The Fiber Game

Abstract

Fiber art in the early 1970s has received little attention from art historians, despite its evident affinities with the much-studied field of Postminimalist sculpture. The article provides an overview of this moment, describing a divergence among practitioners between several strains: designers for production (exemplified by Jack Lenor Larsen); tapestry weavers, who often worked to cartoons heroic installation artists (such as Sheila Hicks and Magdalena Abakanowicz); and those who wished to preserve textiles as a modestly scaled “craft.” This was a politically tinged set of distinctions that played out in the actual usage of work and display spaces. Using Ed Rossbach's 1974 article “The Fiber Game” as a focal point, the article examines the available positions of this moment. It reviews key exhibitions of the period, including “Deliberate Entanglements” (1972); and concludes by suggesting continuities with the present state of affairs in contemporary art, using the example of Anne Wilson.     

中心与周边——从地缘学看新疆双年展

新疆在地缘政治学上具有重要意义。随着未来欧亚高铁的开通,新疆将再现往日扮演的欧亚交通的桥梁的作用,乌鲁木齐将成为新的丝绸之路上的明珠。首届中国新疆国际艺术双年展采取了"相遇丝绸之路"的主题,旨在用地缘政治学来诠释当代艺术和组织展览。中亚各国和新疆本地艺术家的积极参与,让本届新疆双年展独具特色。     

“Africana” Textiles: Imitation,Adaptation, and Transformation during the Jazz Age

Abstract

Despite centuries of missionary work and trade along the African coasts, not until European colonization at the end of the nineteenth century did African art reach significant levels of visibility in Europe. French interest in Africa gained momentum when Picasso and others witnessed public performances by African-Americans of ragtime music and the cakewalk dance. This exposure led these artists to better appreciate the African sculpture they saw at Parisian flea markets, or in the many world and colonial expositions held after 1900 (Blake 1999). Contact with African music and art then contributed to abstraction in modern art. What began early in the twentieth century was, by the mid-1920s, a full-blown “negrophilia” fueled by jazz music, the Charleston dance, and the Harlem Renaissance (Archer-Straw 2000). Interest in Africa was reflected in the design of everything from furniture, ceramics, and jewelry, to garment styles and textiles (Wood 2003a).

This article examines three ways in which textile artists in Europe and the United States borrowed from African and African-American art sources in order to create “Africana” textiles during the 1920s and 1930s: through imitation, adaptation, and transformation. Imitation occurred when artists borrowed by copying directly from African art. Artists adapted African art patterns to suit their creative and commercial needs, also adapting the energetic sounds of jazz onto textiles perceived to be simultaneously primitive and modern. A third group of artists transformed their source of inspiration, creating images that were the products of Western stereotypes and fantasies long associated with the African landscape, its animals, and its people, rather than images based on African art.     

The Politics of Textiles in the Romanian Contemporary Art Scene

This paper explores the means and ends to which textiles are employed by contemporary Romanian artists in their intermedial practices. The history of textile arts in Romania’s cultural-political sphere has received little academic attention in studies dedicated to recent history. The argument put forth is that tapestry, rugs, and other textiles associated in the past with undervalued housework or folk art—and ranked as a lower form of artistry in the artistic hierarchy—are reinvested with political, critical, and mnemonic meanings. The first section addresses the convoluted relationship between textile arts and Romania’s communist era during Nicolae Ceau?escu’s regime by highlighting the ways in which the authoritarian state supervised and controlled the production of so-called folk textile art to political ends. The next sections elaborate on the artistic production of Geta Br?tescu, Ana Lupa?, and Ion Grigorescu, all of whom produced contemporary textile art—often derogatively called “applied art”—whose meanings and purposes eluded the official requirements of national folk art. In the last section the paper scrutinizes the political, critical, and artistic comeback of textile arts as cultural memory since the fall of the communist regime in 1989.     

An analysis of the artistic language regarding export of Canton embroidery fabric category in the Ming and Qing Dynasties北大核心CSCD

明清时期受海上丝绸之路的带动,广绣成为最主要的出口手工艺术品之一,在艺术表现中明显吸收了西方艺术风格。文章通过对外销广绣商品实物、图片和国内外文献等多元化方式进行调研,结果表明:因海外贸易市场的驱动及多元化的消费需求,广绣外销织物呈现观赏型、定制型及批量型三种品类,且它们在对西方艺术的借鉴方式及程度上表现不一致,在艺术形式及制作方式上都呈现出了各自的特点。外销观赏型通过西方透视构图、色彩光影明暗烘托、水路技艺等艺术手段强调整体画面的立体空间感;外销定制型通过图案的题材和造型等艺术形式突出图案构造的创新;外销批量型则通过就简的工艺、艺人的分工合作等方面突出制作的程式化特点。虽然它们呈现的艺术特色有所区别,但都体现了明清时期商品经济以市场需求为导向的商品特征。     

探讨皮革材料在我国当代艺术语境下的发展与使用

在漫长的历史中,艺术的表现形式都需要借助各类材料形成相应的载体,而皮革材料在其中存在的价值巨大,被很多艺术家运用,在中国也不例外.与国外相比,我国皮革材料的艺术化能更加凸显本土文化特色.但是,皮革艺术的形成过程与其实用价值有着密切的关系,在此基础上才能实现工艺性,二者难以有明确的界线.艺术展现形式是通过皮革材料的实用价...     

柯律格:展览是有关可能性的艺术——专访大英博物馆明代大展策展人、牛津艺术史教授

柯律格为世界著名的明代艺术史研究学者,现任英国牛津大学艺术史系讲座教授。他不仅博学多闻,对于中国传统典籍亦有深厚的造诣,同时观照西方文化史、人类学、社会学方面的研究成果,将两者结合而提出新颖有洞察力的学术论述,学术成就广受国际学界的赞誉。在2014年9月14日至2015年1月5日,由他与大英博物馆中国瓷器部负责人霍吉淑女士策划的大规模中国文物展"明代:改变中国的五十年",将在在大英博物馆正式举行。本篇访谈就此次展览,对柯律格教授进行了较为深入的采访,由于1400~1450年永乐至正统年间孕育了非常辉煌的文明,内部有灿烂的文化艺术,外部也有郑和下西洋的开拓举动,所以对后来明清乃至当今中国的文化都留下了起决定性作用的要素,希望观众能在这次展览中看到这一段鲜活的历史。     

锡绣绝艺盛当年

锡绣是在民间刺绣基础上，吸收上海露香园顾绣和江南刺绣名家丁佩的技法，于清代光绪年间成名的。其中刺绣艺术家李佩黻及她创办的锡山绣工传习会功不可没，而华则是将锡绣艺术发扬光大并推向顶峰的集大成者。锡绣艺术的鼎盛在本世纪一二十年代，至抗战时期衰落，解放后又重新复苏。     

民间刺绣在现代家居日用品中的设计应用

刺绣艺术经历了四千多年的发展和变革,积累了深厚的文化底蕴和艺术成就,是我国具有代表性的民间工艺形式之一。在国内市场,传统手工刺绣的应用越来越广泛,并不断回归到人们的日常生活中。中国民间刺绣发展到现代形成了较为完整的艺术体系,为日用品设计提供了灵感。文章主要通过追溯民间刺绣的起源与发展,探析民间刺绣在现代家居日用品中的美学价值和民间刺绣在现代家居用品中的应用方法,研究如何更好地实现民间刺绣在现代家居日用品设计中的应用。     

中国画写意性的萌生及工笔画与写意画的早期分化

写意画作为中国传统绘画的重要门类,其发端与发展经历了漫长的衍生过程。写意性作为中国传统绘画的基本特征之一,通常被认为是文人士大夫绘画理论中的首创。但事实上,这一绘画特性的滥觞应上溯至魏晋南北朝时期。受顾恺之传神论的启发,谢赫将气韵生动列为绘画六法之首,而气韵生动的提出,不仅成为其后漫长历史过程中绘画创作与鉴赏的首要条件,更启发了写意性的萌生。作为中国古代最为重要的美术理论家之一,谢赫在《古画品录》中也有意无意地对长于气韵生动与应物象形的画家及他们的绘画风格进行了明确的区分,这也不啻为工笔画与写意画早期分化的征兆。     

Weaving the Murray: Mapping Connection and Loss

Abstract

Craft theorist Sue Rowley noted in Craft and Contemporary Theory: “Craft objects, stories and performance are integrally bound up in our sense of identity, our understanding of the past and our articulation of the unresolved concerns of the present” (1997: 84).

In 2001 Australia celebrated the “Centenary of Federation,” an anniversary that marked the uniting of the Australian states under a federal government in 1901. In South Australia an official Centenary of Federation project, Weaving the Murray brought together seven Indigenous and non-Indigenous artists to weave a narrative based on the social and cultural history of the Murray River, the driest continent's largest watercourse.

This paper outlined how the artists used Indigenous stories and textile traditions as strategies for recalling the past history of the river to explore issues of identity, community and loss in the present. It also discusses how the artists negotiated some of the tensions inherent in commemorating, through intercultural art practice, an event that forged national identity through the exclusion of Indigenous Australians.     

India Inside Out: Critical Perspectives on the Work of Mrinalini Mukherjee

Abstract

This essay examines the critical responses, both in the UK and India, to the work of Mrinalini Mukherjee, a well known artist whose woven and majestic forms cross over between sculpture and textiles. The essay traces the ways in which Mukherjee's art was increasingly associated with religious questions during the 1990s, and situates this tendency in the context of the rise of religious fundamentalism within India. The energetic trade of “orientalizing” perspectives on Mukherjee's art between the UK and India has largely diverted attention from Mukherjee's core artistic concerns and the processes, histories and influences that have inspired her. Amongst her major influences are the writings and philosophy of Rabindranath Tagore, the teachings of K. G. Subramanyan and the sculptures of Ram Kinkar Baij. This analysis of art criticism around Mukherjee's art raises the problems facing contemporary artists in post-colonialist contexts.     

畲族女装服斗造型及纹样特征研究

服斗是畲族女装中最具民族特色的装饰之一,其纹样造型的艺术表现形式可为现代服饰设计提供设计灵感。文章以景宁畲族自治县博物馆、福建省闽东畲族博物馆中12件具有代表性畲族女上衣为研究对象进行归纳分析,测量其各部位尺寸,并通过Adobe Illustrator软件对服装图片进行线描表现,截取部分代表性的服斗细节部位的结构图进行梳理分析。研究表明:畲族女装服斗纹样造型具有“厂”字型、“几”字型、“Z”字型的多样结构特点;包罗万象的纹样题材、浓艳瑰丽的配色风格、以简驭繁的刺绣工艺呈现畲族女装服斗纹样特征,这些都反映了畲族人民的智慧和对美好理想的追求与向往。     

“Silk Thread Martyrs”: Palestinian Embroidery

Abstract

Having been introduced to OmarJoseph when a piece of his fashion collection was being considered for inclusion in the British Museum's collection, this interview about his further reflections on that exhibition, Palestinian embroidery techniques, and his subsequent debates about this embroidery in the contemporary context, was undertaken in London.     

探析当代艺术与时尚产品设计的关联

当代艺术(Contemporary Art)在世界范围内广泛流行、传播,极具影响力,其题材形式种类繁多,象征意义涵盖范围广泛,具有多元审美、教育、娱乐功能,部分具有商业价值,对时尚产品设计有借鉴意义。本文对当代艺术作品及艺术家进行梳理、比较分析,从当代艺术的象征意义出发,分析受众对当代艺术的认同和时尚领域之间的关系,并运用案例分析法,对时尚领域具有当代艺术风格的产品与当代艺术家跨界现象及作品进行案例分析。最终得出结论:当代艺术的时尚价值是与生俱来的,其艺术创作的方法能为时尚产品设计提供独特视角,创造新的文化符号,实现社会价值,这是现阶段不可或缺的艺术与设计的关联显现。     

山西刺绣业的历史、现状和未来

通过对山西刺绣业历史的回顾和现状的描述,结合国家带给山西刺绣业的发展机遇,提出了未来发展的规划设想,并从传统艺术的挖掘和整理、人才的培养、绣品的创新、龙头企业的扶持及品牌的培育和宣传推进等方面进行了积极探索,以求山西刺绣业早日走上健康发展之路.     

《点石斋画报》的美术传播意义

《点石斋画报》是晚清十分流行的以图画为主的出版物,它应用石印等技术表现大众生活,拓宽了传统美术的传播渠道;它对西洋图像和西洋画法的借鉴,在空间透视和人物写实等方面影响了社会各阶层人群的绘画欣赏和审美习惯,同时其所保留的传统绘画艺术图式、趣味以及画中书文的做法,又使公众感到亲切并成为新画风被广泛接受和喜爱的纽带;另外,它还为民国初期各种商业美术如月份牌、广告画等的发展和繁荣打下了基础、准备了条件。     

Easel Tapestries: The American Reception of the Marie Cuttoli Tapestries 1930s to 1950s

The story of textiles in mid-century America was enriched by differing opinions about their multi-dimensional role as objects of art, design, and handcraft, and by the revival of pictorial tapestry, especially French imports. This paper examines the Cuttoli Tapestry edition of French-produced tapestries, named after its éditeur, Marie Cuttoli (1879–1973), and explores how these tapestries emerged as a middle ground between painting, mural, and textile, bringing to the forefront recurring tensions between fine and applied art hierarchies, third-party producers, and the concept of reproduction. While these pictorial tapestries, which varied in size from medium to large scale, functioned much as easel paintings did, earning the name “easel tapestries,” they were decidedly different from easel paintings due to the materials, production processes, and resemblances to the original design. The Cuttoli project gave artists the opportunity to explore alternatives to painting and to reach new patrons and methods of display; through the marketing of limited editions, the tapestries remained luxury art objects, although never as celebrated or expensive as “the original.” This paper documents the complicated chronology and provenance of a seminal twentieth-century pictorial tapestry project by exploring how the Cuttoli Tapestries were perceived and understood by critics and patrons during their debut and subsequent display in pre- and postwar America.     

基于臂部形态的西服袖结构

 正确的服装结构设计要基于 “人体–服装”体系,服装结构中最复杂的部位是“袖窿-袖”,这一结构部位直接影响上衣的肩袖造型和着装舒适性,牵涉到有动态要求的人体上肢和手臂。分析影响传统男西服“袖窿-袖”部位的主要结构因素,研究人体臂部形态和该结构部位实现相互结合的条件。传统的人体测量项目无法准确描述上肢空间位置关系,对人体臂部测量项目进行了补充,提出人体臂部测量的新部位和新方法,并对男人体臂部外形进行了概括分类。确定了由于人体臂部与男西服袖身结构形态不吻合而发生袖疵病的条件。应用新型结构参数,结合人体形态学,制定合理有效的结构配置方案,从而实现人体臂部形态与男西服成品袖之间的静态平衡,减少袖疵病的发生。     

从“意在言外”到“写中之意”——“意派论”与“写意美学”比较

“意派论”和“写意美学”均反对二元对立的理论和实践模式,均试图以三元甚至更多元架构寻求突破现行理论困境之道,将“意”安置在“之中”或“之间”地带。“意派论”的“意”,是“意在言外”,强调“意”在艺术作品中实体的“缺席”(但不等于更高维度的“意”的“不存在”)。而“写意美学”的“意”,是“写中之意”,尤其强调艺术家的“写”这样一个动态的“在场”。