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Something To Keep My Hands Occupied:...

Ortiz Holmes, Amy.

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Something To Keep My Hands Occupied: Tramp Art In Context, 1860--1940.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Something To Keep My Hands Occupied: Tramp Art In Context, 1860--1940./
作者:	Ortiz Holmes, Amy.
面頁冊數:	202 p.
附註:	Source: Dissertation Abstracts International, Volume: 72-01, Section: A, page: 0004.
Contained By:	Dissertation Abstracts International72-01A.
標題:	Art History. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3437309
ISBN:	9781124369297

Something To Keep My Hands Occupied: Tramp Art In Context, 1860--1940.
Ortiz Holmes, Amy.

Something To Keep My Hands Occupied: Tramp Art In Context, 1860--1940. - 202 p.

Source: Dissertation Abstracts International, Volume: 72-01, Section: A, page: 0004.

Thesis (Ph.D.)--The University of Wisconsin - Madison, 2010.

Tramp art is both easily recognized by type as well as highly variable in execution. Various levels of intricacy are evident among tramp art objects, ranging from the clumsily or minimally whittled to extreme realms of technical skill, composition, and imagination. These items can take the form of the most common utilitarian objects to intricately embellished personal objects, highly charged with meaning. The tramp art oeuvre ranges from the smallest, simply carved frames and boxes, to massive pieces of furniture: chests of drawers, bed-frames, desks, secretaries, chairs, tables, and other complex furniture forms that must have been showpieces of the homes in which they were displayed. Artful objects--those made with the intent to inform or enrich our surroundings and lives--mediate the gap between utility and decoration, and the arts and everyday life.

ISBN: 9781124369297Subjects--Topical Terms:

635474
Art History.

Something To Keep My Hands Occupied: Tramp Art In Context, 1860--1940.
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520 $a Tramp art is both easily recognized by type as well as highly variable in execution. Various levels of intricacy are evident among tramp art objects, ranging from the clumsily or minimally whittled to extreme realms of technical skill, composition, and imagination. These items can take the form of the most common utilitarian objects to intricately embellished personal objects, highly charged with meaning. The tramp art oeuvre ranges from the smallest, simply carved frames and boxes, to massive pieces of furniture: chests of drawers, bed-frames, desks, secretaries, chairs, tables, and other complex furniture forms that must have been showpieces of the homes in which they were displayed. Artful objects--those made with the intent to inform or enrich our surroundings and lives--mediate the gap between utility and decoration, and the arts and everyday life.
520 $a This dissertation seeks to reconstruct the context in which tramp art was produced, understood, and enjoyed in the late nineteenth and early twentieth-century. Tramp art objects contain complex social, cultural, and personal markers. Immigration, ethnicity, and itinerancy affected the composition and use of tramp art objects. Creative skill and masterful practice of the crafts of woodworking and whittling allowed makers of tramp art to enrich their own lives, and extend that richness to the lives of others through gifting and sharing. Tramp art objects are material symbols of affection, belonging, brotherhood, and memorialization. Akin to the crafts of quilting and fancywork for women, tramp art as craft, and as an object restores agency to its makers and users. By reconstructing context, their agency moves to the front of our awareness and highlights attitudes and relationships forged around and bound to this practice.
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