TEXTILE HISTORY最新文献

{"title":"Editorial Note","authors":"Marina Moskowitz, Vivienne Richmond","doi":"10.1080/00404969.2022.2219550","DOIUrl":"https://doi.org/10.1080/00404969.2022.2219550","url":null,"abstract":"","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":"53 1","pages":"1 - 3"},"PeriodicalIF":1.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44208022","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"‘The Cloth that Changed the World: India’s Painted and Printed Cottons’. Royal Ontario Museum, Toronto, Canada, 12 September 2020–2 January 2022 / Cloth that Changed the World: The Art and Fashion of Indian Chintz","authors":"Sheilagh Quaile","doi":"10.1080/00404969.2022.2193088","DOIUrl":"https://doi.org/10.1080/00404969.2022.2193088","url":null,"abstract":"Welcome to The Cloth that Changed the World: India’s Painted and Printed Cottons. My name is Sarah Fee and I am the Royal Ontario Museum’s Curator for the Textile Arts of Africa and Asia. The objects in this exhibition are highlights from the ROM’s renowned collection of Indian painted and printed cottons. Most pieces have not been displayed since the 1970s. The show also includes twelve objects borrowed from international collections, and never before exhibited in Canada.","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":"53 1","pages":"109 - 113"},"PeriodicalIF":1.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43380357","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Engineering Brussels Tapestry: Development, Uses and Effects of the Privilege System, 1600–1700","authors":"K. Brosens","doi":"10.1080/00404969.2022.2113754","DOIUrl":"https://doi.org/10.1080/00404969.2022.2113754","url":null,"abstract":"By conceptualising and analysing the privileges awarded to Brussels tapestry actors in the seventeenth century as serial data, and thus as a — consistently inconsistent — system, and by combining quantitative and qualitative readings of the data, this essay refines our understanding of the mechanics of Brussels baroque tapestry. One of the most salient insights is the marginal position of painters within the privilege system, showing that producers — and therefore patrons — identified ‘Brussels tapestry’ with quality of materials and weft rather than with a specific pictorial style. Ensuring quality, however, was complex, as it was dependent on the varying agendas of different stakeholders. The essay shows how they constantly adapted the privilege system to navigate and mitigate not only these issues, but also contextual factors that impacted the Brussels art worlds. Thus, the essay can also serve as a backdrop against which future studies of Brussels baroque art can be placed.","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":"53 1","pages":"32 - 55"},"PeriodicalIF":1.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41826710","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Material Culture of Basketry: Practice, Skill and Embodied Knowledge","authors":"C. Kerfant","doi":"10.1080/00404969.2022.2193084","DOIUrl":"https://doi.org/10.1080/00404969.2022.2193084","url":null,"abstract":"ground-breaking work is presented in two final chapters that cover cloth made in various weaving centres in the Burman heartland and textiles from the periphery made for the Burman market. These chapters comprise the region-by-region documentation of Myanmar’s village textile production that has heretofore been lacking. They are clearly the result of painstaking field research carried out over multiple journeys to places rarely visited by outsiders. While much of the cloth might be considered aesthetically mundane, the best of it shows sophisticated, subtle beauty, as in many colonial-era silk longyi (unisex tube skirts) with Europeaninspired block patterns in supplementaryweft ‘overshot’ weave. The most complexly patterned of these were produced in Rakhine State (fig. 11.10), while those from the Inle Lake region were often enlivened with the pou-jwe technique— the twisting together of two yarns of contrasting colours to produce a watered or moir e effect in the finished cloth (fig. 11.19). The book is well organised, nicely produced and copiously illustrated, while Fraser-Lu’s clear and thoughtful prose is appropriate for general audiences and specialists alike. Because the material is based primarily on historical and field research, there are fewer full-page studio photographs of exemplary textiles (especially in comparison to a museum catalogue or collection-based coffee-table volume). An impressive bibliography vouches for the breadth of the research and an extensive glossary helps with the many Burmese terms that are unfamiliar to most of us. Unfortunately, many equally unfamiliar place names cannot always be found on the maps provided. Sylvia Fraser-Lu is to be congratulated for bringing the wealth of Myanmar’s handwoven textiles to greater attention. At last, a standard reference work on Burman cloth has taken its rightful place in the literature on South-East Asian textiles. Fittingly, the Textile Society of America has given the book its R. L. Shep Award, judging it the best book of the year in the field of ethnographic textile studies.","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":"53 1","pages":"121 - 122"},"PeriodicalIF":1.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42514415","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Concha Herrero Carretero, Álvaro Molina and Jesusa Vega, La Decoración ideada por François Grognard para los apartamentos de la Duquesa de Alba en el Palacio de Buenavista","authors":"L. Miller","doi":"10.1080/00404969.2021.1948194","DOIUrl":"https://doi.org/10.1080/00404969.2021.1948194","url":null,"abstract":"biographical essays written by Glenn Adamson, senior scholar at the Yale Center for British Art. In ‘Waiting like a Fern’, he reviews Tawney’s student years from 1945 to 1960; ‘Back to the Source’ describes Tawney’s sculptural work from 1961 to 1970; in ‘Seeker’, he discusses her works of 1970 to 1980; and in ‘Sage’, her late works of 1980 to 2007. Many of the documents, correspondence, journals, books, sketches and photographs are, like the artist herself, rather elusive and non-chronological, and so evade conventional systems of organisation and process. For example, in a bound sketchbook dating from 1984–1989, a work in watercolour, collage and ink moves around the page as a spiral of text. Lenore Tawney reflected, ‘Water is still like a mirror ... mind being in repose becomes the mirror of the universe’. Adamson pulls the reader into Tawney’s universe by closely examining how her life and work was composed in rhythms, moving backwards and forwards in time and place, expanding and contracting as in a musical sequence or the flow of water. Non-linearity also features in Adamson’s organisation of Tawney’s biography: rather than straightforward narrative, it echoes Tawney’s non-linear textile structures, and is particularly effective in cross-referencing earlier periods and challenges that Tawney encountered in her long working life. Many anecdotes can be enjoyed from Adamson’s entries, such as Tawney reinventing herself throughout her life, moving from Chicago to New York City in 1957 when she was fifty, though she claimed to be much younger. She was born in 1907, yet she claimed it was 1925. That no one noticed is interesting, since Tawney thought that fifty was a bit late to get started on an artistic career, especially for a woman. The installations and photographs are often accompanied by extracts from Tawney’s journals, which are both poetic and analytical. ‘To be an artist’, she wrote in 1992, ‘you must be brave. You can’t let yourself be scared by a blank sheet of drawing paper or a white canvas. But what you put on that paper must come from your deepest self’ (p 280). Additional support, advice and research was provided by Kathleen Nugent Mangan, executive director of the Lenore G. Tawney Foundation in New York, whose knowledge of Tawney’s work and friendship over forty years gives many personal insights in her foreword and afterword. In April 2020, Lenore Tawney: Mirror of the Universe was recognised by the Art Libraries Society of North America (ARLIS/NA) for excellence in art publishing.","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":"52 1","pages":"217 - 219"},"PeriodicalIF":1.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48594496","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"‘Collecting Comme’, National Gallery of Victoria, Melbourne, Australia, 31 October 2019–15 March 2020 and 27 June–9 July 2020","authors":"C. Molenaar","doi":"10.1080/00404969.2021.1947592","DOIUrl":"https://doi.org/10.1080/00404969.2021.1947592","url":null,"abstract":"ancien r egime French court dress, for example, also blurred the boundaries of artifice in fashion and organic nature. Furthermore, larger displays such as the Victoria and Albert Museum’s ‘Fashioned from Nature’ (April 2018–January 2019) have shown the importance of understanding the involvement of the natural world in the process of making fashionable items such as textiles and cosmetics, from the early modern period up to the present day. There are plans to restage this exhibition on loan at a future date for those who wish to see it in person. Yet it is encouraging to note that this entertaining and thought-provoking resource will remain online indefinitely, making it available to many who would not otherwise have been able to view the exhibition.","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":"52 1","pages":"195 - 199"},"PeriodicalIF":1.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41439571","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Lorinda Cramer, Needlework & Women’s Identity in Colonial Australia","authors":"M. Kargól","doi":"10.1080/00404969.2021.2007671","DOIUrl":"https://doi.org/10.1080/00404969.2021.2007671","url":null,"abstract":"Westchester County, New York. Wells takes issue with the shift from tapestry to textile or fibre art as a feminist art form, suggesting that previous feminist scholars, such as Rozsika Parker, deliberately overlooked tapestries from the post-war period in favour of promoting traditionally domestic crafts, such as embroidery. For Parker, the subject of embroidery offered greater analysis of domestic life, whereas tapestry was considered a public art and less likely to form part of a feminist critique. But the complexity of why feminist practitioners intervened in this history is not fully addressed and other scholars needed referencing at this point. There is a passing citation to the work of Magdalena Abakanowicz (p. 217) but Western tapestry has nothing in common with the ‘loom thinking’ (working fibre directly on a loom) practices of Poland, Romania, Bulgaria and the former Yugoslavia. There were different modernisms in operation in post-Second World War Eastern Europe. Nonetheless the discussion of Helen Frankenthaler’s abstract paintings, through a tapestry project commissioned for the Temple of Aaron Synagogue (1956) and woven in Felletin, France, is both illuminating and joyously illustrated. Abstraction and tapestry fitted like a glove despite the American critic Clement Greenberg’s distaste for decoration in art (pp. 191–202). The section on Judy Chicago’s Dinner Party Project (1979) repositions the weavers, who produced the six tapestry banners at the San Francisco Tapestry workshop, as fully credited collaborators, something Lurçat never did.","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":"52 1","pages":"226 - 227"},"PeriodicalIF":1.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45361630","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Recognising the Co-dependence of Machine and Hand in the Scottish Knitwear Industry","authors":"L. Abrams, L. Gardner","doi":"10.1080/00404969.2021.2014768","DOIUrl":"https://doi.org/10.1080/00404969.2021.2014768","url":null,"abstract":"Knowledge of the economy and culture of knitted textiles in Scotland since the late eighteenth century is framed by opposing paradigms. The study of craft regards knitting as a traditional practice and focuses on the techniques and designs of the hand knitter. The industrial paradigm, on the other hand, is dominated by studies of factory production that subordinate hand knitting as an outmoded and non-economic practice superseded by mechanisation. This article analyses the production of knitwear in post-war Shetland to demonstrate how the bipolarity of that frame needs to be modified to highlight the manifest interconnectedness and mutual dependence of the two parts of the sector. It also challenges interpretations which assume craft production is automatically superseded by machine production. Knitting has maintained a dual identity as a hand craft and an industrial process since the mid-nineteenth century and thus provides a case study for bridging these disconnected histories.","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":"52 1","pages":"165 - 189"},"PeriodicalIF":1.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46845522","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Stocking Knitting Industry of Later Sixteenth-Century Norwich","authors":"L. Edwards","doi":"10.1080/00404969.2021.1923342","DOIUrl":"https://doi.org/10.1080/00404969.2021.1923342","url":null,"abstract":"Knitted garments became increasingly common throughout the sixteenth century in England, and it has been estimated that the production of stockings alone occupied at least 90,000 knitters at the end of the century. Knitting as an economic process in England has been little studied in this period. This paper examines the evidence for knitting as an industry in the later sixteenth century in Norwich, the second city in England, when it provided a source of employment for over seven per cent of the poorest people. It provides quantitative data for the socio-economic background of knitters in the 1570s, and for the minimum volume of production in the early 1580s. It analyses other evidence for this industry, including the production process and contemporary writings.","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":"52 1","pages":"144 - 164"},"PeriodicalIF":1.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45440436","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"‘Erica Wilson: A Life in Stitches’","authors":"Isabella Rosner","doi":"10.1080/00404969.2021.2037919","DOIUrl":"https://doi.org/10.1080/00404969.2021.2037919","url":null,"abstract":"‘ERICA WILSON: A LIFE IN STITCHES’, ONLINE EXHIBITION, WINTERTHUR MUSEUM, GARDEN & LIBRARY, DELAWARE, USA, http://ericawilson.winterthur.org/ English-born American embroidery designer Erica Wilson (1928–2011) was and still is referred to as ‘America’s first lady of stitchery’. A graduate of the Royal School of Needlework, Wilson inspired a needlework renaissance, helped invent a new category of publishing and built a multimillion-dollar embroidery empire over the course of her approximately sixty-year career. Her 1962 book Crewel Embroidery resulted in a needlework revival as well as a sea change in publishing (Fig. 1). The first needlework book released by Scribner’s, it sold over one million copies and ushered in a massive demand for craft books. Nearly five decades after the book’s publication, Wilson’s influence is still felt in the craft revolution that has gripped the world during the coronavirus pandemic. FIG. 4. Collar detail of Women’s First World War, Underground Electric Railways Ticket Collector’s uniform. Featured in the ‘London’s Fashion Alphabet’ video for the letter U. # Museum of London, London.","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":"52 1","pages":"209 - 212"},"PeriodicalIF":1.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49359824","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}