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File name: 10_03_002244a
Binder label: Thread
Title: J. & P. Coats' Best Six Cord, 200 yds, 40 [front]
Date issued: 1870 - 1900 (approximate)
Physical description: 1 print : chromolithograph ; 8 x 11 cm.
Genre: Advertising cards
Subject: Children; Thread
Notes: Title from item. Item verso is blank.
Collection: 19th Century American Trade Cards
Location: Boston Public Library, Print Department
Rights: No known restrictions.
Today I presented my methods for thread drawing - using four different techniques for this simple piece - to the Harbor Art Guild in Hoquiam, WA.
I used four different techniques to create this image - standard lock-stitching on a home machine, darning on a home machine, fabric applique with fusible web, and hand-embroidery.
Visiting the DMC factory in Mulhouse, France. DMC is one of the world's leading thread manufacturers.
All our threads are made in France since 1841.
Blogged: Blogged: elblogdedmc.blogspot.com/2011/09/visitando-la-fabrica-de-...
Photos by DMC Spain.
Source: Personal pattern.
Thread: Aunt Lydia 10. Colors: #210 Antique White; #935 Aspen.
Hook: Boye (USA) #7.
Size: 8" x 10.5".
Made: 05/16/13.
For: Me.
All the color of thread on pretty wooden spools. Scored by my friend Lindy, who gave them to me. Thanks!!
Wove this little basket from dry pine needles the kids gathered from the parking lot of our favorite Japanese Restaurant in Rhinebeck, NY (Osaka!).
These bracelets were sold at the Boom The Wheel show I went to on Saturday. Red Thread Movement- buying a bracelet helps end sex trafficking. Learn more about Red Thread Movement and buy a bracelet by going to their website: here
This is an ANTIQUE Japanese little girl's miyamairi furisode. Miyamairi are formal children's kimono which are most often worn for coming of age ceremonies. This particular miyamairi features a delicate wild rose motif on royal blue rinzu silk. The rinzu is woven with a pattern of wisteria and peony blossoms. This kimono originates in the Meiji Period (1868 - 1912) and has a luxuriously padded hem in true Meiji style. This kimono also features five ivy in snowflake crests.
I have inspected this kimono in detail, and there is some damage, though mostly to the interior. The exterior of this kimono is nearly pristine save for one or two faint white scuffs. On the interior, there are a number of spots where the overall padding of the kimono has come through the lining (appearing as white thread pulls), this can bee seen in the photos above. There is also a small spot near one of the ties where the lining is beginning to wear through, as well as a loose thread near the other tie.
MEASUREMENTS:
120cm - Long (Shoulder to Hem)
110cm - Arm span
52cm - Width across the back
114cm - Total width of skirt
68cm - Sleeve drop
SIZING:
If you are unsure of how to interpret the kimono's size it is important to know that the length (collar - hem) should be approximately 10cm longer to 10cm shorter than the wearer's overall height (longer is better). This is because the excess length will be folded up at the waist. Meanwhile, the skirt should wrap around the hips a full 1.5 times. The armspan should also reach wrist to wrist on the wearer. In this case, the kimono will ideally fit a child about 110cm (3'7") - 130cm (4'3") tall, with hips about 76cm (30") around. There is some give and take in these measurements though.
Visiting the DMC factory in Mulhouse, France. DMC is one of the world's leading thread manufacturers.
All our threads are made in France since 1841.
Blogged: elblogdedmc.blogspot.com/2011/09/visitando-la-fabrica-de-...
Photos by DMC Spain.
Made from Amanda Jean Nyberg's pattern. This one has batting in it and is fairly stiff. It's a fun size to practice machine quilting on.
Mod Century is the fabric (from Marmalade).
Blogged at peasinapod.typepad.com/peas-in-a-pod/2013/05/thread-catch...
The Argus 21 was made from about 1947 to 1952. It clearly shares the same body stampings and general shape as the C-4 and C-44 35mm rangefinder film cameras that came later. The empty area (left of the viewfinder in the photo) would be eventually filled with a rangefinder on the upcoming models. That empty space ruins what would otherwise be a rather attractive camera (IMHO).
This camera’s claim to fame is a projected frame mask with center cross visible in the viewfinder. Argus engineers couldn’t figure out how to get this feature incorporated into successive models, but competitors in Europe and Japan fared far better.
This was the first Argus camera to provide for automatic shutter cocking as you wind the film, unlike “the brick” C3, and earlier A series cameras. A big feature back in the day. The other thing of note for me is the accessory "hotshoe" on top of the camera for attaching and synchronizing a bulb flash unit. That would have been quite an innovation for the post-war years.
Supposedly, the Markfinder had interchangeable lens capability, though I don’t have the courage to try it out. The 50mm f/3.5 Cintar “coated lens” did not share the thread diameter of later Argus rangefinders, and I have no knowledge that Argus ever made any additional lenses for this camera.
This camera constitutes the fourteenth Argus camera I’ve fallen for. In one year, I’ve gone from having no Argus cameras to owning over a dozen. This one came from an online bid (with shipping) for less than $25USD. To me a bargain.
I’m captivated by the very things that most collectors hate about Argus: mediocre build quality, retro styling (even when new), and quirky operation. In a cookie-cutter world of consumer products, Argus represents for me a brief spell of pure American cowboy engineering and total profit-driven capitalistic spirit. (sigh)
Visiting the DMC factory in Mulhouse, France. DMC is one of the world's leading thread manufacturers.
All our threads are made in France since 1841.
Blogged: Blogged: elblogdedmc.blogspot.com/2011/09/visitando-la-fabrica-de-...
Photos by DMC Spain.
Getting through the Reeds too this little guy , was a little problematic hence the title.
Latin name
Acrocephalus scirpaceus
Family
Warblers and allies (Sylviidae)
Overview
The reed warbler is a plain unstreaked warbler. It is warm brown above and buff coloured underneath. It is a summer visitor to breed in the UK, with the largest concentrations in East Anglia and along the south coast - there are relatively few breeding in Scotland and Ireland. It winters in Africa.
Where to see them
In the summer, can be looked for in reedbeds in lowland central and southern England and Wales - it is rarer elsewhere. Sings from within the reedbed rather than from a perch, so often heard rather than seen.
When to see them
Mid-April to early October.
What they eat
Insects; berries in autumn
My sewing machine broke a while ago (it broke 3 times actually, the two last times within 15 minutes of receiving it from service). The online store I bought it at said it was OK to exchange it, but I wasn't really into buying another machine online after this.
Luckily my local sewing store took pity over me and allowed me to trade in my machine with them.
I was in today and picked out a Janome. It was cheaper than mine so I was allowed to pick out all these things to cover the cost. It was like Christmas!
I won't have to buy thread for a while.
lucky me! today a woman gave me all this threads. the best is, most of them are silk!what a great gift!
File name: 10_03_002368b
Binder label: Thread
Title: Merrick's American Standard six cord in search for the North Pole. [back]
Created/Published: N. Y. : Burrow-Giles Lith. Co.
Date issued: 1870 - 1900 (approximate)
Physical description: 1 print : chromolithograph ; 11 x 7 cm.
Genre: Advertising cards
Subject: Men; Thread; Cotton; Balloons (Aircraft)
Notes: Title from item. Retailer: J. D. Holbrook & Co., Athol, Mass.
Statement of responsibility: Merrick Thread Co.
Collection: 19th Century American Trade Cards
Location: Boston Public Library, Print Department
Rights: No known restrictions.
Made from Amanda Jean Nyberg's pattern. It was fun to pick fabrics for the outside and linings.
Mod Century is the fabric (from Marmalade).
Blogged at peasinapod.typepad.com/peas-in-a-pod/2013/05/thread-catch...
(Please go to the beginning of this thread for best effect)
And finally, the porta-potty of my nightmares...reminiscent of a childhood moment...stopping at a desert truckstop, asking what took my father so long going to the bathroom. His reply "a man got stuck in the toilet." In my mind's eye, this is exactly what I saw...
Please look at my stream for the "Burning Life Porta Potties" set to see more.
‘Untitled’, 1997/2007
Sheela Gowda
Thread, pigment, needles
‘Mortar Line’, 1996
Sheela Gowda
Cow dung, pigment (kumkum)
In the early 1990s, perturbed by the rise in India of majoritarian politics and communal violence, Sheela Gowda, who had trained as a figurative painter, felt the need to explore other materials to make a more “potent response”. She began to experiment with cow dung as it held a crucial resonance for her in the Indian cultural context.
Regarded as sacred in Hinduism, Jainism and Buddhism, the cow is also a symbol of non-violence. In rural India, the preparation and handling of cow dung is usually done by women. It is utilised as fertiliser, insect repellent, cooking fuel and building material, for purifying the home and in the incense burned in temples.
Gowda first tested cow dung as a pigment, investigating its textural properties in a series of works on paper. These explorations then led her to sculpt with the material, preserving the cow dung with neem oil, fashioning it by hand into shapes from her local context – spheres, bricks, balls. This resulted in a series of installations, two of which are on view here.
‘Untitled (Cow Dung)’ (1992/2002) consists of 900 cow-dung patties and 25 bricks. Each of the pats carries an imprint of Gowda’s hand from the flattening of the dung balls against a wall. The stacks of pats and bricks aim to highlight the material’s numerous purposes beyond the ritualistic, and its connection to women’s labour.
‘Mortar Line’ (1996) is a curved double line of cow-dung bricks. The cavity between the bricks is filled with kumkum, an auspicious red pigment. Viewed from a distance, the central chasm suggests a deep and bloody gash, while the title alludes to warfare.
By re-appropriating cow dung in these works and employing an abstract language, Gowda has harnessed readings connected to the material’s cultural specificity, particularly its instrumentalisation for political ends in India, while still leaving room for other interpretations.*
Alongside her explorations with cow dung, Sheela Gowda employed a range of everyday materials in her installations through the 1990s. ‘Untitled’ (1997/2007), made for the show ‘Telling Tales – of Self, of Nation, of Art’ at Victoria Art Gallery, Bath, is her first fully realised installation in which needle and thread are used. For this work, Gowda strung individual needles with threads varying in length from 40 to 133 centimetres. This labour-intensive process was very important for Gowda, who would reject a ball of thread if she encountered a single knot because “the process of threading empowers every inch” of the thread. She then anointed the threads with Kumkum paste, and bound them together to form ropes, with a menacing head of needles at the end of each length.
‘Untitled’ comprises of eight such lengths of rope, which allow Gowda to configure and arrange them site specifically. They travel viscerally along the wall and snake across the floor, intimating a transmuting body, an umbilical cord, intestines, trails of blood. Gowda has described the work as possessing “a very insidious sort of violence … the needles hang at the end almost passively but they have the potential for hurting.”
Within the changing cultural order, landscapes in works by Sudhir Patwardhan, Nilima Sheikh, Gulammohammed Sheikh and Bhupen Khakhar became spaces for reflection and change, with multiple and intractable negotiations embedded in their depictions. They offer not only a view of, but also a point of view on, both individual and collective lived experiences. At times they operate in a personal register, the landscapes aligning with intimacy, desires and dreams amongst more quotidian occurrences. They reveal fluid moments between the interior and the exterior, between the visible and the mysterious, where temporalities are extended and even suspended, and boundaries blur between the making of art and the living of life. Affecting contemplations on the repercussions of state actions on the domestic realm, Arpita Singh’s paintings and Vivan Sundaram’s and N. N. Rimzon’s installations further capture the tenuous line separating an ever-shifting landscape and the sanctum of home. They consider whether the home can remain a refuge, immune from the surrounding disturbances, the landscapes in motion. Collectively, however, these works demonstrate that life must continue despite and within these contested terrains.*
Taken from the exhibition
The Imaginary Institution of India: Art 1975–1998
(October 2024 — January 2025)
The Imaginary Institution of India: Art 1975-1998 surveys artistic production from across the Indian subcontinent during a 23-year period marked by social upheaval, economic instability and rapid urbanisation. The exhibition unfolds in a loosely chronological manner, framed by two significant national events in the history of independent India: the declaration of the Emergency in 1975, when democratic rights were suspended, and the nuclear tests of 1998, when the country relinquished its non-violent ideals to assert its place in a new global order. Some artists responded unequivocally to developments in the public arena, while others captured shared experiences and private moments. Amongst the 30 artists featured in this show some committed themselves to representational painting; others evolved personal iconographies in a variety of mediums, including employing installation in the 1990s. All of them combined social observation with individual expression and innovative forms to make work about friendship, love, desire, family, religion, violence, caste and community. This has determined the four axes that shape the exhibition: the rise of communal violence; gender and sexuality; urbanisation and shifting class structures; and a growing connection with Indigenism.
The exhibition takes its title from Sudipta Kaviraj’s essay The Imaginary Institution of India, in which he writes persuasively about the intellectual process of conceptualising the Indian nation. Artworks consider the state’s inability to abide by the progressive character of its Constitution, conceived as an instrument for radical social transformation. They also confront government failure to uphold secularism, social justice, welfare, minority rights and affirmative action in the face of a rising Hindu right wing and pro-capitalist economic agendas. They demonstrate that solidarity and protest existed, and were expressed in many registers, from the strident or intimate to the despondent or poetic, both anguished and hopeful, in the street and in the home. We witness the quiet defiance and resilience which truly defines this imaginary institution of India. In the words of B. R. Ambedkar, the Indian Constitution’s main architect, “Political democracy cannot last unless there lies at the base of it social democracy.".
[*Barbican Centre]
Taken in the Barbican