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In the 19th century the town of Coventry, England, was the centre of a ribbon weaving industry. Thomas Stevens was born in Foleshill, just to the north of Coventry, in 1828 to a relatively poor family. [1] Stevens worked for Pears and Franklin, a local ribbon weavers in Coventry, and by 1854 had created his own ribbon firm. [1]
Sheila Hicks at the Musée Carnavalet, Paris, 2016. Photograph by Cristobal Zanartu. From 1959 to 1964 she resided and worked in Mexico; She moved to Taxco el Viejo, Mexico [7] where she began weaving, painting, and teaching at the National Autonomous University of Mexico (UNAM) at the invitation of Mathias Goeritz who also introduced her to the architects Luis Barragán and Ricardo Legorreta ...
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Salinta Monon (December 12, 1920 – June 4, 2009) was a Filipino textile weaver who was the one of two recipients of the National Living Treasures Award in 1998. She was known for her Bagobo-Tagabawa textiles and was known as the "last Bagobo weaver".
Magdalena Gamayo, a native of the cotton farming Barangay of Lumbaan-Bicbica, Pinili, Ilocos Norte, [3] learned the Ilocano weaving tradition of making inabel from her aunt at age 16. She taught herself on how to execute the traditional patterns of binakol , inuritan (geometric design), kusikos (orange-like spiral forms), and sinan-sabong ...
Hosteen Klah was commonly identified as a Nádleeh (pl. Nádleehi, meaning "one-who-has-been-changed"). [4] Nádleehi is one of the genders recognized by the Navajo people as people who take on both traditionally male and female roles, in Klah's case, being a healer (a traditionally male role) and a weaver (a traditionally female role). [2]
There are several types of 3D woven fabrics that are commercially available; they can be classified according to their weaving technique. [8]3D woven interlock fabrics, are 3D woven fabrics produced on a traditional 2D weaving loom, using proper weave design and techniques, it could either have the weaver/z-yarn going through all the thickness of the fabric or from layer to layer.
Beryl Korot has pioneered the field of video art since the early 1970s, multiple channel work in particular. She was co-editor of Radical Software (1970), [3] [4] [5] the first publication to discuss the possibilities of the new video medium, and Video Art (Harcourt, Brace, Jovanovich, 1976) with Ira Schneider. [6]