![]() This exhibition aimed to present a comprehensive focus on work produced during the historic Craft Revival period. Charlotte, NC: Mint Museum of Art, 1993.Īn ambitious and unique exhibition, Southern Arts and Crafts was organized by North Carolina’s Mint Museum. Also interesting is that this weaving school did not originate as a children’s school its focus was weaving from its inception.Īnderson, Bill. ![]() This booklet offers a new perspective on craft weaving, not as staying in the communities where it was created or sold to the tourist trade, but sent out of the area entirely for sale. She founded an organization to produce and sell higher-end woven fabric, specifically not like the weaving of ‘typical mountain craft.’ Hambidge used her husband’s designs, inspired from nature, to create unique colors and designs for her weaving. This short biography details woman who learned to weave not out of necessity, but from a sense of destiny. As the public school system took over elementary education, the school's shift to a craft-based learning and production environment became essential.Īlvic, Phillis. The challenges of the business are included, indicating that craftmembers had to look out for what was marketable, how to compete with their goods, and what management was required. In this booklet the method of weaving on a loom is explained. The school’s mission included a statement on educating mountain children ‘in their homes instead of away from them,’ a reference to the unfortunate need of many families to send the children away for them to receive education. Alvic, 1991.Ī settlement school founded by the Pi Beta Phi women’s fraternity included weaving in its training. Weavers of the Southern Highlands: The Early Years in Gatlinburg. The various technological developments in looms and how each innovation is integrated into Penland’s facility are discussed.Īlvic, Phillis. It is noted in the opening mission statement for the school that it was intended for white Christian children specifically. Morgan’s project began as an offshoot of a school for local children and eventually branched out as a training school for weavers. The detailed history of Morgan is fascinating, as the author describes all the efforts taken to support the school and its mission of training and marketing weaving. This is a booklet about Lucy Morgan and the school she built, the Penland Weavers and Potters. Weavers of the Southern Highlands: Penland. This booklet is a good source for the history of that facility and of local weavers.Īlvic, Phillis. The facility began as a more general school, including a boarding school for children, and grew into a crafts school. Mary Sloop, organized both the founding of the school and the development of the industry. The locals became integral to the weaving school, marketing their products statewide. This booklet includes both a history of Crossnore as a town, and Crossnore as a school and training facility, primarily of women weavers. NC: Avery County Historical Society and Museum, 1998. The Weaving Room of Crossnore School, Inc. This highly detailed academic inquiry into the creation and organization of the Craft Revival provides illustrations, maps, a table of contents, index, and a bibliography.Īlvic, Phillis. Alvic focuses on the period between the founding of these schools and 1950. ![]() Alvic’s work is organized topically, providing detailed sections on Berea College, Pi Beta Phi Settlement School, Penland, Weavers of Rabun, and a number of sections analyzing the general organization, production, and marketing of Craft Revival efforts. Weavers of the Southern Highlands examines the workings of the Craft Revival using weaving as the central thread of the analysis. Lexington, KY: University Press of Kentucky, 2003.
0 Comments
Leave a Reply. |