Jessica Hemmings
Biographic Data
| ID | 6335182 |
|---|---|
| NAME | Jessica Hemmings |
| GIVEN NAMES | Jessica |
| FAMILY NAME | Hemmings |
| SIGNATURE | HEMMINGS J |
| AFFILIATIONS | Jesus University |
| ORCID | 0000-0002-7517-6102 |
| VERIFIED | Yes |
| TOTAL WORKS | 33 |
| TOTAL CITATIONS | 3 |
| WORKS AS AUTHOR | 33 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2003 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
Made for European Trade by Prisoners in Java
The Wereldmuseum, Amsterdam, holds a group of batik textiles that include book covers, a tea cosy, a handkerchief and head wraps. Matched to strikingly similar batik textiles held in the Smithsonian Institute collection, these items can be attributed to the prison labor of women during Dutch colonial rule of the Indonesian island of Java in the early decades of the twentieth century.
Iris van Herpen
Iris van Herpen
Iris van Herpen
Anna-Maria Saar
Textile Memories Textile Memories
Teresa Lanceta
Weaving as Open Source presents a comprehensive retrospective of the Spanish artist Teresa Lanceta, co-produced by Museu d’Art Contemporani de Barcelona (MACBA) and Instituto Valenciano de Arte Mod
Picasso/Chanel
Keywords: balletcubismmannequinsportsweartheater Additional informationNotes on contributorsJessica HemmingsJessica Hemmings is Professor of Craft at HDK-Valand, University of Gothenburg, Sweden. She is Visiting Professor with the Doctoral School of Moholy-Nagy University of Art and Design in Budapest, Hungary and the Rita Bolland Fellow at the Research Center for Material Culture, the Netherlands (2020–2023). Recent publications include the seco…
Franz West
Geometrically Wired. IO Van Oostveldt
Review of: Geometrically Wired. IO Van Oostveldt: Between Clothing and Art , curated by Romy Cockx Momu, Antwerp, 25 February–30 July 2023
Anne Wilson, “If We Asked about the Sky” and Kustaa Saksi, “First Symptoms”
Anne Wilson, Material Drawing no. 1.26 (detail), 2018-2020, Damask cloth, ink, thread, 12 x 17 3⁄4 inches, Photo: Celeste Cebra. Created between 2018 and 2020, Wilson's series of embroidery and ink on damask cloth are meditations in two extremes: spill-time and stitch-time. Rather than suture or embellish existing damage on cloth as Wilson has previously, in this latest series chance ink patterns have been selectively over-stitched. [Extracted fr…
A Dialogue about Social Weaving
Adopting the format of an edited and annotated conversation, Danish researcher and designer Rosa Tolnov Clausen, American artist and professor Marianne Fairbanks and British writer and professor Jessica Hemmings discuss some of the circumstances in which community hand weaving projects may flourish. Decisions around the types of space Clausen's Weaving Kiosk (2017–ongoing) and Fairbanks's Weaving Lab (2016–ongoing) have occupied, how hand weaving…
Maximum Space around the Typewriter
The late Zimbabwean author Yvonne Vera puts material culture to use throughout her published fiction. Her engagement with the physical stuff that enters her writing reflects less the current wave of political craft scholarship and perhaps more an opportunity to work with the beauty of details provided both by the horrific and the everyday. This article argues that the descriptions Yvonne Vera offers us of her own writing process shed light on her…
In a Cloud, in a Wall, in a Chair
Cuban-born furniture designer Clara Porset’s 1952 exhibition Art in Daily Life: Well-Designed Objects Made in Mexico provides the starting point for this thoughtful group exhibition. In the accompa
Material Matters in Paintings at the End of an Era
The panel discussion “Material Matters in Paintings at the End of an Era” took place at the Zeitz Museum of Contemporary Art Africa in 2018 and considered the role of textiles in the painting exhibition curated by Tandazani Dhlakama, Five Bhobh: Painting at the End of an Era. Panelists Anthony Bumhira, Jessica Hemmings and Hayden Proud, chaired by Erica de Greef, discussed the practical necessities of textile—and more broadly craft—materials used…
Floppy Cloth
Exhibition display has a considerable impact on the public’s understanding of and respect for textiles. This article revisits 13 exhibitions held between 2005 and 2018, many of which I have previously written about in exhibition reviews, that offer innovative and thoughtful installation solutions. The examples I have selected for discussion include both textile design and textile art – genres that share a common material but pose specific exhibit…
How Do You Footnote a Smile? One Dialog about Two Extremes of Textile Research
This article preserves the format of a dialogue that was originally held in late 2018 between research colleagues Jessica Hemmings and Birgitta Nordström in the weaving workshop at the Academy of Design and Crafts (HDK), University of Gothenburg, Sweden. The conversation – a “Higher Seminar” in Swedish academic parlance – was intended to expose the breadth of current textile research and inspire colleagues to see across disciplinary boundaries to…
Iris van Herpen
Dutch designer Iris van Herpen is a modern alchemist and frequent collaborator with an eclectic range of material experts. This exhibition review considers the final venue of her recent two-year exhibition tour of North America, Transforming Fashion, exhibited alongside frequent collaborator and Toronto-based architect's exhibition Philip Beesley: Transforming Space at the Royal Ontario Museum in Toronto, Canada in 2018
Wings of a Ragtag Quest
As so many projects do, Wings of a Ragtag Quest started in one place and ends in another. Editor Patricia Malarcher candidly explains the project “began as an earnest scholarly effort to find and d
Hannah Ryggen
Hannah Ryggen (1894–1970) enjoyed acclaim during her lifetime. Major exhibitions in the 1950s and 1960s included the honor of representing Norway at the Venice Biennale of 1964. But her name remain
Louise Bourgeois. The Structure of Existence
The entrance to the Louisiana Museum of Modern Art is through what looks to be a house. But it is a mistake to think, as I did, that is the full scale of the museum. Only once inside do you realize
Christian Thompson
Weaving & We Second Hangzhou Triennial of Fiber Art
Spread over two floors, six galleries, and the museum grounds, Weaving & We brought together over 60 exhibitors—before counting parallel exhibitions organized around the city as part of the Second
Fiber
Doris Salcedo
Maximum Space around the Typewriter
The late Zimbabwean author Yvonne Vera puts material culture to use throughout her published fiction. Her engagement with the physical stuff that enters her writing reflects less the current wave of political craft scholarship and perhaps more an opportunity to work with the beauty of details provided both by the horrific and the everyday. This article argues that the descriptions Yvonne Vera offers us of her own writing process shed light on her…
Iris van Herpen
Dutch designer Iris van Herpen is a modern alchemist and frequent collaborator with an eclectic range of material experts. This exhibition review considers the final venue of her recent two-year exhibition tour of North America, Transforming Fashion, exhibited alongside frequent collaborator and Toronto-based architect's exhibition Philip Beesley: Transforming Space at the Royal Ontario Museum in Toronto, Canada in 2018
Altered Surfaces. The of Yvonne Vera's and
Weaving the Word
(2003). Weaving the Word: The Metaphorics of Weaving and Female Textual Production by Kathryn Sullivan Kruger/Architecture and the Text: The (S)crypts of Joyce and Piranesi by Jennifer Bloomer. TEXTILE: Vol. 1, No. 1, pp. 106-108
Weaving the Word
Altered Surfaces. The of Yvonne Vera's and
The Textile Vision of Reiko Sudo and Nuno
(2006). 2121: The Textile Vision of Reiko Sudo and NUNO. TEXTILE: Vol. 4, No. 3, pp. 362-367
Grown Fashion
The observation that clothing provides us with a "second skin" has led some to question if our textiles of the future will be grown, rather than woven, cut, and sewn. This article considers three recent research projects that have addressed the possibility of grown garments through three materially and conceptually distinct approaches: the Tissue Culture and Art project Victimless Leather uses human and non-human cells; Suzanne Lee's BioCouture p…
Weaving Truth
Material Meaning
Knitting and Well-being
More encompassing than just the facts and figures of physical health, well-being is often used to acknowledge how we feel. The World Health Organization has defined well-being as “an ability to realize personal potential, cope with daily stresses, and contribute productively to society.” This article explores the varied ways knitting can contribute to our well-being. It brings together the authors’ individual presentations from the well-being pan…
Fiber
Doris Salcedo
Louise Bourgeois. The Structure of Existence
The entrance to the Louisiana Museum of Modern Art is through what looks to be a house. But it is a mistake to think, as I did, that is the full scale of the museum. Only once inside do you realize
Christian Thompson
Weaving & We Second Hangzhou Triennial of Fiber Art
Spread over two floors, six galleries, and the museum grounds, Weaving & We brought together over 60 exhibitors—before counting parallel exhibitions organized around the city as part of the Second
Wings of a Ragtag Quest
As so many projects do, Wings of a Ragtag Quest started in one place and ends in another. Editor Patricia Malarcher candidly explains the project “began as an earnest scholarly effort to find and d
Hannah Ryggen
Hannah Ryggen (1894–1970) enjoyed acclaim during her lifetime. Major exhibitions in the 1950s and 1960s included the honor of representing Norway at the Venice Biennale of 1964. But her name remain
Floppy Cloth
Exhibition display has a considerable impact on the public’s understanding of and respect for textiles. This article revisits 13 exhibitions held between 2005 and 2018, many of which I have previously written about in exhibition reviews, that offer innovative and thoughtful installation solutions. The examples I have selected for discussion include both textile design and textile art – genres that share a common material but pose specific exhibit…
How Do You Footnote a Smile? One Dialog about Two Extremes of Textile Research
This article preserves the format of a dialogue that was originally held in late 2018 between research colleagues Jessica Hemmings and Birgitta Nordström in the weaving workshop at the Academy of Design and Crafts (HDK), University of Gothenburg, Sweden. The conversation – a “Higher Seminar” in Swedish academic parlance – was intended to expose the breadth of current textile research and inspire colleagues to see across disciplinary boundaries to…
Iris van Herpen
Dutch designer Iris van Herpen is a modern alchemist and frequent collaborator with an eclectic range of material experts. This exhibition review considers the final venue of her recent two-year exhibition tour of North America, Transforming Fashion, exhibited alongside frequent collaborator and Toronto-based architect's exhibition Philip Beesley: Transforming Space at the Royal Ontario Museum in Toronto, Canada in 2018
In a Cloud, in a Wall, in a Chair
Cuban-born furniture designer Clara Porset’s 1952 exhibition Art in Daily Life: Well-Designed Objects Made in Mexico provides the starting point for this thoughtful group exhibition. In the accompa
Material Matters in Paintings at the End of an Era
The panel discussion “Material Matters in Paintings at the End of an Era” took place at the Zeitz Museum of Contemporary Art Africa in 2018 and considered the role of textiles in the painting exhibition curated by Tandazani Dhlakama, Five Bhobh: Painting at the End of an Era. Panelists Anthony Bumhira, Jessica Hemmings and Hayden Proud, chaired by Erica de Greef, discussed the practical necessities of textile—and more broadly craft—materials used…
Anne Wilson, “If We Asked about the Sky” and Kustaa Saksi, “First Symptoms”
Anne Wilson, Material Drawing no. 1.26 (detail), 2018-2020, Damask cloth, ink, thread, 12 x 17 3⁄4 inches, Photo: Celeste Cebra. Created between 2018 and 2020, Wilson's series of embroidery and ink on damask cloth are meditations in two extremes: spill-time and stitch-time. Rather than suture or embellish existing damage on cloth as Wilson has previously, in this latest series chance ink patterns have been selectively over-stitched. [Extracted fr…
A Dialogue about Social Weaving
Adopting the format of an edited and annotated conversation, Danish researcher and designer Rosa Tolnov Clausen, American artist and professor Marianne Fairbanks and British writer and professor Jessica Hemmings discuss some of the circumstances in which community hand weaving projects may flourish. Decisions around the types of space Clausen's Weaving Kiosk (2017–ongoing) and Fairbanks's Weaving Lab (2016–ongoing) have occupied, how hand weaving…
Maximum Space around the Typewriter
The late Zimbabwean author Yvonne Vera puts material culture to use throughout her published fiction. Her engagement with the physical stuff that enters her writing reflects less the current wave of political craft scholarship and perhaps more an opportunity to work with the beauty of details provided both by the horrific and the everyday. This article argues that the descriptions Yvonne Vera offers us of her own writing process shed light on her…
Franz West
Geometrically Wired. IO Van Oostveldt
Review of: Geometrically Wired. IO Van Oostveldt: Between Clothing and Art , curated by Romy Cockx Momu, Antwerp, 25 February–30 July 2023
Art (22 works) · Visual arts (14 works) · Fashion and Cultural Textiles (10 works) · Sociology (10 works) · Art history (9 works) · Engineering (8 works) · History (8 works) · History (8 works) · Crafts, Textile, and Design (7 works) · Philosophy (7 works)