Surface Design Journal - Fall 2014 - Sample Issue by Surface Design Association

To Bojagi & Beyond My summer trip to attend the 2014 Korea Bojagi Forum proved to be an exciting adventure. The conference events and exhibitions on tropical Jeju Island were topped by an exceptional post-conference tour of several additional textile-arts museums, galleries, and tourist destinations in Seoul. This action-packed itinerary began with the exhibition Bojagi & Beyond 2014 (curated by artist, educator, and conference organizer Chunghie Lee) at Gallery Nori in the Jeoji Artists Village on Jeju Island. The show featured dozens of dazzling contemporary bojagi works by an international group of artists, including Youngmin Lee. Youngmin and I enjoyed the Seoul tour so much we added an extra day to meet Hwajin Oh (featured in the SDJ Summer 2014 issue) to see her newest series of hand-stitched textile sculptures at Space K Gallery. Learning about Oh’s creative process, in which she transforms found objects into other-worldly beings, was one of the most facinating cross-cultural conversations of the entire trip. Energized by all the art work and insights experienced abroad, I returned home to finish the “Designing Minds” issue of SDJ. This edition has a special focus on accessible textile collections at several international museums, and the power of generous donations (of both funds and time) to reinvigorate textile institutions and communities. We also celebrate the enduring legacy of American textile designer Jack Lenor Larsen and the endless appeal of iconic Marimekko textiles, printed in Finland for over six decades. High tech and high fashion artfully combine in a riveting feature about digital designs by designers from around the world. Enjoy!

TOP: CHUNGHIE LEE and Marci at the opening of Bojagi & Beyond 2014 at Gallery Nori, Jeju Island, South Korea, August 24, 2014. Included in the show was YOUNGMIN LEE’S Blue Door (sukgosa Korean silk gauze, bojagi, hand stitching, 58.25" x 22", 2014) shown LEFT. BOTTOM: YOUNGMIN LEE, HWAJIN OH and Marci with OH’S hand-stitched polar fleece sculpture Bright Man (with detail) at Space K Gallery, Seoul, September 1, 2014.

C o r r e c t i o n s SDJ Spring 2014, Vol. 38, No. 3 Page 58, the web site for East Carolina University is www.ecu.edu.

Marci Rae McDade journaleditor@surfacedesign.org

SDJ Summer 2014, Vol. 38, No. 4 Page 19, artist Jihye Shin’s name was mispelled.

COVER CREDIT: BASSO & BROOKE Coat Dress Spring 2006 Collection, silk organza digital-printed in Como, Italy. Lent by Mrs. Kelly Ellman for the Phoenix Art Museum’s 2013 exhibition Digital Print Fashion curated by Dennita Sewell. Courtesy of the Phoenix Art Museum, Arizona. Fall2014

w h o ’ s

w h o

Surface Design Association

P.O. Box 20430 Albuquerque, NM 87154 info@surfacedesign.org surfacedesign.org Executive Director

Diane Sandlin 512.394.5477 executivedirector@surfacedesign.org

Surface Design Journal is a quarterly publication

of the Surface Design Association, a non-profit educational organization.

Assistant Executive Director

Susannah Fedorowich 707.829.3110 administration@surfacedesign.org Surface Design Journal Editor

Marci Rae McDade 503.477.7015 journaleditor@surfacedesign.org SDA Digital Publications Editor (Website, NewsBlog, eNews)

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President . . . . . . . . . . . . . . . . . . . . . . . .Jeanne Raffer Beck Vice President . . . . . . . . . . . . . . . . . . . . .Karen Hampton Secretary . . . . . . . . . . . . . . . . . . . . . . . . . . . .Vivian Mahlab Treasurer . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Joyce Martelli Board:

Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Astrid Bennett Director . . . . . . . . . . . . . . . . . . . . . . . . . . . .Marianne Biagi Director, President Emeritus . . . . . . . .Jane Dunnewold Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Diane Franklin Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Teddy Milder Director . . . . . . . . . . . . . . . . . . . . . . . . . . . .Margaret Miller Director . . . . . . . . . . . . . . . . . . . . . . . .Jeanette Thompson President Emeritus: Jason Pollen 4

SURFACE DESIGN ASSOCIATION Our Vision: To inspire creativity, encourage innovation,

and advocate for artistic excellence as the global leader in textile-inspired art and design. Our Mission: To promote awareness and appreciation of

textile-inspired art and design through member-supported benefits, including publications, exhibitions and conferences. Our Objectives:

• To provide opportunities for learning, collaboration and meaningful affiliations • To mentor and support emerging artists, designers, and students • To inform members about the latest developments and innovations in the field • To recognize the accomplishments of our members • To encourage critical dialogue about our field • To inspire new directions in fiber and textiles • To raise the visibility of textiles in the contemporary art world SUBSCRIPTION / MEMBERSHIP

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Surface Design Journal

features 06

The Design Legacy of Jack Lenor Larsen by Stephanie Watson Zollinger

Reaching Behind the Glass by Sara Clugage

Looking to the Future: Renewing a Textile Community

by Liz Good

The “Pixar” of Prints: Digital Design 2.0 by Leesa Hubbell

Utilitarian Fiction: Stephanie Syjuco by Sarah Margolis-Pineo

Architextures: Between Skin and Stone by Matina Kousidi

44 32

Marimekko’s Trajectory of Pattern and Color by Mason Riddle

Surface Design Journal

Fall 2014 Volume 39 Number 1

departments 50

Exposure A gallery of recent work by 2014 SDA Outstanding Student Award Recipients

2014 SDA Creative Promise Awards for Student Excellence Anel Zarate, BA Ivonne Acero, MFA

Spotlight on Education University of North Texas Denton, Texas

In Review Whitney Biennial 2014 New York, New York Susie Ganch: TIED Richmond, Virginia

Form through Colour: Josef Albers, Anni Albers and Gary Hume London, England Jim Hodges: Give More than You Take Minneapolis, Minnesota

On DVD Organic Dyes to Pigments: Foundations for the Colors of Europe Film III in the Natural Dye Workshop Series with Michel Garcia

Informed Source Jakkai Siributr

Emerging Voices Caleb Sayan

First Person

Marie-Therese Wisniowski

Fall2014

The “Pixar” of Prints:

Digital Design 2.0 b y

L e e s a

H u b b e l l

”Basso & Brooke are the Pixar of clothes.” – Tim Blanks, Style.com

It was not the digitally-printed snakeskin dress in Savage Beauty—Alexander McQueen’s block-busting, recordbreaking (and posthumous) 2011 extravaganza show at the Metropolitan Museum of Art—that inspired fashion curator Dennita Sewell to create a museum show around digital textile design. It was the story “Are You Wearing a Watercolor?” published by Wall St. Journal (wsj.com) in the spring of 2010.1 In it, writer Christina Binkley revealed that designers for high-fashion brands like Akris and Helmut Lang were snapping pictures with iPhone cameras, then printing the manipulated images on fabric with a printer “not unlike the one sitting on your desk.” And it was not just this unprecedented ease of access to highly customized prints that captured Sewell’s curatorial imagination. It was the fact that an artist’s work could be faithfully reproduced and strategically placed on a designer dress. “From an art museum point-of-view, we are always interested in making the connection between art and design,” states Sewell, who is Curator of Fashion at Phoenix Art Museum (PAM) in Arizona. With the United Kingdom an on-going hot spot for digital print design—and a trip to London already planned—Sewell made an appointment to visit the studio of digital diva Mary Katrantzou. Energized by that experience, she continued to do research and began to do outreach to designers and private collectors (national and international) to assemble a survey of pieces by iconic and emerging designers who have produced work of “inspired and exemplary” proportion. Though other museums, including the Fashion Institute of Technology and the Museum of Arts & Design, have explored LEFT: BASSO & BROOKE Coat Dress Silk organza digital-printed in Como, Italy, Spring 2006 collection. Lent by Mrs. Kelly Ellman. Courtesy of Phoenix Art Museum. RIGHT: ALEXANDER MCQUEEN Dress (Plato’s Atlantis) Silk digital-printed in Como, Italy, Spring 2010 collection. Lent by Suzy Kellems Dominik. Courtesy of Phoenix Art Museum. 26

Surface Design Journal

LEFT–RIGHT: MICHAEL ANGEL PONCHO Tunic & Leggings Digital-printed silk chiffon and lycra spandex. Lent by Michael Angel. JEAN-PAUL GAULTIER Dress Digital-printed silk. Lent by Mrs. Kelly Ellman. ISSEY MIYAKE WITH YASUMASA MORIMURA Pleats Please Dress (Guest Artist Series) Digital-printed polyester, 1996. Lent by Nancy Stanton Talcott. RALPH RUCCI Dress Silk digital-printed in Como, Italy, Spring 2010 collection. Courtesy of Phoenix Art Museum.

the intersection of design and technology, PAM’s Digital Print Fashion exhibition (March 2–July 14, 2013), curated by Sewell, was probably the first to focus exclusively on digital printing inside the fashion system. Objects from PAM’s collection were used to illustrate an historical timeline of advances in printing technology that gave context to eye-popping state-of-the-art prints. As curator at “one of only a handful of art museums in the country with a long and continuously active fashion program,” Sewell’s mission is to present fashion’s critical issues and current topics. She framed the latest advancements in digital printing as the biggest game-changer since the industrial revolution of the 19th century. “It has changed the way designers design,” she observed, “so it was appropriate for us to look at that influence.” Foremost among the influential is Greek native Mary Katrantzou, who has shaped her work around digital prints since studying textile design as an undergrad at Central Saint Martins in London. Her graduate work there in fashion design launched her career in 2008, and she has been setting the pace for print innovation since. Katrantzou’s work exemplifies what is revolutionary about digital printing. It is about the interplay—and placement—of photo-real pattern as it wraps form. Pattern repeats are no longer necessary, as imagery can be programmed 28

to print anywhere on the fabric as it passes through the printer. She strategically places layered images of jewels, perfume bottles, metallic filigree, even interior scenes, on a cotton/silk blend that is sewn into sculpture that reimagines the architecture of the body. (Katrantzou briefly studied architecture at Rhode Island School of Design). Rendered in high definition trompel’oeil, with the unlimited range of color now possible with a new generation of printers and inks, her work is a pop-art collage of the luxurious and the comic; a high status parody of the trappings of high status. With her signature Katrantzou style in demand, she has collaborated with brands and artisans from across the spectrum of fashion. She has designed bags for Longchamps and collections for Topshop, as well as denim lines and shoes. Her 2014 collections are embellished with both Swarovski crystals and ornate Lesage embroidery; they are an ecstasy-inducing mustsee for textile cognoscenti on her website. UK-based Bruno Basso and Christopher Brooke (aka Basso & Brooke) launched a line of digital-print-driven ready-to-wear in 2005. A hooded and brooding confection of ruffles, graphic stripes, ombré hems, and bands of color from 2006 was a show-stopper in PAM’s Digital Print Fashion exhibition, but the duo has since shifted to an online “studio” format with a focus Surface Design Journal

ABOVE: MARY KATRANTZOU Caven (Dress) Autumn/Winter 2013 collection, digital printing. Courtesy of the artist. LEFT: MARY KATRANTZOU Typewriter (Dress) Autumn/Winter 2012 collection, digital printing. Courtesy of the artist. Fall2014

ABOVE: (left) BRENDA ROSSEAU Reproduction 18th century Polonaise dress & petticoat Silk digital-printed by first2print, New York, 2010. Lent by Colonial Williamsburg Foundation, Costume Design Center. (right) JEREMY SCOTT Jukebox Dress Stretch polyester, transfer digital-printed by first2print, New York, 2007. Lent by Jeremy Scott. Courtesy of Phoenix Art Museum. RIGHT: First2print digital colorist checks the quality of custom dress panels for JEREMY SCOTT'S Jukebox Dress. This showstopper collaboration between JEREMY SCOTT, Design Works International, and first2print went from concept to runway-ready garment in only 7 days. Courtesy of Danielle Locastro and first2print.

on men’s tops, hats, shoes, scarves, and lampshades that have rightly earned them the reputation as “the Pixar of clothes.” On their website, Basso & Brooke state that they are “the pioneers of the digital print process in fashion.” While they may, in fact, be the first designers to present a “100% digitally-printed collection,” they are certainly not the only pioneers of digital—or the earliest. Perhaps they were too young to remember Issey Miyake’s pioneering prints on pleated polyester that further revolutionized his Pleats Please collection in the early 1990s. The skillful grouping of a Miyake ensemble from 1996 next to gowns by Ralph Rucci and Jean-Paul Gaultier—all of which reference classical sculpture—were among the most aesthetically pleasing (and fine art-derived) moments in the PAM show. Other examples of art and design dialog on view were artist Jeff Koons’ works on dresses by designer Lisa Perry, who was given full access to his catalog when choosing images for her Artist Collections series. An ethereal ensemble from 2008 by Miuccia Prada captured the work of illustrator James Dean (of children’s book Pete the Cat fame) on silk organza. 30

A more enigmatic pairing at one end of the exhibition was an 18th century dress à la polonaise next to a truly Pixar-esque jukebox mini-dress from 2007 by designer Jeremy Scott. Though obviously a wink at the history of how styles change, the hidden connection is that both garments were produced in the NYC atelier of first2print, the go-to shop for the latest advancements in digitally-printed textiles. The go-to gal that runs that shop is Danielle Locastro, a fine arts major in printmaking turned textile designer turned early adopter of CAD (computer-aided design) for textiles. “Back in the 80s, most textile designers were wary of computers, of losing the connection to the hand, the paintbrush, and to color,” she observed. “Once you embraced CAD, you were considered a technical person—not an artist anymore. But I was into color and I kept with it, going much deeper than most designers do.” Her 360 degree experience—from designing and engraving at the mills, to running CAD departments in apparel companies, learning licensing, import, export, and print development (even to selling Encad printers)—made her the ideal person to direct operations when first2print opened in 2000. Surface Design Journal

“We approach fabric as a medium of creative expression,”

Locastro has been on the front lines of the revolutionary refinement of ink-jet printers, color clarity and range, inks (acid, reactive and pigment), printable fabrics, and the off-shoring of the textile industry. Though first2print started out as a service for designers who wanted quick and accurate sample fabrics, Asian mills now demanding large minimum orders have made it an affordable option for a designer seeking small runs of 50-500 yards of high-quality printed goods. Their team works with home furnishings, apparel, accessories, gifts, toy companies, museums, and theatrical designers. Steering an idea from possibility to reality is first2print’s defining stock-in-trade, which they deliver with highly personalized collaboration. Their palette includes Mimaki, DuPont, Mutoh, and Epson printers, color matching programs, and pre- and post-printing processes. They do not offer DIY fabric-by-the-yard. They do find the answer to “how do I get THIS (effect)?” when designers—as well as artists, costumers, conservationists, and curators—come asking. Locastro served as an informed source when Dennita Sewell was researching the PAM Digital Print Fashion exhibit. Spider-man 3 film star Tobey Maguire wore a suit printed on special performance nylon by first2print. When Mattel asked Jonathan Adler to design a real-life dream house for Malibu Barbie’s 50th anniversary, they printed the collage of Barbie images used for screens and corset-backed chairs. The TV show Extreme Home Makeover tapped them for custom sheeting fabric with a manic deadline. Recreate fabric for the Jungle Room at Elvis Presley’s Graceland Estate? No problem. Golf cart covered in Lilly Pulitzer prints? Check. And, of course, first2print digitally replicated fabric for Brenda Rosseau’s 18th century dress in PAM’s show from a rare fragment of painted silk as part of a commission for a Colonial Williamsburg reenactment in 2010. Connecting client concepts with the means to express them, first2print created the components of artist Georgia Sagri’s work chosen for the 2012 Whitney Biennial as well as one-of-a-kind dresses by LA Designer Cait Reas (in collaboration with C.E.B. Reas) that make visual the pathways of synthetic neural systems.

CAIT REAS Tissue Collection Exhibition view at Concrete Image Store, Amsterdam, 2007. Created in collaboration with C.E.B. Reas. Photo: Eelco Borremans. Courtesy of Danielle Locastro at first2print.

“We approach fabric as a medium of creative expression,” Locastro explains. “We help design the whole project—not just the printed fabric. We look at the whole concept, then design using the parameters of the desired end result.” As Sewell’s “best of” curation shows, the days of generic software-generated kaleidoscopic and mirrored motifs in psychedelic fuzz tones on polyester are over. Alexander McQueen’s masterfully manipulated imagery is crisply articulated across three different fabrics—including silk. With services like first2print ready and willing to produce short runs, state-of-the-art digital textile design is now accessible to anyone’s hyper-real imagination, whether captured via camera phone or collaged from original work. For makers working in textile media, this opens up an unlimited world of cyber-possibility. And with a 3-yard minimum, it’s no cartoon fantasy. 1online.wsj.com/news/articles/SB1000142405274

8703691804575254323401031384 Alexander McQueen: Savage Beauty: blog.metmuseum.org/alexandermcqueen Mary Katrantzou: www.marykatrantzou.com Phoenix Art Museum: www.phxart.org/exhibition/digitalprintfashion Basso & Brooke: www.bassoandbrooke.com Issey Miyake Pleats Please: www.isseymiyake.com first2print: www.first2print.com Cait Reas: www.1of1studio.com

—Leesa Hubbell is a writer, designer, and professor at Fashion Institute of Technology, and editor of SDA Digital Publications. A veteran of the NYC design industry, she writes for Surface Design Journal about trends in fashion and the textile arts.

Fall2014

E POSURE

MORGANE DUCHÊNE RAMSAY Concordia University Montreal, Quebec, Canada Une Maison Courtepointée/ A Quilted house Cotton, linen, wool, polyester, rayon, wood, velcro, quilting, embroidery, 12' x 6' x 7.5', 2014.

MICHAEL MAMP Iowa State University Ames, Iowa Hidden Words Down the Rabbit Hole II Silk noil, flour paste resist, low-water immersion dyeing, stenciling, stamping, color discharge, machine embroidery, beading, 28" x 24", 2014. Photo: Guys & Dolls Photography.

ABIGAIL POTTS Tyler Scool of Art, Temple University Philadelphia, Pennsylvania Kyle and Lina Acrylic yarn, tapestry weaving, 22" x 47", 2014. www.abigailpotts.com

Surface Design Journal

LEAH BROTTMAN Oregon College of Art and Craft Portland, Oregon Études cliniques sur l'hystéroépilepsie ou grande hystérie, 1881 (with detail) Cotton fabric, Citra Solv transfer (appropriated images by Paul Richer), polyester batting, quilting, embroidery, 80" x 72", 2013. www.leahbrottman.com

ELIZABETH REDMOND ODIORNE Arizona State University Tempe, Arizona Ceaseless Screen print on linen, 100" x 50", 2014. www.elizabethodiorne.com

LIZ DEBELLIS Kent State University Kent, Ohio Canton Cotton yarn, cotton fabric, chemical and natural dyes, steel armature, handwoven jacquard, 25" x 60", 2014. www.lizdebellis.net Artists represented on the “Exposure” pages are members of the Surface Design Association (SDA). This issue features the work of 2014 Outstanding Student Award recipients. The purpose of this award is to increase awareness of SDA’s mission by rewarding innovative work in textile media by student makers. Recommended by the Head/Chair of their department, recipients receive a certificate and a one-year SDA Student membership. To see work by all of the 2014 Outstanding Student Award recipients (as well as previous years) and learn more about the selection criteria, visit surfacedesign.org/outstanding-student-award-2014. The next application deadline is April 1, 2015. Fall2014

i nr eview New York, New York Reviewed by Patricia Malarcher

Whitney Biennial 2014 Whitney Museum of American Art With three different curators, each given a floor to fill with objects of desire, this year’s Whitney Biennial (March 7–May 25, 2014) offered a broader sweep of works than the usual mix assembled by a team. With predictable edginess, the show confirmed the assimilation of fiber into current art practice. This was particularly evident in Michelle Grabner’s selections for the fourth floor. Grabner, an artist and professor at the School of the Art Institute of Chicago, acknowledged that a personal interest in materials influenced her “pleasurable collection.” If this felt, at times, like an over-crowded party with every object talking at once, close listening revealed a lively dialog. Artworks incorporating fiber and fabric, scattered throughout the exhibition, prompted reflection on how materials, process, and meaning are intertwined. In Sheila Hicks’ Pillar of Inquiry/Supple Column, a multicolored mass of yarn plunges from ceiling to floor, each strand and squiggle energizing the vertical thrust. Happily, this recognition of Hicks after her half century of innovation includes a quartet of intimately scaled woven works. Contrasting with Hicks’ cascading fiber, in which ambiguous meaning was directly communicated by material, the functional role of the drab blanket covering David Hammond’s canvas overpowered its textile character. Hammond’s piece was mounted on Gaylen Gerber’s Backdrop, a hand-painted 40-foot wide faux wall. In the role of artist-as-curator, Gerber hung paintings by other artists on the wall and changed them periodically during the show. The tactility of long scribbly stitches penetrating both sides of Dona Nelson’s String Beings equalizes the front and back of her paintings. In Molly Zuckerman-Hartung’s Notley, aggressive slashes in the pieced-together drop cloth reinforce the feeling of urban grit projected by the large “NO” in black and gray paint. The emotional resonance of antique textiles informs Joel Otterson’s Camp, in which lace fabrics serve as roof and walls for a life-size tent. In Dan Walsh's subtly complex painting Outfit, the repeated pattern of pill-shaped yellow modules on a 70-inch square canvas recalls not only traditional quilts but also Peruvian textiles, which the artist cites as a reference. 56

SHEILA HICKS Pillar of Inquiry/Supple Column Acrylic, linen, bamboo, and silk, 204" x 48" x 48", 2013-14. Collection of the artist, courtesy of Sikkema Jenkins & Co., New York. Photo: Bill Orcutt.

On the third floor, Stuart Comer, Chief Curator of Media and Performance Art at New York’s Museum of Modern Art, organized groupings that featured multiple aspects of each artist’s work. Thus, poet and painter Etel Adnan was represented by hand wrought accordionfold books, small minimal landscapes, and an abstract tapestry. Although its colorful graphic design was flawlessly fabricated by Aubusson weavers, the tapestry’s flat surface seemed Surface Design Journal

ABOVE: (Right) JOEL OTTERSON Camp Cotton and polyester lace, silk, copper plumbing pipe and fittings, redwood, aromatic cedar, bamboo, 69" x 129" x 64", 2014. Collection of the artist, courtesy Maloney Fine Art, Los Angeles. (Left) DAN WALSH Outfit Acrylic on canvas, 70" x 70", 2013. Collection of the artist, courtesy of Paula Cooper Gallery, New York. Photo: by Bill Orcutt. LEFT: DONA NELSON String Beings Acrylic and painted string on canvas, 82" x 82", 2013. Collection of the artist, courtesy Thomas Erben Gallery, NewYork. Photo: Bill Orcutt.

MOLLY ZUCKERMAN-HARTUNG Notley Latex housepaint, enamel, and spray paint on dropcloth (hinged, in two attached parts), 96" x 132", 2013. Courtesy of the artist and Corbett vs. Dempsey, Chicago. Photo: Tom Van Eynde.

impersonal, lacking the sense of engagement with process that marks Adnan’s other works. Lisa Anne Auerbach’s knitwear initially came across as surprisingly unironic and straightforward winter outfits. At second glance, however, patterns that looked conventionally decorative proved to be statements addressing current issues, such as gender politics. Machine-knit fabric is again the message-bearing medium in Auerbach’s wall piece Untitled Psychic Banner embedded with New Age bites of wisdom. In Channa Horwitz’s geometric sequences on graph paper, meant as notations for dancers or musicians, a textile-oriented eye might envision diagrams for narrow weavings. The observation should not diminish Horwitz’s work, but rather affirms that textiles draw from a universal pool of visual perception.

LISA ANNE AUERBACH (outfits from left to right) Journal Pants, Winter 2012-12 (2013) and You can have your kumbaya, I’ll take the darkness (Black Sheep Sweater) (2013); No On 8 (Ghost) (2009) and Exhaust the Limits (2012); We Are All Pussy Riot, We Are All Pussy Galore (2013) and SxE Poseur 2005 (2014). On the wall is Untitled Psychic Banner (wool, 60" x 72", 2013). Collection of the artist, courtesy of Gavlak Gallery, Palm Beach. Photo: Bill Orcutt.

While the exhibition’s overall mood seemed tamer than previous Biennials, Anthony Helms, Associate Curator at the Institute of Contemporary Art in Philadelphia, seasoned his second floor assortment with outrageous intervals. An example is Bjarne Melgaard’s roomful of doll-like life-size mannequins, garishly patterned plush upholstery, weird toys, and projected films of battles, both human and animal. A comment on the ubiquity of violent images, it also evoked the hypnotic entrapment of a departure gate lounge. www.whitney.org/biennial —Patricia Malarcher, studio artist and independent writer, is a former editor of the Surface Design Journal.

Fall2014

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SURFACE DESIGN ASSOCIATION name: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . company/organization: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . street: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . city: . . . . . . . . . . . . . . . . . . . . . . . state: . . . . . . . . . . . . . . . . . zip code . . . . . . . . . . . . . . . phone: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . e-mail: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (You must provide either an e-mail or phone contact so we can reach you) Payment: VISA DISCOVER MASTERCARD

account number . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .expiration date . . . . . . . . . Cardholder’s Name: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cardholder’s Signature: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Billing address if different than mailing address: street: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . city: . . . . . . . . . . . . . . . . . . . . . . . state: . . . . . . . . . . . . . . . . . zip code . . . . . . . . . . . . . .

SDA Membership brings Surface Design Journal to your mailbox 4 times a year - plus much more: • Stay connected to textile arts community news via monthly eNews email + NewsBlog. • Be seen! Submit your work for consideration to SDJ’s Exposure & SDA exhibition calls-for-entry. • Get more hits! Create your own member profile webpage on SDA Website which gets over 100,000 visitors a month.

• Get promoted! Use SDA Website Calendar to publicize your workshop or exhibition. • Share the passion! Borrow 1 of 3 SDA Swatch Collections to inspire a class or local meeting with this extraordinary educational resource (also downloadable). • Get funded! SDA Grants & Awards can help support your personal development or local textile arts lectures & events.

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Join online at surfacedesign.org/membership