ARTH 266 ASPECTS OF THE HISTORY OF FIBRE ART: GLOBAL PERSPECTIVES ON FIBRE

AUTUMN SEMESTER 2021 REMOTE

DR. SUSAN SURETTE

SEMESTER ASSIGNMENTS

REMEMBER TO PUT THE PROFESSOR’S NAME, THE COURSE NUMBER AND YOUR STUDENT
NUMBER ON THE ASSIGNMENT.

ALL ASSIGNMENTS ARE TO BE SUBMITTED AS WORD DOCUMENTS OR PDF

LATE ASSIGNMENTS, WITHOUT PRIOR APPROVAL WILL BE DEDUCTED 2% PER DAY. IF YOU ARE
HAVING TROUBLE KEEPING UP WITH CLASS WORK , CONTACT THE PROFESSOR AS SOON AS
POSSIBLE SO YOUR ISSUES CAN BE ADDRESSED.

A: SCRAPBOOK
Scrapbook of Global Textile Encounters: 30% Due: Oct. 20

During the completion of this scrapbook assignment, students will become aware of the multiple
ways we engage with a wide range of textiles in a variety of encounters as we make our way
through life. They will reflect on their chosen textiles from a personal engagement (why they
were attracted to them), and from an art historical one (how do they fit within within a global
context). They will engage with the textile’s formal and material qualities, becoming aware of
these objects on a sensory level. They will pose questions that they would like to see answered
about each of their examples and suggest research strategies whereby these questions could be
answered. One of these questions will form the basis for finding a relevant peer-reviewed
research source. Students will demonstrate an ability to engage thoughtfully, creatively, and
analytically.

This assignment will document five (5) personal encounters, each with a different example of
textiles or fibres. For each of the five encounters you will note the date and place and produce a
quick sketch or photo of the object in situ. You will briefly describe details about the object
that situate it within the context of global textiles. You will explain why you chose it, what it
looks like, and an outstanding aspect of it. You will pose three questions about the object and
choose one to answer through basic research (outside class readings).

You MUST have a variety of source places such as museum, gallery, retail store, hotel,
restaurant, and private home. Along with a variety of source places, you must present a variety
of textile objects that show you have engaged with differences in pattern/design, process,
material, use and geographical/cultural origins.

This textile scrapbook can be presented as a pdf document.

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Marking Rubric for each textile example based on 6 marks per textile

Image: sample/drawing/photo , location, time 0.5

Accurate description, Reason for choice 0.5
Thematic link to the course’s themes, issues, concerns, etc. 0.5
Three Pertinent questions, 3
Academic Source to answer one question, cited properly 1
(museum website, peer-reviewed journal article, book chapter)
Presentation: conscientiousness, creativity and clarity 0.5
6.0

B: ORIGINAL RESEARCH PROJECT and PROPOSAL

Research Project Proposal: 10% Due: Nov. 10
Original Research Project: 35% Due: Dec. 8

RESEARCH PROJECT

This research project must have been preceded by a Research proposal (due Nov. 10) that has
been approved by me.

Your research into a textile object, maker, production, technology, exhibition, or issue of
YOUR CHOICE can be presented as:

1. A traditional double-spaced 2500-word research paper presented as a paper copy. It must be

accompanied by images along with endnotes and a bibliography.

OR

2. An investigative textile project that involves making (but this must be separate from any
studio art projects) along with a double-spaced 1000-word written component that will relate
your making project to some aspect of ARTH 266. The object and the written portion MUST be
presented together. The written component must include 1) a brief outline of your project
(materials, technique, etc.) and 2) an art historical discussion of your project

OR

3. A poster project that includes the poster plus a 800-word double spaced written component.
The written component will expand on some aspect(s) of the issues/research you have
presented in your poster. The poster and its written component must be presented together. (for
guidelines on creating a poster see: NYU Library, “How to Create a Research Poster: Poster
Basics,” http://guides.nyu.edu/posters.)

OR

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4. A video presentation of 20 minutes that discusses your research and includes images. This can
be presented as a recorded Powerpoint or in another format approved by the instructor. This can
be a creative video as long as it indicates your research engagement and expert knowledge of
your subject. You must also include a proper bibliography of your sources.

Whatever format you use, you must cite your sources as footnotes or endnotes and provide
a bibliography in the Chicago or MLS style. For guidance with these styles please consult the
library website.

ACADEMIC INTEGRITY
Students are reminded to review the Concordia Code of Conduct to be certain that they are not
guilty of plagiarism or other unethical practices. The Code of Conduct (Academic) is a
University policy that outlines the procedures by which academic honesty or integrity is
enforced. It outlines offenses, procedures for dealing with offenses and possible sanctions if
charges are upheld. The Code of Conduct (Academic) can be found on the Concordia website at
http://www.concordia.ca/students/academic-integrity/code.html

Please pay particular attention to Section III which outlines well known offences, such as
plagiarism, and some you may not think are wrong, such as multiple submissions. Plagiarism is
not just handing in someone else’s work as your own. Plagiarism also happens if you use
someone else’s words or ideas without citing them properly.

Proposal Grading Rubric:

1.Topic – suitability including relevance to course and adherence to guideline 0.5
2.What particular issue(s) from the course will you be including such as:
feminism, postcolonialism, decolonializing, gender, orientalising,
self-orientalism, borrowing, authenticity, appropriation, transculturation,
contact zones, arts and craft ideology, TAP, etc. 0.5
3.Three questions that you are considering addressing 3.0
4.Possible thesis statement or primary line of inquiry/question 1.0
5.Two tentative relevant academic sources (journal article, book, book chapter, 4.0
museum catalogue, museum website, dictionary from Concordia website
other relevant peer-reviewed source) cited in proper bibliographic format
with a brief sentence regarding their pertinence to your thesis/main question
6.Grammar and Spelling 1.0
10.0

C. REVIEWS
Film (4) Reviews and One Website Review (4%/review): 20 % Due: Nov. 24

This assignment comprises written responses to the FOUR films viewed in class AND the
Kubota website

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Each response will be 250 words (1 page, double spaced, font Times New Roman 12 or an
equivalent).

Your responses should clearly identify how, in your view, each film and the Kubota website fits
within the context of the course and relates to the lecture to which it is attached. What theme(s)
do(es) it explore that were encountered in the lectures, class discussions and readings? What
does it add to this material? You must be ready to discuss its strengths, weaknesses (if any),
questions it raises, questions answered and those left unanswered and further research you would
like to see undertaken.
Include: a very brief synopsis (2-3 sentences)
discussion of the ideas, issues, themes (bulk of the review)
discussion of its relevance to the course materials (2-3 sentences)
identification and discussion of its strength(s) and weakness(es) (2-3 sentences)

Films and Website

6 October: A Killer Bargain. Produced by Tom Heinemann (57 minutes)
13 October: The Kubota Collection The Itchiku Kubota Collection website
https://thekubotacollection.com/
3 November: Weaving Worlds (2008) written & directed by Bennie Klain; produced by
Leighton C. Peterson; a co-production of TricksterFilms and the Independent Television Service
in association with Native American Public Telecommunications (57 minutes).
10 November: Threads of Hope (1997), directed by Les Harris (50 minutes).
17 November: Molas in Transition: Art of the Kuna Women. Vigesaa Laraway Mountain Studio,
2009. (38 minutes)