Journal Volume 16, No

Journal Volume 16, No. 3 • Fall 2006

Meet a member My path to gallery representation by Carol Sara Schepps

s a fifth grader, I took home economics. Making the fabric A selections for the first two proj- ects, an apron and a placemat, ignited something in me. The fabric shop seemed like a candy store full of colors and textures. In sixth grade, I got my own sewing machine. After school I spent many hours making my own clothes and gifts for friends. I also played the piano. Practicing and lessons took up a lot of time. I enjoyed math and thought that would be my field, so I went off to college as a math major. But in my sophomore year, I took graphic design and music theory classes. Once immersed in these classes, I knew I needed to change my major to either music or art. I applied Hammers, 30˝ x 43.5˝, © Carol Schepps for transfer to two colleges, one for graphic design classes and some art and one for music. I was accepted packaging design. to both, and I chose art for very shal- Upon graduation from Pratt, Jon low reasons. Pratt Institute in New and I married and moved to Philadel- In this issue… York City was closer to where my phia. I worked briefly at an ad agency, boyfriend, now husband, Jon, was and then at a huge bridal manufac- Have you considered giclées? ...... 5 going to school. It turned out to be turer. Although I was hired for the ad Exhibition proposals the right choice. department, on my first day the head with punch ...... 6 During my junior and senior years designer quit and I was brought in to at Pratt, I doubled up my majors, tak- design for the bridal party of a U.S. The challenge of international ing advanced fashion design classes. Senator’s daughter. Amazingly, I exhibitions ...... 8 In order to demonstrate proficiency became a bridal designer. Entering juried exhibitions ...... 10 and bypass the basic classes in fash- That design career was short-lived. I ion, I showed a portfolio of original quickly realized there was too much Juror’s Statement – designs and completed garments. I white and not enough color for me in Transformations ...... 11 graduated from Pratt with a BFA in wedding gowns. When I discovered Juror’s Statement – Communication Design (advertising). that the draped walls of the design SAQA: The Creative Force ...... 12 It encompassed art direction and room in which I worked had no copywriting. We also had to take windows, I knew I’d had enough. How I became a quilt collector ...... 14 See “My path” on page 26 A tribute to Hilary Fletcher ...... 16 Letters and reports Thoughts from the SAQA president by Katie Pasquini Masopust possibility of serving for two terms. has also lectured extensively, includ- www.katiepm.com Linda MacDonald, from Willits, ing as keynote speaker at SAQA’s 2005 California, will be stepping down as Conference. She was the juror for of September. Linda served as our sec- Transformations, which just opened t is with a sad retary. She helped greatly by serving at the Festival of Quilts in England. Iheart that I open on the auction committees for several Patricia Bolton is the founder and my letter today. As of the Quilt National conferences. She editor-in-chief of Quilting Arts many of you was the liaison between the board Magazine and of Cloth, Paper, Scissors already know, and the Yahoo web site and translated Magazine. Linda Colsh is a fiber artist Hilary Fletcher has the minutes into notes from the and has been SAQA’s regional repre- passed away. She board for our journal. She also was sentative in Europe for many years. died of cancer on instrumental in the search for our (See Meet your regional representa- August 11. She was executive director. Thank you, Linda, tives, page 17). She curated Breaking an important member of the SAQA for your years of service. Boundaries, the juried SAQA show board and the driving force of Quilt Coming on board in September of that premiered in Lyon, France this National. She was a mentor to many this year will be three new members: year. and a friend to all of the art quilters. Jane Sauer, Patricia (Pokey) Bolton, I wish Linda MacDonald much suc- We will miss her very much, and we and Linda Colsh. Jane Sauer is the cess in all of her adventures. I am will hold her husband Marvin in our owner of Jane Sauer’s Thirteen Moons thrilled to welcome Jane, Patricia and hearts. May she rest in peace and Gallery in Santa Fe, New Mexico, and Linda Colsh to the board and antici- keep her eyes on us from above. has been a studio artist in the field of pate new and exciting things that My job as the president of SAQA is contemporary basket making for 34 they will bring to the table for SAQA. made easier and more productive years. Jane has served as the juror I am sad that we have all lost one of because of the fantastic board of chair of the American Crafts Council our champions of the art quilt. We directors that I work with. The term for three years and served on their will miss you, Hilary. in office is three years with the board of trustees for seven years. She Report from the SAQA exhibits committee by Judith Content reflected strong artistic integrity and This multi-regional exhibition was personal voice. I was able to jury the curated by Kim Ritter and was open n terms of exhibitions, this sum- exhibition via CD, thanks to the work to SAQA members from the TN, KY, Imer broke all records for SAQA. of pt Weeks and Cheryl Dineen NC, SC, and VA regions. Twenty-six SAQA Europe: Breaking Boundaries Ferrin. A CD exhibition catalogue was artists were selected by Kim to create just took place at Patchwork and Quilt produced and is available through the a “very strong show,” according to Expo, Lyon, France, June 22-25. SAQA store at www.saqa.com> contact > exhibition coordinator Arlene Thank you, Karey Bresenhan and SAQA store. Blackburn. Linda Colsh, for making this show a Transformations: Artists Working The exhibits committee is commit- reality. When you have caught your with Fibers will premier in August at ted to developing ways to encourage breath, we want a full report! the Festival of Quilts in Birmingham, and support regional, multi-regional, Studio Art Quilt Associates at Park England, before beginning an exten- national, and international exhibi- Church included work by SAQA mem- sive traveling schedule. Peg Keeney tions such as Breaking Boundaries, bers from several mid-western states and the exhibits committee would SAQA at Park Church, Transforma- and Ontario. This exhibition took like to thank Jeri Riggs for her work tions, and Cutting Loose. We would place in late June in Grand Rapids, above and beyond in packing, ship- like to announce that Peg Keeney has Michigan, in conjunction with the ping, and storing all the quilts generously offered to share her skills renowned fiber conference Converg- between venues. Thank you, Jeri! as an exhibition coordinator and ence. I had the honor of jurying this SAQA Cutting Loose will debut in curator to mentor SAQA members exhibit and was very impressed with late August at the American Quilter’s interested in producing a regional all the entries. I selected a small, con- Society Quilt Expo at Gaylord exhibition. Contacted her via email at cise exhibition of pieces that I felt Opryland in Nashville, Tennessee. [email protected].

2 • SAQA Journal • Fall 2006 Report from the SAQA executive director by Martha Sielman www.marthasielman.com Thursday evening we’ll be holding a chosen by the exhibit’s jurors from a welcome reception, followed by the list of first-time participants. A conference participants’ slide show. CREAM award is also given at Visions. The Conference This is a great way to connect names, This year’s award winner is Joan Committee has faces, and artwork. Sowada. The ongoing funding of the been working Friday morning, we’ll divide into award is supported through generous hard to plan two groups, one at the Ohio Inn and contributions from SAQA members, next May’s the other at the Dairy Barn. One often $5-$20 at a time. conference. group will focus on Crossing the After the opening ceremonies at the Bridging the Gap: Technology Bridge with topics on Dairy Barn, everyone will return to Quilt World to digital cameras and digital slide the Ohio Inn for the Quilt National Art World will be submissions, digital projectors and banquet, followed by the fun and held May 24-27, 2007, in Athens, PowerPoint presentations, use of excitement of the SAQA One-Foot Ohio in conjunction with the open- photo-alteration programs such as Square auction (see description on ing ceremonies for Quilt National ’07. Adobe Photoshop®, and web site page 4.) Board treasurer Nancy There have already been some issues. The other group will focus on Brakensiek will again be the emcee, so exciting developments: the Dairy Enriching Your Marketing Skills, such as it should be a blast! I’m saving up my Barn has generously offered us the presentation materials, exhibit proto- bidding money now. use of their upstairs rooms for small col, getting a book published, and Saturday afternoon will be filled discussion group workshops, we’re copyright issues. On Saturday morn- with networking opportunities, cul- planning a series of discussion/working, the groups will switch so that minating in the SAQA party. Sunday shops instead of the straight lecture everyone will have the chance to morning will feature the Friends of format used in the last conference, attend all the workshops that they’re Fiber Art brunch: one last opportu- and we’ve built in significant time for interested in. nity to visit with friends old and new networking, sharing your work, and Friday afternoon will be a series of before everyone heads home. meeting members from your region. whole-group presentations on art cri- Plan to attend Bridging the Gap. The proposed draft schedule tique topics, followed by the Quilt Conference forms will be sent out includes a special meeting for National ’07 opening ceremonies and soon and will be available on the web regional reps on Thursday afternoon the presentation of the SAQA CREAM site. Our conference is one of the and a board meeting on Saturday. Award to a first-time Quilt National major benefits of belonging to an artist. The Cathy Rasmussen organization of 1,450 members. Emerging Artist Memorial Award Spending four days talking art quilts ($500) was founded with gifts with people who are as passionate given in memory of Cathy about them as you are is an incredible Rasmussen, SAQA’s first executive experience. Come. director. The award recipient is

The Quilt Visions 2006 CREAM Award winner: Cosmic Bicycle 35˝ x 60˝ © Joan Sowada

SAQA Journal • Fall 2006 • 3 Notes from the board by Linda MacDonald, Secretary www.lindamacdonald.com

e are making plans for our Wednesday of every month. See the Wnext SAQA Conference in SAQA exhibits committee report from NEW Membership conjunction with the opening of Judith on page 2. Dues Structure Quilt National in Athens, Ohio. Plans We have added a student category are also underway for our auction. to our membership designations. We As of January 1, 2007 SAQA mem- Our PAM slide show is becoming want to be able to encourage and bership dues will change. The new very popular. It is important for support students in becoming SAQA dues structure will be as follows: everyone involved to know where the members by giving them a lower rate slides will be shown so that schedules for membership. At the same time, Active member: $50 of viewing do not conflict. This slide we looked at our membership fees, (US and International) show is a great tool for disseminating our expenses, and the increased qual- Professional artist member: $115 our information and for recruiting ity of the newsletter, and reevaluated (PAM – US and International) new members. our membership fees overall. Judith and the exhibit committee For complete board minutes, check Student member: $25 are very busy laying out and working the website. Look under Members> (for full-time students who on our many SAQA-sponsored exhibi- Members Home> Log In> Board Minutes. provide a copy of their ID card) tions. This committee meets the 2nd

Letter to the Editor Call for Auction 2007—

Those of us in Europe find it difficult to be Athens, Ohio accepted for U.S. shows. I have been rejected many times, though I am fairly successful in One-Foot Squares work by your favorite quilt the U.K. and Europe. Some of us have con- We’re putting out the call for artists. Or you can acquire a cluded that American quilts and quilt exhi- one-foot square art quilts for the unique gift for someone special bitions are different in some way — any SAQA auction during the May in your life. Start your collection thoughts on the subject? 2007 Bridging the Gap confer- today with affordable One-Foot Personally, I find that some American ence. We know that many of you Square pieces of art. quilts are based on ponderous or deep create wonderful work packed Mail completed art quilt(s), philosophies about the world, and their into small dimensions. We need 12˝ x 12˝, to Katie Pasquini artist’s statements seem too wordy or preten- your best creative statements. Masopust (235 Rancho Alegre tious. In addition, some themes in American Be as bold and as unique as you Road, Santa Fe, NM 87508- quilts don’t strike a chord here; patriotic and can be. These art quilts will be 8620). Sew a sleeve on the back sentimental themes just don’t have an audi- auctioned off one at a time right and sign your piece. One-Foot ence. On the other hand, a criticism of after the Quilt National banquet Squares will be displayed on our European quilts is that they are too shallow on Friday, May 25. The action website prior to the auction for and don’t convey a message to the world. will be fun, fast, and furious. preview and hung at the Ohio My quilts rarely contain a message. They This is a great way to show off Inn during the conference. are themes taken from nature or abstract your talent. Your support for the For more information, contact constructions. I would really be interested SAQA Auction is very important, Katie Pasquini Masopust at in hearing your views on the differences because many of our special pro- [email protected] or Linda between American quilts and those of the grams, show catalogs, and publi- MacDonald at linda@ rest of the world, and also perhaps some tips cations are funded through the lindamacdonald.com. as to what American jurors are looking for. proceeds. This is also a great way to Deadline for submission: — Lynne Seaman, SAQA active member, London become a collector. You can May 1, 2007. expand your own collection of

4 • SAQA Journal • Fall 2006 Professional advice Have you considered giclées? by Julie Hirota

ore and more fine artists are I’ve found that my clients have as a profitable one. The price, the size M producing giclées (pro- purchased my giclées for a variety of variations, and the images themselves nounced jhee-clay) as a means to reasons. First, the giclées allow them market the original artwork to a large expand the artwork available to their to purchase my artwork at a fraction demographic. Perspective clients may clients. Originally, giclées were used of the cost of the original. The giclées look at the giclée for years and then only by painters. However, the tech- range from $35-$800. Second, the decide to purchase an original quilt nology has become so accessible, giclée is offered in a variety of sizes later when their timing and their more artists in a variety of mediums, from full size (30” x 40”) to a smaller budget allows. including quiltmakers, are using the size (8” x 10”). This variety of sizes Of course, it seems easy to print a printing process to reproduce their allows the client to place the piece in giclée, but there are cost and quality artwork. Although the actual quilted any niche, large or small, in their concerns as well. A high-quality, large texture is lost, a high-quality giclée home. giclée can cost more than $200 to made from a professionally pho- Finally, there are clients who love print, but then can be sold for as tographed quilt conveys texture. the image, not necessarily the end much as $800 or more. Each giclée is Many of my clients often touch the product or quilt. Often what draws inspected by the artist for color accu- giclées to see if it is an actual quilt. my clients’ attention from afar is the racy and quality. Usually, once the Giclée is a word derived from the composition. My most popular sell- giclée is inspected, it is signed by the French “to spray.” The term giclée ing giclée is Martini Lunch, an image artist and printed in limited editions. print typically connotes a certain pre- of three clinking martini glasses with I limit my editions to 250 and pro- cision in printmaking technology. a bright pink background. This spir- vide a certificate of authenticity with Images are photographed digitally or ited print is a successful image. The each print. The certificate of authen- on a large-format film transparency quilt is “merely” the medium. ticity states how the giclée was and scanned on a high-resolution Although not intended specifically See “Giclées” on page 31 drum scanner. The image is then as a marketing tool, the giclée serves printed with archival-quality pigment inks onto various substrates, usually canvas and paper. Because of the con- trolled printing process, the giclée has better color accuracy to the original artwork than other reproduction methods. Pigment inks are light-resistant inks on pH-neutral substrates that preserve the integrity of the print. Giclée is considered a museum-quality reproduction. Furthermore, giclée printing offers artists a tremendous advantage to traditional 4-color printing. It allows the artist to reproduce the art as needed on demand. Once an image is digitally archived, additional reproductions can be made with minimal R Street Gingko effort and reasonable cost. The pro- 27˝ x 21˝ © 2005 Julie Hirota hibitive upfront cost of mass produc- tion for an edition is eliminated. Archived files will not deteriorate in quality as negatives and film inher- ently do.

SAQA Journal • Fall 2006 • 5 Professional Advice Exhibition proposals with punch

By Cindi Huss web sites, which can be a great source what the timing of the review process of information. Reviewing past, cur- is likely to be. rent, and upcoming shows will help usannah Fabing, former director determine whether the exhibition Requests for Proposals Sand chief curator at the Smith you plan to propose is suitable. When responding to a request for College Museum of Art in North- Reviewing an organization’s mission proposals, read the requirements very ampton, Mass., sums up the require- will help you articulate the ways your carefully to ensure you provide ments of a great exhibition proposal exhibition and its related program- exactly what the venue wants in the well: “A fantastic proposal is clearly ming will support that mission. format they prefer. Artist Nancy and beautifully written. It anticipates In addition to the kind of artwork a Crasco says, “If the artist cannot fol- the museum’s questions and has good venue accepts, it is important to be low instructions for the proposal, it answers to them. It has strong visuals familiar with the space. Be sure the follows that difficulties mounting the and enough information to make a number of pieces you propose to show might also occur.” She warns persuasive case.” exhibit fits the space. Art galleries and that this might lead to a proposal not Although every director and cura- museums generally allow about two receiving serious consideration. tor has a unique sense of style and feet between pieces. individual preferences, there are sev- If you cannot find the information Consistency/Cohesiveness eral things you can do to create a you need online, call or e-mail the among Artwork strong, appealing proposal most venue to introduce yourself and ask As artist Pascale De Coninck says, “It’s directors would by happy to consider. for the information you need, includ- always best to have a unifying theme, ing what specifics the proposal color, or size that pulls the artwork of Research should contain, how many linear feet several people together for a group Before you even begin to write your the exhibition space has, contact show.” However, individual exhibi- proposal, get to know the venue you information for the person to whom tions should have a consistent feel as plan to approach. Most venues have you should address the proposal, and well. Crasco says, “Gallery owners do

What to include in a proposal

Cover letter (one page) — Susannah Include: Excellent visuals—10 slides/CD of 10 Fabing, former director and chief cura- • A brief description of the show, its images (different venues have different tor at the Smith College Museum of Art size (number/size of works and preferences—do your homework) as (Northampton, MA), says, “A strong first linear feet), and the audience it will well as prints of the images. Plummer impression depends upon a cogent but attract. says, “Too many slides or photos might not necessarily very long letter outlin- communicate that the artist is needy— • If this is an RFP, a brief statement ing the basic premise of the exhibition like your friends who show never-end- reiterating the terms of the and the reason it would be a good fit ing slides of their vacation.” exhibition. for the institution in question.” Resume/s including former exhibition Request for proposal (RFP) form or a • When you hope to exhibit, whether experience and awards. “Gallery direc- synopsis of the exhibition—Judy the exhibition will travel, and tors need to be reassured they won’t be Plummer, former director of the whether there are times when the hanging a bomb. This is especially Widmann Gallery at King’s College show is unavailable. important when proposing an unusual (Wilkes Barre, PA), explains, “Most or controversial medium,” Plummer • A list of expenses the museum/ gallery directors really want to cut to says. gallery will have to cover, including the chase. They want to know that you Brief artist statements (2-3 sentences installation costs, catalog/brochure, want to exhibit, what you want to per artist) about the artwork in the shipping, etc. exhibit, and when and why. Keep it exhibition. short, sweet, and well thought out. • A list of financial sponsors you can Other support materials—Support suggest or have already lined up. materials suggested include a balanced budget, copies of articles or reviews, • How flexible you are on the points and a sample press release. above.

6 • SAQA Journal • Fall 2006 not want shows that are all over the Edit, edit, edit. “Wading through Professional presentation place visually.” irrelevant information is daunting,” Remember that your proposal makes Crasco says, “and it becomes easy to the first impression; even seemingly Great visuals, exceptional put aside.” So determine what really artwork superficial touches can influence a needs to be in the cover letter, the venue’s decision. Just as you present a We have all heard it, but those inter- overview, and the artist’s statement, tidy appearance for job interviews, viewed were unanimous in emphasiz- and let the rest fall away. present your proposal neatly and pro- ing that great visuals of exceptional Proof, proof, proof. Fabing says, fessionally—use quality paper for artwork are the single most important “Carelessly prepared materials can your proposal and contain your mate- element in any proposal. Anita hurt you—they send a message that rials in a folder or binder. Loscalzo, curator at the New England you’re sloppy and disorganized, not Judy Plummer, former director of Quilt Museum (Lowell, MA), says, the kind of person the museum will the Widmann Art Gallery at Kings “The quality and subject of the works want to partner with.” So review your College in Wilkes-Barre, PA, says, “I to be presented trump any glitz in a final draft for clarity, typos, and really hate to see poor quality. I want proposal. Some not-so-worked-out grammatical errors. Spell check and to see good writing on good paper proposals result in fantastic exhibits.” grammar check are not good enough. and great slides presented well. And Susan Loring-Wells, executive If possible, ask someone to review Enclose an SASE (self-addressed director at the Fiber Art Center your proposal before you send it, as stamped envelope). The gallery needs (Amherst, Mass.), says, “Sometimes I you may be too familiar with the to know the artist is dependable and don’t get to the rest of the proposal if content to notice errors. the slides are poor.” See “Proposals” on page 29 These days some venues still prefer slides, some prefer digital images, and some will happily accept either. Do your homework and send the visual format your target venue prefers. That said, Fabing recommends sending prints of your artwork as well. “Don’t rely on the museum finding a slide projector to look at your slides projected in large format; they are likely to be squinting at the slides against an overhead light. Don’t rely upon them to track down a computer to play your PowerPoint presentation, either. “Make your first impression with good printouts of your photos or digital images, large enough to do justice to the material, but no larger than 8˝ x 10˝. If the curator’s interest is engaged, he or she will then take the trouble to find the equipment to look at further images in other formats, or even to pay you a visit to see the work itself.” Well-written material The Road Not Taken Be clear, be concise, be complete. Don’t 22.5˝ x 15˝ use “art speak,” don’t tell your life © 2005 Cindi Huss story, and if you’re proposing an exhibition of two-dimensional wall art, don’t elaborate on your sculptural artwork.

SAQA Journal • Fall 2006 • 7 Professional advice The challenge of international exhibitions

Compiled by Normajean Brevik Are you actively seeking to exhibit Grateful for support of SAQA info and your art quilts on an international support of staff (1). Yes, but some level? deadlines are not feasible to make (1). AQA Journal was curious about Yes (26). No (3). Just starting to look There is room for improvement (2). how international artists dealt at options (1). S Comment: “I have only been a mem- with the challenge of international How has being a member of SAQA ber for less than a year but already exhibitions. A questionnaire was sent assisted you in being aware of exhibi- have a piece going to Lyon, an oppor- to one hundred international SAQA tion opportunities in the US or coun- tunity which would not have hap- members; 30 replied. Here are their tries other than your own? pened without SAQA. The Yahoo responses to the questions. It is helpful to learn about selected Group and the info on the SAQA and new exhibitions (15). New mem- What country do you live in? website is useful for learning about ber, uncertain how it will help (10). Australia (1). Belgium (3). Canada (3). shows to aim for in the future.” Not really, already exhibiting interna- Denmark (2). France (1). Germany — Helen Cowans, UK. tionally before joining or getting info (2). Israel (2). Italy (1). Kenya (1). through other sources (4). Don’t Where do you get information about New Zealand (1). Spain (1). exhibit outside own region (1). art quilt exhibitions? Switzerland (1). UK (10). Uruguay (1). Websites: SAQA, EQA, France Patchwork, IQA, Twisted Thread, Stitching Friends Around the World, FeedBlitz, Quilt Art www.worldquilt.com www.lyrickinard.com/where_to_ show_.html www.michelleverbeeck.com artcall.htm artdeadlineslist.com www.ozquiltnetwork.org.au www.quilts.com www.patchwork-europe.com www.patchwork.dk www.fondazionelisio.org www.husqvarna.se www.alexandra.it qsds.com/mainsite.php www.canadianquilter.com/ www.surfacedesign.org/ Magazines: American Quilter, Fibreline (the ATASDA newsletter), Fiberarts Magazine, Guild of the British Isles publications, Quilting Arts, Ozquilt Network Newsletter, Quilter’s Newsletter Magazine, SAQA Journal, Textile Australia, Textilforum

Guilds: Belgian guild, Patchworkgilde Germany, Netherlands Quiltersgilde, European Quilters Guilds, CQA (Canadian Quilter’s Association) Other: Fellow quilt artists, Internet groups, personal invitations via e-mail, mail invitation to previous show entries, network or “grapevine” community network Comment: “I sometimes get sent invitations or entry forms from different exhibitions and hear of others from magazines. Sometimes they are tri- annual or biannual so you get to know when they are coming up.” — Jane Lloyd, Northern Ireland Do you use the Call for Entry feature on the SAQA web site? Yes (11). Net yet (12). Comment: “I have only just looked at it. It would be helpful if the list of info about the contest would include whether or not the event accepts international entries. For some listed in the past, I know I have had to email the organization to ask, only to find it was only open to U.S. residents. notice. Time to get a quilt to its make any arrangements for interna- If SAQA put this info in a visible destination with European quilt tional entries (payment etc).” place, one could rule the event out competition. — Margaret Cooter, UK straight off.” Other: Deadlines approach too fast — Sandy Snowden, England How do you handle the entry fees? and there is not enough time to turn Credit card (15). Checking account or What limitations have you run into around monies for fees if a credit card bank transfer (11). Cash (1). PayPal (1). while trying to enter international is not used. Problems with transport- exhibitions? ing large-scale work outside of the Author’s note: I found it interesting Economic: High entry fees, high cost U.K. are prohibitive. Organization that several participants in this survey of freight/shipping, insurance and must be willing to send quilts back had checking accounts in more than customs. Money exchange rate is low marked as gift and without commer- one country to facilitate the payment in some countries and is cost-prohibi- cial value or value below 20 dollars; of entry fees. tive. High cost of producing and otherwise, fee could be imposed. sending slides to get into a show. Shipping tubes are difficult to find. It How do you handle shipping? Do you use Carnets? Currency fluctuations are impossible is difficult to represent a work with Postal or Mail Service (8). DHL (5). to predict and affect the value of a only two photos, one close-up and FedEx (4). UPS (2). ParcelForce (1). quilt when selling it. One show one overall. Difficult to know what Parclex-Ireland (1). EMS (1).Carnet changed the fee during the course of the jurors are expecting. the contest. (2). Note: Although two people said Shipping: Customs are difficult. Unfair Comment: “Many U.S. exhibitions that they use Carnets, more people to have to under-value a quilt to get it seem to assume no one outside U.S. emphatically said that they did NOT through customs. Risk of loss. Short will want or dare to enter and don’t See “The challenge” on page 30

SAQA Journal • Fall 2006 • 9 Opinion Entering juried exhibitions By Susan Crouse-Kemp

ax time brings awareness of how these every year. Usually five pieces of exhibition. Tmuch time and money is spent every 100 entered are selected. One of my first juried exhibitions on entering exhibitions. I become Personally, I have skipped these was at the San Jose Textile Museum. acutely aware when I add up the shows when I don’t feel I have a The theme was about time and space. numbers in the spring. It’s easy to “body of work” to enter. I noticed one of the jurors had a overlook the cost of entering them. Since there are numerous exhibi- mathematics background. I had There’s the entry fee, postage, and tions to enter, it becomes important recently finished a piece called SASE return. If you are accepted, there to establish some goals. Selection can “Cubicle,” a three-dimensional hyper- are shipping costs. One show can be based on content, size require- cube. I wrote a description about how easily cost $50-$100 depending upon ments, geography, or juror. It might the business of working had changed the size of the piece. be that you only want to enter ones since the advent of “cubicles” and Why enter exhibitions? There are that offer prizes so you can hope to wondered how these spaces might different reasons for different people, regain some of the costs of entry. change in the future. I think the com- but a major one for me is to build a Take the time to look more closely at bination of the mathematics of the resume. Generally I like to have four the description of the exhibition, the piece and the description got me in. to six exhibitions on my resume each juror, and the venue before making And the piece sold! Conversely, I have year. This fulfills a number of pur- your decisions. You can certainly entered exhibitions without such poses: it keeps my resume fresh; it take the shotgun approach and enter careful consideration and often my gets my art out in front of the public everything that comes along, but pieces are not accepted. If you are just in different locations; and it provides you can sometimes raise your odds getting started, our own SAQA exhibi- feedback through acceptance or rejec- by understanding the details of an tions are a great way to get your feet tion on the direction of my artwork. on the ground. How do I decide which exhibi- Many established artists stop tions to enter? When I started as entering juried exhibitions. a fiber artist in 1998, I was aware They are making a living selling of about five that I might wish to artwork and only participate in enter. Most were high-profile very high profile invitational fiber exhibitions. Now I can eas- exhibitions to exhibit beyond ily find three exhibitions almost their gallery settings. Entering every month, and that doesn’t exhibitions is a way to start to include the plethora of multi- gain that recognition for your media exhibitions. This means artwork and hopefully put you taking time to set goals to deter- on a path to success, whatever mine which exhibitions to enter. your definition. There are several online resource SAQA Utah/Colorado/Wyoming for fiber exhibitions. A list is Representative Susan Crouse-Kemp maintained on the SAQA web is a fiber artist from Colorado. Her site. Another is available at web site is www.sckart.com. http://fiberartcalls.blogspot.com/. High profile exhibitions like Quilt National, Visions, ArtQuilts at the Sedgwick, and the new Expressions: The Art Quilt, generally seem like must-enters. I have been known to skip a year here River Born and there, but as a fiber artist, 32˝ x 20˝ these are considered prime exhi- © 2005 Susan Crouse-Kemp bitions for your resume. www.sckart.com Remember, there are many fine established artists rejected from

10 • SAQA Journal • Fall 2006 Juror’s statement Transformations

Juror Jane Sauer, owner of Jane Sauer’s Eileen Lauterborn, Circular Pathway Mary Ruth Smith, Obscurity #2 Thirteen Moons Gallery in Santa Fe, Eleanor McCain, Black and Brown Study Karen Soma, Heart’s Desire: Magma Rising selected the artwork for Transforma- Alison Muir, Clean Up the Act Priscilla Stultz, Lemons tions. The SAQA-sponsored exhibition Jean Neblett, Reflections 10: San Gwyned Trefethen, Hanging by a Thread premiered at the Festival of Quilts at Miguel color June O. Underwood, Where I Live the National Exhibition Center in Dan Olfe, Fire and Water Laura Wasilowski, Young Forests Birmingham, England, August 17-20, Sue Pierce, trying to get it right Jill Rumoshosky Werner, Connected 2006. Peg Keeney has arranged for the Emily Richardson, Gumbotil Jeanne Williamson Ostroff, Orange exhibition to travel to the Translations Sandra Sider, Boogie-down Kitchen Construction Fence Series #26 Gallery in Denver, IQF in Chicago, Brenda Smith, Kaleidogarden Charlotte Ziebarth, Summer Heat II and Grants Pass Museum of Art in Oregon. Juror’s Statement Transformations artists: Transformations represents the exciting array of diverse and extraordi- B.J. Adams, Variations on “B” nary quilts being created in the United States today. The juried pieces Deidre Adams, Passages II cover the many voices of today’s quiltmakers. Some quilts were filled Genevieve Attinger, Lazy River with excitement of color and vibrancy of materials, and have an Jack Brockette, Faux #9 extremely strong visual impact. Others were subtle and muted, and Leslie Carabas, Reverence required careful consideration. Many of the quilts chosen express an Jette Clover, White Encounter emotion or passion on the part of the maker. Some were meant to be Brian Dykhuizen, Finding Sanctuary: instructive. I sought to include works that went beyond the allure of Panel 1 techniques and materials but used these as tools in the service of expres- Noriko Endo, Into the Woods sion. The works of art I found the strongest were those that communi- Bean Gilsdorf, Collocation cated to the viewer a strong sense of feeling and caring on the part of the Ann Johnston, Wave 4 maker, inventive uses of materials, and shared with the viewer the love Phil D. Jones, One Blue Square of physically constructing a work of art. Melisse Laing, Messages from Mars: — Jane Sauer Spirit and Opportunity

SAQA Journal • Fall 2006 • 11 Juror’s statement SAQA: The Creative Force

SAQA: The Creative Force will be “SAQA is doing invaluable work in Sielman describes as “an island of exhibited at the International Quilt the sewing world to boost interest calm. We’re hoping to create an area Market and Festival from October 28 and enthusiasm for the art quilt as a that begs the viewer to slow down – November 5, 2006 in Houston. medium. It brings our company great and spend time with the artwork.” Janome America is sponsoring the pleasure to support this organization. A full-color catalog will be available gallery space for SAQA: The Creative We feel privileged to be a part of a at Festival! and then through the Force. Senior Vice President of Janome team that includes such gifted and SAQA web site store. The catalog will America Randy Thomas wrote, “We creative artists.” include full-page spreads of 50 art are always searching for new and Janome America will set up a quilts, half chosen by Yvonne innovative ways to encourage the gallery area with neutral gray walls to Porcella to represent SAQA’s Founders sewing and quilting community, and allow the artwork to be set off appro- and half juried by Paul J. Smith from we found the opportunity to support priately. Special track lighting, carpet- submissions by SAQA’s current a museum-style exhibition a wondering, and benches will provide what members, along with essays from ful new forum. SAQA Executive Director Martha both.

Juror’s Statement

Reviewing 512 entries from 218 with the obvious aim to achieve New American Quilt, a show of work members of the Studio Art Quilt something “new” as wall art. That that featured 25 quilt artists and was Associates was a wonderful opportu- focus, in my opinion, was the most considered groundbreaking at the nity to become acquainted with a characteristic weakness of many of time. Since the 1970s there has been vast range of new work by quilt the entries I reviewed. Dominated an extraordinary escalation of art artists in the United States and by exquisite use of materials and quiltmaking, along with a prolifera- abroad. Overall, the entries repre- elaborate technique, these works did tion of important exhibitions, new sented technical excellence that not achieve a cohesive composition, organizations, and other activities incorporated a variety of methods successful design, or original artistic that have nurtured the evolution of and materials. While quilting was statement. serious quilt art and given public the central focus, appliqué, silk- The total of 26 works requested by exposure to the medium. It is also screen, photo imagery, and other SAQA was the maximum that could interesting to observe the interna- fiber-related processes were impor- be accommodated in the exhibition tional connection that has devel- tant design elements in these works space. Selecting such a small group oped, as in recent years the rich intentionally created for the wall. was a challenge, as several more tradition of American quiltmaking The use of both machine stitching accomplished works could have has served as an inspiration in Asia and hand embroidery, combined been included. Abiding by the and Europe, resulting in a global with a variety of commercial and quota, however, I made a concerted community of quiltmakers, scholars unique fabrics, added another effort to choose a collection of the and enthusiasts. (SAQA’s member- dimension to the rich panorama of most innovative and original cre- ship of more 1,400, it may be noted, material and process associated with ations, to represent a wide range of includes a small but distinctive quilt art. quilt art characteristic of today’s international component.) With “the creative force” as the artists. It is very significant that SAQA: The competition’s theme, the entries During the review process, I was Creative Force will have its premiere reflected a concerted effort to amazed at the enormous growth of at the International Quilt Festival in express new concepts, resulting in a art quiltmaking. In the early 1960s, Houston, Texas. The anticipated fascinating range of graphic imagery when new forms of fiber art were attendance of over 50,000 visitors is and personal statements employing emerging, only a small number of an impressive testimony to the huge words and stitched messages. fiber artists in America engaged in public interest in quiltmaking today. Although rooted in the rich tradi- quilt experiments. In 1976, when I —Paul J. Smith, Director Emeritus, tion of quiltmaking, the majority of was director of the Museum of American Craft Museum, New York submissions portrayed an inten- Contemporary Crafts (now Museum (now Museum of Arts and Design) tional break from classic quilting of Arts and Design) I initiated The

12 • SAQA Journal • Fall 2006 Left: Ego Sum Pauper, 59˝ x 42˝,© Connie Rohman Below: Designed For Friends, 46.5˝ x 45.5˝,© Sharon Heidingsfelder

Artwork chosen by Paul J. Smith to represent contemporary SAQA artists: Deborah Melton Anderson, Godwattery Garden Patricia Autenrieth, True Love Artwork chosen by Yvonne Porcella to Nancy Board, Through A Glass, Darkly represent founding SAQA artists: Jeanne Lyons Butler, White #12:08 Judith Content, Baylands Series: Marisma (Salt Marsh) Sue Benner, Hostess with The Mostest II Robin Cowley, Pulse Jane Burch Cochran, A Fragile Balance Nancy Crasco, Silver Rain Dee Danley-Brown, Gridlight Carolyn Dahl, Two Windows Nancy Erickson, The Gathering Sue Dennis, The Wet/Dry #2 Darcy Falk, Machinery/Cogs Margery Goodall, Iceline (Weave #4) Beth Gutcheon, Day Lily 2 Michele Hardy, Geoforms: Porosity #7 Barbara Oliver Hartman, Fallscape Marilyn Henrion, Disturbances 3 Sharon Heidingsfelder, Designed For Friends Pat Kroth, Confetti Carnival Marilyn Henrion, Byzantium V Inge Mardal and Steen Hougs, Plume Wendy Huhn, Girl Talk Susan McCraw, The Cloudbands’ Escapade Michael James, Sky/Wind Variations 2 Margit Morawietz, Sunday Morning Holley Junker, Baseball: As American as Apple Pie and Quilts Angela Moll, Secret Diary 3 Edward Larson, Satchel Paige: World’s Greatest Pitcher Connie Rohman, Ego Sum Pauper Judith Larzelere, Veiled Colors – Darks Pam RuBert, The Vintage Purse Libby Lehman, Fanfare Valerie Schadt, Straw Into Gold Linda MacDonald, Moving To the Country – It’s A Tick Sky Alison Schwabe, Ebb & Flow 9: Jungle Therese May, Rose At The Top Arlé Sklar-Weinstein, Through the Eyes of Dominie Nash, Peculiar Poetry #16 My Father 7: The Quarter, Barbados 1940 Katie Pasquini Masopust, Cassiopeia Virginia Spiegel, Correspondence: Joyful Lives Sue Pierce, The Gathering Place Beth Ann St. George, Decision Confusion Yvonne Porcella, Memories Of Childhood Jill Rumoshosky Werner, Angled Sally Sellers, Goodnight Alice Pamela Zave, The Color Wheel Kathleen Sharp, Water Temple Susan Shie, Magic Show Tonight

SAQA Journal • Fall 2006 • 13 Collectors’ Column How I became a quilt collector

by Necia Wallace serious, knowledgeable, scholarly, and such a price? Her pieces, published in (I presume) has great taste and is a magazines, were huge. connoisseur. I am serious, somewhat I am fortunate to belong to the never thought I would become a knowledgeable, but I lay no claim to Professional Art Quilt Alliance that I quilt collector. Quilt collectors are being a quilt scholar. I think I have meets in the west Chicago area and millionaires, with lots of money to taste, but how do you measure that? has many talented and famous mem- spend and acres of blank wall space in What kinds of quilts do I collect? bers. I have purchased some artworks their mansions waiting to be filled The ones that catch my eye or attract immediately after the artist has dis- with beautiful quilts. Aren’t they? I me for some reason. Or I look for art- played them during “show and tell.” live in a small condo, with walls work by those artists whose art I may Jan Rickman, fresh from having her cluttered with things I love, and have never have the opportunity of find- piece on the cover of the catalog of only a Social Security/pension ing again at a reasonable price. My Quilt National, brought some small income. collected quilts must be small, since I pieces in the same style and colors. But one day when I was at a quilt have such limited room. I have When Ann Fahl showed a beautifully show, I saw a quilt that attracted me. limited income, and thus, a price quilted and beaded work in yellow, It had a price tag less than the cost of maximum of about $300-$400. orange, and purple — not Ann’s usual the fabric. I liked the quilt, so I Where do I find the quilts that end colors — I snapped it up. decided that if the quilter was going up in my collection? An early one Ellen Ann Eddy was one of the ear- to give it away, she might as well came from Quilt Surface Design lier artists to do small art quilts. “give” it to me. That got me started. I Symposium, when Caryl Bryer Fallert When she first began displaying small became enchanted with the idea of preferred to sell her class sample and affordable pieces, I fell in love owning beautiful, colorful works of rather than haul it back home again. with her crab in Crabby Days. art that I could hang in my home and So I became the proud owner of a real Some of my friends honor me with live with every day. (if small) High Tech Tucks, at a price their artwork as gifts. Suzanne Riggio My local newspaper art critic has within my budget. At a later QSDS, I designed a small piece featuring my made the distinction that there are found an Elizabeth Busch that was front door, and called it Necia’s collectors and then there are accumu- not typical of her artwork. But when Beacon. Former Milwaukee Art lators. According to him, a collector is could I ever find art of hers again, at Quilters member Jean Smith made me

High Tech Tucks sample Untitled Houses © Caryl Bryer Fallert © Elizabeth Busch

14 • SAQA Journal • Fall 2006 Crabby Days, © Ellen Ann Eddy

a gorgeous piece with her signature rich color and texture for giving her an afternoon of information on grant Red Rock Landscape, © Cynthia England writing. When I met Cynthia England and saw her artwork “in the flesh,” her detailed pictorial quilts intrigued me. bathroom or kitchen if the artwork is plastic shield over the window glass I wanted a one-of-a-kind piece, not a appropriate. in my living room to block much of sample made from a design that she If you don’t have room to hang the ultra violet rays. I have also sells. I commissioned her to choose your collection all at once, rotate sprayed the artwork closest to the whatever scene or design she wished your quilts, just as you may do with windows with Quiltgard™, a product to make. I sent her a dozen 8 x 10 furniture slipcovers or bed quilts, that is supposed to protect against prints of pictures that I have taken on from season to season. Quilts that sun fading. my travels. Cynthia chose one from you like do not need to be made by A friend owns artworks that include Zion National Park. It is a wonderful famous artists; local, less known quil- some black-and-white commercial reminder of my many family camp- ters are pleased, and often flattered, fabrics. She has fade-proof ultraviolet- ing trips. to sell their artwork to someone who blocking glass in all her windows. In My walls of art give me daily joy appreciates it. Just acquire what spite of the glass, some of the black and inspiration. My collection cer- appeals to you! fabrics have faded badly. Hand-dyed tainly isn’t completed, as I can make If you do start a collection, you also fabrics seem to stand up much better more space by rearranging things a need to think about insuring it and to sunlight than do many commercial bit, and I haven’t had to file for bank- conserving it. Keep the artwork out of ones. ruptcy. I am sure that there are other direct sunlight. Dust it regularly, with So, go for it! Start your own quilt art quilts out there somewhere, just a double nylon stocking over the end collection. Begin with a few pieces waiting for me. of your vacuum cleaner wand to pre- that “speak” to you. Keep on acquir- If I can build a quilt collection, vent loosening beads or embellish- ing fabric works of art as long as your anyone can. If you admire a particu- ments on the face of the quilt. interest and money holds. A collec- lar artist’s artwork, ask if they make Periodically I take my larger pieces tion of other artists’ artwork can be a small pieces. If the price seems steep, and run them through the dryer on constant source of inspiration and perhaps they will accept partial pay- “air only” as a means of dusting delight! ments until it is paid for. Most artists them. SAQA Active Member Necia Wallace is a are happy to make arrangements so My living room faces south, so I retired civil servant who has been sewing keep my blinds tilted slightly upward that you can own their artwork. all her life. She is an enthusiastic quilter There are always spaces to hang small to keep the sun from coming directly who collects the works of others for inspi- works: corners, hallways, and stair- in, while allowing most of the light to ration. She lives in Milwaukee, Wisconsin. ways. You can display quilts in a filter into the room. I have put a clear

SAQA Journal • Fall 2006 • 15 a tribute to Hilary Morrow Fletcher 1942-2006

Hilary Morrow Fletcher, who served as Quilt National project director, died on August 11, 2006. She was a tremendous asset to the Dairy Barn and the Athens community. She walked through the doors in 1979 to view the first Quilt National. At that moment she always said that she had experienced an “epiphany” and knew that she had found a place to devote her time. She began her life at the Barn as a volunteer in 1980 and worked with the staff to organize Quilt National ’81. She was hired in March of 1982 as Quilt National Project Director. Through her diligence she was successful in building a foundation for an exhibit that began as one that reached across the nation and Hilary also served on the Studio Art Quilt Associates became one that spanned the globe. She was a valu- board of directors from September 2005 until August able resource, and was respected around the world. 2006, lending her expertise and insight to the growth She traveled extensively speaking about the history of SAQA. and evolution of the art quilt. Her travels and lectures The following are individual remembrances of helped to solidify the reputation of the Dairy Barn and Hilary from her friends and colleagues in the art Quilt National both in the United States and around quilt world. the world.

—Andrea Lewis, The Dairy Barn Arts Center Executive Director (with permission)

“ thought I would send a remem- trying to find a bit of shade in David on top. I sat there thinking, I brance of the service held for temperatures reaching upwards of knew only very few people at this I Hilary Fletcher on Sunday, 1 pm, 90 degrees under a hot blazing sun service, surmising that most were August 13, 2006, at Hillel in Athens, in blue skies. members of the congregation, Ohio. When we went in, John and I colleagues of Marvin’s at the On Friday morning, August 11, found seats just behind two profes- University, colleagues of Hilary’s at 2006, I received a phone call from sional flautists, both women, play- the Dairy Barn, and family friends. Athens, telling me that Hilary ing some of the most beautiful The Rabbi, a young, slightly built Fletcher had passed away and that music I have heard. They played woman, delivered a beautiful the services were scheduled for before the service and between Welcome, explaining all parts of the Sunday at 1 pm. Everyone attend- readings and “Words of Remem- service that were to take place. She ing was asked to stand outside brance.” As I slowly looked toward gave her own very touching Hillel until ten minutes to one. Marvin and his two sons, Michael account of talking with Hilary only John and I drove down early think- and Jeffrey, and Hilary’s brother, days before her death. Then three ing there would be no place to park. David, I saw the casket. I was struck women, Andrea Lewis, Director of When we arrived, many were by its utter simplicity: solid wood, the Dairy Barn; Mary Kaye Jordan, already standing outside Hillel, no finish, and only the Star of one of Hilary’s closest friends; and

16 • SAQA Journal • Fall 2006 Sarah Williams, each gave “Words Hilary holds a very special place in with barely an hour before she had of Remembrance.” Mary Kaye “my heart and in the hearts of the to leave for the airport, Hilary Jordan presented a wonderfully members of the ArtQuilts at the zipped into the Philadelphia Art rounded and in-depth sense of Sedgwick committee. Alliance (while Marvin, as she Hilary’s warmth, helpfulness, deter- Hilary championed our show explained, was checking out of the minedness, loyalty, friendship and from the very beginning and was a hotel) and whizzed through the her immense sense of commitment mentor and support system. We show … and still purchased a quilt to not only her friends, her family, sought her advice and valued her that she knew “Marvin would but to her leadership of Quilt input as we worked to build this approve of.” National for the past 25 years. Her exhibit. Her yearly trips to Those of us on the committee account was very moving and Philadelphia for a check-up at the who over the years had the pleasure insightful. Wills Eye Institute were intention- to host her at the exhibit and enjoy Afterwards, we were all invited to ally coordinated with the dates of a lunch with her and Marvin feel come to the Jewish Cemetery, our show and a visit to see the work blessed to have had the opportunity located five miles west of Athens. and even purchase a quilt for her to get to know Hilary … she will be We were asked not to enter the amazing collection. We felt hon- very missed.” actual cemetery until the immedi- ored by Hilary’s acknowledgement —Deborah Schwartzman, Cindy ate family had been seated. As we and encouraged by her enthusiasm Friedman, Suzan Hirsch, Shawn drove out along Rt. 50 west, our car to continue to grow and evolve this Towey, Melva Hightower, Rita was one of a long, long line of cars. exhibit. Bernstein, Kay Haerland, Lonni Rossi, When we arrived, we entered on Even this past April with an Leslie Pontz, and Carolyn Lee Vehslage the far left side of another cemetery, appointment that ran very late, and drove up a very very steep hill and cont’d on page 18 parked. There to our left, sur- rounded by very high shrubs, was the Jewish Cemetery. I stood there and looked out over the country- side and took note of how magnifi- cent the view was over rolling hills and woods! As the family sat under the tent, the Rabbi asked for spontaneous remembrances. Then the Rabbi asked each of us to take a shovel and throw some of the earth on the casket which had been lowered into the vault as we stood watching. Again, I was struck by the beauty, the simplicity and straightforward- ness of this saying good-bye. Under the blazing sky, we then formed two flanks so that Marvin, Michael, Jeffrey and David could walk out of the cemetery. It was very hard, very emotional, saying good-bye to this terrific human being whose devotion and determi- nation made Quilt National what it is today. We all loved you, Hilary!” —Nancy Crow August 15, 2006 Hilary at Quilt National 1999

SAQA Journal • Fall 2006 • 17 a tribute to Hilary Fletcher cont’d from page 17

Hilary was always such a cheerful, Hilary was always so upbeat and inner pictures coming all the while. “gracious host at those home inva- “positive. I loved her continued sup- For someone whose career emerged sion events, known colloquially as port and promotion of the artquilt. from a love of visual beauty, it the “Pizza/Cheesecake Parties.” Her Her famous pizza and cheescake seemed cruel and unusual punish- love of quilts and quilters was parties at her home were very spe- ment to be prevented thus. I think immense. She will be missed. cial. My funny anecdote about all of us in this field based on hand- Best wishes, ” Hilary occurred while lining up for eye coordination were as stricken as —Margaret Cusack a buffet lunch in Athens, Ohio. she and empathized enormously. Before I took it on my plate, I asked She saw it through. Brave lady.” A woman who knew the value of her what the translucent, black, rec- —Joan Colvin “quilts as art, she envisioned the art tangular food was. She replied that quilt movement before the rest of it was blackberry Jello and then Hilary Fletcher made every one of the art world. We are all indebted to added: “Isn’t Jello wonderful?” I “‘us’ in the art quilt world feel very her. sort of nodded my head in amaze- special individually. She did this in ” ment and tried some of the deli- —Mary Lou Schwinn many little ways, but her basic cious dessert.” recipe was simple. Using the same Hilary will be in Quilter’s Heaven, —Linda MacDonald skills displayed by successful diplo- “joining those who have stitched mats and royalty, she managed to their last seam. I pray to be able to “Hilary had a vision that inspired. I give you her full, eager-eyed atten- keep my stitches even, my thoughts worked with her a bit before the tion no matter how briefly, so that straight and that my dreams will be physical difficulty with her eyes, you always came away feeling that fulfilled when my spool is empty, and I found myself praying that you had ‘registered’ with her. and to join Hilary in Quilter’s this vision went way beyond the Once or twice a year for one rea- Paradise. images one’s body produces. And of son or another I phoned or emailed ” course they did. I was impressed her at the Dairy Barn and always —Diana Leone with her bravery, lying on her stom- had the impression she’d enjoyed ach trying to pass the time, her our brief exchange. As it now turns out, just two weeks before her death, I emailed “Dear Hilary or Helper’ with a query on the QN ’07 entry form, which was promptly answered by “Helper.” Therefore I was a bit surprised a few days later to get an email from Hilary herself bearing the same answer plus one of those little warm fuzzy com- ments so typical of her. I now realize that she knew then what most of us did not: that her time was about to run out.” —Alison Schwabe

Hilary always made you feel warmly “welcome, in person or on the phone. I loved her notes on the QN rejection letters, which made them so much easier to accept. Marvin’s and Hilary’s pizza party was the highlight of the Quilt National festivities. Hilary leaves a big hole Hilary at Quilt National 1998 in my heart.” —Sylvia Einstein

18 • SAQA Journal • Fall 2006 There are many names in the art do what we do. You could never ask everyone come to her and Marvin’s “quilt world that could be listed as any more from one person. We are house for the big pizza and cheese- influential, even famous, but few all so lucky she was part of our cake parties at each QN opening! names could rank higher on my list world.” We are all better off because of her than Hilary Fletcher. Sometimes —Barbara Oliver Hartman efforts on our behalf and we know people say, “She will be missed,” the great sorrow her death has and I’m left wondering, “By Hilary was the soul of Quilt brought to Marvin and to all those whom?” With Hilary, there is no “National and probably the most who loved her. What a very kind doubt she will be missed and no ardent spokesperson for the whole and gentle friend she was and what question as to “By whom?” She art quilt movement. How tirelessly a noble example of humanity.” will be missed by us all. God bless she worked to promote the shows, With love, Hilary. Her life certainly blessed which she really brought to perfec- —Susan Shie and Jimmy Acord us.” tion. And on top of all that work, —Linda McCurry she found time and energy to have cont’d on page 20 After knowing Hilary for almost 20 “years, many things about her come to my mind. My first trip to Quilt National in the late 80s was the most incredible weekend I ever experienced, and it was due to the wonderful atmosphere created by the whole Dairy Barn staff with Hilary at the helm. The cheesecake and pizza party was so great and I learned that year that if you wanted to spend time with her, you stayed in the kitchen and helped out. At all of those parties you could find Hilary in one of two places: the kitchen, or showing her collection in the “quilt room.” A couple of years ago, I saw Hilary in Houston and we were talking about Quilt National and her retirement. She said that she had let it be known that she would be available for the jury of QN for the one following her retirement and that she hoped that she would be selected. I was so looking forward to a Quilt National with her on the panel. She joked that she had sat in the room and listened to the jurors and had to remain silent when she loved one of the entries not chosen. Hilary was one of a kind. She loved what she did and gave her time, money, friendship, energy, and passion for all of us so we could Hilary at Quilt National 1995

SAQA Journal • Fall 2006 • 19 a tribute to Hilary Fletcher cont’d from page 19

We asked Hilary to jury a national compiling the voting. He would go ful symposium “Art and The Quilt” “SAQA exhibition. She said, “Oh, I to his computer, then arrive back at the Los Angeles County Museum couldn’t do that. They’re all my with his new printout, beaming of Art. friends!” And it was true. She will with pride, and Hilary beaming Curators, artists, museum direc- be sadly missed.” back at him. I’ve always loved see- tors, professors, and authors were —Martha Sielman ing how much they enjoyed being on the program. Distinguished with one another, and it is hard to guest speakers joined an exciting One of my favorite memories of think of Marvin without her. Hilary panel on the subject of “Quilts and “Hilary was during the jurying for always preferred that the spotlight Collecting.” I remember Hilary Quilt National, I believe it was 1987. not shine on her, and I admired her Fletcher sitting up on the stage at It was the first year that Marvin had modesty and humility as well as her the Bing Theater at the museum computerized all of the quilt strength and kindness.” and giving her articulate lecture on records, and I strongly remember —Penny McMorris why she collects art quilts. It was a how proud Hilary was of this fact, profound and memorable experi- and of Marvin. Each time the jurors January 16, 1993, is remembered as ence for all of us. voted, Hilary would collect our “being the day of the worst rain- Thank you, Hilary, for what you information, give it to Marvin and storm in recorded history in Los have done for the Art Quilt.” then we would all patiently wait for Angeles, California, and the day the —Yvonne Porcella what seemed like half an hour for American Quilt Research Center him to do his computer magic, and SAQA organized a very success-

Hilary working on quilts with her grandchildren, Lindsey Elizabeth and Justin Elijah Fletcher.

20 • SAQA Journal • Fall 2006 “Hilary Fletcher—the guardian angel because she was always able to com- for her helpful “Can do” attitude. of our art world. I will miss her.” bine her organizational abilities She will be greatly missed.” —Deborah Fell with her own special warmth. She —Jack Walsh will be greatly missed both profes- I have no funny anecdotes about sionally and personally.” I was very surprised after I received “Hilary but wanted to say how much —Carol Taylor “information about Hilary and sad- she will be missed. We have lots of ness made my mind full. artists and a very few collectors and I can’t remember exactly when I I met Ms. Hilary Fletcher for the hardly anyone (who is not an artist) “met Hilary, but from the first meet- first time at the Dairy Barn in 1999, who spends all their time promot- ing some 25 years ago, it was as where the second selection for QN ing and working for the artist. We though we had known each other had just occurred. She easily need more people like Hilary in our for ever. We shared our family con- wrapped my hand with hers and world. No one will ever forget her cerns since we both had two boys did so quietly. After that, she and all she has accomplished. and were never quite sure what described the welcoming tribute to I do remember the one time I had they would be up to next. Luckily me. I can`t forget her warmth. We been rejected for QN, Hilary added a for both families, they all turned communicated by mail about the note saying she would have chosen, out great, and Hilary so loved her award after I had returned to and then named one of my pieces. boys, their wives, and her grand- Tokyo.” That meant a lot and was so nice to children. Every December Hilary —Kuniko Saka soften a rejection.” and Marvin would come into New —B. J. Adams York City for a blitz week of operas, I met her last year when I went to shows and esoteric movies. We “Houston and attended her lecture Hilary always reminded me of a would always meet for lunch and on the history of Quilt National. “little ball of fire when she was run- use that time to catch up on the What I found out when I met her ning Quilt National. She was every- year that had passed. I will sorely was that she was an ordinary where, making sure “her” show was miss that reunion and being with woman with a huge passion for organized, professional, and impres- Hilary and Marvin, a couple who what she does. She wasn’t full of sive to everyone who came. Her shared a common passion for so herself. Hilary made quite an tireless promotion of art quilts many things and most of all each impression on me because she took helped to educate many. She always other.” the time to meet me, and talk to me took the time to answer everyone’s —Donna Wilder and she was friendly and gracious, questions, and her knowledge about which made her an extraordinary the quilts in QN and the art quilt “There are many of us who want to person. The art quilt world has lost world was extensive. But she also make art quilts and some who want a tremendous person.” made an effort to get to know all of to collect them. The rarity is the —Jamie Fingal the artists personally and was person like Hilary who wants to always so willing to share com- make things better for art quilters “History is a pattern of timeless moments.” ments about our quilts and the by creating a top-notch exhibition —T.S. Eliot show with us. Even during the gru- of highest integrity, AND collect, There is no doubt that Hilary will eling jury process when her sched- AND serve on boards of organiza- “loom large in the history of the art ule had to be at its worst, she took tions that serve art quilters, AND do quilt movement. But it is the time- the time to add her personal touch literally everything she could think less moments that she shared with to the notification letters. It was of that would improve the profes- those who knew her which will wonderful to get an acceptance let- sional lives of those of us who cre- remain treasured in our ter with one of Hilary’s smiley faces, ate art quilts. The loss of Hilary will memories. but I always knew that even with a be felt by us all for many, many ” —Marilyn Henrion rejection, Hilary would draw on a years to come. little sad face with a turn-downed ” —Anne McKenzie Nickolson We here at The Quilters Hall of mouth to help us know that she “Fame are deeply saddened by the cared. It was small touches like that Hilary was fun to be with, bright passing of Hilary. She was able to that made us all love Hilary, “and kind. I especially admired her cont’d on page 22

SAQA Journal • Fall 2006 • 21 a tribute to Hilary Fletcher cont’d from page 21

serve on our Honoree Selection Hilary has done to advance this ahead. She has nutured the oppor- Committee only one year, but her aspect of fiber art, and I will always tunity for so many to be expressive input was invaluable. How ironic remember her.” with art quilts....Bless her soul!” that our next challenge exhibit just —Linda Gass —Patty Hawkins announced is titled “She Left Her Mark.” What an incredible mark Hilary, I was hoping that my work Saddened to hear that Hilary has she herself has left on the art quilt “would be chosen for the Quilt “passed away. She probably did more world and on the greater quilt National again and I would see you to advance the audience and appre- world as a result. She will be greatly again at your pizza party. It’s so sad ciation for the art quilt than any missed.” that I can never see you again and I other individual I can think of.” —Karen Alexander feel like I have a big hole in my —Rick Gottas heart. Please accept my sincere “I am very touched by and saddened condolences to your family. May “I had heard of Hilary Fletcher but by Hilary’s death. I have many pre- you rest in peace.” met her for the first time at the cious memories. Her letters of Thank you. SAQA conference in Athens in May refusal to the Quilt National exhibi- —Etsuko Takahashi of 2005. At the gala opening of tions in the years before 2003 were Quilt National at the Dairy Barn, friendly and always very encourag- When we moved to Athens in 2002, others were collecting autographs of ing and were sent to me in “I went straight to the Dairy Barn to the artists present whose work was envelopes with beautiful Ohio volunteer. The slides were coming on exhibit and shown in the cata- stamps (I live in Switzerland). The in for QN ‘03, so I was put to work log. I approached Hilary for her sig- exhibition opening in 2003 (when I labeling. I worked with Hilary over nature because I felt she was a big was among the lucky ones to the next four years. A memory I part of the occasion and my experi- exhibit) was organized with a lot of have is: when we loaded slides into ence as a new SAQA member. She circumspection and warmth of the trays for the jurors to view, we did express some doubt as to the heart by Hilary and turned out to would pick the quilts that would be validity but graciously signed just be grand and very interesting. I am in the show if we were the juror. We the same. Now I am glad I asked grateful to have known her.” averaged 25% of what was actually and so happy she did sign. Her —Ursula Koenig picked. There was never enough signature on the title page of the space for all of the ones we loved. publication stands as a small com- She had a vision, and created a real- Her legacy to us is Quilt National. memorative to her memory and “ity from it. She touched my life. I We owe it to her to continue mak- tribute to her good work. Thank will miss her. I extend my heartfelt ing the artwork she loved.” you for this. The Athens event next sympathy to the Fletcher family.” —Sarah Williams May will be bittersweet, I dare say.” —Rosemary Claus-Gray All best wishes, Hilary’s welcoming way gave me —Laurie Swim My impression of Hilary was that of “the treasure of helping her with a “a down-to-earth person who was bit of signage the aftenoon before On August 13, 2005, Hilary Fletcher approachable, honest, smart, and Quilt National opening,1989. Our “lectured at a meeting of the giving. The integrity and beauty of long drive got us to Athens a day Contemporary QuiltArt Association Hilary’s work speaks for itself in all early, so I phoned, offering my time in Seattle. After the meeting, she of the Quilt Nationals she directed. I — even running out with her to graciously agreed to a taped inter- only had the opportunity to be in purchase ribbon, creating just the view. I have been commissioned by one of the Quilt Nationals under her “right” award placards. Great CQA to produce a documentary to direction; however, I’ll never forget evenings on Hilary’s and Marvin’s celebrate the organization’s 20th the pizza party at the Fletcher front lawn for pizza parties — one anniversary. Hilary’s interview will house. It takes a generosity of spirit, with Ellen Oppenheimer, watching be integrated into that piece which a lot of energy, and a love of this an amazing dry lightening storm is intended for a possible PBS community to open one’s home with fireflies everywhere. Hilary’s release.” and host an event for such a large trademark cheesecakes were so —Jane Moxey group. I am grateful for everything incredible, making them for weeks

22 • SAQA Journal • Fall 2006 What I will both remember and children, or traveling to Seattle to was strengthened by her hospitality, “miss will be Hilary’s smile, generos- catch the Ring Cycle at the opera. I generously providing a renowned ity and multi-tasking spirit.” remember a dinner with them both celebration unique for any group of —Wendy Huhn here in Seattle where we presented artists. We mingle, we talk, we them with a gift of a signed baseball laugh, we look. We come for differ- My personal experience over the with Ken Griffey Jr.’s signature. ent reasons, but we’re all better off “years was how kind she was and They were both so delighted to be for having been there. easy to work with. But my husband able to pass it along to their son, an On a personal note, I got very sad and I will never ever forget the avid baseball follower. Another visit when I realized Hilary would not party in 1999 for the Quilt National to Seattle found us visiting over see the quilt I’ve been working on participants. I hope she has com- breakfast at a wonderful deli on for over a year, the one I saved for piled her cheesecake recipes over Main Street in Bellevue. QN.” the years and put them in a cook- Hilary will be sorely missed by all —Paula Nadelstern book, because they were the best of us. She was a genuine Mother for that I have ever tasted, bar none! So so many artists, always offering her “I really got close to Hilary in 1993 many varieties! And the pizza was best personal support.” when Judy Warren Blaydon, also the best I’ve ever had. Who but —Erika Carter Michael Monroe and I were jurors Hilary would think to combine for Quilt National. Seeing Hilary in these two dishes in such a unique During the judging of the last Quilt action made me realize how much and entertaining way! And the tour “National, I got to see what an amaz- she thought we quilters are ALL of their wonderful collection of ing organizational feat she and winners, whether we got into QN or quilts, complete with lecture by Marvin had created. They had a not. While I loved getting Hilary’s Hilary — priceless. tireless group of volunteers working “Congratulations!” letters from She will so be missed. I hope long hours because of Hilary’s Quilt National, I also felt her disap- Quilt National will survive her loss, warmth, liveliness and generosity. pointment for me/others in the and I pray Marvin will be at peace This year I have been battling many rejections I received from QN. and feel the love of the art quilt cancer and Hilary was again there I always knew from Hilary’s signa- community.” for me. She encouraged me and ture, little note and drawing of a —Barbara and Jim McKie stayed connected through the worst sad face on the rejection form, that of it. She was one of the first people here was a real caring person who “I cannot remember exactly how I showed my bald head to! On July loved her work, loved quilts, loved long I have known Hilary — years tenth of this year, I came home each of us quilters.” and years. Learning that she was no from the doctor having the good —Elizabeth Busch longer with us was indeed very sad news that I was officially in remis- news. Since I moved away from sion and found a message from Hilary and her family asked that dona- Ohio, we had not talked very often, Hilary on my answering machine. I tions be sent to the Hilary Morrow but it always was a joy to hear from called her right back and bubbled over with my news. She let me go Fletcher Endowment fund. This fund her. I always will think of Hilary as was established in 2006 to recognize on for quite awhile before she told a kind, honest, and thoughtful the achievements of Hilary Morrow woman. Quilt National was very for- me that she had called with the Fletcher and to perpetuate Quilt tunate to have her dedicated leader- reverse news. National, a labor of love for her for the ship. My sorrow at losing my good previous quarter century. Donations Hilary, I look forward to seeing friend is profound and my heart can be made to: you later; I liked you very much! goes out to Marvin and her sons. ” Hilary Morrow Fletcher —Francoise Barnes —Miriam Nathan-Roberts Endowment Fund c/o The Dairy Barn Cultural Arts Center Over the years, as Quilt National’s “When I think of Hilary, I think of “ P.O. Box 747 Marvin. It was always the two of prestige was recognized, Hilary 8000 Dairy Barn Lane them, whether it was supporting could have turned its official open- Athens, OH 45701 Quilt National, trading stories of our ing into an exclusive and formal (740) 592-4981 occasion. Instead, her leadership www.dairybarn.org

SAQA Journal • Fall 2006 • 23 Meet your regional representatives

Dena Dale Crain computer more than at the sewing came from garment manufacturers in machine, but a solo exhibition to be Montreal, she was not only providing Africa SAQA Representative held in October 2007 at Kenya’s a much needed source of fabric to the www.denacrain.com Rahimtulla Museum of Modern Art local traditional quilters, she also When I left the means I have plenty of incentive to unknowingly sealed my fate as a fab- U.S. for a new keep busy. Opportunities for recruit- ric artist. I never left her store without job in Kenya, I ing SAQA members are beginning a bit of material to inspire me. When never dreamed I now to appear, both in Kenya and in I was eleven, I started sewing by would meet Mr. South Africa, although outreach is machine a new outfit weekly. At six- Right (aka Jona- still a bit difficult. Look for me on teen, I made my first hand-pieced than Leakey), SAQA and Quilt University web sites quilt. much less that I and at www.denacrain.com — coming I graduated with a BFA from the would discover soon! Nova Scotia College of Art and Design myself as an in 1971, and then had apprentice- artist and teacher through quiltmak- ships with two Danish weaving ing. Early years in Kenya were spent Laurie Swim designers. The clean lines of Danish learning how to quilt and playing design influenced my breakthrough Canada SAQA Representative with design on my computer. That quilt, Eve’s Apple, that later became www.laurieswim.com led to later experimental works that the cover of my first book, The Joy of were the foundation of a solo exhibi- From kinder- Quilting, with an introduction by Alex tion in Nairobi. It was the first-ever garten on, I was Colville. quilt show in the country. Since then, the class artist In 2005, I opened the Art Quilt I have studied at QSDS, helped found because I liked Gallery of the Atlantic in Lunenburg, the Kenya Quilt Guild, taught in to draw. My N.S. I am a volunteer member of the Kenya and South Africa, joined the ambition was faculty of Quilt University, and always to be an become a PAM of SAQA. artist. When my Now I am teaching five online mother opened classes, developing a web site, and a shop in our Magic Hour, Blue Rocks writing a history of quilting in Kenya. seaside village selling remnants that 25˝ x 25˝, © Laurie Swim All that threatens to keep me at the

24 • SAQA Journal • Fall 2006 Nova Scotia Arts & Culture Partnership Council. At present, I am creating a body of work for an exhibition at the Del Mano Fine Craft gallery in Los Angeles February 10- March 10, 2007. I am also working on my third book, The Art of Quilting. As the new Canadian rep for SAQA, I hope to promote awareness of the quilt as fine art.

Linda Colsh Europe and Israel Representative Making art is something I have always done for the challenge of design and the joy of working with dye, paint, and color. The thread of my art career winds through years where my painting might be called a sideline, since I was either studying art history for my bachelor’s and master’s degrees or was earning a living as a technical writer. When I married a Brittle Silence military man in 1981 and started 38˝ x 33˝ moving house every few years, I spent I observe the people who come into © 2005 Linda Colsh more time being an artist. I learned to my field of vision. I select some of make quilts, traditional at first. In them to develop as characters to pop- 1988, I set out to make quilts as art. ulate my artwork, imagining stories Everything seemed to come together and personalities for them. My art at that point, a life spent making art history background gives me not only found the medium that fit best. appreciation for art and culture, but I have lived on both coasts in also the ability to look, to analyze, America, in Asia, and in Europe. and to assimilate all kinds of visual While moving affected my choice of imagery. I like to use symbols, a per- media, it is the inspiration of living sonal iconography, to capsulate and in vastly different environments with express my thoughts. Some of the the doses of the exotic that make my symbols I use are obvious; others are life and my art what it is. I love my not so apparent, but my objective is studio time, especially the wet studio. to invite viewers to look and think, to I love paint; I love dye. However, find their own meaning in my work, while studio time is seductive and to imagine their own stories beyond vital, time away from the needle, what I have shown them. brush, and dyepot—time to think—is also an important part of my creative Linda Colsh will join the SAQA Board process. at the end of September.

SAQA Journal • Fall 2006 • 25 My path from page 1 During the next couple of years, I and got a job, we moved to Princeton towards the museum, I said to Jon, manufactured girls’ clothing with Junction, New Jersey. I continued the “THAT is what I want to do. If I could financial backing and a showroom in dressmaking there for 12 years. Because ever be good enough to be in a show New York City, all while living in my kids were growing and I wanted to like this…” Jon turned to me and Philly when Jon was in grad school at have larger blocks of time to spend said, “Carol, first you have to make a Penn. Commuting daily from with them, I stopped making clothes quilt.” Philadelphia to NYC was grueling. On and just focused my business on doing That’s when I realized the melding more than one instance, I dreamed of alterations and home decorating. of my two creative fields of study, designing clothing for women rather In 1996, I was in San Diego for my fashion and graphic design. I went to than girls. I will say, though, that in nephew’s wedding and read in the Rosie’s Calico Cupboard on that trip the 70s and 80s, the kids-wear busi- paper one morning that there was an even though I didn’t know what to ness was saturated with the colors I buy, how much yardage, or for what I found missing in bridal gowns. was buying. I just bought. I talked over my career dilemma Once I arrived home, I threw with my grandmother, who was a The rapture I myself into quilt making. very successful businesswoman. She Over the years I’ve saved and cate- suggested that being my own boss experienced as I saw gorized pictures from magazines and would serve me best (and her too, newspapers simply because they since we spent a lot of time together!) the entire piece come appealed to me. The attraction may She suggested I design and make have been the color, the image, the clothes for individuals. In short, together was magical. stylization, or even just the subject become a dressmaker. matter. When I returned from Unsure of exactly how to get my California, I went through my stash name out into the world, I turned to of pictures and picked one that her for advice. She said it was simple: art show in Balboa Park. It turned out looked good to me. It was a land- Go get my nails done and chat it up. I to be Visions. The show stunned me. I scape. I bought Fractured Landscapes did, and … snap! I was a dressmaker had never seen quilts like that before. by Katie Pasquini Masopust and went with a wonderfully dedicated clien- At that point, I thought of quilts only to work passionately. tele. I was busy, profitable, and able in the traditional sense. Just prior to beginning the land- to make my own hours. As I stood in the beautiful San scape, I made Horizons, where I When Jon finally finished his thesis Diego sunshine glancing back attempted to determine if I could actually select fabrics and colors. Satisfied that I could accomplish a Earthtoned Circles, 52˝ x 66˝, © Carol Schepps seemingly more difficult design, I completed my second quilt, Escalante Canyon. The rapture I experienced as I saw the entire piece come together was magical. The end result was fantastic. My dressmaking customers were interested in watching the composition take shape. They were first aghast that I was QUILTING, then support- ive. They wanted to know if they could buy the quilt? NO, NOT FOR SALE YET! I began working on my first quilt and discovered that with this art form, I could merge my love of fabrics and graphic design. Auditioning fabrics, making color selections, and the physical nature of the work all appealed to me. There was no aspect in the creation of a piece that went on for too long, causing a sort of boredom to set in.

26 • SAQA Journal • Fall 2006 Once the nature of the work became read about various galleries in the week when Jon and I were in Philly repetitive, and it certainly can East and knew some of them well. shopping, he said he wanted to see become repetitive, there is always a Because we’d lived in Philadelphia for Snyderman/Works. different task to be done. I’ve always the six years while Jon was in grad He promised not to say anything admired fine craftsmanship in any school, I felt comfortable with the about my artwork or me, because I medium. I enjoy being meticulous in idea of approaching Snyderman/ had made an appointment with the my work and logical in my approach Works Galleries. They’d been an insti- gallery for mid-January. We got a to design and business. tution in Philly for years and were parking spot right out in front of the Thinking perhaps I’d found an well respected, and I was sure my art- gallery. This was terrific, because it artistic outlet, I went to Barnes and work would be well represented. was a dark, cold, rainy winter day. Noble and looked through the busi- I knew caution was important. When we went in, I had a bit of trepi- ness-of-art books. Although none of After all, these were my creations; dation. the books mentioned art quilts per se, they seemed almost as precious to me Frank Hopson, the director of each one spoke about the importance as my children. In fact, when I had to Works, introduced himself. Jon and of having a body of work, say ten ship Hammers to Visions ’98, I was so he began chatting and before I knew pieces, before approaching a gallery. reluctant to let it out of my sight, I it, Frank called in Ruth Snyderman, Ten quilts? That seemed a daunting put it off to the last minute and paid who introduced herself to me. She task. Fortunately, I was glued to my that very hefty charge for overnight/ said she remembered my call earlier studio day in and day out designing weekend shipping — a quick lesson to in the week and as it turned out, this and making clothing for select clients be learned right there about shipping. was as good a time as any to talk. and doing alterations for customers. I called in mid-December. Ruth Ruth asked if I had any artwork to The flow of potential critics never Snyderman explained to me that show her. Fortunately my portfolio ended. Each one was more and more right before Christmas was actually a and the quilt ’59 Caddy were in the curious about the quilts I was work- terrible time to talk. She suggested I car because earlier in the day, I had ing on. Many expressed interest in call back in mid-January. Later that having one in their home. See “My path” on page 28 This all inspired me to work to learn more about the business and creative side of the art quilt. Quilter™ When members of a local quilt PROFESSIONAL guild recommended it, I sent slides to Visions ’98. I submitted the only three A Must for quilts I’d made at that point. Imagine Serious Art Quilters my surprise that February when O Hammers was accepted. the business journal that Attending the Visions opening was shows you how to an awakening experience for my soul. • make more money quilting It was the excitement of seeming to • market your business excel at something visionary. I had • sharpen teaching and been designing and making clothes judging skills for so long it seemed second nature, • publish your patterns • rather effortless. The fiber art was build business and professional skills something I had to work at and think • manage your finances about — rather like a new challenge I • use your computer in your was beginning to believe I could quilting business meet. It wasn’t until Visions that I felt • work smarter I had something that could be mine. • network and more That spring, summer, and fall, I O worked towards completing my first One year (4 issues) $27.95 (Canada $32, other foreign $40) ten art quilts, that golden number all Sample $8.25 the books wrote of. I continued to (MD, add 5% tax to order) Send SASE for free resource brochure read books and magazines about the O ups and downs, successes, and poten- The Professional Quilter-SAQA tial pitfalls of shows and galleries. 22412 Rolling Hill Lane Laytonsville, MD 20882 I set my sights on finishing my www.professionalquilter.com tenth piece and looking for a gallery. I

SAQA Journal • Fall 2006 • 27 My path from page 27

been shopping for a frame for it. point, quality of work, personality, transaction or be indulgent and give After Ruth looked at it briefly, she location, and reputation. away all five. took it into an office and reviewed it To meet the demands from my When I first began, I had solo with Bruce Hoffman, the director of eight galleries, commissions, and shows locally. These proved to be very Snyderman, and Frank. Shortly she Fiber Revolution exhibitions, I work worthwhile for the publicity and sales returned, handing it back to me. My very hard. Right now I am working they generated. I sent out publicity heart sank. And then I heard some- on a new series, reminiscent of my thing about a show in April. I looked Paintbrushes series. It is my Wine over at Jon, hoping he was paying series. Like the Paintbrushes, they are attention, because I couldn’t really stretched and framed. As I write this, process what was happening. I am completing my third in what I My parents taught That’s how I got my first show and hope will be an initial series of six. my first gallery. My Circle series came about when I me that as long as Ruth and Frank helped me with returned home one day after a fabric pricing. They taught me about dealing shopping expedition, the kind where I loved what I did, with galleries and clients. The lessons there are two shopping bags full of I’ve learned from them have been fabrics. I washed, ironed, and folded I would never work invaluable. Their honesty and sincer- the fabrics. After neatly piling them ity have made me feel comfortable on my worktable, I noticed that the a day in my life. asking questions and discussing issues. placement of similar colors took on I now show my artwork in eight entirely different connotations galleries. In choosing the galleries to depending on where they were in the show my artwork, I look for a price pile. Not a revolutionary concept, but nonetheless, it was fun to play packets. Each opportunity was met around with the neatly folded fabrics. with wonderful coverage in newspa- I cut several concentric squares of pers with photos and lengthy articles. fabrics and sewed them to the back- My website has been another mar- ground fabric. Originally I con- keting tool. Walking into a gallery structed six of these little pieces, each empty-handed and being able to one about 6˝ square. After sewing speak with a director utilizing my around the 18 squares, I bemoaned to website as illustration of my artwork a friend the fact that the corners were has been an additional plus. I’ve annoying to me. He suggested I make received sizable commissions and pri- circles rather than squares. Voila! vate inquiries because of the web. The first series of Circles I created Obviously, I am in this art field to were in jewel tones. They were greatly make a living. But profit is not the appreciated by collectors, galleries, and only reason I pursue this art. As a corporations. A gallery director sug- child, my parents taught me that as gested I consider constructing them in long as I loved what I did, I would earth tones. These too have been suc- never work a day in my life. Fortun- cessful. In addition, I have developed ately, I’ve been able to produce and a series of Circles in whites and sand sell artwork I’ve thoroughly enjoyed tones. They are made of silk, linen, creating. Receiving galleries’ and and cotton mounted on canvas. clients’ appreciation and knowing In marketing my artwork, I have they value that I’ve maintained my found postcards to be wonderful integrity and craftsmanship in art when trying to explain what this art and design makes each day I spend in form is about. Being able to hand my studio a joy. Selvedge offers the finest textile photography, someone a card when they ask you SAQA professional artist member Carol peerless writing and unparalleled design. what you do and then explain exactly Receive six beautiful issues a year for just Sara Schepps has had gallery representa- $75.00. Simply quote SAQ75 when subscribing. what the artwork entails has been tion since 1999. She lives in Princeton T: +44 (0) 20 8341 9721 or visit www.selvedge.org most beneficial. I have five different Junction, New Jersey, and her web site is postcards that allow me to tailor the www.carolschepps.com

28 • SAQA Journal • Fall 2006 Proposals from page 7 reliable, and when an artist neglects the constraints on my time” Probably most important, I these details, you wonder how careful —Judy Plummer express enthusiastic thanks for the and capable the person is of following acceptance. I want them to feel • “Once, a few months later. Our through.” that I’m going to be very easy to schedule is decided by the early deal with and will meet the terms spring for the following calendar Professional interaction of the show.” —Diane Bielak year.” —Anita Loscalzo You are not done with a proposal when you mail or deliver it. Every From artists: Last, food for thought interaction you have with the venue Plummer says, “I would really stress colors your image and affects your • “If I do not hear back after one that artists should be true to them- chances of being accepted. Always month (privately-owned galleries selves regarding the sort of vibes answer the phone professionally, and usually look at slides once a they’re getting from a particular reply promptly and courteously to month), then I make a phone call.” gallery and director. You really want phone calls and e-mails, even when —Nancy Crasco to have a respectful connection.” you are irritated. • “I follow up on [proposals] with Expect the same professional treat- In addition, Plummer says, “We phone calls, emails, and periodic ment from a venue that they expect always want artists to have an informal postcards of my artwork.” from you. You will have to work gallery talk and perhaps a more formal —Carolyn Lee Veslage closely with the staff and should feel classroom experience as well, so good as though your art will be discussed communication skills are important.” • “I only follow up when further and treated knowledgably and information is requested. I'm respectfully. Appropriate follow-up either accepted or not. If accepted, Artist, writer, and instructor Cindi Huss The artists and directors interviewed all I do my best to cooperate with the lives in Western Massachusetts. Her web had different takes on what constitutes process, including being flexible site is www.cindihuss.com. appropriate follow-up. There is no one about scheduling, delivering, etc. answer that is most appropriate for all venues, so choose an approach with which you are comfortable. Fabing offered one piece of advice that works for everyone, “Badgering n o i the museum will not serve you well, t a i though they do owe you the courtesy c o s of adhering to their timetable for s reviewing your request. Remember A gn that you may want to approach this esi Su ce D venue with another idea, even if this rfa one is not successful, so don’t burn any bridges.” Suggested approaches included: The Surface Design Association is an international not-for-profit From gallery/museum representatives: organization dedicated to education,research, critical thinking • “After [the time the venue said the and promotion in the field of review process would take place] Surface Design. Members receive has passed, make an inquiry if you the Surface Design Journal haven’t heard. Ask them once and SDA Newsletter. more when you might expect a reply. Don’t call again until that Surface Design Association P.O. Box 360 Sebastopol, CA 95473-0360 date has come and gone.” 707.829.3110 [email protected] — Susannah Fabing Send $7 for a sample copy of the Surface Design Journal. • “I always preferred to get in touch with the artists — and I told them www.surfacedesign.org so — because of limited staff and

SAQA Journal • Fall 2006 • 29 The challenge from page 9 use Carnets or that they did not for exhibition purposes only and will How do you handle sales? know what Carnets is. return to point of origin when exhibi- No quilts have been sold (11). PayPal tion finishes (4). Never write the (3). Checks (3). Paid through the Comment: “As a former customs offi- word “quilt” or “art” on any docu- gallery, exhibition or venue (7). Only cer in my pre-quilter life, I know how ments (2). Note that it has “no com- accept sales in own country (1). to manage that without problems — I mercial value” (2). State that it is not Handle sales direct through client but can give advice for European mem- for sale (2). Note only the replace- sometime there are currency issues bers, if you want.” ment value of the materials, not the (1). Only had one sale and still wait- — Annedore Neumann, Germany, value of the quilt (2). Utilize a rep- ing for the money (1). Provincial [email protected] utable shipping company and they Sales Tax must be added and sent to What shipping documents do you deal with any problems that arise (2). the government (1). have to fill out? Label clearly (1). Try to avoid customs Comment: “Have not had any yet but Not required in all countries but noted by not shipping outside the country would accept any form of payment in several comment sheets were: (1). NAFTA doc filled out and except buttons.” Airway bill. Declaration of Identity. attached to package–Canada (1). — Jennie Rayment, UK Waybill. Declaration of contents and Have you had any troubles with the insured value. Document declaring Comment: “I mark the waybill that if return of your art quilts? that the work is NOT for sale and for imposed, I will pay customs, the No (14). Yes, have been charged exhibition only. Commercial invoice imposition of which seems to be import, brokerage fees or VAT (6). document. Export document and the occasional and arbitrary — not at all Some problems with customs (6). international courier forms. Fedex predictable. A mood thing on the day documents. Textile info and shipping with the customs officer in question Comment: “Only with return of quilts info. Posting forms in 8 copies and possibly.” from overseas, several times New Airway bills with 3 copies. Official — Alison Schwabe, Uruguay Zealand customs have required proof documents for the general govern- How do you avoid paying that it was my work that was just ment post office. Confirmation that import/export fees? being returned, that I wasn’t import- the contents is not a bomb or for ter- Clearly mark that it is NOT for sale, is ing. But I was able to show an exhibi- rorist activity or dangerous goods. for exhibition only, and is to be tion catalogue or similar to the local returned to the owner (11). Put a very How do you handle insurance? postal sorting depot staff and they low value on the quilt, or only the faxed international customs in Purchase insurance through the car- value of the materials, or clearly state, Auckland, who then released the rier (9). Accept the highest amount “no commercial value” (8). Label work parcel. that the carrier offers (5). Do not as samples; do not use the word quilt The main problem has been that insure (3). Homeowners policy (2). in the documents, use some type of when a gallery returns my work, I Depend on the exhibitor to insure the euphemism like ‘cloth hanging’ (3). find that their shipping costs (maybe work (2). Covered under a profes- Comment: “Inside Europe, I send my they use an agent or more expensive sional business insurance policy (1). quilts via post special delivery parcel courier?) are 2-3 times more than Comment: “The insurance is under (with insurance included) To U.S. or mine were in sending it to them. And the home policy. There are no quilt Canada, I send my quilts via FedEx. I I am usually paying for this.” appraisals in Israel, so you can’t use a Carnet only if I travel with my — Clare Plug, New Zealand insure it separately.” quilts, so I avoid custom fees. I did it —Gisha Wogier, Israel as a curator for a special exhibit in SAQA wishes to thank all the members How do you handle customs? Canada.” — Elisabeth Nacenta-de la who thoughtfully responded to the ques- Mark it when it is shipped that it is Croix, Switzerland tionnaire. Their answers highlight the issues and solutions with exhibiting artwork around the globe. Park Church catalog CD $8.00 Available Normajean Brevik is a business owner in Transformations catalog CD $8.00 East Lyme, CT. She is married with four children and is the president of the from the Creative Force catalog $22.00 Clamshell Quilt Guild in Waterford, CT. She is especially proud of her mailable art SAQA Store: Portfolio 13 $37.95 Internet group at groups.yahoo.com/ Go to www.saqa.com> contact> SAQA store to group/fiberarttraders. She enjoys quilting purchase or for more information and making wearable art as well as her insatiable passion for mailable art.

30 • SAQA Journal • Fall 2006 Giclées from page 5 Academic outreach coordinator printed, the number within the limited edition (i.e., 56/200 Kimberly Baxter-Packwood ([email protected]) is the 56th giclée printed out of a limited edition of 200), Eastern zone regional reps and the year it was printed. Some states require that a certifi- VT, NH, & ME – Mary Will Sussman cate of authenticity accompanies each giclée upon their sale. ([email protected]) Although giclées are fine archival reproductions, great MA & RI – Gwyned Trefethen care must be taken for preservation. ([email protected]) • Never display them in direct sunlight NJ & DE – Judy Langille ([email protected]) CT – Susan Ferraro ([email protected]) • Never expose them to extreme temperatures NY – Lisa Chipetine ([email protected]) & Elizabeth Poole ([email protected]) • Never rub the surface PA, MD, DC, & WV – Michelle Verbeeck • Never use water, cleaning solvents, or chemicals to clean ([email protected]) & Sue Reno ([email protected]) them VA, NC, & SC – Jill Jensen ([email protected]) Finding a good giclée printing company can be tricky. & Martha Bruin Degen ([email protected]) Many fine art businesses specialize in printing giclées. It’s GA & FL – Mary McBride always best to try to find a local shop; it’s easier to inspect ([email protected]) the finished pieces without having to ship them (or proof MI – Peg Keeney ([email protected]) & Desi Vaughn ([email protected]) them online.) IN & OH – Carol Myers ([email protected]) If no local sources exist, consider searching the web and KY & TN – Aynex Mercado ([email protected]) art trade magazines for a credible source. Be sure to compare pricing, quality, and services offered by your printer. Some Central zone regional reps printers will offer cropping and matting services or provide MN & IA – Jan McTavish ([email protected]) certificates of authenticity. Others may provide discounts WI & IL – Clairan Ferrono ([email protected]) for large volumes of prints or provide package pricing for a ND, SD, NE – Kim Madsen ([email protected]) variety of giclée sizes. TX – Vou Best ([email protected]) & Betty Davis ([email protected]) SAQA professional artist member Julie Hirota is a fiber artist, MO, KS & OK – Toni Disano ([email protected]) & author, and teacher who lives in Northern California. Her web site Steve Moore ([email protected]) is www.jhiro.com. MS, LA, AL & AR – Gwen Magee ([email protected]) Studio Art Quilt Associates, Inc. would like to Mountain zone regional reps express its gratitude to the following sponsors: CO, WY & UT – Susan Crouse-Kemp ([email protected]) Baby Lock Marcus Brothers Textiles, Inc. Joni Beal Penny McMorris ID & MT – Sharon Baker ([email protected]) Stephen Berkenfeld Nora Mohr NM – Mary Ann R. Baker-Randall ([email protected]) Bernina of America, Inc. P & B Fabrics, Inc. Nancy Brakensiek Katie Pasquini Masopust AZ – Janet Schultz ([email protected]) & Linda McCurry ([email protected]) Karey Bresenhan Yvonne Porcella Susan Cargill Presencia Hilaturas USA Pacific zone regional reps Kay Caunt Professional Quilt Magazine AK – Nelda Warkentin ([email protected]) Martha Connell Quilt San Diego/Quilt Visions OR & WA – Kristin Dukay ([email protected]) Judith Content Quilts, Inc. and the International Quilt Festival Northern CA & NV – Carol Larson Elna ([email protected]) Fiberarts Magazine Joanne Raab Lisa Rico Central/Coastal CA – Marina Salume Hilary Fletcher ([email protected]) Santa Barbara Quilting Golden Threads Retreats Southern CA & HI – Angela Moll Rick Gottas Schweinfurth Art Center ([email protected]) Catherine Hedrick Selvedge Magazine International regional reps John & Maureen Hendricks SPPS Inc./Quiltime Charitable Trust Africa – Dena Dale Crain ([email protected]) Robert & Ardis James Martha Sielman Foundation Beth Smith Canada – Laurie Swim ([email protected]) Janome America, Inc. Surface Design Association Europe & Israel – Jette Clover ([email protected]) JT Trading Del Thomas Japan – Noriko Endo ([email protected]) Kandi Corporation Melissa Womack Oceania – Sue Dennis ([email protected]) Linda MacDonald Shelly Zegart

SAQA Journal • Fall 2006 • 31

Quick Notes Board Members President Katie Pasquini Masopust, Santa Fe, NM To find out more about SAQA, call Martha Sielman, Vice President executive director, (860) 487-4199; msielman@ sbcglobal.net; or visit our web site at www.saqa.com. Judith Content, Palo Alto, CA Annual membership: Active $50, professional artist Treasurer members $115; student (with copy of ID) $25. Nancy Brakensiek, Los Angeles, CA

Studio Art Quilt Associates, Inc. is a non-profit Secretary organization, whose mission is to promote the art Penny McMorris, Bowling Green, OH quilt through education, exhibitions, professional Patricia Bolton, Stow, MA development, and documentation. Karey Bresenhan, Houston, TX Lisa Chipentine, West Hempstead, NY The SAQA Journal is published four times a year. Linda Colsh, Everberg, Belgium Deadlines for articles are February 1st, May 1st, Hilary Fletcher, Athens, OH August 1st, and November 1st. Email articles to editor Maureen Hendricks, Potomac, MD Carolyn Lee Vehslage at [email protected] Jane Sauer, Santa Fe, NM Beth Smith, Oceanside, CA Executive director Martha Sielman, Storrs, CT

Printed in China P S A S . t t O d u o d . r d

B r r i e s o o , s

x C s A

5 T r S t

7 e 0 Q 2 r 6 v u 2 i c i 6 l e t 8 s A -

R 0 s e 5 s q 7 o u 2 c i e a s t t e e s d P S E A N U R N O S M T N P A I P T O -

A R P

S N I O R D T O O A S . A G F

4 I

E T C 7

A 0