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Book
On Weaving : New Expanded Edition
Authors: --- --- ---
ISBN: 1400889049 Year: 2017 Publisher: Princeton, NJ : Princeton University Press,

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Abstract

The classic book on the art and history of weaving-now expanded and in full colorWritten by one of the twentieth century's leading textile artists, this splendidly illustrated book is a luminous meditation on the art of weaving, its history, its tools and techniques, and its implications for modern design. First published in 1965, On Weaving bridges the transition between handcraft and the machine-made, highlighting the essential importance of material awareness and the creative leaps that can occur when design problems are tackled by hand.With her focus on materials and handlooms, Anni Albers discusses how technology and mass production place limits on creativity and problem solving, and makes the case for a renewed embrace of human ingenuity that is particularly important today. Her lucid and engaging prose is illustrated with a wealth of rare and extraordinary images showing the history of the medium, from hand-drawn diagrams and close-ups of pre-Columbian textiles to material studies with corn, paper, and the typewriter, as well as illuminating examples of her own work.Now available for a new generation of readers, this expanded edition of On Weaving updates the book's original black-and-white illustrations with full-color photos, and features an afterword by Nicholas Fox Weber and essays by Manuel Cirauqui and T'ai Smith that shed critical light on Albers and her career.

Keywords

Weaving. --- Textile design. --- Actor–network theory. --- Anni Albers. --- Art critic. --- Art movement. --- Art. --- Basile Bouchon. --- Basket weaving. --- Ben Nicholson. --- Bibliography. --- Black Mountain College. --- Bobbin. --- Braid. --- Brooklyn Museum. --- Cambridge University Press. --- Career. --- Carpet. --- Cave painting. --- Chemistry. --- Chintz. --- Clothing. --- Consideration. --- Crêpe (textile). --- Damask. --- Design. --- Designer. --- Diagram. --- Drawing. --- Dye. --- Dyeing. --- Exhibition catalogue. --- Fiber art. --- Finishing (textiles). --- Gauze. --- Handbook. --- Handicraft. --- Heat. --- Heddle. --- Hooper (coachbuilder). --- Illustration. --- Industrial design. --- Instance (computer science). --- Interlocking. --- Invention. --- Jean Arp. --- Josef Albers. --- Knitting. --- Knot. --- Lecture. --- Leno weave. --- Lenore Tawney. --- Lightness. --- Loom. --- Mass production. --- Mechanization. --- Metropolitan Museum of Art. --- Meyer Schapiro. --- Michel Seuphor. --- Notation. --- Nylon. --- Obsolescence. --- Painting. --- Paragraph. --- Paul Klee. --- Plagiarism. --- Porosity. --- Power loom. --- Printing. --- Processing (programming language). --- Proportion (architecture). --- Publication. --- Quantity. --- Raw material. --- Reprint. --- Requirement. --- Rijksmuseum. --- Room divider. --- Satin. --- Selvage. --- Shaving. --- Shirt. --- Structural element. --- Synthetic fiber. --- Textile arts. --- Textile sample. --- Textile. --- Theory. --- Tongue depressor. --- Treadle (railway). --- Treadle. --- Twill. --- Typewriter. --- Typography. --- Wallpaper. --- Waterproofing. --- Work of art. --- Writing. --- Yale University Art Gallery. --- Yarn.


Book
Fray : art + textile + politics
Author:
ISBN: 9780226077819 Year: 2017 Publisher: Chicago ; London : The University of Chicago Press,

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In 1974, women in a feminist consciousness-raising group in Eugene, Oregon, formed a mock organization called the Ladies Sewing Circle and Terrorist Society. Emblazoning its logo onto t-shirts, the group wryly envisioned female collective textile making as a practice that could upend conventions, threaten state structures, and wreak political havoc. Elaborating on this example as a prehistory to the more recent phenomenon of “craftivism”—the politics and social practices associated with handmaking—Fray explores textiles and their role at the forefront of debates about process, materiality, gender, and race in times of economic upheaval. Closely examining how amateurs and fine artists in the United States and Chile turned to sewing, braiding, knotting, and quilting amid the rise of global manufacturing, Julia Bryan-Wilson argues that textiles unravel the high/low divide and urges us to think flexibly about what the politics of textiles might be. Her case studies from the 1970s through the 1990s—including the improvised costumes of the theater troupe the Cockettes, the braided rag rugs of US artist Harmony Hammond, the thread-based sculptures of Chilean artist Cecilia Vicuña, the small hand-sewn tapestries depicting Pinochet’s torture, and the NAMES Project AIDS Memorial Quilt—are often taken as evidence of the inherently progressive nature of handcrafted textiles. Fray, however, shows that such methods are recruited to often ambivalent ends, leaving textiles very much “in the fray” of debates about feminized labor, protest cultures, and queer identities; the malleability of cloth and fiber means that textiles can be activated, or stretched, in many ideological directions. The first contemporary art history book to discuss both fine art and amateur registers of handmaking at such an expansive scale, Fray unveils crucial insights into how textiles inhabit the broad space between artistic and political poles—high and low, untrained and highly skilled, conformist and disobedient, craft and art.

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