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A workshop organized by the Religious Studies Department, Armacost Library, MSGIS and CSS, with funding from the Wabash Center
Yinka Shonibare CBE RA
Mannequin, Dutch wax printed cotton textile and globe
Shonibare references the history of brightly coloured Dutch wax fabrics to comment on colonisation, hybridity, and authenticity. The fabric originated in Indonesia before being produced by the Dutch in Manchester and sold for mass consumption in Africa. He began using the material in the 1990s after one of his teachers commented that Shonibare, an artist of African origin, was not making ‘authentic’ African art.
Boy on a Globe addresses the ways in which humanity has exerted power over the world it occupies, often with disastrous consequences. The globe, yellow in tone and reddening in certain sections to indicate warming, is a dual symbol for environmental disaster and the redrawing of territory under Empire. The boy is perilously perched, as though about to fall. This sense of precarity offers a visual manifestation of the deconstruction of colonisation and empire, countering the ideas of stability and linear, forward progression that justified colonial missions.*
From the exhibition
Unravel: The Power and Politics of Textiles in Art
(February – May 2024)
Textiles are vital to our lives. We are swaddled in them when we’re born, we wrap our bodies in them every day, and we’re shrouded in them when we die.
What does it mean to imagine a needle, a loom or a garment as a tool of resistance? How can textiles unpack, question, unspool, unravel and therefore reimagine the world around us?
Since the 1960s, textiles have become increasingly present in artistic practices for subversive ends. This is significant as the medium has been historically undervalued within the hierarchies of Western art history. Textiles have been considered ‘craft’ in opposition to definitions of ‘fine art’, gendered as feminine and marginalised by scholars and the art market. The 50 international artists in this show challenge these classifications, harnessing the medium to speak powerfully about intimate, everyday stories as well as wider socio-political narratives, teasing out these entangled concerns through a stitch, a knot, a braid, through the warp and the weft. These artists defy traditional expectations of textiles, embracing abstraction or figuration to push the boundaries of the medium. They draw on its material history to reveal ideas relating to gender, labour, value, ecology, ancestral knowledge, and histories of oppression, extraction and trade.
Rather than dictating a chronological history of fibre art, the exhibition is organised in thematic dialogues between artists — across both generations and geographies — to explore how artists have embraced textiles to critique or push up against regimes of power. Some artists work alone with solitary, near-meditative practices, while others reflect the shared approach that the medium often invites, working with collaborators in acts of community and solidarity. Spanning intimate hand-crafted pieces to large-scale sculptural installations, these artworks communicate multi-layered stories about lived experience, invoking the vital issues embedded in fibre and thread.
[*Barbican Centre]
Taken at the Barbican Centre
What if helping hands were the only thing stopping people from getting their lives back? These kinds of thoughts move us.
God is redrawing the world right now and He wants us to join Him. We can be His hands redrawing broken families, communities, businesses, and governments. We can lift up widows and orphans, seek justice, plant and educate communities of faith. WorldVenture has a passion to join God, change things, and redraw the world.
How many children grow up in a language that doesn't have even a book of the bible translated into it? Questions like this drive us.
God is redrawing the world right now and He wants us to join Him. We can be His hands redrawing broken families, communities, businesses, and governments. We can lift up widows and orphans, seek justice, plant and educate communities of faith. WorldVenture has a passion to join God, change things, and redraw the world.
A workshop organized by the Religious Studies Department, Armacost Library, MSGIS and CSS, with funding from the Wabash Center
A workshop organized by the Religious Studies Department, Armacost Library, MSGIS and CSS, with funding from the Wabash Center
A workshop organized by the Religious Studies Department, Armacost Library, MSGIS and CSS, with funding from the Wabash Center
A workshop organized by the Religious Studies Department, Armacost Library, MSGIS and CSS, with funding from the Wabash Center
Vinny Disanza, SRA
New York County as a whole covers a total area of 33.77 square miles (87.5 km2), of which 22.96 square miles (59.5 km2) are land and 10.81 square miles (28.0 km2) are water.
A modern redrawing of the 1807 version of the Commissioner’s Grid plan for Manhattan, a few years before it was...
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On this page, I am showing the process of how my portrait, shown on the opening page, came to be. The process involved drawing my likeness with pencil and paper, and then redrawing the picture and replacing every single line with text in Photoshop. Producing it was a long and tedious process, albeit cathartic.