Resists have always fascinated me. A resist is a substance or a mechanism used to prevent dye or colorant from acting upon a surface. My very first experiments with resist were done in high school art class. My teacher was more interested in discussing politics, so I taught myself how to do batik using paraffin. Although batik was a favorite, I found removing the wax to be a tedious and expensive process when a dry cleaner was used. This post shows samples of other resists: dextrin, potato starch, cassava, and Japanese Tsutsugaki with rice paste, as well as discharge.
Studio tours in Emeryville
Months ago, when I first read through the lineup of conference presenters, I thought, hmm, a very academic approach. But no, this was something more. Unlike most conferences involving textile artists, this one did not have much in the way of hands-on and technique-oriented sessions. I’m sure that this aggravated some attendees. Instead, this was a textiles homecoming, a conference that took a detailed look at the handmade textile scene— now, then and future. It dealt with legacy. With long-running artist careers still fired up and ongoing. With younger, collaborative and socially-conscious work. With the interface between hand made art and museums. With the current explorations by two prominent magazines, Fiber Arts and American Craft.
California is the state with the most Surface Design Association members. Northern California alone has 363 members, more than some of the multi-state regions. Southern California, 160 members. Contemporary fiber art got its foothold in the Bay Area, with the now-defunct, once-thriving Fiberworks that trained so many. It still has a depth of talent and long-term career commitment unparalleled elsewhere. And we got a taste of some of this.
Day 1: The contemporary scene
Keynote speaker Marci McDade, Editor of Fiberarts Magazine pointed out a number of innovative fiber artists in her talk Reinvention: Transforming the Face of Fiber. McDade mentioned the trend in museums to invite artists into their collections, from which they might make works based on that experience, where both the museum piece and the contemporary interpretation would be hung side by side. Other notes: the Design Center at Philadelphia University had a 150’ long chain link fence patterned after the traditional lace housed in their collection. Lace motifs were also used to stencil found metal in some of the Center’s garden settings. McDade also mentioned other innovative fiber projects, including Slash: Paper under the Knife at the Museum of Arts + Design in NYC; Anne Wilson’s Wind/Rewind/Weave community weaving project at the Knoxville Museum of Art. In this, Anne invited 60 weavers to do an “exquisite corpse” type of weaving, one day for each weaver. Each segment was divided by black thread. McDade also mentioned Craftweek 2.0’s New Household Tactics, a conceptual show where a paper towel dispenser was filled with handmade papers, etc. (McDade admitted to not really understanding fashion. —since many of our artists do wearables, this seemed an unfortunate slip in what was otherwise a great lineup of information.)
Jane Przybysz, Executive Director of the San Jose Museum of Quilts and Textiles, discussed What Makes Fiber Art? plus the challenges of running a nonprofit museum focused on textile arts, with the “emotional logic” versus the “financial logic” of an organizational mission statement. She said, “those who identify with media rather than the art or idea are not artists.” Not all agree with this. She mentioned the provocative book, String, Felt, Thread: The Hierarchy of Art & Craft in American Art by Elissa Auther. Przybysz noted three communities where fiber art has currency: #1 the fiber art community; #2 Post-Conceptualist artists (Rauschenberg, Eva Hess), who used fiber as “non-art” to contest the hierarchy of art and craft; and #3 the feminist art community.
Stefan Catalani of the Bellevue Arts Museum showcased interesting examples of crossover art/textile artists. The Bellevue has no collections of its own, just organizes rotating exhibitions. Truly notable are works by Dinh Q. Le, and Ed Pien’s papercuttings, as well as Mandy Greer.
Jill D’Alessandro discussed exhibitions of historic and ethnic textiles at the de Young Museum. All of these presenters appeared on a panel exploring the issue of what kind of work gets promoted in their institutions.
Primarily, the emphasis with all of these presenters was on exceptional work, regardless of art or craft moniker. The challenges of funding when identifying only as a craft institution where brought up. Some attendees were focused on the “Q” word- whether or not to push the term “quilt”. This of course, also brought up conversations about gender-based work. We ended our day with joint openings of exhibits in the SFS textile studios, galleries and other locations.
Day 2: Artists
We started with a panel of emerging artists moderated by Vic de la Rosa, of San Francisco State University. Lacy Jane Roberts (“messy craft” rather than mastery, plastic knitting machines and academic discussions of contemporary craft and gender) and Bren Ahearn (embroidery) discussed their own work plus other issues such as the challenges of living as gay or queer (not identifying as either female or male) artists. Mung Lar Lam had a solid powerpoint of work called “ironings,” ironed, pleated installed works in which she appears in the installation and irons the pieces. Vic de la Rosa commented that as far as the “craft police” are concerned, it’s good to know the rules in order to break them.
The second presentation, Can Art Make a Difference? moderated and curated by Linda Gass focused on four exceptional artists working with environmental issues (Linda McDonald uses humor and fine draftsmanship to focus on forestation issues), Lea Redmond (very interesting conceptual work), Judith Selby Lange (who makes wearables using discarded plastic bags found on a particular beach), and Gass (silk art quilts highlighting mapping and land use concerns).
We then heard from “The Voices of Experience,” four artists with 152 combined years of studio practice between them and who are still actively engaged with their work. This fact-paced, poignant presentation inspired many of us and included work by Michael Rohde (weaver), Carol Westfall (mixed media) and Consuelo Underwood (weaver and political-conceptual artist, #11 of 12 children born into a migrant family) with Joan Schulze moderating. Any of these could have filled an hour-long segment, not just their 20 minutes allotted time.
Day 3: Studio Tours, for those who’d made arrangements
This was the day where everything came together for me. Our group started at Ana Lisa Hedstrom’s shibori studio, with work by Yoshiko Wada and Jeanne Caciedo also on display. These three titans of the fiber arts community were generous with their time and knowledge. We were seduced by Ana Lisa’s clothing. Yoshiko Wada explained that shibori (Japanese resist dyeing using pleating, clamping and tying, are only 150 years old. She has worked to promote the field and preserve knowledge by current Japanese shirbori masters. Then Richard Elliott, head of textiles at CCA, showed pieces incorporating digital printing. Susan Taber Avila is creating wonderful, large-scale layered work using dyeing and machine embroidery. Her studio mate Candace Kling comes from a historic costuming background and had manipulated trims and historic examples throughout her studio. We visited Karen Livingstone’s studio in a former corner grocery, where she does custom dyeing and once did Marian Clayden’s dyeing. And an inspiring tour of the home and gardens of Paul and Robin Cowley, landscape architect and art quilter.
That night, some of us went to a fiber artist potluck way up high in the hills of Berkeley. Stunning sunset overlooking the entire Bay area. As I looked around at attendees, I was struck yet again by the sheer concentration of talent in this part of California, and the generosity and dedication of our host.
In addition, the SDA Board met before the conference, spending time on the topic of reinvention. Established in 1976, SDA is doing what any organization of similar age does- reviewing goals, strategy, mission and communications. Things are cooking up well, and we are positioning ourselves for the present and future cyber age.
What else? Trails around the hotel followed the bay, had shorebirds, and smelled of salt water. I visited with my high school friend and fellow yearbook co-editor, whom I hadn’t seen since I was 21. On my last day, I checked my bags earlier and headed to the San Francisco Museum of Modern Art. The building alone is worth the visit, —I especially enjoyed the abstract expressionist galleries. I was surprising to see how large the Diebenkorn paintings are- I had assumed they were half the size. The collection of San Francisco-based artists was excellent quality, with fresh ideas and excellent quality of execution. I also stopped by the exhibit of textiles from Mali at the Museum of International Craft & Folk Art. I was familiar with much of what was presented but found the videos of a contemporary wedding fascinating. And then, on this stunningly beautiful day that even the locals were relishing, I headed back on my friend BART (Bay Area Rapid Transit) to the airport and flew home over snow-capped mountains and pink-tipped clouds.
Wallace Stegner describes in one of my favorite books, Angle of Repose.
Victoria Rivers shares a lighthearted, zany life of artmaking that soon profiles a dedicated, focused interest in Asian “mirrored” cloths and her own very complex wall pieces. The sheer number of research projects and studio work accomplished as well as teaching, was eyepopping. Her current research area: Russian ceramics that show the ikat patterns of central Asia.
Jane Dunnewald in Mining for Meaning: Intentional Content takes us on a different spin through the land of studio reinvention. Dunnewald mirrors what several have said and I too have thought, about the move towards a simpler way of imaging/imagining, and also of thoughtful ways to reinvigorate studio practice. She talked about Barbara Schneider’s daily photograph, from which additional visualizations through Photoshop emerge.
Papermaker and University of Wisconsin faculty member Mary Hark led a small group through Material Poetry: Textiles in Ghana, West Africa, a stunning 500-image slideshow of her Fullbright textile research in Ghana. She lived with an extended family of adinkra cloth makers in Kumasi. The sheer variety of colorful market cloths, from Kente cloths (woven by younger boys), batik (made by families for grocery money), commercial “blockprinted” Ghanaian cloth, and adinkra cloth was wonderfully overwhelming. Adinkra is important for funerals. The dyers receive older clothing, often Kente or other, to overdye, then apply adinkra symbols. The materials used for the symbols is derived from a certain bark and later washes out, and the clothse are then re-stamped for future reuse. Local seamstresses sew these clothes to correct body measurements, altering after subsequent fittings. According to Hark, the city has the largest market in West Africa and the sheer number of fabrics is mind boggling.
Ironically, it’s interesting to see Mary’s photos. She was a student of Chris Roy’s at the University of Iowa. Roy spent time in Upper Volta (now Burkina Faso) in the Peace Corps in the late 1960s, teaching then unknown batik methods. In Iowa in the early 1990s, Miranda Akyea, a Ghanaian friend (and Queen Mother) also did batik. She said that the European donated clothes in the local markets became known as the “bend down boutique” and were disdained, as locals had a proud clothing tradition. They developed their own patterns and a more Africanesque cloth. At that time, packaged foam from appliances and TVs was ingeniously repurposed to make stamps for stamping batik wax. Miranda did this type of batik. I did a small piece on this for Fiberarts Magazine 15 years ago. Among other things, what interested me in Mary Hark’s presentation was how far those batiks have come in their complexity of pattern and more skilled use of the technique.
Then it was time for fun. Kerr Grabowski led us through a demonstration of de-constructed screen printing, which she first taught at SDA ten years previously. Trained as a printmaker, she allows mark-making to guide the development of her designs. It’s basically a blank screen, run over textured surfaces with a dye with squeegie, then allowed to dry. Then sodium alginate is squeegied over the surface, allowing the dye to release in patterns. Or perhaps the dye is direct painted on the screen, then charged once more with alginate. The result is playful and spontaneous. As Kerr says, “make a mess, then solve it!” She admits to being very loose in the image generation, and meticulous in the finishing (steaming, washing, etc.)
At 6pm, we attended the Off the Grid Fashion Show, a private viewing in the new wing of the Nelson-Atkins Museum. Starting with a performance by mixed media artist Sha Sha Higby, who presents mythic stories in elaborate almost tribal, almost Kabuki costumes, we progressed to a non-traditional runway show of non-traditional and all handmade clothing. They fell into two categories- the artrageous, art-as-theater style (ie shawl featuring plastic forks -see first image) and the awesomely-made elegant show pieces. I’m afraid I can’t tell you the individual makers, but a variety of artists were represented.
the last two pieces shown are handmade felt by Jorie Johnson, now living in Japan.
Exhibitions at the Belger
A wonderful warehouse space in itself, complete with old fashioned freight elevator and loading dock for trucks. Here’s a list of all the shows I attended.
Stitches in Time: The Art of Ray Materson: narrative embroideries that reveal a poignant story of renewal through creative work. A fifteen year sentence for drug related armed robberies, unraveling socks for embroidery on new boxer short fabric, minute stitching. Creative work became a source of power within a prison community. Importance of support for prison art programs.
- Surface Matters: SDA Members’ Show featured 18″ square format pieces by 200 members. This show included a wide array of member styles, competencies and techniques and allowed all members an opportunity to participate in a conference exhibition. (image at left and below. Shown: Stone Silence by Luanne Rimel, cotton flour sack cloth dishtowels; digitally printed, collaged, layered, stitched.)
El Anatsui, Three Pieces, 2009. This Ghanaian artist and teacher at the University of Nigeria, is now world known for large scale installation pieces using aluminum (from cans, etc) and wire. These are powerful, awe-inspiring pieces.
Jennifer Angus, Small Wonder, Secrets of a Collector, Nova Scota native now teaching at the University of Wisconsin in Madison, installations using dead insects from around the world, choosing those only in abundant supply. These mirror the beetle art of 19th century.
- Jerry Bleem shows that provocative sculptural forms can involve materials of humble origins, such as the staple. Bleem gave a stunning performance in a lecture later in the conference.
- Daniella Woolf, Away with Words, featured encaustic mixed media works of great interest to surface designers with more of a mixed media bent.
- Memory Cloth, Leslee Nelson’s embroidered vintage household linens, Lynda Barry-style.
- Regina Benson, On the Curve, Dimensional Works from Nature’s Studio, rusted and discharged fabric in sculptural format. (Byron C Cohen Gallery)
- Landscape with Floating Biology, mixed media installation by weaver Wendy Weiss, & Jay Kramer, Cocoon Gallery at the Arts Incubator.
- Evidently, the Dolphin Gallery’s show of Anne Lindberg, Asiatica and others drew gasps of praise- I was unable to see it.
- I would have liked to see the International Student Show, Points of Departure, at Pi Gallery but didn’t make it.
- Likewise, HEather Allen-Swarttouw’s Transition in the Community Christian Church chose several themes executed in different media (fiber, clay, etc) and was said to be a strong show. When I tried to attend, the Church was closed.
- In the trunk show later that evening, Mary Hark’s indigo and walnut dyed papers.