Textile and Fiber Art

Textile  industry  is  playing  a vital  role in  the  Indian economic  growth  of  the country through its  contribution  towards  GDP,
employment,  exchange  rate,  exports,  total  production  etc.  The  purpose  of  the  study  is  to  identify  the  difficulties  of  textile
companies facing challenges from the general manager’s point of view on financial sustainability of  selected textile companies.
The study has used factor analysis for exploring various dimensions of barrier as well as weighted average method and other tests  for  selected  measurement  analyzes  using  SPSS-17  version  for  different  statistics.  Overall,  the  large  scale  companies performing very well with automatic plant with modern innovation products, medium scale unable to produce due to  various reasons and impacting the growth and technological factors as well as facing various difficulties. It reflects overall textile issues and challenges as general results towards the structured questionnaires.

"Block Printing is the process of using an object to make an inked impression upon a plain surface. It is one of the oldest and most enjoyable of all the crafts and has given color and pattern to paper, cloth, and other surfaces for nearly 4,000 years.
Today the process is essentially the same. As it is simple and impressive, it is ideal for the beginner. "

The Article provides an overview of the historiography of the description of Dagestan carpet-weaving as a component of the domestic economy, material culture and aesthetic consciousness, as well as some ornamental and compositional and technical characteristics of local varieties of carpets and rugs.
Analysis of literature data and field ethnographic materials suggests that Dagestan carpet-weaving is characterized by ornamental features and compositional diversity; by abundance of local centers which used to produce these carpets and rugs; by art and technical features of Dagestan carpets which visibly testified in which part of Dagestan, in what village they are woven. Actually, this seems the most impressive feature of the Dagestan carpet culture. It is noteworthy that many well known types of Caucasian rugs are named as Lezgi (Mirakh, Akhty, Kabir, Akhty, Zahur (Zeihur), Chi-Chi), Kumyk (Kayakent, Kumtorkala), Avar (Tlyarota) villages. In the World there are no analogues to ornamental and color composition of flat-weave carpet types "dum","davagin", "salmag" "soumakh ", which were woven in a certain Kumyk, Avar, Lezgi villages.
So, the particularly of Dagestan carpet-weaving is expressed by:
a) the abundance of original carpet designs, developed to canonical level of perfection and clearly localized in the districts and villages;
b) variability of the ornamental and technological characteristics:
с) plurality of local types of carpets;
g) fineness of weaving technique;
d) quality of wool of the Dagestan mountain breed of sheep;
e) coloring properties of the Derbent madder roots which, comparing with all known World species of this plant, has a superior content of the red colorant. All this, combined with the skillful, painstaking work of the weavers, determines the finesse of the Dagestan carpets, which is easily detected by the naked eye and without special knowledge.

Fashion hacking is a practice where fashion is reverse engineered and tuned to make users "fashion-­able", using social media to expand transversal tactics in order to reprogram and shapeshift fashion codes. Other traits address the shamanistic rituality of fashion and how participatory practices can expand the realm of fashion beyond the catwalk and ready-­to-­ wear paradigm. Can technologies express the mythical beauty of fashion?

ENTREE 20 I 27 PETIT SALON 28 I 37 GRAND SALON 38 I 51 SALLE A MANGER 52 I 59 Mathias Clivaz 60 I 61 LISTE DES OEUVRES 63 BIOGRAPHIE 64 I 66 REMERCIEMENTS / IMPRESSUM 68 04 I 05 SHEILA HICKS Sheila Hicks est occupée à tisser, tresser, nouer, lier et coudre d'innombrables fi bres depuis plus d'un demi-siècle, traduisant en formes, textures et couleurs les inspirations recueillies au fi l d'une longue vie, féconde et emplie d'expérience. Mue par sa curiosité et son insatiable appétit d'apprendre et d'explorer différents matériaux et techniques, elle a voyagé et travaillé dans le monde entier -des Amériques à l'Europe, de l'Afrique à l'Asie-Pacifi que -, collaborant toujours avec les artisans locaux, apprenant les techniques de tissage indigènes à la source. En dessinant et en esquissant ses idées, en prenant des photos de personnes et de lieux, et en réfl échissant à l'espace et à l'échelle, elle entre tout naturellement en dialogue avec d'autres artistes, designers et architectes.

‘About Time: Australian Studio Tapestry 1975-2005’ was an exhibition of tapestries created over a thirty year period, beginning with early works which capture the optimism of the craft movement of the 1970s and the influence of the newly establishment Victorian Tapestry Workshop. Curated by Anthony Camm for Ararat Regional Art Gallery, the exhibition toured to five galleries from August 2010 to April 2012.

A movement begun by Magda Sayeg in Houston (Texas) in 2004, but only documented since the late 1990s, a new kind of texture-fiber-has made an appearance and made its presence felt on the street art scene. The practice of what is usually referred to (more or less interchangeably) as "guerrilla crochet", "knit bombing", "yarn bombing", or "graffiti knitting" mostly consists of interventions with customized crocheted or knitted cozies in different 3D elements of street 'furniture' such as sculptures, benches, poles, pipes, signage, railings, door handles fences and, above all, trees. Unlike other genres of art in public space, knit-bombing is rooted in the practice of crafts and activism. In fact, most actors started crochet or knitting as a hobby, as a fundraising campaign or as political activism rather than to pursue fame or reputation in the so-called 'art world'. This paper aims to serve as both an introduction to as well as an analysis of yarn-bombing practice in street art and post-graffiti contexts. It discusses how this medium impacts, challenges and disrupts the perception and use of contemporary cities by humanizing them and making them more approachable. In a broader sense, the medium's rootedness in the everyday generally appears to result in a positive reception by the city users who engage with it.

This book interprets the fiber art and craft-inspired sculpture by eight US and Latin American women artists whose works incite embodied affective experience. Grounded in the work of Gilles Deleuze and Felix Guattari, John Corso Esquivel posits craft as a material act of intuition. The book provocatively asserts that fiber art―long disparaged in the wake of the high-low dichotomy of late Modernism―is, in fact, well-positioned to lead art at the vanguard of affect theory and twenty-first-century feminist subjectivities. [Cover Image: Sheila Pepe]

The Peyron textile factory produced hand-made knotted carpets in Italy at the beginning of the 20th.century. These artifacts were mainly copies of the most popular Oriental examples, but around 1930 the factory produced also carpets with original patterns derived from the Medieval inlaid marble pavements of the church of San Miniato and of the Saint John Baptistery in Florence.

Following the decline of tapestry weaving in the 19th century, the 20th century saw a revival of textile art, the emergence of new three-dimensional forms — art objects, installations and soft sculpture — and the coinage of the term fiber art. Starting in the second half of the 20th century, large-scale textile exhibitions, including the famous Lausanne Biennale, have been held in different countries around the world. After the Lausanne Biennale project was stopped in 1995, the rights to hold it were purchased by China. Currently, the Biennale is called “From Lausanne to Beijing” and is held in different Chinese cities. From 2000 to 2020, eleven exhibitions were held within the framework of the “From Lausanne to Beijing” Biennale. In 2020 the Biennale was held in an online format for the first time. Ecology remains one of the most popular topics of modern fiber art.
После упадка шпалерного ткачества в XIX в. ХХ в. стал временем возрождения текстильного искусства, появления новых объемно-пространственных форм-арт-объектов, инсталляций, «мягкой скульптуры» и возникновения термина «fiber art»-искусство волокна. Во второй половине ХХ в. в разных странах мира проходили масштабные текстильные выставки, в том числе знаменитые Лозаннские Биеннале. После того как в 1995 г. проект «Лозаннские Биеннале» прекратил свое существование, права на его проведение были выкуплены Китаем. В настоящее время Биеннале называется «Из Лозанны в Пекин» и проводится в разных китайских городах. С 2000 по 2020 г. в рамках проекта «Из Лозанны в Пекин» было проведено 11 выставок, в 2020 г. Биеннале впервые проходило в дистанционном формате. Одной из наиболее популярных тем современного «fiber art» является экология.

1960’lı yıllar estetikten çok kavramın ön plana çıktığı ve sanat medyalarında farklı üretim alanlarının ve türlerinin görüldüğü bir dönemdir. Çeşitli ifade biçimlerinin ortay çıktığı bu dönemde lif sanatı kavramı da sanat üretim pratikleri arasına girmiştir. İnsanlığın varlığıyla nerdeyse eşit bir zanaat üretim geçmişi olan tekstil tekniklerinden türeyen lif sanatı, sanat çevrelerini çeşitli sergilerle ve sergilenme biçimleriyle bu dönemde etkilemeye başlamıştır. Bu makalede öncü lif sanatçılarının galeri ve müze dışında iş merkezi, toplantı salonu, resmi bina veya istasyon gibi iç mekânlarda daimi veya geçici olarak sergilenmiş eserlerine ve günümüz örneklerine odaklanılmaktadır. Konu, lif sanatının diğer sanat alanları tarafından kabul görme süreci, sergilenme eğilimleri, sergi mekânı-sanat eseri arasındaki etkileşime ait bulgulara dikkat çekilerek değerlendirilmektedir.

The 1960s was a period in which the concept came to the forefront rather than aesthetics in art and different production areas and types were seen in their media. In this period, which created a variety of styles, the concept of fiber art became one of the art production practices. The fiber art, which derives from textile techniques, which has a craft production history almost equal to the existence of humanity, started to affect the art circles with various exhibitions and exhibition styles in this period. This article focuses on the works of pioneer fiber artists that were exhibited permanently or temporarily in business centers, meeting halls, official buildings or stations besides galleries and museums, and later examples of today. The subject is evaluated by drawing attention to the process of acceptance of fiber art by other art fields, exhibition trends, and the findings of the interaction between the exhibition space and the artwork.

Textile-based arts have long occupied vexed territory, characterised as being between binaries such as high and low art, amateur or professional practice, and craft or hobby. As a genre, it is often seen to sit on the fault lines of fine art, fashion and dress. In this ‘and/or’ space, textile art affects a kind of rupture to its attendant binaries where it can eschew rigidly defined classifications through its tendency toward cross-pollination. And, although it holds a well-documented position at the sidelines of the art historical canon, textile art has the distinct advantage of crossing class divisions even while being implicated within its own histories of gendered and racialised labour. Its broad range of mediums, techniques and processes make textile art a genuinely democratic form of material language. The far-reaching historical and cultural entanglements of textile art stretch back thousands of years. The story of textile arts is, quite simply, the story of human civilisation. Therefore, it has been subject to assimilation and adaptation, economics and politics, power, and the heavy legacy of empire.

The subject of my talk is arashi shibori or pole wrap resist Although at times it is hard to recognize some arashi effects as such, technically arashi shibori is one of many forms of tie-dye. After thirty years of its exploration through art-to-wear, dyed and painted tapestries, three dimensional sculptures, and mixed media in the United States, various forms of tie-dye have now become part of the lexicon of American fabric design and fiberarts vocabulary.

On the one hand, there has been much effort by textile specialists to circumvent the term "tie-dye," due to its association with the Grateful Dead, the rock band cult figures with their "dead heads" dressed in tie-dyed T shirts. Or conversely, some textile scholars apply the term tie-dyed fabric to both ikat and shibori fabrics of various ethnic origins. However, tie-dyeing yarns to weave cloth and tie-dyeing cloth itself present two very different circumstances which require different processes, and therefore result in two dissimilar effects. Plangi and tritik have also been used to refer to some of the "tie-dyed" textiles, although I have often found an inconsistent use of the term plangi. As far as I can tell, the term tritik is always used to indicate stitch-resist technique, but plangi seems to refer to gathered and bound resist, or stitched and bound—sometimes capped resist, as well as to many other tie-dye processes. On the other hand, a majority of Japanese shibori terms are quite particular as to the process required to create a specific pattern. For those unfamiliar with Japanese terms, I choose to use English terms, such as clamp-resist, stitch and bound resist, and pole wrap resist, etc. Nonetheless, this confusion in the technical terms used in one area of surface design vocabulary is a good example of just how the "contact and crossover" of these culturally specific fiber arts practices may need further articulation to continue in a new context.

The appearance of textiles, which by common perception is their main attribute, is shaped by many different factors, such as the raw material, ornamentation and structure, both as an external form and a manner of connecting fibers and other elements of textiles. It is not always realised by contemporary artists and designers that the same factors also determine the durability, conservation and storage methods. The paper briefly describes the main factors constituting textiles,  showing how important the awareness of their  role is to all who deal with textiles, from artists and designers, conservators and critics, to visitors to a gallery and museum exhibitions. It also shows that historical textiles, contemporary textile art and industrial textile products only appear to constitute separate independent worlds and in fact influence each other

In the Loop aims to challenge oversimplified associations of knitting as domestic craft and capture the diversity of contemporary textile culture related to knitting today. Contributors include Sandy Black, Mary Brooks, Sabrina Gschwandtner, Rachel Beth Egenhoefer, Deirdre Nelson, Linda Newington, Clio Padovani, Lacey Jane Roberts, Freddie Robins, Annie Shaw, Lycia Trouton & Joanne Turney.

Exhibition catalog, Gallerie degli Uffizi, 2020. Contains 98 catalog entries and 10 essays: "The Universe of Giovanna Garzoni. Art, Mobility, and the Global Turn in the Geographical Imaginary" by Sheila Barker."“E scrittrice, e pittrice”: Giovanna Garzoni and the Art of Calligraphy" by Aoife Cosgrove. "Art in the Service of Botany: Giovanna Garzoni’s Piante varie at Dumbarton Oaks" by Sheila Barker and Anatole Tchikine. "“La Miniatrice di Madama Reale”: Giovanna Garzoni in Savoy" by
Sheila ffolliott. "Miniature Painters at the Medici Court in the Seventeenth Century" by Elena Fumagalli. "The Not-So-Still Lifes of Giovanna Garzoni" by Mary D. Garrard. "Giovanna Garzoni at the Crossroads of Art and Science:
Floral and Floristic Aspects of the Cultural Landscape of Her Times" by Lucia Tongiorgi Tomasi. "An Exotic Liaison. China, the Medici and Giovanna Garzoni" by Francesco Morena. "Giovanna Garzoni, “Accademica”" by
Peter M. Lukehart. "Vittoria della Rovere’s Homage to Giovanna Garzoni: The Stanza dell’Aurora in the Villa del Poggio Imperiale" by Pasquale Focarile.

Wichí women weave string-bags (called 'yicas' in the regional creole Spanish) with different raw materials, with many kinds of loops, a variety of forms, and a wide range of patterns. These bags are used in a huge sort of traditional activities and are sold to 'Whites'. From the begining of 20th century, it is known that pictures woven on the bags are not randomly designed but follow formal patterns, which have complex names in the native language. Nevertheless, few studies have tried to describe and interpretate the names of the patterns, because of many difficulties found, which the linguistic obstacle has prove to be a major one. The goals of this work are: a) to enlarge, from first-hand material, the existing description of names of string-bags; b) to offer a short discussion about the relationship
between form and name of design; c) to make a review of other researchers' interpretations of the subject, and propose a structural hypotesis that would explain the maening of the names of the patterns.

El objetivo de este artículo es estudiar las formas y dilucidar los significados de los diseños de los bolsos enlazados por los wichís del Gran Chaco. Primero, se da una breve descripción de la sociedad wichí, de la metodología de la investigación  y de la forma en que se fabrican los bolsos en los que estos diseños aparecen. Luego, a partir de un amplio repertorio de diseños relevado durante el trabajo de campo, el texto presenta una descripción de las formas y de los nombres de esos diseños, y  un análisis somero del simbolismo cromático. Para concluir, se discuten los significados de los diseños a la luz de la vida social de los bolsos.

In order to structure our understanding of the types of Banarasi weavings, interviews were conducted in Banaras (Varanasi) with three generations of weavers and dealers.

In the following report Parv Kapoor, presents the findings of the study conducted under the guidance of Jaina Mishra, Wovensouls.

Rainbows, so pervasive in twenty-first century culture, were slow to permeate European fashion and textile design. Why, if they have been drawn and described since the beginning of artistic practice, do they so rarely show up on historic clothing? This paper traces rainbows in extant textile art from the sixteenth to the twentieth century.

Öz: İlk uygarlıkların erken dönemlerinde yaratıcı alanlar olarak kabul edilen sanat ve zanaat alanları giderek bir değer kaybına uğradı ve zamanla basit el işleri olarak kabul edildi. Bu kabul, Ortaçağ boyunca hâkim oldu. Rönesans'la birlikte ise sanat ve zanaat arasında sanatların lehine bir gelişme, bir statü farklılığı gerçekleşti. Bu statü farklılığı, 19. yüzyılın ortasında Art and Craft Hareketi'nin günlük yaşamda tasarımın önemini vurgulamaya başlamasının ardından, 20. yüzyılın başlarında da Bauhaus'un benzer iddiaları sürdürmesiyle ortadan kalkmaya başladı. 1960'lı yıllardan itibaren de feministlerin iplik, dikiş ve iğne işi ile kadın tarihi ve hakları açısından ilgilenmeye başlamasının ardından domestik zanaatlar olarak kabul edilen iplik ve kumaşa dayalı alanların statüsündeki yükselme ivme kazandı. Böylece tarihi Üst Paleolitik Çağ'a kadar götürülebilecek iplik, bazı çağdaş sanatçılar tarafından kendi deneysel yaklaşımlarının bir parçası olarak kullanıldı. Sanat ve zanaat, kadın sanatçılar ve erkek sanatçılar, boya ve iplik arasındaki mücadele; ipliğin, sürekli genişleyen sanat alanına yeni bir çağdaş sanat formu olarak dâhil olmasına olanak sağladı. Böylece, goblen ya da nakış olarak adlandırılan zanaat alanları iplik sanatı olarak yeniden kavramsallaştırıldı. Literatür taramasına ve doküman incelemesine dayalı olarak gerçekleştirilen bu çalışmada, geleneksel sanat tarihi perspektifi içinde ‗zanaat'a karşı ‗sanat' biçiminde atanan değer yargılarındaki kırılmaların nasıl gerçekleştiğinin, ardından da yüksek sanat olarak kabul edilegen boya resmi ile mücadelesinin incelenmesi amaçlandı. Lenore Tawney, Sheila Hicks, Claire Zeisler, Louise Bourgeois ve Orly Cogan gibi çağdaş sanatçıların, bu mücadelede ipliği nasıl yorumladığı da araştırmanın önemli problemlerinden biri oldu.

Si bien las arpilleras chilenas surgieron durante la dictadura de Pinochet desde la clandestinidad como expresión de denuncia y resistencia es cada vez más frecuente, en la actualidad, su puesta en circulación en espacios ligados al mundo del arte. Esta reciente inserción de las arpilleras en museos y galerías podría dar cuenta de un cierto consenso respecto de su estatuto artístico. Sin embargo, el abordaje de las obras no se da en términos plásticos ni formales, sino desde enfoques históricos, sociológicos y de género que tratan al fenómeno como una práctica artesanal más que artística. El presente trabajo busca, pues, un análisis en dos sentidos: por un lado, metacrítico, que permita reflexionar acerca de la arbitrariedad de la crítica de arte en su rol legitimador mediante la puesta en relación de las arpilleras con el fiber art y el textil andino. Por el otro, un análisis semiótico que atienda a los rasgos de las obras y permita formular generalidades y periodizaciones para, finalmente, reivindicarlas en tanto productos artísticos.

This essay posits that the simple process of bringing two divergent threads together to form cloth is a powerful endeavour. 

Informed by ancient craft, technique and metaphor the act of weaving remains to this day a powerful tool to express complex ideas and to tangibly illustrate beauty and abstraction.

As a weave major, I am interested in exploring the transformative power of weaving in my practice as an emerging designer and also the broader discourse of artisanship and art.  This essay investigates the transformative power of weaving through three key themes:

i) Time honoured metaphor;
ii) Politicising materiality and process through reconceptualising constructions of femininity, non- western cultures and modern art, and
iii) Future potential through an exploration of domain shifts.

Particular reference is made to the pervasiveness of weaving as a metaphor in ancient and modern vernaculars and how this has traversed time and space to maintain its relevancy today. 

The complex relationship between women and textiles will briefly be discussed in relation to woman’s traditional role as child-rearer and how this has inextricably linked women with textiles. 

The political potential of weaving will be explored in the context of the Fiber Arts movement emerging in the 1960s and spearheaded by Mildred Constantine and Jack Lenor Larson.  The pioneering work of Lenore Tawney will be discussed in relation to her ‘open warp’ technique, which proved to be controversial for defying categorisation both within the modern art context and also within the weaving fraternity. 

The work of Anni Albers and Sheila Hicks is then examined within a political framework, which sought to challenge the dominant modern art praxis denying women and non-western people their place as artists within their own right.  Working outside this system and co-creating with native weaving practitioners, Albers and Hicks were engaged in a political act. 

Particular reference is made to Albers’ latter works ‘Monte Alban’ and ‘Ancient Writing’, where her linguistic sensibility was innovatively woven into the pieces.  This complex array of meaning and codes became a signature of her work as an artist, weaver and designer.

Hicks’ works are further examined in relation to her pioneering spirit living amidst the sexual and cultural revolution of the 1960s.  Her extensive travels and observations of different societies and their cultural practices informed her work with an ethnographic quality challenging the status quo.   

Richard Sennett’s illuminating concept of ‘domain shifts’ is introduced in respect to new artists emerging with a particular weaving focus. While the three profiled artists work with different mediums and from different conceptual frameworks, each artist poignantly reinterprets the weave structure while respecting its historical lineage.

I conclude with my own reflections on the transformative power of weaving and what it means to me as a weaver and an emerging designer. I believe in the transformative power of weaving, through co-creation, innovation and an observance of those who have gone before to challenge, subvert and create true works of beauty.

" Fiber Art and the Hierarchy of Art and Craft, 1960– 1980 " both explores the artistic, historical, institutional and extra-aesthetic forces affecting the formation of the fi ber movement and evaluates the curatorial strategies of Mildred Constantine and Jack Lenor Larsen to negotiate the hierarchy of art and craft in order to elevate fi ber as a medium of " high art. " The analysis considers the emergence of the category of fi ber art in the 1960s and 1970s, the cultural contexts in which fi ber or textiles were utilized in the period, strategies of transcending the hierarchy of art and craft, and other relations of dominance and subordination that defi ned fi ber's marginality in the hierarchy of the arts and shaped the responses of artists, critics and curators to aesthetic boundaries.

Abstract
21st Century artists, with the benefit of rapid advancements in technology, are using space in ways that push more genuine interaction between the artwork, viewer, and environment; create a more social, cooperative process of development and creation; and consider both sustainability of the environment and the artwork itself. In taking on these roles, the artwork’s physical structure has become increasing integrated in open space, rather than closed off as in traditional sculpture. Additionally, a growing number of artists are undisturbed by the traditional view that fine art can not be practical or functional, and are instead focusing on creating new kinds of spaces that might improve humans’ lifestyles in the future.
This paper investigates fiber as perhaps the most versatile media for expressing structure. Fibers exhibit unique material properties that are able to delineate space, achieve volume with very little mass, as well as provide maximal or minimal surface area, insulation, protection,and communicative properties, all while remaining flexible. These properties have been taken advantage of for ages in the natural world and human technology, but are also relevant to art. Through case studies and literature review, this paper will research how contemporary artists, unlike those of the 20th century who neglected functional purpose, are using fibers as a means of crossing between spatial dimensions to involve the viewer and environment. Specifically, this paper will explore the relationship between non-Euclidean geometry, fibers, and installation, to resolve how functionality has re-emerged in contemporary art, and its significance for the future.
Chapter 1 of this paper provides a basic introduction to non-Euclidean geometry, a relatively new field in mathematics that did not become a well known concern until the late 19th century. It wasn’t until the late 20th century, however, that traditional fiber techniques were found to be capable of solving some of the problems of how to model negatively curved surfaces, which are a feature of non-Euclidean, hyperbolic geometry. Fibers and the techniques used to produce textiles exhibit important qualities such as flexibility, linearity, and a trapping of open space that enable them to adapt easily between 2 and 3 dimensions, the flat planes of Euclidean geometry, and the curved planes of non-Euclidean geometry. These properties are explored in detail in Chapter 2. Chapter 2 also describes functional aspects of fibers in nature and technology, when non-Euclidean characteristics are exhibited.
The following section includes case studies of 20th Century artists who explored using fibers and space in non-traditional ways. These pioneers helped revive fibers as a legitimate fine arts media while creating the “installation” art-form that would more closely involve the viewer and environment than traditional sculpture in the round. The artists selected for case studies in this section include Marcel Duchamp, Naum Gabo, Eva Hesse, and Kenneth Snelson. Chapter 3 finishes with a summary and comparison of the 20th Century case studies.
Chapter 4 presents 4 contemporary artist case studies, including Philip Beesley, Janet Echelman, ecoLogicStudio, and Tomas Saraceno. These artists build on the 20th Century use of installation and fibers to further involve the viewer and environment in a more truly interactive context. These artists are actively working with scientists and engineers to develop new materials and digital technologies that were not available during the 20th century.
Chapter 5 will discuss the overall significance and draw conclusions from the contemporary case studies. Analysis is further divided into six sections including digital technology, new materials technology, cooperative work, responsive interaction, environmental sustainability, and self-sustainability. General comparisons between the 20th and 21st century artists use of form and function will be discussed, as well as a general analysis of implications for Modern and Post-modern theories.

Beyond shape and form
Title: conceptualisation of art in a Mauritian context

Sub title: Has craft been integrated in art work done by local artists, why and to what extent from a Mauritian perspective.

My intention is to write on a few local artists’ work to investigate the use of crafts and craftsmanship in their work. I will analyse their work in a Mauritian context. 
A quick glance in the history of art shows that in the ancient civilisation, there has been no clear demarcation between arts and craft. (As we find craft is part and parcel of ancient civilisation. Remnants from pottery, statuettes, architecture and other artefact disclose the socio economic and cultural factors that existed in the past.
As society evolved, scholars started to define terminologies and categorize various fields of specialisation, so much so, that art was seen as “art for art sake” and “art for not art”. In Mauritius, the context of evolution in art has been to a large extent marked by colonialism as our nation has been under the French and British rule. The educational, economic, social and cultural system has thus been modelled accordingly.
The Mauritian nation is endowed with different cultures, traditions and languages which are linked together by our local dialect which is the Creole. The development in art has evolved in terms of styles and techniques into contemporary era where it has bridged the gap of fine art and craft. My main concern in the research will be to seek how and to what extent craft has been integrated amongst the art practitioners.

The English title of the exhibition, Material Matters, is both ambiguous and difficult to translate into Swedish. In one sense it simply states that the choice of material is of import. In other ways, it means "material issues,'' "material substances" or "important questions.'' The English "matter'' has the same double sense as the Swedish "ämne" and can thus be taken to refer both to something material as well as immaterial. Furthermore, if an English- speaking person says that something is "material" he or she can do so both in the sense that it consists of a physical substance and that it is of great import, that it is "essential." In this way, the title Material Matters is a good summary of the discussions ¬– between the artists who make up Fiber Art Sweden and the Norrköping Museum of Art – that eventually led to the realization of the exhibition.

This dissertation explores the creation and exhibition of immigrant-made art in American settlement houses in New York and Boston from 1900 to 1945. The lace, embroidery, and ceramics Southern and Eastern European immigrant artists created provide an important avenue to illustrate how European traditions survived, changed, or disappeared, and how Jewish and Italian communities in New York and Boston adapted to new circumstances while maintaining distinct identities. This dissertation proposes that art can help reveal what is gained and what is lost when communities uproot and settle far from their homelands: an issue as relevant for turn-of-the-century immigrants as it is for emigrant groups arriving in the United States and countries across the world today. The two object sets that are examined closely-ceramics from Boston's Paul Revere Pottery and textiles from New York's Scuola d'Industrie Italiane-reveal the working and living patterns of first and second-generation Jewish and Italian women as they interacted with middle and upper class settlement house reformers, collectors, and museum professionals to negotiate their place in American social and political life.

In the biodiversity of Amazon forest, we can find a large number of fiber plants, including curauá (Ananas erectifolius) and tururi (Manicaria saccifera), which have been use for centuries by people of the forest, and in recent decades have an increase in the number of research and designs in different fields of industry. This article presents an overview of this process of use, development and recognition of the quality of these natural fibers, combining indigenous knowledge and scientific research to understand characteristics and processes that demonstrate how this pair of plants among many other native species, allows new solutions to contemporary design projects much more closer to the forest itself and its inhabitants.

Fibres have been used in construction materials for a very long time. Through previous research and investigations, the use of natural and synthetic fibres have shown promising results, as their presence has demonstrated significant benefits in terms of the overall physical and mechanical properties of the composite material. When comparing fibre reinforcement to traditional reinforcement, the ratio of fibre required is significantly less, making fibre reinforcement both energy and economically efficient. More recently, waste fibres have been studied for their potential as reinforcement in construction materials. The build-up of waste materials all around the world is a known issue, as landfill space is limited, and the incineration process requires considerable energy and produces unwanted emissions. The utilisation of waste fibres in construction materials can alleviate these issues and promote environmentally friendly and sustainable solutions that work in the industry. This study reviews the types, properties, and applications of different fibres used in a wide range of materials in the construction industry, including concrete, asphalt concrete, soil, earth materials, blocks and bricks, composites, and other applications.

Au passage du XIXe siècle, la remise en question des frontières entre beaux-arts et arts appliqués rendent plausible une « renaissance » de la tapisserie. Les relations complexes que cet art entretient avec la peinture, l’architecture et, à partir des années 1960, la sculpture, sont vivement discutées, dans une recherche inlassable des lois qui en consacreraient l’autonomie esthétique. Muralité, structuration colorée de la surface, significations symboliques, qualités fonctionnelles ou création d’un environnement spatial : c’est à partir de ces critères que les productions du passé sont appelées à dialoguer avec , resserrant les liens avec certains courants de l’art moderne – Ecole de Paris, modernisme et art conceptuel. En France, le prestige de la tradition transmise par les manufactures nationales et par les ateliers creusois maintient le renouveau à l’intérieur des limites d’un rapport hiérarchique peintre-lissier qui se manifeste par l’essor extraordinaire  de la production des années 1950 et 1960. En Allemagne, dans les pays de l’Europe de l’Est et aux Etats Unis, le paradigme pictural laisse la place à une réflexion qui, partant des pratiques du Bauhaus, replace paradoxalement le medium textile au sein du champ des « beaux-arts ».