TEXTILE HISTORY最新文献_第9页

Louisa Elderton and Rebecca Morrill, eds, Vitamin T: Threads and Textiles in Contemporary Art 路易莎·埃尔德顿和丽贝卡·莫里尔主编，《维生素T:当代艺术中的线和纺织品》

IF 1 2区社会学

TEXTILE HISTORY Pub Date : 2020-01-02 DOI: 10.1080/00404969.2020.1741210

Janis Jefferies

{"title":"Louisa Elderton and Rebecca Morrill, eds, Vitamin T: Threads and Textiles in Contemporary Art","authors":"Janis Jefferies","doi":"10.1080/00404969.2020.1741210","DOIUrl":"https://doi.org/10.1080/00404969.2020.1741210","url":null,"abstract":"A hardback volume, Vitamin T is an encyclopaedic, global survey of more than 100 artists, chosen by art world professionals — critics, curators and museum directors — for their work with threads, stitching and textiles. Though an expensive purchase, it has a seductive cover, lavish colour illustrations, a very accessibly written introduction by Jenelle Porter and is filled with concise biographical information. For textile historians, the texts and biographical inserts may prove frustratingly limited in scope, but it is a useful catalogue for investors. The book is overseen by editors Louisa Elderton and Rebecca Morrill who get tangled up, in the Preface (p. 9), in a dilemma that haunts many writers and theorists in the textile arts field. On the one hand, many of the works included in Vitamin T do not fit any predetermined classification of material, technique or medium-specific discipline. They fall somewhere between painting, sculpture and installation. Indeed, many of the artists utilise various practices of weaving, knotting, embroidery and knitting, and an expanded range of materials not normally associated with the making of textiles — burlap, plastic, wood, rubber — and so avoid being pigeonholed. Given this, as the editors admit, the book’s subtitle, Threads and Textiles in Contemporary Art, actually suggests a scope far narrower than its contents. In fact, by attempting to be pluralistic in choice, Vitamin T paradoxically offers no more than a fast-moving snapshot of a new hierarchy of acceptable entries into a very particular art world market. It is worth reading Jenelle Porter’s introduction to Vitamin T. Previously senior curator at ICA Boston, USA, Porter was responsible for curating the 2014 survey show, Fiber: Sculpture 1960–Present. This traced, in Porter’s view, a revolution in fibre art that happened during the 1960s, a decade that attempted to blur the lines between art and craft. The term ‘fibre art’ came into use by mostly American curators and art historians to describe the work of the artist-craftsperson following the Second World War, which saw a sharp increase in the design and production of ‘art fabric’. In the 1950s, as the contributions of craft artists became more recognised — not just in fibre but also in clay and other media — an increasing number of weavers began binding fibres into non-functional forms as works of art. As outlined by Porter in both Vitamin T and Fiber, the art world has long held a bias against fibre-based artists and their work. Often historically gendered feminine, carrying connotations of intimacy and domesticity, fibre compositions were relegated to the realm of craft, far from the ranks of fine art. Porter staked a claim for positioning fibre more firmly proximate to the explorations that have propelled abstract forms of art since the 1960s, and the Boston catalogue profiled a significant number of the field’s most influential artists, most of whom were white American or European women opera","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":"51 1","pages":"103 - 104"},"PeriodicalIF":1.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00404969.2020.1741210","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45965603","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}

引用次数: 1

Peter Maunder, Tiverton Cloth: The Story of the Town's Woollen Trade 1475–1815 Peter Maunder，蒂弗顿布：1475-1815年小镇羊毛贸易的故事

IF 1 2区社会学

TEXTILE HISTORY Pub Date : 2020-01-02 DOI: 10.1080/00404969.2020.1741200

Nicholas R. Amor

引用次数: 0

Pam Inder, The Rag Trade: The People Who Made Our Clothes 帕姆·因德，《破布贸易:为我们制造衣服的人》

IF 1 2区社会学

TEXTILE HISTORY Pub Date : 2020-01-02 DOI: 10.1080/00404969.2020.1741208

J. Halbert

引用次数: 0

Pasold Research Fund/Taylor & Francis Textile History Open Access First Publication Award 帕索尔德研究基金/Taylor&Francis纺织历史开放获取首次出版奖

IF 1 2区社会学

TEXTILE HISTORY Pub Date : 2020-01-02 DOI: 10.1080/00404969.2020.1764792

引用次数: 0

Dressed ‘as if for a Carnival’: Solving the Mystery of the Origins of Children’s Fashion. A New Perspective on the History and Historiography of Children’s Dress 穿着“仿佛是为了狂欢节”：解开儿童时尚起源之谜。童装历史与史学的新视角

IF 1 2区社会学

TEXTILE HISTORY Pub Date : 2020-01-02 DOI: 10.1080/00404969.2020.1743930

Małgorzata Możdżyńska-Nawotka

{"title":"Dressed ‘as if for a Carnival’: Solving the Mystery of the Origins of Children’s Fashion. A New Perspective on the History and Historiography of Children’s Dress","authors":"Małgorzata Możdżyńska-Nawotka","doi":"10.1080/00404969.2020.1743930","DOIUrl":"https://doi.org/10.1080/00404969.2020.1743930","url":null,"abstract":"The article has a double focus: explaining the so-far obscure origins of children’s fashion in the later eighteenth century and putting its emergence in the context of the ‘grand narrative’ concerning the ‘discovery of childhood’ during this pivotal period. Contrary to Rousseau’s famous dismissal of the hussar suit, the role of ‘fancy dress’ inspiration in the development of children’s fashions for the first time purposefully meant to distinguish the (male) child from the grown-ups and, concurrent with the Enlightenment’s ideas on childhood, emerges as central rather than marginal. The repertory of styles adopted for boys’ wear is shown to have been inspired by various ethnic and historical dress traditions rooted in the fascination with masquerade characteristic of the Rococo culture but harnessed to express the emerging new attitudes. Among them, special attention is given to inspirations by Polish national dress. Second, the article takes on the argument presented by Daniel Thomas Cook in his inspiring article in Textile History, 42, no. 1 (2011). Having acknowledged the foundational role of fashion history in the emergence of childhood studies, Cook regards its present status as peripheral. He dismisses the underlying premise of its principal ‘grand narrative’ as based on a fruitless distinction between utility (and functionality) and fashion rather than the invention or discovery of the ‘child’ and ‘childhood’. While partially accepting Cook’s criticism, the article argues that the ‘grand narrative’, thus modified and expanded, retains its usefulness. In the nineteenth century, the ‘fancy dress’ and ‘playfulness’ theme continued, reflected in the most popular children’s styles (sailor suit, Little Lord Fauntleroy suit) and a range of others, temporarily or locally prominent, and intertwining with multifarious cultural, artistic, social and commercial developments.","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":"51 1","pages":"28 - 5"},"PeriodicalIF":1.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00404969.2020.1743930","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41855843","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}

引用次数: 1

Transatlantic Textiles: Ireland’s Dun Emer Textiles in America During the First Decade of the Twentieth Century 跨大西洋纺织品:二十世纪头十年爱尔兰在美国的Dun em纺织品

IF 1 2区社会学

TEXTILE HISTORY Pub Date : 2019-07-03 DOI: 10.1080/00404969.2019.1646622

C. Fowler

引用次数: 2

Pasold Research Fund/Taylor & Francis Textile History Open Access First Publication Award 帕索尔德研究基金/Taylor&Francis纺织历史开放获取首次出版奖

IF 1 2区社会学

TEXTILE HISTORY Pub Date : 2019-07-03 DOI: 10.1080/00404969.2019.1665799

引用次数: 0

Cultural Heritage 文化遗产

IF 1 2区社会学

TEXTILE HISTORY Pub Date : 2019-07-03 DOI: 10.1080/00404969.2019.1653639

B. Karl

引用次数: 0

Gender 性别

IF 1 2区社会学

TEXTILE HISTORY Pub Date : 2019-07-03 DOI: 10.1080/00404969.2019.1653638

A. Hood

{"title":"Gender","authors":"A. Hood","doi":"10.1080/00404969.2019.1653638","DOIUrl":"https://doi.org/10.1080/00404969.2019.1653638","url":null,"abstract":". The article presents artistic projects in which the issue of gender is actualized. The above was carried out from the position of post-humanist ideas through the study of the impact of the development of technologies on modern socio-cultural processes. Thus, the projects created in different genres were analyzed, including post-cinema (“Night Walk for Edinburgh”, “A Total Jizzfest”) aimed at chang-ing gender perceptions in society, Ellen Pearlman’s opera “Emotionally intelligent” Artificially Intelligent Brainwave Opera” (AIBO), in which, thanks to the involvement of artificial intelligence as an actor, gender opposition is reinforced. The Female Laptop Orchestra (FLO) project is dedicated to the support of female creativity, which, thanks to the involvement of information and communication tools, com-bines music creation with research in its activity. An important aspect of the considered projects is defined as interactivity, which is im-plemented by involving the viewer in the process of their creation. It was found that, on the one hand, the digital virtual space made it possible to reduce the importance of social roles or gender affili-ation, thereby leveling the stereotype of the opposition between the author’s masculinity and femininity. On the other hand, with the development of machine learning technologies, a new opposition between the human author and the artificial intelligence in the same ca-pacity is gradually emerging.","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":"50 1","pages":"212 - 217"},"PeriodicalIF":1.0,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00404969.2019.1653638","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46837998","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}

引用次数: 50

Zuzana Šidliková, Lost (m)ODE, Clothing Culture in Slovakia from 1945 to 1989 ZuzanaŠidliková，迷失（m）ODE，1945年至1989年斯洛伐克的服装文化

IF 1 2区社会学

TEXTILE HISTORY Pub Date : 2019-07-03 DOI: 10.1080/00404969.2019.1653648

L. Taylor

引用次数: 0