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Fiber Art now fibers | mixed media | textiles

WEAVING

TECHNOLOGY

& NATURE IN FIBER ART VOL 6 | ISSUE 1 | FALL 2016 $12US / $14CAN

KINETIC SCULPTURE WEARABLE ART EMERGING ARTIST SHOWCASE FELT MAKING RUST & NATURAL DYEING


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‘Having discovered a love for textiles, I wanted to further my own practice. The OCA was the perfect option’. Ailish Henderson

LIVE | LEARN | CREATE


FEATURES TAKING A STEP BEYOND

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FIBER FUSION

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BY ANN HARRINGTON BROCKETTE

Elizabeth Busch is fully experienced with the unexpected turns life takes on the journey to be an artist, turns that have reinforced her commitment to step beyond the barriers ahead of her. Today, Busch uses pure pigments, mica powder, metal leaf, and digital imagery to create large-scale painted quilts and kinetic sculptures that project a constantly changing landscape of illusion and reality. See how her monumental works dramatize the movement, vibrancy, and motion of the earth and sky.

BY ANNE LEE & ASHLEY ROONEY

What constitutes fiber? How can we combine fibers with other processes and mediums? Both fiber and encaustic are enjoying a creative revival, and artists are discovering that their cross-pollination opens new expressive avenues. Enjoy the journey as we explore how three artists, Deborah Kapoor, Joan Stuart Ross, and Michael Billie, are integrating fiber into encaustic, a laborintensive, ancient medium, based on the use of melted, dyed beeswax.

COYNE 40 JENNIFER QUDEEN EXPLORES

THE COLORS OF RUST

BY TRUDI VAN DYKE

Artist and mark maker Jennifer Coyne Qudeen enthusiastically describes the characteristics that ensure that mark making with rust is as rewarding as it is unpredictable. She is fascinated with the vibrancy and stealthy possibilities that rusting presents, and loves experimenting with endless combinations. Revel with us as she reveals rust’s sometimes unpredictable, yet complex, results.

STRATA: THE WORK OF

44 ERMA MARTIN YOST BY LEANNE JEWETT

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Trained as a painter, Emma Martin Yost’s creative canvas of choice is felt. Her rich hand-felted and stitched work is the result of layering, not only of materials and mark making, but also of knowledge, experience, and technique. Layers of time, layers of material, and layers of process—the culmination of Yost’s continuing journey of discovery will inspire you.


LEON YOST

DEPARTMENTS 4 FROM THE EDITOR 5 FILM REVIEW FIBER HAPPENINGS 6 Circular Abstractions:

Bull's Eye Quilts

BY ART MARTIN 10 The Box Project:

Uncommon Threads

BY LYSSA C. STAPLETON 14 Technology, Fiber,

& Fashion

BY ADRIENNE SLOANE 18 Bojagi: A Living Tradition

2016 Korea Bojagi Forum BY MARA TEGETHOFF

22 Emerging Artists

Showcase

CURATED BY

MARCIA YOUNG

ARTIST PROFILES 50 Robert Hillestad

Celebrates Creativity

BY SUZANNE SMITH ARNEY 56 STUDIOS ON VIEW

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CONFERENCES, EXHIBITIONS, TOURS & TRAVEL, & CALLS FOR ENTRY

COMPILED BY ROSEMARIE STEELE

ON THE COVER: Erma Martin Yost, Meditation Garden; 2014; wool, heat transfer on polyester fabric, cotton thread, turquoise beads; hand felted, resist dyed, hand stitched; 17 x 17 x 2.5 in. ABOVE: Riana Bovill, Dreaded Self-Portrait #2 (Detail); Full image and credit p. 21 OPPOSITE PAGE: Laura Bowman, wave…what a ride…what a fantastic ride... (Detail).Full image and credit, p. 23


LETTER FROM THE EDITOR WITH A FOCUS ON TECHNOLOGY AND NATURE IN THIS ISSUE, it occurs to me that the dichotomy between these two worlds is often overstated. Nature itself gives us glimpses into its advanced technology. Indeed, the rise of bio-architecture reflects our realization that nature’s forms are inherently sophisticated beyond our own imagination. In Technology, Fiber, and Fashion (page 14), we explore the world of technology and fibers from the view of two exhibitions that ran concurrently at the Museum of Fine Arts Boston and the Metropolitan Museum (The Met) in New York. What if our clothes responded to our environment? How would you feel about pulling on a garment that just came off of a 3-D printer? These innovations are just two of the concepts explored in these forward-thinking exhibitions that include eminent designers, such as Alexander McQueen. We also turn our attention to the organic, ancient medium of encaustic—tactile, warm, and sensuous. Fiber Fusion focuses on the exploration of three encaustic artists and how they integrate fibers into their pieces. Encaustic has been considered the red-headed stepchild of fiber art, and I soundly reject that opinion. Turn to page 34 to explore this complex, layered work from three distinct perspectives. A fitting example of embracing both the natural and technical is our new Emerging Artists photo spread beginning on page 22. Capturing a glimpse of what is happening in college fibers programs and the studios of emerging artists is

stimulating and idea-generating for me. I hope that these early works from our fiber future will inspire you, too. By the time you read this, I will have been to the 2016 Korea Bojagi Forum. This will be my first trip to South Korea. I can’t wait to connect with all of the attendees! I am honored to be one of the speakers and will focus on materials reuse and upcycling. If you have not attended before, I encourage you to learn more and consider it in the future (www.koreabojagiforum.com). Don’t forget that Excellence in Fibers 2016 submissions close October 1. Learn more and submit your work at www.fiberartnowentry.net. This year we have added more prizes, organized entries into five categories, and many of the selected works will be shown in a full exhibition at the New Bedford Art Museum, New Bedford, Massachusetts, from January 29, 2017 to March 19, 2017 (www.nbam.org). Finally, I wanted to mention that we are planning an adventure to the Tuscany region of Italy from March 26 to April 3, 2017. We have curated a unique experience for fiber and textile artists. Our trip will include learning from renowned fiber art teachers, attending an exhibition opening at Dyeing House Gallery (DHG) in Prato (www.dyeinghousegallery.com/en), and enjoying Italian food and wine, all of which are sure to cure…well…anything! Did I pique your interest? Learn more at www.fiberartnow.net/tuscany. THANK YOU ALL FOR BEING PART OF THE FIBER ART NOW COMMUNITY! Warmly,

Marcia Young Editor in Chief

We must stop seeing tech and nature as sparring partners, and start concentrating on helping them to dance. – MOLLY FLATT

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EDITORIAL & DESIGN Marcia Young Publisher & Editor in Chief editor@fiberartnow.net Leanne Jewett Managing Editor leannejewett@fiberartnow.net Lori Beda Butanis Creative Director creative@fiberartnow.net Cami Smith Media Manager & Contributing Editor camismith@fiberartnow.net SALES Kathy Velis Turan Advertising Director advertising@fiberartnow.net Rosemarie Steele Outreach & Sales Associate outreach@fiberartnow.net CIRCULATION Peter Walsh Circulation Director circulation@fiberartnow.net ADVISORY BOARD Bruce Hoffman David McFadden Jane Sauer Fiber Art Now (ISSN 2163-5358) is published quarterly (Spring, Summer, Fall, Winter) by Fiber Art Now, a division of M. Young & Associates, Inc. (226 A County Road, East Freetown, MA 02717). Periodical postage paid at Fall River, MA and additional mailing offices. All annual subscriptions are four issues. POSTMASTER: Please send address changes to Fiber Art Now, PO Box 15035, North Hollywood, CA 91615-5035. Customer service: (818) 286-3151, subscriptions@fiberartnow.net. Contents are copyright 2016 by Fiber Art Now and contributing artists. All rights reserved. Reproduction in whole or in part is prohibited without the expressed permission of the publisher. Circulation services are handled by Walsh Media Solutions, www.walshmediasolutions.com, Orland Park, IL. Our web address is www.fiberartnow.net and we may be contacted at circulation@fiberartnow.net.

OUR MISSION

We connect and inspire the contemporary fiber arts and textiles community by featuring the most compelling work, ideas, and craftsmanship in all of our endeavors. Fiber Art Now serves artists, arts professionals, learners, educators, collectors, and related organizations. We are a worldwide community in support of what we love.


FILM REVIEW

YARN

REVIEWED BY ADRIENNE SLOANE The new documentary release Yarn from the Icelandic filmmaker, Una Lorenzen brings fiber as art to the broader community in a new format. Previewed initially in the US at Austin’s SXSW (South by Southwest Conferences & Festivals) in March, screenings continue to be held at art centers and festivals around the country.

Tilde Björfors, the founder and creative director of the contemporary Swedish circus company Cirkus Cirkör, whose very well-received production Knitting Peace premiered in the US last April. In spite of abundant wool references, most work in synthetics. Barbara Kingsolver’s recital of her prose piece “Where to Begin” from Knitting Yarns: Writers on Knitting loosely ties these “yarns” together.

Shot in vignettes in the choppy style of new media and interspersed with scenes of sheep grazing in a lush Icelandic landscape, the film follows four fiber artists around the world from Iceland to Barcelona, Berlin, Rome, Cuba, and New York City as they show off their work and the material they love. Engagingly profiled, the work presents fiber art interpreted in a variety of original ways. The artists include Japanese sculptor Toshiko Horiuchi MacAdam, who crochets colorful children’s playscapes; Iceland’s Tinna Thorudottir Thorvaldsdottir, who yarn bombs lamp posts and blank walls in Reykjavik and Havana; the Brooklyn-based Polish crochet artist Olek, known for her provocative public installations and performance art; and

Visit Yarn’s website www.yarnfilm.com for information about screenings and its upcoming iTunes release.

Adrienne Sloane is a Boston-based studio artist who teaches and shows internationally. Her sculptural knit work can be seen at www.adriennesloane.com.

SEPTEMBER 11, 2016 - JANUARY 15, 2017

PHotos by bruce M. WHite © LLoyd cotsen, 2016

Featuring widely divergent fiber-based works produced by 36 acclaimed international artists.

Free Admission This exhibition was organized by the Cotsen Foundation for Academic Research with the Racine Art Museum. GyönGy Laky

PaoLa Moreno

ana Lisa HedstroM

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FIBER HAPPENING

CIRCULAR ABSTRACTIONS BULL’S EYE QUILTS

BY ART MARTIN, ASSOCIATE CURATOR, MUSKEGON MUSEUM OF ART THE 51 QUILTS IN THE TRAVELING EXHIBITION CIRCULAR ABSTRACTIONS: BULL’S EYE QUILTS, PREMIERING AT THE MUSKEGON MUSEUM OF ART from August 25 through November 6, 2016, have been conceived in improvisation—in building upon or breaking down an established pattern into something new and individually expressive. Guest curator Nancy Crow challenged the 43 participating artists to create unique designs based upon the bull’s eye pattern: four circles

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comprised of concentric rings (the iconic target symbol), set in a grid of four blocks, or quadrants. Artists from the United States, Australia, Canada, New Zealand, and South Africa responded to the invitation, deconstructing and re-assembling the bull’s eye into new compositions. The result is a strikingly complex body of images, with each piece conveying its own distinct voice. Many of the artists maintain the quadrants, with circles that vary from the rigidly geometric to wildly organic. For others, the circles break their boundaries, shift in

scale, or even come to dominate the entire plane. This variety is a celebration of creativity and visual experimentation, and an invitation to experience the myriad possibilities of color and shape. Circular Abstractions represents the culmination of a long series of inspirations and experiments in art making and teaching. Every quilt has been made exclusively for this exhibition, and thus every artist is working, from the outset, from an identical foundation: the bull’s eye pattern. This common origin provides the viewer an

entry point to understanding and appreciating the art as a body of work and individually how each artist has transformed the bull’s eye into something remarkable and new. The exhibition is also a statement, as expressed by guest essayist Petra Fallaux, on the freedom that contemporary quilt makers have to “address multiple histories of visual language,” to look not only at quilts but paintings as well, and to engage in the “languages of minimalism, color field painting, constructivism, and abstract expressionism.”


Art to Wear

at Racine Art Museum

Yulie Urano Cocoon

Learn more about fall art exhibitions and events at ramart.org or 262.638.8300

ABOVE LEFT TO RIGHT: Stefani Danes, Round and Round; 100% commercial cottons, machine pieced and quilted by artist; 75.75 x 80 in. Kaci Kyler, marks III; 100% commercial cottons, machine pieced and quilted by artist; 74.25 x 79 in. Kathy Mishima, Life Orbits; 100% cottons, commercial and hand dyed by artist, machine pieced and quilted by artist; 78 x 79 in. All photos by Aron Gent

Nancy Crow’s inspiration for the bull’s eye came from the traditional pattern “New York Beauty,” from the 1935 book The Romance of the Patchwork Quilt in America by Carrie A. Hall and Rose Kretsinger. Nancy writes, upon discovering this book that she “found black and white illustrations inside that made the old quilt patterns intensely graphic and appealing!” She followed with a series of her own interpretations of the pattern, “making it either stunningly complex or simplifying it down to its most basic elements.” These experiments led to the realization that the “New York Beauty” pattern was an ideal starting point to teach students to work large and improvisationally. In 2003, she launched the project in her Lines, Curves, Circles and Figure/Ground Composition

course. She repeated the course, with some refinements, in 2004, with a group of 15 students. From their experiences, Nancy further adjusted the exercise, refining the focus to the clearest elements of the pattern: the bull’s eye. The new pattern became the foundation for the ongoing assignment, Design Exercise #4: a Four-Plex of Bull’s Eyes, and the ultimate inspiration for this show. In 2013, ten years after the course first launched, Nancy approached us about assembling an international, juried exhibition of bull’s eye quilts. A flurry of letters to artists around the world followed, inviting them to submit a bull’s eye quilt for consideration. Once submissions arrived, a year of back-and-forth between Nancy and the artists began as she

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challenged them to refine, re-work, and sometimes abandon altogether their submitted entries. The resulting 51 quilts are stunning and a testament to the artistry and technical skill of their creators. Building on the scope of this collaboration, the exhibition is accompanied by a 180-page, full-color catalog and will travel, in part and in full, to multiple venues at the close of its premiere. Venues currently include the Decorative Arts Center of Ohio, Lancaster, Ohio; the Fuller Craft Museum, Brockton, Massachusetts; the Schweinfurth Memorial Art Center, Auburn, New York; the Kalamazoo Institute of Arts, Kalamazoo, Michigan; and the Westmoreland Museum of American Art, Greensburg, Pennsylvania. For more information, visit www.muskegonartmuseum.org.

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LEFT: Patricia Altenburg, Higgledy Piggledy #2; 100% cottons, commerical and hand dyed by artist, machine pieced and quilted by artist; 77.5 x 76.75 in.


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FIBER HAPPENING

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THE BOX PROJECT

UNCOMMON THREADS BY LYSSA C. STAPLETON, CURATOR, THE COTSEN COLLECTION

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— Mary Hunt Kahlenberg, circa 2004

THAT COMPELLING PROPOSITION, WHICH COMMENCED IN 2004, developed into The Box Project, a beautiful new book, and a museum exhibition titled The Box Project: Uncommon Threads that is travelling the United States beginning this fall. The remarkable collection that is the focus of the book and exhibition consists of 39 commissioned pieces by 36 international artists, and was assembled from 2004– 2013 by Lloyd Cotsen and his then textile curator, Mary Hunt Kahlenberg, who passed away in October of 2011. Most of the artists represented in this collection work with fiber, whether they self-identify as fiber artists or not. And the works reveal the incredibly wide and ever-expanding range of fiber materials and processes used by artists, and the innovative ethos of the fiber arts movement. In fact, many of the artists represented push the definitional boundaries of fiber. Plastic tubing, copper wire, paper, manzanita wood, zippers, buttons, beads, magnets, reflective tape, rubber sponges, and spools of thread are used to great effect. Similarly, the themes and appearances of the works

themselves are as numerous as the materials employed. The focal point of The Box Project publication and exhibition is the interrelationship among the artists, their work, and the collector, as well as the evolving position of fiber art in the larger art world. The folios that compose the body of the book in conjunction with the exhibition spotlight the artists and their Box Projects through photographs and interviews or artist statements, and provide an opportunity for the artists to share their perceptions and experiences of the project and to discuss the their own work and creative method. While the Box Projects are often works in miniature—most presented in their accompanying 23 x 14 x 3-inch or 14 x 14 x 3-inch box— each of the artists has a broad skill set and creative spectrum, and many of them often work on a much larger scale.

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Together, these works illustrate Cotsen’s and Kahlenberg’s recognition of the relevance and vibrancy of fiber arts. Their objective for The Box Project was to encourage fiber artists to explore different spatial limits and to challenge artists who worked

1 Mary Bero, Compendium; 2012-13; cotton cloth, linen cord, paper, silk, and cotton thread, spools, metal wire, pins, and embroidery, mounted in a wood box painted with acrylic paint 2 Masae Bamba, Reborn; 2009; shibori dyed silk organza and cotton, wire 3 Sherri Smith, Water Table; 2004; handwoven strips of printed cotton cloth, supported by foam core board 4 Hisako Sekijima, Spaces and Lines; 2005; knotted and woven walnut tree bark 5 Hideaki Kizaki, Untitled; 2009; plain-woven jute dyed with natural dyes and wrapped vines in a stained pine and cedar box 6 Ana Lisa Hedstrom, Fissures; 2005; hand-pleated shibori dyed silk BACKGROUND: Hisako Sekijima, Spaces and Lines (Detail) FALL 2016 • FIBERARTNOW.NET

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primarily on a single plane to expand into other geometries. Cotsen has a longtime fascination with the woven form: the flexibility of the medium, its dexterity and ability to fill space, to be rigid or pliant, to cover walls or floors, and to be sculptural or flat. The genius of fiber art is how it challenges and transcends the typical categories imposed on art. Fiber artists are, to some degree, renegades, and these are the artists whose boundaries we wanted to challenge. The thirty-six artists whose work appears in The Box Project are Masae Bamba, James Bassler, Mary Bero, Zane Berzina, N. Dash, Virginia Davis, Carson Fox, Shigeki Fukumoto, John Garrett, Ana Lisa Hedstrom, Helena Hernmarck, Agneta Hobin, Pat Hodson, Kiyomi Iwata, Gere Kavanaugh, Ai Kijima, Hideaki Kizaki, Lewis Knauss, Nancy Koenigsberg, Gerhardt Knodel, Naomi Kobayashi, Gyöngy Laky, Paola Moreno, Jun Mitsuhashi,

Kyoko Nitta, Hisako Sekijima, Barbara Murak, Cynthia Schira, Heidrun Schimmel, Carol Shinn, Sherri Smith, Hadi Tabatabai, Koji Takaki, Aune Taamal, Richard Tuttle, and Peter Weber. The Box Project: Uncommon Threads is curated by Lyssa C. Stapleton, Curator, The Cotsen Collection and Bruce W. Pepich, Executive Director and Curator of Collections, Racine Art Museum. The exhibition will debut at the Fowler Museum at UCLA in September 2016, and then travel to the Racine Art Museum and the Textile Museum at George Washington University. The book The Box Project: Works from the Lloyd Cotsen Collection Collection was published in July 2016 and is available at each exhibition venue. Visit www.fowler.ucla.edu/ exhibitions/box-project-uncommonthreads to learn more about the exhibition. All photos by Bruce M. White © Lloyd Cotsen, 2016

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7 Naomi Kobayashi, Cosmos; 2005; rolled gampi paper marked with sumi ink, paper thread woven in plain weave


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FIBER HAPPENING

TECHNOLOGY FIBER & FASHION BY ADRIENNE SLOANE 14 FIBERARTNOW.NET • FALL 2016


LAST SPRING THE DEFENSE DEPARTMENT AWARDED $317 MILLION TO MASSACHUSETTS INSTITUTE OF TECHNOLOGY to oversee a new public-private partnership named the Advanced Functional Fabrics of America (AFFOA) Institute, focused on accelerating innovation in high-tech, USbased manufacturing of fibers and textiles. The partnership will include 32 universities, 16 industry members, 72 manufacturing entities, and 26 startup incubators. With breakthroughs in fiber materials and manufacturing, this partnership has the potential to create a whole new industry based on “technical textiles,” which are in some cases being designed to respond to sound or light; communicate; store energy; monitor health; control temperature; or change color. Such smart textiles will no doubt have wide-ranging applications including uses in military technology, medical care, wearable technology, and fashion.

Such ideas are already penetrating the art and fashion world. Recent exhibits exploring the synergy between fashion and technology ran concurrently at the Museum of Fine Arts (MFA) in Boston and the Metropolitan Museum (The Met) in New York only last spring. MFA’s exhibition, #techstyle, drew on its collection of contemporary fashion and accessories to showcase the future of fashion. Included in the exhibit were clothes that responded to the environment as well as garments from a 3-D printer that emerged ready to wear, preprinted hinges incorporated as an integral unit. As Michelle Tolini Finamore, Penny Vinik Curator of Fashion Arts described it, “ One of the most exciting aspects of contemporary fashion right now is that designers are experimenting with how garments actually interact with the wearer as well as with the spectator. We have a number of garments in the show which will

OPPOSITE PAGE LEFT: #techstyle, Museum of Fine Arts, Boston. Noa Raviv, Bodysuit from Hard Copy Collection; 2014. RIGHT: Manus x Machina: Fashion in the Age of Technology at The Met. Dress by Iris van Herpen; autumn/winter 2012; haute couture; The Metropolitan Museum of Art, Purchase, Friends of The Costume Institute Gifts; 2015. THIS PAGE ABOVE: #techstyle, Museum of Fine Arts, Boston. Molecule Shoe; 2015; designed by Francis Bitonti; printed with Stratysys Connex 3D Printer, printing software by Adobe Photoshop. FALL 2016 • FIBERARTNOW.NET

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react to your voice, will react to your phone, which will actually react to the environment that surrounds you.” In Manus x Machina: Fashion in the Age of Technology, The Met chose to look at the evolution of fashion and technology through an historical lens. The exhibition was structured around the traditional métiers of the haute couture and the evolution into use of early machinery such as the sewing machine. Current technologies now in use at fashion’s forefront such as 3-D printing, computer modeling, bonding and laminating, laser cutting, and ultrasonic welding were also featured. “Fashion and technology are inextricably connected, more so now than ever before,” said Thomas P. Campbell, director and CEO of The Met. “It is therefore timely to examine the roles that the handmade and the machine-made have played in the creative process.”

Other museums, such as The San Jose Museum of Quilts and Textiles in its International TECHstyle Art Biennial, have been exploring art and technology through textiles for a number of years. There will, no doubt, be more to come. The challenge now is to see how fashion and technology will work together to change the way we interact with our own clothing on a daily basis. Won’t it also be interesting to see how the fiber art world also continues to adopt, use, and interpret these new materials? LEFT: Manus x Machina: Fashion in the Age of Technology at The Met. Dress by Thom Browne; spring/ summer 2013; prêt-à-porter; Courtesy of Thom Browne.

Adrienne Sloane is a Boston-based studio artist who teaches and shows internationally. Her sculptural knit work can be seen at www.adriennesloane.com.

Glacier Bay (detail) Christine White, 2004

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FIBER HAPPENING

BOJAGI: A LIVING TRADITION 2016 KOREA BOJAGI FORUM BY MARA TEGETHOFF

THIS PAGE TOP:Eun Sook Lee, Chair of Understanding (Harbour City, Hong Kong); 2014; plastic chairs, 145 km of fluorescent thread, 18.9 km of polyester film, and 19,000 UV LED lights; 5.25 x 5.25 x 3.60 m. HERE: Chunghie Lee, Noname Women; 2005; hand dyed hemp; hand silk screen printed.

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OPPOSITE PAGE: Jung Sook Lee, Phoenix Embroidered Royal Wedding Bojagi; 2015; silk, silk thread; hand sewn; 120 x120 cm.


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Historical records like Samguk sagi (Annals of the Three Kingdoms, completed in 1145) indicate the use of bojagi as early as the Three Kingdoms period (57 BC– AD 668); however, the practice expanded significantly during the Joseon period (1392-1910), where it evolved into ubiquity for all levels of Korean social class, accompanying and adorning the activities of daily life: covering food, wrapping bedding, household items, and so forth (Moon, 2014). For women living under traditional Confucian rule, bojagi provided creative agency, and a means to share their deep and layered emotional experiences, including blessings of abundance, health, and joy for their children’s weddings. Revealing bojagi as a “living tradition” is one of the driving

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TRADITIONAL KOREAN BOJAGI (BO-JAH-KI)— WRAPPING CLOTHS—WERE HISTORICALLY SEWN WITH REMNANTS OF CLOTH from bedding and clothing, reflecting Korea’s culture of diligent resourcefulness and ethic of “nothing wasted.”The story of bojagi is deep and layered with tradition, one that is particularly relevant to Korean history but that simultaneously encompasses a universal story. It is host to a deep conceptual and metaphorical framework of the feminine, the stitch as embodied attention, and the accumulation of history in form.

form with wide ranging potential for diverse artistic disciplines and applications. As witness to a multitude of exemplary contemporary interpretations of bojagi through her teaching and curatorial work, Lee developed the Korea Bojagi Forum in 2012 as a way to bring together a worldwide community of artists and scholars to appreciate and explore the myriad innovations and explorations that bojagi inspires. The Korea Bojagi Forum’s 3rd biennial exhibition and conference

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PAUL TAKEUCHI

“My hope that the viewer will at some point see themselves in the work, in the processes, and

recognize that they there is an opportunity, an

invitation, a calling, to do things thoughtfully,

artistically, aesthetically, personally. I hope for it to be a clear and heartfelt reminder of individual and collective potential.”

– Chunghie Lee, Director of the Korea Bojagi Forum TOP: R(H)yeon’s Journey (Detail) BOTTOM LEFT: Elaine Longtemps, The Painter’s Apron; 2016; old, paint-splattered, cotton canvas, painting apron cut into strips, scraps of red fabric from a dress made in 1970s; red thread; cutting, piecing, sewing, reverse stitching, fabric collage and stitching; 12 x 12 in. BOTTOM RIGHT: Eun Kyung Suh, R(H)yeon’s Journey; 2013; silk organza, cotton thread, wood, velcro, brackets; 16 x 60 x 15.5 in. each panel. SOURCES Kim, Keumja Pak. “A Celebration of Life: Patchwork and Embroidered Pojagi by Unknown Korean Women” in Young-Key Kim-Renaud [ed.] Creative Women of Korea (M.E. Sharpe, 2004): 163–173 Moon, V. “Bojagi: The Korean Wrapping Cloth.” Unframed. LACMA. (2014, January 14).

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takes place this year from September 1-5 in Suwon, South Korea, hosting work from over 10 countries with visitors estimated in the 2,000+ range. Titled Bojagi: A Living Tradition, the event will focus on a wide range of Korean traditional and contemporary bojagi pieces alongside contemporary “juxtaposition” works whose conceptual framework connect to bojagi, but are not necessarily inspired by it. Like many of the participating artists, The Textile Study Group of New York (TSGNY, www.tsgny. org), investigates the limit of working with scraps, accumulation, recycling/ upcycling. In the Korea Bojagi Forum Catalog Patricia Malarcher writes about the group’s 63 works, sized 12 by 12 inches, which all relate to the

color red creating “a mix that taps every nuance of red from vermillion to scarlet to magenta, pale pink to burgundy. Shrill or subtle, brooding or lush, dyed deeply into fabric or riding on a surface, the works convey the color’s implicit vitality.”These works will subsequently be shown at the Seoul Chojun Museum of Quilting from September 6– October 26 as a traveling exhibition with a small, one-person show by TSGNY member Ruth Marchese and antique bojagi from the museum’s collection.

Mara Tegethoff

is an artist, independent scholar, and educator with active interests in contemplative studio practice, perceptual awareness, and mixed media fiber art.


0 –9, 2 3 r e ob Oct

16

Join w eav the w ers, spinn e orld in ce rs, dyers and b lebra a tion of ou sketmake rs ar r com ound mon herit age!

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From the Museum Collection: Chasing Bubbles by Hiroko Miyama & Masanobu Miyama, Japan

Advancing the Art The National Quilt Museum seeks to educate, promote, & honor today’s quiltmaker. A destination for quilters & art enthusiasts worldwide, the Museum features the finest quilts & fiber art in the world today.

Join us as we celebrate our 25th anniversary!

Visit our website for a list of current & upcoming exhibits.

National Quilt Museum • 215 Jefferson • Paducah, KY 42001

quiltmuseum.org/2016 • 270.442.8856 FALL 2016 • FIBERARTNOW.NET

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Fiber Art Now receives several story pitches per week from emerging fiber artists, and many of them show the exciting new happenings in fiber. Depending on their previous applied arts experience, knowledge of alternate media, age, or education, emerging artists often approach their work with just as much breadth as the mid-career artists. One marked difference is that they are still building the concepts, techniques, exhibitions, and experiences that will carry them forward. For our Emerging Artist Submission, Fiber Art Now is seeking the latest, most exciting work being made by emerging artists. We want to showcase it for the rest of the worldwide fiber art community, curators, and collectors. If your work was not selected for this issue, consider submitting another piece for our spring, 2017 Emerging Artist Submission opportunity. Submissions dates are: December 1, 2016– January 23, 2017. Learn more at www.fiberartnowentry.com.

BY TED CURAYOUNG CIA MAR

Kate Leibrand, Amour; 2016; felt, yarn, acrylic paint, mesh, polyfill, Sculpey; sewing, pinning, drawing, crocheting, sculpting; 96 x 432 in.; Philadelphia, Pennsylvania, USA.

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Eva Camacho-Sanchez, Barcelona Vest #15; 2016; wool, silk; felting, degu dyeing; 39 x 45 in.; Florence, Massachusetts, USA.

Steph Gorin, #bringbackourgirls; 2016; rebar, vinyl, paper; basic weaving; 56 x 36 x 36 in.; Haverstraw, New York, USA.

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Fiona Legg, Pressure Sore - Stage IV; 2016; acrylic, wood, beading thread, mixed textiles, beads, sequins, grommets, plastic covered paper; embroidery, needle felting, appliqué, machine quilting, beading; 19 x 24 x19 in.; Barrie, Ontario, Canada.

Stacy Polson, The Lonely Octopus; 2016; wool, fabric, thread; hand needle felting, hand sewing; 44 x 54 x 1.5 in.; Portland, Oregon, USA.

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Riana Bovill, Dreaded Self-Portrait #2; 2015; fabric and thread; hand stitched and hand pieced, appliquĂŠ with quilted background; 10.25 x 26.5 in.; Batavia, New York, USA.

Vinitha (Sara Felts) John, Nurtured by Nature; 2015; superfine Italian merino wool, superfine silk gauze, and plants like eucalyptus and rose leaves; These seamless coats are first nuno felted and then printed with plants, a process of bundling and steaming; 42 x 34 in.; Vancouver, British Columbia, Canada.

NORIKO TIDBALL

Ellen Silberlicht, As Our World Turns; 2016; clay, wool fibers; Raku fired vessel with wet felted wool sculptural top; 18 x 10 x 10 in.; Honesdale, Pennsylvania, USA. FALL 2016 • FIBERARTNOW.NET

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Stacey T. Chapman, Ruby; 2013; wide selection of thread from cheap cotton to metallic, wool fabric, cotton template and anchor embroidery threads; freehand machine embroidery, hand stitch, overstitches with freehand machine embroidery and appliqué; 10 x 12.5 in.; Margate, Kent, United Kingdom.

Deb Berkebile, Eye of Sahara; 2015; batik fabrics, polyester and cotton threads, acrylic paints, fusible appliqué, thread painting contours of the eroded dome with a double layer of batting, and acrylic paints, hand painted on to add a flourish of topological detail; 33 x 33 in.; Conneaut, Ohio, USA.

Aryana B. Londir, Compartments #25; 2013; cotton; machine pieced, machine quilted, hand dyed cottons; 47 x 24 x 0.05 in.; Phoenix, Arizona, USA.

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Dominique aka Madame Tricot D. Kaehler Schweizer, The Knitted Butchery; 2012; yarn: wool, silk, cashmere, mixed yarns, vintage dishes; The meat is mostly knitted, with some crochet; 45 x 100 x 20 in.; Wil, canton of St. Gallen, Switzerland.

Laura Bowman, wave…what a ride…what a fantastic ride...; 2016; wool, cotton and acrylic fibers; repeated clove hitch knot creates shapes and textures; 21 x 33 in.; Johnson City, Tennessee, USA.

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TAKING A STEP BEYOND BY ANN HARRINGTON BROCKETTE

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LESSONS IN PERSEVERANCE: THE JOURNEY BEGINS

L

ife does not always present us with a smooth path to achieve our dreams. Elizabeth Busch is fully experienced with the unexpected turns life takes on the journey to be an artist, turns that have reinforced her commitment to step beyond the barriers ahead of her. After graduating from the Rhode Island School of Design and teaching art in public schools for two years, Busch married and moved to Bangor, Maine, where she submitted her portfolio to the University of Maine Art Department. When a teaching position was not available, Busch was surprised to learn that her portfolio had been forwarded to Eaton W. Tarbell & Associates, a small architectural firm in Bangor. Busch’s journey followed a new and unexpected route.

OPPOSITE PAGE: Home; installed 2015; black plastic netting, transparent UV acetate sheets, transparent acrylic base mixed with pure pigment, mica powders; embellished with metal leaf; painted, woven, sewn. Painted steel armatures at the top and bottom of each unit suspend each from a single point, which allows them to move gently in the 40-ft. high reading space of the Maine State Library. THIS PAGE TOP: Home in process. This 14 x 17 ft. landscape montage of Maine will be cut into 9 panels to be hung in the atrium space of the Maine State Museum, Archives and Library in Augusta, Maine’s capitol. ABOVE: Elizabeth Busch in her studio, weaving painted acetate strips into the plastic netting to build Home.

Her first assignment was to create a plumbing diagram for a motel. Despite lack of experience, Busch clearly understood the floor plan and the proper placement of pipes and fixtures. More importantly for her future work, the firm used a teamteaching method for designing and completing projects that required everyone to implement all aspects of the design. Busch quickly learned what she was capable of accomplishing. “At Eaton Tarbell,” Busch reflects, “my problem-solving approach to art really began. My love of working with numbers and creating spaces in new ways all came into play. More importantly, I learned to wait and see…and trust my gut.” After eighteen years as an architectural designer, Busch’s career took another turn. In her spare time, she had been making painted wall hangings that she wanted to be “big and significant.” While not yet recognized as a viable art form, her quilts attracted a wide audience and were shown nationally. To make painted art quilts full time, however, she needed a consistent income, so she accepted the position as Maine’s Percent for Art administrator. During her first year, she was selected to design a monumental wall hanging for a hospital in Houston,Texas, and created her first large-scale public artwork, Continuum.

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PATRICK COULIE

COMMITMENT TO PUBLIC ART

I

n 1987, Busch was invited to exhibit her quilts at the Museum of Art in Portland, Maine. In addition, she accepted a public art quilt commission for the Delta Terminal at the Pensacola International Airport in Florida. These commissions signaled the need to quit working for others and focus on art making. She continued her journey knowing the “universe would show me what I am to do.” For the show, 10, Busch created a group of five quilts about the bed rather than for the bed. Child Dream grew out of a recurring nightmare where she is calling for her mother. The chair in front of the quilt intimates her lost mother. Where Will it Lead? includes a silhouette of a figure on a bed made of nylon mesh, a wooden bowl with a painted face, and a colorful chair. Two painted screens hang in front of the quilt. In this work, Busch creates a three-dimensional piece that draws the viewer closer to the bed. “I saw the work coming off the wall and engaging the viewer, inviting her to see the screens, the chairs, the face, and the reclining figure as a intricate part of the installation.” Busch describes herself as “a designer and a builder.” She creates each work from architectural drawings and, for her kinetic sculptures, works closely with steel fabricator, Brian Stearns. “Working with Brian parallels being with my dad, a tool and die maker who was an early fabricator of plastic forms. The smells, the atmosphere, the steel curls all over the floor feel the same to me as going to Dad’s shop.” In 1990, Busch created a work for the Maine State Museum in Augusta. To fill the 35-foot high atrium, Busch proposed a kinetic sculpture, Celebration, using woven colored gels and netting, floating units that draw the visitor’s eye to the skylight and give a sense of peaceful movement to the open space. As a result of this commission, she developed a process that still serves her in creating large-scale public art commissions. She begins with a list of all commission specs, including materials and supplies, their longevity, fire resistance, sturdiness to light and heat, and requirements of the local community. “Public art commissions differ from my personal art quilts in that I am working to solve the problems and desires of a public community, not just myself.” In 2012, the Scientific Laboratories of New Mexico in Albuquerque commissioned


Busch to create a suspended sculpture of the Rio Grande and Sandia Mountains. Outside, Inside began with an isometric to-scale drawing of eleven panels. Microscopic cell images researched in the laboratory were printed on UV acetate sheets. Using plastic netting as her substrate, Busch wove strips of cell-printed and hand-painted acetate sheets into the colors of the New Mexico earth and sky. Brian formed the steel frames for panels and a crew of quilters assembled and installed 11 units, 65 feet long and 35 feet wide, in the lobby of the laboratory. Today, visitors are drawn to the colorful landscape overhead, but “on closer inspection, the viewer sees fragments of the microscopic cells that are hidden within the composition.” Today, Busch continues to create kinetic sculptures using pure-pigments, mica powder, metal leaf, and digital imagery. Her mobile sculptures, like Home, are suspended from ceilings and skylights so that they swivel with the air currents and reflect colors on the walls and ceiling as the light plays through them. They project a constantly changing landscape of illusion and reality, of great scale and close intimacy that are the hallmarks of all Elizabeth Busch’s art.

NEW WORK: THE JOURNEY CONTINUES In 2013, Busch experimented with new techniques to create a quilt for the SAQA Celebrating Silver show. Come Dance with Me “looks like an exotic satin sheet on a black bed. The color and shape of the quilt demanded a new process and I worked with new ways of applying paint to black trigger cloth.” She folded the fabric, then “scrunched it and spray-painted it with silver paint, not knowing if it would be successful for large-scale work.” To her delight, when she opened and ironed the fabric, undulating shapes took form. “This work reinforced my belief in trusting the process. I know if I put forth my best effort, the work itself will tell me where to go or stay.” Trigger cloth is a sturdy material that does not stretch, shrink, or sag. It allows Busch to layer paint on a subtly textured background that dramatizes spacial illusion and dynamism. The black background of Starry Night (2014) enhances a bold statement of water, earth, and sky and gives depth and movement to the abstracted landscape. In Red Peace (2014), the interplay of color and black background reinforces the changing colors of the evening earth on the Maine coast. Busch continues to create public art commissions, make art quilts, and teach workshops worldwide. “I feel privileged to do the work I love, to receive the acclaim I have, and to support myself with my art.”

OPPOSITE PAGE: TOP: Outside, Inside; installed 2012; black plastic netting, transparent UV acetate sheets, transparent acrylic base mixed with pure pigment, mica powders; embellished with metal leaf. Some sheets digitally printed with cell images; painted, printed, woven, sewn; 11 units span the 75 ft. space. Sizes vary from 3 x 9 ft. to 7 x 11 ft. BOTTOM: Architectural drawing proposal for Outside, Inside. THIS PAGE: Taping and cutting Home into its 9 panels. Busch tapes transparent long, clear plastic strips between what will be the separate panels and slowly cuts them apart with scissors.

Ann Harrington Brockette, PhD, former Professor of Humanities and Communications, is an author and freelance writer. Her publications include a musical adaptation of Oedipus, published as A Story of Shadow and Gold (Dramatic Publishing). She writes about American textile artists and has contributed articles to Fiber Art Now, the SAQA Journal, SDA Journal, and The Velvet Highway. She conducts workshops in professional and creative writing and currently leads workshops in writing the memoir.

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FIBER FUSION BY ANNE LEE & ASHLEY ROONEY

HERE: Michael Billie, Opening into the Sky; 2016; sand painting, sand, tree bark, river rocks, silk, and horse, buffalo, and wolf hair wrapped over wire; 24 x 24 x 6 in. OPPOSITE PAGE TOP: Joan Stuart Ross, Ark; 2014; encaustic, textile collage on recycled wood panels; 10 x 20 in. BOTTOM RIGHT: Deborah Kapoor, Cloud Veil (Rakhana); 2009; wire, paper, and encaustic; 12 x 21.5 x 5 in. (each panel)

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W

hat constitutes fiber? How can we combine fibers with other processes and mediums? This story explores how some artists are integrating fibers into encaustic, a labor-intensive, ancient medium, based on the use of melted, dyed beeswax. Both fiber and encaustic are enjoying a creative revival, and artists are discovering that their cross-pollination opens new expressive avenues (pun intended). “Encaustic” comes from the Greek enkaustikos, meaning to burn in, for unlike other wax-based mediums, encaustic requires the application of heat at every stage. While the paint is still liquid, artists use additive techniques such as molding and sculpting, and embed objects and materials into the wax. When the wax cools, subtractive techniques such as incising and scraping create a tactile, layered effect. Fiber Art Now selected three artists from our book, Encaustic Art in the 21st Century (Schiffer Publishing, 2016), and asked us to explore why and how they combine encaustic and fiber.

MICHAEL BILLIE Michael Billie combines encaustic with natural materials related to his Navajo culture and draws on native weavers, sand painters, and old folklore to create sacred pieces that look like they are frozen in time. Billie was introduced to encaustic by chance, and after experimenting with it for a few years, he started incorporating natural materials used in Navajo ceremonies and other cultural activities. He believes the two form a perfect marriage to explore spiritual awareness and the idea of the sacred in his work. He uses several techniques: wrapping rocks, flowing sand painting, branding with a torch, applying wax with batik tjaps, embedding eco-printed silk or paper, and bundling found objects. FALL 2016 • FIBERARTNOW.NET

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His bundles, often with animal hair or feathers, evoke the “secrets, loved ones, and memories we hold close to our hearts.” His sister, Janet Yellowhair, echoes the sentiment: “This takes me back to our elders, they wrap[ped] what they valued and what is sacred in a bundle and kept it close for protection and guidance.” Before beginning a new piece, Billie says “I always say a short blessing…and I hope that leaves a little something for everyone that views or comes in contact with my work.” Indeed, viewers love that the bundles in the pieces are a blessing, and they are touched by the story behind the work.

DEBORAH KAPOOR Deborah Kapoor employs various techniques,such as painting, stitching, cutting, and collage, in her encaustic sculptures. Using fiber, wire, and encaustic, she manipulates materials to highlight the sensory: her resulting cloud formations float, merge, shift, and blend. Light passing through openings casts shadows as integral as the physical form itself. Her grandmother and mother both sewed to save money and the objects they made had a utilitarian function, but they were also a tableau of their inner life. Kapoor explains how she felt when she began working with encaustic, “...I had found what I’d been looking for all my life.” Wanting to work more sculpturally, she began incorporating fiber. “Natural fibers readily drink in the encaustic, and it is a perfect kind of marriage of sensory experiences for me.” Kapoor finds manipulating materials such as fabric, wire, paper, lace, thread, and dryer lint allows her to feel connected

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to history as if she is honoring the past. “It’s about a continuum of honoring what came before. Cloth connotes memory,” she says. “There is a relationship to the human form, being clothed, veiled, revealed. I think a lot about the idea of memorials. Since a lot of my work begins with a kind of personal narrative, I wonder if I am subconsciously trying to honor human bodily experience; the body, too, remembers. The tactility of fiber and encaustic captures the gesture of form, imbued with emotion.”

JOAN STUART ROSS A mixed media artist for over 25 years, Joan Stuart Ross discovered the “glow of embedded surprises” of encaustic in 1994. Since then, she has consistently returned to the tactile and visual qualities of encaustic and textile collage. She feels that “the touch of weave and stitch with the embedded and luminous qualities of encaustic refresh me in a similar way as do... physical experiences in nature.” After her mother’s death in 2012, she “became particularly interested in using bits and pieces of her personal textiles and THIS PAGE TOP: Joan Stuart Ross, Sky and Sea; 2016; encaustic, textile collage on recycled wood panels; 17 x 39.25 in. LEFT: Deborah Kapoor, Cumulonimbus; 2014; fabric, wire, and encaustic; 15 x 10 x 5 in. OPPOSITE PAGE TOP LEFT: Michael Billie, Four Strands of Blessings; 2016; sand painting, sand, tree bark, river rocks, horse hair strung through paper beads, silk; and horse, buffalo, and wolf hair wrapped over wire; 24 x 24 x 6 in. TOP & BOTTOM RIGHT: Deborah Kapoor, Written on the Body; 2015; wood, paper, fiber, and encaustic; 86 x 72 in.

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MICHAEL BILLIE

DEBORAH KAPOOR

JOAN STUART ROSS

HERE: Michael Billie, Soaring with a Blessing; 2016; sand painting, sand, river rocks, silk;, and horse, buffalo, and wolf hair wrapped over wire; 24 x 12 x 5 in. OPPOSITE PAGE TOP LEFT & RIGHT: Joan Stuart Ross, Tiers; 2016; encaustic, oil, textile collage, collage on canvas over wood; 46.25 x 46.25 in. BOTTOM LEFT: Deborah Kapoor, Peripheral Damage; 2015; wood, paper, fiber, and encaustic; 16 x 12 x 2 in.

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The author of more than 50 books, E. Ashley Rooney (earooney@gmail.com) has acquired an outstanding reputation for designing and preparing books on contemporary art and architecture. As research director at Vose Galleries, Anne Lee (anjamlee@aol.com) researched and wrote over 20 exhibition catalogs. Together, Anne and Ashley edited Encaustic Art in the 21st Century for Schiffer Publishing in 2016, followed by an exciting series on fiber art to be published in 2017.


fabrics as a tangible, embedded guide to both recall the past and to lead my imagination into the future.” In Ark, for example, she layered polka dotted silk scarves from her mother’s cache and pieces from her own seventh grade wardrobe in the fluid, translucent wax, repetitively covering, then revealing, embedding, then scraping away. Her textile collages become “part of a story that deepens in opacity and suggests something hidden, then discovered...explor[ing] thoughts, memories, and emotions that are present on the surface and are simultaneously layered with background history.” The opposite forces of trial and error, chance and plan, all come into play to create personal works layered with visual information. Ross’s pieces capture light, energy, and color in a physical and tactile manner. She hopes viewers will “understand and appreciate the engagement and research that each artwork embodies,” as she continues experimenting, using larger swaths of cloth and woven materials that she is doubling up and spreading out in their beds of encaustic and collage. In the midst of our technological, high-speed world of instant gratification, a return to labor-intensive, organic, ancient mediums is gratifying in a different way. Artists describe fiber and encaustic as tactile, warm, and sensuous; both mediums connect back to a natural world that seems increasingly distant. They can also be contradictory—hard or soft, malleable or solid, layered or thin. Fusing fiber and encaustic requires patience and persistence, but these three artists have discovered that this risk-taking yields fascinating results. To learn more about these artists, please visit www.michaelbillie.com, www.deborahkapoor.com, and joanstuartross.com.

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JENNIFER COYNE QUDEEN

EXPLORES THE COLORS OF RUST BY TRUDI VAN DYKE

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OPPOSITE PAGE: Tea Stories #17 (part of an ongoing series); 2014; used tea bags, cotton thread, rust, ink; direct rust print; collage, machine stitching; 4 x 4 in. LEFT: The Red Boat; 2016; used tea bags, cotton thread, photo taken by the artist in Newburgh, Scotland; digital print, machine stitching; 72 x 54 in. BELOW: This rusty gear was wrapped in cotton cloth and secured with waxed linen thread. The bundle was left outside to rust for a year. This photo was taken just before opening the bundle.

“R

ust. It’s corrosive and destructive. It’s also beautiful, mysterious, and capricious.” Artist and mark maker Jennifer Coyne Qudeen enthusiastically describes the characteristics that ensure that mark making with rust is as rewarding as it is unpredictable. She is fascinated with the vibrancy and stealthy possibilities that rusting presents. It seems to draw her in and begs to be explored. Qudeen loves experimenting with endless combinations, revealing rust’s sometimes unpredictable, yet complex, results.

Having always created works with fiber, beginning with crocheting with her grandmother around age eight, Qudeen set her sites on being an artist. Her earliest foray into the arts was as a basket maker. She pursued weaving for 25 years, immersing herself in creating and successfully selling her unique baskets. It seemed to be a natural progression when her weaving changed direction and she began to experiment with a variety of sculptural weavings. As her artistic voice developed and she found joy in the play of inventiveness, her work again changed course. Strongly influenced and inspired in a class by quilt artist Dorothy Caldwell at Peter’s Valley Craft Center in New Jersey, she developed techniques and ideas that led her to realize that mark making resonated with her in a way that basket making never had. She began to explore working with rust and fibers. The collaging and manipulating of rusted fabrics became the focus in her art. Qudeen explores a myriad of possibilities with rusting on various fabrics. She uses mainly cotton, but occasionally organza, linen, or silk as well. Each substrate fabric contributes additional variables to the results. Always experimenting, she has stretched her use of fabric to include empty, used teabags. Carefully and playfully incorporating the patterns and stains from the tea with rusted ephemera, she creates totally new and evocative outcomes. She develops depth and texture by painting, stamping, adding text, and manipulating the teabags singularly or in layers. Why tea bags? Qudeen’s fond memory of her grandmother’s tea-making ritual, which filled the house with the scent of freshly picked herbs and orange steeped with tea bags, is whimsically recalled and may have influenced her direction.

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LEFT: The Stillness Within; 2015; cotton cloth and thread, acrylic, fusing, rust; direct rust print, mono print, collage, fusing, machine stitching; 19 x 19 in., each piece 5 x 5 in. BELOW:Water Dreams #1 (Detail). OPPOSITE PAGE TOP LEFT: Water Dreams #1; 2014; used tea bags, cotton thread, rust, ink; direct rust print, collage, storytelling (text), digital print, machine stitching; 24 x 30 in.

Her strong sense of color comes into play as she incorporates the natural staining on dried and emptied tea bags with a variety of rusted items. Combing flea markets, secondhand stores, and even roadside debris, she finds unusual bits of rusty metal to intertwine in her work. She will use rain, sunlight, and a vinegar solution to increase the rusting and encourage it to spread, leave marks, and embed into the fabric. The color of rust marks changes with the liquids used in the rusting/dyeing process. Water or vinegar results in a golden, brownish rust. Black tea lends a black/gray tone, while green tea results in an indigo or purplish hue. Qudeen shares that crisp marks appear more quickly than abstractions, and her technique of wrapping the cloth in a variety of folds varies the bleed through to different layers. She sometimes uses string to complement the folding process and help provide direct contact between the rusted object and the cloth. She maintains a stash of rusted fabrics in a variety of hues and textures that she uses to influence her artistic direction. Stitching adds a sense of design and structure to the imaginative outcomes. She works in her studio as much as possible while juggling her family; she believes, though, that it is easy to overwork a piece. Listening to recorded books seems to prevent overthinking and helps her keep things simple. She says that it is her art that keeps her centered and “feeds my soul.� Her series Tea Story becomes a wall-mounted collage of tea bags begun by developing small 4 by 4-inch pieces crafted with rusting, dying, layering, and stitching in abstractions and designs. The individual works are then combined on canvasses and exhibited as an expansive wall installation. How the cloth is folded in the process of wrapping the rusted material affects the marks as well. Simple folds equal large simple marks while more intricate folds result in broken patterns. After enclosing a piece of metal, the bundle is wrapped with waxed linen to insure the cloth stays in place when handled. When left to rust for several days, and depending on the number of the folds, marks from the waxed linen may also be visible.

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Qudeen in her studio.

Trudi Van Dyke is an

independent fine art curator and consultant specializing in fiber and fine craft. She travels around the country to jury festivals and speak about the business of art. She will be presenting at the Arts Festival conference in Houston, Texas in October. She can be reached by email at vandyket@gmail.com

“Opening a rust- and tea-dyed bundle is like opening a gift—you just never know what you’re getting until the package is completely unwrapped,” Jennifer declares enthusiastically. Planning and understanding how particular metals and folds will result in a desired outcome has come with lots of experimentation with her materials. She readily admits, however, that about 25 percent of the finished product may be a surprise. She even believes that some aspects of the best work can be the result of “mistakes.” Traveling to Scotland and immersing herself in a class with Sandra Brownlee at Big Cat Textiles in 2013 provided an introspection and development in her work she had not expected. The first in a series, The Red Boat, an emotional, moving work that consists of two layers stitched together, is based on a photograph she took of the Scottish landscape. The success of this piece highlights Qudeen’s understanding that in stillness there is strength and that asymmetry provides balance. Queen has fashioned several sculptural rust books, including a six-foot accordion scroll that showcases the range of her skill. She was recently invited to exhibit four pieces of work in By a Thread curated by Nancy Moore for the Ridgefield Guild of Artists in Ridgefield, Connecticut. Currently she is working on a body of work for future exhibitions. Highly respected for the development of her techniques and introspective work that often resonates emotionally with her viewers, her work is highlighted in a number of books, including Fabric Painting at Home (by Julie B. Booth) and Natural Processes in Textile Art (by Alice Fox). She is one of the featured artists contributing to Seth Apters recent book, The Mixed Media Artist, where she shares thoughts, philosophies, tips, and secrets. You can follow Jennifer on her blog (Jennifercoynequdeen.blogspot.com) as she explores new directions and experiences with her own processes as well as highlighting other artists.

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HERE: Reflecting Pool; 2015; wool, silk and cotton thread; hand felted, resist dyed, hand and machine stitched; 23 x 21 x 2.5 in. OPPOSITE PAGE: Shadowed Field (Detail). All images by Leon Yost

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STRATA

THE WORK OF ERMA MARTIN YOST

“D

BY LEANNE JEWETT

o something, do something to that, and do something to that.” Erma Martin Yost paraphrases Jasper Johns to describe her creative process. Her rich hand-felted and stitched work, much like a rich full life, is the result of layering, an accretion, not only of materials and mark making, but also of knowledge, experience, and technique.

Yost didn’t begin her artistic career as a felter, or even working in fiber, unless you hark back to her childhood when she recalls making doll clothes from scraps of fabric from the ragbag, “I knew how to sew before I knew how to read.” Her training at James Madison University in Harrisonburg, Virginia, was in painting. Her teachers were abstract expressionist painters whose influence she found liberating. “To pick up a house paintbrush and sweep your arm clear across the canvas. Boy! That was fun!” Working large gradually gave way to smaller work, and to mixed media, which included incorporating fabric. “For awhile I was living in the art quilt world…that just felt authentic to me.” Working in fiber allowed for the exploration and use of many creative practices—from photo transfers onto fabric, to dyeing, and various methods of printing. She says, “My painting started coming back into fabric.” She describes herself as a process-oriented artist, “I really like process, that’s the most fun. So I make things…like somebody who doodles kind of mindlessly…I’m curious about processes. I don’t go out and say 'Okay, now I’ve got to think of something new to do,’ but something catches my interest and I try it and I think, ‘Oh, I can use that.’” While discovering and exploring processes, she also has a history of exploring ideas and themes and communicating them through the use, and sometimes creation, of symbolic images. In the late '90s her work expressed her interest in the symbols of aboriginal peoples in the American Southwest and in Australia. She incorporated handprints in some of her pieces at that time. She explained their use in an interview with Discover New Jersey Arts: “Throughout history, handprints have been a testament to participation in a mystery. Whether used in religious or symbolic rituals or as an identifying mark, or simply a human gesture, the hand is a powerful symbol of expression and communication.” FALL 2016 • FIBERARTNOW.NET

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Prepared pre-felt with resist plates and clamps.

Folded felt, clamped for first dye bath.

Unfolded felt after final dye bath.

TOP: Fossil Field; 2015; wool, cotton thread; hand felted, resist dyed, hand and machine stitched; 18 x 21 x 2.5 in. OPPOSITE PAGE: Shadowed Field; 2012; wool, cotton thread; hand felted, hand stitched; 22 x 27 x 2.5 in.

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As an artist who moves forward, not by abandoning past work, but by building on it, that handprint symbol continues to be of interest, as is evidenced in her use of it in her 2014 work, Meditation Garden (the cover image of this issue of Fiber Art Now). In the early 2000s, Yost created a series of digital fabric collages melding classical paintings of women with images of the utilitarian tools of modern “women’s work,” such as rolling pins, washing tubs, clothespins, mixers, and stoves. She has also incorporated knitting needles in constructions. In recent work she uses common kitchen utensils that she finds at flea markets as forms to create patterns in resist dyeing, a subtle continuation of the subtext referring to women’s work. Throughout her career, the evolution of Yost’s work has been triggered by process and also by a certain amount of serendipity. Her move to working in felt was a combination of both. After she retired from teaching, the school kept calling her back as a substitute art teacher. One day she was called in to teach sixth-grade girls making felt scarves. She had never felted, so the girls were teaching her. She says, “I was just seduced.” She explains some of the allure: “One reason why I loved [felting] was that the color went all the way through, as opposed to facing a white, blank canvas where you’re afraid to make the first mark.” During the first years of felting she worked with dyed batts and composed with roving and dyed fleece. But after taking a workshop in Asheville, North Carolina with Chad Alice Hagen, whose work she had long admired, she began to dye her own wool, which further transformed her work. In the resist dyeing technique that Yost has adopted, before the wool is put into the dye pot, it is folded and clamped with objects that will resist the color. This process forms a pattern with built-in repetitions. The resulting pieces give her an entirely different starting point; rather than continue to approach each piece as a painter would—with a horizon line and a viewpoint— she begins with a pattern that will be combined with other pieces to form the finished work. Time for reflection, which she refers to as “hitting pause,” is an integral part of Yost’s creative process. She usually works on three pieces at a time, so that when she gets to a point with a piece where she doesn’t know what to do next, she moves to a different piece, letting the first “simmer on the backburner of [her] brain.” She pins the work-in-progress onto foam core in her studio, where it is visible, a subliminal prompt. She explains, “The thing that I really love is when a work starts to take on a life of its own and it suggests to me what it wants to be…I like to start, and yes, there might be a kernel, but then I like to have it take me on a journey.”

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HERE: Sprouts; 2015; wool, Seta color sun prints on muslin, bone beads, cotton thread; hand felted, resist dyed, hand stitched; 25 x 19 x 2.5 in. OPPOSITE PAGE TOP: Downys at Dawn; 2009; wool, cotton thread; hand felted, wool, hand stitched; 19 x 22 x 2.25 in.

Leanne Jewett,

managing editor of Fiber Art Now, is a freelance writer and editor who has written for Fiber Art Now, National Basketry Organization’s Quarterly Review, and the online magazines Make and Berkshire Fine Arts. She edits fiction and non-fiction and guides authors through the self-publishing process. She can be contacted through her website: www.blueladderservices.com.

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In her 2015 piece, Sprouts, seedpods seem to nestle safely, germinating in the dark soil until they are transformed into lush vegetation by the sunlight. When she completed the black bordered section of this piece, she was not satisfied that it was complete, so up on the foam core it went. She waited for inspiration, which finally arrived when she came across two sun prints that she had made 20 years earlier: a blue print suggesting calm and a yellow print suggesting life-giving sunlight. The added layer unified and so completed the piece. Thus, this piece is built of layers of time, layers of material, and layers of process—the culmination of Yost’s continuing journey of discovery. Yost is a longtime city dweller and is not a gardener, but most of her work is firmly rooted in nature. Perhaps its source can be traced to her beginnings. Born in Indiana, and raised in a rural community, she describes herself as a “person of the land.” That theme especially pervades her more recent work, much of which made up her 2015 solo exhibition, Felted Gardens, and is teeming with symbols for life, nature, and contemplation. Her work is in numerous public collections including the Museum of Art and Design in New York City and Bristol-Myers Squibb in Princeton, New Jersey. She has exhibited widely and her work is featured in more than 21 books. When nearing an exhibition she says it takes discipline to keep her focus and avoid following what she calls “side roads,” because “the ‘doing’ of the work generates a lot of ideas.” Now “on pause” before her next solo exhibition at Noho M55 Gallery in New York City, she is taking time to explore some of those ideas that arose while preparing for Felted Gardens. She will ramble a ways down those side roads, one of which is an exploration of line in her work. “I started to realize how important ‘line’ is…. it’s one of the basic elements of design that you study in Design 101. It sounds simple, but now, in my stitching, I’m exploring line more. We’ll see where it goes.” And so her journey of discovery continues. To see more of Yost’s work visit her website at: www.ermamartinyost.com.

Erma Martin Yost with framed work on the wall and worksin-progress pinned on foam core in the background.

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JOHN NOLLENDORFS

ARTIST ARTIST PROFILE PROFILE

ROBERT HILLESTAD CELEBRATES CREATIVITY ROBERT HILLESTAD’S GARMENTS AND SCULPTURAL PIECES ARE SENSUOUS REVELS (AND REVELATIONS) OF WOOL, SILK, RAYON, AND OTHER FABRICS, RIBBONS, AND TAPE, occasionally combined with tubing or other components, which he dyes, hand knits, shapes, pleats, embroiders (hand and machine), appliqués, paints, constructs, deconstructs, and—mostly—layers. Many 50

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have “celebration” in the title, he explains, because “I have long regarded working with textiles as a celebration unto itself.” When I phoned Hillestad about this profile, he was organizing a lecture on creativity that he was to present the following month. It’s a focus he’s kept throughout his long and distinguished career in art and education. In a voice as bright as the colors he uses, he described a commission for a large, sculptural

MICHAEL JAMES

BY SUZANNE SMITH ARNEY


OPPOSITE PAGE TOP: When All Is Said and Done; 2008; wool and silk fabrics, silk and cotton threads; hand painted with dyes, machine and hand embroidery, pleating, hand knitted tubes, hand manipulated fiber berries (areas of fabric, individually stuffed and stitched); 16 x 29 in. BOTTOM: Robert Hillestad with a former PhD student, Dr. Kim Hahn of Kent State University’s School of Fashion, at the opening of her solo exhibition at the Robert Hillestad Textiles Gallery (winter 2015). The gallery is dedicated to and named for Dr. Hillestad, and is the only gallery in the region devoted exclusively to the exhibition of textiles. HERE: Follow Your Bliss; 2014; wool flannel, manipulated tubing, silk bow ties; knotting, hand-painted with dyes; 9-ft. Full photo courtesy Grant & Grant Law Offices. This 9’ tassel graces the entry to Grant & Grant law offices in Columbus, Nebraska, and honors the memory of the firm’s founder, Bill Grant. His signature bow ties hang as steamers along with clusters of colorful, dye-painted yarn, and together with the title express a vibrant persona and philosophy of life.

piece, a nascent idea for a new series, and a recent trip to Spain. His quiet, gentlemanly appearance is a neat container for his wideranging interests and kaleidoscopic approach. “I like keeping a lot in the mix,” he said. Opera, travel, Enlightenment philosophy, and quantum physics are some of the muses that supply Hillestad’s ideas. Just as matryoshka (Russian nesting dolls) nest within each other, these muses open to reveal an expanding array of interpretations and understanding. Add to this imaginary scene Claude Monet and Antoni Gaudí as creativity coaches and exemplars. Now picture Hillestad in the director’s chair, popping out now and again to pull just the right accent of silk or soft merino from his stash—an entire basement-cumfiling cabinet of floor-to-ceiling bins that would make Melvil

Dewey proud. Whether designing a commission, considering an invitation, or remembering a trip, Hillestad’s creative response is always celebratory. Gaudí (1852-1926), Catalan architect, is best known for Sagrada Família, the focus of Hillestad’s travel in 2014. It was his second visit to Barcelona. In 1964 he’d toured Europe with a Eurail pass and a copy of Europe on 5 Dollars a Day. “I was enchanted with everything about the basilica and longed to go inside, but was hesitant about paying the entry fee.” Although he only viewed the exterior, he says “The impact of that memorable afternoon stayed with me for the next fifty years. Gaudí’s fanciful forms resonate with my passion for working with various textile-making techniques.” Celebration in Fiber, 2003, recaptures those sensations with all the exuberance of a flamenco. FALL 2016 • FIBERARTNOW.NET

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JOHN NOLLENDORFS

A cooler but equally tactile response is Meditation Coat #1, 1992, an homage to Monet (1840-1926) whose home in Giverny Hillestad had just visited. Regarding the title, he said, “I had been practicing yoga for a number of years and the joy of seeing Monet’s work and his gardens enabled me to reach a higher level of practice and tranquility.” The trip inspired elaborate wall pieces and garments. “That collection had particular significance in the evolution of my work because I started integrating multiple techniques such as painting with dyes, color discharge, machine embroidery, stitchery, and fabric layering; and in garments such as that carried the design concept of the outer surface into the lining with some of the same techniques.” Process, time, and surprise are recurring words in Hillestad’s lexicon. Process fascinates Hillestad, and is something he’s understood since childhood, helping with the garden and cooking—two creative pleasures that he continues to appreciate in himself and in others. Time and nurture for growth and careful preparation apply whether 52

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OPPOSITE PAGE Meditation Coat #1; 1992; cotton, silk, and assorted fibers; traditional garment construction techniques, color discharge, machine embroidery, and hand stitchery; 56 x 44 x 2 in. HERE: Follow Your Bliss (Detail) BELOW: Robert Hillestad: A Textiles Journey. This 96-page monograph features full-color images of Hillestad’s artwork, scholarly essays by JoAnn Stabb and Beverly Gordon about his life and career as an artist and educator, and comments by him about his philosophy of life and approach to creativity. The book is now out of print but is available online.

the goal is dinner with friends or a gallery exhibition. Since retiring from the Department of Textiles, Merchandising and Fashion Design at the University of Nebraska, Lincoln, he’s thrived on savoring a schedule of his own making, a personal enlightenment that allows him to draw from a lifetime rich with experiences, and cultivate new and hybrid ideas. Mastering one technique invariably leads to another possibility. He offers as an example the “mystery” of dye processes, saying, “I’m fascinated by the unpredictability, the flow of control/lack of control. Every time I open up shibori it’s a surprise!” stad Robert Hille ey rn ATextiles Jou

Hillestad has earned the respect and affection of a wide network of friends and colleagues for his genuine interest in others, indefatigable curiosity, selfdiscipline, and fascinating stories, modestly told. He says his energy is funded by three sources— relationships, wellness, and creativity, “the latter being the most dominant.” For anyone who has met Robert Hillestad, either personally or through his work, that creative energy is indeed cause for celebration.

Suzanne Smith Arney is a frequent writer

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Thank you Ellen Spellman, Del Thomas, Nelda McComb, Andrea Bacal, Deb Mackay, Carol Sebastian Neely and Judy Warren-Tippets for the use of your images.

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STUDIOS ON VIEW A studio should be a sanctuary of creativity—[a] place you feel good about

being and working. On a personal note, it is a place where I welcome mistakes, guides to new solutions. It is a place where I think, dream, and work hard at

the things I am passionate about. It is also a place where I can find solitude to step back and listen to the voice of the fibers! – JANICE ARNOLD

1

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1 Jappie King Black Brockport, New York 2000 square feet “The studio means a lot to me. It gives me the space, light, and solitude I need. The things I require are water, raw materials, tea, light, music, and the opportunity for contemplation. I also get companionship and occasional interference from two large dogs. Before the space was my studio, it was a health food co-op. Before that we think it was a stable on the Erie Canal towpath—both of which explain some of the strange features that I’ve been able to adapt for my work.” 2 Louise Boughton Dublin, Ireland 576 square feet

3

“My studio has a great influence on my work as I am surrounded by an array of color, texture, and resources such as yarns, threads, beads, equipment, and books to allow me to work freely and more effectively. My mindset becomes very focused and relaxed when working in my studio.” 3 Janice Arnold Centralia, Washington 4000 square feet

4

“The size of my studio definitely influences the scale of my work. I work out of a brick schoolhouse, built in 1922, that sits on two acres of prairie. It is always in a state of evolution. Each project has specific needs, and the rooms and spaces evolve to meet those needs.” 4 Patricia Kennedy-Zafred Murrysville, Pennsylvania 143 square feet “My small studio has evolved as my work has changed over the years. The design walls that were once quite small now cover entire walls of the room as my work has grown larger. I now also have a basement full of dyes, pipes, buckets, and dyeing materials.”

(Continued on next page)

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STUDIOS ON VIEW (Continued from previous page)

5 Jackie Abrams Brattleboro, Vermont 280 square feet “In my studio, I am surrounded by the things I love: objects, materials, colors. I also have a “quiet” end—with a comfortable chair, books, more objects, and colors. It is the place I do yoga. I must have sunlight. Lots of it. A floor that is not precious. I can drip paint or glue, and it just won’t matter.”

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ARIZONA Tucson, The Splendors of Woven Art: Oriental Rugs and Textiles from the Reza Amindavar Collection, through October 2, 2016, Tucson Museum of Art, 140 N Main Ave, Tucson, AZ, (520) 6242333, www.tucsonmuseumofart. org/exhibitions/the-splendors-ofwoven-art-oriental-rugs-and-textilesfrom-the-reza-amindavar-collection CALIFORNIA San Diego, Sue Kamin: Forty Years of Natural Baskets, through September 4, 2016, Under a Spell, through September 30, 2016, To Dye For and Inspired by the Masters, Jane Dunnewold and Wavelengths and Surface Design, Visions Member Challenge, through October 2, 2016, To the Point (Online Exhibition), October 1–December 31, 2016, Breakout: Quilt Visions 2016 and Dancing: Visions Member Challenge, October 15, 2016–January 8, 2017, American Tapestry Biennial 11, January 21–April 16, 2017, Visions Art Museum, 2825 Dewey Rd, Suite 100, San Diego, CA, (619) 546-4872, http://visionsartmuseum.org San Jose, Wedding Dress: Yesterday, Today and Tomorrow and Mike McNamara: Wedding Ring Explosion, through October 2, 2016, Lines, Angles, and Spaces, October 8–November 27, 2016, Continuing The California Art Quilt Revolution, November 28, 2016–January 15, 2017, San Jose Museum of Quilts & Textiles, 520 S First St, San Jose, CA, (408) 9710323, www.sjquiltmuseum.org Oceanside, California Fibers: Eclectic Threads, through October 9, 2016, Oceanside Museum of Art, 704 Pier View Way, Oceanside, CA, http://oma-online.org/ca-fibers San Francisco, On the Grid: Textiles and Minimalism, through April 2, 2017, de Young Museum, Golden Gate Park, 50 Hagiwara Tea Garden Dr, San Francisco, CA, http:// deyoung.famsf.org/exhibitions/ grid-textiles-and-minimalism Los Angeles, The Box Project: Uncommon Threads, September 11, 2016–January 15, 2017, Fowler Museum at UCLA, 308 Charles E Young Dr. N, Los Angeles, CA, www.fowler.ucla.edu Los Angeles, Kay Sekimachi: Simple Complexity, September 25, 2016–January 8, 2017, Chapters:

CONFERENCES & EXHIBITIONS

CONFERENCES & EXHIBITIONS

Book Arts in Southern California, January 29–May 7, 2017, Craft and Folk Art Museum, 5814 Wilshire Blvd, Los Angeles, CA, (323) 937-4230, www.cafam.org Palm Springs, First Annual Modern Quilt Symposium, October 6–8, 2016, Hilton Palm Springs Resort & Palm Springs Convention Center, 400 E Tahquitz Canyon Way, Palm Springs, CA, www.quiltfest.com COLORADO Fort Collins, 34th Annual New Legacies: Contemporary Art Quilts, through September 3, 2016, Lincoln Center, 417 W Magnolia St, Fort Collins, CO, www.lctix.com/ exhibitions Fort Collins, Fun & Games: Lively Fiber Works by Elizabeth Morisette, through September 19, 2016, Fort Collins Museum of Art, 201 College Ave, Fort Collins, CO, www.ftcma.org Golden, Rocky Mountain Road: New York Beauty Quilts from the Volckening Collection, through October 25, 2016, Patchwork Pundits Take on Politics, October 27, 2016–January 21, 2017, Rocky Mountain Quilt Museum, 1213 Washington Ave, Golden, CO, (303) 277-0377, www.rmqm.org Denver, Shockwave, September 11, 2016–May 28, 2017, Denver Art Museum, 100 W 14th Ave Pkwy, Denver, CO, http:// denverartmuseum.org/exhibitions/ shock-wave Gateway, Alegre Retreat, April 9–14, 2017, Gateway Canyons Resort, 43200 Colorado 141, Gateway, CO, http://alegreretreat.com CONNECTICUT Wilton, Hickory, Ash and Reed: Traditional Baskets, Contemporary Makers, through October 15, 2016, Wilton Historical Society, 224 Danbury Rd, Wilton, CT, www.wiltonhistorical.org/ exhibitions.html FLORIDA Delray Beach, Transcending Forms: Japanese Bamboo Baskets and Shadows of the Floating Worlds: Paper Cuts by Hiromi Moneyhun, through September 18, 2016, Morikami Museum and Japanese Gardens, 4000 Morikami Park Rd, Delray Beach, FL, http://morikami. org/museum/current-exhibitions Melbourne, Transformers: Recontextualizing Our Material Culture, September 17–December 17, 2016, Ruth Funk Center for Textile Arts, Florida Institute of Technology, 150 W University Blvd,

Melbourne, FL, (321) 674-8313, http://textiles.fit.edu

for the Arts, 2600 Richview Rd, Mt. Vernon, IL, www.cedarhurst.org

GEORGIA Savannah, CrossCurrents: Textile Society of America’s 15th Biennial Symposium, October 19–23, 2016, Hyatt Regency Savannah, 2 W Bay St, Savannah, GA, https:// textilesocietyofamerica.org/tsa_ symposium/symposium2016

Springfield, MQX Quilt Festival Midwest, October 19–22, 2016, Crowne Plaza Hotel & Convention Center, 3000 S Dirksen Pky, Springfield, IL, www.mqxshow.com/ MQX/Midwest/Home/index.cfm

HAWAII Honolulu, No Sweat, through September 18, 2016, Honolulu Museum of Art, 900 S Beretania St, Honolulu HI, (808) 5328700, Honolulu, HI, www. honolulumuseum.org/art/ exhibitions/15620-no_sweat ILLINOIS Chicago, A Global View: Recent Acquisitions of Textiles, 2012–2016, through September 5, 2016, Art Institute of Chicago, 111 S Michigan Ave, Chicago, IL, www.artic.edu/exhibition/ global-view-recent-acquisitionstextiles-2012-2016 Mt. Vernon, Caryl Bryer FallertGentry: 40 Years of Color, Light, and Motion and 27th Annual Gathering of Quilts, through October 9, 2016, Cedarhurst Center

INDIANA Indianapolis, Dialogues: Contemporary Responses To Marie Webster Quilts, through September 4, 2016, A Joy Forever: Marie Webster Quilts, through January 8, 2017, Indianapolis Museum of Art, 4000 Michigan Rd, Indianapolis, IN, www.imamuseum. org/exhibition/joy-forever-mariewebster-quilts South Bend, American Tapestry Alliance: Biennial 11, through September 25, 2016, South Bend Museum of Art, 120 S Saint Joseph St, South Bend, IN, (574) 235-9102, www.southbendart.org/see/americantapestry-alliance-biennial-11 Bloomington, Hózhó: Navajo Beauty, Navajo Weavings, through March 12, 2017, Mathers Museum of World Cultures, 416 N Indiana Ave, Bloomington, IN, www.mathers. indiana.edu/museumex.html FALL 2016 • FIBERARTNOW.NET

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Selected work will have the opportunity to be shown at two museums in the US.

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Selected works will appear in an exhibition catalog, part of the Fiber Art Now Winter issue (Sent to all FAN subscribers, sold on over 400 Barnes & Noble newsstands in the US, 200+ Chapters Books in Canada, and on select newsstands in the UK). The catalog also will be presented to curators and directors of 200+ museums and galleries that feature fiber work and a select group of fiber and fine craft collectors.

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Des Moines, AQS QuiltWeek: Des Moines 2016, September 30–October 3, 2016, Iowa Events Center, 730 Third St, Des Moines, IA, www.quiltweek.com/desmoines KANSAS Topeka, American Tapestry Biennial, November 1–December 23, 2016, Mulvane Art Museum, 17th & Jewell Sts, Topeka, KS, www. washburn.edu/about/community/ mulvane-art-museum KENTUCKY Paducah, Art Quilts of the Midwest, through October 11, 2016, Here and There: Works by the Manhattan Quilt Guild, through November 15, 2016, Quilt as Desired, October 14, 2016– February 14, 2017, Kaffe Fasset’s Heritage Quilts, November 18, 2016­–January 10, 2017, The National Quilt Museum, 215 Jefferson St, Paducah, KY, www.quiltmuseum.org Paducah, Fiber Festival, September 30–October 1, 2016, MAKE Paducah, 626 Broadway, Paducah, KY, http://makepaducah.com/ paducah-fiber-festival Paducah, Kristina Goransson & Jiyoung Chung, In Between, October 6–November 26, 2016, Yeiser Art Center, 200 Broadway, Paducah, KY, www.theyeiser.org/ project/kristina-goransson-jiyoungchung-in-between Bowling Green, Standing the Test of Time: Kentucky’s White Oak Basket Tradition, September 16, 2016–January 31, 2017, The Kentucky Museum/Western Kentucky University, 1444 Kentucky St, Bowling Green, KY, www.wku. edu/kentuckymuseum/exhibits/ exhibits.php MARYLAND Baltimore, Kimono & Obi: Romantic Echoes From Japan’s Golden Age, through January 15, 2017, Baltimore Museum of Art, 10 Art Museum Dr, Baltimore, MD, (443) 573-1700, www.artbma.org MASSACHUSETTS Lowell, Currents, through September 18, 2016, Brush Art Gallery & Studios, 256 Market St, Lowell, MA, www.thebrush.org/ exhibits.htm

Lowell, Lasting Impressions: Art Quilts 2016, through September 24, 2016, Whistler House Museum of Art, 243 Worthen St, Lowell, MA, http://whistlerhouse.org Lowell, Confluence, through October 16, 2016, America’s Appliqué Quilts, The Crist Collection, October 20–December 31, 2016, Along the Spice Route, A Journey in 41 Wall Quilts, November 23, 2016–February 11, 2017, New England Quilt Museum, 18 Shattuck St, Lowell, MA, (978) 452-4207, http://nequiltmuseum.org Nantucket, Faraway Islands: Lightship Basket Making on Nantucket & Japan, through October 8, 2016, Nantucket Lightship Basket Museum, 49 Union St, Nantucket, MA, www. nantucketlightshipbasketmuseum. org/programs-events/exhibit Sandwich, Natural Threads, through October 10, 2016, Heritage Museums & Gardens, 67 Grove St, Sandwich, MA, (508) 888-3300, http://heritagemuseumsandgardens. org/exhibitions Brockton, Metamorphosis: The Art of Altered Books, through November 6, 2016, New Sole of the Old Machine: Steampunk Brockton–Reimagining the City of Shoes, September 10, 2016–January 1, 2017, Fuller Craft Museum, 455 Oak St, Brockton, MA, (508) 588-6000, http://fullercraft.org

Museum of Art, 296 W Webster Ave, Muskegon, MI, www.muskegon artmuseum.org/exhibitions MINNESOTA Minneapolis, Observe Report Relate and Meet Your Maker and Julie Sirek: A Family Affair, through October 22, 2016, Holiday Gallery Shop, November 1– December 26, 2016, Textile Center, 3000 University Ave SE, Minneapolis, MN, www.textilecentermn.org MISSOURI O’Fallon, Here and There: a Missouri Fiber Artists Exhibit, September 9–30, 2016, Lillian Yahn Gallery, 7443 Village Center Dr, O’Fallon, MO, http:// missourifiberartists.org/exhibit/hereand-there-exhibit-opens NEBRASKA Kearney, Thiessen & Berggren: Folk Art Creations in Fiber and Wood, through September 4, 2016, Museum of Nebraska Art, 2401 Central Ave, Kearney, NE, (308) 8658559, https://mona.unk.edu/mona/ thiessen-berggren-folk-art-creationsin-fiber-and-wood Omaha, Sheila Hicks: Material Voices, through September 5, 2016, Joslyn Art Museum, 2200

Dodge St, Omaha, NE, www.joslyn. org/collections-and-exhibitions/ temporary-exhibitions/details. aspx?ID=336 Lincoln, Elin Noble’s Vox Stellarum, through September 16, Wandering Spirit: African Wax Prints, October24–November 23, 2016, Robert Hillestad Textiles Gallery, 1650 N 35th St E Campus, Lincoln, NE, http://cehs.unl.edu/ hillestad/exhibition-schedule

CONFERENCES & EXHIBITIONS

IOWA West Amana, Inspired by: Amana Colonies Baskets and Beyond, through September 30, 2016, Philip Dickel Basket Museum, 618 8th Ave, West Amana, IA, http:// nationalbasketry.org/events/inspiredby-amana-colonies-baskets-andbeyond

Lincoln, Quilts of Southwest China, through September 28, 2016, United in Memory, through October 9, 2016, Inside the Wrapper: The True Tales of the Mountain Mist Quilt Patterns, through October 23, 2016, Expressions From a Place of Trust: Sheila Frampton Cooper, through November 5, 2016, Amish Quilts and the Crafting of Diverse Traditions, October 7, 2016– January 25, 2017, Quiltscapes & Quiltline by Pauline Burbidge, October 14, 2016–March 25, 2017, Contemporary Quilt Art from the International Quilt Festival Collection, November 4, 2016–­January 14, 2017, Chance Encounter: The Quilts of Emiko

Watertown, Fiber in the Present Tense 2016, September 7– November 3, 2016, Arsenal Center for the Arts, 321 Arsenal St, Watertown, MA, http://fiberartnow. net/events/fiber-present-tense Cambridge, Yael Friedman: Scarabaeus, September 10– October 1, 2016, Redefining the Vessel and Sophie Mumms: The Sea Journey and Hanne Behrens: Textile Techniques in Metal and Elizabeth White Schulze, October 8–29, 2016, Lisa Kokin: Sew Constructions, November 1–30, 2016, Fauve, December 1–31, 2016, Carol Ekert, December 15, 2016–January 31, 2017, Mobilia Gallery, 358 Huron Ave, Cambridge, MA, (617) 876-2109, www.mobilia-gallery MICHIGAN Traverse City, Ilhwa Kim: Seed Universe 天下圖, through September 4, 2016, Dennos Museum, 1701 E Front St, Traverse City, MI, www.dennosmuseum.org/exhibitions Muskegon, Circular Abstractions: Bull’s Eye Quilts, through November 6, 2016, Muskegon

ARE YOU AN EMERGING ARTIST? GET YOUR WORK SHOWN IN Fiber Art Now SPRING 2017! We are curating a selection of exciting work being done by emerging artists. The final selection will be shown in the Spring 2017 issue of Fiber Art Now. REGISTER TODAY! Submissions: December 1, 2016 - January 23, 2017 Fee: $20 Learn more & apply: www.fiberartnowentry.com FALL 2016 • FIBERARTNOW.NET

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CONFERENCES & EXHIBITIONS

Toda Loeb, November 8, 2016– January 7, 2017, International Quilt Study Center & Museum, 1523 N 33rd St, Lincoln, NE, www.quiltstudy.org/exhibitions NEVADA Reno, Strata (SAQA Regional), September 19–November 4, 2016, Metro Gallery/City Hall Lobby, 1 E First St, Reno, NV, www.saqa.com/ calendar-detail.php?ID=5157 NEW JERSEY Clinton, Interconnections: The Language of Basketry, through September 4, 2016, Hunterdon Art Museum, 7 Lower Center St, Clinton, NJ, http://hunterdonartmuseum.org NEW MEXICO Taos, Taos Wool Festival, October 1 & 2, 2016, Kit Carson Park, Paseo Pueblo del Norte & Civic Plaza Dr, Taos, NM, http://taoswoolfestival.org NEW YORK Blue Mountain Lake, Weaving a Legacy: Mohawk Basketry Traditions, through October 10, 2016, Adirondack Museum, Rt 28N & 30, Blue Mountain Lake, NY, (518) 352-7311, www.adkmuseum. org/exhibits_and_events/special_ exhibits/detail/?id=38#

New York, Crochet Coral Reef: Toxic Seas, September 15, 2016–February 5, 2017, Françoise Grossen Selects, October 18, 2016–March 15, 2017, Museum of Arts and Design, Jerome and Simona Chazen Bldg, 2 Columbus Circle, New York, NY, http:// madmuseum.org/exhibition/ crochet-coral-reef-toxic-seas# Auburn, Quilts=Art=Quilts, October 29, 2016–January 8, 2017, Schweinfurth Art Center, 2 East 91st St, Auburn, NY, www.schweinfurthartcenter.org Auburn, Quilting By the Lake, July 16–28, 2017, Onondaga Community College, 205 Genesee St, Auburn, NY, (315) 255-1553, www.quiltingbythelake.com NORTH CAROLINA Charlotte, Threads of Identity: Contemporary Maya Textiles, through December 31, 2016, Mint Museum, 2730 Randolph Rd, Charlotte, NC, (704) 337-2000, www.mintmuseum.org/art/ exhibitions OHIO Kent, Flapper Style: 1920s Fashion, through September 4, 2016, Fashions of Southern Africa, through July 2, 2017, Kent State University Museum, 800 E Summit St, Kent, OH, www.kent.edu/museum 62

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EVENTS, CALLS FOR ENTRY & EXHIBITIONS, CONFERENCES & TEXTILE TRAVEL OPPORTUNITIES! Add your event to share it with the worldwide fiber arts community!

www.fiberartnow.net/events

Athens, Mastery: Sustaining Momentum, through November 27, 2016, Dairy Barn Arts Center, 8000 Dairy Lane, OH, http://dairybarn. org/exhibits/current-exhibitions/ mastery-sustaining-momentum

Williamsport, Connected By Stitch (SAQA PA Regional), October 22–December 8, 2016, The Gallery at Penn College, 1 College Ave, Williamsport, PA, https://gallery.pct. edu/schedule

Archbold, Fiber Arts Fest, September 30–October 2, 2016, Sauder Village, 22611 State Route 2, Archbold, OH, www.saudervillage. org/classes-events/special-events/ fiber-arts-fest

Wayne, Making Marks, December 2, 2016–January 28, 2017, Wayne Art Center, 413 Maplewood Ave, Wayne, PA, www.craftforms.org/ exhibitions/making-marks

Columbus, QSDS Symposium, May 26–June 11, 2017, Columbus College of Art & Design, 60 Cleveland Ave, Columbus, OH, www.qsds.com OREGON Portland, Native Fashion Now, through September 4, 2016, 1219 SW Park Ave, Portland, OR, (503) 226-2811, http:// portlandartmuseum.org/exhibitions/ native-fashion-now Corvallis, Pacific Time Zone, through September 20, 2016, The Arts Center, 700 SW Madison Ave, Corvallis, OR, www.theartscenter.net The Dalles, Columbia Gorge Fiber Festival, October 28–30, 2016, 402 E Scenic Dr, The Dalles, OR, http:// columbiagorgefiberfestival.com PENNSYLVANIA Gettysburg, 2016 A Weaving Odyssey–Central PA Basket Weavers’ Guild, September 15–18, 2016, Aspire Gettysburg Hotel, 2634A Emmitsburg Rd, PA, http://basketry.homestead.com Huntingdon, PA Fiber ArtsFest, September 16–17, 2016, Huntingdon County Fairgrounds, 10455 Fairgrounds Rd, Huntingdon, PA, www.fiberartsfest.org

RHODE ISLAND Providence, All of Everything: Todd Oldham Fashion, through September 11, 2016, Whirling Return of the Ancestors: Egúngún Masquerade Ensembles of the Yorùbá, through January 8, 2017, Rhode Island School of Design Museum, 20 N Main St, Providence, RI, http://risdmuseum.org/art_ design/exhibitions TENNESSEE Chattanooga, AQS QuiltWeek: Chattanooga 2016, September 14–17, 2016, Chattanooga Convention Center, 1150 Carter St, Chattanooga, TN, www.quiltweek. com/chattanooga TEXAS La Grange, Ruby Jubilee and Animal Instincts (Annie HelmericksLouder) and SAQA: On the Fringe, through September 25, 2016, New York Beauty Quilts from the Volckening Collection and Marvelous Medallions from the 500 Traditional Quilts Book and Infinite Imagination: The Quilted Art of Terrie Hancock Mangat, September 29–December 18, 2016, Texas Quilt Museum, 140 W Colorado St, La Grange, TX, www.texasquiltmuseum. org/exhibits-at-txqm.html Houston, International Quilt Festival Houston 2016, November

3–6, 2016, George R. Brown Convention Center, 1001 Avenida De Las Americas, Houston, TX, http://quilts.com/quilt-festivalhouston.html Houston, Texas Basket Weavers Association’s 2017 Basketpalooza, January 19–22, 2017, Houston Marriott West Loop, 1750 West Loop S, Houston, TX, http:// texasbasketweavers.com/2017_ conference_news_15.html VERMONT Brattleboro, Elemental Vessels, through September 18, 2016, Mitchell•Giddings Fine Arts, 183 Main St, Brattleboro, VT, www.mitchellgiddingsfinearts.com/ index.php/exhibits.html VIRGINIA Harrisonburg, American Pride: Eagles and Stars, Quilts from the Pat and Arlan Christ Collection and Presidential Connections and Along the Spice Route and A National Park Service Centennial Celebration!, through September 10, 2016, Midnight in the Garden of Quilts: Quilts from the Polly Mello Collection and Treasures for the Vault: Crazy Quilts and A Potpourri of Quilts: The Floyd Quilt Guild, September 20–December 17, 2016, Virginia Quilt Museum, 301 S Main St, Harrisonburg, VA, www.vaquiltmuseum.org/exhibits Alexandria, Explorations, Part 2, through October 2, Safari, October 4–November 6, 2016, Geometry Glitz, November 8, 2016–January 8, 2017, Potomac Fiber Arts Gallery, 105 N Union St, Alexandria, VA (703) 5480935, www.potomacfiberartsgallery. com/show.html Alexandria, Star Spangled Seminar, November 2–6, 2016, The Hilton Alexandria Mark Center, 5000 Seminary Rd, Alexandria, VA, (757) 646-8209, www.egausa.org/index. php/registration-2016 Fredericksburg, Original Sewing & Quilt Expo, September 29– October 1, 2016, Fredericksburg Expo Center, 2371 Carl D. Silver Parkway, Fredericksburg, VA, www.sewingexpo.com/ FredericksburgVA.aspx Montpelier Station, Fall Fiber Festival, October 1 & 2, James Madison’s Montpelier, 11407 Constitution Hwy, Montpelier Station, VA, http://fallfiberfestival.org WASHINGTON La Conner, 10th Biennial Japanese Quilt Exhibit and See Jane Quilt Challenge and A Quiltmaker’s Journey Continues: Quilt Designs


Sensory Overload: Clothing and the Body, September 23– December 30, 2016, Racine Art Museum, 441 Main Street, Racine, WI, (262) 638-8300, www.ramart.org/content/ramcollects-contemporary-art-wear

La Conner, 2016 Quilt & Fiber Arts Festival, September 29–October 2, 2016, La Conner Quilt & Textile Museum, 703 S Second St, La Conner, WA, www.laconnerquilts. org/2016-quilt--fiber-arts-festival.html

INTERNATIONAL

Bellevue, Bren Ahearn: Strategies for Survival, through January 15, 2017, Bellevue Arts Museum, 510 Bellevue Way NE, Bellevue, WA, (425) 519-0770, www.bellevuearts. org/exhibitions/bren_ahearn.html

WEST VIRGINIA Huntington, Earth Stories, through October 2, 2016, Huntington Museum of Art, 2033 McCoy Rd, Huntington, WV, www.hmoa.org/ art/exhibition/earth-stories Clarksburg, West Virginia Basketmakers Convention, November 4–6, 2016, Harrison County 4-H & Recreation Facility, 43 Recreation Dr, Clarksburg, WV, http://wvbasketweaversassoc.com/ conventionnew/convention.html WISCONSIN Milwaukee, Nature in Three Parts: Beyond Baskets, through September 18, 2016, Villa Terrace Decorative Arts Museum, 2220 N Terrace Ave, Milwaukee, WI, www.villaterracemuseum.org/ exhibitions.html West Bend, Wence and Sandra Martinez: Woven Together, through November 7, 2016, Museum of Wisconsin Art, 205 Veterans Ave, West Bend, WI, http://wisconsinart. org/exhibitions/wence-and-sandramartinez-woven-together.aspx Cedarburg, Quilt Nihon, through November 13, 2016, Folk Art, November 17, 2016–January, 2017, Wisconsin Museum of Quilts and Fiber Arts, N50 W5050 Portland Rd, Cedarburg, WI, http://wiquiltmuseum.com Racine, RAM Collects: Contemporary Art to Wear and

Toronto, ON, Bliss: Gardens Real and Imagined, through September 18, 2016, Worlds on a String: Beads • Journeys • Inspirations, through October 23, 2016, Sheila Hicks: Material Voices, October 6, 2016–February 5, 2017, Brendan Fernandes: Lost Bodies, November 9, 2016–March 19, 2017, Textile Museum of Canada, 55 Centre Ave, Toronto, Ontario, (416) 599-5321, www.textilemuseum.ca Madeira Park, BC, Quilt/Not Quilt by Jane Dunnewold, through October 9, 2016, Fibreworks Gallery, 12887 Sunshine Coast Hwy, Madeira Park, British Columbia, www.fibreworksgallery.com Penticton, BC, felt :: feutre Canadian Felt Symposium, September 20­–25, 2016, Okanagan School of the Arts, 760 Main Street, Penticton, British Columbia, www. felt-feutre-canada.com/canadianfelting-week-2016 Burlington, ON, Fiber Content 2016, September 8–18, 2016, Art Gallery of Burlington, 1333 Lakeshore Rd, Burlington, Ontario, www.fibrations.org Oakville, ON, World of Thread Festival, October 29–November 27, 2016, Queen Elizabeth Park Community & Cultural Center, 2302 Bridge Road, Oakville, Ontario, Canada, www.worldofthreadsfestival.com FRANCE Sainte Marie-aux-Mines, European Patchwork Meeting, September 14–18, 2016, 4 villages of the Val d’Argent, Sainte Marie-Aux-Mines, France, www.patchwork-europe.eu MEXICO Oaxaca, Travelling Tapestry: Textile Mail Art, October 12–15, 2016, Museum of Philately of Oaxaca, Reforma 504, Oaxaca, Mexico, http:// americantapestryalliance.org/ exhibitions/exhibition-listings

NETHERLANDS Tilburg, Jheronimus Bosch 500 | Making of ‘The Return of the Elephant’, through September 30, 2016, All aboard | Linen for the High Seas, 1900-1970, through October 30, 2016, Popart Fabrics & Fashion | Warhol to Westwood, through November 20, 2016, Switch | Dutch Design on the Move, through March 12, 2017, Textiel Museum, Goirkestraat 96, 5046 GN Tilburg, www.textielmuseum.nl/en POLAND Łódź, 15th International Triennial of Tapestry, through October 30, 2016, Central Museum of Textiles, Piotrkowska St 282, Łódź, Poland, www.muzeumwlokiennictwa.pl/ czasowe/1/568,15th-internationaltriennial-of-tapestry-lodz-2016.html SLOVAKIA Bratislava, 4th Textile Art of Today International Triennial, through January 31, 2017, Bratislava Castle, Bratislava, Slovakia, www.facebook. com/textileartoftoday SOUTH KOREA Suwon, Korea Bojagi Forum 2016, September 1–5, 2016, Sima Museum and Suwon/Hwasung Museum, 833, Jeongjo-ro, Suwon City, South Korea, www.koreabojagiforum.com UNITED KINGDOM Manchester, Revolutionary Textiles 1910–1939, through January 29, 2017, The University of Manchester, The Whitworth Oxford Rd, Manchester, UK, www.whitworth. manchester.ac.uk/whats-on/ exhibitions London, Undressed: A Brief History of Underwear, through March 12, 2017, Victoria & Albert Museum, Cromwell Rd, London, UK, www.vam.ac.u

TOURS & TRAVEL AFRICA South Africa, Lesotho, Swaziland, Southern Africa: A Celebration of its Arts, Tentatively September 2017, (800) 369-3033 or (970) 728-6743 outside of US, www.loomdancerodysseys.com ARIZONA Canyon de Chelly, Navajo Weaving, Spring 2017, (800) 3693033 or (970) 728-6743 outside of US, www.loomdancerodysseys.com CHINA Yunnan, Guizhou, Guangxi, Textile

Odyssey Tour To Southwest China, October/November 2016, www.textileodyssey.com

GUATEMALA Guatemala, Guatemala’s Woven Treasures, March 5-19, 2017, (800) 369-3033 or (970) 728-6743 outside of US, www.loomdancerodysseys.com ITALY Tuscany, Felting & Textile Tour of Tuscany, March 26-April 3, 2017, (815) 663-4046 or (877) 887-1188, http://fiberartnow.net/tuscany

Umbria, Tuscany and Lake Como, Italy’s Mosaic of Tapestry, Truffles, Silk, Olives & Alpacas, Spring 2017, (815) 663-4046 or (877) 887-1188, www.loomdancerodysseys.com MEXICO Oaxaca, Celebrating the Day of the Dead, October 25–November 4, 2016, (800) 369-3033 or (970) 728-6743 outside of US, www.loomdancerodysseys.com

CALLS FOR ENTRY

WASHINGTON, DC Washington, DC, Stories of Migration: Contemporary Artists Interpret Diaspora, through September 4, 2016, Bingata! Only in Okinawa, November 5, 2016– January 30, 2017, Selections from The Textile Museum Collections, ongoing, The Textile Museum, 701 21st St NW, Washington, DC, https:// museum.gwu.edu/textile-museum

CANADA Stratford, ON, My Corner of the World: Art Quilt Exhibition, through September 5, 2016, Stratford Perth Museum, Stratford, Ontario, www. stratfordperthmuseum.ca

Oaxaca, 10th International Shibori Symposium, November 15–20, 2016, Centro de las Artes de San Agustín, Oaxaca, Mexico, https://10iss.org

TOURS & TRAVEL |

with Natural Fibers, 2000-2016 Reynola Pakusich, through October 2, 2016, Local Fiber Artists in the Landmarks Gallery, changes monthly, La Conner Quilt & Textile Museum, 703 S Second St, La Conner, WA, www.laconnerquilts.org

Oaxaca, Profound Oaxaca: Textiles, Pottery & Living Arts, January 22–29, 2017, and Fiber Arts of the Oaxacan Coast, March 2–10, 2017, www.traditionsmexico.com

MYANMAR Yangon, Bagan, Mandalay, Inle Lake, Mrauk U, Kengtung, Textile Odyssey Tour to Myanmar, January 2017, www.textileodyssey.com PERU Ayacucho, Huamanga, Quinau, Bellavista, Vilcashuaman, sites, studios, markets & hands-on workshops during the Easter/ Semana Santa 2017 Tour, April 6–18, 2017, www.puchkaperu.com

Lima, Arequipa, Colca Canyon, Cusco, Sacred Valley of the Inka, Machu Picchu, 9 days of workshops during the 22 Day Textile/Folk Art/ Market Workshop Tour, April 21– May 12, 2017, www.puchkaperu.com POLAND Łódź & Gdynia, Experience Poland Artisan Tours, October 1–11, 2016, www.experiencepoland.net/tours SCOTLAND The Highlands and Islands of Scotland, A Weaving & Knitting Adventure, October 3–23, 2016, (800) 369-3033 or (970) 728-6743 outside of US, www.loomdancerodysseys.com

CALLS FOR ENTRY

Fiber Art Now DEADLINE: (Ongoing/Unspecified) Fiber Art Now, a quarterly publication, is calling for articles that will support its mission to connect and inspire the fiber arts and textiles community with the most compelling work in the field. FALL 2016 • FIBERARTNOW.NET

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CALLS FOR ENTRY

http://fiberartnow.net/storysubmissions Quilt National 2017 DEADLINE: September 1, 2016 International juried competition dedicated to promoting the contemporary quilt. May 27–September 4, 2017 Dairy Barn Arts Center, Athens, OH http://dairybarn.org/qn-17-cfe Patchwork Pundits Take on Politics DEADLINE: September 9, 2016 Politically-themed quilts celebrating the tradition of activism and awareness. October 27, 2017– January 21, 2017 Rocky Mountain Quilt Museum, Golden, CO, www.RMQM.org Craft Forms 2016 DEADLINE: September 14 & 19, 2016 Innovative and original in design fiber and other media. December 2, 2016–January 28, 2017 Wayne Art Center, Wayne, PA www.craftformsentry.org Crafting Community: SDA 2016 Inaugural International Exhibition in Print DEADLINE: September 15, 2016 Open to artists and designers working with or inspired by fiber/ textile materials and techniques. December 23, 2016 Publication of Winter SDA Journal www.callforentry.org/festivals_ unique_info.php?ID=3620 Layered Voices (All SAQA) DEADLINE: September 30, 2016 Layering of the media may be literal, inferred, or digital. April 2017 International Quilt Study Center & Museum, Lincoln, NE www.saqa.com/calendar-detail. php?ID=4808 EXCELLENCE IN FIBERS 2016 DEADLINE: October 1, 2016 Original work, fiber in content or executed in a fiber technique for print & digital exhibition. Fiber Art Now Winter 2017 Issue Release Date: December 10, 2016 www.fiberartnowentry.net EMERGING ARTIST SHOWCASE SPRING 2017 DEADLINE: January 23, 2017 Art that is created using natural or synthetic fibers or techniques that are traditionally thought of as relating to fiber. Fiber Art Now Spring 2017 Issue. Accepting submissions December 1, 2016–January 23, 2017. www.fiberartnowentry.com 64

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Wearable Expressions 7th International Juried Exhibition DEADLINE: October 1, 2016 Featuring wearable art designed for the human body in all media, including jewelry and accessories. January 20–April 16, 2017 Palos Verdes Art Center, Rancho Palos Verdes, CA www.wearableexpressions.com Affairs of the Heart: Go Red for Women Juried Quilt Show DEADLINE: October 15, 2016 Quilts must be made of fabric, and contain three layers. February 28, 2017 American Heart Association, Waltham, MA http://nequiltmuseum.org/blog/ american-heart-assn-sponsors-juriedquilt-show Small Tapestry International 5: Crossroads DEADLINE: October 31, 2016 Traditional and experimental methods not exceeding 100 sq inches. Traveling to Texas, Washington, & Massachusetts throughout 2017. University of North Texas, Denton, TX. http://americantapestryalliance. org/exhibitions/small-tapestyinternational/small-tapestryinternational-5-crossroads Evolutions 2017 Juried Quilt Challenge DEADLINE: October 31, 2016 Open to all quilters and fiber artists in celebration of yesterday’s traditions as well as tomorrow’s innovations. January 26–April 25, 2017 Rocky Mountain Quilt Museum, Golden, CO www.rmqm.org/wp-content/ uploads/2016/01/Evolutons-EntryRules-and-Regulations2017-1.pdf 2017 SAQA Trunk Show DEADLINE: November 30, 2016 10” x 7” art quilt or, on a limited basis, 3-D Artwork. April 27–30, 2017 SAQA Conference, Lincoln, NE www.saqa.com/calendar-detail. php?ID=5032 H2OH! (All SAQA) DEADLINE: November 30, 2016 Interpret water in your own unique, individual style. June 23–September 19, 2017 National Quilt Museum, Paducah, KY www.saqa.com/media/file/ExCom/ H2O%20Prospectus%20ver%205.pdf Sacred Threads DEADLINE: December 31, 2016 Quilts expressing life’s journeys. July 7–23, 2017 Floris United Methodist Church, Herndon, VA

www.sacredthreadsquilts.com/html/ callForEntries.html Interpretations: Conversations DEADLINE: January 31, 2017 (Opens Jan 1) Open to all art quilt, fiber, and fabric artists living in the US and its territories. October 21, 2017–January 7, 2018 Visions Art Museum, San Diego, CA http://visionsinterpretations.com Pathfinders: New Territories DEADLINE: February 1, 2017 (Opens Nov 1) Original art quilts reflecting curiosity, courage, wanderlust, and a sense of adventure. June 30–August 26, 2017 Southern Utah Museum of Art, Cedar City, UT www.suu.edu/pva/suma/exhibits/ pathfinders.html Fantastic Fibers 2017 DEADLINE: February 4, 2017 (Opens Nov) International juried fiber art exhibition. April 22–June 17, 2017 Yeiser Art Center, Paducah, KY www.theyeiser.org All Things Considered 9: Basketry in the 21st Century DEADLINE: February 15, 2017 Traditional and contemporary basketry. Submissions will be evaluated on concept, design, technique, craftsmanship and creative exploration July 20, 2017–March 30, 2018 American Art Company, Tacoma, WA Traveling to: Sally D. Francisco Gallery, Peters Valley, NJ Society for Arts and Crafts, Boston MA https://www.callforentry.org/festivals_ unique_info.php?ID=3686 21st National Exhibit “Through the Needle’s Eye” DEADLINE: February 21, 2017 Original and adapted traditional and contemporary embroidery needlework. August 16–September 15, 2017, then traveling for 3 years. Transylvania Arts Council, Brevard, NC www.egausa.org Third Biennale: Keeping Warm DEADLINE: August 10, 2017 All fiber arts media with unified theme “Wisconsin’s winters are cold, but we know how to keep warm.” December 17, 2017–April 8, 2018 Wisconsin Museum of Quilts & Fiber Arts, Cedarburg, WI http://wiquiltmuseum.com/ exhibits/upcoming-exhibits/thirdbiennale-keeping-warm

STATEMENT OF OWNERSHIP, MANAGEMENT, AND CIRCULATION (required by 39 U.S.C. 3685) of Fiber Art Now for Fall 2016 Fiber Art Now is published quarterly by M.Young & Associates, Inc.. General business offices of the publisher are located at 226A County Road, E. Freetown, MA 02717. Publisher: Marcia Young Editor: Marcia Young. Owner is M.Young & Associates, Inc.. Known bondholders, mortgagees, and other security holders owning or holding 1 percent or more of the total amount of bonds, mortgages, or other securities: None. The average numbers of copies of each issue during the preceding twelve months are: a.Total Number Of Copies Printed: 5350. b. Paid And/Or Requested Circulation: 1. Paid/Requested Outside-County Mail Subscriptions Stated On Form 3541: 2379. 2. Paid In-County subscriptions: 0. 3. Sales Through Dealers And Carriers, Street Vendors, Counter Sales, And Other NonUSPS Paid Distribution: 2050. 4. Other Classes Mailed Through The USPS: 0 c.Total Paid And/Or Requested Circulation: 4429. d. Free Distribution By Mail: 25. e. Free Distribution Outside The Mail: 0. f. Total Free Distribution: 25 g.Total Distribution: 4479. h. Copies Not Distributed: 889. i.Tota1: 3590.The actual numbers of copies of a single issue published nearest to the filing date (Volume 6, Number 1) are: A. Total Number Of Copies Printed: 4476. B. Paid And/Or Requested Circulation: 1. Paid/Requested Outside-County Mail Subscriptions Stated On Form 3541: 2384. 2. Paid In-County Subscriptions: 0. 3. Sales Through Dealers And Carriers, Street Vendors, Counter Sales, And Other Non-USPS Paid Distribution: 1613. 4. Other Classes Mailed Through The USPS: 0. C.Total Paid And/Or Requested Circulation: 3997. D. Free Distribution By Mail: 25. E. Free Distribution Outside The Mail: 0. F.Total Free Distribution: 25. G.Total Distribution: 4047. H. Copies Not Distributed: 359. I. Total: 3688. I certify that this statement of ownership is correct and complete. Marcia Young, editor in chief, Peter Walsh, circulation director


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Fiber Art Now, Fall 2016  

Fiber Art Now, Fall 2016  

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