Tag Archives: exhibition

Interpreting the Surface

I first discovered the Surface Design Association through their journal in 1996. The bold cover of that issue immediately grabbed my attention — a close-up of irregularly shaped, hand-dyed fabrics overlaid with a web of machine stitching. The only words were the heading “SURFACE” and the small subtitle “Quilts”.

Flipping through the pages, the breadth of articles and the quality of images hooked me right away.

Elizabeth Fram

Having completed my first “art quilt” three years before, I was in full-on learning mode and constantly on the lookout for more information about other artists and potential processes.

Karen Kamenetzky

Since I was just beginning to find my way as an artist, it was a thrill find a publication that was the product of an organization whose stated mission was “to provide leadership in the field of surface design by:

stimulating…professional opportunities and education
improving communication…among artists, designers, educators and industry
acting as a resource to people seeking access to galleries, studios, workshops, small business and education
supporting and encouraging exhibition opportunities
providing a forum for exchange and evolution of ideas…”

Marilyn Gillis

My education in surface design began in earnest with the purchase of that journal and, almost 20 years later, I am ever-grateful for the way SDA has come through for me on all the bullet points above.

Rosalind Daniels

But above and beyond that, it is the people I have met through SDA that have been the ultimate benefit. As an international organization, its reach is far and wide, so exposure to what is happening globally is fantastic. But closer to home, both the critique groups I’ve joined since the mid-90’s have included other SDA members, so I think of SDA as a great source of connection for sharing both knowledge and friendship.

Karen Henderson

Currently I am enjoying being part of a show appropriately entitled Interpreting the Surface at the Furchgotte Sourdiffe Gallery in Shelburne, VT, along with seven other Vermont SDA members.

Catherine Hall

The variety and scope of the work speaks for itself. These images represent a selection from each artist.

Dianne Shullenberger

I hope that if you are within driving distance, you will go to check out the show in person. My photos don’t begin to do justice to the beauty and details of these works, which can only be fully appreciated “in the flesh”.

Jackie Abrams

In case you live too far away or don’t have the opportunity to see the show before it closes on May 26, here is a link to the review that recently appeared in 7 Days.

Elizabeth Fram

Art from the Needle Lives On

I recently treated myself to a copy of the catalog from the Museum of Arts and Design’s 2007 exhibition “Pricked: extreme embroidery“. As is to be expected, the show is thought-provoking, engaging and, as noted by former Museum of Arts and Design director Holly Hotchner, “celebrates the work of the artist’s hand in the twenty-first century”.

“Pricked” represented international artists of both genders whose art not only pushes forward into new realms via concept and unexpected materials, but which references the traditional in unexpected ways. The exhibition was so popular that it was extended an additional 7 weeks.

“Death of Blinded Philosopher” (2006), embroidery on silk shantung, by Angelo Filomeno Photo Credit: Michael Bodycomb

It’s well worth noting the remarks of David Revere McFadden (Chief Curator, Museum of Arts and Design at the time of the show) that it “is not by any measure an exhibition about embroidery, but rather an exhibition of contemporary art made by artists that use embroidery as a medium to communicate their ideas and visions”.

I have been thinking lately about the fact that regardless of whether for utilitarian purposes or as a means of artistic expression, the use of needle and thread is a discipline that crosses many boundaries: historic, economic, geographic and cultural. Recently that fact hit home on a more personal level.

Our family has a treasured sampler that has made its way down through the generations to one of my cousins. It was made by my great, great, great grandmother at the age of 12 in 1806. It’s an object that was respected, but in recent times I don’t think much was thought or known about it beyond being something of another era.

Pamelia was originally from Massachusetts and my father, who is deep in genealogical research surrounding the life of her husband, couldn’t figure out why she was in Portland, Maine where she made this sampler at such a young age, and how she happened to meet her eventual husband, the subject of my father’s research.

Pamelia circa 1870’s

Interestingly, I recently received a group email from my SAQA regional rep that included a link to a video about an exhibition at the Saco Museum, “I My Needle Ply With Skill”, that showcases Maine schoolgirl needlework from the Federal era. That led to further information that allowed my father to ferret out why Pamelia was in Maine (another story), and also the fact that she attended the same needlework school in Portland as my great, great, great grandfather’s sister. This is undoubtedly how the two met – and perhaps one of the reasons that this sampler was cherished and so well-preserved to be passed down in such beautiful condition.

I’m proud to see the way that Pamelia’s work was honored by the elegant frame that surrounds it. And I can’t help but be reminded that needlework has become central to my art-making. It’s cause for celebration that “hand-work” has expanded beyond the sphere of the relatively limited education accessible to girls of 200 years ago, to become a valid contemporary art form, recognized through an exhibition at in one of our most important museums.

And I find it uplifting to remember that we are connected via the things we make — even across time and place.

It’s Not Just About the Art

I have just finished installing a solo show of two dozen pieces entitled COLOR|stories. It will run from March 1st – 29th. The venue is a lovely, spare, New England church; beautiful in its simplicity. It boasts colorful stained glass without iconography, that glows in the sunlight. The sanctuary is bright, large, and open, with light-colored woodwork and walls. It is a peaceful and contemplative space and I am pleased that my work will hang where people can sit with it and hopefully grow comfortable in its presence.

This exhibition is part of the new Meetinghouse Arts project, spearheaded by painter Torrey Carroll Smith, with the goal of providing opportunities for local residents to see more art and for local artists to share their work. As with the River of Light Lantern Parade that I described in a previous post, it’s another instance of community action at its best.

Since I was first approached, the past 15 weeks or so have been carefully mapped-out in order to be sure that I thoughtfully and thoroughly covered all bases, in addition to completing other work that was already in progress and promised for an earlier date.

In that light, I guess it would be expected that I elaborate about the work exhibited, its making, or even the theme surrounding the pieces included — a few of which I am highlighting here. But instead, I would like to give a nod to the nuts and bolts of the business side of things, the behind-the-scenes process that makes a public presentation of one’s work possible, bolstered by resources that help teach how to pull it off.

When I was in college, I don’t remember any discussion at all about the business of being an artist. Absolutely zero. In my naiveté, I don’t know what I expected — I’m not sure I even thought much about it. In hindsight, I was lucky that I could find jobs that were at least creatively-oriented and which taught me a lot that still has relevance today.

Since then it’s taken a lot of hard work, countless hours of reading and research, and the assistance of many invaluable resources, including fellow-artists who have generously shared their knowledge, to get to a place where I feel as though I have at least a modest handle on how to proceed in promoting my work. I strongly feel that it’s imperative to be able to reliably meet the requirements of those who are organizing any show. Not only does this make their end of things as easy as possible, but it also ultimately enhances the chance that my work will be presented in the best possible light.

To that end, I’d like to share a few of my favorite, go-to resources in the hope that one or more of them might smooth the way to your next show or, at the very least, provide you with another set of references to balance those you already have.

1. Alyson Stanfield — An unsurpassed reference for any artist looking to learn more and improve business practices. The scope of what she covers through her website, blog, e-classes, workshops and lectures is vast. Her book I’d Rather Be in the Studio is a must-read.

2. Several books that I return to regularly for advice on all sorts of business questions: The Artists’ Survival Manual by Toby Judith Klayman with Cobbett Steinberg, How to Survive & Prosper as an Artist by Caroll Michels, Taking the Leap by Cay Lang, and A Life in the Arts by Eric Maisel, Ph.D.

3. Hire a professional photographer or get to know your camera really well. Read its manual, practice a lot, and read as much as you can about photographing art so that you get it right. This article helped has me tremendously.

4. Gloria Hansen’s Digital Essentials. Well written and easy to read, I refer to this book time and again for photo editing information and advice. (It’s not just for quilt makers.)

5. If you belong to an organization such as SAQA or Surface Design Association, make use of their resources! They provide all sorts of professional support, easily accessible through their websites and/or area reps.

Finally, if you are near Waterbury, VT in March, please stop in to see COLOR|stories. Even better, sit down with your thoughts and relax into your surroundings. I’d love to hear what you think.

Waterbury Congregational Church ・8 North Main St. ・Waterbury, VT 05676 Open to the public Tuesdays thru Fridays, 8:30am to 4:30pm