More to see and read.
Source is Art Forum:
Sunday, 7 February 2021
Doris Salcedo (b. 1958, Columbia)
A site specific public art project recognizing those
who died in Colombia's Civil War.
Bogota, 2016
“Doris wants to do something for peace, but we still don’t know what it is,” students reportedly whispered. Soon after, a mass email was sent to the entire campus: “Doris Salcedo invites us to draw the names of victims of the decades-long conflict on seven kilometers of cloth and then put them together with needle and thread.” In response, thousands of volunteers from around the city gathered early on the morning of October 6. Among them was Mariana Sanz de Santamaria, a law student: “Once you arrived, you saw many tables filled with volunteers. There were some people cutting up the letters and others who were getting the cloth ready to be printed with the names of victims of the conflict, which had been gathered from the government’s Registry of Victims.” The pieces of cloth would later be sewn together across Bolívar Square.
The work, called Sumando Ausencias (Adding Absences) is a statement of mourning, but also a call for peace, Sáez said. Salcedo has said the result of the quilt will be a “flag-shroud” that evokes both those sentiments.
“The act of sewing together each piece of cloth in an act of reparation, of knitting our own peace and is especially important at this time of uncertainty,” she said.
More to read and see.
The Guardian: https://www.theguardian.com/world/2016/oct/12/colombia-war-art-project-bogota-doris-salcedo
Smithsonian Magazine: https://www.smithsonianmag.com/smart-news/artist-blanketed-bogotas-bolivar-square-names-victims-colombias-civil-war-180960798/
AIDS Memorial Quilt
The Ashes on the Lawn
Stories about the protests and mourning
associated with the AIDS pandemic.
Listen to the podcast at Radio Lab:
The time specific to the quilts is 15:00.
Link below to learn more about the quilt:
Above image source:
Above image source:
Above image source:
Wednesday, 3 February 2021
Earliest Known Pile Carpet
The Pazyryk culture is a Scythian[1] nomadic Iron Age archaeological culture (of Iranian origin; c. 6th to 3rd centuries BC) identified by excavated artifacts and mummified humans found in the Siberian permafrost, in the Altay Mountains, Kazakhstan and nearby Mongolia.
The "Treasures of the Pazyryk Culture" of the Early Scythian Epoch includes the unique and world famous burial mounds (kurgans) and petroglyphs of the Pazyryk Culture. The Pazyryk Culture is one the related Central Asian cultures of the Scythian time. On the large area of the Altai Mountains it existed from the 6th to the 2nd centuries BCE. This culture has left clear evidences which are presented by unique burial complexes. The archaeological sites presenting cultural heritage of Pazyryk time include burial mounds (the frozen tombs of tribal nobility) and petroglyphs made in an "animal style".
Source and More:
Pile Weave -
A looped or tufted surface that extends above the initial foundation, or 'ground' weave.
Geology
The Floating Egg begins with the search for an alchemist's secret, and ends with the re-imagination of a past world. Each chapter is connected to a particular corner of north-east England, and each explores the uncertain line where myth is dissolved into science, and belief gives way to knowledge.
Different episodes show how the fall of Constantinople converted the common rock of the Yorkshire cliffs into a source of extraordinary wealth and power, and how this in turn uncovered the inhabitants of a succession of past worlds; how a stone falling from the sky near this same coast changed the minds of all the natural philosophers of Europe; and how a new science was born on the top of the tower of York Minster. We learn about the cloak-and-dagger world of fossil trading in the town of Whitby; and we see the entire life-work of a forgotten scientific genius who died from consumption at the age of twenty-five, having revolutionised his science.
The stories move from documentary accounts to fictional recreations of historic events, from contemporary writing and illustrations to present-day reflection. By using different ways of describing the world of scientific endeavour, the author has produced a fascinating visually beautiful and highly entertaining book which allows us to witness the birth of a new science - the science of geology.
Different episodes show how the fall of Constantinople converted the common rock of the Yorkshire cliffs into a source of extraordinary wealth and power, and how this in turn uncovered the inhabitants of a succession of past worlds; how a stone falling from the sky near this same coast changed the minds of all the natural philosophers of Europe; and how a new science was born on the top of the tower of York Minster. We learn about the cloak-and-dagger world of fossil trading in the town of Whitby; and we see the entire life-work of a forgotten scientific genius who died from consumption at the age of twenty-five, having revolutionised his science.
The stories move from documentary accounts to fictional recreations of historic events, from contemporary writing and illustrations to present-day reflection. By using different ways of describing the world of scientific endeavour, the author has produced a fascinating visually beautiful and highly entertaining book which allows us to witness the birth of a new science - the science of geology.
Text from Good Reads
Red
Cochineal is a scale insect and is found on prickly pear cactus. A rasping, sucking insect, it feeds on the tasty juices of the cactus. It produces a cottony white covering to protect itself from predators.
Go to link below to see images and read about cochineal history.
Cochineal Red: The Art History of a Color
Published on Aug 4, 2013
Elena Phipps The Metropolitan Museum of Art Bulletin, Winter 2010 Volume LXVII, Number 3 Copyright © 2010 by The Metropolitan Museum of Art, New York
Source:
And also appears here:
I found image here:
Would like to know true source.
Source:
A form of communication in Inca Empire.
Colored knots and cords.
A model of khipu knots, representative of many khipus from pre- and post-Conquest Peru JON CHASE/ PRESIDENT AND FELLOWS OF HARVARD COLLEGE
Khipu or quipu
(kē′po͞o)
[American Spanish, from Quechua khipu, knot.]
A khipu on display at Los Angeles County Museum of Art.
Source:
British Redcoats
Image Source:
Photos on processing cochineal and foods that contain the dye.
https://www.businessinsider.com/how-cochineal-insects-color-your-food-and-drinks-2012-3
Wednesday, 27 January 2021
Women's Suffrage
Silk, 1914 - 1917
65 in x 67 in
Suffragists from the National Woman’s Party made smaller versions of the banner used on the 1913 parade’s first float. These "Great Demand" banners were used in demonstrations and rallies and at suffrage headquarters. Marie Gilmer Louthan carried this one in suffrage parades. Source https://americanhistory.si.edu/collections/search/object/nmah_1371103
Three National Woman's Party members with "Wage Earners" banner during the dedication ceremonies for the Alva E. Belmont House, 1922. Photo: Library of Congress.
Article:
Women picket the White House in 1917, demanding full access to voting rights.
Library of Congress, Prints & Photographs DivisionSource: https://www.nps.gov/articles/womens-suffrage-wwi.htm
The Belmont-Paul House, as it is more simply known, has stood on Capitol Hill for almost 220 years. It is a stone’s throw away from the Capitol itself. In 1929 the National Woman’s Party (NWP), an organization integral to the passage and ratification of the 19th amendment, bought the gracious brick house on Maryland Avenue and Second Street NE to use as headquarters. Today it is home to the NWP’s collections and its exhibit detailing the fight for women’s suffrage.
One circa June 1917 banner framed in the hallway declares “THE YOUNG ARE AT THE GATES.” This draws on a longer passage by NWP member Lavinia Dock with which reform-minded youths today may well identify.
“What is the potent spirit of youth? Is it not the spirit of revolt, of rebellion against senseless and useless and deadening things? Most of all, against injustice, which is of all stupid things the stupidest? …The old stiff minds must give way. The old selfish minds must go. Obstructive reactionaries must move on. The young are at the gates!”
More to read and see on website.
Link below:
Friday, 22 January 2021
1-2-3 Indigo Fructose Vat
This is the vat we made in class.
Directions on Botanical Colors website. You can also purchase all materials needed from Botanical Colors.
Go to link below for directions.
https://botanicalcolors.com/2013/02/09/make-an-easy-organic-indigo-vat/
And this link.
https://botanicalcolors.com/fructose-indigo-vat/
Friday, 15 January 2021
Silence=Death
Note:
The image below is of a a lithograph. The use of color, shape, composition and text be adapted to textiles.
Read on for images and info on the significance of the pink triangle.
1987
33 9/16 × 21 15/16 in.
In 1987, Avram Finkelstein, Brian Howard, Oliver Johnston, Charles Kreloff, Chris Lione, and Jorge Socarrás founded the SILENCE=DEATH Project to support one another in the midst of the AIDS crisis.
Inspired by the posters of the Art Workers Coalition and the Guerrilla Girls (both of whose work is on view nearby), they mobilized to spread the word about the epidemic and created the now-iconic Silence=Death poster featuring the pink triangle as a reference to Nazi persecution of LGBTQ people in the 1930s and 1940s. It became the central visual symbol of AIDS activism after it was adopted by the direct action advocacy group AIDS Coalition to Unleash Power (ACT UP).
HIV and AIDS remain a global health issue, with nearly 40 million people living with HIV at the end of 2017. Communities of color continue to face disproportionate effects of the disease as well as barriers to treatment. Today, ACT UP remains dedicated to their original 1987 slogan: ACT UP! FIGHT BACK! FIGHT AIDS!
The trailblazing activist and artist Keith Haring wearing a t-shirt printed with the above image.
Above graphic was originally produced by the curatorial team; they contain images and research (with permissions granted) from USHMM, Yad Veshem, Jewish Virtual Library, The Simon Wiesenthal Center, the Anti-Defamation League, and the Encyclopedia of the Holocaust (1990; I. Gutman, ed.). Information and data in the infographics were fact-checked by Dr. Geoffrey Megargee of the USHMM. For more information, contact Dr. Cary Lane.
The Jacket from Dachau: One Survivor’s Search for Justice, Identity, and Home
Survivors of the Holocaust frequently attribute their ability to avoid death to one main variable: luck. For Benzion Peresecki, the 15 year-old son of a delicatessen owner from Radviliškis, Lithuania, surviving the Holocaust was indeed fortunate, but came at an immense cost.
Within a span of 10 years, Benzion’s father died from a stomach ulcer, his brother was murdered by the Nazis, he was forced into a ghetto, and was imprisoned, beaten, and subjected to forced labor at the Dachau concentration camp. After liberation, Benzion spent five years in a displaced persons camp with his mother, Chiena, who herself survived a death march at the Stutthof concentration camp.
After immigrating to the United States, Benzion fought to re-establish his identity, find justice for his family’s suffering, and create a new home. Throughout his postwar years, no matter where he lived and how many times he moved, he always kept his jacket from Dachau.
Benzion never explained to his family or friends why he brought the jacket with him to New York; in fact, he never told his children that it even existed. However, keeping his jacket is consistent with other resilient actions on his part: his immigration to the United States; his search for a new, meaningful identity despite underemployment and several iterations of his name (he formally changed his name to “Ben Peres” soon after his immigration); his courage coping with the emotional and psychological stress from his traumas; his tenacious search for justice through a decades-long reparations campaign with the German government; and, his determination to support his wife, mother, and two children in New York.
On July 4, 2015, Ben’s jacket, which had been in his closet for 65 years (and 37 years after his death), was discovered at the estate sale of his home in Bellmore, Long Island by a vintage clothing collector named Jillian Eisman. Ms. Eisman’s grandfather served in the Soviet army during World War II, and her brother was killed on 9/11; so, she immediately recognized the jacket as an object of pain, understanding, comfort, and reflection with which the public should engage. She subsequently donated the jacket to the Kupferberg Holocaust Center to ensure that students and the broader community could view the jacket and understand its significance.
New York, a city of immigration, determination, tragedy, and perseverance, also plays a role in this story. Ben and his mother lived and worked in Brooklyn, the Bronx, and Manhattan after their immigration. They also both received medical treatment from several New York doctors for physical and psychological injuries sustained during the Holocaust. In 1968, with modest reparations payments awarded by the German government more than 20 years after their liberation, Ben and his mother, Chiena, along with his wife, Chaya, and two children, Lorrie and Michael, were finally able to buy a permanent home in Bellmore, NY. Ben lived there until his death in 1978.
This exhibit was compiled from over 1500 documents, films, and photographs left by Ben Peres and his family that contextualize his search for justice, identity, and home after he was torn away from his Lithuanian home. The curatorial team for the exhibit included Queensborough’s own students and KHRCA interns: Peter Bandziukas, Kaitlyn Cicciariello, Gillian Farnan, Abigail Jalle, Alejandro Leal-Pulido, Daniel Nussdorf, and Nitya Ramanathan.
We encourage you to visit the reflection area in the gallery and in the online version of the exhibit, both of which are structured to document your own responses to this compelling story.
―Cary Lane, Ph.D., Curator-in-Residence, KHRCA, Assistant Professor of English
―Dan Leshem, Ph.D., Director, KHRCA
We would like to acknowledge and thank Marisa Hollywood, Assistant Director of the KHRCA, Yad Vashem, the United States Holocaust Memorial Museum, Dr. Geoffrey Megargee, Dr. Saulius Sužiedėlis, Jillian Eisman, Sam Widowsky, the USC Shoah Foundation, Kat Griefen, Lorrie Peres, and Michael Peres for testimonies, historical information, fact-checking, documents, images, and films that helped contextualize the artifacts in this exhibit. We also wish to thank Henry Schein, Inc. and Henry Schein Cares for their invaluable mentorship and support.
Source:
Queensborough Community College
Beginning in 1937–1938, the SS created a system of marking prisoners in concentration camps. Sewn onto uniforms, the color-coded badges identified the reason for an individual’s incarceration, with some variation among camps. The Nazis used this chart illustrating prisoner markings in the Dachau concentration camp.
Source, United States Holocaust Museum: https://encyclopedia.ushmm.org/content/en/artifact/chart-of-prisoner-markings
A striped overcoat of the Buchenwald camp.
Jim Crow Laws and Apratheid
JIM CROW LAWS
Source: https://naacpnewbedford.org/2021/04/lynched-yesterday/
Artist Dread Scott
New York, 2016
In 2015, Walter Scott fled for his life, stalked by a policeman who then cold bloodedly shot him in the back. We all saw the video and in response to this murder I made the artwork, “A Man Was Lynched by Police Yesterday.” This simple banner, printed with the eponymous words, is an update of an iconic flag that the NAACP flew from their national headquarters window in New York in the nineteen-twenties and thirties the day after someone was lynched. It read simply: “A Man Was Lynched Yesterday” and was part of a their anti-lynching campaign — a national effort to end that scourge.
During the Jim Crow era, Black people were terrorized by lynching — often public and publicized extra legal torture and murder of Black people. It was a threat that hung over all Black people who knew that for any reason or no reason whatsoever we could be killed and the killers would never be brought to justice. Now the police are playing the same role of terro
r that lynch mobs did at the turn of the century. It is a threat that hangs over all Black people, that we can be killed by the police for no reason whatsoever; for a traffic stop, for selling CDs, for selling cigarettes. Shot to death, choked to death, tasered to death. Standing still, fleeing. Shot in the chest, shot in the back. Hands up, hands down. Point blank range or at a distance. And the police never face justice for their crimes. Like lynchers in the Jim Crow era, there can be eye witnesses, and now even video evidence, and yet the police get away with murder.
My art often looks at how the past sets the stage for the present but also exists in the present in new form. This artwork is an unfortunately necessary update to address a horror from the past that is haunting us in the present.
Responding to the recent police killings of Philando Castile and Alton Sterling, this updated flag was a last minute addition to For Freedoms at Jack Shainman Gallery in New York (July 2016). It was an unusual, bold, courageous and fitting decision for the gallery to decide to include “A Man Was Lynched…” The art was displayed on the outside of the gallery in a highly visible manner in a way that was evocative of the NAACP presentation. Immediately people responded and initiated a much needed wider conversation, leading to coverage in the New York Times, PBS Newshour Magazine, Fox News, Hyperallergic, Artnet.com and on social media.
There is an epidemic of police killing people. 1,134 stolen lives in 2015 alone. Around the country, people are deeply concerned and taking action—from determined protest shutting down streets to respected athletes, musicians and artists are making powerful statements and art. This is inspiring and needs to grow. I’m glad for A Man Was Lynched by Police Yesterday to be part of the growing dissent and ferment as people act to end police terror.
Source is artist website: https://www.dreadscott.net/portfolio_page/a-man-was-lynched-by-police-yesterday/
BOYCOTTING APARTHEID
The Anti-Apartheid Movement’s local groups gave it a presence all over Britain. Some groups had hundreds of members and links to trade unions, churches and community organisations. Others were kept going by a few dedicated activists.
Anti-apartheid groups campaigned to end British links with South Africa within their local communities. They asked shoppers to boycott South African goods and pressed local branches of supermarket chains like Tesco and Sainsbury’s to stop selling them. They handed out leaflets outside Barclays Bank and Shell petrol stations explaining how the companies supported apartheid. Source link: https://www.aamarchives.org/who-was-involved/local-aa-groups.html
The People’s History Museum in Manchester, England, is the UK’s national centre for the collection, interpretation and study of material relating to the history of working people in the UK and it has a fabulous collection of protest banners from the last 150 years. For any Union members considering how to activate support for radical action in fashion, banner making might be the perfect place to start… It is also an activity that can potentially be combined with a Local Assembly and with the upswing in marches and school strikes, there may be plenty of opportunities to take it onto the streets or certainly adorn our studios, offices and classrooms.
The protest banners at the People’s History Museum combine fabric, stitch, paint, iron-on interfacing, fringe (lots of fringe). The base cloth varies from silk to polyester and cotton. Some are huge, some small.
Below is one image from the website. Website also has banners representing organizations. Go to link to see more. https://concernedresearchers.org/protest-banners-at-the-peoples-history-museum/
Colchester apartheid group, 1960.
Black cotton, lettering and design in iron-on polyester interfacing
Black cotton, lettering and design in iron-on polyester interfacing
Hackney and Tower Hamlets AA Group protesting outside an exhibition sponsored by Barclays Bank in Tower Hamlets Town Hall, east London in 1985. Barclays was the biggest high street bank in South Africa. Copyright © Petite Barbara
Subscribe to:
Posts (Atom)
-
Clare Cassidy Rhys Conner Gem Hansen Hayley Harris Julia Hewitt Sophia Johnston Laurel Koschal Owen Lindsey Colin Locatell Alaina Medina E...
-
Hannah Garrido Personal Banner Garrido Details of Personal Banner Hannah Garrido Club Banner Socialables Club Members with Banner Miranda...