The study reviews textile artworks performed in various textile techniques from 1970 to the present day. Particular attention is paid to the innovative approaches of artists to the use of color hue ...gradients in objectless panels. A review of exhibitions points to widespread use of this technique in modern-day art. In conclusion, the author notes that hue gradations in abstract artworks are used by artists to focus attention on issues of interaction between nature and individual, trying to combine the traditional technologies and the visual imagery of the digital era or turning to the heritage of modernism. Such works are becoming popular and are actively included in modern minimalist interiors.
The article analyzes the creative practices of the well-known Russian textile artist and teacher Elizaveta Yuryevna Manerova, who lives and works in Yekaterinburg. As one of the founders of the Ural ...textile school, she plays an important role in the artistic and educational environment of the city. Special attention in the text is paid to the origins and conditions of the formation of the artist's creative personality in the 1970s and 1980s, the nature of the figurative structure of her textile series and individual works created in various techniques in the 1990s and 2010s. The influence of materials and technologies used by Elizaveta Manerova on the visual features of her paintings and textile works is specially noted. Consideration is given to her pedagogical activity, experiences in organizing art exhibitions, in particular, the Ural Triennial of Decorative Art (2016-2019), which is significant for the development of Russian art culture
Polythene bags, more commonly referred to as single-use plastics, are lightweight, non-biodegradable materials that pose numerous environmental threats. Recent research conducted by researchers and ...textile artists has sought to raise awareness about their effects. This studio practice recycled polythene bags into polythene weft yarns, interlaced with polyester warp yarns on a broadloom to create fabrics. This studio practice took place on the campus of Kwame Nkrumah University of Science and Technology in Kumasi, Ghana. Polythene bags were converted into yarns in continuous strands using soldering and knotting techniques. The studio creative process was guided by studio-based practice in accordance with the qualitative research design. The findings from the exploration phase and prototyping stage provided invaluable insight into creating the final woven fabrics. This study demonstrates the possibility of combining polyester warp yarns with recycled polythene bags as weft yarns into textile art. It also created the needed awareness to reduce the consumption of polythene bags in the country. Assessments from the study participants on the wearability and comfortability of the woven fabrics revealed that they are stiff and rough, making them only suitable as textile art.
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The article discusses the changes that occurred in textile art in the 20th century. Land art emerged in the 1960s as the desire of artists to interact with nature and landscape architecture and ...reflect on environmental problems, which contributed to the emergence of similar textile artworks. Comparing the works of textile land art by foreign and domestic artists allows us to identify common features and differences between them and analyze trends in creative search. Detailed consideration is given to the exhibition artworks of Russian masters at the 4th Triennial of Textile Art and Modern Tapestry, which show the diversity of approaches to the creation of artworks among artists. They are of interest for art history research as an example of Russian textile art evolution.
The article is about the mini textile art development trends of the second half of the twentieth century as a scarcely studied branch of art. The transition from a large format textile to a miniature ...form developing as a separate variety is clarified. Recondite works of Eastern European artists are introduced through scholarly review for the first time. Artists from the USSR were under extraordinary pressure, and ideological prohibitions restricted artistic pursuits. However, Soviet artists managed to experiment, create and participate in exhibitions. The article contains an overview of the mini textile exhibitions in Hungary, Poland, Slovakia, Ukraine, the Baltics in the second half of the twentieth century. It includes an analysis of works of leading artists and the notable features of their artworks, rethinking and transforming folk art traditions. Three main directions characterize mini textile art of the period: a planar composition with a combination of traditional weaving techniques and textures; the semi-spatial relief images made of non-traditional and atypical materials; the creation of miniature art objects or spatial compositions from various materials. It is proved that mini textile art is an independent type of textiles and continues its development in the twenty-first century.
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Textile art possesses the ability to communicate with the viewer in as much as the viewer understands the visual images. It involves art made of textiles or about textiles by utilising techniques ...such as embroidery, patchwork, quilting, applique, tapestry, dyeing, and painting, among others. This study explores the use of conventional and non-conventional textile materials in a mixed-media technique in the production of artefacts aimed at raising awareness of corruption in Ghana; a national canker that is retarding the country’s growth. It employed a practice-based research approach to gain new ideas or knowledge in the study through practice. The study revealed that the artefacts serve as an effective communication tool to create awareness of the dangers of corruption in the country, thereby expanding the frontiers of textile art by exploiting various techniques and materials.
Influenced by political and economic changes in Latvia in the mid-1990s of the 20th century artists in different fields of art came together and formed independent associations. Aija Baumane ...(1943–2019), artist and professor, the head of the Department of Textile Art at the Art Academy of Latvia (AAL), founded the Association of Latvian Textile Art (ALTA) together with ten textile artists from different generations.
The aim of the research: to describe the significance of the Association of Latvian Textile Art activities in first 20 years of operation and to identify changes in textile art since the 1990s. ALTA's attempt to motivate and encourage Latvian textile artists to become involved in world art processes marks a transition in various aspects. New ways for expression were searched and different understanding developed in textile art, and thus the question of the traditionally accepted function of textile work was raised. Until now the operation and significance of ALTA have not been studied, although its impact on the development of the textile art sector is undeniable.
The research is based on ALTA activity materials, mainly documented in the press - “Literatūra un Māksla”, “Māksla”, “Diena”, “Kultūras forums”, etc. as well as little studied and not systematized so far archive of the Association of Textile Art, located at the Department of Textile Art of the Art Academy of Latvia since the foundation of the association.
Interdisciplinary movement artists and educators Rob Kitsos and Meagan Woods share the process behind Moving Matter: material-led collaborative choreographies, a research-creation project that offers ...a methodology for rethinking the dynamism between raw materials, garments, and the body. Moving Matter steers the locus of choreography and wearable design away from human hierarchy to instead support truer collaboration amongst all moving materials, both human and non-human. In a challenge to normative structures where costumery operates 'in service' of dance, the textile designs for Moving Matter do not support the complete autonomy and freedom of moving humans; the wearables have striking characteristics of their own that limit what the human body can do. In establishing parameters, we intend not to reverse the hegemony of human-led design to human-suppressed design, but to re-recognize the agency of all matter through material-led collaborations that support distributed power and collective, innovative approaches to making. This paper details the artists' studio process and their methodology template for material-led collaborative process that can be adapted for practices within and beyond performance and art disciplines.
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