Journal of Textile Design Research and Practice最新文献

{"title":"Assemble: The Artifact as a Collaborative Tool in Knit Design Research","authors":"Jane Scott, Elizabeth Gaston","doi":"10.1080/20511787.2019.1578551","DOIUrl":"https://doi.org/10.1080/20511787.2019.1578551","url":null,"abstract":"Abstract This paper presents a new perspective on the role of the artifact in knit design research. The artifact is presented as a stimulus for interdisciplinary research where practice based enquiry provides only part of the required methodological approach. Reporting on a major collaboration between the curator of the Oriental Collection at The Royal Armories, Leeds, and researchers from the School of Design at The University of Leeds, this paper pursues two key trajectories. Firstly, the paper outlines how the artifact can be used as a design stimulus for interdisciplinary collaboration. This is assessed across multiple stages of design and through the production of several perspectives on key thematic ideas. Secondly, the paper reports on how collaboration, specifically in the development of these alternative perspectives, can lead to materials innovation. These two points of discussion are contextualized with reference to interior architectural installation, Inflection, and supported by analysis of The Knitting Machine, Cocoon and knitted exterior installation Configure. Findings highlight how the use of artifacts enables practitioners to adapt thinking using material practice in order to generate new knowledge.","PeriodicalId":275893,"journal":{"name":"Journal of Textile Design Research and Practice","volume":"302 5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121157057","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Living Archive: Facilitating Textile Design Research at Undergraduate Level Through Collaboration, Co-Creation and Student Engagement","authors":"Kerri Akiwowo, Lucy Dennis, George W. Weaver, G. Bingham","doi":"10.1080/20511787.2019.1593297","DOIUrl":"https://doi.org/10.1080/20511787.2019.1593297","url":null,"abstract":"Abstract With an emphasis on reinventing dress histories through a computer-aided design (CAD) approach, fashion and textiles archive, The Collections Resource Centre (CRC) in Leicestershire, United Kingdom, was utilised as the springboard for a visually rich and materially vibrant exploratory investigation. The project married historical artefacts with creative digital technologies in order to redefine fashion/textile objects from the past through practitioner-research. The study focused on textile design research from an Integrated Digital Practice perspective within Higher Education, in relation to learning and teaching at undergraduate level. The archive was employed as a fundamental pedagogical basis to aid research – visual, historical and contextual; observational; hands on experimentation; and design demonstration by investigating archives as pedagogy. The overarching aim was to tease out novel findings by exploring a palette of digital tools, methods, techniques, processes and parameters that may lead to the acquisition of new knowledge, skills and design innovation relevant to academia and industry. This was achieved through a 10-week student bursary scheme at Loughborough University that enabled: institutional and external collaboration between the student-and-staff and the student-and-archive; student-staff co-creation; and by the student engaging with outside organisations, institutions, places, people, events and media relevant to the project. Employing a collaborative and interdisciplinary methodological framework supported the concept of the archive as “having life”, based on the initial study, exploration and digital interpretation of selected archival items which resulted in a comprehensive portfolio of artistic ideas, CAD developments, technical enquiry and scientific experimentation. As such, an environment which enabled a dynamic design-research study within a scholarly context was established. The research process was substantiated by the involvement, experience and expertise of academic and technical staff whilst encouraging autonomy from a student perspective. This steered the research and helped to identify potential areas for further work beyond the scope of this project.","PeriodicalId":275893,"journal":{"name":"Journal of Textile Design Research and Practice","volume":"151 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116527145","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Threading Together Politics and Poetics in Cecilia Vicuña’s Fiber Art","authors":"J. Witkowski","doi":"10.1080/20511787.2019.1575082","DOIUrl":"https://doi.org/10.1080/20511787.2019.1575082","url":null,"abstract":"Abstract In 2006, Chilean artist Cecilia Vicuña carried thick-knotted red strands of unspun wool to Cerro El Plomo, a glaciated peak outside of Santiago. Done in response to government-sanctioned acquisitions of gold and silver mines sitting under the glacier by a Canadian corporation, Vicuña’s use of her quipu – an ancient mnemonic device – tied the historical disappearance of the Incan empire to an ecological devastation occurring in the new millennium. Her actions also referenced the Pinochet dictatorship, as well as her own exile when in 1979, she traveled to Colombia and with a red string tied to a glass of milk, spilled its contents in front of the historical home of the 19th century revolutionary leader Simón Bolivar. This pointed to the disappearance of the Allende government who promised a free milk distribution program in Chile and referenced the nearly 2,000 children who died from tainted milk in Bogotá that same year. The connection between these two projects and much of Vicuña’s work is the reliance on the thread – it critiques the military apparatus as much as it calls attention to those voices lost through colonization. I argue for an analysis of the textual layers existing within Vicuña’s fiber art, from the seemingly banal strands used in her installations and performances to their integration into her lines of poetry featuring the indigenous language of Mapudungun from the Mapuche people. In examining how these constructed fibers enter into everyday language and metaphorically address issues around identity, my paper analyzes the discourse centered on disappearance and its ties to artistic production occurring in Vicuña’s cross-cultural practice.","PeriodicalId":275893,"journal":{"name":"Journal of Textile Design Research and Practice","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128275442","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"An Artisanal History of Kalam?","authors":"Rajarshi Sengupta","doi":"10.1080/20511787.2019.1580437","DOIUrl":"https://doi.org/10.1080/20511787.2019.1580437","url":null,"abstract":"Abstract The dyed, painted, and printed cotton of the Coromandel Coast from South East India are popularly known as Kalamkari, kalam meaning a pen and kari indicating to handwork. The waqai or news reports of the Golconda court from the 1670s mention this term, which is perhaps one of the early archival records of the usage of kalamkari in Deccan. A bamboo pen with a thick grip made of cotton and cotton threads is used for making the painted textiles. While the term “kalam” is generally employed to indicate both painted and printed textile, scholarly studies have not clarified how the pen is crucial in printed textile making. During my fieldwork, I found wooden block makers in the Bandar region of Andhra Pradesh, on the Coromandel Coast, use the term kalam to specify the iron engraving tools for block carving. The artisanal usage of this term expands the meaning of kalam beyond a pen and suggests how artisanal understanding of the histories of practice can offer fresh perspectives on material culture histories and the interconnections between painted and printed textile making. Furthermore, the term is also used by the Bidri metalware artisans from the Deccan region to denote the iron engraving tools for carving, which suggests that dyed textile making in the Coromandel region is also connected to other craft activities in Deccan. This case study, focused on the term kalam, calls for better integration of artisanal insights into the scholarly studies on textiles and material culture. In my paper, I explore the etymological roots of the term kalam in literary works, and its use and transformation as a tool, among the textile practitioners and other artisanal communities in the Deccan and Coromandel regions.","PeriodicalId":275893,"journal":{"name":"Journal of Textile Design Research and Practice","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131018637","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Culture and Agency: Research from the Textile Society of America","authors":"Wendy Weiss","doi":"10.1080/20511787.2019.1568003","DOIUrl":"https://doi.org/10.1080/20511787.2019.1568003","url":null,"abstract":"This special issue of the Journal of Textile Design Research and Practice is the result of collaboration between the Textile Society of America (TSA) and the Journal. To be considered for publication, I had the challenging task of inviting a small group of authors to submit their full text papers prior to TSA’s 16th Biennial Symposium titled The Social Fabric: Deep Local to Pan Global in Vancouver, Canada in September 2018. With over two hundred abstracts submitted for peer review, the selected papers in this collection of essays necessarily represent a fragment of the current research TSA's diverse membership is undertaking. Drawing from a wealth of potential topics, I selected papers that explore scholarship and agency in cross-cultural and decolonizing contexts. Two reviews of exhibitions held in conjunction with the Symposium provide insight into the curatorial vision of the Vancouver planning team and the exceptional work of contemporary makers. Two papers examine the relationship of artisan and artifact, where text or the instruments of text help understand historical meaning. The voice of the maker is crucial to our understanding of the textile object and it’s culture. In her study of textiles with scriptural text written upon them, Nazanin Hedayat Munroe, compares ancient textiles from modern-day countries of Iran, Turkey, and India with Islamic textiles from Early Modern Islamic Culture. In her exploration of the protective and talismanic relationship of text and textile, Wendy Weiss is senior editor for the Textile Society of America and former board member. She is an artist, natural dyer, weaver, and professor emerita of textile design in at the University of Nebraska-Lincoln. She was awarded a 2014–15 Fulbright Nehru Senior Scholar Award, to follow-up on a previous Fulbright Award in 2009 to document ikat textiles from an artist’s perspective in India, and is a past recipient of two Nebraska Arts Council Artist Fellowships, as well as a Winterthur Residential Fellowship. Her work has been exhibited in solo and group shows in North America, Europe, and Asia.","PeriodicalId":275893,"journal":{"name":"Journal of Textile Design Research and Practice","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133287375","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Deep Local Exhibitions Highlights Review Textile Society of America 2018 Symposium Vancouver, British Columbia, Canada September 19–23, 2018","authors":"Marci Rae McDade","doi":"10.1080/20511787.2019.1575068","DOIUrl":"https://doi.org/10.1080/20511787.2019.1575068","url":null,"abstract":"Abstract Textile Society of America 2018 Symposium overview and review of concurrent exhibitions presented in the Vancouver, British Columbia, Canada metro area September 19–23, 2018. Reviewed exhibits focused on contemporary textile art made by local artists with an emphasis on recent works of Indigenous art.","PeriodicalId":275893,"journal":{"name":"Journal of Textile Design Research and Practice","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133930334","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Conflict Zones: Labor and Cultural Exchange in the Production of Contemporary Art Textile Works","authors":"Stephanie Sabo","doi":"10.1080/20511787.2019.1592358","DOIUrl":"https://doi.org/10.1080/20511787.2019.1592358","url":null,"abstract":"Abstract In 2014 the Hammer Museum coordinated a cultural exchange: six women contemporary artists traveled from Los Angeles to Afghanistan to work with weavers of traditional Afghan carpets. The designs imagined by the artists were produced by the weavers over a period of months, and the resulting works were exhibited and sold to benefit a women’s charity in Afghanistan. Ham Kyungah, the contemporary South Korean artist, has been exhibiting large-scale textiles since 2008. Ham illegally ships her designs across the demilitarized zone to be fabricated by skilled North Korean embroiderers. Although Ham has never met the workers who craft her designs, they must study her instructional templates—filled with messages that otherwise would have been censored—in order to reproduce them in thread and cloth and send them back over the border. Through such interactions, artists living outside of these conflict zones gain knowledge of and empathy for their inhabitants, and also provide the means for them to earn income and to access cultural content. In the artists’ home countries, the pedagogical nature of the exhibitions enables greater visibility around the lives of women in these other regions, shows the reach and the effects of war, and is meant to enlighten the gallery visitor. However, beyond its financial incentives, the educational “benefit” of the cultural exchange to the relatively anonymous practitioners of the traditional crafts warrants examination. Using highly skilled yet cost-effective labor in producing time-intensive textile pieces—which are then circulated as artworks in the home country—yields a large amount of surplus value, while long-held aesthetic traditions are subject to the influences of foreign artists and curators. I will assess how various aspects of value production within this cultural exchange model function with regard to neo liberal economic structures and to the underlying causes of global conflicts.","PeriodicalId":275893,"journal":{"name":"Journal of Textile Design Research and Practice","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131055293","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Textile Society of America 2018 Symposium, Pan Global Exhibition Highlights","authors":"Aaron McIntosh","doi":"10.1080/20511787.2019.1582604","DOIUrl":"https://doi.org/10.1080/20511787.2019.1582604","url":null,"abstract":"Abstract The 2018 Textile Society of America (TSA) symposium, “Social Fabric: From Deep Local to Pan Global,” was a marked contrast from the previous symposium, with a more robust focus on indigenous and aboriginal textiles. Held in Canada’s progressive Vancouver, British Columbia, the planned scope and inclusivity of symposium events included notable First Nations speakers, site visits, art exhibitions, and plenary sessions which interrogated colonial histories and helped steer away the ethnographic gaze prevalent in the academic textile field. Noteworthy events included a fashion show presented by Vancouver Indigenous Fashion Week, the exhibition Arts of Resistance: Politics and the Past in Latin America at the University of British Columbia’s Museum of Anthropology, the keynote speech by Tlingit weaver Meghann/Jaad O’Brien, and the Intertwined exhibition of textile artwork by faculty, staff and students of Emily Carr University.","PeriodicalId":275893,"journal":{"name":"Journal of Textile Design Research and Practice","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127004517","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Wrapped in Wool: Coast Salish Wool Weaving, Vancouver’s Public Art, and Unceded Territory","authors":"Alison Ariss","doi":"10.1080/20511787.2019.1578552","DOIUrl":"https://doi.org/10.1080/20511787.2019.1578552","url":null,"abstract":"Abstract Coast Salish blankets, lovingly woven with hand dyed and home spun woolen yarns, adorn the walls of an international airport, museums, universities, a national broadcasting studio, and a mixed-use development project in Vancouver. All of these publicly accessible sites are located in unceded Coast Salish territory, upon which this city now exists. These weavings present a conundrum. Simultaneously viewed as public art and symbols of cultural revitalization, they continue to be marginalized as fine art, as most discourse about Coast Salish blankets occurs outside of the discipline of art history. How then, have these weavings found their way into these places and spaces as public art? What is it that they are understood to represent to the traveler, the student, the tourist, the passerby, and the community of their origin that makes them symbols of welcome at public institutions throughout Vancouver? Many of these labor-intensive and one-of-a-kind textiles, adorn buildings that are foundational to the colonial structures and systems that have served to dispossess Indigenous peoples from their territories. This paper makes a critical analysis of the place of Coast Salish weaving in Vancouver. It will consider how this ancient form has come to counter this dispossession through its presence. With keen attention to the voices of the women who weave this ancient and local textile form, the paper suggests that Coast Salish weaving can be understood as a material manifestation of the practice of “everyday decolonization” within Coast Salish territory. This research is focused on the city of Vancouver, and engages most directly with weavers from the Indigenous community of Musqueam and their relationships as artists within this urban center.","PeriodicalId":275893,"journal":{"name":"Journal of Textile Design Research and Practice","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117035090","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Artisans Angkor: Reclaiming Cambodian Silk Crafts under French Patronage (1992–2017)","authors":"M. Berthon","doi":"10.1080/20511787.2019.1587132","DOIUrl":"https://doi.org/10.1080/20511787.2019.1587132","url":null,"abstract":"Abstract Following the 1991 Paris Peace Accords that granted a return to a relative political stability in Cambodia, the non-profit organization Les Chantiers Ecoles was launched with the support of the European Union to revive local traditional crafts and sericulture that had nearly vanished under the Khmer Rouge regime. This vocational institute was the result of a cooperation between the French and the Cambodian government. It provided training to disadvantaged young villagers of Siem Reap’s area in polychromic woodwork, stone carving, metal, lacquerware, and silk weaving. Eventually, the project turned into a social enterprise under the French name Artisans Angkor. Drawing its inspiration from the surrounding archaeological splendors of Angkor Wat, the company emphasizes its authentic making processes. Artisans Angkor welcomes tourists to its silk farm near Siem Reap, using this production site as a showcase for sericulture from silkworms breeding to weaving, promoting the revival of indigenous golden silk while selling a wide range of souvenirs. Relying on the performative value of silk craft practices, Artisans Angkor has developed an engaging storytelling as well as an educational and marketing tool, which elevates crafts as tokens of Cambodian cultural identity. Praised by the Cambodians who consider the brand a national success, the enterprise has however kept a French leadership. Tracing the company’s history, this paper examines to which extent Artisans Angkor follows the definition of a Transnational Artisan Partnership developed by anthropologist Susan Falls and how it pertains to a form of soft power for the French. Through the analysis of its aesthetic and discourses, this case study highlights the project’s hybrid nature and demonstrates how it relates to the colonial model of the School of Cambodian Arts implemented in 1920 under the French Protectorate to promote Cambodian crafts.","PeriodicalId":275893,"journal":{"name":"Journal of Textile Design Research and Practice","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114065450","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}