Surface Design Journal - Summer 2013 - Sample Issue

© Surface Design Association, Inc. All rights reserved. Reproduction without permission is strictly prohibited.

Surface Design Journal S

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Surface Design Journal

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06 Utopia Now: Saya Woolfalk’s Magical World

b y P a t r i c i a M a l a r c h e r

12 Michael Cepress: Menswear with Meaningb y E l i s s a A u t h e r

18 Patterns of Power: John Westmark b y L e s l i R o b e r t s o n

22 Codes of Conductb y S t e f a n o C a t a l a n i

28 Body Gazing Through the Eye of a Needle b y L o i s M a r t i n

34 Aaron McIntosh: Queer Country Quilting b y G a b r i e l C r a i g

38 Stories Preserved: Kelsey Viola Wiskirchenb y J o e t t a M a u e

42 Traditions Rooted in the World of Womenb y A . M . W e a v e r

48 Gender Bending with Linda Steinb y J o y c e B e c k e n s t e i n

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Summer 2013Volume 37 Number 4

d e p a r t m e n t s

52 First PersonL.J. Roberts

54 ExposureA gallery of recent work by SDA members

56 In Review4 Weavers: Contemporary Expressions

of an Ancient Craft

Petaluma, California

Lenore Tawney: Wholly Unlooked For

Baltimore, Maryland

Philadelphia, Pennsylvania

Michael Brennand-Wood: Forever Changes

Denbighshire, Wales

BAM Biennial 2012: High Fiber Diet

Bellevue, Washington

Bridge 12: Betty Vera

Pittsburgh, Pennsylvania

Jan Myers-Newbury: Unwrapped

Pittsburgh, Pennsylvania

68 Spotlight on EducationEastern Michigan University

Ypsilanti, Michigan

70 In PrintTextiles: The Art of Mankind

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SUBSCRIPTION / MEMBERSHIPThe Surface Design Association membership: $60 a year ($35 for student with ID). $30 ($20 student) of each member’s dues shall be for a year’s subscription to Surface Design Journal. Subscriptionsare available only to members. Outside USA: add $12 for Canada and $20 for all other countries. US funds only. Send Subscription/Membership correspondence to: Surface Design Association, P.O. Box 360, Sebastopol, CA 95473-0360.Visa/Mastercard accepted.

©2013 Surface Design Association, Inc. All rights reserved.Reproduction without permission is strictly prohibited. Surface DesignJournal (ISSN: 0197-4483) is published quarterly by the SurfaceDesign Association, Inc., a non-profit educational organization.Publications Office: 919 Midpine Way, Sebastopol, CA 95472-5583.Periodicals Postage Paid at Sebastopol, CA, and additional mailing offices.POSTMASTER: Send address changes to Surface Design Journal:Subscriptions, P.O. Box 360, Sebastopol, CA 95473-0360.

Surface Design Journal is a quarterly publication

of the Surface Design Association, a non-profit

educational organization.

SURFACE DESIGN ASSOCIATION

Our Vision: To inspire creativity, encourage innovation

and advocate for artistic excellence as the global

leader in textile-inspired art and design.

Our Mission: To promote awareness and appreciation of

textile-inspired art and design through

member-supported benefits, including publications,

exhibitions and conferences.

Our Objectives:

• To provide opportunities for learning,

collaboration and meaningful affiliations

• To mentor and support emerging artists,

designers, and students

• To inform members about the latest

developments and innovations in the field

• To recognize the accomplishments of our members

• To encourage critical dialogue about our field

• To inspire new directions in fiber and textiles

• To raise the visibility of textiles in the

contemporary art world

Surface Design Association

P.O. Box 360Sebastopol, CA [email protected]

Executive Director

Diane [email protected]

Assistant Executive Director

Susannah [email protected]

Advertising Manager

Karen [email protected]

Surface Design Journal Editor

Marci Rae [email protected]

SDA Digital Publications Editor

(Website, NewsBlog, eNews)

Leesa [email protected]

Surface Design Journal Art Director

Dale E. [email protected]

Web Site Manager

LM [email protected]

Printed in Hanover, Pennsylvania

The Sheridan Presswww.sheridan.com

Executive Board:

President . . . . . . . . . . . . . . . . . . . . . . . . . .Jane DunnewoldVice President . . . . . . . . . . . . . . . . . . .Jeanne Raffer BeckSecretary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Ann GrahamTreasurer . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Melinda LowyBoard:

Representative of Representatives . . . . . Astrid BennettMember . . . . . . . . . . . . . . . . . . . . . . . . . .Susan Taber AvilaMember . . . . . . . . . . . . . . . . . . . . . . . . . . . .Karen HamptonMember . . . . . . . . . . . . . . . . . . . . . . . . . . . .Deborah KrugerMember . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Vivian MahlabMember . . . . . . . . . . . . . . . . . . . . . . . .Jeanette Thompson

President Emeritus . . . . . . . . . . . . . . . . . . . . .Jason Pollen


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e d i t o r i a l

COVER CREDIT: JOHN WESTMARK Jig and Reel Detail, acrylic paint, ink, paper sewing patterns on canvas, collage, painting, 40" x 40", 2012. Photo by the artist.

Creating Connections

Summer2013

Print and digital media do a fine job of informing usabout the art world, but most readers would agree: noth-ing compares to seeing a work of art in person and hear-ing artists talk about the creative process. Attendingin•ter•face, the 17th International Surface DesignAssociation Conference last month in San Antonio, Texas,I enjoyed an abundance of these meaningful real-worldexperiences.

My Southwest adventure began with a visit toCivic Space Park in Phoenix, Arizona, to see Her Secret isPatience, the netted and knotted outdoor sculpture byconference keynote speaker Janet Echelman. Intriguedby the Q&A article featured in the Spring 2013 issue of theJournal, I wanted to witness how this cloud-sized creationchanges appearance from day to night. The urban land-scape and 108 degree heat set the stage to admire itswaying in the breeze. Stretched out on the grass, lulledby the voices of nearby strangers, it was clear to me thatthe artist achieved her intent “to transform hard-edgedcities with soft, organic forms—to create spaces that foster calm and contemplation.”

Days later, I hung on every word during Janet’ssuperb keynote address as she described overcoming personal and technical challenges to achieve such awe-inspiring results. Although she rarely has time for speak-ing engagements, Janet enthusiastically accepted SDA’sinvitation because she loves the textile-arts focus andeducational mission of our organization. The standingovation she received from a packed house launched awonderful array of energizing conference events.

Around every corner, pages from the Journalcame to life in exciting talks by Otto von Busch andNathalie Miebach, along with innovative exhibitions byKathryn Clark and Kelsey Viola Wiskirchen, to name justa few. My heartfelt thanks goes out to all the staff, board,and member volunteers who contributed to the successof the conference!

Invigorated, I returned home to wrap up theSummer 2013 issue, which features the work of over adozen artists new to the Journal. Each one tackles thetimely but often touchy theme of Gender from a differentperspective: utopian idealism, personal empowerment,communal engagement, feminist theory, and queer pride.I hope you enjoy the challenges and triumphs each storyhas to offer.

Marci Rae [email protected]

ABOVE: JANET ECHELMAN’S Her Secret is Patience (2009) on permanent display at Civic Space Park in Phoenix, Arizona.

June 1, 2013. Photo: Marci Rae McDade.BELOW: (L to R) Marci with Janet Echelman and Leesa Hubbell

(SDA Digital Publications Editor) at the SDA Conference in San Antonio, Texas. June 7, 2013.

P.S. To read the unabridged interview withJanet Echelman, visit the SDA Newsblog atwww.surfacedesign.org/newsblog. To learn moreabout her work, visit www.echelman.com.

New Journal themes for 2014 will be announced inthe August edition of SDA eNews. Be sure to checkyour email inbox and remember that I welcome allsuggestions of article ideas and artists to profile!


http://www.echelman.com/

http://nathaliemiebach.com/

http://www.kathrynclark.com/

http://www.kelseyviola.com/

http://surfacedesign.org/users/marci-mcdade

http://www.kulturservern.se/wronsov/selfpassage/index2.htm

http://www.surfacedesign.org/newsblog/janet-echelman-the-complete-interview

http://www.surfacedesign.org/newsblog/janet-echelman-the-complete-interview


b y L e s l i R o b e r t s o n

The work of Austin, Texas-based artist JohnWestmark pursues the intersection of materialand gender in his newest series Double Bind.Large-scale figurative works of female subjectsare created through the combination of papersewing patterns and paint, garnering a variety ofreactions from viewers who are often surprisedby the gender of the artist.

Male artists working with materials longassociated with women’s work is not new to art.Over the past decade, artists such as MarkNewport have increasingly worked with textile-based media and processes to tackle issues dealing with gender. Many have paired thesematerials with overtly masculine themes, subjectmatter, or handling. Westmark, however, is uncon-cerned with forcing feminine materials into mas-culine roles. The “gender signature” of his workbecomes deliberately ambiguous through a conscious balance of paint to paper and carefulapplication of delicate pattern pieces to eachcanvas.

While creating work for his MFA exhibi-tion at the University of Florida, Westmark movedfrom self-proclaimed painting purist to mixed-media artist. This shift occurred while his wifeCarrie was in labor with their second child. Lookingdown at the pattern pieces for garments she wasworking on, he noticed a distinct similarity toschematics and flight mechanisms for modelplanes he built as a child. This awakened a newperspective on his paintings. His fledgling FlightSeries focuses on mimicking aircraft diagrams in direct combination with the pattern pieces,drawing connections between the construction of garments and the engineering of aircraft.

Westmark began to consider the influ-ence his work might have on his two youngdaughters as they grew into adolescence. Tryingto understand how to raise and empower themin our current society, he describes his world asbeing “rocked” when he made the consciouschoice to turn his focus from self-interest to theirinterest. This shift opened a new translation ofthe pattern pieces to reflect their relationship toclothing as identity, ideas of domesticity, and theroles of women. The Double Bind series began totake shape as Westmark studied the history of

women’s rights and various movements of femi-nism, focusing on eras defined by the strengthsof women struggling for equality.

In his artist statement, Westmark writes“[I] present the female figure as an agent of revoltin the form of resolute warriors or stoic martyrs. . . .The denial of a specific identity suggests anambiguity of viewpoint, an anonymous ‘every-woman,’ not invisible but fractious.” By creatingstrong, faceless, female figures that reference thishistory through clothing, Westmark’s intent is topresent these figures not as single characters, butas representations of the many women who werea part of defining new gender roles. His workchallenges viewers to form their own narrative,while simultaneously encouraging them toreconsider their assumptions about the material,content, and gender of the artist.

Formally, Westmark’s works are masterfulin their use of such a delicate and fugitive materi-al. He has collected hundreds of patterns fromVogue, Burda, McCall’s, Simplicity, and othersthroughout the years. The variety of pattern mak-ers and years produced provide subtleties incolor and translucence that allow him to achievedifferent results as he layers and integrates themedia. Through his process of underpaintingeach composition, he blocks out the area of thefigure, at times adding shifting tones of color thatshow through the paper.

Westmark creates an interesting playbetween the present and the past by using gar-ment patterns from the last several decades tocreate imagery of historical clothing. This interac-tion underlies his formal approach to materials,allowing for interpretations that go beyond thepainted subject matter.

The painted linework in Shushmimicsthe geometry and graphic designs present onthe pattern pieces, formally bridging the twomaterials. Our only reference to a specific placeand time is the style of garment and the pat-terned tile floor. The figure is depicted in a vul-nerable pose, bent at the waist, yet she demon-strates her power through the gesture of a fingerpressed to the lips, suggesting that she is awareof the situation and is in complete control.

Patterns of PowerJ o h n W e s t m a r k


Summer2013 19

The single matriarch gives way to anarmy in Hold the Line. The movement of running figures is achieved by the careful folding and layering of the paper as one would construct agarment with cloth. The painted surface differen-tiates the women while creating a sense of depthwithin the composition. The subtlety of thestruggle is replaced with an active assault, complete with weapons, flags, and flying bonnetstrings.

Throughout the Double Bind series, thepattern paper accentuates each turn of the fig-ures portrayed sitting, bending, running, andfalling. The assembly instructions printed on eachpattern become a tool for Westmark to visuallydescribe this movement in more detail. Eachpiece of paper is thoughtfully chosen to allowthe lines, text, and symbols to emphasize the fig-ure while obscuring the face to a greater degree.Through his experimentation with pattern paper,

Westmark strives to validate its potential as morethan a superficial instructional material.

Westmark is an avid researcher, navigat-ing his way through a long history of politicalactivism. Each work in Double Bind references thisresearch to some degree, citing an archive ofbooks and manifestos from Girls to the Front: TheRiot Grrrl Story by Sara Marcus to The Second Sexby Simone de Beauvoir. By adding his own textand iconography to the pattern pieces, Westmarkseamlessly integrates excerpts from these femi-nist writings with existing directions. Examples ofthe text from Hold the Line include “Cut1 – seamline – sew here for a strong seam that resists mas-culine values” and “Seam line for regarding thecurrent state of affairs as something not fixed.”

Despite their ambiguity, these texts addstrength to the action the figure is taking, attimes directly referencing her struggle. In SheCrab, small black scissors are strategically placed

JOHN WESTMARK Hold the Line 60" x 72", 2010-2011.All works are made with acrylic paint, ink, and paper sewing patterns on canvas, painting, collage. All photos by the artist.



over the mouth of the figure while a four-pointedarrow can be seen on the neck; these symbolsjuxtapose to infer a narrative of the woman asthe center of her family yet bound by her role.Westmark adds to the idea of constraint withadditional text, “Gather for lining against hardand bitter work” and “Continued pattern of eco-nomic privilege and access (center 1.5cm).”Rather than convey a story about the past, theseexcerpts seem to draw connections to the pre-sent and ongoing struggles of women.

With all of the works in Double Bind,Westmark approaches his gender-codified con-tent as one who thoughtfully reads, understands,and presents the information without forcing aspecific feminist agenda. In the recent pieceMonarchy, he moves beyond depicting women inthe midst of a struggle or battle. A butterfly isseen at the top of the composition, with a pyra-mid of women supporting each other to reachfor this symbol of growth and freedom. Wrappingthe entire composition are long curving arrows

that press the women upward. In the back-ground, a bank of dark storm clouds lightens to a clear and beautiful sky as they move closerto their goal.

The play on words in the title Monarchygives the best sense of Westmark’s view of thewomen he depicts throughout this series—inde-pendent and sovereign. His intent is to createpowerful expressions of feminine strength andcourage that inspire the women in his life, and allviewers of his work, to create their own stories ofempowerment.

John Westmark’s website is www.johnwestmark.com.His solo show will be on view this summer at ManifestGallery in Cincinnati, OH (August 16–September 13,2013), www.manifestgallery.org.

—Lesli Robertson is an artist, researcher, and professorof fibers at the University of North Texas. She iscofounder of the collaborative art project The MotherLoad (www.themotherload.org).www.leslirobertson.com

JOHN WESTMARK Shush 41" x 46", 2010.


21Summer2013

JOHN WESTMARKMonarchy 72" x 60", 2013.



GARY SCHMITT

Indianapolis, IndianaFive ToolsWool batting (with background of woolover polyester base), beedle felting, 17.5" x 15.5" x 3",2012. Photo by the artist.

LEA MCCOMAS

Superior, ColoradoTurkish Bread BoysCotton fabrics, tulle, thread,beads, fusing, raw-edgeappliqué, thread painting, beading, 58" x 36",2012.Photo: Ken Sanville.www.leamccomas.com

ROBERT CHAPMAN

Champaign, Illinois The Doll KingMixed media and assemblageon handmade cast paper mosaic, 24" x 20", 2012. Photo by the artist. www.chapmanfineart.com

E POSUREX


http://surfacedesign.org/users/lea-mccomas

http://surfacedesign.org/users/gary-schmitt

http://surfacedesign.org/users/robert-chapman

www.chapmanfineart.com

55Summer2013

MEREDITH RE’ GRIMSLEY

Bloomsburg, PennsylvaniaImprinted (My Baby Sons’ Ears)

Muslin, hand-dyed silk organza, thread,fusible web, machine and hand embroidery,

digital printing, 39" x 25.5", 2011. departments.bloomu.edu/art/grimsley.html

LOIS RUSSELLBoston, MassachusettsMagic BusWaxed linen thread, twining, about 13" x 13", 2012. Photo: Kay Lyon.www.loisrussell.com

GEORGE-ANN BOWERS

Berkeley, CaliforniaOver the EdgeCotton, wool, rayon, silk, textile paint, double-weavepickup with warp painting and stuffed areas; 56" x 53", 2012.www.gabowers.com

Artists represented on the “Exposure” pages are members of theSurface Design Association (SDA). This issue features the work ofmembers who have populated their SDA profile pages with imagesand information about themselves and their work. This free andeasy online service adds to the SDA Image Library and MemberDirectory; both are valuable research tools for curators, writers, collectors, and artists from all over the world. To learn more, log intoyour member account and follow the prompts, or visit the gallery atwww.surfacedesign.org.


http://surfacedesign.org/users/lois-russell

http://www.loisrussell.com

http://surfacedesign.org/users/meredith-grimsley

http://departments.bloomu.edu/art/grimsley.html

http://surfacedesign.org/users/george-ann-bowers

http://www.gabowers.com/

http://surfacedesign.org/gallery/image-library

http://surfacedesign.org/gallery/members-directory

http://surfacedesign.org/gallery/members-directory

http://surfacedesign.org/

Rarely does the work of four artists create a har-monious, integrated exhibition while still defin-ing individualistic statements. Yet this installationof more than 70 exceptional hand-dyed, hand-constructed textiles achieved that goal. The fourartists—Barbara Shapiro, Candace Crockett, Ullade Larios, and Suki Russack—each employunique interpretations of classic structural andsurface design processes. The aggregate effect oftheir approaches, ranging from restrained to sen-suous, transcended mere variations of technicalvirtuosity while playing off one another’s aes-thetics.

The placement of works at the PetalumaArts Center (January 11–March 10, 2013), curatedby Kathleen Hanna, contributed greatly to creat-ing this synergy. Entering the gallery, the viewerwas surrounded by a labyrinth of five 8-foot ver-tical columns of delicate, ombred weavings enti-tled Transparency? by Ulla de Larios. Suspendedlike gossamer webs, each tubular piece evolvedfrom translucent to opaque as the weft changedfrom silk to wool in subtle, neutral colorations.Metaphorically commenting on the opacity ofgovernmental politics, they are simple forms withcomplex meanings.

They also set the stage for Crossings,another series of 8-foot panels that symbolize de Larios’s immigrant journey from Sweden toAmerica. Tiny jacquard-woven figures, inspired by ancient petroglyphs in her native land, arebarely visible at mid-point, expressing the states

of transition and limbo created in between theartist’s new and old lives.

Featuring indigo dye are the explo-rations by Barbara Shapiro that celebrateliminal wicking, which she describes as “that won-derful area of controlled seepage between theindigo and the undyed cloth.” Brilliant divisionsof blue and white ikat are featured in the boldcolor-block composition Four Square. The moresubtle pictorial piece, Flotsam, combines indigoikat with red/orange shibori motifs and gold leafto represent a disintegrating wharf at water’sedge. Shapiro’s focus on the creative potential ofdyeing includes using the nuanced shades gen-erated by the indigo process. In Testing Testing, aseries of five textured roundels incorporate thepaler blues of recycled test strips saved fromyears of maintaining indigo dye vats. Shapiro’srichly varied and experimental installation wasalso punctuated by groupings of elegant con-tainers and small basketry sculptures playfullyexecuted using indigo-dyed cane elements.

Candace Crockett is well known for heruse of card weaving to produce narrow, linearbands up to 12 feet in length. This ancient tech-nique, originally used for creating functional ties,edgings, and embellishment, has existed since

Reviewed by Jo Ann C. Stabb

Petaluma, California

4 Weavers: ContemporaryExpressions of an Ancient CraftPetaluma Arts Center

i nr eview

ABOVE, RIGHT: ULLA DE LARIOSTransparency? Silk warp, Silk and wool wefts,handwoven tabby, fulled in washing-machine,28" diam x 72" and 100" each, 2007-2009.Photo by the artist.LEFT: Installation view of 4 Weavers at thePetaluma Arts Center in California. CENTER:CANDACE CROCKETT Awakening Linen, cotton,wool, silk, card woven, 66" x 53", 2012. Detail ABOVE, LEFT.

Surface Design Journal56


http://www.surfacedesign.org/users/barbara-shapiro

https://petalumaartscenter.org/2012/4-weavers/



57

early Egyptian times. In Crockett’s hands, thebands become expressive elements. Eight lush,free-hanging tapestries, each composed usingmultiple bands with painted and dyed warps tocreate masses of linear patterning, suggest natu-ral phenomena: landscapes, sheaves of wheat,bundles of branches, hair, sunsets, and waterfalls.Water #3 radiates shimmering silver surfacesamidst graduated tonalities of aquas and blues.Any gentle air current activates this multitude ofindependent elements, their luminous surfacessimulating rippling water and reflections. Theeffect is richly abundant and energetic, yet alsocontemplative.

As the only artist creating figurativeimagery, Suki Russack’s series Woven fromMemory consists of seven medium-scale, double-woven tapestries of torsos, which created a strik-ing tableau along one entire wall. Suggestingpowerful female forms, this suite recalls theShroud of Turin and was, in fact, inspired by thedeath of the artist’s mother. But unlike the still-ness implied in burial shrouds, these weavingsconvey a lively quality of movement through theposes and the painterly quality generated by hercomplex mixed-media, double-weave pick-uptechnique. The base layer, composed of paintedand discharged linen threads, is interwoven with an upper semi-transparent layer of fine silk or metallic thread to create a 3-D relief effect. Gallery lighting highlighted the sculptural definition and rich colorations of these complexsurfaces.

Moving away from wall and pedestal pieces,Crockett and Russack each created several wear-able-art garments. Their visionary skills werebrought to life on live models during the open-ing reception, further reflecting the versatilityand creative spirit that pervaded this exhibition.www.petalumaartscenter.org

—Jo Ann C. Stabb is a producing artist, lecturer, andauthor who served on the Design faculty of theUniversity of California Davis for over 30 years.

ABOVE: SUKI RUSSACK PassageLinen, silk, cotton, fiber reactive dyes,

double weave pick up,60" x 36", 2009.LEFT: BARBARA SHAPIROUn Homme et Une Femme

Indigo-dyed raffia, coiling, 12" x 10" x 5" and

10" x 10" x 9", 2008. Photo: Sharon Risedorph.

Summer2013


http://www.surfacedesign.org/users/joann-stabb


i np r in t

Textiles: The Art of Mankind by Mary SchoeserThames & Hudson, New York, 2012ISBN: 978-0500516454

One may be daunted by the sheer weight ofthis volume (nearly 5 pounds) or its 568 pages inlength or by the 1058 color illustrations featuredbetween the elegant cover that reproduces a 19thcentury brocaded silk fabric. But one will beenchanted by author Mary Schoeser’s insightful rev-elations and relationships connecting textiles andhumankind throughout time among all the world’scultures. Her years as Archivist for Warner Textiles inEngland, plus her research for the more than 20books and numerous articles she has written, havehoned her eye and developed her vast expertise.This is not your typical formalist approach.

Embracing all techniques, categories, andcultures, it is the author’s deep knowledge andappreciation of the fundamental role that textileshave played throughout human civilization that cor-relates these examples. Her encyclopedic worldview—ranging from early fiber manipulations thatevolved into basketry (containers), architecturalstructures (shelter), and protection (clothing)—

points to the fundamental role that hand-producedtextiles have played in sustaining human beings.She contends that these processes enabled thehuman brain to develop a sense of organization andsystematic thinking rather than the other wayaround. Basic textile structural devices (the grid, thenet, the knit, the knot) played pivotal roles in thedevelopment of the human brain, rather than as aresult of it. The need for—and fascination with—these textile fundamentals has continued to chal-lenge the brain and underpin the development ofthe modern computer.

Undoubtedly inspired by examples fromthe natural world, such as weaver birds’ nests, ele-gant spider webs, and other solutions created byanimals, humans established their own methods ofbuilding shelters and body protection in systematicways. Artfulness was inherent in these solutions,inspired by nature’s patterns and colorations.Beyond the basic functional aspect of textiles,Schoeser highlights the universal role of textiles incelebrating beauty, feelings, and life cycles.Expressing the relationship of people to their envi-ronments, human civilization is recorded in textilesboth humble and profound. Universal and timelessthemes emerge through the broad groupings andunexpected juxtapositions explained through herinformative text.

The clear organization of the book enablesthese overarching concepts and the massive

Reviewed by Jo Ann C. Stabb

ROBERT HILLESTAD Textile Study #52 threads, machine stitching, couching, 2004.



http://thamesandhudsonusa.com/books/textiles-softcover/

71Summer2013

supporting evidence to be fully digestible. Thefirst chapter, “Impact,” discusses the cultural andcreative continuums in sections devoted to con-text, language, legacies and learning, color, andthe global vision.

The second chapter, “Ingredients,”includes inventions, intentions, and alchemy,focusing on the transformation of materials. Thethird chapter, “Structure,” includes the classic con-struction techniques of both non-tensioned andloom weaving, as well as looping, knotting, lacing,and twisting methods practiced worldwide.

“Surface,” the fourth chapter, discussesyarns, stitches, painting, and printing. Included isthe work of visionaries such as Junichi Arai, whosechemical discharge experiments led to the contemporary renaissance of devoré patterning. A split-bamboo basket encased in a luminescentimage of an Egyptian mummy exemplifies EdRossbach’s ground-breaking work that reinvigo-rated basketry to become a late-20th-century art form.

The fifth chapter, “Added Dimensions,”includes patchwork, quilting, and textiles parkour(the art of displacement), revealing oblique rela-tionships and contemporary developments.

Chapter six, “Imagery,” suggests that textiles offera complex sensory experience beyond just a visu-al art. Mass-produced commercial textiles juxta-posed side-by-side with singular pieces reveal thelove of color, pattern, texture, and techniqueshared among designers and artisans. Swatches,garments, yardage, and art installations pose fur-ther fascinating comparisons. Examples selectedfrom numerous artists, collectors, and museumscreate an enlightening synergy.

Schoeser’s eye for parallel impulses, pur-poses, and techniques has creatively shaped thisrich visual presentation as well as the contextualdiscussion. She celebrates their interconnectivityand their relevance.

This book can be picked up often as areference, an inspiration, or for personal refresh-ment. Most of all, this volume serves as a reminderthat textiles have been around a long, long timeand will continue to be central to human life.Textiles: the Art of Mankind is an extraordinaryaccomplishment that pays tribute to this field andits practitioners. www.thamesandhudsonusa.com

—Jo Ann C. Stabb is a producing artist, lecturer, andauthor who served on the Design faculty of theUniversity of California Davis for over 30 years.

FELIX AUBERT Iris d'Eau Roller-printed velveteen by Scheuer Lauth & Cie, 1897–1898.

LEFT: MARIANA MINKE AND SARA FORZANO In context - Woven TubesCotton, elastane, silk, copper thread, pvc tubes,

handwoven double weave ikat, 2009



http://thamesandhudsonusa.com/books/textiles-softcover/

HistoryFounded in 1977, the Surface Design Association is an interna-

tional not-for-profit organization with an office in Sebastopol,

California. SDA seeks to raise the level of excellence in textile

surface design by inspiring creativity and encouraging inno-

vation through all its undertakings. Our current membership

of nearly 4000 national and international members includes

independent artists, designers, educators, curators and gallery

directors, scientists, industrial technicians, entrepreneurs, and

students.

Publications and Website

Surface Design Journal, the Association’s quarterly magazine,

offers in-depth articles on subjects of interest to contempo-

rary textile artists, designers, and other professionals in the

field. Each issue is designed around a theme relevant to sur-

face design and offers perceptive commentary unequaled by

any other peer publication. Accompanying each article are

full-color reproductions of work by leading-edge artists.

The monthly eNews spotlights time-sensitive information,

including exhibition opportunities and initiatives.

The online SDA NewsBlog features news of SDA member

activities, reports on events relevant to surface design, and

information on professional resources. The blog is located on

the SDA website (www.surfacedesign.org).

The website includes ongoing updates on SDA conferences; a

gallery featuring members’ artwork; an international calendar

of textile-related events; and a bulletin board listing opportu-

nities for exhibitions, grants and employment.

Conferences

The Surface Design Association sponsors major biennial inter-

national conferences as well as smaller regional and interna-

tional conferences. Programs feature distinguished speakers

offering perspectives on surface design, workshops and

demonstrations covering a wide range of contemporary and

historical techniques, exhibitions, fashion shows, vendor

expos, and other events. Conferences have been held at differ-

ent US and international locations.

Member Benefits

• Four issues of Surface Design Journal

• Ongoing SDA NewsBlog updates & monthly eNews

• National, international and regional conferences

• Networking opportunities

• Opportunity to submit images of work to the “Exposure”

section of the Journal

• Image Library for promotion of members’ artwork

• SDA Instructors Registry

• Promotion and representation of members’ work and

professional activities via the Journal, NewsBlog and website

• Free 30-word non-commercial classified ad

MEMBERSHIP/SUBSCRIPTION RATES

1 year $60 $_______

2years $110 $_______

3 years $155 $_______

Student 1 year (valid current identification required) $35 $_______

Library, organization, and school 1 year $100 $_______

Mailing Rates (per year):

USA no fee

Canada &Mexico $12 x no. of yrs. subscribing $_______

All Others $20 x no. of yrs. subscribing $_______

Contributions Above Membership

Supporting ($50-199) $_______

Sponsor/Professional ($200-499) $_______

Business/Benefactor ($500-999) $_______

Fellow ($1000-5000) $_______

$30 of dues ($20 for students) shall be for a one year subscriptionto the Surface Design Journal. Subscriptions are only available to Members.

TOTAL ENCLOSED (US Funds Only) $_______

NAME: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

COMPANY/ORGANIZATION: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

STREET: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

CITY: . . . . . . . . . . . . . . . . . . . . . STATE: . . . . . . . . . . . . . . . -DIGIT ZIP . . . . . . . . . . . . . . . .

TEL: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

EMAIL: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

� VISA � MASTERCARD

ACCOUNT NUMBER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .EXPIRATION DATE . . . . . . . . . . . . .

SIGNATURE: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Billing address if different than mailing address:

CARD HOLDER NAME: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

STREET: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

CITY: . . . . . . . . . . . . . . . . . . . . . STATE: . . . . . . . . . . . . . . . -DIGIT ZIP . . . . . . . . . . . . . . . .

Membership Order Form

DETACH—SEND/MAKE CHECKS PAYABLE TO: SURFACE DESIGN ASSOCIATIONPO Box 360 Sebastopol CA 95473-0360Tel: 707.829.3110 Fax: 707.829.3285www.surfacedesign.org/membership

Surface Design Association

How did you hear about SDA?� Membership Brochure � Advertisement � Friend/Colleague

� Workshop � Conference � Retail Outlet � Oth

BUY THIS ISSUE JOIN TO SUBSCRIBE


http://www.surfacedesign.org/join

http://www.surfacedesign.org/get-involved/join-sda-great-member-benefits

http://www.surfacedesign.org

http://www.surfacedesign.org/marketplace/product-category/journals

Date post:	13-Mar-2016
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Surface Design Journal - Summer 2013 - Sample Issue

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