Ready to Explore Eco Dyeing? Eco Dyeing Is Fber Art with Elemental Appeal, Combining Simplicity of Technique with Enticing Complexity of Outcome
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Fiber Art Network/ Fiber Art Now Brand 7,100 Is the Only Organization of Its Kind
MEDIA KIT F IBER A RT Fiber N ETWORK NowArt CONNECT WITH THE WORLDWIDE FIBER ART + TEXTILE COMMUNITY! Fiber NowArt Jen Moniz 413-222-0720 Marcia Young 413-222-0720 VOL 8 | ISSUE 4 | SUMMER 2019 VOL 8 | ISSUE 3 | SPRING 2019 A publication of the A publication of the F IBER F IBER ART ART [email protected] NETWORK NETWORK [email protected] FIBERARTNOW.NET BOOK SERIES BOOK OUR e REACH SUMMER 2020 103,400 Includes four fiber art-focused Facebook pages 27,200 6,680 THE FIBER ART NETWORK/ FIBER ART NOW BRAND 7,100 IS THE ONLY ORGANIZATION OF ITS KIND. Fiber Art Now 6,000 Readership Circulation base We are both a magazine and a membership organization that has been serving with more eyes as a result of shared the fiber art, textiles, and mixed-media space for almost a decade. copies and our digital issues We leverage every part of our organization to benefit our media partners. This includes our print and digital publication subscribers, organization members, eNewsletter (8x per month) 22,000 Instagram and Facebook communities, Twitter feed, eNewsletter subscribers, and website ads. Our readership and followers are hungry to learn about new materials and supplies, eager to read about exhibitions and conferences, and excited about taking 172,380 classes to improve their skills. They include arts professionals, hobbyists, museum TOTAL AUDIENCE professionals, collectors, curators, executive directors, and teachers. In short, we bring our entire audience to bear in support of our media partners’ Website 220,000 Monthly page growth and sales. If you are in the fine craft niche, then we have built a vehicle for views you to reach your target audience. -
What Is FIBER ART a Bit of History
What is FIBER ART A bit of history The Fiber Art, also called Art Fabric, Texil Art or Textile Art, is a current of Contemporary Art. This artistic expression began with the futurist avant-garde who controversially introduced in their works the most heterogeneous materials. Between 1920 and 1933 at the Bauhaus founded by Walter Gropius, spread in the discipline of weaving, research and experimentation with artificial silk, chenille, cellophane, metal and works by Anni Albers. The Fiber Art was born in the 50s, following the American Expressionism in the USA, Canada, Japan and Europe. The most important moment in the development of this art was in the 60s and 70s. At that time, creativity in the textile field, passes through an expressive and exciting phase: the search goes around and artists produce the more dissimilar works, using many techniques and experimental forms. What is flexible is textiles The field is really vast: yarn, rope, paper, textiles, fibers, not spun, felt, metal wires, plastic, plastic nets, plastic weaving with reeds, herbs, twigs ... everything falls into Fiber Art. Among the techniques there are also included the painting and printing on fabric, made with molds and from different materials: toothpicks, rubber bands, lace used as matrices, with reserves of yarn leaves or herbs, hand- sewn or by machine. Each artist has his own vehicle of expression: installations, weaving with all flexible materials, assemblage of material on sewn layers, with crochet hook or metal wires, knitted with ropes of paper or with newspaper cut into strips and yarns, embroidery on paper or evanescent film etc. -
California and the Fiber Art Revolution
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by UNL | Libraries University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2004 California and the Fiber Art Revolution Suzanne Baizerman Oakland Museum of California, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons Baizerman, Suzanne, "California and the Fiber Art Revolution" (2004). Textile Society of America Symposium Proceedings. 449. https://digitalcommons.unl.edu/tsaconf/449 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. California and the Fiber Art Revolution Suzanne Baizerman Imogene Gieling Curator of Crafts and Decorative Arts Oakland Museum of California Oakland, CA 510-238-3005 [email protected] In the 1960s and ‘70s, California artists participated in and influenced an international revolution in fiber art. The California Design (CD) exhibitions, a series held at the Pasadena Art Museum from 1955 to 1971 (and at another venue in 1976) captured the form and spirit of the transition from handwoven, designer textiles to two dimensional fiber art and sculpture.1 Initially, the California Design exhibits brought together manufactured and one-of-a kind hand-crafted objects, akin to the Good Design exhibitions at the Museum of Modern Art in New York City. -
On the Bookshelf CRUCIAL to the CANON One of My Favorite Chapters Was the Discussion on the Buttons Chosen for the Coat
on the bookshelf CRUCIAL to the CANON One of my favorite chapters was the discussion on the buttons chosen for the coat. “!is 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 #rst used to fasten children’s garments, an innovation that “dramatically improved the infant mortality rate during the Middle Ages.” !roughout 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. !ere is a certain small club that commissions these bespoke tailors to create their exclusive clothing. According to Noonan, “Cloth #ends 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 TEIN conditions and of the rivers polluted with dyes S and pesticides at the insistence of fast-fashion D WEIN D R that spurs consumers’ demands. “We toss four RICHA times as many textiles in the trash today as we The vicuña has the distinction of producing the did in 1980,” and “we buy more than twice as many clothes as we did in the mid-1990s.” The Coat Route: She also makes mention of the current textile Craft, Luxury & Obsession industry and their research developing polyester fabrics, trimmings, and develop, and what role did they play? !e rich pool of understanding on the Trail of a $50,000 Coat zippers that are biodegradable. -
Dr.PRICE's 1 Day
win t Him ! iiuufeawimiafciaMit ii m - i iii ;n v."11"- - 1 IWkYV amm TV.S , "49&rmf-- - l. :, . y mj it, pj w jiid . i vj J Yti f I f - VOLUME XXXII. RED CLOUD, NEJill ASK A. APRIL 8, 1901, NUMBER 15 Lincoln Letter. prosecutod. Tho stato law give tho Lincoln. Nkh., April 0. board a groat deal of discretion iu inside a Governor Mickey has commuted tho donliug with such companies nud man's head is no WHAT'S ? Miner Bros. Bros. sontonco of throo years imposed upon thoro appeal from its decision, if Miner John Patterson of Hall county to 2 Its officers correctly understand tho shows by what's years, i months nnd 0 days, nnd Pat- stntuto. outside. terson has been roloased. Tho Gover- i 1 nor took this action bocauso tho wlfo Commissioner of Labor Hush is LADIES' OXFORDS. of tho prisoner was in feeble honlth mniling out lottors of inquiry to To wear a Gordon Hat is not a and dostltuto circumstances and Pat- county nssessors requesting statistics Dainty, stylish, designed on porfoct linos, which gives a slender, terson, who has boon a model prisoner aud 'information coucoruimr tho guarantee of cleverness, but it indi- pretty look to tho foot, without nuy mcrlflco of comfort. and ono of tho best workers in tho amount of land sold iu thoir respec- to penitentiary, promisod solemnly to tive counties nnd tho total value of cates that the mind inside the hat Fits Perfection at the Hollow of the root. care for his family nnd keep oat of land sold with the nvorago prico por trouble He was sent up for a small aero. -
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. -
Ennett Tin, Hollow and Sheet Iron Ware. 'Aromatic Sm/Jf
PiT6 rs*r^ ksesss* W'i ~ " ':k:> -'" -.V;: '^"\ • >1: 66 vol.. XIII. TUESDAV, FEBfJ i830» NEW SERIFS—NO HO. PUBLISHED WEEKIA AT NORWALK, CONN. S. V^KEDICT, EDITOR AND PROPRIETOR Important to School Commit- Vieady ,M<\de CAotWiwg- THE LOT, LEVlER STORE. CHEAP, CHEAP CHEAP I tees, Teachers, «nd others. HE Subscriber lias on hand an assortment At ELY occupied by Dr. J. Mjhias HviVbeW, HE subscriber has just received from New J Hollow iVare. T1of Ready Made Clothing, manufactured is* ^#§8 JU KNIGHT, deceased. For WHOLLHe & RETAIL DEALER T York per Sloop Citizen, a large and pen I RON Pots from half Gallon to 5 Gallons the country which will 'ie sold 25 per cent less ' ?-3^I«SBS terms apply to C BISSE.1.1., Esq. or era' assortment of GROCERIES, which heoffrs OLN iOY'S in leatfyvkall articles in that line, S Dish Kettles from 1 quart to 4 Galtons han the shop work New-York ELI RKED. to the subscriber in New-Haven. to his Customers and the public at his stoic a Bake Pans Large and small J. KNIGHT. NFORiA'Jtftubijtk that he has constantly few rods East of the Bridge on die most reason Spiders with covers, SCHOOL GEOGRAPHY. on hanjav. Ware-house, about half a very convenient Cotton Yarn, Candlewick, &i\ Norwalk Oct. 21. 1820- t>6tf I able terms, the following comprises a part of Spiders without covers, "small and lar°-e PRACTICAL Sysl'.m of Modern Geo- mile Nortfc |tb\.*1(ige on (|le [),anbury road, a his assortment: graphy; or a view of the present State general aWra^f Sole Leather, of tlie first Fire Dogs, Fancy and plain. -
View Resume/Vita
Email: [email protected] LinkedIn : https://www.linkedin.com/in/eulandasanders EDUCATION: 1997 Doctorate of Philosophy Human Resources and Family Sciences, University of Nebraska-Lincoln Dissertation Title: African American Appearance: Cultural Analysis of Slave Women’s Narratives Advisor: Joan Laughlin, Ph.D. 1994 Masters of Arts Design, Merchandising and Consumer Sciences, Colorado State University Thesis Title: AutoCAD for Hand-Knitted Garment Production: Art Deco Design Advisor: Diane Sparks, Ed.D. 1990 Bachelor of Science Apparel and Merchandising, Colorado State University Honors: Cum Laude 1987 Associate of Arts Liberal Arts, Lamar Community College Honors: President’s List and Graduation Student Speaker ACADEMIC POSITIONS: August 2012 - forward Professor and Donna R. Danielson Endowed Professorship in Textiles and Clothing, Department of Apparel, Events and Hospitality Management (AESHM), College of Human Sciences, Iowa State University Current: Teaching 60%, Research/Creative Scholarship 20%, Service 20% Lead the development of the apparel design and product development programs Mentor tenure-track and non-tenure track faculty in apparel design and product development Recruit, mentor, and advise top graduate students into the department Manage the Digital Apparel & Textile Studio (DATS) 1 June 2016 – forward Equity Advisor, College of Human Sciences, Iowa State University Chair the CHS Committee on Diversity, Equity, and Community (DEC) and represents the CHS on the ISU Committee on Diversity Coordinate regularly with -
Hillestad Curriculum
Fiber Celebrations of Joy Lesson Overview This lesson incorporates both the Nebraska Reading/Writing Standards and National Art Standards. Students determine a personally significant time of joy in their lives and use fibers to celebrate that emotion. Students view contemporary textile artist Robert Hillestad’s exemplars: “Conversations with Maida,” “Solanum Pomiferum Textrina,” and “Celebrations in Fiber.” Students explore symbolic meanings attached to colors and express personal meaning through narrative writing. Students learn technical fiber skills and create fiber art in celebration of a time of joy. Art Exemplars Conversations with Maida Solanum Pomiferum Textrina Celebrations in Fiber Artist: Robert Hillestad Artist: Robert Hillestad Artist: Robert Hillestad 69”H X 24”W X10”D 18”H X 16”W 70”H X 34”W X 10”D Linen, rayon, & assorted fibers Silk and assorted fibers Wool, cotton & fibers 2006 2005 2003 Photo: John Nollendorfs Photo: John Nollendorfs Photo: John Nollendorfs 2 Objectives • The students will investigate the art of internationally renowned contemporary textile artist Robert Hillestad examining the use of color, texture, rhythm, and movement. • The students will develop ideas for celebrating a personal time of joy. • The students will learn fiber art techniques of tassel making, twisting, dyeing, stitching, felting and layering. • The students will recognize and communicate in writing and in the fiber medium a personal celebration of a remembered time of delight in their lives. • The students will examine their completed fiber art pieces, reflecting on the expression of their concepts and how the ensuing processes contributed to the end results. They will make personal judgments determining the communication of their intended meaning toward the success of the projects, using written documentation to record their thoughts. -
Torrance Herald
THURSDAY TORRANCE HERALD J. W. BARNES CO. J. W. BARNES CO. NEW CUSTOMER SALE 36-Inch PETER PAN PRINTS QUILTING CHALLIES Also Plain Colors Jo Celebrate the Opening of the In Peter Pan A Good Assortment ,A11 First Quality Not short lengths 45c Yard Columbia Sheet Steel Mill or seconds We, indeed, welcome the officers and employes of the Columbia Steel Mills. 16c Yard 36-Inch Past Color It is our endeavor to make our store merchandise, its service and our prices so PRINTS and PERCALES 27-Inch Vf.«W« attractive that it will result in many new customers. 1921 OUTING FLANNEL Values to 35c Every Item in our big stock of up-to-the-minute merchandise has been reduced Big Assortment during this big festival week. Our aim is to make this week the greatest in All First Quality our history, and considering these prices and the class of goods offered, IT 24c Yard SHOULD ' 19c Yard 27-Inch Plain and Fancy - All First Quality i WHITE DAISY CLOTH 24c Yard TWO OUTING FLANNEL First Quality seconds 36-Inch Not CHIFFON TAFFETAS LIVING 19c Yard Checks in Green, Light Blue and ' Dark Blue $1.98 Yard MODELS $3.95, $4.95 36-Inch Heavy Will Be at Barnes ...... and $6.95 ALL SILK FLAT CREPE Buy Here and Save 50c to $1.50 You.Pay $2.25 THURSDAY, MAY 19 Elsewhere 48-Inch Our Price From 10 to 12 A. M. Yard and PATTERN OIL CLOTH $1.85 2 to 5 P. M. : TABLE COVERS 32-Inch PURE SILK 35c Each FANCY CHECK PONGEE And Also 3 for $1.00 From Fabrics CURTAIN NETS To Model Dresses Made CRETONNES and 39-Inch DRAPERY MATERIALS HEAVY BLACK COAT We Carry in Our Piece Goods SATIN All at Department Greatly Reduced Prices $4.69 Yard This is a BIG PIECE GOODS EVENT, Exhibiting; During This Event 25 to 40 Different Style Dresses showing how attrac 27-Inch t tively the many styles in Piece Goods can be made up. -
Fiber Art History Lecture by Smith Part 1
Reflections Fiber Art History in America “REFLECTIONS: Fiber Art History in America” is an edited lecture created by Paul J. Smith, Director emeritus of MAD (formerly the Museum of Contemporary Crafts (MCC), American Craft Museum (AMC) - now Museum of Arts and Design (MAD)) It was created at the request of Friends of Fiber Art for a lecture given at the Philadelphia Museum of Art in 2000 and delivered several times later at other locations in the United States. Its content reflects on the evolution of Fiber Art in America during the 20th Century. As the subject is so vast it highlights only on selected aspects of history and includes Paul Smith’s personal involvement with exhibitions he organized since 1957 when he joined the staff of the American Craftsmen’s Council (now American Craft Council) until 1987 where he served as director of its museum from 1963 to 1987. For information on Paul J. Smith go to Wikipedia, Paul J. Smith – arts administrator. On the Wikipedia site see reference number 6. This contains a link to the American Craft Council library archives for the Museum of Contemporary Crafts / American Craft Museum where selected digitized documents and catalogs can be easily accessed on line. Copyright Paul J Smith, 2020. New York, NY. Digital edit and layout by Leopold Masterson. Text edit by Kathleen Mangan 1 Fiber art today is rooted in the rich history of traditional fiber techniques. 2 Ethnic textiles from around the world provided an inspiration for fiber artists as they began to explore new concepts during the 50s and 60s. -
Fiber Arts and Generative Justice, Revista Teknokultura Vol
#KUHN, S. (2016). Fiber Arts and Generative Justice, Revista Teknokultura Vol. 13(2), 461-489. Recibido: 05-06-2016 Open peer review Aceptado con modificaciones: 14-07-2016 http://revistas.ucm.es/index.php/TEKN/pages/view/opr-52809 Aceptado finalmente: 12-10-2016 Fiber Arts and Generative Justice Artes textiles y Justicia Generativa Sarah Kuhn University of Massachusetts Lowell [email protected] ABSTRACT The fiber arts, because they are practiced in different forms around the globe, have the potential to teach us much about generative justice that unites labor, ecological, and expressive values. The ecological mutualism documented in Navajo corrals supports traditional weaving, dyeing, food, and medicinal practices in a sustainable and generative cycle that survives despite disruption and exploitation. The network of fiber craftspeople, retailers, ranchers, teachers, spinners, and dyers and their organizations supports the social mutualism of fiber communities. Fiber arts practices can benefit individuals, communities, the environment, and public health, among other things. Conscious fiber activism and critical making can also be used to explicitly draw attention to problems such as overconsumption, waste, industrial “fast fashion,” labor exploitation, environmental degradation, toxic risks, http://dx.doi.org/10.5209/rev_TEKN.2016.v13.n2.52809 ISSN: 1549 2230 Revista Teknokultura, (2016), Vol. 13 Núm. 2: 461-489 461 Sarah Kuhn Fiber Arts and Generative Justice intolerance, and the devaluing of women and their work. Fiber arts have the potential to support environmental and social mutualism and catalyze a new aesthetic of long-term attachment to meaningful objects and communities, reinforcing the creation and conservation of expressive, ecological, and labor value.