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Global Age Design : = Ruth Reeves and Cross-Cultural Practice.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Global Age Design :/
其他題名:	Ruth Reeves and Cross-Cultural Practice.
作者:	Bernstein, Noga.
面頁冊數:	1 online resource (353 pages)
附註:	Source: Dissertations Abstracts International, Volume: 83-06, Section: A.
Contained By:	Dissertations Abstracts International83-06A.
標題:	Art history. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=13886586click for full text (PQDT)
ISBN:	9798496559089

Global Age Design : = Ruth Reeves and Cross-Cultural Practice.
Bernstein, Noga.

Global Age Design :Ruth Reeves and Cross-Cultural Practice. - 1 online resource (353 pages)

Source: Dissertations Abstracts International, Volume: 83-06, Section: A.

Thesis (Ph.D.)--State University of New York at Stony Brook, 2019.

Includes bibliographical references

Throughout the four decades of her artistic career spanning 1910s-1950s, American textile designer, painter, educator and preservationist Ruth Reeves (1896-1966) studied, collected, exhibited, wrote about, and drew upon a range of indigenous traditions as inspiration for her textile designs, as well as fashion illustrations, paintings and prints on paper. Reeves had been extremely forthcoming about the specific indigenous art objects that inspired her works, and the methods she used to adapt those objects into new designs. In her writings he returned continually to the question of the fine line between influence, adaptation, and imitation. Her ongoing engagement with issues of reciprocity and proper use of sources shaped her artistic development, and set her apart from other primitivists. Although several of Reeves's textiles are considered staples of interwar American design, and despite the large body of works she produced, scholarship on Reeves's work is scarce. Such scholarship that does exist fails to recognize Reeves's contribution to the development of primitivism in the United States. This dissertation aims to both critically examine and establish the significance of one of the most prolific American textile designers in the twentieth century. This dissertation argues that Reeves's liminal position on the boundary between art and design that shaped Reeves's idiosyncratic approach to the creative use and display of indigenous sources. It shows that although the question of cross-cultural appropriation became widely debated only in the late twentieth century, it was already a source of anxiety for Reeves, and perhaps other American designers who operated during the first half of the twentieth century.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798496559089Subjects--Topical Terms:

2122701
Art history.
Subjects--Index Terms:

ArtIndex Terms--Genre/Form:

542853
Electronic books.

Global Age Design : = Ruth Reeves and Cross-Cultural Practice.
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504 $a Includes bibliographical references
520 $a Throughout the four decades of her artistic career spanning 1910s-1950s, American textile designer, painter, educator and preservationist Ruth Reeves (1896-1966) studied, collected, exhibited, wrote about, and drew upon a range of indigenous traditions as inspiration for her textile designs, as well as fashion illustrations, paintings and prints on paper. Reeves had been extremely forthcoming about the specific indigenous art objects that inspired her works, and the methods she used to adapt those objects into new designs. In her writings he returned continually to the question of the fine line between influence, adaptation, and imitation. Her ongoing engagement with issues of reciprocity and proper use of sources shaped her artistic development, and set her apart from other primitivists. Although several of Reeves's textiles are considered staples of interwar American design, and despite the large body of works she produced, scholarship on Reeves's work is scarce. Such scholarship that does exist fails to recognize Reeves's contribution to the development of primitivism in the United States. This dissertation aims to both critically examine and establish the significance of one of the most prolific American textile designers in the twentieth century. This dissertation argues that Reeves's liminal position on the boundary between art and design that shaped Reeves's idiosyncratic approach to the creative use and display of indigenous sources. It shows that although the question of cross-cultural appropriation became widely debated only in the late twentieth century, it was already a source of anxiety for Reeves, and perhaps other American designers who operated during the first half of the twentieth century.
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538 $a Mode of access: World Wide Web
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