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LIBRARY OF ELIN NOBLE AND LASSE ANTONSEN

LIBRARY DOWNLOAD, VOL. 1, 2016
3 500 Baskets by Lark Books

Bauhaus Textiles: Women Artists and the Weaving Workshop by Sigrid Wortman
Tapestry Handbook: The Next Generation by Carol K. Russell
DEANNA DIMARZIO
Embroidered Textiles: A World Guide to Traditional Patterns by Sheila Paine
Itten: The Elements of Color by Johanes Itten
Uniquely Felt by Christine White
W
Second Skin by India Flint
elcome to our first Fiber Art Library download!
4 Drawn to Stitch: Line, Drawing and Mark-Making in Textile Art by Gwen Hedley
We artists have always valued our personal String, Felt, Thread: The Hierarchy of Art and Cloth in American Art by Elissa Auther
libraries, browsing and exploring the reference The Studio Quilt, No. 6: State of the Art by Sandra Sider
Embroidered Textiles: A World Guide to Traditional Patterns by Sheila Paine
pieces and inspiration found within them. They give us
5 Stickwork by Patrick Dougherty
reprieve, calm, and ideas, and create a quiet space that Encaustic with a Textile Sensibility by Daniella Woolf
eschews multitasking and continuous distraction. All Things Considered VI by National Basketry Association
Stimulus: Art and Its Inception by Jane Milosch, Rhonda Brown, and Tom Grotta
This eBook is an aggregate of all the reviews Fiber Art Now 6 Fiber Art Today by Carol K. Russell
magazine has published in the last five years, assembled Fiber Futures: Japan’s Textile Pioneers by Japan Society of New York
Joomchi & Beyond by Jiyoung Chung
with gratitude to contributing editor, Cami Smith, who has Weaving a Chronicle by Judith Poxson Fawkes
either written or researched many of them. We hope this
7 Felting for Me Is… by Ellen Bakker
resource will give you a glimpse into titles that you may Marimekko: Fabrics, Fashion, Architecture, edited by Marianne Aav
want to add to your own library. Textiles: The Art of Mankind by Mary Schoeser
8 Matisse: His Art and His Textiles by Ann Dumas, Jack Flam, and Remi Labrusse
The FAN team is looking forward to sharing more free Indigo: The Color that Changed the World by Catherine Legrand
eBooks with you in the coming months, each concentrating 9 Creating with Reverence: Art, Diversity, Culture and Soul by Claire Campbell Park
Textile is Alive! by Ellen Bakker
on different areas of fiber arts and textiles.
10 The Object of Labor: Art, Cloth and Cultural Production,
edited by Joan Livingstone & John Ploof
Fondly, Diana Springall: A Brave Eye by June Hill
11 The Coat Route: Craft, Luxury & Obsession on the Trail of a $50,000 Coat
by Meg Lukens Noonan
12 Makers: A History of American Studio Craft, edited by Janet Kaplos & Bruce Metcalf
Marcia Young Choosing Craft: The Artist’s Viewpoint, edited by Vicki Halper & Diane Douglas
& The FAN Team 13 Felt Passion by Ellen Bakker
14 Fiber Matzke, edited by Carol Olig
15 From the Land Comes the Cloth: A Journey to the Heart of the Hebrides by Ian Lawson
Creative thinkers read to feed 16 Strange Materials: Storytelling Through Textiles by Leanne Prain
17 Mr. Finch: Living in a Fairytale World by Mr. Finch
their minds new information 19 El Anatsui: Art and Life by Susan M. Vogel
and ideas. As Gore Vidal put it, 20 Fiber: Sculpture 1960–Present by Jenelle Porter
21 Boro: Rags and Tatters from the Far North of Japan by Yukiko Koide & Kyoichi Tsuzuki
‘ The brain that doesn’t feed itself 23 Cultural Threads: Transnational Textiles Today by Jessica Hemmings
24 Text in Textile Art by Sara Impey
eats itself.’ — Michael Michalko
1 BUILD YOUR FIBER ART LIBRARY | FIBERARTNOW.NET ©Fiber Art Now | All rights reserved | Fiber Art Now grants permission for any or all pages in this issue to be copied for personal use | www. fiberartnow.net ©Fiber Art Now | All rights reserved | Fiber Art Now grants permission for any or all pages in this issue to be copied for personal use | www. fiberartnow.net FIBERARTNOW.NET | BUILD YOUR FIBER ART LIBRARY 2
ON THE BOOKSHELF ON THE BOOKSHELF
Fiber Futures: Japan’s

Textile Pioneers
Encaustic with a Japan Society of New York,
Yale University Press 2011
Textile Sensibility Fiber Futures celebrates the cutting edge exhibit that
took place in New York this year as a collaboration
Daniella Woolf,
between the Japan Society Gallery,Tama Art University
Waxy Buildup Press, 2010 Museum, and International
Daniella Woolf has put to- Textile Network Japan. It
gether a powerhouse of diverse includes images from the
artists working in encaustics, work of 30 Japanese fiber
each with a strong personal aes- artists. If you missed seeing
thetic and individual sensibility. this exhibition in person, this
And yet, in her own selection, is your chance to capture
Daniella’s personal vision comes its essence.The innovative
installations shown here in a wide variety of fibers,
through. I refer to her book
from stainless-steel yarn to hemp sculptures, generate
over and over again for inspiration.
a powerful statement and vision for the future for
—JANE DAVIES, Collage Artist
contemporary fiber arts.
All Things Considered VI Joomchi & Beyond

Jiyoung Chung
National Basketry Association Beyond and Above Press, 2011
and the Fuller Craft Museum, 2011 Learn about the 500-year-old Korean papermaking
This deeply inspirational book has a broad range technique that seals together thin layers of paper
Stickwork
of styles and techniques, all done to perfection. with water to create a
There are so many nuggets to single strong sheet. Count-
examine within each piece, less delicious images and
Fiber Art Today

a warm, approachable
and the photographs are quite Patrick Dougherty,
design sense will help you
P
clear and sharp. It is endlessly Princeton Architectural Press, 2010
fall in love with Joomchi,
fascinating and a great review regardless of your
of the latest work by con- ATRICK DOUGHERTY has been preferred fiber. While this Carol K. Russell, Schiffer Publishing, 2011
C
temporary American basket called a sculptor’s architect with a book contains some les-
makers. fiber-oriented sensibility. Stickwork is a sons in how to create particular effects with Joomchi, it AROL RUSSELL took on a formidable task with the development, writing, and
—LILY BADOUR, Basket Maker retrospective of Dougherty’s large-scale is hardly a “how-to” title.This is one to indulge in! publishing of Fiber Art Today. With almost 200 pages of images and artist sum-
sculptures accompanied by a personal account of maries, one wonders how she set about the task of determining the direction of
Stimulus:
the circumstances and experiences surrounding Weaving a Chronicle this monumental project. Here are choice words from the author herself:
each one. Some of them are also accompanied by Judith Poxson Fawkes, “My process for choosing artists was quite complex and occupied most of two years. First,
art and its inception sketches and pre-work drawings, giving readers Schiffer Publishing, 2012 I looked at everything out there in fiber art: on the web, in magazines, books, and exhibition
Jane Milosch, Rhonda Brown, a greater feel for the thoughtful process involved The essence of this title is best encapsulated by the catalogs from all over the world (I have boxes of these going back to the early 60s). Most
and Tom Grotta, in erecting these sculptures which have taken up author herself: “Weaving a Chronicle is the book I wanted important, my research took me to current exhibitions where I could see work in person. I
BrownGrotta Publishers, 2011 residence both in exterior and interior spaces, when I was teaching weaving from 1965 to 1984. I haunted museums, galleries, and dealers in NYC at openings and shows like SOFA to find
wanted a history, written by a working weaver, of how
This exhibition catalog is beautiful and stimulating! over the last 25 years. His pieces range from 14 out what interested serious collectors of fiber art. I enjoyed fiber art in Philadelphia which has
the weaving techniques—inlay,
Reading the text while viewing images doubles the feet to 50 feet tall and one, Restless by Nature, a series of outdoor rooms, is 300 feet long. become a lively center of visual arts events. I researched universities where fiber is taught by
double weave, and pattern
pleasure. I liked the photographs and the creative Dougherty’s place-based sculptures are created as a response to the places they occupy. Not weavers—are linked with imag-
practicing artists in our field. Generations of teachers and their accomplished students appear
layout of the pages very much. only do the designs address each setting, such as Bordeaux bottles set in France or a ritual- ery and how those links evolve. proudly in the book. Over time, I reconnected with artists I reviewed in print over the years
One can enjoy tripping from ized version of typical temple adornment erected at a temple in Japan, but the materials also I wanted stories of weavings and also those featured in my books on tapestry. In many cases, one contact led to another, the
and to an object and its im- are found near the site and a new work crew, drawn from the community, forms for each that provided answers to ques- stories of which could become a beautiful book populated with talented characters.
age. A book like this strongly project, instilling a sense of ownership in the piece as volunteers weave sticks into it or pass- tions of motivation paired with My personal criteria begin with an artist’s personal style. The work should speak im-
acknowledges the meaning of ersby watch it take form. Stickwork is interesting for its images as well as for the human stories technique.” Ms. Fawkes guides mediately of a particular artist even if that artist has created in diverse phases. As well, the
craft-based sculpture-making. that accompany them. Patrick Dougherty’s approach is unique and transferrable. Stickwork the reader through her work, work should speak of fiber materials or fiber methods uniquely suited to an artist’s style and
It is a good way to go beyond provokes the reader to consider the possibility of more place-based fiber work in galleries, accompanied by a narrative of concepts. Grasping the “Why” of fiber is what makes these artists standouts in our field. This
the endless discussion of art- museums and public spaces, created from materials gathered in the local community, resulting how each piece was conceived and what was happening wealth of talent from three generations acknowledges aspects of earlier fiber art roots in strong
in her life at the time.This is a book that will please the
or-craft. in work that truly belongs to a place. contemporary voices. That we were able to present each artist as a solo show on facing pages
technically adept as well as allow readers to truly connect
—HISAKO SEKIJIMA emphasizes all this.”
with the artist through its narrative.
Marimekko: Fabrics,
Fashion, Architecture
Marianne Aav, Editor
Bard Graduate Center for Studies in
the Decorative Arts, Design & Culture
(Paperback), 2012
Originally published as a catalogue to the 2004
exhibition at the Bard Graduate Center, this
comprehensive study of the Finnish design company
Marimekko shows over
one hundred examples
Matisse, His Art Indigo: The

of Marimekko designs in
fashion, home, and office
and His Textiles Color that Changed

furnishings.While the fabric
designs of the Marimekko
Corporation are almost
the World
ubiquitous, the home
furnishings and op art by Ann Dumas, Jack Flam,
clothing designs included and Remi Labrusse
Royal Academy of Arts, London
in Marimekko: Fabrics, by Catherine Legrand
Fashion, Architecture, REVIEWED BY CAMI SMITH Thames & Hudson
remind us of the lifestyle
REVIEWED BY MARCIA YOUNG
B
envisioned in textile designer Armi orn in Northern France, Matisse came from generations of
Felting T
Ratia’s broad, radical definition of fashion. Marimekko weavers. Since the Middle Ages this region of France had
designers from throughout the years are profiled. Learn he passion, depth, and authenticity that are an integral part
been the center for textiles, wool, linen, and silk. This book
what each of them has contributed to the Marimekko of indigo, its use, and history, are embodied in physical form
catalogs Matisse’s life through textiles and how they were
with this book of the same name. This impressive, 280-page
for me is . . .
vision, from 1951 to today. fundamental to his art.
publication is broken down into ten sections, nine of which
Throughout the book the authors, Ann Dumas, Jack Flam, and Remi represent a region of the world, taking the reader through a stunning
Labrusse, have documented interesting accounts of Matisse’s obsession to geographical tour of indigo and how it is used across the globe. This
Textiles: The Art of Mankind surround himself with textiles. There are 190 rich color plates of Chinese adventure takes the reader from the indigo “ballet” in rural Chinese
silks, Moroccan embroidery, and French printed linens dating from the villages to vessels of blue in Mali, to discovering “Krishna’s color” in
BY CAMI SMITH by Mary Schoeser
late eighteenth and nineteenth century. The chapter titled A Decorative Art India. The sumptuous vats of blue, stewed from the indigo leaves, and
E
Thames & Hudson, 2012
has breathtaking photographs of silk robes, Ottoman velvet jackets, and the handmade resists, created from ingredients such as clay, molasses and
llen Bakker’s book, Felting for me is..., presents the reader with a
Mary Schoeser, a leading authority and accomplished Romanian peasant blouses. There are numerous color plates of Matisse’s wheat bran, capture one’s imagination. Readers can almost reach through
visual feast and is a splendid resource for seeing how contemporary
author in the world of textiles, has written a vibrant paintings that show a reoccurring subject, odalisques, female slaves the pages to touch the vibrant patterns and interpretations of how to use
artists are manipulating felt in the Netherlands and Belgium.
watershed work that opens the mind to the or concubines, draped in these clothes and surrounded by patterns on the indigo, the entire world through.
Bakker’s graphic design background accounts for the success of this
connections of textiles walls and curtains.
compilation, which includes 93 feltmakers with more than 500 color photos! throughout the ages. This Indigo‘s anthropological perspective does not include examples of modern
exquisitely produced tome is It is exciting to see the pages of photographs from the surviving pattern use in contemporary fiber arts settings, but that hardly takes away from
Though two pages are dedicated to well-photographed work of each
organized into six sections: books from the town of Bohain, which was renowned for its luxury this amazing publication, as the focus on indigo in contemporary fiber
feltmaker, I was surprised and delighted when I opened the package and saw the
Impact, Ingredients, Structure, embossed and patterned velvet, tulle, voile, and silk and supplied the top art would have forced Legrand to veer away from the central point, and
compact size of the book. The small size makes it possible to carry the book with
Surface, Added Dimensions, end of the Paris fashion trade. There are color details of these fabric samples muddy the waters (or shall we say dye bath?) of this opus.
you everywhere, allowing time to carefully study the 500 photos. The images
and Imagery. Each one with strong graphics and design elements.
are inspirational and the text minimal, with each artist finishing the statement
“Felting for me is...”. After my eyes were saturated with the images I finally read explores textiles within a I particularly enjoyed the images that Hilary Spurlings chose for the Researching, assembling images, and producing this book looks like the
the artist responses. historical and contemporary chronology of Matisse’s life. Photographs by contemporaries such as Man work of a lifetime, and indeed, Catherine Legrand has spent more than
context, augmented by the Ray and Cartier-Bresson capture how Matisse used fabric everywhere: twenty years traveling and researching indigo, giving her the kind of deep
Bakker also understands the value of the internet and gives the reader the 1,058 color illustrations understanding, not only of indigo’s uses and ancient techniques, but also
draped over tables and furniture, hanging on walls, and rigged for makeshift
opportunity to further explore the artists’ work by including the website, blog, and that appear throughout its intimate relationship to each culture. In the author’s own words, “From
backdrops for his models. A photograph taken by master photographer
contact information after each artist’s name. This book is a gem for anyone who this book. In the words of one end of the globe to the other, I have seen people who work with
Henri Cartier-Bresson is included showing Matisse draped in kuba cloths
loves felted textiles. The author has prepared an informational page in English the publisher, Thames & indigo as if spellbound by its potential for magical transformation.”
and the walls in the background covered in Tahitian bark cloths.
at: http://textiellink.nl/en/felting-me and a YouTube video that inspires potential Hudson, Textiles it is “…a major new
readers at: http://bit.ly/VfXlzl. large-format, sumptuous publication that highlights This book is a personal treasure in my textile library. No doubt, readers will be convinced of indigo’s potential for magical
the beauty and complexity of textiles around the transformation, too!
world and down the ages.” This is an accurate
Cami Smith is the community manager and content developer for Fiber Art Now. She also is an
accomplished fiber artist. [email protected] portrayal, by all accounts. Cami Smith is the community manager and content developer for Fiber Art Marcia Young is the editor in chief of Fiber Art Now. She is passionate
Now. She also is an accomplished fiber artist. [email protected] about all things fiber. [email protected]
Creating The Object Diana Springall:

Textile is alive! of Labor: A Brave Eye
with Reverence: by Ellen Bakker
Art, Cloth, and by June Hill | A & C Black
Art, Diversity, Culture and Soul REVIEWED BY CAMI SMITH
Cultural Production REVIEWED BY CAMI SMITH
Y “I
by Claire Campbell Park ou might have seen our review about Ellen Bakker’s first book
Edited by Joan Livingstone & John Ploof continue to champion for embroidery, which uses needle and thread
BookSurge Publishing Felting for me is... (Fiber Art Now 2012 Winter Issue). Well,
The MIT Press to express the discipline of art.” ~Diana Springall
Ellen has done it again with Textile is alive!, her new book,
REVIEWED BY BARBARA SHAPIRO which features 250 artists who are pushing new frontiers in REVIEWED BY TRUDI VAN DYKE
using fiber, and is filled with another round of inspiring images. This book June Hill’s book is an important historical biography about the renowned
G M
illustrates what is happening in textiles throughout the Netherlands, where y immediate reaction to opening a new book follows British textile artist Diana Springhall and the impact she has had on the
leaning from her long career teaching studio art at evolution of textiles as a respected art form.
Tucson’s Pima Community College, fiber artist Claire there is an active community of strong fiber artists. a time-honored ritual. Pluck it from the box (it’s
Campbell Park’s Creating with Reverence will be of great weighty—400+ pages). Digest the cover (a disjointed Born in India, she was surrounded by textiles from her early years. She had
value to fellow teachers and artists alike. Why do we The author understands what the textile readers want to see. Each page in collage of factory images). Flip to the back (a 40+ list of more formal art training later in Britain at the Goldsmiths’ College School
create, why should we create, for whom and with whom, and how can the book is dedicated to an individual artist. The layout and quality of the contributors—many icons of the fiber arts—many historical writers of Art, where she specialized in painting. A Brave Eye includes many color
we do so with reverence, honoring and protecting this fragile world? photographs are excellent. The image details allow the reader to examine on fiber I had never read). Next stop, fan through the book looking plates of her paintings.
These are among her questions. the processes closely. at the striking pictures, stopping to read occasional captions and
The book also features illustrations of her creative process, images of her
opening the four-page folded spreads of the artists’ work.
What I liked most in both her books is that she includes the link to the drawings and paintings and how those ideas translated into her textile work.
Each chapter begins with an artist or group of practitioners such The editors describe the book as an exploration of the “personal, There are many close up details of how she masterfully manipulated fabrics.
as Mayan weavers, early Arizona quilters, and a rural Japanese website or blog of each artist. This provides the reader with extended
political, social, and economic meaning of work through the lens of For example, there are excellent photographs of her legendary piped fabric
basket maker, whose life and work embody a virtue Park respects. opportunities to explore the work further. Each time I open the book I am
art and textile production.” cords beautifully crafted into relief sculptures of fish, snakes, and birds.
There follows student insights on a series of questions and her own compelled to get on my laptop and take a closer look at many of the artists.
reflections on subjects such as collaboration and continuity, freedom The book is composed of twenty collected essays that reflect the role In addition to her creative work, Springall was able to build relationships
For example, Hetty van de Zande’s (hettyvandezande.nl) technique, of cloth in the context of social meanings and labor. Eighteen artist that resulted in corporate patronage. Her work was commissioned by
of choice, objects of integrity, and the creative process and faith.
combining paints and incorporating a mix of many types of fibers in her projects complete the compendium with a wide sweep of media. corporations, churches, banks, museums, and private collections all over
Respecting artists who are not marginalized, but are an intrinsic part drawings on paper, is fascinating and powerful; jewelry designer, Corina Essays delve into the artists’ backstories, historical references, goals, the world. She was also an early catalyst to the televised programming on
of society, she honors the restorative values of community-based art Rietveld (www.corinarietveld.nl) creates a modern look to traditional and inferences of how their lives are intertwined with their creativity embroidery and patchwork as early as 1980.
practiced with respect for materials and conscientious craftsmanship. embroidery, by combining it with her metal jewelry; Linday Ezerman and how they have come to embrace fiber to express them. The essays
(www.lezerman.com/english.html) adds a contemporary twist to her beaded A Brave Eye is filled with wonderful photographs. One of my personal
Cultural inspiration and appropriation honor diversity and our shared reflecting women’s historical role in the social dynamics and shifting
jewelry and felt pieces by including objects from nature. favorites is a photograph that shows Diana Springall, Jan Beaney, and the
humanity. Park’s approach to teaching and to quietly reverent artwork of world economics are particularly strong.
unmistakable Constance Howard.
embodies this ideal. The Object of Labor is not intended to be read in any particular order.
In her second book, Ellen Bakker is offering the global textile community In addition to her own work A Brave Eye includes images from Springall’s
a superb view into the fine work that is coming from the Netherlands. I It is a historical and thought provoking read. The relatedness of fiber
This slim personal volume will be enjoyed by those who appreciate personal collection of textiles, beautiful works by artists such as Alice Kettle,
enjoyed all 1,500 images in it! to so much of the backbone of cultural existence is startling. It is by
Park’s humility and underlying faith in the healing power of art Richard Box, and Suzanne Armitt.
no means light summer fare, but it is an important read for those who
created with reverence. create, collect, or reflect on fiber as their medium and seek to add to There is not a lot to be found on the internet about Diana Springhall.
To see sample pages and learn where you can purchase your own copy of
their depth of knowledge. Thankfully, this book documents the important facts about her life.
Barbara Shapiro is a textile artist, educator and writer in San Francisco. Textile is alive! visit Ellen Bakker’s website at http://textiellink.nl/en.
A recent board member of the Textile Society of America, her art has been Cami Smith is the community manager and content developer for Fiber Art Now. She
exhibited internationally and her writings on textile subjects are frequently Cami Smith is the community manager and content developer for Fiber Art Now. She Trudi Van Dyke is an independent curator and writer. [email protected] also is an accomplished fiber artist. [email protected].
published. www.barbara-shapiro.com also is an accomplished fiber artist. [email protected].
One of my favorite chapters was the discussion on the buttons chosen for
the coat. “This is a proper garment made with proper attention to details.
Buttons mattered immensely,” Noonan wrote. She goes into great detail
about the history of buttons, including the legendary craftsmen that
make them for their living. She recounts when buttons were introduced
in clothing and when they were first used to fasten children’s garments,
an innovation that “dramatically improved the infant mortality rate
during the Middle Ages.”
Throughout the book there are fascinating tidbits of information

about the history of various tailors that make the clothes of kings and
queens, movie stars, and world leaders. There is a certain small club that
commissions these bespoke tailors to create their exclusive clothing.
According to Noonan, “Cloth fiends can even
have their name or other words woven into the
pinstripe of their suit fabric.”
I was glad she included a discussion about the

present-day “explosion in disposable apparel.”
Noonan makes note of the current sweatshop
conditions and of the rivers polluted with dyes
RICHARD WEINSTEIN
and pesticides at the insistence of fast-fashion
that spurs consumers’ demands. “We toss four
The Coat Route:

times as many textiles in the trash today as we
The vicuña has the did in 1980,” and “we buy more than twice
distinction of producing the as many clothes as we did in the mid-1990s.”
Makers: A History
softest fleece in the world.
Craft, Luxury & Obsession

She also makes mention of the current textile
develop, and what role did they play? The rich pool of understanding
industry and their research developing polyester fabrics, trimmings, and
encased in this pair awaits your exploration.
on the Trail of a $50,000 Coat zippers that are biodegradable.
of American Studio Craft Choosing Craft is the result of extensive unearthing by Halper and
&
This story is full of characters who “spend all day feeling cloth,
by Meg Lukens Noonan scrunching, rubbing, caressing, and waiting for their hands to tell them Douglas. They scoured letters, reports from craft conferences, periodical
Spiegel & Gran, 2013 they have it right.” No doubt Fiber articles, lecture notes, and oral histories, cleverly clustering their findings
Choosing Craft:
REVIEWED BY CAMI SMITH Art Now readers will identify around four themes: Choosing Craft, Getting an Education, Making
with the feeling of hesitation a Living, and Confronting Craft. The focus is on post-World War II
W
hy did a seemingly simple coat cost $50,000? What kind of the tailor has before he cuts development of modern craft. According to the editors, “Our editorial
perspective, grounded in the field of cultural studies, identifies a web of
The Artist’s Viewpoint
person would have this coat made for them? These questions into these expensive pieces of
were the impetus for Meg Lukens Noonan’s book, The Coat carefully procured fabrics. networks rather than one essential character for craft.” This book gives
Route: Luxury and Obsession on the Trail of a $50,000 Coat. us 315 pages of first person writings and interviews that we could never
This is a fabulous book The Center for Craft, Creativity & Design advances the understanding of have found ourselves.
The author takes the reader on a journey that any fiber artist would enjoy. and I hope I have an craft by encouraging and supporting research, scholarship, and professional
Each chapter paints the story of passionate artisans coming from generations opportunity to hear Meg development in the United States. www.craftcreativitydesign.org Makers is the perfect yin to Choosing Craft’s yang. It starts with an
of skilled craftsmen, each playing a role in the making of such a coat. Lukens Noonan talk at one introduction to the roots of studio craft and thoughtfully works through
of her book signing events. REVIEWED BY MARCIA YOUNG every decade from 1900–1999. This 500-page chronological account of
I
From the special silk lining to the gold engraved trimmings, each chapter Her schedule can be seen at the studio craft movement addresses each of the main fine craft genres.
reads like a travelogue. The author chronicles generations of tailors t is often said that the past informs our present and gives The reader can follow the history of one medium through the entire
www.meglukensnoonan.com.
in Sydney, Australia, and throughout the world, including London’s us a lighthouse for the future. Makers: A History of American century. Conversely—and just as interestingly—at times I found myself
famous Savile Row, a street principally And if you are intrigued by this Studio Craft ( Janet Koplos and Bruce Metcalf, University of immersed in one decade, where I read the entire section, exploring all
known for its fine tailors. The journey fascinating subject, you can learn North Carolina Press, 2010) and Choosing Craft: The Artists’s genres and how they related to each other.
continues to the French fabric house more in a soon-to-be-released Viewpoint (Vicki Halper and Diane Douglas, University of North
of Dormeuil in Paris, which leads to documentary film: The Men of Carolina Press, 2009) provide an important beacon for the world Both of these resources address fine craft overall versus exclusively fiber
an adventure to find the vicuña, the Cloth. http://menoftheclothfilm.com. of contemporary fiber arts and textiles. Both of these important arts and textiles. This enriched my experience by placing the work of
rare breed of animal found in a remote publications were a result of conversations and concepts that impactful fiber artists, some of whom I have met (and have been
part of the Andes Mountains that has surfaced during a think tank at the Center for Craft, Creativity featured here in Fiber Art Now) and others whom I will never get
& Design in March 2003. the chance to meet, into the context of their peers and their time.
the distinction of producing the softest
fleece in the world. The precisely
Cami Smith is the community
manager and content developer What was Gerhardt Knodel’s reaction, the first time he laid out a piece of
The $50,000 coat.
chosen silk for the coat’s lining is then
procured from a highly regarded silk
for Fiber Art Now. She also is
an accomplished fiber artist.
fabric? What has Ann Hamilton said about the power of human contact Marcia Young is editor in chief of Fiber Art Now. She loves learning about and telling
[email protected].
with raw materials? How did the textiles-related institutions of the ’70s the stories behind contemporary fiber arts and textiles. [email protected].
Cutting the fabric. merchant in Lake Como, Italy.
From The
Land Comes STRANGE
The Cloth – MATERIALS:
A Journey to Storytelling Through Textiles
BY Leanne Prain
the Heart of PUBLISHED BY Arsenal Pulp Press, 2014
REVIEWED BY CAMI SMITH
the Hebrides
S
tarting with her powerful introduction, Leanne Prain’s fabulous newest book, Strange Materials:
BY Ian Lawson, Storytelling Through Textiles, is an exploration of how contemporary artists are using varied
PUBLISHED in Great Britain by Ian Lawson Books technology and materials to tell their stories. Many of us will relate to her words: “Systematically
REVIEWED BY CAMI SMITH underrepresented in art history, textiles often carry the stories of those whom society overlooks:
When this book arrives at your house, your jaw will drop, your eyes will women, children, slaves, immigrants, Aboriginal peoples, housewives, stay-at-home fathers, the ill, the
get wide, and you will forget anything that you were planning to do. I had disappeared, the displaced, and the grieving. We do a disservice to ourselves when we ignore the fact
thoroughly researched Ian Lawson’s book, From The Land Comes the Cloth, A that textiles play an important role in telling our histories. Knitting, weaving, embroidery—no matter
Journey to the Heart of the Hebrides, on his website and other media sources, what the medium is, textiles are both byproducts and generators of narrative.”
but I was unprepared for how overwhelmed I would feel when looking at this In the chapters that follow, Prain asks stimulating questions of the 23 international contemporary artists
book in person. Once I took the huge book (432 pages) out of its package she highlights in this book. It is compelling to learn of the artists’ creative processes, how the elements
and randomly opened it, I felt immediately transported to Scotland and the of their daily life get woven into the powerful stories that they create. Chapters include seductive
landscapes that inspire the weavers of famous Harris Tweed. topics like: Poetic Textiles, Textiles of Protest, Politics, and Power, Technology and New Methods
This book earnestly explores the islands off the west coast of Scotland, the of Storytelling, and Community
Outer Hebrides. As a photo journalist Lawson comprehensively captures the Storytelling Through Textiles.
beauty of these islands. His stunning photographs are a compelling visual For example, Tamar Stone discusses
essay on how the environment plays a significant role in the design conception her work from her Bed Story Project,
of Harris Tweed—in his words, “from land to loom.” a series of various doll-size beds
This extraordinary book, with over 280 photographs, is a massive work of with covers. The viewer interacts
art. Ian Lawson spent several years walking, camping, journaling, and getting by turning the covers to reveal the
deeply into the culture of these Scottish Island communities. A skilled narrative “repeating the actions of bed-
photographer, Lawson does a splendid job capturing the “relationship between making, a domestic task that woman
the land and the cloth” and through this book takes readers along with him. have been doing for centuries.”
Each photograph is rich with texture—the varied shades of grasses, the fur on The photograph of Kirsty Whitlock’s,
the sheep, the sands and the rocks, the moody waters, the people’s faces, and the Losses 2009, a deteriorating copy
capricious skies. Each photograph captures a moment of light that is distinctive to of the Financial Times, barely held
Scotland’s beautiful Hebridean Islands and the colors of the splendid woven tweeds. together with what looks like a mending
stitch, is a powerful image. The stock report’s
Lawson’s writing is as poetic as his photos are beautiful. For example he writes: embellished satin stitches and red thread are
“Tucked away in a corner, with her back to the window, sits a small neat dripping from the newspaper.
woman, the cloth on her Hattersley loom faithfully reflecting the colours of
the bay behind her. Natural light from the window makes the colours of the In the chapter The Stories We Wear, the thought-
tweed dance. Katie Campbell has captured skeins of sea and sky on her loom.” provoking interview with Eleanor Hannan
illuminates Hannan’s creative process for
Cami Smith is The forward was written by Prince Charles, who holds the Scottish title Duke
of Rothesay, and there is a second forward from the chairman of the Harris
1001 Funny Things You Can Do with A Skirt, a
collaborative machine embroidery piece that she
the community
manager and Tweed Authority, Donald Martin, giving the author permission to use the did with writer Elizabeth Dancoes.
content developer iconic Orb Trademark of Harris Tweed on the cover of his book.
for Fiber Art Now. The interviews would be enough to make
She also is an The reader will get a sense of history with the stories of the people that raise this book worth reading, but Prain knows her LEFT: Kirsty Whitlock’s Losses 2009
and sheer the sheep, dye the wool, card and weave it, all of which is part of ABOVE TOP: Tamara Stone’s Long Journey
accomplished fiber audience. At the end of each chapter there are ABOVE: Eleanor Hannon’s Knowing
PHOTOGRAPHY SOMAYYA PATEL
artist. camismith@ their heritage and the trademark of Harris Tweed. prompts that coax readers to make something
fiberartnow.net. from their own stories.
Inspired by the author’s personal journey, From The Land Comes the Cloth can’t
help but excite the reader to look more closely at their own environment with The artists chosen for Strange Materials are
Cami Smith is the community manager
and content developer for Fiber Art Now.
new eyes and maybe even feel compelled to go deeper creatively. authentic, the content is relevant, and the topics will She also is an accomplished fiber artist.
To learn more about this book visit the website: www.fromtheland.co.uk resonate with all ages of our creative community. [email protected]
ON THE BOOKSHELF
MR. FINCH:
Living in a
Missing a past issue
Fairytale World
PUBLISHED BY Glitterati Incorporated, 2014
of Fiber Art Now?
Get any single back issues today!
H shop.fiberartnow.net
aving followed the fanciful
creatures of the British textile
artist Mister Finch for several
years, I was excited to see
that his first book was being published. It is
always worth checking his Facebook page
(www.facebook.com/MisterFinchTextileArt)
to see what new moth, rabbit, bird, or
mushroom he shares. His creatures always
seem to have an endearing presence.
Mister Finch: Living in a Fairytale World is
a sumptuous and beautifully bound book
with 350 high-resolution photos of his
extraordinary work.
There is not a lot of text in this book. A
Conversation with Mister Finch begins the
book with a short Q&A that gives the
reader just enough information about his
process and inspirations. There are quotes
by him woven through the book and
delightful images of Mister Finch at work
in his plant-filled studio.
Fiber Art
The splendid color photos that show his
creatures in various stages of progress are
the highlight of this book. For example, there are rows of his rabbits, foxes, and birds in various
stages of construction, each one being transformed with scraps of paper, old wedding dresses, velvet
curtains, antique carpets, or fake furs. Mister Finch re-purposes materials for every creature with
elegance and charm. There are exceptional close-ups of the various folds, stitches, and fabrics that
make up his beloved moths and mushrooms. For example, the reader can see the tiny pleats of fabric
COLLECTOR’S EDITION FLIP BOOK!
Fiber now
Art
now
that make up the gills of his mushrooms. My favorites are the pages and pages of his moths, each
one with a different embroidery stitch or tapestry on its wings.
The reader can clearly see the fine
workmanship and the mastery of
his stitch.
The appeal of Mister Finch is his
ability to humanize the life cycles
of nature. This book allows the
reader to scrutinize the tiny details fibers | mixed media | textiles
that make his work exceptional.
Mister Finch: Living in
a Fairytale World is available
on the Glitterati Cami Smith is a Media Manager &
Contributing Editor for Fiber Art Now.
Incorporated website: She also is an accomplished fiber artist.
SCULPTURAL
EMBROIDERY fibersFRÉDÉRIQUE
www.glitteratiincorporated.com. [email protected]
| mixed media | textiles

MORREL:
17 BUILD YOUR FIBER ART LIBRARY | FIBERARTNOW.NET ©Fiber Art Now | All rights reserved | Fiber Art Now grants permission for any or all pages in this issue to be copied for personal use | www. fiberartnow.net
EL ANATSUI: FIBER:
Art and Life Sculpture 1960–Present
BY SUSAN M. VOGEL
PUBLISHED BY PRESTEL USA, 2012 BY JENELLE PORTER
FOLD
JOINT PUBLICATION OF
INSTITUTE OF CONTEMPORARY
CRUMPLE
ART/BOSTON & PRESTEL
PUBLISHING, 2014
CRUSH:
REVIEWED BY MARCIA YOUNG
Fiber: Sculpture 1960–Present was published in conjunction with the
The Art of El Anatsui

Institute of Contemporary Arts Boston exhibition of the same title
(reviewed in Winter, Volume 4, Issue 2 of this publication). Although
Fiber: Sculpture 1960–Present features artworks that range from
DVD small-scale weavings to immersive environments, it also offers the
readers much more. Even before one dives into the work of all 34
DIRECTOR SUSAN M. VOGEL artists and the multiple full-page plates for each, Porter provides a
STUDIO ICARUS FILMS, 2013 framework for considering the role and development of fiber art over
RUN TIME 81 MINUTES the last 55 years.
“Fiber art emerged during the 1960s and
S
usan M. Vogel has done an impressive job in documenting the life and ’70s, a period when art was undergoing
PHOTO BY EVA HEYD ©ESTATE OF DIANE ITTER

work of contemporary Nigerian artist El Anatsui with her book, El
Anatsui: Art and Life, and documentary, Fold Crumple Crush: The Art of El an upheaval that resulted in a multitude
Anatsui. The two works beautifully illustrate the magnitude of this artist
who is known globally for his complex massive metal tapestries. of new directions, including pop, minimalism,
With 150 pages of splendid photos, the large coffee table size book shows how prolific postminimalism, conceptualism, performance,
the artist has been throughout his life and gives the reader an opportunity to study his
work and his use of materials in depth. Detailed images of the variety of bottle-tops
land art, and feminist art. Fiber art, in its
that he uses as his palette illustrate how he transforms them into sheets of metal quilt modes and pliant way, boldly stepped up to
patches. The caps are cut, crushed, twisted, or folded like origami paper, and strung
together to make the patterns for his immense metal wall pieces. join the revolution.”
ERIK LASALLE
The DVD Fold Crumple Crush: The Art Of El Anatsui, directed by Vogel has two – Jenelle Porter, Mannion Family Senior Curator,
components. The first is a fascinating documentary about Anatsui’s work and his Institute of Contemporary Art/Boston
life; the second consists of eight extra shorts that take the viewer deeper into his
process. Each explores the various media he has worked with, including pottery,
It includes contributions by leading voices, including a foreword by
wood, and various materials from his environment, while also examining his
Jill Medvedow (director of the ICA Boston), a provocative section by
creative process.
Glenn Adamson (director of the Museum of Arts & Design, New
“I could spend the rest of my career using York), a brief history of site-specific
tapestries by T’ai Smith (noted author
bottle tops because there’s an open-endedness— and assistant professor, University
a sense of freedom present in this medium.” ABOVE TOP:

Diane Itter, Southern
of British Columbia), and a section
by author Jenelle Porter (Mannion
family senior curator, ICA Boston), fleshing out the historical and social
Throughout the movie the gentle soft-spoken artist shares information about his life Borders; 1982; Linen; significance that lies at the root of fiber arts.
15 1/2 x 10 in.; Museum
growing up in West Africa. In one sequence he talks about his time in art school as he of Arts and Design, New York;
walks around his immense cement sculptures and clay-fired pottery pieces. Gift of Nancy and Richard This lavish, exquisitely produced publication has been mistaken for a glorified
Bloch, 1991 exhibition catalog. It does focus on the exhibition, but that is just the start. It
The book and the documentary complement each other nicely and offer a thought also traces and frames the development of large-scale fibers from the mid-
provoking, inspiring, and compelling look at this celebrated contemporary artist. ABOVE:
twentieth century to the present. The work included in the exhibition is only
Jean Stamsta, Orange Twist,
one accomplishment of many. Fiber is sure to make a strong impression on
Cami Smith is the Media Manager and Contributing Editor for Fiber Art Now.
She is also an accomplished fiber artist. camismith@fiberartnow.
ca. 1970; wool, synthetic yarn,
and wood, 43 x 103 x 43 in;
Museum of Wisconsin Art,
how you view your own work within the historical narrative of fiber arts.
West Bend,Wisconsin; Gift
LEFT CENTER: Courtesy Jack Shainman Gallery, New York.
LEFT: Photo Courtesy Jack Shainman Gallery, New York.
of the Kohler Foundation, Inc.
©The Estate of Jean Stamsta
Marcia Young brings 20 years of publishing experience and a love of fiber arts and
textiles to her work as founder and editor in chief of Fiber Art Now. [email protected]
ON THE BOOKSHELF
BORO – Fiber Art

now
NEW IN 2016!
Rags and
Selected work will have the opportunity
EXCELLENCE IN
to be shown at two museums in the US.
Venues to be announced.
Tatters from
Multiple jury groups will ensure even
representation of all fiber areas.
the Far North SUBMISSION DATE
a juried exhibition in print

OCTOBER 1, 2016
of Japan
2016
A portion of the revenues from
EXCELLENCE IN FIBER 2016 will go toward:
BY YUKIKO KOIDE & Craft Emergency Relief Fund

www.craftemergency.org
KYOICHI TSUZUKI
Selected works will appear in an exhibition catalog, part of the
PUBLISHED BY ASPECT, 2009 Fiber Art Now Winter issue (Sent to all FAN subscribers, sold on Friends of Fiber Art International, Inc.
www.friendsoffiber.org
REVIEWED BY CAMI SMITH over 400 Barnes & Noble newsstands in the US, 200+ Chapters

Books in Canada, and on select newsstands in the UK). The catalog

Kiva
B

also will be presented to curators and directors of 200+ museums Kiva (kiva.org) microloans help

oro (rags) stitchery is the Japanese practice grow and support businesses

and galleries that feature fiber work and a select group of fiber and

of stitching remnants from worn clothing around the world. Kiva is a

together to reuse the fabric. Boro – Rags fine craft collectors. non-profit organization with
a mission to alleviate poverty
and Tatters from the Far North of Japan,
by Yukiko Koide & Kyoichi Tsuzuki (written www.fiberartnow.net/Excellence through microfinance, helping
create opportunity worldwide.
in Japanese with English translation on
each page), documents the collection of
ethnographer Chuzaburo Tanaka, who
ComeJoin
with Fiber
us toArt Ital y!
was early to recognize that these pieces of
stitched together patchwork were important to
conserve as part of Japan’s cultural heritage.
The images throughout this small gem of a book (128 pages) provide an overview
Now
for a Mediterranean
of the pieces collected in over 40 years of Tanaka’s fieldwork, mainly in Aomori
Prefecture in the north of Japan. JOIN FIBER ART NOW ON AN ADVENTURE-FILLED
TRIP TO ITALY – THE BIRTHPLACE OF FIBER ART!
Their climate too cold to raise cotton, the self-sufficient villagers of Tohoku made
textile ad venture!
their cloth from hemp, which they grew and processed, an undertaking that took BASK IN THE MEDITERRANEAN LANDSCAPE,VISIT MUSEUMS,
a staggering amount of time. Poor farmers, they traded pieces of cloth to acquire SHOP AT OPEN MARKETS, AND ENJOY FRESH ITALIAN FOOD & WINE!
needles and thread and the indigo dye that colored most of the fabric. It’s all happening in fall, 2016.
The overall collection conveys the
amount of effort and time expended
to make cloth last, not just for one It’s all happening in Fall, 2016.
generation, but for two, three,
or even four generations. Every TAKE FELT-MAKING WORKSHOPS,
Fiber Art
piece of clothing that was worn VISIT THE TEXTILE MUSEUM,
was patched, including kimonos, SHOP AT OPEN MARKETS,
coats, pants, underwear, diapers, ENJOY FRESH ITALIAN FOOD & WINE –
now
split-toed socks, and padded ALL IN THE TUSCANY REGION!
mittens. My favorite image in
this collection is of the split-toed
socks that women created for
every member of their family. It www.fiberartnow.net/tuscany
www.fiberartnow.net/tuscany
is remarkable to see the way they are heavily
stitched and the timeworn scraps that held them together.
The collection documented in this fascinating little book is now housed at the
Amuse Museum in Tokyo (www.amusemuseum.com/english/boro/index.html).
Cami Smith is the Media Manager and Contributing Editor for Fiber Art
Now. She is also an accomplished fiber artist. [email protected]
21 BUILD YOUR FIBER ART LIBRARY | FIBERARTNOW.NET ©Fiber Art Now | All rights reserved | Fiber Art Now grants permission for any or all pages in this issue to be copied for personal use | www. fiberartnow.net
CULTURAL TEXT IN
THREADS – TEXTILE ART
Transnational BY SARA IMPEY
Textiles Today
PUBLISHED BY BATSFORD, 2014
S
EDITED BY JESSICA HEMMINGS ara Impey ’s book Text In Textile Art is a concise resource for anyone who
is interested in exploring the use of text in art. The book reviews the power
PUBLISHED IN LONDON BY BLOOMSBURY ACADEMIC, 2015
and impact of simple characters embedded in art pieces and reviews some
REVIEWED BY SUZANNE SMITH ARNEY techniques that various artists are using.
T
In the first chapters, Impey gives a brief historical summary of text in fiber art,
he cover image of this book is simply beautiful, and intriguingly complex.
including traditional samplers and various stitching documenting important
It’s a canoe, beaded in horizontal bands of turquoise and gold. Sans
events such as births and
regalia, the sturdy wooden boat is central to the culture of the Inga
weddings. My favorite photo
people of Columbia. But these days, instead of fish, they navigate the
is a sampler by Larina Buwer,
Amazon’s waterways with loads of coca leaves to satisfy an international drug trade.
c.1901 who, as a resident of an
Jorge Lizarazo, founder of weaving studio Hechizoo in Bogotá, envisioned the canoe
asylum, expressed her anger
covered with beads based on traditional patterns to “give dignity back to this object.”
and confusion in stitchery.
The embellished canoe is a perfect metaphor for Hemming’s book, whose central This graphically strong piece
purpose is work and transportation. At the same time, it is a visually rich survey of is hand-stitched on colorful
textiles from around the globe, with full-color images on nearly every page. scraps of calico.
Hemmings describes her purpose in the introduction. Values, affiliations, even The next two chapters discuss
histories change through time, and textiles, so very portable, are often the medium developing personal expression,
and messenger of that change. The beaded canoe’s title, Inga, represents a people which is exemplified through
and their culture, carrying a message to the world told from their own perspective. illustrations of provocative
The multiplicity of viewpoints and the particularity of each is essential to textiles’ works that demonstrate how
underlying role as socio-historic markers. artists use text to powerfully
express social and political
topics. This book includes an
impressive grouping of works
from some of the finest contemporary fiber artists around the globe. These examples
range from technically precise machine-stitched pieces to hand-embroidered three-
dimensional works.
The final chapters delve into a variety of mediums being used by contemporary
artists. This chapter includes images of work on various materials such as Caren
Garfen’s work Main Course which utilizes screen printing on rolls of silk, and
Rhiannon Williams’ piece Money Talks, a traditional hand-stitched octagon quilt
made from lottery scratch cards backed by newsprint of financial reports.
One of the many pieces I found myself studying was the work by British artist,
Donna Rumble-Smith. It is an extraordinary machine-embroidered letter,
comprised of black thread and nylon monofilament. The handwritten text appears
Crafts invite change and reinterpretation: tribal patterns inspire beaded
to be floating, almost as though someone wrote with a Sharpie in mid-air.
embellishments; hand-drawn batiks become industrial commodities; and artists like
ABOVE: From Julie Ryder’s Regenerate series. Bold Regenerate. Julie Ryder add their take on time- and space-distant issues. Her series of printed Cami Smith is the Media Manager and a contributing editor It is inspiring to see the wide range of techniques. The hand-written text on hand-
Jessica Hemmings is Professor of Visual Culture and head of the textiles, Regenerate, refers to both the digital process she uses and her study of
Charles Darwin’s writings and personal history.
for Fiber Art Now. She is also an accomplished fiber artist.
[email protected] and wishingpots.com
dyed fabrics of American artist, Susan Shie, and the seemingly unplanned text,
stitches, and images that Tilleke Schwarz of the Netherlands hand-embroiders
School of Visual Culture at the National College of Art & Design in
Dublin, Ireland. Jessicahemmings.com on linen are just a few images that are discussed.
The book’s ten chapters explore transnational/postcolonial/multicultural concepts
Suzanne Smith Arney loves to travel the world, discovering of culture through the medium of textiles. This book will be enjoyed for the visual Impey, herself is a master. She shares many images of her own work showing her
other people’s cultures, experiences, and stories.Through the vehicle range of work presented. It will be appreciated by readers who can imagine art as an precise, graphically strong machine-stitching technique.
of art, she can cross time, language, and political barriers, and never exploratory canoe and read new meaning between the lines of pattern.
worries about ticketing, schedule conflicts, or a cat sitter. This book covers it all and inspires the reader to take personal expression to the next level.
A partner exhibition, Migrations, opens at University New South Wales Galleries,
Sydney, Australia, in October.
Get Inspired & Connected.
Fiber Art
now
A fiber arts magazine & community

print & digital magazine | exhibition listings |artist submissions
artist interview program | events calendar & map | jobs board & more!
subscribe now!
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Fiber Art

LIBRARY OF ELIN NOBLE AND LASSE ANTONSEN

3 500 Baskets by Lark Books

Fiber Futures: Japan’s

All Things Considered VI Joomchi & Beyond

Fiber Art Today

Matisse, His Art Indigo: The

and His Textiles Color that Changed

Creating The Object Diana Springall:

Throughout the book there are fascinating tidbits of information

I was glad she included a discussion about the

The Coat Route:

Craft, Luxury & Obsession

| mixed media | textiles

The Art of El Anatsui

PHOTO BY EVA HEYD ©ESTATE OF DIANE ITTER

a sense of freedom present in this medium.” ABOVE TOP:

BORO – Fiber Art

the Far North SUBMISSION DATE

a juried exhibition in print

BY YUKIKO KOIDE & Craft Emergency Relief Fund

Books in Canada, and on select newsstands in the UK). The catalog

of stitching remnants from worn clothing around the world. Kiva is a

A fiber arts magazine & community

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