Table of Contents

Preface, Anne Wilson Section 1: Textiles in the Expanded Field Introduction, Janis Jefferies, Goldsmiths, University of London, UK 1. New Approaches to Textile Design, Hazel Clark, Parsons, The New School for Design, USA 2. Views from Australia and the Asia Pacific, Diana Wood Conroy, University of Wollongong, Australia 3. Curating Textiles: Stuff That Matters, Sara Martinetti, France, Alice Motard, Raven Row, UK, Alex Sainsbury, Raven Row, UK, and Seth Siegelaub (deceased) 4. Textiles and Architecture, Bradley Quinn, USA 5. Patchworking Ways of Knowing and Making, Kristina Lindstrom and Asa Stahl, Malmo University, Sweden 6. Making Known: The Textiles Toolbox - Psychoanalysis of Seven Types of Textile Thinking, Claire Pajaczkowska, Royal College of Art, UK Section 2: Textile, Narrative, Identity, Archive Introduction, Janis Jefferies, Goldsmiths, University of London, UK 7. Binding Autobiographies: A Jewishing Cloth, Katya Oicherman, Shenkar College of Engineering and Design, Israel 8. Materials, Memories and Metaphors: The Textile Self Re/collected, Solveigh Goett, University of East London, UK 9. Archives of Cloth: Shadows of the Past in Re-Visioning Textiles, Diana Wood Conroy, University of Wollongong, Australia 10. Lived Lives: Materializing Stories of Young Irish Suicide, Seamus McGuinness, Ireland Section 3: Textiles and Globalization Introduction, Hazel Clark, Parsons, The New School for Design, USA 11. Performing Globalization in the Textile Industry: Anne Wilson and Mandy Cano Villalobos, Lisa Vinebaum, School of the Art Institute of Chicago, USA 12. Changing Perceptions of Curatorial Practice in South Asian and Commonwealth Textiles, Jasleen Dhamija, India 13. Quilts for the Twenty-First Century: Activism in the Expanded Field of Quilting, Kirsty Mairi Robertson, University of Western Ontario, Canada 14. Transforming Malaysian Hand Woven Songket in the Contemporary World, June Ngo Siok Kheng, Universiti Malaysia Sarawak, Malaysia 15. Creative Resilience Thinking in Textiles and Fashion, Mathilda Tham, Beckmans College of Design, Sweden 16. Use Your Illusion: Dazzle, Deceit and the 'Vicious Problem' of Textiles and Fashion, Otto von Busch, University of Gothenburg, Sweden Section 4: Textiles and the Curatorial Turn Introduction, Janis Jefferies, Goldsmiths, University of London, UK 17. Curating Extreme Textiles: Designing for High Performance, Matilda McQuaid, Cooper Hewitt, USA 18. Social Fabric: Textiles, Art, Society and Politics, Christine Checinska, University of East London, UK and Grant Watson, Institute of International Visual Arts, UK 19. Innovation in Australian Indigenous Fibre, Margie West, Australia 20. Kaunas Biennial: Spindling from Textile to Public Culture, Ed Carroll, Blue Drum, Ireland 21. A Global Stage: Curating Textiles from the Asia Pacific, Ruth McDougall, Queensland Art Gallery, Australia 22. Envisioning Fibre in the Cultural Heritage of Hangzhou, China, Shi Hui and Xu Jia, China Academy of Art, China 23. The Lausanne International Tapestry Biennials 1962-1995, Giselle Eberhard Cotton, Fondation Toms Pauli, Switzerland Section 5: Textile Technologies and the Sensorial Turn Introduction, Diana Wood Conroy, University of Wollongong, Australia 24. The Fabric of Memory - Towards the Ontology of Contemporary Textiles, Sara Diamond, OCAD University, Canada 25. Indigo Dyeing in the Land of Its Origin: History Unknown, Smritikumar Sarkar, University of Burdwan, India 26. Feeling: Sensing the Affectivity of Emotional Politics Through Textiles, Agnieszka Golda, University of Wollongong, Australia 27. Reviving Kapiak: Understanding the Material Identity of Barkcloth in a Melanesian Society, Graeme Were, University of Queensland, Australia Section 6: Developments in the Field of Textiles, Cloth and Culture Interviews with Annet Couwenberg, Diana Guerrero-Macia, Valerie Kirk, Kay Lawrence, Judith Leeman, Sara Lindsay, Joan Livingstone, Rowland Ricketts, Patrick Segura, Jenni Sorkin, Lisa Vinebaum, Fo Wilson and Anne Wilson Bibliography Index

Promotional Information

A broad international overview of research across all aspects of textiles and culture.

About the Author

Janis Jefferies is Professor of Visual Arts, Goldsmiths, University of London, UK Diana Wood Conroy is Emeritus Professor of Visual Arts, University of Wollongong, Australia Hazel Clark is Professor of Design Studies and Fashion Studies, and Research Chair of Fashion, Parsons School of Design, The New School, New York, USA

Reviews

The Handbook of Textile Culture is a ground-breaking book, and essential reading for all who seek insights into the recent past, present and future of textiles.
*TEXT*

This book fascinates and, with such engaging and diverse content, it will attract and inform many readers … I suspect its full significance in the expanding fields of textile practices, textile studies and textile histories will only become evident in a decade or so, when its scope and impact can be better understood.
*Textile History*

Finally, a textile compendium! Dense, graphic and packed with useful footnotes, The Handbook of Textile Cultureis a thematic overview covering the paradigm shift of textiles and its contributions to practice, academia, and museology.
*Textile Society of America*

By compiling contributions from twenty-eight scholars, curators, designers, and others, the organizers of The Handbook of Textile Culture set out to bring cultural understanding of textile making to the fore. This is an ambitious undertaking given the sprawling character of textile art, but the editors are among the contemporary textile world's most respected thinkers… This substantial volume is an important contribution to contemporary art history studies, and will be a valued resource for students and scholars at the graduate level and beyond.
*Art Libraries Society of North America Reviews*

Textile-based practices are currently on the cutting edge of aesthetic practice and critical inquiry. This constellation of textile thinking and making is excellently captured in The Handbook of Textile Culture. Edited and written by leading theorists, historians, and practitioners in the field, this far-ranging and deep-reaching anthology covers the intersections between and across feminisms, queer and trans theories, and post-colonial discourses. Offering a remarkably diverse collection of global perspectives, this volume will surely be a leading resource for students, scholars, and professionals for years to come.
*Deborah Valoma, California College of the Arts, USA*

This state-of-the-art handbook on the field of textile studies is an excellent reference work for any higher education arts program.
*American Reference Books Annual*

[Huge] in scope and status ... [For] anyone interested in subjects that range from cultural history to costume and fashion, from gender and feminist issues ... through to the world of art, design [and] craft, this is a book that raises issues, concepts, ideas and differences.
*The Textile Blog*

An outstanding collection … I am very drawn to The Handbook of Textile Culture and glad to have it in my possession. Each essay that I investigate is fascinating and there's no reason not to take my time with it, to savour and digest.
*Fibre Forum e-bulletin (created on behalf of TAFTA)*

What a colossal achievement. This is not just the most comprehensive survey of the global production of textiles, and the widest conceptual reframing of the role of textiles in contemporary art and design, it is also a mosaic of sparkling intelligence. This handbook will serve as an essential guide and remain as a vital resource for many years to come. It will be the new encyclopedia textilica!
*Nikos Papastergiadis, University of Melbourne, Australia*

With a myriad of approaches, theories and stories, this exquisitely curated treasure-trove of essays, articles and interviews is the definitive resource for scholars and creative researchers. This anthology is a goldmine for postdocs, and university researchers at all levels. Affirming the cultural value of textiles, the collection offers a unique journey into the hearts and minds of those who make, study, and engage in the complexity and beauty of textile experience.
*Barbara Layne, Studio subTela and Concordia University, Montreal, Canada*