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Through a close look at the history of the modernist hooked rug, this book raises important questions about the broader history of American modernism in the first half of the twentieth century. Although hooked rugs are not generally associated with the avant-garde, this study demonstrates that they were a significant part of the artistic production of many artists engaged in modernist experimentation. Cynthia Fowler discusses the efforts of Ralph Pearson and of Zoltan and Rosa Hecht to establish modernist hooked rug industries in the 1920s, uncovering a previously undocumented history. The book includes a consideration of the rural workers used to create the modernist narrative of the hooked rug, as cottage industries were established throughout the rural Northeast and South to serve the ever increasing demand for hooked rugs by urban consumers. Fowler closely examines institutional enterprises that highlighted and engaged the modernist hooked rugs, such as key exhibitions at the Museum of Modern Art and the Metropolitan Museum of Art in the 1930s and '40s. This study reveals the fluidity of boundaries among art, craft and design, and the profound efforts of a devoted group of modernists to introduce the general public to the value of modern art.
Twenty-five original dollhouse patterns for making your own Chinese rugs and carpets provide a way to decorate your dolls’ house with hand-made treasures. Needlework instructions for stitching and finishing techniques come with color charts, and use only ordinary materials and equipment. “This book will help you turn an enjoyable hobby into an elegant investment.”—Doll Castle News.
Learn the art of designing and making a Nordic traditions rya rug. With this book, you can make authentic, heirloom-quality rya rugs without a loom or special equipment and enjoy them as art on the walls, floors, beds, and more. Ryas have a long history. In the days of the Vikings, ryas were woven on looms with a wool pile that gave warm insulation in the cold winters as warm cloaks on a freezing sea, sleigh blankets, and as bed coverings. After World War II, Nordic countries marketed their signature crafts around the world. They wove backings, spun hardy rya yarns, and designed kits easily made by beginners. These industries thrived throughout the midcentury modern era, but suddenly supplies became difficult to find when fashions trends changed. From the late 1970s to recent times, not only supplies, but experienced teachers were very hard to find. Melinda Purcell Byrd was born into a rya rug family. Her grandparents, Bill and Angelina Lundgren from Northboro, Massachusetts began importing Swedish rya supplies the year she was born. They established a thriving business by providing kits and custom designs in rya across the United States. Melinda designed and made her first when she was 11 years old. After college, she worked with her grandparents as designer, teacher, and business manager becoming proficient in all things rya. After fashions trends changed, Lundgren Rya, along with dozens of other suppliers in the USA and Europe closed their doors.Thirty years later Byrd has used her experience and the Internet to revive rya rug making and provide a resource for currently available supplies as well as teach how to use them. In her book, history of how this craft began, thrived, and was nearly lost is shared. She demystifies the designing process and gives detailed examples of various designing techniques for right-brained and left-brained thinkers. You'll find personal story profiles of other rya pilgrims, innovators, and visionaries to inspire you. Full of colorful illustrative photos by award-winning photographer, Ken Koons, this book will move you to join the rya rug revival and make your own rya rugs!
After World War II, the carpet industry came to be identified with the Dalton region of northwest Georgia. Here, entrepreneurs hit upon a new technology called tufting, which enabled them to take control of this important segment of America’s textile industry, previously dominated by woven-wool carpet manufacturers in the Northeast. Dalton now dominates carpet production in the United States, manufacturing 70 percent of the domestic product, and prides itself as the carpet capital of the world. Carpet Capital is a story of revolutionary changes that transformed both an industry and a region. Its balanced and candid account details the rise of a home-grown southern industry and entrepreneurial capitalism at a time when other southern state and local governments sought to attract capital and technology from outside the region. The book summarizes the development of the American carpet industry from the early nineteenth century through the 1930s. In describing the tufted carpet boom, it focuses on Barwick Mills, Galaxy Mills, and Shaw Industries as representative of various phases in the industry’s history. It tells how owners coordinated efforts to keep carpet mills unorganized, despite efforts of the Textile Workers Union of America, by promoting a vision of the future based on individual ambition rather than collective security. Randall L. Patton and David B. Parker show that Dalton has evolved in much the same way as California’s Silicon Valley, experiencing both a rapid expansion of new firms started by entrepreneurs who had apprenticed in older firms and an air of cooperation both among owners and between mills and local government. Their close examination of this industry provides important insights for scholars and business leaders alike, enhancing our appreciation of entrepreneurial achievement and broadening our understanding of economic growth in the modern South.
Presented in conjunction with the September 2000 exhibition at the Metropolitan Museum, this volume presents the complex story of the proliferation of the arts in New York and the evolution of an increasingly discerning audience for those arts during the antebellum period. Thirteen essays by noted specialists bring new research and insights to bear on a broad range of subjects that offer both historical and cultural contexts and explore the city's development as a nexus for the marketing and display of art, as well as private collecting; landscape painting viewed against the background of tourism; new departures in sculpture, architecture, and printmaking; the birth of photography; New York as a fashion center; shopping for home decorations; changing styles in furniture; and the evolution of the ceramics, glass, and silver industries. The 300-plus works in the exhibition and comparative material are extensively illustrated in color and bandw. Oversize: 9.25x12.25". Annotation copyrighted by Book News Inc., Portland, OR