DOCSLIB.ORG

Textile Arts LA Assocorgs

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Textile Arts LA Assocorgs ASSOCIATIONS AND PROFESSIONAL ORGANIZATIONS Listed alphabetically by name H A Handwoven Magazine ARTSgarage A textile resource center in mid-Wilshire Los Angeles Produced by Interweave, one of the nation's foremost art and craft media companies. dedicated to teaching and learning. Founded by fiber artist Mailing Address and educator Cameron Taylor-Brown. F+W Media/Interweave Press Attention: Dept, Magazine or Specific Name American Craft Council A nonprofit that preserves, cultivates, and celebrates craft. 4868 Innovation Dr Ft. Collins, CO 80525-5576 Founder of American Craft magazine. Phone (866)949-1646 1224 Marshall Street NE, Suite 200 Minneapolis, MN 55413 Phone (612) 206-3100 I Toll Free (800) 836-3470 Institute for Labor Generosity Workers and Fax (612) 355-2330 Uniforms [email protected] An organizational body and experimental factory, housing the archive and ongoing projects of Frau Fiber, former C textile worker, activist and symbol of the lost generation of Craft in America Center East German workers. 346 E 3rd Street, Long Beach, CA 90802 Exhibition and learning space in Los Angeles giving voice to Contact for hours traditional and contemporary craft. 8415 W. Third Street https://www.facebook.com/institute4laborgenerosityworkers uniforms/ Los Angeles, CA 90048 Phone (323) 951-0610 [email protected] L Los Angeles Fibershed F A proactive organization working with the concept of bioregionalism with a focus on fiber. Fiber Art Now General inquiries: Ariel Greenwood [email protected] Producer Program: Marie Hoff Fowler Textile Council [email protected] c/o Fowler Museum at UCLA Affiliate Program or Media: Jess Daniels Offers unique opportunities to explore the Museum’s world- [email protected] renowned textile collections. Membership Office Mailing address: PO Box 221, San Geronimo, CA 94963 Fowler Museum at UCLA Box 951549 Los Angeles, CA 90025-1549 Phone (310)206-0306 Email [email protected] M T Machine Quilting Unlimited Textile Museum Associates of Southern California Publication featuring contemporary quilters. Nonprofit organization presenting educational programs, General Inquiries [email protected] discussions, field trips, and special events focused on Buisiness Address handmade textiles, weavings, Oriental carpets and Meander Publishing Inc costumes from around the world. Associated with The Machine Quilting Unlimited George Washington University Museum | The Textile PO Box 88 Museum in Washington, D.C. Eureka, IL 61530-1653 Phone 1(800)910-1925 Mailing Address Fax 866-921-1915 TMA/SC P.O. Box 49160 Los Angeles, CA 90049 S Email [email protected] Shuttle Spindle and Dyepot Award-winning quarterly journal produced by Handweavers Textile Society of America Guild of America, Inc.. Features a broad spectrum of articles Provides an international forum for the exchange and about fiber art, including: design, history, exhibitions, dissemination of information about textiles worldwide, from education, products, books, and national and international artistic, cultural, economic, historic, political, social, and textile news. technical perspectives. Mailing Address General Manager Caroline Hayes Charuk, Handweavers Guild of America, Inc. [email protected] 1255 Buford Highway, Suite 209 Suwanee, GA 30024 Phone (678) 730-0010 Y Email [email protected] Yarnbombing Los Angeles A fiber arts community engaging with thousands of people online, worldwide, and locally in Los Angeles. YBLA Studio Art Quilt Associates collaborates with city governments, museums, alternative art A nonprofit organization that promotes art quilts through spaces, and public spaces to create thought-provoking, education, exhibitions, professional development, community-generated public art installations documentation, and publications. Email [email protected] Mailing Address: SAQA PO Box 141 Hebron, CT 06248 Phone (860)530-1551 General Inquiries [email protected] Surface Design Association An international organization focused on inspiring creativity, encouraging innovation, and advocating for artistic excellence as the global leader in textile-inspired art and design. Mailing Address Surface Design Association P.O. Box 4044 Las Vegas, NM 87701 Phone (707)829-3110 General Inquiries [email protected] .
Load more

Recommended publications
  • Senior Textile Artist Badge Workshop
    Senior Textile Artist Badge Workshop An At-Home Program GSCCC Senior Textile Artist Badge Workshop (At-Home) • When you see fabrics, yarn, or string off all colors and textures what do you think of? Do you envision all of the things you could create? Let’s turn those visions into reality! Program Outline Materials: - Computer - Internet access - Materials for craft of choice Step 1: Choose your textile art There are a number of textile arts in the world from macramé to crocheting to quilting and much more. In this step you will be doing some research to learn about a textile art that you find interesting and that you would like to learn. Some of the most common textile arts are macramé, embroidery, cross-stitch, needlework, knitting, crocheting, weaving, and quilting. Do some research to find out about these or other textile arts. Below are some helpful links to start with. Here are a few links to get your search started – crochet, macramé, embroidery, weaving. Click here to see what some current textile artists are doing. Step 2: Find your tools and materials Now that you have chosen your art, you need to gather materials. Crocheting needs crochet hooks and yarn. Embroidery needs needles, embroidery floss, hoops, and fabric. Do some research about what you will need for your chosen textile art form. What all is involved? Do you know anyone who already has the supplies? Would they be willing to lend you some materials? Below are some great resources to learn about materials needed for the most common textile arts.
    [Show full text]
  • Textile Society of America Newsletter 21:3 — Fall 2009 Textile Society of America
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Newsletters Textile Society of America Fall 2009 Textile Society of America Newsletter 21:3 — Fall 2009 Textile Society of America Follow this and additional works at: https://digitalcommons.unl.edu/tsanews Part of the Art and Design Commons Textile Society of America, "Textile Society of America Newsletter 21:3 — Fall 2009" (2009). Textile Society of America Newsletters. 56. https://digitalcommons.unl.edu/tsanews/56 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Newsletters by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. T VOLUME 21 NUMBER 3 FALL, 2009 S A Conservation of Three Hawaiian Feather Cloaks by Elizabeth Nunan and Aimée Ducey CONTENTS ACRED GARMENTS ONCE to fully support the cloaks and and the feathers determined the worn by the male mem- provide a culturally appropriate scope of the treatment. 1 Conservation of Three Hawaiian bers of the Hawaiian ali’i, display. The museum plans to The Chapman cloak is Feather Cloaks S or chiefs, feather cloaks and stabilize the entire collection in thought to be the oldest in the 2 Symposium 2010: Activities and capes serve today as iconic order to alternate the exhibition collection, dating to the mid-18th Exhibitions symbols of Hawaiian culture. of the cloaks, therefore shorten- century, and it is also the most 3 From the President During the summer of 2007 ing the display period of any deteriorated.
    [Show full text]
  • Textile Arts Department Superintendent ~ Sue Brown 402-463-6767 (Office) 402-460-7988 (Mobile) Nebraska State Fair (NSF)
    Celebrating 150 years of the Nebraska State Fair with the “150th Fairabration Textile arts exhibits are displayed along with other departments of Competitive Exhibits in the Fonner Park Concourse which is adjacent to the east side of the Heartland Event Center. The closest entrance to Textile Arts is on the south end of the Concourse (south side of the Event Center). The most efficient way to enter is online. Instructions are found on the web site, www.statefair.org. For directions on entering by mail or in-person go to the entry information section in this book. Exhibits may be delivered to the fair grounds on designated entry days or by shipping. See Shipping Options for information on mailing or shipping exhibits. Textile Arts Entry Book Index Page 3 Textile Art Divisions, New in 2019, Important Dates Pages 3-5 Awards, Rules, How to Enter, Delivery and Return of Exhibits – Review this section carefully. Direct questions to Sue Brown 402-460-7988 or 402-463-6767 Pages 5-6 Division 5201 – Sewing for Children and Adults Pages 6-7 Division 5202 – Sewing for the Home Pages 8-9 Division 5203 – Crochet Pages 9-10 Division 5204 – Knitting Pages 10 Division 5205 – Lace Making Pages 11-12 Division 5206 – Stitchery (hand embroidery, counted cross stitch, needlepoint, other) Pages 12-14 Division 5207 – Weaving, Spinning & Felting Pages 14-16 Division 5208 – Fiber Arts (new wool classes & classes previously in rug making, creative fiber art & upcycling textiles) Pages 16-17 Division 5209 – Junior and Senior Youth Pages 17-18 Division 5210 – Senior Adults Pages 19 Division 5291 - Best in County Textile Arts 2 of 19 Textile Arts Department Superintendent ~ Sue Brown 402-463-6767 (office) 402-460-7988 (mobile) Nebraska State Fair (NSF) www.statefair.org Textile Arts is the use of fibers (plant, animal & synthetic), yarns or fabrics to construct practical or decorative items.
    [Show full text]
  • Textiles - an Art Form for the 90'S: Advancing Fiber with New Concepts & Marketing Strategies
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 1998 Textiles - An Art Form For the 90's: Advancing Fiber With New Concepts & Marketing Strategies Elizabeth Gaston Fashion Institute of Technology, New York City Laura Hill Fashion Institute of Technology, New York City Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons Gaston, Elizabeth and Hill, Laura, "Textiles - An Art Form For the 90's: Advancing Fiber With New Concepts & Marketing Strategies" (1998). Textile Society of America Symposium Proceedings. 166. https://digitalcommons.unl.edu/tsaconf/166 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Textiles - An Art Form For the 90's: Advancing Fiber With New Concepts & Marketing Strategies by Elizabeth Gaston and Laura Hill This panel discussion provided a forum for an exploration of the place and meaning of contemporary textile art. It was one of several concurrent panels held on the final afternoon of the Sixth Biennial Textile Society of America Symposium. Textiles­ An Art Form For the 90's brought together artists and enthusiasts from many backgrounds and with different perspectives. Four participants presented formal papers accompanied by slides. This was followed by a panel discussion. The chairperson was Patricia Malarcher, editor of Surface Design Journal. She shared the viewpoint of the media.
    [Show full text]
  • Download The
    1 Studies in Material Thinking, http://www.materialthinking.org Vol. 4 (September 2010), ISSN 1177-6234, AUT University Copyright © Studies in Material Thinking and the author. Cresside Collette Tutor in Tapestry Weaving and Drawing School of Fashion and Textiles RMIT University [email protected] Abstract Since Mediaeval times drawing has been the foundation for and the integrated content of woven tapestry. This paper traces the evolution of a rich, colourful, tactile medium in response to the drawn image, the shift in importance of the weaver as artist within the process, and the emergence of Tapestry as a Contemporary art form in its own right. Keywords Drawing, Tapestry, Cartoon, Artist, Weaver. “Found in Translation – the transformative role of Drawing in the realisation of Tapestry.” Introduction A bold definition of tapestry is that it is a woven work of art. It carries an image, made possible by virtue of what is known as discontinuous weft, i.e. the weft is built up in small shapes rather than running in continuous rows across the warp. The structure of the material comprises warp (vertical) and weft (horizontal) threads. Hand woven on a loom, the weft yarn generally covers the warp, resulting in a weft - faced fabric. The design, which is woven into the fabric, forms an integral part of the textile as the artist/weaver constructs the image and surface simultaneously. Of all the textile arts, tapestry is the medium that finds its form and expression most directly in the drawn line. Drawing is the thread, both literally and metaphorically, that enables the existence of woven tapestry and it has played both a supporting and a didactic role in the realisation of this image - based form.
    [Show full text]
  • Textile Traditions and Fashion Education in Mexico
    Textile Traditions and Fashion Education in Mexico Thomai Thessalia Papathanasiou and Alessandra Perlatti Introduction Mesoamerican textile weaving reflects a continuous history of interpretation based on ancient, historic, and modern ideologies and techniques. The textiles that are found in museums and private collections and among the indigenous people of Mesoamerica, where the ancient art of weaving continues today, are significant resources of information. (Klein, 1997, 1) The richness of textile traditions in Mexico is worldly recognized. Mesoamerican cultures are still alive nowadays in different parts of the country, and cultural heritage still survives among the indigenous peoples who inhabit modern Mexico. One of the strongest features of these cultures are their weaving, dyeing, embroidering, and looming techniques. Textile traditions, combined with craftsmanship, music, and dance are the foundation of popular culture in Mexico. Although popular culture has always been seen as trivial and of a lower level when compared to high culture, it provides the best way to detect and recognize a collective state of mind and the lifestyle of a particular society. It is through popular culture that we can more easily identify the colors, smells, sounds, and normative behavior of a community. Modern Mexican fashion designers nowadays therefore face a great challenge to find an in-between place where they can celebrate their cultural roots and at the same time create cutting edge designs. How can they honor indigenous craftsmanship without
    [Show full text]
  • Color, and the Tactile Joy of Finger Painting
    Tapestry Topics A Quarterly Review of Tapestry Art Today www.americantapestryalliance.org Summer 2010 Vol 36 No 2 On Designing for Tapestry by Thoma Ewen Within each of us is a deep well of creativity. It is linked to spirit and to the life force, and it is essential to well being. I often send my students outside to look at the natural environment. To me, everything begins with what you see as being beautiful. I am an artist because I wish to partici- pate in beauty. When I design and weave, my desire is to communicate the beauty that I feel. Designing tapestry begins with something I see in the natural environment that moves me. It's as if I take a visual impression of the feeling that a particular scene evokes in me. This transforms into a visual image in my mind. I give this process time and stay in touch with the feeling all the way through the designing and weaving process. I work with the visual image, exploring the feeling through drawings. I often do many Thoma Ewen at her loom. pastel drawings as studies before selecting the one I will weave into tapestry. I use the drawing that best captures the feeling. In my recent series Aurora Borealis Behind the Trees there are 10 drawings and four tapestries. Discover and enjoy your own creativity by playing with drawing or painting materials. If you feel inadequate, blocked, or stuck, watch young children finger paint. Try it yourself, as it is very freeing to lose yourself in the pure color, and the tactile joy of finger painting.
    [Show full text]
  • Stitched Textile Technology in Womenswear Design
    2nd International Conference on Advances in Social Science, Humanities, and Management (ASSHM 2014) The stitched textile technology and its emotional consideration property in fashion design Yushan Zou; Desheng Zhang (College of textiles and garments, Southwest University, Chongqing China, 400715) Abstract fashion design. By stitching, textured fabric would well decorate design. In the modern world, fashion designers have kept In the field of product development, fashion exploring more skills on fabric in the field of product designers start to explore more on fabric. As Hedley development. The stitched textile technology attracted (2010) agreed that line has great versatility, which is a increasing attention due to its characteristics of emotion basic element in fashion design; it could be used to create expressing, easy-sculpting and color-matching. The texture, mark and form. Stitched textiles combines fabric present paper introduced this textile redesign skill and a painting and printing, applied fabrics and hand and fashion artist named Gwen Hedley who did an excellent machine stitchery. I have paid great attention to the stitch job in stitched textile application. Additionally, a vivid artist named Gwen Hedley. She is an English textile artist case of this technique adopted by us in womenswear who is strong recognized in textile. She can use stitching design was shared in this paper. We conclude that well on fabric. What she did is fabrics redo by using the stitched textile can help to enhance the uniformity of techniques of stitching and hand sewing and most whole collection and emotion consideration in fashion inspired for textured nature. design. 2 The technology of stitched textile and its properties Keywords: stitched textile ， womenswear ， fashion designing， emotional consideration 2.1 The technology and emotional expression of stitched textile 1 Introduction In textile arts, stitching is a basic element of sewing, With the public aesthetic promotion, common embroidery and crochets no matter by hand or machine.
    [Show full text]
  • Textile Arts and Aesthetics in and Beyond the Medieval Islamic World
    Perspective Actualité en histoire de l’art 1 | 2016 Textiles Crossroads of Cloth: Textile Arts and Aesthetics in and beyond the Medieval Islamic World Aux carrefours des étoffes : les arts et l’esthétique textiles dans le monde islamique médiéval et au-delà Vera-Simone Schulz Electronic version URL: http://journals.openedition.org/perspective/6309 DOI: 10.4000/perspective.6309 ISSN: 2269-7721 Publisher Institut national d'histoire de l'art Printed version Date of publication: 30 June 2016 Number of pages: 93-108 ISBN: 978-2-917902-31-8 ISSN: 1777-7852 Electronic reference Vera-Simone Schulz, « Crossroads of Cloth: Textile Arts and Aesthetics in and beyond the Medieval Islamic World », Perspective [Online], 1 | 2016, Online since 15 June 2017, connection on 01 October 2020. URL : http://journals.openedition.org/perspective/6309 ; DOI : https://doi.org/10.4000/ perspective.6309 Vera-Simone Schulz Crossroads of Cloth: Textile Arts and Aesthetics in and beyond the Medieval Islamic World A piece of woven silk preserved in the Cooper-Hewitt National Design Museum in New York (fig. 1) shows medallions with pearl borders in which various animals appear. The elephants, winged horses, and composite creatures with dog heads and peacock tails are positioned alternately face-to-face and back-to-back. The fabric is designed to be viewed both from a distance and more closely. From a distance, the overall structure with its repeating pattern forms a grid in which geometrical roundels oscillate between contact and isolation. They are so close they seem almost to touch both each other and the complicated vegetal patterns in the spaces between, although in fact each roundel remains separate from every other visual element in the textile.
    [Show full text]
  • Fall Volume 21, No.3
    The Bay Area Forum for artists, Textile Arts Council aficionados & collectors of weaving, rugs & tapestries, baskets, costume & wearable art September 2006 Upcoming Programs and Announcements Volume XXI, All programs are held in the Koret Auditorium at the de Young Museum in Golden Gate Park, Number 3 50 Hagiwara Tea Drive, San Francisco. Admission to the programs is FREE to TAC members, $5 for non-members, and $3 for students with I.D. No additional Museum admission fee is necessary. You may enter from the lower garage level or from the main floor near the entrance. Saturday, Sept. 16, 2006, 10:00 a.m. scheduled for publication in 2007. Ms. Coleman THE VOICE AND STYLE OF received a Master of Science in Counseling in AFRICAN-AMERICAN QUILTERS 1978 and she frequently uses her social service With Marion Coleman background as a resource for creating story quilts. She is presently working on a commission The diversity of styles and techniques repre- for the Alameda County Juvenile Justice Center, sented within the African-American quilting scheduled to open in 2007. Two of her pieces community will be presented by Marion Coleman have been accepted in the “By Hand: A National through slides and a hands-on viewing of a Juried Exhibition of Traditional and Innovative collection of quilts made by family and friends. Craft” exhibit at the Bedford Gallery in Walnut These works range from traditional quilts Creek, July 9-Sept. 10, 2006. Please join us made by her grandmother and great aunts to for this exciting opportunity to learn about contemporary quilts created by fellow members the historic as well as contemporary African- of the African-American Quilt Guild of Oakland.
    [Show full text]
  • Art Therapists' Work with Textiles
    LMU/LLS Theses and Dissertations 4-29-2019 Art Therapists' Work with Textiles Sarah Potter Loyola Marymount University, [email protected] Follow this and additional works at: https://digitalcommons.lmu.edu/etd Part of the Art Therapy Commons, and the Marriage and Family Therapy and Counseling Commons Recommended Citation Potter, Sarah, "Art Therapists' Work with Textiles" (2019). LMU/LLS Theses and Dissertations. 771. https://digitalcommons.lmu.edu/etd/771 This Research Projects is brought to you for free and open access by Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in LMU/LLS Theses and Dissertations by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. Running head: ART THERAPISTS’ WORK WITH TEXTILES 1 ART THERAPISTS’ WORK WITH TEXTILES by Sarah Potter A research paper presented to the FACULTY OF THE DEPARTMENT OF MARITAL AND FAMILY THERAPY LOYOLA MARYMOUNT UNIVERSITY In partial fulfillment of the Requirements for the Degree Master of Arts in Marital and Family Therapy April 29, 2019 ART THERAPISTS’ WORK WITH TEXTILES 2 Signature Page Author’s Signature: Sarah Potter, MA Candidate, MFT and Clinical Art Therapy Research Mentor’s Signature: Debra Linesch, PhD, MFT, ATR-BC ART THERAPISTS’ WORK WITH TEXTILES 3 Acknowledgements Thank you to the participants in my research survey and focus group for generously giving their perspectives and their time to this project. Thank you to my research advisor, Debra Linesch, who's deep passion for this work inspired me throughout. And, finally, thank you to my sister and my husband for their feedback and support from start to finish.
    [Show full text]
  • Australian Wool Innovation Limited Annual Report 2015/16
    AUSTRALIAN WOOL INNOVATION LIMITED ANNUAL REPORT 2015/16 2 UP FRONT ABOUT AWI WHAT AWI DOES Established in 2001, AWI is a not-for-profit company owned by more than 24,000 wool levy payers who have registered as AWI shareholders. AWI’S MISSION The company invests along the global supply chain for Australian wool – from woolgrowers through to retailers. AWI’s mission is to make AWI’s vision is for it to be a highly valued contributor to a vibrant, strategically targeted profitable and sustainable Australian wool industry. investments to: AWI’s goal is to increase the profitability, and support the 1. enhance the profitability, sustainability of the Australian wool industry through strategically international competitiveness targeted investments in research, development and marketing and sustainability of the designed to optimise return on investment. In working towards this Australian wool industry goal AWI always strives to deliver an appropriate return on woolgrowers’ and Government’s investment of levies. 2. increase demand and market access for Australian wool. AWI invests in: • Research, Development, Extension and skills training from farm to fashion • Marketing CONTENTS • Global Business Services. AWI is not a peak industry body, does not create or execute UP FRONT industry policy, and is not an advocate on issues outside its core 2 About AWI functions. 4 Highlights of 2015/16 HOW AWI IS FUNDED 5 Financial summary 6 AWI Board of Directors AWI investments are funded through a wool levy paid by 8 Chairman’s report woolgrowers (currently two per cent of the sale price received for 9 CEO’s report their shorn greasy wool) and a matching contribution from the Australian Government for eligible R&D activities, capped at 0.5 per cent of the value of gross national value of wool production.
    [Show full text]