Duboscq colorimeters are important in the history of science but, as you can see, they are also abundant! Look at this spectrum of examples from a recent acquisition. How do we decide which to collect? Which to exhibit?
The earliest known use of the word "batik" dates from 1641 in Batavia (in modern day Indonesia). Unlike the chintz trade in Tamil Nadu, batik in Java was a craft practised by women. Both used the wax-resist technique. Until the eighteenth century, batik was produced mostly for the maker's own use. It was not until around 1789 that they began to be mass produced in Java. During this early modern period, dress dictated class. As a result, many patterns were reserved exclusively for the nobility and royalty, but ordinary women made batiks too.
The spread of batik does much to reveal 'global histories.' For example, during the Java War (1825-1830), the Netherlands recruited (substitute:coerced/enslaved) men from Ghanna to join the army in the East Indies. After their period of service was completed, these men returned to Ghanna, often with Indonesian wives, who took the batik making trade with them. Batik remains an omnipresent feature of West African life.
Have you seen bedspreads, wall hangings or clothes in Lanka made using this type of fabric?
Material History today: chinz is a type of fabric made by coating cotton fabric with wax and coloring it. To apply each color, the remaining areas were covered with beeswax and the cloth was dipped into vats of dye. Finer details were added by hand.
This fabric came from the Coromandel Coast of India, where it was an exclusively male occupation. It had huge popularity and demand in Ceylon and Indonesia.
With the VOC takeover of control from Arab, Indian and Indonesian traders, the cloth soon flooded the European market, leading to complaints in the British parliament in 1680 that Indian textiles were causing unemployment, crime and poverty.
I could not be more chuffed to announce that, commencing with the September 2018 issue, I will be the new editor of the @eaia1933 ‘Chronicle,’ the quarterly journal of the Early American Industries Association. The EAIA is a membership organization dedicated to preserving the tools & implements that built this country, and sharing scholarship about their history and use. Visit eaiainfo.org to find out more (and to join — just $44 per year!) #eaia#materialculture
Me and @santa_west & @huckmagazine made a limited edition run of 500 zines to drop with @adidasoriginals & @sizeofficial #dublin for Paddy’s day. Get in line 8am for original art and the heart of the City Series. Next up #Berlin#materialculture
Setelah kenal dan berinteraksi dengan beliau, saya jadi meyakini bahwa dalam hal keilmuan & akademik, sepertinya kurang afdol jika seseorang disebut pakar hanya sekadar diukur dari gelar dan pemahamannya dalam konsep bidang ilmu terkait. Aspek lain yang tidak kalah penting adalah kematangan dan kebijaksanaan. Hormat saya untuk Prof. Noerhadi Magetsari atau yang akrab dipanggil "Pak Nanung". Yang meski sudah sepuh (beliau sudah menjadi dekan di UI saat saya masih bayi 😅) tapi tetap up-to-date dengan perkembangan zaman & keilmuan, tetap semangat mengajar, serta tetap sabar berdiskusi meladeni pertanyaan kami yang masih sangat perlu banyak-banyak belajar ini. Terima kasih untuk ilmunya, Prof! 🙏
Up close and personal with the Century Vase (and Liberty Cup) from Union Porcelain Works at the Brooklyn Museum today. Excited to begin research and tackle this beast for my final paper in “The Colonial Revival.” 🏺🇺🇸🗽
📝📚 Have research on American art you want to publish? An exhibition or book you want to review? Check out this CFP from Panorama! Link to submission info in our bio.
Panorama is a peer-reviewed, open-access online journal dedicated to American art and visual culture in all media, from the colonial period to the present day. The journal provides a high-caliber international forum for disseminating original research and scholarship and for sustaining a lively engagement with intellectual developments and methodological debates in art history, visual and material cultural studies, museums, and curatorial work. It encourages a broad range of perspectives and approaches within an interdisciplinary framework and seeks to acknowledge in full work by African American, Asian American, Latinx, and Native American artists, makers, curators, art historians, and others engaged in visual cultural production in the United States.
Panorama welcomes submissions that utilize the insights of both traditional and new historical and interpretive approaches to art in the US in both local and global contexts. The editors seek submissions in various formats, including feature length articles (7,000-10,000 words), research notes (maximum of 2,500 words), book and exhibition reviews, and “Bully Pulpit” suggestions—texts that trace a conversation or debate on a topic that is of general interest to the field.
New work in collab with @adidasoriginals dropping in @sizeofficial stores this Saturday #stpatricksday#materialculture with @gary_watsongraphicdesign @santa_west #adidasarchive and there’s not a shamrock or a leprechaun in sight.