"Hallum's painting is charged with delight in colour, line, surface and composition, in powerfully unconventional ways." - Hettie Judah This is the first monograph on the London-born, Devon-based artist Jacqui Hallum. The publication documents Hallum's solo exhibition at The Walker Art Gallery, Liverpool (10 October 2019 - 1 March 2020), along with a series of solo, two-person and group exhibitions held between 2014 and 2020. Hallum is best-known for her mixed-media paintings on textiles - techniques she has developed and refined over the course of twenty years since completing her studies. Incorporating imagery and visual languages ranging from medieval woodcuts and stained-glass windows to Art Nouveau children's illustrations, tarot cards and Berber rugs, Hallum employs ink staining, painting, drawing and printing to create layers of pattern, abstraction and passages of figurative imagery. As part of her working process, Hallum often leaves the fabrics in the open air, exposed to the elements, in order to introduce weathering into the works. History, religion, mysticism and the beliefs and creativity of past civilisations are among the themes that overlap - often in a literal sense of pieces of fabrics layered, pinned, draped and hung together - to form painterly palimpsests that carry a sense of the past with them into the present. Along with a foreword by Professor Caroline Wilkinson, Director of the School of Art and Design at Liverpool John Moores University, and an introductory essay by artist, curator and director of Kingsgate Workshops and Project Space in London, Dan Howard-Birt, the publication features newly commissioned essays by arts journalist and critic Hettie Judah and by Andrew Hunt, Professor of Fine Art and Curating at the University of Manchester. Also featured is the edited transcript of a conversation between Hallum and Howard-Birt held at The Walker Art Gallery, Liverpool. Jacqui Hallum (b.1977, London) graduated with a BA in Fine Art from Coventry School of Art& Design, Coventry University, in 1999, and an MFA in Painting from the Slade School of Fine Art, University of London, in 2002. Hallum's solo exhibition at The Walker Art Gallery followed a three-month fellowship at Liverpool John Moores University, which resulted from winning the prestigious John Moores Painting Prize in 2018. The monograph, designed by work-form and edited by Susan Taylor, has been produced by Kingsgate Project Space and co-published with Anomie Publishing.

In this beautifully designed and illustrated volume, leading craft scholars, curators and artists come together to assess the post-War history and contemporary flourishing of craft in America. Their critical gaze encompasses craft practice by artists, professional makers, and amateurs; crafting as it takes place in the studio and in the domestic space, and as it is exhibited in museums and galleries; craft that uses materials and crafting in the digital arena, and critical issues confronting craft such as industry, education and digitization.

Taking a major textile artwork, The Knitting Map, as a central case study, this book interrogates the social, philosophical and critical issues surrounding contemporary textile art today. It explores gestures of community and controversy manifest in contemporary textile art practices, as both process and object. Created by more than 2,000 knitters from 22 different countries, who were mostly working-class women, The Knitting Map became the subject of national controversy in Ireland. Exploring the creation of this multi-modal artwork as a key moment in Irish art history, Textiles, Community and Controversy locates the work within a context of feminist arts practice, including the work of Judy Chicago, Faith Ringold and the Guerilla Girls. Bringing together leading art critics and textile scholars, including Lucy Lippard, Jessica Hemmings and Joanne Turney, the collection explores key issues in textile practice from gender, class and nation to technology and performance.

Anni Albers (1899 - 1994) was one of the most influential textile designers of the 20th century. Born in Berlin, in 1922 she became a student at the Bauhaus in Weimar, where she met her husband, Josef Albers. From 1933 to 1949 Albers taught at Black Mountain College. The fifteen essays gathered here illustrate Anni Albers's concept of design as the pursuit of wholeness -- "the coalition of form answering practical needs and form answering aesthetic needs." This beautifully illustrated book addresses the artistic and practical concerns of modern design and considers the ever-changing role of the designer.
Albers's work is in private collections and in those of leading museums both here and abroad. Among them are the Busch-Reisinger Museum at Harvard University, the Baltimore Museum of Art, the Museum Neue Sammlung in Munich, the Bauhaus Archiv in Berlin, and the Museum of Modern Art, Metropolitan Museum of Art, and the Cooper-Hewitt Museum in New York. Her previous books include On Weaving (1965) and On Designing (1961), both published by Wesleyan

This step-by-step introduction to grading combines the theory of pattern grading with its practical applications. After presenting the x, y orientation to familiarize readers with the concepts of computer grading and using the Cartesian graph, the text takes a holistic approach, integrating anthropometry, size specifications, and grade guides into the grading process for women's garments with emphasis on maintaining fit and style sense. New to this Edition: - Expanded discussion of computer grading technology including Optitex, Gerber, Lectra, and Tukatech software - 20% new end-of-chapter exercises - Includes more than 200 illustrations and 85 tables for grade rules, measurement charts and garment specifications - Added discussion on grading from specifications and development of tolerances - Instructor's Guide and Test Bank provide answers to exercises, completed and blank grade rule tables, grade charts for different base sizes and projects for further research Concepts of Pattern Grading STUDIO: - Study smarter with self-quizzes featuring scored results and personalized study tips - Review concepts with flashcards of terms and definitions - Practice your skills with extra exercises

Digital Textile Design, Second Edition covers everything students and practitioners of textile design will need to learn about designing and printing digitally. Written specifically for textile designers, Digital Textile Design, Second Edition provides the know-how for students and professionals who wish to use Adobe Photoshop and Illustrator as design tools. A series of inspirational tutorials, presented in step-by-step format, guide the reader through the process of creating designs that will be suited to both the traditional textile production process and to digital printing onto fabric. The book examines how designers can access the techniques of digital textile printing, looking at the work of those currently exploring its possibilities, and provides an insight into the technology involved. With a stunning new design, this edition has been updated in line with the latest developments in Adobe Creative Suite and contains new images throughout.

After 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.

The colour and shade of dyed textiles were once as much an indicator of social class or position as the fabric itself and for centuries the recipes used by dyers were closely guarded secrets. The arrival of synthetic dyestuffs in the middle of the nineteenth century opened up a whole rainbow of options and within 50 years modern dyes had completely overturned the dyeing industry. From pre-history to the current day, the story of dyed textiles in Western Europe brings together the worlds of politics, money, the church, law, taxation, international trade and exploration, fashion, serendipity and science. This book is an introduction to a broad, diverse and fascinating subject of how and why people coloured textiles. A fresh review of this topic, this book brings previous scholars' work to light, alongside new discoveries and research.

The whimsical imagery of four tapestries in the permanent collection of the J. Paul Getty Museum and currently on display at the Getty Center is perplexing. Created in France at the Beauvais manufactory between 1690 and 1730, these charming hangings, unlike most French tapestries of the period, appear to be purely decorative, with no narrative thread, no theological moral, and no allegorical symbolism. They belong to a series called the Grotesques, inspired by ancient frescos discovered during the excavation of the Roman emperor Nero's Domus Aurea, or Golden House, but the origins of their mysterious subject matter have long eluded art historians. Based on seven years of research, Conundrum: Puzzles in the Grotesques Tapestry Series reveals for the first time that the artist responsible for these designs, Jean-Baptiste Monnoyer (1636-1699), actually incorporated dozens of motifs and vignettes from a surprising range of sources: antique statuary, Renaissance prints, Mannerist tapestry, and Baroque art, as well as contemporary seventeenth century urban festivals, court spectacle, and theater. Conundrum illustrates the most interesting of these sources alongside full-color details and overall views of the four tapestries. The book's informative and engaging essay identifies and decodes the tapestries' intriguing visual puzzles, enlightening our understanding and appreciation of the series' unexpectedly rich intellectual underpinnings.

This book aims to make sense of the Bayeux Tapestry by bringing together answers to a number of questions which this famous hanging presents to the viewer. How did the embroiderers organise the stitching of the Bayeux Tapestry? Are its limited colours used with greater sophistication than viewers have recognised? What do we know of the Tapestry's supporting cast: naked figures in the margins and clerics present at events in the main register? Can we learn anything about the original purpose of the Tapestry from detailed examination of Bayeux Cathedral's 1476 Inventory, the first known reference to the Tapestry's existence? This book combines up-to-the-minute research with an introduction that draws on the contributors' personal observations in order to interrogate the Tapestry's enduring value. Bringing together contributions from leading specialists and newer voices in the field, it will be essential reading for students and scholars of the Bayeux Tapestry, medieval art and culture. -- .

Textile imagery is pervasive in classical literature. An awareness of the craft and technology of weaving and spinning, of the production and consumption of clothing items, and of the social and religious significance of garments is key to the appreciation of how textile and cloth metaphors work as literary devices, their suitability to conceptualize human activities and represent cosmic realities, and their potential to evoke symbolic associations and generic expectations. Spanning mainly Greek and Latin poetic genres, yet encompassing comparative evidence from other Indo-European languages and literature, these 18 chapters draw a various yet consistent picture of the literary exploitation of the imagery, concepts and symbolism of ancient textiles and clothing. Topics include refreshing readings of tragic instances of deadly peploi and fatal fabrics situate them within a Near Eastern tradition of curse as garment, explore female agency in the narrative of their production, and argue for broader symbolic implications of textile-making within the sphere of natural wealth The concepts and technological principles of ancient weaving emerge as cognitive patterns that, by means of analogy rather than metaphor, are reflected in early Greek mathematic and logical thinking, and in archaic poetics. The significance of weaving technology in early philosophical conceptions of cosmic order is revived by Lucretius' account of atomic compound structure, where he makes extensive use of textile imagery, whilst clothing imagery is at the center of the sustained intertextual strategy built by Statius in his epic poem, where recurrent cloaks activate a multilayered poetic memory.

'There is a certain feeling - standing between rows of richly dyed blue cloth - that you are within an enclave of protection, that within this ocean you can feel calm; a separation from the outside world.' One summer, a mother and daughter are reunited in the small village of Betws Gwerful Goch in North Wales following the death of a father and grandfather. Ellie returned from studying at university, while Jeanette had been studying the art of indigo dyeing in Japan. In this lyrical memoir, Ellie Evelyn Orrell transports readers to their hillside garden, reflecting on a summer spent learning to work with indigo, and witnessing the power of creativity in moments of mourning and recovery. In it, she weaves together stories of resettling in a once-familiar landscape; the healing powers of art; the historical, mythological and present day properties of indigo; and the presence of this indelible colour within the Welsh landscape. An Indigo Summer is an absorbing mediation on art, rural life and roots, grief, creativity and the artistic process.

Over the past 30 years, research on archaeological textiles has developed into an important field of scientific study. It has greatly benefitted from interdisciplinary approaches, which combine the application of advanced technological knowledge to ethnographic, textual and experimental investigations. In exploring textiles and textile processing (such as production and exchange) in ancient societies, archaeologists with different types and quality of data have shared their knowledge, thus contributing to well-established methodology. In this book, the papers highlight how researchers have been challenged to adapt or modify these traditional and more recently developed analytical methods to enable extraction of comparable data from often recalcitrant assemblages. Furthermore, they have applied new perspectives and approaches to extend the focus on less investigated aspects and artefacts. The chapters embrace a broad geographical and chronological area, ranging from South America and Europe to Africa, and from the 11th millennium BC to the 1st millennium AD. Methodological considerations are explored through the medium of three different themes focusing on tools, textiles and fibres, and culture and identity. This volume constitutes a reflection on the status of current methodology and its applicability within the wider textile field. Moreover, it drives forward the methodological debates around textile research to generate new and stimulating conversations about the future of textile archaeology.

The Japanese artist Koho Mori-Newton is a master when it comes to handling silk, which he places in an exciting dialogue with architecture. In this way he creates cult-like spaces which interact with light in a fasci nating way. In addition to the works in silk, this volume also shows various graphic work groups from the last 35 years as well as the Path of Silk, created especially for no intention. Koho Mori-Newton (*1951) is a master of intentional lack of intention. His works appear simple, but the aesthetic which lies behind them is complex. Time and again he investigates the basis of art itself, questions the concept of the originality of the artistic creative process and explores the boundaries of artworks. His oeuvre lures us into a world that exists beyond the obvious. Path of Silk, a labyrinthine installation of room-high panels of silk, worked in China ink by Mori-Newton, presents a fragile interplay of space and light, of heaviness and lightness. Further areas of focus in his creative work are repetition and copy, from which his graphic works derive their own special charm.

Meticulously woven by hand with wool, silk, and gilt-metal thread, the tapestry collection of the Sun King, Louis XIV of France, represents the highest achievements of the art form. Intended to enhance the king's reputation by visualizing his manifest glory and to promote the kingdom's nascent mercantile economy, the royal collection of tapestries included antique and contemporary sets that followed the designs of the greatest artists of the Renaissance and Baroque periods, including Raphael, Giulio Romano, Rubens, Vouet, and Le Brun. Ranging in date from about 1540 to 1715 and coming from weaving workshops across northern Europe, these remarkable works portray scenes from the bible, history, and mythology. As treasured textiles, the works were traditionally displayed in the royal palaces when the court was in residence and in public on special occasions and feast days. They are still little known, even in France, as they are mostly reserved for the decoration of elite state residences and ministerial offices. This catalogue accompanies an exhibition of fourteen marvelous examples of the former royal collection that will be displayed exclusively at the J. Paul Getty Museum at the Getty Center from December 15, 2015, to May 1, 2016. Lavishly illustrated, the volume presents for the first time in English the latest scholarship of the foremost authorities working in the field.

This beautiful, practical guide to creating and embellishing embroidered boxes is written by Heather Lewis, a tutor with the Royal School of Needlework. It contains a history of the embroidered box, from the seventeenth century to the present day, and features techniques and guidance for needleworkers wishing to apply their skills to a practical application of the craft. There are three projects to try: a small treasure chest with a curved lid, embroidered dragonfly detail and a false floor; a hexagonal box with a beautiful embroidered lid depicting afternoon tea, and an intricate stumpwork casket with a mirror in the lid and a hidden drawer. Each has a template and extensive instructions for preparation, embroidery and construction.

This is the first publication on a remarkable collection of sixty-six outstanding Pueblo and Navajo textiles donated to the Peabody Museum in the 1980s by William Claflin, Jr., a prominent Boston businessman, avocational anthropologist, and patron of Southwestern archaeology. Claflin bequeathed to the museum not only these beautiful textiles, but also his detailed accounts of their collection histories--a rare record of the individuals who had owned or traded these weavings before they found a home in his private museum. Textile scholar Laurie Webster tells the stories of the weavings as they left their native Southwest and traveled eastward, passing through the hands of such owners and traders as a Ute Indian chief, a New England schoolteacher, a renowned artist, and various military officers and Indian agents. Her concise overview of Navajo and Pueblo weaving traditions is enhanced by the reflections of noted artist and Navajo textile expert Tony Berlant in his foreword to the text.