Tips for locating items in the TRC
Though this database is “under construction,” you can use it to search for books and essays in the TRC using the searchable bibliography. With this online bibliography, you may search from any computer with an Internet connection, whether on campus or off (which may come in handy with our limited walk-in hours).
Currently the bibliography includes:
- assigned readings listed on FMS course syllabi (approx 2005-2012)
- essays from Textiles: Critical and Primary Sources
- essays from The Textile Reader
- all newly acquired (2012-2014) texts within our department library
- nearly complete TRC book collection
To be added and updated:
- our entire library collection - including DVDs, books, catalogs, artifacts, etc.
- equipment guides and instruction sheets
- new course syllabi readings should be added to the database every semester
- new resources acquired by the TRC
- any readings faculty would like to be added to the bibliography
- complete “Location” for all entries
- stylistic improvements to the online search, work out some bugs with search results
This view may also be searched, but it will always display the entire database. To search, use Command ⌘ + F and enter a keyword into the search box that will appear in the upper right hand corner of the page. This feature highlights all matching words, and you can scroll through with the arrows in the search box.
Norafin is a German company manufacturing engineered specialty and technical nonwoven and composite fabrics. The fabrics are like felt /fleece in that the fibers are entangled versus woven or knit. These materials are used in filtration, protective gear, and medical technologies. This brief video shows how some of the fabrics are made (the industrial spunlace and needlepunch processes) and application examples of such fabrics.
The video also has a very stereotypical corporate-tech-industry aesthetic which some of you might find amusing. Enjoy!
We are pleased to announce our final visiting artist, Jenni Sorkin, as part of the year long lecture series, Material and the Politics of Making, made possible by the William Bronson and Grayce Slovet Mitchell Lectureship in Fiber and Material Studies.  Jenni Sorkin
On today’s “Charlie Rose,” a look at the 2014 Whitney Biennial. Curators Michelle Grabner, Stuart Comer and two artists whose work is featured this year, Zoe Leonard and Jacolby Satterwhite speak. (Source: Bloomberg)
Discharge Printing with Thiox!
Discharge is when you remove color from cloth. This can be done with a variety of things (bleach, thiox, soft scrub) and will get you a variety of results, depending on whether you print/immerse your fabric, and whether it’s store bought fabric or you dyed it yourself.
Image 1: Round up your stuff! This includes: your screen, a squeegie, a spatula, measuring cups and spoons, soda ash, thiox, non-urea sodium alginate, fabric, t-pins, a bowl to mix in, and a whisk).
Image 2: This is where the soda ash and Thiox are located in the dye kitchen.
Image 3: Measure your stuff!
The Recipe for printing with Thiox is….
1c Sodium Alginate (non-urea)
2tbsp soda ash
YOU MUST LET IT SIT 30MIN, SO DO THIS FIRST! Put all three into a bowl and mix until the powders dissolve. Let sit 30min and use this time to clean up your work space!!
image 4: Letting the printing paste sit….
Image 5-6: Pin your fabric and print like you do.
Image 7: let it dry. once it’s completely dry, un-pin it! It’ll change colors as it dries.
Image 8: Put it between two pieces of brown paper and heat press it for 20seconds.
Image 9: Presto! It’ll change colors.
Image 10: Wash your fabric with synthrapol and let dry. Iron and you’re done!
This is actually fiber related…
Do you know the difference between a llama and an alpaca? (It’s not a trick question - there are some pretty significant differences.)
Llamas have curled ears, and alpacas’ ears stand straight up.
Llamas are much larger than alpaca. A llama typically weighs over 400 lbs and stands about 42”-48” at the shoulders. An alpaca weights about 150 lbs and stands about 34”-36” at the shoulders.
Despite this significant difference in size, the alpaca provides a much larger yield of fiber, and that fiber is a much higher quality and utility than that produced by a llama.
Alpaca fiber is strong, soft, lightweight, lustrous, thermally efficient, and relatively hypoallergenic (since alpaca fleece does not contain lanolin or guard hairs which are found in sheep’s wool).
Come to the Textile Resource Center to see our new textile, a gift from Roy Boyd and the late Ann Boyd. Made in Kentucky in 1842 (that’s almost 20 years before the American Civil War), the coverlet is cotton and wool, hand spun, hand-dyed (indigo), and handwoven. It is about 30” wide floral repeat with text block on one corner.
Huge thank you to Roy Boyd for this amazing gift!
John Knuth - Visiting Artist - This Friday!
Please see below for information on upcoming visiting artist, John Knuth. Knuth will be spending the day with Erin Chlaghmo’s Advanced Print for Fabric & Alternative Materials class, and will give a lecture about his work this FRIDAY, April 4 @ 12 pm in Sharp 1005. All are welcome to attend. Please help spread the word.
John Knuth, (American, b. 1978) lives and works in Los Angeles, California. He received an MFA from USC and a BFA from the University of Minnesota. For Knuth, the most basic level of alchemy can be transcendent. Whether he is working with sugar, smoke or insects, the common and fleeting are repurposed and given new meaning. Much of his project is centered on the natural world and its potential in the process of art-making. He intends to create something that is beyond the normal, daily existence or identity of his chosen material or participant.
To create the paintings in Master Plan, John Knuth feeds watercolor paint to hundreds of thousands of common houseflies. The flies regurgitate the paint on the canvas. As they eat, they digest externally. Every time they land on a surface of something there is a chance they will deposit what they just ate on that surface. That mark is called a flyspeck. To control this process, the artist builds boxes that limit the flies’ movements to the surface area of the canvas. The final paintings are comprised of millions of small dots of paint, determined by inevitable deposits of these flies. While created with a degree of chance, the artist, through research and continued refinement of his process, is largely in control of where and to what amount the paint is applied. The colorful paintings reside in a space between landscape and abstraction. For Knuth, they are analogous to the man-made infrastructure of Los Angeles, with denser areas next to marks that are sparser and sprawl about the canvas.
His first solo exhibition Master Plan at Andrew Rafacz Gallery, Chicago, opens April 5th, 4-7 PM. He also has work on display in We’ll Wear a Jolly Clown Mask at The Speed Museum in Louisville, KY, PARK Self-Titled Space, Tilburg, Netherlands, and New Prints 2014/Winter at the International Print Center New York, New York, NY. He has had recent solo shows at Marie Kirkegaard Gallery, Copenhagen, DE and Human Recourses, Los Angeles, CA. He has shown his work internationally in Sweden, Germany, Denmark, Iceland and Mexico, and nationally at the Los Angeles County Museum of Art, Los Angeles Contemporary Exhibitions, Locust Projects in Miami, Another Year in LA, Stephen Cohen Gallery, Andrew Rafacz Gallery in Chicago, Southern Exposure in San Francisco and the Minneapolis Institute of Art.