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In This Issue… See Page 4 Featured Artist: Betty Busby SAQA Studio Art Quilt Associates, Inc. Jo Volume 24,u No.2rnal Spring 2014 photo courtesy of QuiltNational of courtesy photo Organelle (detail) by Betty Busby In this issue… see page 4 Featured artist: Betty Busby . 4 Member gallery . 18 The making of Mask of Dark . 8 Piecework pioneers . 20 Why Quilts Matter . 10 Copyright: It’s the law . 25 Becoming a professional artist . 14 Selections from Radical Elements . 28 SAQA Supporters . 16 Featured volunteer: Vou Best . 31 Thoughts from the president by Kris Sazaki believe the in the next 2.5 years isn’t possible. so you can have show and tell. You I secret to Studio One way to connect is through can plan a regional conference and Art Quilt Associ- SAQA’s online conferencing system. share budgets and venue floor plans ates’ continuing The SAQA board and committees onscreen. Members can give virtual success lies in our meet virtually on a monthly basis studio tours. These are just a few regions. Here’s using this system. If you’ve partici- suggestions. why. There are pated in one of SAQA’s mentorship If you are interested in meeting 42 regions worldwide. Twenty-one webinars, you’re familiar with how with other members of your region regions write their own blogs, and, this system works. Your region can using the conferencing system, this year, 21 regional exhibitions derive great benefits from holding contact your regional representatives. are being mounted. I just returned virtual meetings. They can get the ball rolling. There from Portland, Oregon, where I Virtual regional meetings are is no charge to regions for using the participated in that region’s first-ever especially valuable in regions that do conferencing system. regional conference. The one-day not hold regular in-person meet- If you don’t know who your conference included inspiring speak- ings. Some regions are geographi- regional reps are, you can find out ers, a regional SAQA exhibition, great cally spread out. Others have few through the SAQA website. Go to networking and good food. Now I’m members, and some are just getting www.saqa.com, then look under off to Florida, where SAQA members organized. Still others have small About Us/Who We Are/Regional are planning a regional conference for subregional groups and don’t meet as Representatives. 2015. There is some neat stuff going a full region. Whatever the situation, If you schedule a virtual regional on in our regions. a virtual meeting can bring all the meeting, I’d love to attend. Please let I am enjoying meeting members members of a region together. me know the date and time so I can from the various regions and work- Topics for virtual meetings are end- put it on my schedule. I hope to “see” ing with them to make their regions less. The conferencing system allows you soon! thrive. I do want to meet all of you, presenters to show their computer but personally visiting all 42 regions screens and use their web cameras, From the As I was editing this issue, I was At the heart of SAQA is the art our editor struck by the array of opportunities members make and share. This issue available to members of Studio Art of the Journal is no exception. Check by Dana Jones Quilt Associates (SAQA). There are out the Member Gallery and get a so many ways that members take glimpse at one of our newest exhibi- on leadership roles from curating tions, Radical Elements. Enjoy a close- exhibitions to staffing them, from up look at the art of Betty Busby, this representing their regions to planning month’s featured artist. the annual conference, from showing All the work we do is grounded their work to encouraging others to in our past. Celebrating 25 years of do so. It is no wonder our organiza- SAQA provides a chance to look back tion is growing. at the beginnings of art quilting. “Piecework Pioneers: Artists Embrace 2 • SAQA Journal • Spring 2014 Report from the SAQA executive director by Martha Sielman ou are the smoothly, staff the SAQA booths at to serve as a mentor to others staff- Yreason more than 20 quilt shows a year and ing SAQA booths and tables. Vou also Studio Art Quilt review applications for new Juried serves on the Special Event Planning Associates (SAQA) Artist Members. Committee and the Regional Grants is successful! We Take a look at the Gold Star Review Committee. Volunteers like have staff mem- Volunteer list on the website: www. Vou are what make SAQA great. bers who take saqa.com/joinUs.php?ID=394. It’s an We’re considering other ways to care of many of the necessary tasks of amazing list. If your name isn’t on it thank volunteers, such as special running this organization, but with- and should be, let me know. We want awards, We ♥ Our Volunteers mugs out your help SAQA would never be to be sure to thank you for your time and Volunteer of the Month. We are able to accomplish as much as we do. and effort. forming a committee to work with Volunteers make up the SAQA The board and staff have been volunteers and would love to hear Board of Directors. Our 73 regional talking about how much our volun- from you with your ideas. How would representatives are all volunteers, and teers mean to SAQA, and we want you most like to have your contribu- additional volunteers help run the to do more to recognize you. This tions recognized? regional meetings. Volunteers design issue of the Journal includes the first If you can help your regional rep- and curate our exhibitions, plan in a series of articles about volun- resentatives plan a program, if you our conferences, and spearhead our teers whose contributions have been have skills that could make things educational initiatives. Volunteers extraordinary. Vou Best of Seguin, run better for SAQA’s exhibitions or proofread the Journal, prepare our Texas, served as a regional representa- educational outreach, if you have a sales-tax filings and design our adver- tive for Texas. As a rep, she helped new idea for a SAQA initiative, send tising. They monitor our investments, organize the SAQA booth at the me an email, marthasielman@gmail. recruit new members and award International Quilt Festival in Hous- com. I’d love to hear from you! grants for regional activities. Volun- ton. Her organization strategy for the teers make sure our conferences run booth was so good, we’ve invited her From the Quiltmaking” by Robert Shaw pro- For all of you who are wondering editor vides insight into the artists who laid if you can measure up to those who Correction the groundwork for today’s growing came before and those who are at by Dana Jones The featured artist article on Alicia and ever-changing world of art quilt- the top of their game in the art-quilt Merrett in the winter 2014 issue ing. Deborah Quinn Hensel intro- world, don’t miss Carole Staples’ arti- of the SAQA Journal said Alicia duces us to Shelly Zegart and her cle, “The Making of Mask of Dark.” had a quilt in a British exhibition documentary, “Why Quilts Matter.” Carole shares her intimate journey at the National Quilt Museum in Dorothy Raymond, wearing hats through self-doubt. Her experience Paducah, Kentucky, and that she led a workshop there. Her quilt was of both lawyer and artist, provides a will resonate with many of us. exhibited, but she did not attend no-nonsense reference on the nuts Enjoy this issue. Look for inspira- the exhibition and did not lead a and bolts of copyright in her piece, tion. Look for practical advice. Look workshop. The Journal regrets the “Copyright: It’s the Law.” for great art. error. SAQA Journal • Spring 2014 • 3 Featured artist: Betty Busby by Cindy Grisdela ature and science are at the tell a story about a little-known slice Nheart of Betty Busby’s art. Her of life, down to the cellular level. Her vividly colored and meticulously quilts are quite large. Growth Factor, detailed images of microscopic organ- which depicts a cross-section view of isms are striking from a distance yet a cellular process, is 37 inches x 64 encourage viewers to take a closer inches. look as they enter a different world. Perhaps equally important to her Microscopic images are artificially award-winning art is her fascina- colored because there’s no color in tion with materials and process. “I the microscope, Betty said. “That’s like to take a new type of thing and my reason for using any color I want do something with it,” she said. For to use,” she said. example, in Retia she used hand- Her approach recalls that of painter woven cottons, upholstery cording, Georgia O’Keeffe, who painted close- velvet and mohair. ups of flowers that forced viewers to To create the intricate pattern- look at a common natural phenome- ing in a piece like Organelle, which Betty Busby non in a new way. Variations of color was exhibited at the 2012 ArtQuilt works on Ginger Jar. and pattern combine in Betty’s work Elements exhibition in Wayne, to describe a process in motion and Pennsylvania, Betty painted colors 4 • SAQA Journal • Spring 2014 Above: Organelle 47 x 44 inches, 2011 Left: Retia 60 x 45 inches, 2012 onto nonwoven material and cut Island School of Design in 1974 with putting art first in life really resonated out organic shapes from it. Because a major in ceramics, she founded a with me,” she said.
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