Word: fabric
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Dates: during 1980-1989
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Fears of possible gentrification haunt the advocates of the proposals. Many of them see the rapid influx of larger businesses as an instruction that threatens to destroy the city's diverse social fabric threeatents to destroy the city's diverse social fabric. They worry that uncheeked development will replace a Cambridge made up of construction workers and professors, the wealthy on Brattle Street and the ethnic neighborhoods to the east with while dollar professionals attached to the universities and high-tech firms. Only more affordable housing they say, can keep low, and moderate income people in the city...
According to the Ribbon Project newsletter, "Participants may applique, batik, embroider, hook, needlepoint, paint, quilt, silk-screen, tie-die, weave, reproduce photographs, use iron-on fabric paints...to tell this nation that we love the earth and its people...
Such works faithfully reproduce the characteristics of a camera's-eye view, including the out-of-focus background and prismatic light blurs, but the effect is different from photos and even more so from painted murals. The weaving process, with its interlaced wefts and warps, gives the fabric a subtle play of light and shade and adds the fascination of texture. Hernmarck's tapestries thus add warmth, a reminder of nature, to the sometimes chill corporate setting, enhancing the architecture rather than merely decorating...
WHERE THE PUNK movement differs from that of the Dadas is in the backgrounds of their members. The Dadas were artists dissatisfied with the art form over which they had achieved a reasonable degree of mastery. They were, in a sense, trying to unravel the fabric of society from the inside. The most famous Dadaist, Marcel Duchamp, said "Dada was the extreme protest against the physical side of painting, a metaphysical attitude, a blank force." In the late teens, Duchamp became an accomplished chess player and decided to give up painting because it "bored" him. Thus, the Dadas were...
...photo essays concentrate on seven designers, among them Miyake, the ebulliently inventive Yohji Yamamoto, and Rei Kawakubo, whose designs demonstrate what Koren calls "irony, image juxtaposition and whimsy . . . the purest, most uncompromising and strongest avant-garde vision." The book also includes chapters of careful observation on history and tradition, fabric design, graphic display and body structure (illustrated with vintage photos of women who dive for fish outside a village east of Tokyo). "I make style out of life," Miyake says, "not style out of style." The roots of that life are beautifully revealed in a series of candid photos...