Category Archives: Assignment 4

Part 4 Sketchbook work

I decided due to comments my tutor made about not taking samples further in part 3, to try and free myself up a little and work on some random sampling to try and shift my head into exploring textiles and working from a materials lead angle. I feel I failed miserably in my first re engagement to exploring Ideas. I was incredibly frustrated in my inability to just relax and surrender to the process. I knew I needed to work on something that I could be more playful and random. even though my materials are from the ancestors research from Part 1, I wasn’t looking to produce anything just to rip, stitch, burn and  be open to just going with what was to hand. I had the radio on loud and prepared to lose myself. It took time before I became instinctive and the radio helped to distract part of my brain that may have wanted to interfere with the process. I had large graphite pencils, acrylic paints, lots of photo copies, sewing machine, soldering iron and matches to hand. I cleared the decks and played.

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One of my loosening up exercises was to take chunky, graphite pencils and scrawled text from a collage I had made (below). I then over painted with acrylic paint. The graphite was still visible as it repelled the paint.

collage on paper

collage on paper

Below I again collaged though this time I worked in a more conscious way. I ripped at the census forms, photographs of my ancestors and their marriage certificate, envisioning how they would feel about their lives being changed so drastically. I found I got quite emotional doing this. Even to the point of brimming with tears. I covered the whole page (A2) in pva, which gave the finished work a lossy appearance. I drew it, using large marker pens, simplifying the colour blocks. I then cut that into pieces and pasted them allowing my instincts to choose where things should lay.

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I cut the original collage into strips and pasted them, again using my intuition to dictate the composition.

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I threw nothing away as even the smallest piece had some shape, colour combination or texture that I could refer to. The photographs do not tell the whole story.

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I enlarged areas via Photoshop and printed them out, again ripping and layering and adding lines picking out text and also just picking out shapes of letters to soften the composition.

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I then stitched into some photocopies, ripping and layering. I then took a flame to it all. I do like the text appearing beneath. I chose the green colour as it is the same as the original paintwork on the workhouse doors and windows.

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I found that in doing this I became more in touch with how I should be working with exploring ideas. My mind was becoming more open and curious. I hope I am learning to trust the process more. One question I do have is: if I allow the process to take over, do I lose the lateral thinking that would guide me towards a fine art approach rather than a crafter?

Part 4 Review

Looking over the work I have completed for this section of the course, I am firstly proud of how I have achieved in each section. I enjoy researching normally but to have to then thing further and deeper has allowed me to begin to look at work and artists in a more studied way. I have started to look at my feelings and reactions, as well as what the artist may have been wanting to say and how they have approached the work with that in mind.

I found being theoretical actually allowed me to get in touch with the artist more. Reading about the research they made in preparation for producing a body of work allowed me to see the subtleties that I would have ordinarily missed. In analysing Perry’s tapestry I learnt about the political connotations that were in the narrative, but I had either not realised or I had forgotten from my visit to the gallery. I am sure I never really looked that deeply at it.

I never found it boring, challenging it definitely was. The sheer volume of research was quite daunting at first and, I found my confidence wavered throughout. I went through feeling like I was actually able to read and analyse work better to feeling like I was not academically up to the job.

I was familiar with all of the listed designers and artists at a surface level. I hadn’t really studied them in such detail, nor had I read so much about artists in such a short length of time. I found I was ‘hot housing’ as the more I worked, the more I had questions to answer. I also was able to acknowledge my history with them. What I knew or perceived I knew, which also meant I was analysing my assumed knowledge with my new found education. This highlighted my need to read more about artists to see their methods of research and also to see what actually motivates them. I can see how gaining in-depth knowledge of an artist actually informs me, not just of techniques but it helps me develop an artistic vocabulary that enables me to see how other artists convey thoughts, perceptions, passions and the basic reason why they produce art.

I initially struggled with the questions offered, as it was so new to me to question work and artists in this way. By the time I got to Project 2 I was beginning to get into a rhythm. I found that they were excellent prompts and guided me to get much more form my research. I have them mounted on card and posted on my wall now for future reference.

I definitely see that an awareness of context in which work is produced will influence how I approach work. I have begun to develop samples that needed developing from part 3 and am now going to go back over the work with a new eye. I have not only read with a view to completing this section of work, I have found work that has begun to inform how I move forward with Part 5, My Own Project. Whilst I have no idea what I shall finally produce, I need now to study what I have, where I am before I do any more preparation.

I definitely feel stimulated to do more research work of this nature. I can see how informative and inspiring it is. I also am realising that I am actually developing a deeper awareness of my own motivation and reasons for producing works.

Part 4 project 1 Stage 3 An Analytical Study

Zandra Rhodes 

Full-length evening dress, New York and ‘Indian Feathers’ design, Autumn/Winter 1970.

 

Zandrarhodes.ucreative.ac.uk. (2016). Zandra Rhodes Digital Study Collection: DRESSES. [online] Available at: http://www.zandrarhodes.ucreative.ac.uk/p/dresses.html [Accessed 30 Mar. 2016].

Good Reads. (2016). The Female Eunuch Quotes. [online] Available at: https://www.goodreads.com/work/quotes/94985-the-female-eunuch [Accessed 30 Mar. 2016].

WEINRAUB, J. (1971). Germaine Greer — Opinions That May Shock the Faithful. The New York Journal. [online] Available at: http://query.nytimes.com/gst/abstract.html?res=9E0DE3DA1530E73BBC4A51DFB566838A669EDE [Accessed 30 Mar. 2016].

Alonso, R. and Eisner, L. (2002). STYLE; Rhodes Scholars. The New York Times. [online] Available at: http://www.nytimes.com/2002/06/23/magazine/style-rhodes-scholars.html?pagewanted=all [Accessed 30 Mar. 2016].

Zandrarhodes.com. (2015). Biography. [online] Available at: http://www.zandrarhodes.com/about [Accessed 30 Mar. 2016].

Buckley, J. (2015). Moss is such a copycat, says Dame Zandra: Designer accuses model of ripping off feather design for Topshop collection Read more: http://www.dailymail.co.uk/tvshowbiz/article-2953156/Moss-copycat-says-Dame-Zandra-Designer-accuses-model-ripping-feather-design-Topshop-collection.html#ixzz44TVb2VHd Follow us: @MailOnline on Twitter | DailyMail on Facebook. The Daily Mail. [online] Available at: http://www.dailymail.co.uk/tvshowbiz/article-2953156/Moss-copycat-says-Dame-Zandra-Designer-accuses-model-ripping-feather-design-Topshop-collection.html [Accessed 31 Mar. 2016].

Part 4 Project 2 Stage 2, Analyse 3 Pieces of Work

Work number 1

Spreckley, Project Façade

by Paddy Hartley

Contemporary Textiles, the fabric of fine art. (2008). London: Black Dog publishing, pp.160-70.

Hartley, P. (2007). Spreckley, Project Facade. [image] Available at: http://paddyhartley.com/spreckley [Accessed 2 Apr. 2016].

Paddy Hartley. (2016). Project Facade. [online] Available at: http://paddyhartley.com/project-facade-1 [Accessed 2 Apr. 2016].

Work number 2

The Agony in the Car park

Grayson Perry

Perry, G. (2013). The Agony in the car Park. [image] Available at: http://graysonperrytr.com/the-agony-in-the-car-park/ [Accessed 3 Apr. 2016].

Graysonperrytr.com. (2016). Grayson Perry Virtual Tour – Welcome. [online] Available at: http://graysonperrytr.com/en/ [Accessed 3 Apr. 2016].

Grossechina.com. (2016). GROSSE – About us. [online] Available at: http://www.grossechina.com/index.php/about-grosse-en [Accessed 3 Apr. 2016].

The National Gallery, London, (n.d.). The Agony in the Garden by Giovanni Bellini 1465. [image] Available at: https://www.nationalgallery.org.uk/paintings/giovanni-bellini-the-agony-in-the-garden [Accessed 3 Apr. 2016].

 

Work number 3

Transnatural

Lucy McRae

TED, (2012). Becoming Transnatural. [image] Available at: http://blog.ted.com/inside-out-fellows-friday-with-lucy-mcrae/ [Accessed 3 Apr. 2016].

Lucymcrae.net. (2011). Lucy McRae » Projects. [online] Available at: http://www.lucymcrae.net/home/ [Accessed 3 Apr. 2016].

radiotherapy-moulds. (2014). U.K: Cancer Research UK.

Part 4 Project 2, Stage 1 Six Artists and Designers.

The 6 artists I chose for this exercise were:

Janet Cooper

race, N. (2003). http://www.JanetCooperDesigns.com. [online] Janetcooperdesigns.com. Available at: http://janetcooperdesigns.com/RPtheArtfulMind.shtml [Accessed 24 Mar. 2016].

Devall, E. (2015). [image] Available at: https://www.facebook.com/Fragments.by.EllenDevall/photos/pb.588890931211010.-2207520000.1458647709./595453397221430/?type=3&theater [Accessed 22 Mar. 2016].

Cooper, j. (2007). party dress Rome. [image] Available at: http://janetcooperdesigns.com/news168.html [Accessed 24 Mar. 2016].

Cooper, j. (2013). various sculptures, Stitched on second hand clothes. [image] Available at: http://janetcooperdesigns.com/stitch.html [Accessed 24 Mar. 2016].

An eclectic Art, (2006). [image] Available at: http://www.art-e-zine.co.uk/janet.html [Accessed 24 Mar. 2016].

Cooper, j. (2014). Cloth warriors. [image] Available at: http://janetcooperdesigns.com/index.html [Accessed 24 Mar. 2016].

Cooper, j. (2011). painted and Stitched Objects. [image] Available at: http://janetcooperdesigns.com/paintedObjects.html#paint [Accessed 24 Mar. 2016].

Narte, F. (2010). ARTISTICALLY SPEAKING–JANET COOPER DESIGNS. [Blog] Fannie Narte. Available at: http://fanniecarte.blogspot.co.uk/2010/04/artistically-speaking-janet-cooper.html [Accessed 24 Mar. 2016].

Contemporary textiles, The fabric of fine art. (2008). London: Black Dog publishing Ltd., pp.134,135.

Gunta Stolzl

https://uk.pinterest.com/dawnwithpencil/gunta-stolzl/

http://www.guntastolzl.org/

Guntastolzl.org. (2016). Biography – Gunta Stölzl. [online] Available at: http://www.guntastolzl.org/About/Biography/ [Accessed 24 Mar. 2016].

Gunta Stolzl. (n.d.). 1st ed. [ebook] On-line: Bauhouse Online, pp.1, 2. Available at: http://bauhaus-online.de/en/pdf/atlas/personen/bauhaus-online_gunta-stoelzl.pdf [Accessed 24 Mar. 2016].

V & A Search and collections. (2016). 1st ed. [ebook] London: V & A, p.1. Available at: http://collections.vam.ac.uk/item/O69603/design-for-a-stolzl-gunta/ [Accessed 24 Mar. 2016].

Wall Hanging. (n.d.). [Textile work] V & A, Twentieth Century, room 74, case CA8, box 1. London.

Wortmann Weltge, s. (1993). Bauhaus texiles, Women artists and the weaving workshop. London: Thames and Hudson, pp.10, 12, 41, 44, 53, 55, 59, 60, 166, 182, 189, 191, 192, 46-49, 58, 64, 61, 90, 93, 95-96, 117, 120-22, 58, 63, 96, 104-5, 100, 101-101, 106, 7, 41, 46, 97, 111, 116, 187, 18, 20, 21, 23, 25, 37, 69, 70, 71, 74, 83, 86, 158.

Wortmann Weltge, s. (1993). Bauhaus texiles, Women artists and the weaving workshop. London: Thames and Hudson, p19

Non noted. (2000). [photograph] The Met Breuer 945 Madison Avenue New York, NY 10021, Archives. New York.

TextileArtist.org. (2013). History of textile art: Gunta Stölzl (1897-1983) – TextileArtist.org. [online] Available at: http://www.textileartist.org/textile-artist-gunta-stolzl-1897-1983/ [Accessed 24 Mar. 2016].

Cornelia Parker

https://uk.pinterest.com/dawnwithpencil/cornelia-parker/

Video footage of Cornelia Parker.

Bloomburg Business, (2015). Brilliant ideas – Sculptor and Artist. [image] Available at: http://www.bloomberg.com/news/videos/2015-05-22/brilliant-ideas-sculptor-and-artist-cornelia-parker [Accessed 24 Mar. 2016].

https://vimeo.com/154412185

Pinterest. (2016). Cornelia Parker. [online] Available at: https://uk.pinterest.com/dawnwithpencil/cornelia-parker/ [Accessed 3 Apr. 2016].

Adams, T. (2015). Cornelia Parker: ‘I don’t want to tick anyone else’s boxes’. The Guardian. [online] Available at: http://www.theguardian.com/artanddesign/2015/jan/25/cornelia-parker-interview-i-dont-want-to-tick-anyone-elses-boxes-whitworth-retrospective [Accessed 24 Mar. 2016].

Blazwick, I., Ono, Y., Ferguson, B. and Parker, C. (n.d.). Cornelia Parker.

Bloomburg Business, (2015). Brilliant ideas – Sculptor and Artist. [image] Available at: http://www.bloomberg.com/news/videos/2015-05-22/brilliant-ideas-sculptor-and-artist-cornelia-parker [Accessed 24 Mar. 2016].

VERDIER, A. (2010). Cornelia Parker, ‘Cold Dark Matter: An Exploded View’ 1991. [online] Tate. Available at: http://www.tate.org.uk/art/artists/cornelia-parker-2358 [Accessed 24 Mar. 2016].

Waters, L. (2011). INTERVIEW WITH CORNELIA PARKER. The White Review. [online] Available at: http://www.thewhitereview.org/art/interview-with-cornelia-parker/ [Accessed 24 Mar. 2016].

Howie, S. (2016). Cornelia Parker artist | Alan Cristea Gallery, London – Cornelia Parker. [online] Alancristea.com. Available at: http://www.alancristea.com/artist-cornelia-parker [Accessed 24 Mar. 2016].

Alan Cristea Gallery, (2015). Artist Cornelia Parker talks to Jonathan Watkins. [image] Available at: https://vimeo.com/154412185 [Accessed 24 Mar. 2016].

INGLEBY GALLERY, (2016). Hot Poker. [image] Available at: http://www.inglebygallery.com/exhibitions/cornelia-parker/ [Accessed 24 Mar. 2016].

Grayson Perry

https://uk.pinterest.com/dawnwithpencil/grayson-perry/

Grayson Perry – Education pack FINAL (1)

Channel 4, (2016). Grayson Perry – Who are you?. [image] Available at: http://www.channel4.com/programmes/grayson-perry-who-are-you [Accessed 24 Mar. 2016].

Royalacademy.org.uk. (2016). Grayson Perry | Artist | Royal Academy of Arts. [online] Available at: https://www.royalacademy.org.uk/artist/grayson-perry-ra [Accessed 24 Mar. 2016].

Liverpool Echo Newspaper, (2014). Grayson Perry promoting his exhibition of tapestries at the Walker Art Gallery, Liverpool. [image] Available at: http://www.liverpoolecho.co.uk/whats-on/arts-culture-news/grayson-perry-tapestry-liverpool-lightnight-7089533 [Accessed 24 Mar. 2016].

Walker Art gallery, Liverpool., (2012). Grayson Perry, ‘The Adoration of the Cage Fighters’, 2012 (detail). [image] Available at: http://www.liverpoolmuseums.org.uk/walker/exhibitions/grayson-perry/ [Accessed 24 Mar. 2016].

Art Fund, (2016). Grayson Perry: The Vanity of Small Differences. [image] Available at: http://www.artfund.org/what-to-see/exhibitions/2016/01/09/grayson-perry-the-vanity-of-small-differences-exhibition [Accessed 24 Mar. 2016].

Perry, G. (2013). The vanity of Small Diffferences. london: Hayward Publishing, p.73.

Grayson Perry educational pack. (2012). 1st ed. [ebook] London: The arts Council, pp.5-7. Available at: http://www.artscouncilcollection.org.uk/learning-research/vanity-small-differences-grayson-perry [Accessed 24 Mar. 2016].

Amy de Klerk, A. (2016). Who’s who – Grayson Perry. vogue. [online] Available at: http://www.vogue.co.uk/spy/biographies/grayson-perry-biography [Accessed 24 Mar. 2016].

Grayson Perry Who are you?, (2014). [TV programme] channel 4: Channel 4.

Hattenstone, S. (2016). Grayson Perry: ‘Just because you don’t have a dress on doesn’t stop you being a tranny’. The Guardian. [online] Available at: http://www.theguardian.com/artanddesign/2014/oct/04/grayson-perry-dress-tranny-art-who-are-you-tv [Accessed 24 Mar. 2016].

 

Paddy Hartley

https://uk.pinterest.com/dawnwithpencil/paddy-hartley/

https://youtu.be/4dJSwzpKZSg

Hartley, P. (2008). Project Facade. [online] Paddy Hartley. Available at: http://paddyhartley.com/project-facade-1 [Accessed 24 Mar. 2016].

Saachi gallery, (2015). lambs heart tissue – print. [image] Available at: http://paddyhartley.com/the-aligera-series-2/ [Accessed 24 Mar. 2016].

Prain, L. (2014). Strange Material Story telling through textiles. Vancouver: Arsenal Pulp Press, pp.113-115.

Debatty, R. (2007). Interview with Paddy Hartley. [Blog] We make money not art. Available at: http://we-make-money-not-art.com/interview_with_23/ [Accessed 24 Mar. 2016].

Lucy McRae

https://uk.pinterest.com/dawnwithpencil/lucy-mcrae/

https://youtu.be/O4g60zB4Un4

https://vimeo.com/5835028

https://youtu.be/oVh6DFqiArU

In the research I found Suzanne Lee. Whilst she is my 7th Artist I felt her work inspired me enough tag her on to my list. I like the idea of growing fabric. Since my cultivating fabric in a tub with an iron grate taken from the Work house buildings in Sheffield, which developed a type of fungus on and within the water, which in my mind created a living link to my ancestors, I wondered if there was some way of developing the culture that thrived in the bowl and using it in some way?

Lucymcrae.net. (2016). Lucy McRae » BIOGRAPHY. [online] Available at: http://www.lucymcrae.net/about/ [Accessed 25 Mar. 2016].

Sellars, S. (2011). Body Architecture: An Interview with Lucy McRae | Simon Sellars. [online] Simonsellars.com. Available at: http://www.simonsellars.com/interview-lucy-mcrae [Accessed 25 Mar. 2016].

McRae, L. (2016). Lucy McRae » THE FAMILY OF PRICKLY LAMP’S. [online] Lucymcrae.net. Available at: http://www.lucymcrae.net/the-family-of-prickly-lamps/ [Accessed 25 Mar. 2016].

JB, L. (2016). LUCY MCRAE + BART HESS: LUCYANDBART. [Blog] optimist prime. Available at: https://optimistprime.wordpress.com/2008/10/10/lucy-mcrae-bart-hess-lucyandbart/ [Accessed 25 Mar. 2016].

Exploded view part 2. (2008). [Blog] LUCYANDBART. Available at: http://www.lucyandbart.blogspot.co.uk/#!http://lucyandbart.blogspot.com/2008/03/exploded-view-part-two.html [Accessed 25 Mar. 2016].

Quinn, B. (2013). Textile visionaries -Innovation and Sustainability in Textile design. London: Laurence King, pp.11, 60-7.

Lee, S. (2012). Biocouture Designer Suzanne Lee on growing your own clothes. [image] Available at: https://www.youtube.com/watch?v=gYR2ohaS05U [Accessed 25 Mar. 2016].

Quinn, B. (2013). Textile visionaries – Innovation and Sustainability in Textile Design. London: Laurence King, pp.60-67.

 

Part 4 Project 1 Stage 2 An In-depth Study

Zandra Rhodes

Jacques, A. (2013). Zandra Rhodes: The fashion icon talks embarrassing mums, Freddie Mercury, being punk and going pink. Independant. [online] Available at: http://www.independent.co.uk/life-style/fashion/features/zandra-rhodes-the-fashion-icon-talks-embarrassing-mums-freddie-mercury-being-punk-and-going-pink-8732694.html [Accessed 31 Mar. 2016].

Alonso, R. and Eisner, L. (2002). STYLE; Rhodes Scholars. The New York Times. [online] Available at: http://www.nytimes.com/2002/06/23/magazine/style-rhodes-scholars.html?pagewanted=all [Accessed 30 Mar. 2016].

Uca.onlineculture.co.uk. (2016). Turning the Pages™ – Zandra Rhodes. [online] Available at: http://uca.onlineculture.co.uk/zandra_rhodes/ [Accessed 31 Mar. 2016].

The Knitted Circle collection, design Z6. (2013). [image] Available at: http://vads.ac.uk/large.php?uid=200214&sos=9 [Accessed 31 Mar. 2016].

Zandra Rhodes Unseen. (2013). 1st ed. [ebook] London: Fashion and Textile Museum. Available at: http://www.ftmlondon.org/wp-content/uploads/2013/06/Zandra-Rhodes-Unseen-release.pdf [Accessed 31 Mar. 2016].

Part 4 Project 1, Stage 1 Research – 10 Artists and Designers.

Margaret Macdonald Mackintosh

We Love Mackintosh. (2016). Margaret MacDonald – Wife of Charles Rennie Mackintosh. [online] Available at: http://www.charlesrenniemac.co.uk/start-here/margaret-mac-donald [Accessed 10 Mar. 2016].

Scotland.org. (2016). Margaret Macdonald. [online] Available at: http://www.scotland.org/features/margaret-macdonald/ [Accessed 10 Mar. 2016].

info@undiscoveredscotland.co.uk, U. (2016). Margaret Macdonald: Biography on Undiscovered Scotland. [online] Undiscoveredscotland.co.uk. Available at: http://www.undiscoveredscotland.co.uk/usbiography/mac/margaretmacdonald.html [Accessed 10 Mar. 2016].

Scotland, N. (1911). The Mysterious Garden − Margaret Macdonald Mackintosh − m − Artists A-Z − Online Collection − Collection −  National Galleries of Scotland. [online] Nationalgalleries.org. Available at: https://www.nationalgalleries.org/collection/artists-a-z/m/artist/margaret-macdonald-mackintosh/object/the-mysterious-garden-gma-5156 [Accessed 10 Mar. 2016].

info@undiscoveredscotland.co.uk, U. (2016). Margaret Macdonald: Biography on Undiscovered Scotland. [online] Undiscoveredscotland.co.uk. Available at: http://www.undiscoveredscotland.co.uk/usbiography/mac/margaretmacdonald.html [Accessed 10 Mar. 2016].

Huntsearch.gla.ac.uk. (2016). Hunterian Art Gallery Mackintosh collections: GLAHA 52935. [online] Available at: http://www.huntsearch.gla.ac.uk/cgi-bin/foxweb/huntsearch_Mackintosh/LargeImage.fwx?catno=52935&filename=crm/52935.jpg [Accessed 10 Mar. 2016].

Bienvenue à Glasgow. (2013). Margaret MacDonald Mackintosh – Bienvenue à Glasgow. [online] Available at: http://bienvenueaglasgow.over-blog.com/margaret-macdonald-mackintosh [Accessed 10 Mar. 2016].

Completeimagesofpaintings.tumblr.com. (2016). More Than the Details. [online] Available at: http://completeimagesofpaintings.tumblr.com/page/7 [Accessed 10 Mar. 2016].

Leon Baskt

Vam.ac.uk. (2016). Biography of Léon Bakst – Victoria and Albert Museum. [online] Available at: http://www.vam.ac.uk/content/articles/b/biography-of-leon-bakst/ [Accessed 15 Mar. 2016].

Nga.gov.au. (2016). BALLETS RUSSES: The Art of Costume –. [online] Available at: http://nga.gov.au/exhibition/balletsrusses/Default.cfm?MnuID=4&GALID=19455&viewID=3 [Accessed 15 Mar. 2016].

timswings, (1989). Leon Bakst – Les Ballets Russes – Sheherazade. [image] Available at: https://www.youtube.com/watch?v=OJXFTlS52ps&list=PLE2GudTy0GAPNVOWIBMrXZFdMX3l0Lwtt [Accessed 15 Mar. 2016].

Modern Dress, Dione, 1910. (1910). [image] Available at: http://criolloylapeninsula.tumblr.com/post/75248636472/l%C3%A9on-bakst [Accessed 30 Mar. 2016].

 

Ethel Mairet

Google+, (2016). Ethel Mairet (1872-1952) | Alumni and associates: fashion and textiles | Arts and Humanities. [online] Arts.brighton.ac.uk. Available at: http://arts.brighton.ac.uk/faculty-of-arts-brighton/alumni-and-associates/associates-and-alumni/fashion-and-textiles/mairet,-ethel-1872-1952 [Accessed 15 Mar. 2016].

Vads.ac.uk. (2016). Thirteen Weavers – Visual Arts Data Service: the online resource for visual arts. [online] Available at: http://www.vads.ac.uk/learning/learndex.php?theme_id=csctex&theme_record_id=csctexmairet&mtri=csctexfor [Accessed 15 Mar. 2016].

Design Council Archive Ethel Mairet. (2016). [430 linear metres / material still to be boxed] University of Brighton Design Archives, GB 2941 2003.21/2003.23.

halton, r. (2005). Ethel Mairet. TEXTILE the journal of cloth and culture, [online] 3(3), pp.292-317. Available at: https://issuu.com/rachel_h/docs/weaving_ethel_mairet [Accessed 15 Mar. 2016].

Albersfoundation.org. (2016). Josef and Anni Albers Foundation. [online] Available at: http://www.albersfoundation.org/ [Accessed 15 Mar. 2016].

Anni Albers

Weltge-Wortmann, S. (1993). Bauhaus textiles. London: Thames and Hudson.

Albersfoundation.org. (2016). Josef and Anni Albers Foundation. [online] Available at: http://www.albersfoundation.org/ [Accessed 16 Mar. 2016].

The Museum of Modern Art. (2016). Anni Albers | MoMA. [online] Available at: http://www.moma.org/collection/artists/96 [Accessed 16 Mar. 2016].

The Museum of Modern Art. (2016). Anni Albers. Design for Smyrna Rug. 1925 | MoMA. [online] Available at: http://www.moma.org/collection/works/3735?locale=en [Accessed 16 Mar. 2016].

Bauhaus-online.de. (2016). Anni Albers (-Fleischmann) | Bauhaus Online. [online] Available at: http://bauhaus-online.de/en/atlas/personen/anni-albers-fleischmann [Accessed 16 Mar. 2016].

http://www.aaa.si.edu/. (1968). Oral history interview with Anni Albers, 1968 July 5, Archives of American Art, Smithsonian Institution. [online] Available at: http://www.aaa.si.edu/collections/interviews/oral-history-interview-anni-albers-12134 [Accessed 16 Mar. 2016].

Clarke, S. (2011). Textile Design. London: Lawrence King Publishing Ltd, p.22, 81, 92.

Lucienne Day

Classictextiles.com. (2016). Dandelion Clocks – Classic Textiles. [online] Available at: http://www.classictextiles.com/lucienne-day/dandelion-clocks/index.html [Accessed 16 Mar. 2016].

Robinandluciennedayfoundation.org. (2016). Robin and Lucienne Day Foundation – Lives and Designs. [online] Available at: http://www.robinandluciennedayfoundation.org/lives-and-designs/1930s [Accessed 16 Mar. 2016].

Robinandluciennedayfoundation.org. (2016). Robin and Lucienne Day Foundation – Lives and Designs. [online] Available at: http://www.robinandluciennedayfoundation.org/lives-and-designs/2000s/lucienne-day-br-2000s [Accessed 16 Mar. 2016].

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Magdelena Abakanowicz

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Zandra Rhodes

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Judy Chicago

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Issey Miyake

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Designer 101: Issey Miyake!

 

Tracey Emin

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