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Journal articles on the topic 'Tapestry Art'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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1

Gavin, Sergey V., and Zoya A. Tanshina. "Tapestry art in Mordovia today." Finno-Ugric World 11, no. 1 (2019): 86–92. http://dx.doi.org/10.15507/2076-2577.011.2019.01.086-092.

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The article discussed the role of contemporary tapestry art in modern culture, the history of the formation and growth of national decorative-applied and monumental art schools in the Republics of former Soviet Union, the importance of both group and personal tapestry exhibitions organized by regional creative organizations of the Union of Artists and the Russian Union of Artists as well as the state Museum-Reserve “Tsaritsyno”. It emphasizes the importance of using richest traditions of folk art, stories and legends of the people living in multiethnic Russia. The works of teachers and graduat

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2

Choi, Jaewan, Jangjon Lee, and Boyeon An. "Scientific Analysis on the Accessory Ornament of Woolen Tapestry Curtain in Seoul Museum of Craft Art." Journal of Conservation Science 37, no. 4 (2021): 402–10. http://dx.doi.org/10.12654/jcs.2021.37.4.09.

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Woolen tapestry curtains possessed by the Seoul Museum of Craft Art were used to hung on the wall or used for carpets in the winter season in the late Joseon dynasty. Since similar artifacts were only used for the curtain as functional aspects, woolen tapestry curtains were a rare case. In this study, scientific analysis on the accessory ornament of woolen tapestry curtains such as components of metal accessories and frame bar were conducted with the microscope, p-XRF, and SEM. Result of frame bar pigments, organic pigments such as ink stick were likely been used in woolen tapestry curtain 1.

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Brosens, Koenraad, Klara Alen, Astrid Slegten, and Fred Truyen. "MapTap and Cornelia Slow Digital Art History and Formal Art Historical Social Network Research." Zeitschrift für Kunstgeschichte 79, no. 3 (2016): 315–30. http://dx.doi.org/10.1515/zkg-2016-0025.

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Abstract The essay introduces MapTap, a research project that zooms in on the ever-changing social networks underpinning Flemish tapestry (1620 – 1720). MapTap develops the young and still slightly amorphous field of Formal Art Historical Social Network Research (FAHSNR) and is fueled by Cornelia, a custom-made database. Cornelia’s unique data model allows researchers to organize attribution and relational data from a wide array of sources in such a way that the complex multiplex and multimode networks emerging from the data can be transformed into partial unimode networks that enable proper F

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Katz, Dana E., and Thomas P. Campbell. "Tapestry in the Renaissance: Art and Magnificence." Sixteenth Century Journal 34, no. 3 (2003): 938. http://dx.doi.org/10.2307/20061634.

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Eaton, L. "Bethlem tapestry celebrates benefits of art therapy." BMJ 341, sep01 2 (2010): c4740. http://dx.doi.org/10.1136/bmj.c4740.

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6

McLeod, Heather. "Tapestry: Art Education, Explorations and Critical Constructions | Tapisserie : éducation artistique, explorations et constructions critiques." Canadian Review of Art Education / Revue canadienne d’éducation artistique 44, no. 1 (2017): 1–3. http://dx.doi.org/10.26443/crae.v44i1.45.

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7

Harper, James. "Review: Tapestry in the Renaissance: Art and Magnificence." Journal of the Society of Architectural Historians 62, no. 2 (2003): 256–59. http://dx.doi.org/10.2307/3592480.

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8

Gerschultz, Jessica. "Mutable Form and Materiality: Toward a Critical History of New Tapestry Networks." ARTMargins 5, no. 1 (2016): 3–29. http://dx.doi.org/10.1162/artm_a_00130.

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This article raises two concerns underpinning the need for a critical history of fiber art in the 20th century. The first is a critique of aesthetic formalism predominant in the Lausanne Biennale during the 1960s and 70s, which overlooks artistic, ideological, and political milieus that drew together textile artists from localities formerly treated as peripheral in art history. The second holds to account Euro-American institutions and related historiographies for their curatorial exclusion of Arab and African fiber artists. Such inclusion, I argue, would have conjured tapestry's deeper incong

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Meleo-Meyer, Florence. "Tapestry of MBSR: The art of interweaving transformational elements." Humanistic Psychologist 49, no. 1 (2021): 147–61. http://dx.doi.org/10.1037/hum0000187.

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10

Lira Carmona, José Alejandro. "Alfombrismo: Ephimeral Art Utopia." Journal of Public Space, Vol. 5 n. 4 (December 1, 2020): 245–58. http://dx.doi.org/10.32891/jps.v5i4.1386.

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The way in which we experience public space is closely related to the sociocultural and environmental conditions of the context. Similar to the garden – in the strict philosophical sense- Traditional Tapestry ephemeral art represents a utopia; it stands for an aesthetic theory of beauty and a vision of happiness. Traditional ephemeral art is conceptualized as a utopian space where diverse elements, people, as well as a wide variety of activities converge; those are the ones who transform reality through cultural expression, exploring habits and values which pursue a common goal in a livingly w

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Shirokovskikh, Margarita S. "THE APPLICATION OF SHINY MATERIALS IN TAPESTRY: FROM DECOR TO CONCEPT." Architecton: Proceedings of Higher Education, no. 2(70) (June 29, 2020): 21. http://dx.doi.org/10.47055/1990-4126-2020-2(70)-21.

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This article is the first ever attempt to study and summarize the extensive material on the use of shiny threads in tapestry art. The circle of artists using shine as an expressive medium in their artworks is identified. Methods of creating shiny surfaces in this art form and their symbolic meanings are outlined.

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Buigasheva, Alla. "Hand Weaving in Modern Cultural Space of Ukraine: disappearing tradition." ART Space, no. 3 (2018): 86–89. http://dx.doi.org/10.28925/2519-4135.4.2018.3.15.

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The article shows the main problems of weaving. The content of the concept of “weaving” is revealed. It examines the role of weaving in a modern cultural space. The special attention is given to practical work of students who study tapestry art. It is explored the modern creative work of masters of weaving art of Ukraine.

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Bertrand, Pascal-François. "Tapestry in the Renaissance: Art and Magnificence. Thomas P. Campbell." Studies in the Decorative Arts 11, no. 1 (2003): 111–13. http://dx.doi.org/10.1086/studdecoarts.11.1.40663067.

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14

Yapp, W. Brunsdon. "Animals in medieval art: The Bayeux Tapestry as an example." Journal of Medieval History 13, no. 1 (1987): 15–73. http://dx.doi.org/10.1016/0304-4181(87)90042-x.

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15

Ray, Eleanor. "A Tapestry of Memories: The Art of Dinh Q. Lê." TEXTILE 6, no. 2 (2008): 192–97. http://dx.doi.org/10.2752/175183508x327820.

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Pappne Demecs, Ilona, and Evonne Miller. "Woven Narratives: A Craft Encounter with Tapestry Weaving in a Residential Aged Care Facility." Art/Research International: A Transdisciplinary Journal 4, no. 1 (2019): 256–86. http://dx.doi.org/10.18432/ari29399.

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For six months, a tapestry artist/researcher moved her studio into an aged care home to conduct a participatory art project. Drawing on ethnographic-based qualitative approaches, narrative inquiry and researcher-generated photographs, this arts-based research textually and visually documents the impact of introducing the studio-based craft activity of participatory tapestry weaving into an aged care environment. As well as highlighting the joy of creative collaboration and of learning a new skill, this project explores how tapestry weaving facilitated the understanding of the participants’ wor

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Floberovich, Mukanov Malik, and Issabek Nurdaulet Erkinuly. "La tecnología de “chi flexible” en el arte de la tapicería moderna de Kazajstán." kepes 12, no. 12 (2015): 305–29. http://dx.doi.org/10.17151/kepes.2015.12.12.15.

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Stokrocki, Mary, and Olcay Kirisoglu. "Art Criticism in Turkey: Prospects and Problems of Exploring a Tapestry." Art Education 52, no. 1 (1999): 33. http://dx.doi.org/10.2307/3193783.

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Adams, Elise B., and Frank Marini. ""The back of the tapestry": Social Action Art and Public Policy." Public Voices 2, no. 2 (2017): 7. http://dx.doi.org/10.22140/pv.404.

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Art can be a potent force for political change, sometimes supporting and sometimes challenging established social institutions and ideology. The works of two contemporary artists a photographer, Kira Corser, and a poet, Frances Payne Adler address the need for public policy change in a number of controversial areas. In travelling exhibits and in their books, these artists attempt to awaken the public and public policy makers in the United States to the plight of the homeless, to the disastrous effects of drug addiction, and to the need for improved health care. By appealing to the emotions as

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Manczak, Aleksandra. "Photography and Textile Art: Tapestry in the Form of a Triptych." Leonardo 20, no. 1 (1987): 27. http://dx.doi.org/10.2307/1578207.

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21

Eichberger, Dagmar. "Tapestry Production in the Burgundian Netherlands, Art for Export and Pleasure." Australian Journal of Art 10, no. 1 (1992): 23–43. http://dx.doi.org/10.1080/03146464.1992.11432808.

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22

Zhambaeva, T. I. "«Мир гобелена Бурятии»: аналитический обзор выставки". Iskusstvo Evrazii [The Art of Eurasia], № 1(20) (31 березня 2021): 298–307. http://dx.doi.org/10.46748/arteuras.2021.01.022.

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The author presents the concept of an exhibition dedicated to the tapestry art of ethnic Buryatia since its inception in the region, in the 1970s to the present day. For the first time, in one exhibition were presented the works of 15 authors, performed in different materials and directions. The purpose of the exhibition project is to show the creative achievements of artists, the variety of themes and plots that reflect the specifics of the region. During the preparation for the exhibition, both theoretical and empirical research methods were used: bibliographic sources were studied, meetings

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23

Spinu, Constantin. "Identity convergence in the tapestry and painting of Ecaterina Ajder." Akademos, no. 2(61) (September 2021): 154–60. http://dx.doi.org/10.52673/18570461.21.2-61.16.

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Ecaterina Ajder, representative of the early `80s of plastic artists from the Republic of Moldova, constantly opts for endowing the work of art with innovative stylistic values. Plastic tradition and modernity originally connect in her creation, contributing to the generation of current messages through image. Preferring to materialize her thematic and plastic predilections in the genre of artistic tapestry and easel painting, Ecaterina Ajder has drawn and consolidated over the decades her unmistakable stylistic facet, in which the insurmountable landmarks of folk art have found a favorable ar

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Corrigan, Martina, and Bernadette Flanagan. "The phenomenon of presence in spiritual care: a tapestry of themes." Spiritual Care 7, no. 2 (2018): 169–79. http://dx.doi.org/10.1515/spircare-2016-0203.

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AbstractThis paper is an invitation to contemplate the phenomenon of presence. This is inherently important, in the bigger picture and broader conversation concerning presence and more especially the art of presence as spiritual care. Experience centred narratives are ‘texts’ which bring stories of personal experience into being. The self-narrative (autoethnography) and three additional narratives – co-participants who expressed a willingness to tell their story – is the chosen approach to enable the expression of first-person experience in all its richness, complexity and multiplicity. The es

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Ponikvar, Laura M., and Mark L. Clemente. "Exploring Cleveland: Arts, culture, sports, and parks." College & Research Libraries News 79, no. 10 (2018): 553. http://dx.doi.org/10.5860/crln.79.10.553.

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We’re all very excited to have you join us April 10–13, 2019, in Cleveland for the ACRL 2019 conference. Cleveland’s vibrant arts, cultural, sports, and recreational scenes, anchored by world-class art museums, performing arts institutions, music venues, professional sports teams, historic landmarks, and a tapestry of city and national parks, offer immense opportunities to anyone wanting to explore the rich offerings of this diverse midwestern city.

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Moscardini, A. O. "CREATIVITY: A PERSONAL VIEW." UKRAINIAN CULTURAL STUDIES, no. 2 (7) (2020): 5–10. http://dx.doi.org/10.17721/ucs.2020.2(7).01.

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The meaning of creativity is an illusive concept and highly subjective. This article focusses on four strands (curiosity, illusion, execution and innovation) and weaves them into a tapestry that represents the personal view of the author. An innovative hypothesis is that creativity is related to the bicameral mind and this is backed by reference to current neuroscientific research. The author is by profession a mathematician but posits in the article that at the micro level there is no difference between Art and Science regarding the act of creation. The article discusses this process from fou

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Phoenix, Daniel. "‘Garments so Chequered’: the Bible of Cîteaux, the Bayeux Tapestry and the Vair Pattern." Antiquaries Journal 90 (February 26, 2010): 195–210. http://dx.doi.org/10.1017/s0003581509990448.

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AbstractThe Bayeux Tapestry depicts three curious chequered garments. These garments are usually identified as gambesons, or some form of scaled armour. Several scholars have observed similar garments in the early twelfth-century Bible of Cîteaux. The Cîteaux garments are depicted in a pattern later used to represent fur (called ‘vair’) in heraldic art. This identification is confirmed by the pattern’s usage in cloak linings, but its simultaneous appearance as tunic material is unfamiliar in later art. The Cîteaux tunics suggest the possibility that the Bayeux garments may also have been inten

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Polosmak, N. V., E. V. Karpova, and E. V. Amosov. "An Unusual Fabric from Jety-Asar-2, Eastern Aral Sea Region, in the Context of the Central Asian Textile Tradition." Archaeology, Ethnology & Anthropology of Eurasia 48, no. 3 (2020): 50–58. http://dx.doi.org/10.17746/1563-0110.2020.48.3.050-058.

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We present the results of an interdisciplinary study of an unusual sample of wool fabric, found at the Jety-Asar-2 fortifi ed site, representing the Jety-Asar culture of the late 4th century BC to early 1st century AD, in the central Turan Plain. We outline the results of the analysis of the dyes and technological characteristics of the fabric. The woven pattern is described in detail. The specimen is compared with the tapestry from Shanpula (Sampul) cemetery in the Hotan oasis, Xinjiang, China. We examine the idea that the Jety-Asar fabric had been manufactured in Shanpula and transported to

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Díaz-Vera, Javier E. "Woven emotions." Review of Cognitive Linguistics 11, no. 2 (2013): 269–84. http://dx.doi.org/10.1075/rcl.11.2.04dia.

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Following Forceville (2005, 2011), in this paper I show that the same conceptual models underlie the expression of Old English emotions in both the language and the visual modes. Kövecses (2000, 2005) and Stefanowitsch (2004, 2006) have shown that verbal expressions and idioms used to describe emotions can be traced back to a limited number of conceptual metaphors. In the light of these findings, I will analyze here the pictorial representations of emotions in the Bayeux Tapestry, an 11th century embroidered cloth that narrates and depicts the events that led up to the Norman Conquest of Engla

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An, Boyeon, Jangjon Lee, and Ryangmi Lee. "A Textile Analysis of Woolen Tapestry Curtain in Seoul Museum of Craft Art." Journal of Conservation Science 35, no. 6 (2019): 612–20. http://dx.doi.org/10.12654/jcs.2019.35.6.04.

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Escobar, Jesús. "Map as Tapestry: Science and Art in Pedro Teixeira's 1656 Representation of Madrid." Art Bulletin 96, no. 1 (2014): 50–69. http://dx.doi.org/10.1080/00043079.2014.877305.

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Tunstall, Alexandra. "Beyond Categorization: Zhu Kerou’s Tapestry Painting Butterfly and Camellia." East Asian Science, Technology, and Medicine 36, no. 1 (2012): 39–76. http://dx.doi.org/10.1163/26669323-03601003.

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This paper introduces the technique of kesi or tapestry weave in China through one example, Butterfly and Camellia, attributed to Zhu Kerou, a woman artist of the twelfth century. This particular weaving is attributed to a time period when tapestry weavings began to imitate the visual language of painting. The relationship between kesi and painting is explored, examining the early use of kesi as wrappers for paintings. At the same time that the basic technology of kesi weaving is discussed, the gendered nature of weaving as work in Song-dynasty China as well as the techniques of connoisseurshi

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Uvarov, Viktor D., and Aleksey S. Sedov. "THE HISTORY OF ART DESIGN OF MUSIC CLUBS AND TAPESTRY IN INTERIOR DESIGN OF A CULTURAL CENTER." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 58 (2020): 308–17. http://dx.doi.org/10.37816/2073-9567-2020-58-308-317.

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The paper displays the history of the emergence and development of music clubs in Tsarist Russia in the 18th and 19th centuries and the post-revolutionary period of the clubs' existence in Soviet Russia, examines the artwork of carpet makers (artist of tapestry, according to the accepted international terminology) who shape interior design of the concert halls, and provides an integral description of the concert hall in culture as a unity of the concert venue and a specific concert space. Owing to a significant historical event — the entry of Crimea and Sevastopol into the Russian Federation,

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Goskar, Tehmina. "A zoroastrian tapestry: art, religion and culture Godrej, P.J. and Mistree, F. Panthakey (eds)." Material Religion 2, no. 1 (2006): 117–19. http://dx.doi.org/10.2752/174322006778053915.

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Sharipova, D. S., S. Zh Kobzhanova, and A. B. Kenzhakulova. "INTERTEXTUALITY IN CONTEMPORARY ART OF KAZAKHSTAN IN THE ASPECT OF CULTURAL MEMORY." Bulletin of Kazakh National Women's Teacher Training University, no. 2 (July 16, 2021): 179–90. http://dx.doi.org/10.52512/2306-5079-2021-86-2-179-190.

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For the masters of modern art of Kazakhstan, along with the importance of samples of classical culture and discoveries of modernist art, Kazakh folk art is becoming a single field of tradition today. Intertextuality, constant dialogue with different layers of world and national painting and sculpture determine the search for new expressiveness in art. This article describes the role of intertextuality in the development of new forms of artistic statements, namely, as in the works of modern Kazakh sculptors (S.Bekbotayev, D.Sarbasov, Z.Kozhamkulov), jewelers (A.Mukazhanov), tapestry masters (A.

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Wagner, A. Lynne. "Connecting To Nurse-Self Through Reflective Poetic Story." International Journal of Human Caring 4, no. 2 (2000): 7–12. http://dx.doi.org/10.20467/1091-5710.4.2.7.

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This paper explores poetry as narrative. Creating poetry is a reflective process that feeds personal and aesthetic knowing. When the Poet and the Nurse meet, a powerful alliance is created between head and heart, nursing science and nursing art. Poetic stories fabricate a mosaic of images, a tapestry of wisdom and understanding about the unique and universal aspects of living and dying. Through hearing stories and telling their own, nurses come to know themselves and others, their feelings, the depth of human experience, and the meaning of caring. Several examples of poetic stories are present

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37

Anderson, Carrie. "Material Mediators: Johan Maurits, Textiles, and the Art of Diplomatic Exchange." Journal of Early Modern History 20, no. 1 (2016): 63–85. http://dx.doi.org/10.1163/15700658-12342489.

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Although textiles were key facilitators in global diplomacy in the early modern period, there has been little scholarly consideration of the dynamic role they played in shaping diplomatic relationships during a time when textiles of all types from both east and west were circulating actively as wholesale commodities across world markets. This case study addresses this lacuna by examining the role that textiles, including linens, silks, and tapestries, played in mediating the inter- and intra-cultural diplomatic negotiations of Johan Maurits of Nassau-Siegen (1604-1679), the governor-general of

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Suraganov, Sergali, and Zubaida Suraganova. "WORK OF NIKOLAI TSIVCHINSKII: CONTRIBUTION OF THE BOYCHUK SCHOOL TO THE ART OF KAZAKH TAPESTRY." CULTURE AND ARTS IN THE MODERN WORLD, no. 22 (June 30, 2021): 103–18. http://dx.doi.org/10.31866/2410-1915.22.2021.235898.

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The purpose of the research is to introduce the creative achievements of N. Tsivchinskii into scientific use in the context of the formation of the art school of the Ukrainian avant-garde of Mykhailo Boychuk. The study’s objectives are to determine the origins of the formation of the muralist and arts and crafts master N. Tsivchinskii’s work, his contribution to the shape of the history of the Kazakh professional tapestry. His work reflects the penetration and deep insight into the significance of traditional cultural identity, the Boychuk school’s monumentalism inherent. One of the few surviv

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Van Den Donk, Hesther. "Een Middelburgs tapijt aan de vergetelheid ontrukt: The last fight of the Revenge, 1598." Oud Holland - Quarterly for Dutch Art History 108, no. 2 (1994): 87–97. http://dx.doi.org/10.1163/187501794x00378.

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AbstractSix tapestries depict the resistance of Zeeland's Sea Beggars to the Spaniards during the Eighty Years' War. Between 1572 and 1576 the fight for freedom was waged in the Scheldt delta. In 1591 the Estates of Zeeland ordered the first tapestry, a representation of the battle of Bergen op Zoom, from Francois Spierinx, a weaver in Delft. When it arrived in 1595, the Estates decided to have a series of tapestries made for the Prinsenlogement, or royal apartments, in Middelburg Abbey. The five tapestries were woven in the De Maecht workshop in less than ten years. Four of them, representing

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Parkhomenko, Tatiana A. "A. N. BENOIS ON ART IN THE GERMAN COLLECTION OF THE EARLY 20TH CENTURY “RUSSIANS ABOUT RUSSIA”." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 58 (2020): 268–77. http://dx.doi.org/10.37816/2073-9567-2020-58-268-277.

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The paper explores the work of A. N. Benois “Contemporary Art”, which was published in 1906 in German in Frankfurt-am-Main in the collection of articles “Russians about Russia”. It focused on the analysis of artistic situation in Russia at the beginning of the 20th century, consideration of the work of Russian masters of the older, middle and new generations, and assessment of their contribution to the culture and cultural heritage of the country. Acting as a historian of art, critic and artist, Benois provided foreign readers with a rich tapestry of Russian art life with all its participants

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Steiner, Sallie Anna. "Woven Identities: Socioeconomic Change, Women’s Agency, and the Making of a Heritage Art in Jølster, Norway." Journal of Ethnology and Folkloristics 10, no. 2 (2016): 81–101. http://dx.doi.org/10.1515/jef-2016-0012.

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Abstract This article* focuses on the recent history and contemporary practice of a kind of traditional tapestry weaving known as smettvev in the rural county of Jølster in mountainous western Norway. Jølster has a rich fibre arts tradition and a rapidly changing society and economy, which make it an exemplary study in material culture as its fibre arts transform to accommodate these changes. This article draws on ethnographic research and interviews with representative practitioners and community members to examine how conceptions about producer and audience identity and the role of this art

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Markey, Lia. "Stradano’s Allegorical Invention of the Americas in Late Sixteenth-Century Florence*." Renaissance Quarterly 65, no. 2 (2012): 385–442. http://dx.doi.org/10.1086/667256.

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This essay situates Giovanni Stradano’s engravings of the discovery of the Americas from the Americae Retectio and Nova Reperta series within the context of their design in late sixteenth-century Florence, where the artist worked at the Medici court and collaborated with the dedicatee of the prints, Luigi Alamanni. Through an analysis of the images in relation to contemporary texts about the navigators who traveled to the Americas, as well as classical sources, emblems, and works of art in diverse media — tapestry, print, ephemera, and fresco — the study argues that Stradano’s allegorical repr

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Walters, Lori C., Darin E. Hughes, and Charles E. Hughes. "Interconnections." Games and Culture 6, no. 6 (2011): 538–59. http://dx.doi.org/10.1177/1555412011431360.

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Virtual reality (VR) transports the mind beyond the two-dimensional bounds of text and photographs; it engages the imagination and forms visual and cognitive links. VR can free participants from stereotyped bounds projected by society. Interconnections: Revisiting the Future applies these innate qualities of virtual worlds to weave together individual threads of singular disciplines into a multidisciplinary tapestry of exploration. The authors are creating an accurately modeled 1964–1965 New York World’s Fair where users can freely explore 140+ pavilions set on 660 virtual square acres. The my

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Hossein Esmkhani, Amir. "Iran – Infrastructure, historical and current developments in performative pedagogy." Scenario: A Journal of Performative Teaching, Learning, Research X, no. 2 (2016): 99–106. http://dx.doi.org/10.33178/scenario.10.2.9.

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Theatre and other forms of art have played an unarguable part in the formation of cultures and civilizations all around the world. There is some proof that performance began even before language was invented by man. In their rituals and traditions, our earliest ancestors used their body to convey messages and performed rituals on different occasions. The history of our culture and civilization is replete with various forms of art and performance narrating the stories of generations. From mothers’ bedtime stories to religious ceremonies, for a wide range of purposes, art in general and performa

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Kiselev, Mikhail. "The Panel and the Tapestry in the Art of the Russian Modern (Mariia Iakunchikova, Nadezhda Psishcheva, Vera Vulf)." Experiment 7, no. 1 (2001): 177–208. http://dx.doi.org/10.1163/2211730x-00701008.

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Koerner, Joseph Leo. "William Kentridge: Tapestries—A Collaboration with Stephens Tapestry Studio Wits Art Museum, Johannesburg November 18, 2015–December 15, 2015." African Arts 49, no. 1 (2016): 85–88. http://dx.doi.org/10.1162/afar_r_00274.

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Pappne Demecs, Ilona, and Evonne Miller. "Participatory art in residential aged care: A visual and interpretative phenomenological analysis of older residents’ engagement with tapestry weaving." Journal of Occupational Science 26, no. 1 (2018): 99–114. http://dx.doi.org/10.1080/14427591.2018.1515649.

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Wagner, Mayke, Wang Bo, Pavel Tarasov, Sidsel Maria Westh-Hansen, Elisabeth Völling, and Jonas Heller. "The ornamental trousers from Sampula (Xinjiang, China): their origins and biography." Antiquity 83, no. 322 (2009): 1065–75. http://dx.doi.org/10.1017/s0003598x0009935x.

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A decorated pair of trousers excavated from a well-preserved tomb in the Tarim Basin proved to have a highly informative life history, teased out by the authors – with archaeological, historical and art historical dexterity. Probably created under Greek influence in a Bactrian palace, the textile started life in the third/second century BC as an ornamental wall hanging, showing a centaur blowing a war-trumpet and a nearly life-size warrior of the steppe with his spear. The palace was raided by nomads, one of whom worked a piece of the tapestry into a pair of trousers. They brought no great luc

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Xiao, Jiwei. "China Unraveled." Film Quarterly 68, no. 4 (2015): 24–35. http://dx.doi.org/10.1525/fq.2015.68.4.24.

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Composed of four stories adapted from real-life incidents of violence spanning the first decade of China’s 21st century, Jia Zhangke’s 2013 film A Touch of Sin presents violence not as isolated incidents of individual crimes but as something fated to happen as a result of profound changes brought about by contemporary Chinese modernization and urbanization. In the film, Jia puts the whole society on trial by using theatrical artifice and by weaving seemingly unrelated characters into a larger tapestry of social ills and moral “sins.” Formally, A Touch of Sin marks a new chapter in Jia’s filmma

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Stephens, Robert D. "Mumbai North: Contemporary Aerial Photographs of Mumbai’s Suburbs." Urbanisation 3, no. 2 (2018): 131–38. http://dx.doi.org/10.1177/2455747118825423.

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‘Mumbai North’ features black-and-white aerial photographs of the city’s suburban ecologies—social and natural. Spanning from Sanjay Gandhi National Park to Gorai Creek, and from Bhiwandi’s Waral Lake to Powai, the series visually engages with the ecosystems of Mumbai. Juxtaposed against each photograph are excerpts from archival publications, such as the 1964 Report on the Development Plan for Greater Bombay and the 1965 Marg publication, Bombay, Planning and Dreaming. Together, these two art forms are interwoven into a photo-literary tapestry spanning decades, providing historical insight as

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