Textile arts and artworks Books

Book SynopsisPrinted cotton sacks are currently fashionable aspects for material culture research, particularly in the costume and quilt history communities. In the second quarter of the twentieth century, these mass-produced sacks were relied upon by rural America as a valuable source of free fabric for clothing, quilts, and home décor.This book is the catalog for the Museum of Texas Tech University's "Cotton and Thrift" exhibition, which showcases the Pat L. Nickols Cotton Sack Research Collection. The Nickols Collection includes white sacks, printed partial and whole cotton sacks, swatches of printed sacks, instructional booklets, garments, quilts, quilt tops and decorated white sacks. Combined with earlier and subsequent individual donations, the almost 6000 feed sack pieces held by the Museum of TTU make this the largest collection of feed sack materials to be assembled by an American university, and likely the largest such collection in public hands.

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Book SynopsisAlice Kettle is Professor at Manchester Metropolitan University, UK and Visiting Professor at the Centre for Real World Learning University of Winchester, UK. She is an established artist, with recognised status within the field of textile art. Her work is held in collections around the world.Jane McKeating is Associate Head of Design at Manchester Metropolitan University, UK. She is a key figure in the embroidery and textiles fields and was a prize winner at 2008's 'Art of the Stitch' International Open Exhibition.Trade Review'Excellent and abundant illustrations are supported by equally excellent captions that include details of materials, methods and dimensions alongside the expected date, maker and title.' * Crafts Magazine (January 2011) *"Essential reading for textile students, embroiderers, designers and artists...Illustrating how to combine techniques and develop ideas, Machine Stitch Perspectives demonstrates the rich possibilities of the sewing machine as a creative tool." * Sew Today Magazine (Feb 2011) *For students who require more than 'pretty pictures', giving a deeper understanding of their discipline. -- Claire Baker, Cleveland College of Art & Design, UKTable of ContentsIntroduction by Dr Jennifer Harris Foreword by Professor Anne Morrell Chapters The Pleasures of the Machine Stitched Mark by Judy Barry The Chimera of Embroidery by Dr Nigel Hurlstone The Bigger Picture by Alice Kettle An Emerging Image, Machine Stitching the Narrative by Jane McKeating Mixed Messages: an Exploration of Issue-based Work by Dr Melanie Miller Stitched Words by Lynn Setterington Material Evidence by Professor Michael Brennand Wood A Fashionable Detail: Machine Embroidery on Dress by Dr Ann Gibson Surface Sensibilities Utilising Machine Stitch to Render Surface and Mark Making by Jane Mckeating It's Not Black and White: Discovering Colour with Machine Stitch by Isabel Wright Designing the Fabric by Alice Kettle An Eye on the Future - Working with the Computerised Sewing Machine by Sue Prestbury Machines Glossary by Jill Boyes Techniques and Terms glossary by Diana Parsons Biographies Acknowledgements Index

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Book SynopsisThis book collects together the best articles from the long-running journal Fashion Projects, most issues of which are now unavailable. Through detailed interviews with designers, criticsand curators, the book chronicles the ascent offashion as a critical force across media, themuseum and the academy over the past 15 years. 20 colour illus.

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Book SynopsisA practical and inspirational book to learn how to develop a variety of textile techniques from personal visual sources. This book teaches you how to develop a diverse range of textile surface design techniques from personal visual inspiration sources, and apply them to your projects. Discover an assortment of traditional and unconventional methods, from smocking to soldering, through projects such as fashion and interiors items and textile art. The book encourages you to explore visual sources to discover their potential for imagery, texture, structure and manipulation, supporting you in the development and creation of your own unique pieces. Learn how to explore alternative possibilities, manipulate existing textile surfaces or create new ones. Whether you are a student, experienced artist or maker looking for new inspiration and techniques, this is an essential practical book.Trade Review[T]his is an exceedingly useful book that is well presented, with plenty of inspiring images of results you can achieve. * Textile Fibre Forum *Table of ContentsIntroduction Visual Research Repeat Structures Building Surfaces From Scratch Decorating Existing Surfaces Manipulating Surfaces Through Stitch Deconstructing and Disrupting Surfaces Trims and Edges Suppliers Gallery About the Authors Acknowledgements Index

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Book SynopsisThis beautiful and inspirational book written by a doyenne of British textile design explores the art of painting and making patterns on cloth. Fabrics bring colour and vibrance to our lives, adding inventiveness and charm to both our clothes and our domestic interiors. In this book, lifelong textile designer Sarah Campbell takes you through her world of pattern and colour to uncover the joys of design from dots, stripes and checks to more surprising decorative solutions. Painting straight onto fabric is a very different experience to designing for digital production. Everything is unique, the placing of the patterns and colours is in your hands. The beauty is that the pattern doesn’t have to repeat - there can be just one bird or just one square, if it’s in the right place. Beautifully illustrated with Sarah’s colourful and internationally acclaimed work, her fabric designs show the comforting rhythm and universal language of pattern. - Learn how to create your own unique designs using a range of tools and techniques including brushes and potato-cuts, stencils and simple ‘kitchen cupboard’ resists. - Explore the delights of painting on different fabrics such as cotton, linen, silk and calico/muslin. - Develop your understanding of scale, colour, tonality and the organisation of pattern ideas, alongside suggestions on how to use your finished fabrics.Trade ReviewI cannot think of a better artist than Sarah Campbell to introduce would-be designers to produce hand-painted textiles. Sarah has made a career focusing on the delights of pattern in simple, but deliciously varied, directions. Anyone who notices pattern will have spotted her witty designs on so many furnishing items. Here she stimulates her readers to play with basic brushstrokes, creating bold geometry, and arming them with techniques to create endless personal flights of fancy. My fingers itch to play with all the possibilities that dance in my head each time I thumb through this delightful book. * Kaffe Fassett MBE, Artist & Author *Hand-painted Textiles by Sarah Campbell is just the sort of book I’ve wanted. Jam-packed with Sarah’s signature hand-painted style, giving all her techniques and inspiration to inspire anyone to have a go. My eye is dancing with possibility. * Brandon Mably, Designer & Author *This book is the perfect result of Sarah’s ability to create uplifting and joyful patterns combined with her passion for sharing her enthusiasm for making them. Sarah embraces hand painting and printing, guiding the reader through wide ranging techniques and considerations for design projects. Visually rich and highly accessible, the pages are full of flowers, geometrics, birds & beasts to inspire the reader. With an impressive back catalogue of highly successful textile designs for industry some of which are included, Sarah helps you to be brave and playful, sharing in her joy of colour, rhythm and motif on cloth. * Kate Farley, Designer & Academic *with brush, paint and fabric [Sarah] shows us how to get hands-on with joyful and playful pattern * UPPERCASE Magazine *Flicking through the pages of this book makes you want to grab your brushes and get painting. * Handprinted *Table of ContentsIntroduction The Tools of My Trade 1. Making a Start with Making a Mark 2. Potatoes 3. Masking Tapes 4. Stencils 5. Freezer Paper Stencils 6. Stencils and Paste Resist 7. Silks 8. Pattern and Colour Placement 9. A Pattern to Match a Pattern 10. Painting with Bleach 11. Painting a T-shirt 12. Freehand Painting 13. Pieced and Patched 14. Painted Fabric as a Base for Decorative Stitching 15. In the Theatre of Pattern Conclusion Sources & Materials

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Book SynopsisThe hugely accomplished textile artist Jean Draper gives an invaluable guide to designing and working with pattern in textile art. Jean goes back to basics with simple dots and lines, demonstrating how even basic squares, circles and triangles can have a stunning impact in stitch and textiles. She provides practical and simple instructions for developing and experimenting with pattern, using grids, symmetry, rotation and repeats. Jean draws inspiration from patterns around the world, from West African Kente Cloth to the Gee’s Bend quilts of Alabama. There are instructions on creating bands and borders, strip patchwork and strip piecing, plus an extended study of Banjara stitched textiles. Natural patterns from plants and flowers also offer exciting opportunities for stitch, and Jean explores important design emblems such a the Tree of Life alongside other stitched flower forms. Finally, the ornamentation of the body provides many unique and striking ways to interpret the human form in stitch. Pattern is everywhere and can be used to stunning effect, taking your textile art to the next level. This fascinating and exciting guide brings together inspiration, design methods and stitching techniques to help you develop truly great textile art.Trade Review‘An enlightening read for crafters and non-crafters alike.' -- Sew * Book Review *‘A fantastic resource for people who love to get on with making, especially those with an interest in creating rich surfaces and taking their work into three-dimensions using textiles and mixed media.' -- Embroidery * Book Review *

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Book SynopsisTribal Rugs: Treasures of the Black Tent is the definitive work on this subject. Dedicated to one of the most ancient crafts of the world, this book leads its reader through the history of the tribal rug. Featured content ranges from the oldest complete rug in the world (dated to the fifth century BC) to the weavings of the nomadic peoples of Iran, Afghanistan, Turkey, the Caucasus and Central Asia, compiled from the 19th Century up to the present day. Each chapter introduces a different group of tribes, illustrating the rugs, carpets, kilims and utilitarian bags attributed to their weavers. This book is both a celebration of the woven legacy left by the tribes and a tribute to the skill and artistry of the women who created these magnificent artworks. It aims to provide an introduction for the novice, and entice the more knowledgeable to further study. This new 2017 edition features a marvellous array of new photography showcasing the finest work of each tribe, which will excite anyone with an eye for the tribal aesthetic.

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Book SynopsisThis book is about taking an image- a drawing, painting, digital photograph, computer design or photocopy- and, using simple methods, turning it into a piece of textile art. The author takes you through a variety of techniques for creating the image, such as scanning mixed-media artwork and digital photographs, or using imaging software to create exciting patterns and effects. No technical knowledge is required to use this book, as it offers easy-to-follow instructions, and the materials, technology and equipment are all readily available. But at the centre of the book lies the use of stitch. Having produced the image and transferred it to fabric, the next step is to enhance it with hand or machine embroidery. Innovative methods, both in the image transfer and the stitch, are simplified and broken down into the easy stages. Throughout the book, inspirational ideas are offered to get your creativity going. From books to bangles, panels, bags and vessels, the book offers all textile artists ideas to expand their creative work. Table of ContentsLatest book from bestselling textile author Maggie Grey How to design in textile art without any formal design and drawing skills Designing with computer programs, digital cameras and photocopiers Step-by-step instructions on how to go from image to stitch

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Book SynopsisTrade Review“Fun, full of surprises, and a valuable contribution to understanding a wide range of cultures, something sorely needed in this ever more conflicted world. Written in bite-sized chapters, with stunning photography . . . recommended for textile lovers and world travelers alike.” —Deborah Chandler, author of Traditional Weavers of Guatemala and Learning to Weave“Amplifies the thread that connects all fans of cloth-making together, while offering a deep sense of place.” —Liz Gipson, author of Weaving Made Easy and host of the Yarnworker School of Weaving“Once in a while, a book comes along that reminds us why textiles are so integral to human endeavors. This is a book to savor.” —Sara Lamb, weaver and author of Spin to Weave“Deb Brandon is a lover of textiles and it shows in this personal textile journey of a broad range of techniques from around the world and the people who master them.” —Jane Patrick, Creative Director of Schacht Spindle Company“A global tour marked by depth, insight, and intrigue . . . a gift for textile enthusiasts and for the future.” —Linda Ligon, Founder of Interweave Press and Director of Thrums Books

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Book SynopsisAnna Muthesius compiles her 20 years of research on Byzantine silks (400-1200 AD) into one volume. This collection addresses economic, cultural, and artistic aspects of medieval silk production and its influence on various regions.Table of ContentsIntroduction De zijden stoffen in de Schatkamer van de Sint Servaaskerk te Maastricht The Silk over the Spine of the Mondsee Gospel Lectionary The Silks from the Tomb of Archbishop Walter A Practical Approach to History of Byzantine Silk Weaving Silks and Saints: The Rider and Peacock Silks from the Relics of St. Cuthbert Byzantine and Islamic Silks in the Rhine-Maaslands before 1200 From Seed to Samite: Aspects of Byzantine Silk Production The Impact of the Mediterranean Silk Trade on Western Europe before 1200 AD The Griffin Silk from St. Trond Silken Diplomacy Crossing traditional boundaries: Grub to Glamour in Byzantine silk weaving The Role of Byzantine Silks in the Ottonian Empire Politics, piety and the silken cult of relics: Aachen Munster treasury silks in historical context Silk, Power and Diplomacy in Byzantium The hidden Jewish element in Byzantium's Silk Industry: Catalyst for the Impact of Byzantine silks on the Latin Church before 1200 AD The Byzantine silk industry: Lopez and beyond Constantinople and its Hinterland: Issues of Raw Silk Supply A Silk Reliquary Pouch from Coppergate The Silk Fragment from Coppergate, York Review: Silks at Lyon Additional Notes Index Plates

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Book SynopsisOn America's first modern dance company and its many collaborators, with reproductions of costumes, sets, ephemera and more Ruth St Denis (1879–1968) and Ted Shawn (1891–1972) pioneered modern dance in the US with their company Denishawn, founded in 1914. Incorporating elements from ancient, non-Western and Native American sources, Denishawn became the first important American dance company. A generation of dancers and choreographers, including Martha Graham, trained and performed with the company, and many artists, including Auguste Rodin, John Singer Sargent, Katherine Dreier, Marcel Duchamp and Joseph Cornell, collaborated with them. This catalog reproduces artwork, sets, ephemera and especially costumes, many of which have not been seen since the 1930s. Some of the materials and costumes, as well as the choreography, borrow from East and South Asian and Native American cultures, and the publication interrogates the legacy of cultural appropriation in dance. The materials also demonstrate St. Denis and Shawn’s stylistic and personal connections to American and European modernists, broadening an understanding of American dance in early modernism.

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Book SynopsisLaurie Swim is an artist of extraordinary range and vision. For more than forty years, she has been among the most capable and passionate practitioners of textile art. In her chosen art form, Swim captures the essence of the seacoast. For the ocean, she works with silk, pulling stitches until they pucker to create gentle ripples. For vegetation and seaweed, she combines quilting, embroidery, painting, dyeing, and other seemingly opposing techniques. As award-winning writer Carol Bruneau suggests in No Ordinary Magic, it’s not only Swim’s unconventional use of materials that is distinctive, it’s her gift for narrative that makes her art both resonant and endlessly intriguing. In this retrospective volume, Bruneau explores Swim’s history, her defiance of convention, and her reinvention of quilts as paintings-made-of-fabric. The result is a profound exploration of Swim’s sometimes monumental yet astonishingly intimate work. Trade Review“Impressively informative and a pure pleasure to simply browse through in full appreciation of a truly gifted textile media artist.” -- James A. Cox * Midwest Book Review *

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Book SynopsisFrom the aesthetics of postwar reconstruction to the functional objects that complemented 1950s West Coast Modern architecture and the expressive material forms of the 1960s and 70s, Modern in the Making will acknowledge the many dimensions that defined British Columbia’s cultural identity in the postwar era. It is the first volume to trace the evolution of Modern ceramics, weaving and fiber art, furniture, fashion and jewelry design produced between 1945 and 1975 in the Vancouver Lower Mainland, Vancouver Island and the Okanagan.

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Book SynopsisPresents a selection of more than 100 furnishing textiles and designs that range from a spectacular printed hanging designed by the Wiener Werkstätte artist, Dagobert Peche, between 1911 and 1918, to a series of dramatic woven, silk and metal wall coverings Les Colombes designed by Henri Stephany for the 1925 Exposition Internationale des Arts Decoratifs et Industriels Modernes. The Art Deco period is well represented by the works of Raoul Dufy, Alberto Lorenzi, Robert Bonfils, Alfred Latour, Emile Alain Seguy and Paul Dumas. Although the majority of pre-Second World War textiles are of French origin, the exhibition also includes some rare British furnishing fabrics from the 1930s, in particular the iconic and very elegant Magnolia Leaf by Marion Dorn, woven in off-white and silver viscut by Warner & Sons in 1936. During this period, Britain attracted talented European designers, such as Jacqueline Groag and Marian Mahler who had trained with Josef Hoffmann at the Vienna Kunstgewerbeschule. They became highly influential in creating a 'New Look' that took hold of Britain after the austerities of the Second World War. 'The Festival of Britain,' held in 1951, was epitomised by Calyx which launched the career of its designer, Lucienne Day and is now considered to be a landmark of post-War design. So great was its success that several versions were produced as well as contemporary copies, all of which are reproduced here in spectacular colour. Two great textiles from the 1950s - Seaweed designed by Ashley Havinden in 1954 for Arthur Sanderson and Grecian by Alec Hunter in 1956 for Warner & Sons - bridge the gap between the spirit and elegance of the inter-War period and the new 'contemporary' look of the 1950s. Britain maintained its pre-eminent position in textile design throughout the 1950s, 1960s and early 1970s. This was because firms like Edinburgh Weavers, Heal & Sons and Hull Traders and museums such as the Whitworth Art Gallery in Manchester (the centre of the British textile industry) worked hard at integrating and promoting great design, often by well-known artists within the industry. Among the artists who worked with Edinburgh Weavers were Marino Marini, Victor Vasarely and Alan Reynolds. Britain was not alone in applying art to industry. An elegant example of Op Art is the work of the German artist, Wolf Bauer, whose 1969/70 designs for one of the leading American manufacturers, Knoll Textiles, is a highlight of this book.

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Book SynopsisThe late Donald King (d. 1998) was the founding father of textile studies in England. His knowledge of the technology and history of textiles of all periods across many lands remains unsurpassed. An erudite and yet modest scholar, he did much to promote the academic understanding of textiles, both in this country and abroad. His role as Keeper of Textiles in the Victoria and Albert Museum, allowed first-hand technical analysis of a large number of medieval and later textiles over a very wide range of techniques. This laid the foundations for his abiding interest in textile techniques, which was allied to his fascination with textile terminology as it appeared in documentary sources. Much of his museum scholarship found its way into publications such as the Victoria and Albert Museum Bulletin and Hali magazine. From 1977 onwards, as President of C.I.E.T.A. (the International organisation for the study of early textiles), he led a powerful lobby of textile specialists, including all the major museum keepers of textiles across the globe. His scholarship during this period was well represented through detailed and erudite articles of technical, art historical and contextual significance, published in the C.I.E.T.A. Bulletin. His twin role as scholar and textile keeper represented the meeting of the academic and the museum worlds across textile studies. This publication gathers together for the first time a representative selection of Donald King's scholarship, in seventeen studies written and published over the period 1960-1999. Seven of the papers are grouped to illustrate the wide range of techniques across which he was able to publish (woven IX; embroidered X, XI; tapestry XII; printed XIIIand pile/carpet techniques XIV, XV). Three further papers (II, III, VIII) illustrate his tremendous facility for close technical analysis of his materials, whilst his linguistic gifts, which allowed him to solve the intricate puzzles posed by textile terminology used in medieval sources, are celebrated in four further papers (IV-VII). Study II shows how he integrated these different avenues of approach into the intricate textile method that he developed. Two more papers have been included, to illustrate Donald King's notable ability to communicate his enthusiasm and expertise about textiles to a wide audience. The study entitled 'Magic in the Web' (XVII) was designed to engage the general public and it was received with tremendous enthusiasm both as a lecture and as a published piece. The paper on 'Early Textiles with Hunting subjects in the Keir collection', (I) served both the academic and the museum world, and it illustrated for the connoisseur what could be learnt by those engaged in building up private collections of medieval textiles.Table of ContentsPreface I: Early textiles with hunting subjects in the Keir Collection II: The textiles found near Rayy about 1900 III: Some notes on warp faced compound weaves IV: Sur la signification de 'diasprum' V: Two medieval textile terms: 'Draps d'Ache', 'Draps de 1'Arrest' VI: Types of silk cloths used in England 1200 -1500 VII: Silk weaves of Lucca in 1376 VIII: A parallel for the linen of the Turin shroud IX: Some unrecognised Venetian woven fabrics X: A Venetian embroidered altar frontal XI: Medieval and Renaissance embroidery from Spain XII: How many Apocalypse tapestries? XIII: Textiles and the origins of printing in Europe XIV The Ardabil puzzle unravelled XV: The carpet collection of Cardinal Wolsey XVI: Roman and Byzantine dress in Egypt XVII: Magic in the Web Additional Notes Index

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Book SynopsisAfter training as a graphic designer in Hungary, the plastic artist Vera Székely (1919-1994), a member of the Székely-Borderie ceramicist collective, tackled work in clay, metal, wood and glass to reach her artistic fulfillment in textiles. From this point on, Vera Székely acknowledged “swimming and dancing in space to leave a trace in it” with her ephemeral installations of bent felt, her stretched canvas structures and “braced sails” that would be exhibited throughout the world, notably at the Biennale internationale de la tapisserie, Lausanne (1981) the Musée national d’art moderne, Centre Georges Pompidou (1982), the Musée d’art moderne de la ville de Paris (1985), the Lunds Konsthall, Sweden (1988). Text in English and French.

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Book Synopsis“I’d like cloth to be recognized as a material as noble as wood, stone or metal”, says French artist Simone Pheulpin, referring to traditional sculpture. Her material is quite simple, bands of raw cotton fabric, manufactured in the Vosges. This cloth is totally transformed by a piling of very dense and regular folds held together by invisible metal pins, and nothing else. Having recognised it as a space entirely her own, she has, from sculpture to sculpture, invented a grammar of sorts, and lent to the fold as she shapes it a function that is not only visual but chromatic. The result is a very strange work that looks like colonies of coral or lichen, or else recall slabs of striated limestone, vast surfaces whose smoothness is shot with fault lines. Simone Pheulpin’s works can be found in London’s Victoria and Albert Museum, the Art Institute of Chicago and in the Musée des arts décoratifs de Paris. Text in English and French.

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Book SynopsisSwiss artist Nesa Gschwend, born 1959 in St. Gallen, merges traditional crafts, such as embroidery, knitting, and sewing, with avant-garde and performative artistic techniques. Widely recognised as one of Switzerland's most distinguished contemporary artists, her art also combines craft with philosophy. Her textile works, material collages, videos, installations, and participatory performances transform individual lived stories into tangible metaphors for collective memory, for human existence itself. This new book features recent work by Nesa Gschwend. The essays explore her approach and describe her humanistic aspiration to transform existential questions into aesthetic reflection. Text in English and German.

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Book SynopsisThis monograph presents the Norwegian artist Bente Sætrang (b. 1946) and her forty years of commitment to the medium of textile. Sætrang is known for her intensive investigation of trompe l'oeil drapery, bold textile printing, monumental abstract colour studies, and juicy charcoal drawings. She was Norway's first professor of textile art, and her political engagement and unique knowledge of colour and textile qualities permeate her work. Through essays, poems, interviews, montages, and rich imagery, this monograph sheds light on the different phases of Sætrang's artistic practice and provides an excellent overview of this exciting artistic work. Text in English and Norwegian. Published to accompany an exhibition at Kunstnerforbundet, Oslo (NO), between 22 October and 22 November 2020.

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Book SynopsisA hundred years after the fall of the Ottoman Empire, the Museum Fünf Kontinente is showing the special exhibition In trockenen Tüchern! Gewebtes und Besticktes aus dem Osmanischen Reich [A Stitch in Time! Woven and Embroidered Textiles from the Ottoman Empire]. The accompanying publication provides an insight into the different aspects of inhabitants’ life during the Late Ottoman Empire, based on selected textiles and everyday items from the collections of the Museum Fünf Kontinente as well as the private collections of Ther and Middendorf. Together with their rural counterparts featuring woven red and blue patterns, the napkins and hand towels from the 18th to 20th century, artistically embroidered with blossom, fruits, or architectural elements, accompanied people from cradle to grave and bear impressive witness to their craftsmanship. Today these textile objects are a significant part of the cultural legacy of Turkey. Text in German with partial Turkish translation.Table of Contents7 VORWORT Uta Werlich 10 HINWEIS ZU ÜBERSETZUNG UND AUSSPRACHE 11 GUT BETUCHT? TÜCHER IM KONTEXT DER ELITÄREN (SPÄT) OSMANISCHEN ALLTAGSKULTUR Anahita Nasrin Mittertrainer 22 STICKKUNST AUS OSMANISCHER ZEIT 23 OSMANLI DÖNEMINDE ISLEME SANATI Hülya Bilgi 44 GESTICKTES UND GEWEBTES AUF TÜCHERN Beate Kränzle 47 STICKEREIEN 143 WEBTÜCHER 144 PESKIR, DIE VERWANDTEN VOM LANDE – DIE ROTBLAUEN WEBTÜCHER DER TÜRKEI Ulla Ther 166 DIE ›APFELHEMDEN‹ – BESTICKTE KLEIDER AUS ANATOLIEN Ulla Ther 170 BESTICKTE GEBRAUCHSARTIKEL DER OSMANISCHEN PERIODE 171 OSMANLI DÖNEMINDE KULLANILAN ISLEMELI ESYALAR 172 TEXTILTECHNISCHE BEGRIFFE 174 BIBLIOGRAFIE

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Book SynopsisIn Kari Steihaug’s art, what is overseen plays a major role. The things that have been set aside, unfinished projects, objects that are worn or frayed are all solicitously brought into the light. This is also evident in the materials used by the textile artist: Steihaug’s works feature worn out woollen garments as well as unfinished knitwear. By embracing imperfection, her creations become a counterbalance to the galloping consumer culture of our time, allowing us to see with fresh eyes what surrounds us in everyday life. This book brings together 25 years of her work. Contributions in poetry and prose introduce Steihaug’s work and trace the lines of a diverse and rich practice. With contributions by Monica Aasprong, Ingvill Henmo, Anne Karin Jortveit, Aasne Linnestå, Halvor Nordby, Kjetil Røed, Cecilie Skeide, and Kari Steihaug.Table of Contents13 Foreword Kari Steihaug 21 Banderole to Kari Steihaug Monica Aasprong 75 The Time it Takes Anne Karin Jortveit 107 The Threads in a Work of Love Kjetil Røed 129 Archive: The Unfinished Ones Kari Steihaug 159 Each Garment Holds a Memory Interview by Ingvill Henmo 171 The Weight and the Thread & Tuft Aasne Linnestå 187 The Importance of Presence Cecilie Skeide and Halvor Nordby 225 Appendix

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Book SynopsisThe first major publication devoted to weaver and designer Dorothy Liebes, reinstating her as one of the most influential American designers of the twentieth centuryTrade Review“[Dorothy Liebes] has all the elements of a 20th-century design legend, but she isn’t a household name yet. This exhibition, and its handsome accompanying monograph, will surely change that.”—Sarah Archer, T List (newsletter, New York Times T Magazine)“Textile designer Dorothy Liebes emphasized tactility, luminousness, and contrast by combining natural and synthetic fibers in neon shades. . . . [This] book, with essays by seven experts and a comprehensive biographical timeline, accompanies a Liebes retrospective. . . . Ms. Liebes, although underappreciated now, practically blanketed the world with products while battling corporate misogyny. Factories adapted her handwoven samples for mass-market clothing and furnishings, and she lined mansions and offices with sumptuous one-offs.”—Eve M. Kahn, New York Times“Enclosed in a dark green, cloth-covered case binding with an electric lime-colored serif font and aqua-teal end papers (a nod to Liebes’s penchant for analogous colors), a generous selection of lush, full-page close-ups display her weavings in tremendous detail. . . . With thorough and caring scholarship and curation, A Dark, A Light, A Bright feels like a love letter to the path-forging designer.”—Julie Schneider, Hyperallergic

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Book SynopsisWhat if you set out to travel the world and got sidetracked in a Himalayan sewing workshop? What if that sidetrack turned out to be your life’s path—your way home? Part art book, part memoir, part spiritual travelogue, Threads of Awakening is a delightful and inspiring blend of adventure and introspection. Leslie Rinchen-Wongmo shares her experience as a California woman traveling to the seat of the Tibetan government-in-exile in India to manage an economic development fund, only to wind up sewing pictures of Buddha instead. Through her remarkable journey, she discovered that a path is made by walking it—and that some of the best paths are made by walking off course. For more than 500 years, Tibetans have been creating sacred images from pieces of silk. Much rarer than paintings and sculptures, these stitched fabric thangkas are among Tibet's finest artworks. Leslie studied this little-known textile art with two of its brightest living masters and let herself discover where curiosity and devotion can lead. In this book, she reveals the unique stitches of an ancient needlework tradition, introduces the Buddhist deities it depicts, and shares insights into the compassion, interdependence, and possibility they embody. Includes 49 full-color photos and a foreword by the Dalai Lama.Trade Review2022 Readers’ Favorite Book Awards Finalist in Non-Fiction (Art/Photography) “Threads of Awakening reveals the intricacies and richness of the appliqué tradition. I am sure it will enhance appreciation for our unique artistic traditions.” —His Holiness the Dalai Lama “. . . the narrative threads . . . weave together in a sensitive work that considers Rinchen-Wongmo’s difficulties navigating Tibetan culture in her quest to learn a new art. . . . Along the way, it effectively delves into the Buddhist thought that she incorporated into her worldview.” —Kirkus Reviews “Readers interested in Tibetan culture and Buddhist spiritual practices will find this book of interest.” —Library Journal “Deeply personal, learned, and genuine, this is a beautiful memoir of spiritual self-discovery.” —Susan Piver, New York Times best-selling author of The Four Noble Truths of Love: Buddhist Wisdom for Modern Relationships “At first glance, it seemed as if this book might be yet another travelogue, with adventures into India and a dip into Buddhist culture. How wrong I was. It is a deeply moving story of how one woman’s decision to help the Tibetan refugees in India led to a lifetime’s work of creation in one of the finest and rarest art traditions. . . . An absolute delight to read.” —Reedsy Discovery “Threads of Awakening is an illuminating window into the world of pieced brocade thangkas. Leslie Rinchen-Wongmo is, to my knowledge, the first American woman to master this exquisite artistic tradition, and also the first to write extensively on it. We are fortunate to reap the fruits of her endeavors!” —Glenn H. Mullin, author of Female Buddhas and four more books on Tibetan Buddhist art “Threads of Awakening not only fulfills a critical gap in the recorded literature and preservation of traditional Tibetan appliqué thangkas—it is also sure to enrapture, delight, and inspire you!” —Pema Namdol Thaye, traditional Tibetan architect, artist, author, and art educator “Part travelogue, part spiritual biography, and part artistic chronicle, Leslie Rinchen-Wongmo’s Threads of Awakening is an eloquent work that is both adventure and homecoming; transformational and grounding . . . her personable and insightful presentation stimulates introspection about our own journeys, whatever they may be.” —Buddhistdoor Global “All of us are granted the same twenty-four-hour day. But great memoirs show us how much life we can pack into every moment if our heart says yes. Leslie Rinchen-Wongmo, whose name means ‘precious, empowered woman,’ did just that. She came upon a group stitching sacred Tibetan tapestries in India and stayed to become the first Western woman trained to make them. Her story takes us deep into the art and culture she embraced. But just as importantly, Leslie provides a luminous lesson on what she calls ‘the experience of traveling off course to a wondrous life.’” —Barbara Cornell, Pulitzer Prize–nominated journalist and librarian “I was genuinely moved by Leslie’s courage and compassion as she pursued her dreams. Perhaps one of the most moving moments of the book is her meeting with His Holiness the Dalai Lama. Her book is a joy to read.” —Cindy Rasicot, author of Finding Venerable Mother: A Daughter’s Spiritual Quest to Thailand “Prepare yourself not just for a fascinating read but also for a profound personal awakening at the depths of your being!” —Bill Bauman, PhD, author of Emptiness Dreaming: The Story of Creation as Seen through the Eyes of the Quantum Void “Leslie retells her journey in prose that is as beautiful, meticulous, and captivating as the thangkas themselves.” —Meher McArthur, author of Reading Buddhist Art “Profoundly meaningful and deeply spiritual, Threads of Awakening is a delightful and inspiring travel memoir about an ancient Tibetan Buddhist textile tradition and a woman’s search for purpose.” —Isadora Leidenfrost, PhD, filmmaker of Creating Buddhas: The Making and Meaning of Fabric Thangkas

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Book Synopsis

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Book SynopsisFor more than 100 years, Vancouver has been home to a vibrant and thriving Cantonese opera scene. As a performance art carried out by transient troupes, it is an ephemeral medium that rarely leaves a trace in the historic records. However, an extraordinary treasure trove of early 20th-century Cantonese opera costumes, props, and stage dressings made its way to the Museum of Anthropology in Vancouver, BC. In the first book-length study of this little known collection, April Liu retraces the arduous journeys of early Cantonese opera troupes who began arriving along the west coast of North America during the mid-19th century. A close examination of the costumes and props reveal the moving songs, stories, performances, and ritual practices of early Chinese migrant communities who struggled to make a home in a foreign and often hostile land.

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Book SynopsisKnitted gifts are treasured in Newfoundland, whatever the season. Designs unique to this storied island are made to keep loved ones warm all year long -- even during early summer when icebergs chill the air. Capture your heart''s desire with a spring cap or bonnet. Explore the spectacular coastline wearing knitted socks and fine woollen gloves. Prepare for the cool months of autumn and winter with fashionable trigger mitts and hats. And warm up your home with cosy cushions and lovely tea cosies. With this latest in the best-selling Saltwater Knits series, Christine LeGrow and Shirley A. Scott offer some of Newfoundland''s most beloved knitwear designs. They also reveal the cultural heritage of these distinctive patterns and demonstrate why they are highly valued by those who live on this island known as The Rock. Vivid photographs provide inspiration, but you are also encouraged to also select your own colours -- thereby making your gifts distinctive. Like other books in this series, Saltwater Gifts includes tips, tricks, and stories. All patterns are rated by difficulty and clearly presented for today''s knitters.

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Book SynopsisTrade Review“Kang transcends the purely biographical approach that has long plagued monographs on craftspeople and designers to situate Cuttoli's production within the critical discourses surrounding gender, colonialism and the decorative.”—Sarah Parrish, The Burlington Magazine

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Book SynopsisThe first major publication to explore the prolific career of Kaffe Fassett, one of the most recognized names in contemporary craft and design Trade Review“Sumptuous. . . . Showcasing Kaffe’s incredible use of colour in his knitting, quilting and textile designs, the book is a feast for the eye, while interviews and essays explore his life and legacy.”—The Knitter“The craftsman and designer, whose distinct sense of pattern, style and the universe’s many hues has earned him a spot in the pantheon of fantastic artists and artisans—and a brilliant anthology of his work in the book Kaffe Fassett: The Artist’s Eye.”—Antonia Bentel, House & Garden

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Book SynopsisPractical information usually gained only through years of work experience and word of mouth is presented in this handbook for textile designers, students, interior designers and others who use textiles in their work.

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Book SynopsisSuitable for modern admirers of oriental carpets, this book features forty classical carpets held in the al-Sabah Collection, Kuwait, along with several important pre-Islamic carpet fragments. It describes collections in the context of history of Islamic art, recounting carpets stories and celebrating their intricate designs and craftsmanship.Trade Review'The reader cannot help but be delighted by the quality of the images chosen. Absorbing the text is a pleasure. It informs as opposed to dictates … a masterful triumph' - SelvedgeTable of ContentsPreface by Sheikh Nasser Sabah al-Ahmad al-Sabah • Acknowledgments • Introduction: The 2,500-Year History of Oriental Carpets • PART I PRE-CLASSICAL CARPETS Chapter 1: Pre-Islamic and Early Islamic Carpets • Carpets from the Sasanian period • The early Islamic pre-classical period • PART II CLASSICAL CARPETS Chapter 2: Egypt • Mamluk carpets • Chessboard carpets • Chapter 3: Turkey • Seljuq carpets • Anatolian animal carpets • Ottoman carpets • “Holbein” and “Lotto” carpets • Star Ushak and Medallion Ushak carpets • Multiple-niche carpets (saff) and prayer carpets • Early village rugs from Anatolia • “Transylvanian” carpets • Late prayer rugs and their reception in Western collections • Chapter 4: Persia: Safavid carpets: the workshops • Safavid carpets: dating • Safavid carpets: pattern types • Compartment carpets • Medallion carpets Vine-scroll carpets • Vase carpets • Garden carpets • Safavid velvets • Chapter 5: Caucasus • Dragon and flower carpets • Chapter 6: India • Mughal carpets: pattern groups • Vine-scroll carpets • Floral garden carpets • Animal carpets

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