and had received a great amount of sunlight, that had undoubtedly made the colours fade partly away.
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In the end, the result was very appreciated by the Foundation’s curators, and with my delight the textile has been used for its intended purpose, and now sits in Alvar and Elissa Aalto’s intimate architectural masterpiece in Muuratsalo. For me, this was a very interesting process into understanding more deeply textile making, and reflecting on the presence of Indian textiles within Artek and Aalto interiors.
The slightly uneven quality of the original, as well as its fascinating alternation of nuances, was undoubtedly what made this fabric so interesting to the designers and architects who chose it. Aalto and Artek spaces have always been characterized by functionality in its elements, a very sensitive attention to materiality and surface rendition, and a wide representation of multicultural references embedded in a pondered selection of high-quality design products.
This fabric represented all this. Dealing with the very high density of the warp was a very direct experience of the great resistance that the finite product had, which made it perfect as an upholstery textile. Spinning and steaming the yarn also turned out to be a way to approach the slightly imperfect, lively quality that the original yarn had, and that emphasized the materiality of the textile surface. The Indian provenance of the textile, finally, was an input into researching more its history, and diving into the presence of these fabrics within Artek, connecting them to my earlier research and reflections on the recontextualization of non-western textiles within European interior design and Modernism.
[My thanks to the curators of the Alvar Aalto Foundation for making this project possible, and to Aoi Yoshizawa and Rosa Tolnov-Clausen for the feedback and support throughout this process]
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fashionbooksmilano · 2 months
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Jacopo Linussio
Catalogo mostra 1991 Tolmezzo e Paularo 2 agosto - 16 novembre
Realizzazione Editoriale Allemandi, Torino 1991, 67 tavole a colori, 21,5x30,5cm, ISBN 88-422-0 32 4-6, sovracopertina mancante
euro 20,00
email if you want to buy [email protected]
Jacopo Linussio è stato il creatore di una delle maggiori manifatture tessili conosciute nel Settecento in Europa. Come molti migranti dell’epoca, imparò le tecniche, acquisì tipologie grafiche, indagò l’organizzazione dello spazio produttivo lavorando in Autria presso una manifattura tessile di Villaco. Rientrato in patria ha saputo sfruttare positivamente l’esperienza ed è stato capace di tramutare un’antica forma di artigianato locale, la tessitura, in una moderna attività imprenditoriale dando lavoro a tantissime famiglie della Carnia. Oltre a degli interessanti saggi storici, il testo contiene le schede tecniche, curate da Attiliana Argentieri Zanetti, delle varietà di produzione della Linussio con un’analisi dettagliata dei campionari che riportano le armature, la descrizione del disegno, le immagini dell’originale e molti altri dati interessanti.
21/01/24
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garadinervi · 11 months
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Leo Wollner: Textielontwerper, Essay by Inge Santner, Designed by Willem Sandberg, Stedelijk Museum Amsterdam, 1958 [Exhibition: December 19, 1958 – January 25, 1959] [Antiquariaat Frans Melk, Hilversum]
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alessandro55 · 6 months
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Motifs d'Artistes
Une histoire du design dans l’industrie textile depuis le 18e siècle
Silvana Editoriale, Cinisello Balsamo 2023, 96 pagine, 20x20cm, brossura, Francese, ISBN 9788836655403
euro 20,00
email if you want to buy : [email protected]
L’exposition « Motifs d’artistes, une histoire du design dans l’industrie textile depuis le 18e siècle » revient sur l’origine du métier de designer textile et le rôle des artistes dans la création de motifs. Depuis les dessinateurs employés par les manufactures de soieries et d’indiennes, jusqu’à l’apparition des designers textiles, l’exposition questionne la diversité́ de leur statut et l’évolution de la reconnaissance de leur art. En s’adaptant aux contraintes techniques propres à ce domaine, ces inventeurs de formes ont donné naissance à de véritables ornements, reflets de leur univers artistique, des tendances et des pratiques de consommation de leur temps. Ainsi, Jean-Baptiste Huet, William Morris, Raoul Dufy ou encore Sonia Delaunay ont laissé une empreinte indélébile dans le répertoire des arts décoratifs.
Jouy-en-Josas, Musée de la Toile de Jouy dal 16 Giugno 2023 al 14 Gennaio 2024
04/10/23
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Welcome to Non Woven Structures!
This website is devoted to the exploration the world of non woven fiber structures alongside our in class time together this Spring. This course explores a wide range of off loom textile structures such as basketry, netting, crochet, felting and soft sculpture. 
This website will serve as the homebase for this class. Check here regularly for important course information on fiber techniques, processes, and concepts as well as information for all assignments, class announcements, and detailed linkable fiber art resources.
We will examine off loom textile techniques together in hopes of finding ways that the concepts, materials, and processes of fiber might serve to enhance your own developing art practices, wherever you go after this class.
I’m glad you are here!
Images above, from top:
I wish I was in LA to see the exhibition “Woven Histories: Textiles and Modern Abstraction” before it closes at the end of the month. However, I was able to purchase the catalogue for our fiber class library which features this particular work by contemporary artist Andrea Zittel made using the felting process which we will learn this semester.
From the exhibition press release:
“Woven Histories: Textiles and Modern Abstraction foregrounds a robust if over-looked strand in art history’s modernist narratives by tracing how, when, and why abstract art intersected with woven textiles (and such pre-loom technologies as basketry, knotting, and netting) over the past century. Although at times unevenly weighted, the diverse exchanges, alignments, affiliations, and affinities that have brought these art forms into dialogue constitute an ongoing if intermittent narrative in which one art repeatedly impacts and even redefines the other. In short, the relationship between abstract art and woven textiles can best be described as co-constitutive, and their histories as interdependent. With over 150 works by an international and transhistorical roster of artists, this exhibition reveals how shifting relations among abstract art, fashion, design, and craft shaped recurrent aesthetic, cultural, and socio-political forces, as they, in turn, were impacted by modernist art forms.“
our informal fiber studio logo designed by Baylor Graphic Design Spring 2023 graduate Delaney Bullock!!
some things to learn in fabric surface design, from a deck of cards I made using text from the book “101 Things to Learn in Art School” by Kit White. P.S. This book is available for you to look at during class in our new fiber studio library.
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viragfold · 3 months
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Is everything we dump out garbage?
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CALL FOR INTERNATIONAL MAIL ART PROJECT Is everything we dump out garbage? This “Is everything we dump out garbage?” project organized by Kasımpaşa Oya Kayacık Child Houses Site Protection Association is open to everyone. Reduce, Reuse and Recycle You may contribute to the efforts of recycling for a habitable world easily through small changes you can make in your daily routines. You may express your opinions thereon through an artistic production. If you wish, you may produce something new by using wastes. Are you ready to try? Project Owner: Kasımpaşa Oya Kayacık Child Houses Site Protection Association Organization Responsible: Nazire Öztunalı Co-operation: Atölye Arts-In Dimension: For 2-dimensional works, maximum A4 (21x30 cm) For 3-dimensional works, maximum 15x15x15 cm Category: Free (drawing/design, painting, printmaking, photograph, digital art, sculpture, ceramic, textile, etc. ) Technique: All types of techniques may be used. Last Participation Date: 29 February 2024 Exhibition: March 2024 Conditions 1- No participation fee. No jury. Works will not be returned. 2- Racist, pornographic, gender apartheid based works will not be exhibited. 3- All works should be original. 4- The rights of publication, exhibition and use of the works shall be deemed to have been transferred to Kasımpaşa Oya Kayacık Child Houses Site Protection Association. 5- Each participant may participate with maximum two works. 6- We do not accept any liability for delays, losses or damages that may occur in mail or cargo. 7- Each participant is required to give the following information, together with work(s): Artist’s name and surname Name of the work Date Technique Address E-mail Facebook/ instagram / web (optional) 8- List of participants, participation certificate and exhibition catalogue will be prepared digitally. Visuals of the works and all kinds of news and documents regarding exhibition will be shared in the following internet site addresses: https://www.facebook.com/groups/1723283651482854 https://www.instagram.com/nazir.e4823/ Please send your work by mail to the following address: ADDRESS: “Attığımız her şey çöp mü?” Uluslararası Posta Sanatı Projesi Nazire Öztunalı Kasımpaşa Oya Kayacık Çocuk Evleri Sitesi Koruma Derneği Küçükpiyale Mah. Yeni Yol Cad. No:7 Kasımpaşa – Beyoğlu – 34440 İstanbul / TURKEY For information: Meral Ağar : [email protected]
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notwiselybuttoowell · 7 months
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The synthetic revolution’s colour craze led to the exploitation of natural wonders, too, with some horrifying results. One of the exhibition’s curiosities is a necklace made from the heads of hummingbirds, whose iridescent plumage obsessed Victorians. Millions were killed to provide decorations for hats. “A minority realised [the trade’s] devastating impact and formed anti-plumage leagues,” says Winterbottom. “It was women mobilising other women.”
There was also, inevitably, a backlash against the mass adoption of bright clothing. “Outrageously crude [particularly] among shopkeepers’ wives,” sniffed one 1860s French visitor to England cited in the exhibition catalogue. The Pre-Raphaelite Brotherhood critic John Ruskin praised instead “God-given” colours while William Morris talked up the faded beauty of expensive organic dyes and initiated a trend among the haute bourgeoisie for muted tones. Yet while the brotherhood themselves advocated natural pigments, the exhibition shows that even in their stridently medievalist works, they used chemical greens.
This tension between nature and artifice fuelled some intriguing cultural shifts, with later generations intentionally overturning traditional colour symbolism and embracing forbidden hues. Of all Victorian Britain’s colour fads, green was the most controversial. By the 1860s, new arsenic greens created toxic wallpaper and notoriously caused a young woman who worked with colourful silk flowers to produce green vomit before dying. Two decades later, however, this murky history made green the colour du jour for the decadents – writers and artists who rejected establishment values in favour of a pure aestheticism. Its infamous leading agent provocateur, Oscar Wilde, had a famed green-dyed carnation that cleverly inverted norms and became a queer symbol.
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