Relevant bibliographies by topics / Contemporary Embroidery

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Contemporary Embroidery'

Author: Grafiati
Published: 19 February 2023

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Journal articles on the topic "Contemporary Embroidery"

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Qi, Yan, Xue Rong Fan, and Rong Rong Cui. "Lu Embroidery Patterns on Costumes in Shandong Province." Advanced Materials Research 821-822 (September 2013): 717–20. http://dx.doi.org/10.4028/www.scientific.net/amr.821-822.717.

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Lu embroidery, one of the famous embroideries in Shandong province of China, is the earliest recorded Chinese embroidered species found in historical documents of China. Lu embroidery patterns on costumes have a wide range of subjects; their folk contents coagulate plenty of folk emotions. The motifs of Lu embroidery patterns on costumes express the totemism and the nature worship. They are the rites of passage and spiritual religious expressions. The cultural connotations in Lu embroidery patterns on costumes can inspire current designs, provide useful references for contemporary fashion designers and promote the development of embroidery costume markets.
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Maskiell, Michelle. "Embroidering the Past: Phulkari Textiles and Gendered Work as “Tradition” and “Heritage” in Colonial and Contemporary Punjab." Journal of Asian Studies 58, no. 2 (May 1999): 361–88. http://dx.doi.org/10.2307/2659401.

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While the men worked in the fields in the wine-like [winter] air, the women sat in the afternoon sun spinning and embroidering while they sang together, before starting to cook for their men. They embroidered phulkaris….” (Tandon 1968, 65). These stereotypes of feminine and masculine work in Prakash Tandon's memory book Punjabi Century illustrate dominant literary representations of economic production in Punjab, a province of the British Raj from the mid-nineteenth century until it was partitioned between independent India and Pakistan in 1947 (see fig. 1). Many Punjabi women used phulkari (literally, “flower-work”) embroidery to decorate their daily garments and handmade gifts in the nineteenth century. Illustrations only partially convey the vibrant visual impact of phulkaris, and even color photographs fail to capture fully the sheen of the silk thread. The embroidery ranges from striking geometric medallions in reds, shocking pinks, and maroons, through almost monochromatic golden tapestry-like, fabric-covering designs, to narrative embroideries depicting people and objects of rural Punjab. Women stitched phulkaris generally on handwoven cotton cloth (khadi), and phulkaris shared linked construction techniques, a dominant embroidery stitch (the darning stitch), and several distinctive motifs (Frater 1993, 71–74; Yacopino 1977, 42–45; Askari and Crill 1997, 95–101).
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Ning, Jun, Tuerxun MaiDiNaiMu, Yang Liu, and Limin Duan. "Interpretation of the harmony culture phenomenon of Hami Uyghur embroidery patterns from the perspective of the Silk Road." Advances in Education, Humanities and Social Science Research 1, no. 3 (February 1, 2023): 158. http://dx.doi.org/10.56028/aehssr.3.1.158.

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This article takes the Hami Uyghur embroidery patterns from the perspective of the Silk Road as the research object，explore the embodiment of harmony thought of Chinese traditional culture in Hami Uygur embroidery patterns. Through field investigation, literature analysis, analytical induction to systematically orders and studies the embroidery patterns of Hami Uygur, further summarizes the cultural causes of embroidery patterns and the harmonious cultural phenomenon. The research shows that: Hami Uygur embroidery patterns of the skills, themes and forms are reflected in the thought of harmony, and presents compatible with a variety of famous embroidery techniques, the theme of multiple integration, and the characteristics of harmony in form. It also puts forward the contemporary value of the research on Hami embroidery patterns and culture, which provides an important reference for the inheritance and development of Hami embroidery culture.
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ja, Poo, Vivek Singh, and Nisha Arya. "Development of Contemporary Kathiawar Embroidery Designs for Jacket." International Journal of Current Microbiology and Applied Sciences 8, no. 02 (February 10, 2019): 2073–80. http://dx.doi.org/10.20546/ijcmas.2019.802.240.

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Salles, Claire. "Mots en cheveux. Hériter de l’histoire genrée de la broderie à travers l’écriture." Cahiers ERTA, no. 24 (2020): 10–25. http://dx.doi.org/10.4467/23538953ce.20.015.13217.

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Words made of hair. Women’s reappropriations of writing through embroidery Contemporary pieces of embroidery showing words made of human hair open up reflections upon how women artists challenge the traditional partition between the needle (for women) and the pen (for men). The article offers a synthesis on the historical construction of this gendered assignation of needlework to women, from Renaissance to the early twentieth century. The idea of physical and moral coercion appears in the feminine history of needlework as well as in the history of the access of young women to reading and writing. Finally, if embroidery was for a long time excluded from metaphorical descriptions of literature, unlike weaving, the article ends up showing how the crossroads between writing and embroidery can be seen as a part of women’s emancipation.
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Salles, Claire. "Mots en cheveux. Hériter de l’histoire genrée de la broderie à travers l’écriture." Cahiers ERTA, no. 24 (2020): 10–25. http://dx.doi.org/10.4467/23538953ce.20.015.13217.

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Words made of hair. Women’s reappropriations of writing through embroidery Contemporary pieces of embroidery showing words made of human hair open up reflections upon how women artists challenge the traditional partition between the needle (for women) and the pen (for men). The article offers a synthesis on the historical construction of this gendered assignation of needlework to women, from Renaissance to the early twentieth century. The idea of physical and moral coercion appears in the feminine history of needlework as well as in the history of the access of young women to reading and writing. Finally, if embroidery was for a long time excluded from metaphorical descriptions of literature, unlike weaving, the article ends up showing how the crossroads between writing and embroidery can be seen as a part of women’s emancipation.
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Chuprina, N. V., T. V. Remenieva, I. V. Frolov, and O. H. Tereshchenko. "DESIGN OF THE CONTEMPORARY GARMENTS ON THE BASIS OF THE TRANSFORMATION OF STYLISTIC AND ARTISTIC-COMPOSITIONAL CHARACTERISTICS OF TRADITIONAL DECORATIVE ART." Art and Design, no. 3 (December 13, 2021): 30–44. http://dx.doi.org/10.30857/2617-0272.2021.3.3.

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The purpose. This research aims to analyze artistic-compositional characteristics of Ukrainian traditional embroidery and decorative-applied art (using the example of M. Prymachenko’s art) used in the decoration of the actual ethno-styled garments. Methodology. A systematic approach was used in this research to project authorial contemporary garments: literary-analytical, morphological, and comparative analysis of the creative primary source, associative means of its adaptation to the actual fashion trends. The methodology of the research is based on the systematic analysis of the design projects using elements of the cultural heritage of Ukraine. Systematic-informational and visual-analytical methods were used in this research. Systematic-structural analysis was used to analyze the transformation of artistic-compositional elements in the process of shaping contemporary costumes based on associative transformations. Results. In the process of design project of the authorial collection of female Ethno-style clothes, it was found that decorative art and national garments have a high level of authentic symbolism if used for the actual projection image in conditions of contemporary design activity. Characterizations were given to some principles of implementation of the national image in contemporary trends of fashion industry development. Symbolic image of the floral ornament adapted from Prymachenko’s works as well as stylization of her works in ornamental motifs of the collection were used. Based on pre-project analysis and customer survey it was defined that there is significant interest in national motifs. A collection of female clothes targeted at a wide group of customers was designed. Scientific novelty. Principles of design-project of the collection of contemporary garments with authorial embroidery were proposed using an adaptation of national traditions of female clothes embroidery and folk-art decoration as a basis. Usage of different floral motifs and geometric ornament in ethno-style and implementation of this image as popular among contemporary women in their everyday life were justified. Practical significance lies in the development of principles of formation of authorial costume collection project-image, in justification of principles of ethnographically oriented prints and embroidery and the choice of decoration methods of contemporary female clothes.
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Devi, Saroj, Parveen Punia, Neelam Pruthi, and Nidhi Sisodia. "Development of Kantha Embroidery Motifs to Designs: Traditional to Contemporary." International Journal of Current Microbiology and Applied Sciences 6, no. 7 (July 10, 2017): 4479–88. http://dx.doi.org/10.20546/ijcmas.2017.607.467.

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Sindhu, Godi, and Shahnaz Jahan. "Adaptation of Lambadi Embroidery to Embellish Contemporary Apparel and Accessories." International Journal of Current Microbiology and Applied Sciences 7, no. 11 (November 10, 2018): 183–94. http://dx.doi.org/10.20546/ijcmas.2018.711.022.

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Setterington, Lynn. "‘Threads of Identity’: Uncovering the benefits and tensions found in the hand-sewn signature as a method of engagement to challenge stereotypes about embroidering with boys." Journal of Arts & Communities 11, no. 1-2 (December 1, 2020): 93–108. http://dx.doi.org/10.1386/jaac_00017_1.

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This article describes a stitch-based research project that took place in 2016 in Manchester. It involved the Ahmed Iqbal Ullah Race Relations Archive, Burnage Academy for Boys and a professional embroiderer. Central to the enquiry is a signature cloth – a textile made up of hand-sewn autographs – used as a vehicle to explore young male identity and stereotypes about embroidery. The investigation signposts the flexibility of the signature that is utilized in the research to locate accessible activities and processes. In so doing, it formulates new avenues to access historical textile artefacts and illuminates their significance and contemporary relevance. The enquiry also outlines some of the tensions and dilemmas that permeate socially engaged practice(s) and offers new insights into the stitch-based collaborative/participatory process, in which the production of the tactile artefact is but one element; for alongside the stitch workshops a commemorative banner was a second outcome, made to memorialize a pupil killed in the school in a racially motivated crime in 1986. Shedding light on embroidery as a form of social engagement, the investigation also provides evidence of its applicability as an alternative, tactile means of communication. It similarly reveals and elucidates the dynamics inherent in this stitch-based community collaboration and draws attention to some of the planned and unexpected outcomes that emerge. The methodology offers a transparent model for those who may engage in similar practices and highlights its applicability to different audiences.
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Dissertations / Theses on the topic "Contemporary Embroidery"

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LEAL, MARIA TERESA ROMEIRO. "THE CONTEMPORARY EMBROIDERY: HANDWORK AND ELECTRONIC PROCESS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2018. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=36157@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTITUIÇÕES COMUNITÁRIAS DE ENSINO PARTICULARES
Os processos eletrônicos alteram os conceitos básicos do fazer artesanal e, portanto, o conceito de bordado também se altera. Diante dessa ruptura, surge a justificativa desse trabalho: a análise dos bordados, sejam manuais ou eletrônicos. Este trabalho busca investigar o bordado para debater as transformações ocorridas ao longo do tempo, incluindo a utilização de novas tecnologias, examinando se é coerente dizer que as máquinas eletrônicas bordam. A metodologia aplicada inclui diferentes etapas, iniciando pela checagem dos temas e dos contextos relacionados para examinar o bordado, aferindo os seus diferentes processos de produção: o trabalho manual e o sistema eletrônico. A pesquisa também tem por base uma revisão teórica dos conceitos apresentados. A discussão a respeito da evolução do artesanato no Brasil conduz o olhar para a nossa prática, ilustrando o debate com o trabalho realizado na Cooperativa de Trabalho Artesanal e de Costura da Rocinha Ltda - até recentemente reconhecida como COOPA-ROCA. A experiência aprofunda a reflexão a respeito de uma cultura metodológica relacionada ao bordado manual, elucidando o papel do consumidor.
Electronic processes change the basic concepts of making crafts, and therefore the concept of embroidery also changes. Faced with this disruption, the justification of this work emerge: the analysis of the embroideries, either manual or electronic. This work seeks to investigate the embroidery to discuss the transformations that occurred over time, including the use of new technologies, examining whether it is coherent to say that the electronic machines does embroideries. The methodology was organized in different stages, starting with the checking of the topics and related contexts to examine the embroidery, assessing their different production processes: the manual work and the electronic system. The research is also based on a theoretical revision of the presented concepts. The discussion about the evolution of handicrafts in Brazil leads to a look at our practice, illustrating the debate with the work carried out at the Cooperativa de Trabalho Artesanal e de Costura da Rocinha Ltda - until lately recognized as COOPA-ROCA. The experience deepens the reflection about a methodological culture for the manual embroidery, elucidating the role of the consumer.
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Crawford, Fiona. "When you go looking for me, I am not there : description by absence." Thesis, Federation University Australia, 2020. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/176302.

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When women don’t have access to public voices, their stories may be told through symbols and sewing, publicly viewed but understood only by an audience of intimates. My research builds upon my May 2016 residency in Assisi, Italy, and explores description through absence. Punto Assisi, an embroidery tradition predating the Renaissance, is still practised by women of Assisi. Uniquely, the subject matter is empty of detail. The negative space in Punto Assisi work can be seen as echoing the absence of information about the makers. Invisible and indispensable, women and their work have provided the fabric of human society throughout history, yet the names and faces of female artists and artisans are rarely documented. This embroidery style resonated with my interest in women's work and how ubiquitous and anonymous it is. Based on the concept of drawing with thread to manifest content, I explore description through absence, and honour the unknown makers of this art. Studio practice revealed insight into materiality, imagery, form design and palette. The haptic process of sewing gave insight into a universality of the experience of making, a connection crossing time, place and culture. The experience of the maker is highly individual and takes place in diverse contexts. The maker and their experience may be unknown, except to self, however the outcome, the product or the artwork may be indexical of a place, time or the maker, known or unknown. As such, unknown women makers have a presence in their works. The negative space in the uncoloured linen yields a presence and materiality that allows us to engage with what isn’t there. Absence is made material. Materiality, memory, narrative, and identity are themes emerging from this project. In my contemporary application of the style constraints yielded creative freedom. In absence, I found description.
Master of Arts (Visual and Performing Arts) (Research)
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Meckelburg, Patricia Ann. "Her breasted epistemology: How breaststroking embroidery usefully transforms contemporary politics of reproduction into a situated knowledge about sexed identity fabricated from mothering women's sexy bodies." Thesis, Meckelburg, Patricia Ann (2000) Her breasted epistemology: How breaststroking embroidery usefully transforms contemporary politics of reproduction into a situated knowledge about sexed identity fabricated from mothering women's sexy bodies. PhD thesis, Murdoch University, 2000. https://researchrepository.murdoch.edu.au/id/eprint/50884/.

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This thesis discusses what it might mean to live ongoing change and introduces ideas for a sexually differentiated epistemology that is traditionally always 'outside' terrain where it is understood that only ahistoricist ideas about embodiment can possibly circulate. It discusses certain transformative effects of feminine-sexed breastedness upon epistemologies always apparently dependent upon ahistoricist or male-stream understandings of embodiment, revisioning them with ideas about an always changing ontology that is discursively developed from contemporary stories by modern women about their experiences coming to mothering. The idea of experience, as sexual difference, is utilized throughout to represent modern mothering as the simultaneous production of bodies and texts. In the deployment of feminine-sexed breastedness as paradigm to discuss ideas about 'knowledge', 'the body' and 'experience', the three themes around which the thesis is organized, a breasted epistemology inscribes a dynamic, essentially feminine-sexed subjectivity, 'writing-older-mother', situated at the centre of humanist philosophy's discursive field. In that field, feminist and postmodern ideas about subjectivity and identity formerly dependent upon male-steam philosophy's ahistoricist paradigm of embodiment are liberated from the perceived co-dependency that is the essentialism versus constructionism explanatory dualism. Also liberated from a sole dependency upon ahistoricism to explain reproduction to living women are the medical epistemologies, gynaecology and obstetrics, both perceived as key discourses which have marginalized the female body from representation, evidently ignorant of the essential understanding that, for women, reproduction is sexual. My dissertation practises the research technique, 'breaststroking', as both metaphor for and method of feminine-sexed identification, including selfidentification, to develop historical narratives from my own perspective or standpoint, borrowing from feminisms' tradition of qualitative research method; that is, the informal interview and group discussion. Breaststroking celebrates the idea that feminine-sexed reproduction be experientially and discursively reclaimed and voices long absent from humanist understanding be now understood as possible ideas for a 'women's discourse'. The dissertation's breaststroking performance of sexual difference, the embroidering of one level of understanding about embodiment with essentialisms so vibrant that deadlocked ideas can be liberated from discursive co-dependencies long thought unchangeable, forever changes the way we can think about and discuss sexuality and textuality.
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Wilson, Elizabeth Danielle. "I Want a Man Who: Desires, Wishes, Ideals, and Expectations in Women’s Online Personal Ads." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1284691475.

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Kent, Ellen. "Entanglement: Individual and Participatory Art Practice in Indonesia." Phd thesis, Canberra, ACT : The Australian National University, 2016. http://hdl.handle.net/1885/117054.

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This PhD addresses approaches to art practice that are simultaneously individual and participatory. It comprises a research-based dissertation that sets out to understand why combined practices are so prevalent among contemporary Indonesian artists (66.66 ̇%), and a practice-led body of work that investigates the nexus between individual and participatory modes in my own art practice, accompanied by an exegesis (33.33 ̇%) . The arguments set out in the dissertation are the result of research into primary and secondary written resources, translations, field observations, interviews with artists and with other experts in Indonesia. This is the first body of research to address combined individual and participatory art in Indonesia. Sanento Yuliman described the “artistic ideology” of Indonesian modernism as simultaneously autonomous and independent, and heteronomously tied to tradition and society’s needs. This formed the foundations from which modern art discourse in Indonesia involved artists in the lives of the people (rakyat) while also defending artists’ individual expression: a binding knot of the kind that Jacques Rancière describes as the “aesthetic regime”. I draw attention to the way participation consistently features alongside individuality in discourses from those early artists; during art’s instrumentalisation in development discourses; and when contemporary artists begin involving the rakyat in participatory art. Case studies addressing the work of five contemporary artists (Arahmaiani Feisal, Made “Bayak” Muliana, I Wayan “Suklu” Sujana, Tisna Sanjaya, and Elia Nurvista) show how contemporary artists have extended this continuum to involve people in the making of art, while still maintaining significant individual practices. I demonstrate how particular contexts and networks of production have continued to engage with the early modernist concepts of autonomy and heteronomy, as well as exogenous and originary endogenous discourses, to create conditions which mandate the practice of both participatory and individual art for many artists. In responding to these conditions, the work by contemporary artists presented in this research consciously engages with and reconstructs discourses from Indonesian and global art histories. The body of work experiments with variations on participatory and individual art within community, institutional, educational and public spaces. I became interested in these spaces in between the one and the many while observing art and cultural practices in Indonesia, and working in museum education in Australia. Consequently, both fields – contemporary art in Indonesia and my own art practice – are inextricably linked. The mediums used are responsive to the contexts of those sites and diverse conversations I seek to generate through the works. They include fabric remnants, diverse printmaking techniques, wax resist on paper and a two-channel video installation. The exegesis addresses the conceptual background, intentions, research methodologies and results of this practice-led research into the nexus between individual and participatory modes of practice. In responding to the different sites (referred to above) and artistic modes, I examine both links and points of difference, and demonstrate the continuing role of art as a liminal space of expression and criticality.
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Kool, Carine. "La broderie dans l’oeuvre de Tracey Emin : piquer, percer, fixer, Jouissance filaire et art de l’intime." Thesis, Rennes 2, 2018. http://www.theses.fr/2018REN20071.

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Cette recherche propose de rendre compte de l'usage de la broderie en art contemporain dans les oeuvres deTracey Emin, première artiste à avoir exposé le récit des trente-deux premières années de sa vie dans une tentebrodée intitulée Everyone I Have Ever Slept With 1963-1995. Une analyse de réception de type sémio-anthropologiquede cette oeuvre monumentale met en évidence, dřune part, que la broderie est une écriture contemporaine incluant un geste manuel, une loi textile et une jouissance filaire et, d'autre part, que son effet de présence et son pouvoir narratif en font un art de l'intime.En tant qu'écriture filaire, la broderie est singulière. Ecriture universelle, elle est première chez les peuples sans écriture, elle est sésame social en tant que sampler, elle est historiographique par son potentiel narratif, son statut d'objet de prestige ou de mémorandum. Elle est encore écriture monumentale dans la Tapisserie de Bayeux, autre broderie phénoménale, simultanément manuscrit, témoignage documentaire et oeuvre d'art plastique reconnue.La broderie se fait art de l'intime dans d'autres oeuvres de Tracey Emin, telles ses couvertures, dont la première, Hotel International, incarne le curriculum vitae de l'artiste. Mais l'intime peut s'envisager de plusieurs manières. Or, comme en Angleterre la broderie a été considérée comme un art national dès le VIIe siècle, elle se conçoit aussi comme art de l'intime dans le rapport que les oeuvres brodées d'Emin entretiennent avec celles du passé. Si l'intime est un lien puissant entre le public et l'artiste, en brodant sa vie et son intimité, Tracey Emin a transformé le « personnel est politique » des années 1970 en universel
This research proposes to account for the use of contemporary art embroidery in the works of Tracey Emin, the first artist to have exhibited the story of the first thirty-two years of her life in an embroidered tent entitled Everyone I Have Ever Slept With 1963-1995. A semio-anthropological reception analysis of this monumental work highlights, on the one hand, that embroidery is a contemporary writing that includes a manual gesture, a textile law and a thread jouissance and, on the other hand, that its effect of presence and its narrative power make it an art of intimacy.As thread writing, embroidery is a singular one. As universal writing, it is first among people without written language, it is a social open sesame as sampler, it is historiographical thanks to its narrative power, its status as an object of prestige or as a memorandum. It is also a monumental writing in the Bayeux Tapestry, another phenomenal embroidery, simultaneously manuscript, documentary testimony and recognized visual work of art. Embroidery is also an art of intimacy in other works of Tracey Emin, such as her blankets, whose first, Hotel International, embodies the curriculum vitae of the artist. However, intimacy can be considered in many ways.And, as in England embroidery was regarded as a national art from the seventh century onwards, it can thus be conceived as an art of intimacy in the relationship that the embroidered works of Emin maintain with those of the past. If intimacy is a powerful bond between the public and the artist, by embroidering her life and her intimacy, Tracey Emin has transformed the "personal is political" of the 1970s into a universal one
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Lijnes, Karin Margaret-Mary Teresa. "Reweaving traditions : an investigation of the concept of reproduction in contemporary art." Diss., 1998. http://hdl.handle.net/10500/17217.

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This dissertation explores the concept of reproduction as it relates to processes, images and materials in contemporary art. The concept embraces collaboration, embroidery, fragmentation, diffusion, multiplicity, inclusivity, decentralisation, copy, pastiche and appropriation. The convergence of these practices and ideas in contemporary theories and contemporary art, my own included, is explored. The concept ofreproduction intersects with traditional structures of knowledge and aesthetics, such as those of the Individual Artist, authenticity and the construct of Woman. In the process, these are questioned and inevitably redefined. A re-weaving of female identity, in particular, emerges. At the same time, the traditional notion of reproduction is itself unravelled in order to reveal the ambiguities and multi-layered meanings inherent in the concept. Reproductive or regenerative practices and ideas, as examined here, become an effective force for unfolding the complexities of a female-specific aesthetic and identity, previously reduced by traditional structures.
Fine Arts
M.A. (Fine Arts)
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Tocar, Sofia. "Tradiční technika vyšívání v současném umění." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-370068.

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The present master's thesis discusses the traditional textile technique of embroidery in the context of contemporary art and analyses the way in which this craft technique has evolved from its invention to this day. The historical development points at the inevitable link between this artistic technique and women's history in Western societies, where embroidery strove to maintain stereotypes on femininity. In the twentieth century, embroidery as well as other textile techniques take on a new, subversive quality which enables the beginning of a social dialogue through art. It becomes a part of the public space in the form of banners in demonstrations or craftivist interventions in city streets. It tries to free itself from stereotypes and become an accessible technique for which the artistic process is as important as the finished piece. The work of contemporary artists reveals the shifting position of textile art, which cannot be considered as a simple offshoot of artistic craftsmanship for it has turned into in an autonomous and widely used medium of expression in current artistic production.
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Yoon, Chaehee. "Mending What’s Invisible." 2021. https://scholarworks.umass.edu/masters_theses_2/1081.

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A written thesis to accompany the M.F.A. Exhibition Mending What’s Invisible, in which the artist’s personal experiences and memories explore the cultural identities and femininity in Korea and the US. These identities are explored by using traditional Korean motifs, embroidery patterns, and the visual images of the artist's childhood photographs in the projects of “Reconnecting of Nostalgia” and “Mutating”. Also the visual clips of the artist's hometown is demonstrated in the video project “Things I hated” that discusses criticalities of Korean cultures and a sense of nostalgia for childhood in Korea. The project comes out of a personal need to connect the artists' different identities but also wants to create an awareness of the conflict between different cultural understandings of Korea and the US.
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Books on the topic "Contemporary Embroidery"

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Gonet, Deborah. Contemporary machine embroidery. Radnor, Pa: Chilton Book Co., 1996.

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Giles, Denise. Contemporary candlewick embroidery. Iola, Wisc: Krause Publications, 2004.

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Gonet, Deborah. Contemporary machine embroidery. London: Mitchell Beazley, 1996.

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Best, Muriel. Stumpwork: Historical & contemporary raised embroidery. London: B.T. Batsford, 1987.

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Best, Muriel. Stumpwork: Historical and contemporary raised embroidery. London: B.T.Batsford, 1990.

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Contemporary embroidery: Exciting and innovative textile art. London: Studio Vista, 1994.

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Christine, Büttner, ed. Contemporary needlepoint. London: Mitchell Beazley, 1994.

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D, Taunton Nerylla, ed. Stumpwork embroidery: A collection of fruits, flowers and insects for contemporary raised embroidery. Burra Creek, Australia: Sally Milner, 1995.

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Smith, Barbara Lee. Celebrating the stitch: Contemporary embroidery of North America. Newtown, CT: Taunton Press, 1991.

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The new crewel: Exquisite designs in contemporary embroidery. New York, N.Y: Lark Books, 2005.

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Book chapters on the topic "Contemporary Embroidery"

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"Malay (Perak) Embroidery in Contemporary Batik." In Building on Batik, 177–82. Routledge, 2016. http://dx.doi.org/10.4324/9781315261164-26.

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Dhar, Bidisha. "Kaarigars, Karkhaanas and the Art of Embroidery." In Caste and Gender in Contemporary India, 68–94. Routledge India, 2018. http://dx.doi.org/10.4324/9780429434099-4.

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Dantas, L. U., U. S. T. Barbosa, G. M. J. Sales, H. A. Dieb, and R. R. Marques. "Embroidery: The narrative of the ribbon of the presentation of Arthur Bispo do Rosário—confluences with contemporary visual artists." In Reverse Design, 95–102. CRC Press, 2018. http://dx.doi.org/10.1201/9780429428210-12.

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"Introduction. False Borders, Embroidered Lives." In Gender and the Boundaries of Dress in Contemporary Peru, 1–34. University of Texas Press, 2005. http://dx.doi.org/10.7560/705432-003.

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Gannon, Anna. "Animal Iconography." In The Iconography of Early Anglo-Saxon Coinage. Oxford University Press, 2003. http://dx.doi.org/10.1093/oso/9780199254651.003.0010.

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Pagan Germanic art had favoured the representation of animals and invested it with apotropaic qualities. The new Christian animal iconography (Evangelists’ symbols, doves, peacock, the fauna in the vine-scrolls, etc.) was accepted and integrated into a tradition which saw it not as purely decorative, but as a potent symbolic image. It is not surprising that, just as in contemporary sculpture, manuscripts, metalwork, and embroidery, many of the reverses of the Secondary series show animals, real or fantastic. These representations must be analysed in the context of the culture of the time, and therefore as potential for metaphors. Whilst the gold coinage, following Merovingian numismatic prototypes, had crosses as reverses, the Primary coins of Series B introduced birds to this iconography. Birds will indeed dominate amongst the reverses of the whole of the early Anglo-Saxon coinage, and their importance can be understood in a Christian context. Several groups of coins sharing the iconography of a bust or head with diadem and spiky hair on the obverse, and of a bird surmounting a cross on the reverse, are gathered under the classification of Series B. Some issues have unintelligible legends on both sides, cordoned by a torque of pellets, sometimes snake-headed, and though they differ in details, their iconography is consistent (Fig. 4.1). Rigold regarded the coin iconography of the bird on a cross as original Anglo-Saxon, rejecting any Merovingian numismatic precedent. Conceptually close models may have developed in imitation of Roman and Christian standards or sceptres. Coptic bronze lamps present us with several examples where the reflector above the handle is in the shape of a cross topped with a bird (Fig. 4.1c), and there is also an interesting bronze lamp in the shape of a ram with a cross and bird on its head. Following Early Christian precedents, the bird on the coins can be identified as a dove, in a Christian context a symbol of the Holy Spirit, appropriately set on a cross. In Insular metalwork there are two three-dimensional dove-shaped mounts that may perhaps have similarly topped crosses.
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Conference papers on the topic "Contemporary Embroidery"

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Musikapan, Ravitep, Patararin Pongprasit, and Natcha Sirikhvunchai. "Development of Mot-Mom Fabric Patterns Using Born-out Printing and Embroidery Technologies into Fashion Accessories of Kwanyo Brand." In SPACE International Conferences April 2021. SPACE Studies Publications, 2022. http://dx.doi.org/10.51596/cbp2021.wvyy7826.

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Abstract The objectives of this study were to develop Mor-Hom fabric patterns using burn-out printing technology in a variety of contemporary shades and contemporary embroidery patternsfrom machine embroidery and hand embroidery techniques to develop into international fashionaccessories Kwanyo brand. In addition, this study also aimed at using the fabric burn-out printingtechnique to create beautiful patterns instead of the stamping method. The machine embroideryand hand embroidery techniques were also used to increase the product value to enhance self-suffi ciency and generate income for local communities.According to the results, in developing Mor-Hom fabric patterns using burn-out printing andembroidery technologies into fashion accessories of the Kwanyo brand, 100% natural dyes were usedin dyeing hand-woven cotton. A creamy mixture of potassium permanganate mixed with Konjac wasused for burn-out printing instead of screen-printing dyes. The burn-out printing was performed bywashing fabric in sulfur water or lye water to create patterns with gradient shades depending onthe dye ratio and washing method. The dyed fabric was further developed into fashion accessoriesunder the concept of local fabric products with unique patterns inspired by the surroundings. Inthis study, a collection of men’s bags was developed with suitable designs using Mor-Hom fabricpatterns inspired by Himmapan forest and natural dyed leather. Keywords: Mor-Hom fabric, burn-out printing, fashion accessories
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Xuan, Zhen. "Embroidery Technology and Its Application in Fashion Design." In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.216.

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Mou, Yang. "The Application of Chinese Traditional Qiang Embroidery Patterns in Decorative Design." In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.163.

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Zhong, Chen-Xu, and Hong-Guang Ye. "The Application of Han Embroidery Art in Modern Fashion Design." In 3rd Annual International Conference on Social Science and Contemporary Humanity Development (SSCHD 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/sschd-17.2017.93.

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Chuncai, Zhang. "The Exploration of the Cultural Artistic Features of Folk Embroidery in Lingbao, Henan." In 2016 International Conference on Contemporary Education, Social Sciences and Humanities. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/iccessh-16.2016.68.

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Zhang, Yuanmei. "Study on Design Method of Chinese Han Embroidery in Silk Modern Women Clothing." In 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.124.

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Sun, Mengdi, and Youjun Tong. "The Inheritance and Innovation of Quanzhou Jincang Embroidery Art in Modern Bag Design." In The 6th International Conference on Arts, Design and Contemporary Education (ICADCE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210106.108.

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Liu, Zhexin. "Research on the Innovative Practice of Intangible Cultural Heritage Chaozhou Embroidery in Cultural and Creative Products." In 7th International Conference on Arts, Design and Contemporary Education (ICADCE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210813.042.

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Chen, Pu. "Research on the Technological Innovation of Miao Pile Embroidery Against the Modern Aesthetic Demand." In Proceedings of the 5th International Conference on Arts, Design and Contemporary Education (ICADCE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icadce-19.2019.109.

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Zheng, Shujun. "Protection and Development of the Intangible Cultural Heritage of Lingnan Embroidery from the Perspective of Maritime Silk Road." In Proceedings of the 5th International Conference on Arts, Design and Contemporary Education (ICADCE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icadce-19.2019.16.

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