Academic literature on the topic 'Contemporary Stitching'
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Journal articles on the topic "Contemporary Stitching"
1
Price, Yasmina. "Tearing, Stitching, Quilting." Film Quarterly 75, no. 1 (2021): 23–32. http://dx.doi.org/10.1525/fq.2021.75.1.23.
Full textAbstract:
This article analyses the short film and multi-screen installation of America (2019/2020) and the documentary feature Time (2020) by Garrett Bradley as works of radical historiography. The materiality of the gestures of tearing and stitching are a key to understanding Bradley’s methodology as a double gesture of disassembly and reassembly. The use of the lost and recovered fragments of the 1913 Lime Kiln Club Field Day in America and private self-documentation of home movies in Time offer disrupt dominant forms of history. Bradley’s distinctive strategy is a suturing of these archival materials with her own contemporary footage, yielding an aesthetic of fluid black-and-white quilting. Bradley’s abolition poetics function as an urgent contemporary process of recovery that, without ignoring or eliding the traumas of present or past violence, suggests that there can yet be an acknowledgment of the generative potential of the beauty processes of survival that have always been generated alongside them.
2
Racette, Sherry Farrell. "Tuft Life: Stitching Sovereignty in Contemporary Indigenous Art." Art Journal 76, no. 2 (April 3, 2017): 114–23. http://dx.doi.org/10.1080/00043249.2017.1367198.
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Campbell, Laurel H., and Jane Dalton. "Researching Contemporary Handwork: Stitching as Renewal, Remembrance, and Revolution." Art Education 72, no. 4 (June 14, 2019): 29–35. http://dx.doi.org/10.1080/00043125.2019.1602500.
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Radclyffe-Thomas, Natascha. "Stitching across time: Heritage and history in contemporary Hong Kong fashion." Clothing Cultures 2, no. 3 (September 1, 2015): 241–55. http://dx.doi.org/10.1386/cc.2.3.241_1.
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Piotrowicz, Anna, and Małgorzata Witaszek-Samborska. "Leksem patchwork we współczesnej polszczyźnie." Poznańskie Studia Polonistyczne. Seria Językoznawcza 29, no. 1 (September 30, 2022): 65–79. http://dx.doi.org/10.14746/pspsj.2022.29.1.5.
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The article is devoted to the semantic evolution of the word patchwork, which has become frequent in contemporary Polish. This appropriate borrowing from English was registered in Polish lexicography for the first time in 1995. In the twenty years since then, it showed its new meanings different from the original ‘artistic handicraft technique, consisting in stitching together pieces of material of different colours and shapes’, ‘composition resulting from the use of this technique’ and ‘product formed in this manner, for example bedspread, tapestry, clothes’. Nowadays, this lexeme can refer to any term referring to a particular or abstract designatum which ‘creates a coherent whole, but consists of various elements’ and also – as a derivatives of phraseology the patchwork family – means ‘a family founded by parents, at least one of whom has had a previous unsuccessful relationship or marriage involving their common children, their children from previous relationships, and sometimes also former partners and their relatives’.
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Reimann, Daniela. "Shaping Interactive Media with the Sewing Machine." International Journal of Art, Culture and Design Technologies 1, no. 1 (January 2011): 12–21. http://dx.doi.org/10.4018/ijacdt.2011010102.
Full textAbstract:
In the context of converging media technologies, the concept of mobile media embedded in wearable material was introduced. Wearable Computing, Fashionable Technology, and Smart Textile are being developed at the intersection of media, art, design, computer science, and engineering. However, in Germany, little research has been undertaken into Smart Textile in education1. Those activities are not realized at school in the context of artistic processes in general MINT2 education in classroom settings. In order to research the interplay of electronic textiles and wearable technology, hard and software tools, such as Arduino LilyPad, a programmable board designed for stitching into clothing and flexible applications are scrutinized. In the project, contemporary media art projects in the field of Fashionable Technology are explored to inspire interdisciplinary technology education. The project described in this paper engages girls in technology and engineering by integrating artistic processes as well as a more playcentric approach to technology and engineering education.
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Wang, Chenlu, Chen Yang, Junlan Li, and Mingxuan Zhu. "Research on the Creative Application of Origami Performance Techniques in Clothing." Fibres & Textiles in Eastern Europe 30, no. 4 (July 1, 2022): 43–53. http://dx.doi.org/10.2478/ftee-2022-0035.
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Abstract Origami has various manifestations and rich production techniques, and it is regarded as one of the indispensable contemporary art forms. In order to enrich the creative expressions of fashion design, this paper summarises the creative application forms of origami art in fashion design from the external and moulding characteristics of origami, studies the fabric characteristics through experimental verification, and summarises the applicable techniques of expression. The results show that the folding application forms of origami art and clothing modelling can be realised by using the expression methods of ironing and crimping, stitching texture moulding and repeated combination moulding, that is, pattern deformation folding application, fabric transformation folding application and modular combination folding application. The application of the folding form in clothing three-dimensional modelling and surface texture can give full play to the unique modelling beauty and artistic style of origami art and provide a reference for creative ideas in clothing design.
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Galkin, D. V., and A. Y. Kuklina. "SYNCHRONIZATION OF MODERNITY: “RHIZOME” OF RUSSIAN CONTEMPORARY ART IN GLOBAL AND REGIONAL CONTEXT." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 42 (2021): 53–64. http://dx.doi.org/10.17223/22220836/42/5.
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The authors address issues of the development of contemporary art in Russian regions. On the one hand, the task is to formulate the philosophical and theoretical foundations of such an analysis. On the other hand, original empirical data are used (based on a number of Russian and European cases). The authors propose an original concept of synchronization of modernity as an attempt to overcome the contradiction between global normalization of cultural processes (“homogenization”) and opposition to it in the trends of “heterogenization” based on locality and originality. Synchronization is viewed as a “rhizome” of connections, relationships and projects in the flows of fluid modernity (Z. Bauman's liquid Modernity). The concept of “synchronization of modernity” is proposed as a philosophical basis for the analysis and practical development of contemporary art in the regions of Russia, in which, in particular, it is supposed to resolve the contradiction by homogenization (or global normalization) and heterogenization in the dynamic situation of “liquid Modernity” (Bauman) and cultural hybridization, which involves not only taking into account the conditions of deterritorialization, but also various forms of actualizing the local / regional context. These are the conditions and limitations for the formation of a “rhizome” (in the sense of Deleuze and Guattari) of contemporary art in Russia. The initial assumptions of the concept of synchronization of modernity are applied to the analysis of the current historical and cultural situation, the development of contemporary art in the regions of Russia, where this “rhizome” grows in a clash between the translation of the global international context (prestigious exhibitions, institutions, curators, auctions) and the search for distinctive regional (local) grounds. It is also shown that in the current empirical and practical context, the synchronization of modernity is implemented in several approaches: 1) “local identity”, 2) global normalization (“colonization”), 3) network “stitching of territories”, 4) chaotic search / open initiative.
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McGovern, Alyce, and Clementine Barnes. "Visible Mending, Street Stitching, and Embroidered Handkerchiefs: How Craftivism is Being Used to Challenge the Fashion Industry." International Journal for Crime, Justice and Social Democracy 11, no. 2 (June 3, 2022): 87–101. http://dx.doi.org/10.5204/ijcjsd.2352.
Full textAbstract:
The contemporary practice of ‘craftivism’—which uses crafts such as knitting, sewing and embroidery to draw attention to ‘issues of social, political and environmental justice’ (Fitzpatrick 2018: 3)—has its origins in centuries of radical craft work where women and marginalised peoples, in particular, have employed crafts to protest, take a stand or comment on issues that concern them. Recently, craftivist actions have targeted the fashion and textile industry in an effort to highlight and address some of the social and environmental impacts of the global fashion industry, from the throwaway culture of fast fashion through to the unethical pay and working conditions of ready-made garment workers. Drawing on examples of both individual and collective forms of craftivism, this paper explores the ways that craftivism is being deployed not only as a means by which to mobilise the ethical use, consumption and production of fashion and textiles across the globe but also to hold the fashion industry to account against key concerns highlighted by the United Nations Sustainable Development Goals. In canvassing these examples, the paper considers the utility of craftivism as a model for challenging the fashion industry to effect change.
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Ashraf Ali, Mirna, and Hebatalla Abouelfadl. "Stitching the Gap between Contemporary Archaeology and the City through “URBAN DOTS”: Case Study of Kōm al-Nāḍūra Area, Alexandria, Egypt." Alexandria Engineering Journal 61, no. 12 (December 2022): 12891–914. http://dx.doi.org/10.1016/j.aej.2022.06.020.
Full textDissertations / Theses on the topic "Contemporary Stitching"
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Packer, Carolyn E. "The Evolution of Craft in Contemporary Feminist Art." Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/scripps_theses/23.
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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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Mason, Dawn. "Stitching and thinking : an analysis of the communicative potential of silence in schoolgirl samplers as a framework for understanding hand-stitch in contemporary artworks." Thesis, University of the West of England, Bristol, 2018. http://eprints.uwe.ac.uk/33521/.
Full textAbstract:
The core concern of this practice-based thesis is to consider silence as part of the practice of hand-stitch in order to offer a framework for understanding hand-stitch within contemporary artwork. I achieve this by paying close critical attention to the minutiae of process and materials seen in the plain sewing contained within schoolgirl samplers and in contemporary artworks using hand-stitch. The question at the heart of this thesis is how and what does hand-stitch communicate? I argue that hand-stitch is a form of silent communication for emotion and the body through the themes of Testimony, Mortality and Mourning, and Wound & Repair. Key to developing this argument is the identification that the communicative concept of silence is part of the maker’s physical engagement with materials and processes. I offer a reading of hand-stitch that identifies its dual function, that it is both practically and conceptually active within artworks. This thesis offers a critical repositioning of artworks, including my own, in relation to schoolgirl samplers and plain sewing through the communicative concept of silence. In doing so I create a particular archive of stitched works that pays attention to the historical positioning of hand-stitch through the concept of silence. To do so I focus on analysis of my own practice along with examples of stitched text, patching and darning found in the samplers of Elizabeth Parker, Kate Lye and Florence Yeomanson. This has informed readings of the work of contemporary artists Elaine Reichek, Sara Impey, Tilleke Schwarz, Tracey Emin, Tabitha Moses, Beverly Ayling-Smith, Diana Harrison, Jessica Rankin, Anne Wilson, Daphne Wright and Berlinde De Bruyckere. This offers a unique grouping of hand-stitched art-works. I explore a circular relationship between historical and contemporary practices of hand-stitch in order to identify the role that hand-stitch plays in contemporary creative practice. Through this I foreground the informed knowledge that comes from engagement in practice as significant in developing a critical position for hand-stitch. By using my own term the double][double encoding I argue that naming stitch as stitch within artworks cuts across definitions of fine art and craft practices and positions this particular skills base as adding to critical discourse for art-textiles. Through this approach my contributions to knowledge are: the creation of a particular archive of stitched works that gives an alternative historical positioning of hand-stitch through the concept of silence; new readings of artworks by Tracey Emin, Daphne Wright and Berlinde de Bruyckere, which focus on their use of hand-stitch and add to the positioning of silence as a critical tool for art practice. In addition to this my main contribution to knowledge is the development of a new methodology that foregrounds a fully integrated approach between my own art practice and the written aspects of the thesis and allows space to pay attention to silence as part of this formulation. I have positioned stitching and thinking as equal components in the construction and communication of knowledge through a combination of written material and my original artworks, which are used to underpin the development of arguments in each chapter. The practical and written aspects of the submission have equal importance and together confirm an approach that does not place a hierarchy on types of knowledge. I demonstrate a methodology in which I think and write through the process of hand-stitch, and stitch through the process of thinking and writing. This thesis is centred around my practice and the experience of the looping and circular relationship between stitching, thinking and writing and the communicative role that silence plays within it.
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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.
Full textAbstract:
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.
Books on the topic "Contemporary Stitching"
1
Cube bead stitching: Contemporary jewelry designs you can make. Waukesha, WI: Kalmbach Books, 2009.
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Contemporary Cube Bead Designs Stitching With Herringbone Peyote Ladder Stitch And More. Kalmbach Publishing Company, 2012.
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3
Stitching Identities in a Free Trade Zone: Gender and Politics in Sri Lanka (Contemporary Ethnography). University of Pennsylvania Press, 2007.
Find full textBook chapters on the topic "Contemporary Stitching"
1
Reimann, Daniela. "Smart Textile as a Creative Environment to Engage Girls in Technology." In Advances in Media, Entertainment, and the Arts, 205–17. IGI Global, 2015. http://dx.doi.org/10.4018/978-1-4666-8679-3.ch016.
Full textAbstract:
In the context of the convergening media technologies, the concept of mobile media embedded in wearable material was introduced. The terms of Wearable Computing, Fashionable Technology, and Smart Textile became key words at the intersection of media, art, design, computer science, engineering and the shaping of technology by the users themselves. Though media artists and designers explore wearable computing for some time now, only little research has been undertaken into Smart Textile in education in Germany (e.g., the after school workshop program held at DiMeB at the University of Bremen). However, Smart Textile is not common at school, especially not in the context of artistic processes in general MINT (MINT is a German acronym for the subjects of Mathematics, Computer Science, and Technology) education in classroom settings. In order to research the interplay of electronic textiles, wearable technology, hard and software tools, such as the Arduino LilyPad, a programmable board designed for stitching into clothing and flexible applications, are scrutinized. In the research project, contemporary media art works in the field of Fashionable Technology are explored to inpire interdisciplinary technology education form an artistic perspective. A learning-through-design-approach using electronic media for sewing, hacking the traditional model of technology education (Reimann, Daniela, Fütterer Werner, Biefang, & Sebastian, 2010). In the paper, the conceptual framework for the research project “Artistic approaches to Engage Girls and Young Women in Technology and Engineering in Education at School and University (Acronym: IBP-GirlsLab)” is presented. It aims to engage girls in technology and engineering by integrating artistic processes as well as a more playcentric approach to technology and engineering education in order to engage girls in shaping technology, is discussed.
2
Reimann, Daniela. "Smart Textile as a Creative Environment to Engage Girls in Technology." In Wearable Technologies, 850–61. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-5484-4.ch036.
Full textAbstract:
In the context of the convergening media technologies, the concept of mobile media embedded in wearable material was introduced. The terms of Wearable Computing, Fashionable Technology, and Smart Textile became key words at the intersection of media, art, design, computer science, engineering and the shaping of technology by the users themselves. Though media artists and designers explore wearable computing for some time now, only little research has been undertaken into Smart Textile in education in Germany (e.g., the after school workshop program held at DiMeB at the University of Bremen). However, Smart Textile is not common at school, especially not in the context of artistic processes in general MINT (MINT is a German acronym for the subjects of Mathematics, Computer Science, and Technology) education in classroom settings. In order to research the interplay of electronic textiles, wearable technology, hard and software tools, such as the Arduino LilyPad, a programmable board designed for stitching into clothing and flexible applications, are scrutinized. In the research project, contemporary media art works in the field of Fashionable Technology are explored to inpire interdisciplinary technology education form an artistic perspective. A learning-through-design-approach using electronic media for sewing, hacking the traditional model of technology education (Reimann, Daniela, Fütterer Werner, Biefang, & Sebastian, 2010). In the paper, the conceptual framework for the research project “Artistic approaches to Engage Girls and Young Women in Technology and Engineering in Education at School and University (Acronym: IBP-GirlsLab)” is presented. It aims to engage girls in technology and engineering by integrating artistic processes as well as a more playcentric approach to technology and engineering education in order to engage girls in shaping technology, is discussed.