In This Issue… See Page 37 Art & Excellence

SAQA Studio Art Quilt Associates, Inc. Journal Volume 19, No. 2 Spring 2009 photo by F. Alfredo Rego Alfredo photo by F.

Spring Thaw by Leslie Rego In this issue… see page 37 Art & Excellence...... 5 Expanding your artistic production. . . . 24 Evolution of an exhibition...... 6 Studio space...... 25 Highlighted artist: Susan McCraw. . . . . 8 What judges look for...... 26 The meeting of art and quilt...... 12 Video documenting your artwork . . . . .27 Three-dimensional quilts...... 16 Artist in residence: Summer Institute. . . 30 SAQA member gallery...... 20 To publish or to be published – part II. . . 32 Considering sponsorship ...... 22 My first year as a SAQA member . . . . . 33 Letters and reports Thoughts from the president by Judith Content

s I write my bition announcements, and images ASAQA Journal from magazines. report, the colors in I attached the papers to the wall my autumn garden with push pins, overlapping the edges are simply wonder- to totally obscure the cork. After ful. I collect Japa- that, as postcards came my way, they nese maples and went up on the wall. These accom- they are currently panied pictures from trips, business tinctive design element that ties that a riot of fiery hues. cards, magazine pages — anything year together. This year the unifying I recently painted the garden walls a and everything that inspired me. element is a color — deep tangerine. deep shade of garnet and the contrast The effect was a wonderful collage It turns up in the stitched leaves on a with the glowing maple leaves and of images, a profusion of ephem- postcard from Peg Keeney, as well as a fuchsia bougainvillea is magical, if era — the sorts of things collected and the rippling surface treatment of Hori- momentary. all too often forgotten. zon VII by Deidre Adams. A postcard Here inside my studio it’s easy to A year later the wall was full. Com- of Regina Benson’s Pele reverberates tell another year is coming to a close. pletely covered. I considered what with carnelian and black. Postcards How so? My ‘inspiration wall’ is virtu- to do. I could start covering other given to me by Robin Cowley, Carol ally full. Over the year it gradually studio walls. I did have two more, Larson, Catherine Kleeman, Kather- becomes a dense mosaic of compelling not counting my design wall. Or I ine Allen, Charlotte Ziebarth, Linda imagery, vibrant color, and intrigu- could start another layer — a colorful Gass, Connie Rohman, Kathy Weaver, ing design. In January 2009, it will be sedimentary deposit of the vertical and Patty Hawkins (to mention just a taken down to begin all over again. sort. Or I could take it all down, pack few) glow with cadmium. My inspiration wall started when it away in a box and completely start Soon I’ll take down my 2008 I removed a malfunctioning wall over with a blank canvas. I now have inspiration wall and pack it away. I’ll heater from my studio, thus leaving a eight boxes filled to the brim with art miss its vibrant warmth. However, huge gaping hole. I covered the hole and inspiration. I’m looking forward to discovering with cork, but this was almost as ugly From time to time I pull out a box what 2009 holds in terms of art and as the hole. I looked around for some- and reminisce. Sometimes I cull the inspiration, and I hope that many thing to cover the cork and reached boxes for collage materials or to find wonderful postcards continue to for a basket of artist’s postcards, exhi- a lost address. Usually, I note a dis- come my way. Board report by Penny McMorris

n our last Journal, I asked you to to exhibit your artwork. example, if you live in Indiana just Ithink about your membership: You wanted more workshops and over the border from Illinois, you can what you got from it and what you more networking opportunities at select Illinois as your second state and wanted to get. Here’s a short list of conferences. The upcoming Art & receive SAQA news from Illinois as some of your requests, and how we’re Excellence conference (May 21-24) well as Indiana. responding: will offer lots of both. You can choose You wanted a board that was You wanted SAQA to exhibit more from the list of timely mini-workshop responsive to you. Now, contacting in museums. The exhibition com- presentations as well as from six the board is easier than ever. Write to mittee is hard at work getting venues practical, in-depth art workshops tak- [email protected]. If you forget that for 12 Voices and other exhibitions at ing place before the conference (May address, go to www.saqa.com > About museums, higher end galleries, and 18-20). SAQA > Board of Directors, and find art centers. I continue to be incred- You wanted a chance to choose the contact link there. We want to ibly impressed by how hard the your region. You can now select a hear from you. exhibition committee works and how second state or country to “belong” I look forward to seeing many of many possibilities they offer for you to as part of your member profile. For you in May at Art & Excellence.

2 • SAQA Journal • Spring 2009 Report from the SAQA executive director by Martha Sielman

hanksgiv- dedication of our volunteers. The advertising, business cards, stationery, Ting is next twelve volunteers who make up the etc. Our Portfolio editor volunteers week, and I’ve SAQA board guide the organization, as manager of our marketing efforts, been reflecting plan the budget, plan the exhibition ably assisted by our press release on how thankful calendar, evaluate opportunities, writer. Our web site coordinator I am to be work- and develop new initiatives. Our 40 and our web site calendar coordina- ing for such an regional representatives work tire- tor keep the web site up to date and incredibly gener- lessly to reach out to their local mem- fresh. The SAQA-U committee does ous community. bers through newsletters, meetings, the same for SAQA-U so that we have Studio Art Quilt Associates depends exhibitions, and regional conferences, an incredible resource available to us on the donations of its members: as well as manage the SAQA booths at all times. donations not only of money and at the big quilt festivals and other Whenever there’s a need for a auction artwork, but of time, energy, events. volunteer, whether to create a survey, creativity, resourcefulness, and care. Members of the exhibition commit- proofread Journal articles, or staff In 2008, SAQA reached almost 2,300 tee plan and manage all of the SAQA a SAQA booth, SAQA members are members in 30 countries, worked exhibitions, have developed a new there giving their time, energy, and with SDA to put on a fantastic online entry process, and are in the expertise. And of course, my thanks conference, and created and man- process of creating step-by-step les- go out to all of the members who aged 14 exhibitions. We printed and sons for using various types of digital donated auction artwork, including distributed four exhibition catalogs, imaging software. Volunteer admin- the twelve members who created the four quarterly Journals and the PAM istrators and curators coordinate the beautiful artwork for our Art Gallery in Portfolio. Members staffed informa- minutiae required to put on each a Box IV auction at the Art & Excel- tion booths at six major events and exhibition. lence conference in May. participated in a dizzying variety of Our Journal editor volunteers her SAQA could not prosper without regional events. time to create the content for our the efforts and dedication of its won- All of this activity and achieve- quarterly issues. Our art director gives derful volunteers. Thank you all very ment was possible because of the her time to design and update our much! Meet your new treasurer: Nelda Warkentin

efore conferences was especially rewarding, eleven times. I have also exhibited in Baccepting and it still is. I am glad I have this ArtQuilt Elements and was invited to a position on opportunity to give back to an orga- create artwork for SAQA’s Art Gallery the board, I was nization that has been so helpful. in a Box III. SAQA’s Alaska In 1995, I took a design class at Numerous galleries, museums, representative for the Museum of History and Art in and other venues, including the many years. The Anchorage. It connected me with a U.S. Embassies in Moscow and Cape skills I bring to group of fiber artists who inspired me Town, have chosen and displayed my the board include to become an art quilter. After taking artwork. Other quilts are in public, my artist’s perspective, as well as art classes at the University of Alaska private, and corporate collections. organization and management skills Anchorage and numerous workshops I create my abstract artwork in two acquired in my previous career as a around the United States, I developed studios — one in a condo in Anchor- community planner and programs my unique style of working, which I age, and another in the attic of a manager for the State of Alaska. call “layered paintings.” 150-year-old farmhouse in western When I was starting out as an art In 1997, jurors started selecting my Maine. To learn more about my quilter, SAQA offered me encourage- quilts for national and international artwork, please visit my web site at ment, direction, and useful informa- shows. My artwork has been juried www.neldawarkentin.com. tion. Getting to know others at the into Quilt National and Quilt Visions

SAQA Journal • Spring 2009 • 3 Letters and reports

From the editor by Carolyn Lee Vehslage

e have word, select Mentorship Forums from to fund her travel to the 2008 SAQA Wanother the left side menu, and scroll down Europe’s Wide Horizons exhibition in SAQA Journal jam- to Completed Calls section. While on Alsace, France. packed with articles that page, you can see what Lisa has Joyce Hanlon gives us insight into to help us develop lined up for the future. her search for good studio space. We as artists in the field Julia A. Pfaff has a thoughtful can learn a lot from her journey from of art quilting. I opinion piece on how we classify our one space, to another, to the final want to thank Jean work. She asks us to consider three haven she found. Judd and Rita Han- distinct categories: quilts presented as I’m always interested in stories of nafin who helped me to polish this art, quilts made as art, and art made how artists develop their artwork, and issue. in a quilt medium. In her research for how SAQA has aided them. Bonnie J. I’ve enjoyed listening to the the article, she surveyed artists from Smith tells us how she came up with SAQA-U mentorship calls that Lisa three well-known art quilt exhibitions her award winning design, and then Chipetine has so wonderfully sched- to find out what they call themselves how she converted it from a wall uled for us. V Kingsley gave such a and how they define their work. The hanging to a functional purse. Casey strong presentation on how she uses results show how we all struggle to Puetz shares all the exciting oppor- video to document her commissioned come to terms with who we are and tunities that her first year of SAQA artwork that I thought it would make what we do. membership has brought her. If you a great article. To hear V in her own One of our international members, have a story of your artistic journey, words, go to www.saqau.wikispaces. Tove Pirajá Hansen, shares her experi- please contact me at clvquilts@yahoo. net, log on with your ID and pass- ence in getting corporate sponsorship com.

Letter to the editor

Michael A. Cummings www.michaelcummings.com.

After reading Clairan Ferrono’s article wholesale price. After sweating that paper trail (almost like making a crazy “Art in Embassies” in the Fall 2008 first hurdle, I had to go to their vari- quilt) and meeting all requirements, I issue of the SAQA Journal, I had ous web sites that provide business felt like I had reached the finish line to stop and reflect on her smooth forms and federal descriptions for in a marathon, and won! process from beginning to end. My procurement of the artwork. There There is also a loan plan within experience with the Embassies Art were mountains of forms that only a the Embassies Art Program, where Program was more like an endurance federal bureaucracy could produce. rather than buying the artwork, you test. Artists submit images of artwork Some of the items that were are asked to lend it for a certain time to the program, and then the staff required on the invoice were com- period. Lending art may entail less attempts to match artwork with a pany name, invoice number, Duns paperwork; however, I had doubts country or a particular ambassador’s number, contract number, order about the treatment and conditions art interests. I worked with a staff number, line item number, descrip- of how artwork would be handled, member, not a curator as Clairan had. tion of each artwork, social security so I prefer to sell rather than lend my Once the art was selected, I had to number, shipping terms, and pay- art. get serious with negotiating the deal. ment terms. Unlike Clairan, I didn’t In spite of the work my experience First, I was expected to be “flexible” have an art shipper contact me. It was entailed, I would like to urge SAQA with my prices, meaning the program my responsibility to send the artwork members to take advantage of this has a limited budget and it expects a to their office. After creating this exciting opportunity.

4 • SAQA Journal • Spring 2009 Conference ’09 Art & Excellence by Nelda Warkentin

opefully by now, you have decision-making, offering insights Hregistered for SAQA’s Art & into how and why the 2009 selec- Excellence conference to be held in tions were made. Another panel will Athens, Ohio, May 21-24, 2009. The offer advice on how to look beyond conference will be an exciting oppor- what you’re doing today with your tunity to network with your peers, art. A third panel will look at SAQA’s learn from talented teachers and a history and future. variety of speakers, and experience The Quilt National banquet, breaks the Quilt National ’09 exhibition. between conference sessions, and Highlights of the conference will “down time” will provide participants include keynote speakers Dr. Don with numerous opportunities to Bacigalupi and Alyson B. Stanfield. network with other SAQA members. Dr. Don Bacigalupi is president, direc- During our first evening together tor, and CEO of the Toledo Museum participants will share information of Art in Ohio. He will speak on about themselves in a fun exercise “Contemporary Art & Studio Quilt- called “artist speed dating.” The ing: A Museum Director’s Perspec- session will allow attendees to meet tive.” Alyson B. Stanfield, founder of each other early on, making it easier ArtBizCoach.com, is an artist advo- for people to connect during the cate, art marketing consultant, and conference. author of I’d Rather Be in the Studio! Workshops, May 18-20 The Artist’s No-Excuse Guide to Self-Pro- motion. She will answer the question, Six comprehensive art workshops “What happens once they click?” offer additional skill-building oppor- The conference will offer mini- tunities. For those of you who want workshops, panel discussions, and to further expand your horizons networking opportunities while and skills, three-day workshops with celebrating SAQA’s 20th anniversary. in-depth training will be held earlier Attendees will be able to participate in the week (May 18-20) at the Dairy in a critique group led by Sandra Barn Arts Center and the University Sider. I attended a critique session at of Ohio in Athens. Classes are being the 2007 conference. The guidance offered in shibori, silk and textile given and the critiques of individual painting, PhotoShop for artists, works were enlightening. The critique complex design, art and design session was also a great opportunity fundamentals, and color mastery. to participate in a focused discus- Questions sion with one’s peers, to learn from If you have questions about the that process, and to get to know one conference, visit the Art & Excellence another better. I’m looking forward to conference web site at www.saqa. participating in the critique session at com/newsebulletins/conf09.aspx, or next May’s conference. contact our conference coordinator, Other mini-workshop sessions will Desi Vaughn (desiree.vaughn@ offer information on photographing elkrapidsnet.com or 231-409-2581). art quilts and preparing the digital I look forward to seeing you in images, pricing, sales and commis- Athens next May. sions, time management, self-publish- Miscellany ing, and innovative marketing. SAQA board member and Art & Excel- 60˝ x 21˝ In addition to the instructional ses- lence conference planning committee © Erin Wilson chair Nelda Warkentin is an artist living in sions, the 2009 conference will offer Photo courtesy of Quilt National 2009 three panel discussions: The Quilt Anchorage, Alaska. Her web site is www. National ’09 jurors will discuss their neldawarkentin.com.

SAQA Journal • Spring 2009 • 5 Exhibition Advice Evolution of an exhibition by Carol Watkins

he Don’t Fence Me In exhibition annual retreat for 3 or 4 days. For the Several themes for the new exhibi- Twas developed by a group of last couple of years, the members of tion were considered, but the one innovative art quilters, asserting their Quilt Explorations have been invited that resonated was “Don’t fence me collective creative energy to produce to join us. We rent a large house in.” With that phrase came a sense an eclectic themed quilt exhibition. outside Rocky Mountain National of excitement that drove us to free- I am a member of Piecemakers, Park. The purpose of the retreat is to associate every possible meaning of an art quilt critique group in the share our personal and artistic joys the expression, including cows, femi- Boulder-Denver area of Colorado. and sorrows. We drink wine in front nism, and the environment. The group was formed about 20 years of a roaring fire, eat delicious meals, The “Don’t fence me in” concept is ago and meets monthly for personal and hike in the clear, cold mountain not a strictly western theme, but it’s and artistic enrichment. The current air. We bask in the beauty of our sur- intrinsic to the American psyche, and group of 12 women has been together roundings. The days are filled with a most certainly in the artists’ psyches. for about 10 years. Another critique variety of activities such as quilting, We are migrants to Colorado, to the group, Quilt Explorations, was beading, exchanging knowledge and West, bringing our hopes, dreams, invited to join us for this exhibition. techniques, sharing books, and totally ambitions, and talents to this beauti- They have nine members, two of enjoying being together. During the ful and challenging environment. As whom are also in Piecemakers. Marta retreat of 2006, we challenged our- artists, we look to expand our hori- Amundsen, a Wyoming quilter whose selves to develop a new exhibition. zons, challenge ourselves, take our artwork often focuses on western Piecemakers had previously art in new directions, and combine themes, was also invited and partici- mounted an invitational show that materials and processes not known to pated in the exhibition. traveled for five years. ThePotluck our grandmothers and their quilting exhibition was viewed across the experience. How the idea evolved United States from 2002 to 2007, The artists and the quilts In the cold, post-holiday days of sponsored by a national exhibition January, the Piecemakers go on an organization. Each artist was encouraged to interpret the subject matter as she chose. Tremendous variety is evident in the 60+ quilts that emerged from 19 artists. The “Don’t fence me in” concept was taken both literally and metaphorically. The quilts fall into broad categories: the West of indigenous people; homesteading, settlers, cowboys and cowgirls, flora, fauna, landscape, and the Western environment. Some are humorous or whimsical, while others are serious or express pathos. They are both realistic and abstract. Exhibiting the quilts The Longmont Museum & Cultural Center in Longmont, Colorado, pro- vided their exhibition galleries for the

6 • SAQA Journal • Spring 2009 Left: Homestead, 24˝ x 24˝, © 2007 Barbara Cohen Right: Gunfight at Potato Canyon,24˝ x 24˝, ©2007 Gay Lasher exhibit. The Museum staff collabo- Kansas City Public Library in Kansas City, If you are interested in booking rated in promoting the exhibition Kansas, May-July 2009, during the “Off this exhibition, contact carol@ and did an exemplary job of hanging the Grid” Surface Design Association carolwatkins.com. the artwork, using natural split-log conference SAQA professional artist member fencing for some of the quilts. The South Dakota Art Museum in Brookings, Carol Watkins is a fiber artist living in opening was promoted through South Dakota, September 2009 – Boulder, Colorado. Her web site is postcards, email, and the Museum’s January 2010 www.carolwatkins.com. newsletter. The enthusiasm with which the Kimball Art Center in Park City, Utah, exhibition was greeted encouraged February-March 2010. us to try to take the show on the road. We had a brainstorming session and came up with a list of venues to Purple Sky approach. Judith Trager took on the 23˝ x 24˝ task of calling, emailing, or writing © 2007 Carol Watkins the venues to make initial contact. If there was interest, I followed up by sending a CD with images of the quilts. Three additional venues have been scheduled so far; others may be forthcoming. Exhibitions are often scheduled a year or more ahead. Occasionally a slot might open up unexpectedly, and we may be able to take advantage of that opportunity. We have a good reputation, and exhibition directors know we will pack the quilts carefully, ship quilts and materials in a timely way, and provide publicity. We can also schedule workshops and lectures. Don’t Fence Me In is currently scheduled for these venues:

SAQA Journal • Spring 2009 • 7 Highlighted artist Susan McCraw

he inspiration for my first quilt Twas a fashion writer’s descrip- tive term, “carwash skirt.” “Aha!” I thought, “I know exactly what she means: those swingy, vertical strips of fabric that swish across the wind- shield in the automatic carwash.” The image of those strips had been fixed in my memory twenty years earlier, when my toddler son issued endless pleas to “go again” through the sudsy gauntlet of the carwash. He would scream all the way through, in feigned terror, at the noise and action. I don’t believe he understood that the trips had any more practical objective than a roller coaster ride. When I began making art quilts, I had been reading books about quilting for several years. My first expo- Susan McCraw with Regalia, 45˝ x 24˝, © 2003 sure to quilts had been a visit to an exhibition at the Museum of Ameri- can Textile History in Lowell, Massa ing law in a downtown Boston firm. organization called Harvard Neigh- chusetts. The pieces in the show After 15 years, I resigned my partner- bors in Cambridge, Massachusetts. belonged to a New York collector. ship and began to disengage from my The 20 quilters in this group were Although I didn’t appreciate it at the law practice. By 1995, I had started from five or six countries, some rank time, they were superb examples of to collect a supply of fabrics with beginners, others quite experienced. the medium. Most of them had tradi- the “carwash skirt” in the back of In their company, I learned how to tional patterns. They were from Japan my mind. I was accumulating prints draft patterns, make and use tem- and other countries, as well as the of automobiles and traffic. I had no plates, and how to piece, appliqué, United States. All of the makers had idea how I would build the design for and quilt by hand. We worked with sophisticated taste and I wondered a representational quilt, or indicate a large number of traditional quilt whether I might actually be able to the frenetic activity of the carwash designs. Although I seldom use those create something so exquisite. machines. patterns and processes now, the expe- I knew I had three skills that would I began by making two small rience gave me a solid grounding in serve me well as an art quilter. First, patchwork quilts with artsy touches the fundamentals of quilt construc- I could sew. I had made many of my in value gradation and palette. Then, tion. It also taught me a standard of children’s clothes and curtains for our I created an original scene, hand care best expressed as, “almost right homes. Second, I knew a lot about appliquéd, of five geese flying across is wrong.” I stayed in the Harvard the indigenous cultures of Africa the night sky. I learned a lot from Neighbors group for four years and and Asia from my days as a gradu- that time-consuming process, but the was an instructor for the last three. ate student in history. The textiles of result was not as successful as I had My second source of help came these cultures would become one of hoped. I modified the design and col- from the school of the DeCordova the main inspirations for my quilts. ors and tried again. When the second Museum in Lincoln, Massachusetts. Third, I had plenty of experience in version also proved disappointing, There, I completed two courses in organizing tasks. I had coordinated I knew that it was time to look for color and design taught by Linda S. five long-distance moves for our help. Perry, an accomplished professional household. Help came from three sources. First, art quilter. She is a meticulous teacher I graduated from Harvard Law I joined a group of quilters who met who uses fabric, rather than paint School in 1978, and I began practic- once a week with an instructor in an or pastels, as the medium for her

exercises and projects. It was in those entire collection of back issues of the courses that I heard the wonderful magazine. phrase “economy of means,” which The layout for my Carwash quilt means finding the smallest possible was developed from the influence number of forms and lines to make of HALI, the hand-quilting group, the artistic statement that you want a and my DeCordova Museum school particular work to convey. For me, it courses. It would be a double medal- has meant learning to edit my visual lion rug arrangement. Two central expressions in the same manner as a squares set on point would contain written work, leaving only the best appliqued images of cars entering rendition of each element in the and exiting the carwash. Along the composition, and cutting out any two vertical sides would be rows of bells and whistles that could distract smaller squares conveying impres- the viewer from my essential artistic sions from the carwash corridor. message. Shapes and lines in the background The third source of help came as an would indicate water spraying, drain- “Aha” moment: I realized that I was ing away, and the motions of the not thinking like an artist. I had been washing machines. going through life describing and When Carwash received awards narrating scenes and events in words from the judges at several regional rather than picturing them. I needed shows, it dawned on me that I was to develop a mental vocabulary of becoming a legitimate art quilter. I images that could be interpreted in joined Quilters’ Connection (QC), my artwork. the grandmother of New England As it turned out, much of that guilds. There, I gained access to the vocabulary came from HALI, an wisdom of 200 quilters of all ages, elegant magazine directed to collec- backgrounds, and styles, as well as tors of antique Oriental rugs. I first speakers and workshop presenters of saw an issue of HALI at the home of national stature. I kept expanding my a friend. It was gorgeous; full of color visions of ethnic textiles. photos on heavy, slick paper. There Through contacts in QC and were fascinating articles about where the DeCordova Museum school, I carpets have been produced by hand helped to form a critique group, New for centuries: the Middle East, Central Wrinkle, which has been going strong Asia, Africa, and the Orient. These for nearly seven years. Our six mem- were the very realms that had filled bers work individually in a variety of my imagination ever since my study styles. We meet once a month to give of African and Asian history. Seeing and receive advice on techniques, news and pictures of the peoples who products, work in progress, and lived there, and their works, was like opportunities for shows and sales. greeting old friends. Since 2004, we have mounted more HALI’s “Auction Prices Report” than a dozen shows in Massachusetts quickly showed me that I couldn’t and Connecticut. afford to become a collector myself, From the beginning, my pri- Dark Spirit but I could spare $200 a year to mary goal as an art quilter was to 48˝ x 37˝ subscribe to the magazine. Along develop a coherent body of work. As © 2005 with its hundreds of images, HALI I progressed, the need to construct provides more resources: books to quilts in a way that would satisfy buy or borrow from a library, dealers my standards of execution and be to visit, exhibitions and conferences completed in a reasonable amount to attend. These became the well- of time became apparent. I took the spring of my working stock of motifs major step toward that second goal and compositions. As an unantici- pated bonus, my friend gave me his continued on next page

SAQA Journal • Spring 2009 • 9 Susan McCraw from previous page in 2000. I turned from hand quilting to machine quilting and from hand appliqué to a fabric collage technique. Now, I typically fuse fabric shapes onto pieced or fused backgrounds and finish the edges of the appliquéd shapes with satin stitch or open zig- zag stitching. The inspiration for most of my quilts has come from carpets and other weavings made in traditional societies around the world. The pieces that appeal to me most are not the classic Oriental rugs from mansions and museums, but items used daily by ordinary people. In the desert regions of Turkey and Central Asia, a rug may serve as a floor covering, an interior partition, or a tent dwelling’s outside door. A stack of rugs may form a bed, a table, or a seat. Mem- bers of carpet-making nomadic tribes pack their belongings in rug-like Ribbons on the Wind, 18˝ x 15˝, ©2005 saddlebags, carried on the backs of camels and donkeys. In India, Africa, and Indonesia, a large rectangle of made only one or two large pieces By the end of 2004, I had sold six cotton, silk, or bark cloth may be a per year. Over time I began work- quilts and had contributed an illus- skirt, a table cover, a baby carrier, or a ing smaller to bring more of my trated article about my work to the man’s principal garment. The mak- design ideas to completion. I had New England Rug Society’s monthly ers of these textiles, many of whom no thought of making money from publication. I had sold an image of are women, decorate their work with my artwork. I consciously reminded another quilt to a U.S. senator to use an immense variety of shapes and myself that I was not pursuing art on the cover of his family’s Christmas symbols that are as old as civilization as a career. I was working hard, but card. At this point, I was emboldened itself. my schedule was shaped only by my to present myself as an artist, as well My vision of a new quilt sometimes creative drive. I showed my work at as a quilter. arises from a woven or embroidered the annual exhibits of Quilters’ Con- Through jury processes, I became motif; sometimes from a combina- nection and in juried New England a member of the Cambridge (Massa- tion of colors and patterns; and other exhibitions such as A Quilters’ Gather- chusetts) Art Association and a profes- times from the way that the forms ing and Images. sional artist member of SAQA. I put on a tribal fabric are organized. Often 2004 was a real watershed year for together a presentation with images I mix elements from three or four me. First, I was invited to participate and actual quilts called Ethnic Textiles sources. in a two-person gallery exhibition as Design Inspirations. I was pleased Interestingly, the skills of analysis with a painter friend. Then my quilt to present it as a SAQA Lecture at the and categorization that I brought Regalia was selected for ArtQuilts at Houston International Quilt Festival from my days of practicing law have the Sedgwick in Pennsylvania. And, in 2007, as well as to guilds. greatly benefited my art. This past my critique group scheduled four My artwork was exhibited in art experience has helped me to organize exhibitions to occur within the year. galleries at Brandeis University, my large archive of sketches, photos, I needed 15 to 20 pieces for the private preparatory schools, public and doodles into a list of major two-person show, and I had only libraries, and commercial locations. design elements: zigzags, grids, lines, half a dozen on hand. I planned and Several of my quilts were juried into mandalas, calligraphy, and so forth. executed nine by April, and during SAQA’s The Creative Force 2006, the These are my raw materials for begin- those months, I probably learned regional exhibition Unbound, and ning a new composition. more about making art quilts than I into exhibitions sponsored by the When I began as an art quilter, I had in the previous decade. Cambridge Art Association. With a

fellow member of New Wrinkle and long on the clock, I have an aver- ously helped me to become familiar Cambridge Art, I curated and partici- sion to placing aspects of my art life with resizing digital images, burning pated in an all-textile exhibition at on a deadline. I take delight in the CDs, constructing PowerPoint presen- the Association’s premier gallery in process of planning and execution. tations, participating in a Wiki, and Harvard Square. Even when I’m very pleased with a critiquing my own work. Cambridge My recent artwork reflects a shift in product, it’s a satisfaction second- Art Association has given me oppor- my approach to design. I’m moving ary to the ongoing joy of bringing tunities to work not only with artists away from ethnic models and toward a projected design to fruition. Of in other media, but also with jurors, the fundamental components of course, I treasure the thrill of know- journalists, and administrators in the pattern: zigzags, grids, stripes, and ing that someone likes my work well art world. circles. Most of my recent quilts now enough to pay me for it, but I haven’t From the vantage point of my present concentrated and simpli- pursued commissions or commercial sixties, I recognize that I have lived fied variations on these elements. representation. several different work lives. Recently, I’ve begun to work with additional This year, I’m sending out to I have realized that I can enjoy chal- techniques: machine embroidery, guilds a brochure about my ethnic lenge and gratification without hav- layering, and designing with cut inspirations program and my color ing to climb all the steps of a career paper. I am also experimenting with workshop. After start-up costs for ladder. I find that I’m more comfort- new materials: paints, wax pastels, equipment and supplies, my current able with who I am and what I do as and sheer fabrics. Although I’ve made annual investment in my art is about an artist than I was as an academic- only a handful of representational $3,000. I have a roomy studio space in-training, a stay-at-home mom quilts, in my future artwork I would in my home, and I try not to buy and volunteer, or a lawyer. In many like to make better use of the pho- fabric unless it’s for a particular quilt ways, the present is proving to be the tographs that I take of natural and in progress. most satisfying part of my life. I look manmade forms. Joining SAQA and becoming a PAM forward to every day, and to all the I’m not a marketing role model. has generated strong impulses to artwork to come. Many of the quilts I’ve made have become more active as a professional. SAQA professional artist member Susan never been for sale. I’ve kept them to The evolution of SAQA-U as a valu- McCraw is a quilt artist and workshop decorate our home or present them able resource has been perfectly timed teacher living in Belmont, Massachusetts. as gifts. After practicing law for so for me. SAQA members have gener- Her web site is www.susanmccraw.com.

SAQA Journal • Spring 2009 • 11 Opinion The meeting of art and quilt by Julia E. Pfaff

make art in a quilt medium, but magazines extolling the virtues of ship in art does matter. Poor crafts- II do not call what I make an art “Easy Art Quilts through the Magic manship diminishes art as much as quilt. Looking from the outside in, of Something or Other?” While a anything else. The reverse side to this especially from the vantage point of number of respondents embraced the complaint was noted over a decade the art world, there seems to be an use of “art quilt” and proudly call ago when a friend of mine stated that inherent paradox in the question: Is themselves quilt artists, the depth of the problem with the art quilt was it art or is it a quilt? resistance to these terms was equally that a lot of it was just bad art. Robert In order to determine whether my reflected in responses. Interestingly, Shaw also refers to the “all-too-often peers were using the terms “art quilt” there was as much concern with the insular world” of art quilts. Develop- and “quilt artist,” I did an informal adoption of the word “art” (too elit- ing a system of critical thinking and email survey of the participants of ist), and the retention of the word awareness of the broader art world is Quilt National ’07, Quilt Visions ’06, “quilt” (too folksy), as there was with an important goal for us all. and AQATS ’06. Of the respondents, the combination of the two words. Rebecca Stevens, consulting cura- only 46% used these terms. This As much as we may want to pay tor for Contemporary Textiles at usage ranged from “always” to “on homage to our history, there is a the Textile Museum in Washington, occasion.” 54% of respondents did general understanding that the use D.C., believes the term “art quilt” not use the terms at all, choosing for of the term “quilt” can bring with is well respected and understood in the most part to say they made fiber it unwanted associations of hob- the fiber and art fields. A number of or textile art. Only 11% of respon- bies, craftiness, and kits. While some respondents, however, felt that no dents said they were artists, creating respondents were concerned about matter what we call our work, it is art with no qualifiers. Subsequent dropping the use of the term “quilt,” not taken seriously by the art world. to this survey, there has also been a others indicated embarrassment in The obstacles to acceptance of quilt continued dialogue on this subject on the association with the quilting making as an art medium are subtle the SAQA Yahoo!® group. tradition and were trying to set them- and persistent. The results in both venues are tell- selves apart from what had come A 2006 survey estimated the ing, not so much in that I was not before. They felt this also diminished number of quilters in the U.S.to be alone in my non-use of “art quilt,” the status for those who maintained 27 million, up from 15 million in but in that there are a multitude of use of the word “quilt.” Interestingly, 1994. This is approximately 1 in 12 approaches to what we call ourselves the association with grandmothers people living in the U.S. Quilting is a and what we make. It is abundantly was both reviled and cherished by hugely popular activity, and one that clear that the words really do matter. different respondents. is firmly rooted in the vernacular. It They help define us and our artwork. Respondents often expressed is part of the American psyche like They explain our intent and help us the idea that if you use the word no other craft medium. Perversely, it place ourselves in the broad spectrum “art,” you are saying that what you is the only traditional craft medium of art activities. do is better than a “quilt.” While that historically has not had academic First coined in the 1980s, the the perception of elitism is hard to affiliation. term “art quilt” held a valid posi- combat, most thought conversely Quilting as a popular folk craft tion within the quilting community, that use of the term “art” emphasizes contributes to the deficiency of criti- indicating the function of the object. that the distinction is one of func- cal attention and lack of acceptance These quilts were meant to be on the tion and intent, not quality. If the that quilting receives within the fine wall, not on the bed. However, with maker wants something to function art world. Its apparent accessibility time and expanded usage, resistance as art, that is his or her decision to to a broad audience makes it suspect to the use of “art quilt” has sprung up. make. The audience, however, decides as high art. Value is assigned within It is a fact that the use of the term whether or not it is good art. the contemporary art world based on “art quilt” has been co-opted by the Another common complaint concept and innovation. Traditional quilting industry as a marketing tool regarding the use of the term “art” craft models more often rely on the and a type of “project de jour.” This is in relationship to quilting is that it is culturally shared understanding of often cited as one of the fundamental used as an excuse for poor workman- the technical skill and labor of the problems with its continued usage. ship. It is true that craftsmanship is maker in order to assign value. These How often have we seen quilting not the measure of art, but craftsman- two value systems are at odds with

each other. The more labor intensive and process-related the making of an object is, the lower it goes on a fine art hierarchy. In looking at the place where art and quilt meet, there is a continuum of sorts: a blurry place in which quilters making quilts, and artists making art, encounter each other. Within this continuum, I see three different categories of the ways in which art and quilt meet. These categories are not meant to denote value or a hierarchy. They are derived from the objective of the maker. This intent is related to references used, guidelines followed, and decisions made while working. The maker’s intent is not always apparent to the viewer. Quilts presented as art In this category, form completely follows function. These are quilts meant to function as bed coverings but which have been moved out of the domestic sphere and into a museum or gallery setting. and printmaking at the University of to be presented as art. It is part of This moving of cultural artifacts Toronto. I knew that people liked to a series which includes Bedouin- into a museum setting is not particu- hang quilts in their homes as deco- inspired cross-stitch embellishment. larly new. Western society has been ration, but I wanted to use them as It is based on quilt form and func- doing it since the Renaissance. This installation pieces within the sterile, tion, relying for its inception on quilt recontextualization was the premise white-cube setting of the art gallery. history and canons. of the 1971 Abstract Design in Ameri- This idea occurred to me after study- Quilts made as art can Quilts at the Whitney Museum ing the artwork of Joseph Kosuth, and a multitude of quilt shows since who had done a series of conceptual In this category, form still follows that time. Its most recent manifesta- works focusing on a chair. If a kitchen function, but the intent of the maker tion was seen in the 12-city museum chair could be the basis for concep- has changed. The work functions tour of The Quilts of Gee’s Bend. This tual art, why not a quintessentially as a quilt, but the maker is look- shift from one arena to another relies domestic object, the quilt? ing to address issues and concerns on the appreciation of the audience, As a feminist, I was drawn to that stand outside quilt history and collector, curator, or sometimes even the subversive aspect of putting a canons. maker. Within this rubric, all quilts lovingly hand-stitched bed covering But Did She Drown? is one of my could potentially be considered art, as into the male-dominated, hard-edged, earliest conscious attempts to make argued by Michael James and Hilary contemporary art setting. A bonus a quilt that would be considered art. Fletcher. was that I did not have to buy or find I used the idea of a funerary quilt as Making a quilted bed covering, and quilts; I could make them myself. At my model and put a visual voice to a then exhibiting it in an art gallery the time, I had no success convinc- tragic event in my life. The included context, was my earliest connection ing a commercial gallery in my native text is a journal excerpt, written between art and quilts. During the Toronto to support this idea. after a close friend was killed in the late 1970s, I was studying art history Harmony was the last quilt I made continued on next page

SAQA Journal • Spring 2009 • 13 Meeting from previous page crash of KAL Flight 007 in 1983. For years, the question of whether she lived long enough to have drowned plagued my dreams and often intruded into my waking hours. As an artist, it didn’t matter to me if the viewer knew the origins of my satin- stitched question, or whether they thought the quilt was humorous or morbid. Using full-coverage satin- stitch embroidery was an effective, historically accurate, and beautiful way of drawing in a quilt. My approach to combining art and quilt changed soon after the making of this quilt. Art made in a quilt medium In this work, form breaks away from any reference to function and is directed completely by artistic objec- tives. The work is a quilt by nature of its structure or materials only. This distinction speaks to the mindset, background, and point of reference of the maker, not to the quality of the work produced. As both a viewer and a maker, I do not have the same criteria for a bed quilt that I would But Did She Drown? 81˝ x 64˝, © 1987 have for a piece of art. My expecta- tions are different, and my reasons for valuing it are different. As in any rules, turned out exactly as I planned, my stitches regular and small. This artistic medium, there can be suc- and was done to relax. The other is characteristic of my work in any cessful, original, and significant work reached down into my gut, changed medium. I have virtuoso technique as as well as mediocre, derivative, and and evolved as it was worked on, and a printmaker, and if I were a painter, insignificant pieces produced. often caused me great anxiety in its I’d be working on perfectly gessoed By 1990, I had had exhibition and making. The challenge, for me, was canvases in layers of oil glazes. sales success with my quilts, and I that I had practiced these two activi- In looking at Harmony and My had been spending 2-6 months a year ties separately, but simultaneously, Week in Key Largo, I see that I have working in Greece, Egypt, and Jordan over a long period of time. ended up at a place not so different as a technical artist for archaeologists. Since graduate school, my work from where I started with my use of I also had a nagging discomfort that has continued to evolve and change. Palestinian cross stitch. Regardless I was artistically limited by using a My studio practice requires isolation, of any shift in approach, my work’s quilt form. I felt the need to combine and I am more likely to get inspira- relationship with the contemporary what had become divergent, insular tion from a painting or a broken art world is still problematic. Forget aspects of my life: quilting, printmak- piece of pavement than a quilt. My quilt or even craft issues, the mere ing, and archaeology. I needed to Week in Key Largo artwork is the fact that I am making 2D work for the learn how to dye fabric, and I wanted most recent in a series that combines wall makes me old school. a critical environment in which to pure abstraction with running-stitch I don’t use digital manipulation, reshape how I thought about using embroidery. It is based on the West sound, viewer interaction, recycled quilting as an art medium. To facili- Bengal tradition of Kantha. My work materials, found objects, lighting tate this, I went to graduate school. will never be confused with a bed effects, or disturbing social com- In my mind prior to this time, covering, but I have maintained a mentary. I continue to support the making a quilt and making a piece traditional approach to the medium. I idea that art matters, and it is not a of art were different types of activi- like a turned-under appliqué edge, my self-indulgent endeavor, but one that ties. One was fun, followed a set of backs are well rendered and neat, and civilized society needs and ultimately

values. As a mature artist, it has been in textiles. Today, she is a studio artist and Shaw, Robert. “Some Thoughts on Art Quilts,” a conscious decision on my part adjunct faculty in the School of the Arts SAQA Newsletter, vol. 10, Number 4, Fall 2000. to make art in a quilt medium. My at Virginia Commonwealth University in feminist ideals may have matured, Richmond, Virginia. She teaches in the The Quilting in America 2006 Survey, Department of Fashion Design and Mer- but I have maintained a commitment commissioned by CK Media, conducted chandising, as well as in the Department by NFO Research Inc, and DP Research to make significant art in a medium of Crafts/Material Studies. Solutions. that is true to my self, my gender, and my history. Whether we are looking References Editor’s note: Opinion pieces are the opin- at quilts presented as art, quilts made James, Michael. Letter written to the author, as art, or art made in a quilt medium, May 7, 2007. ions of the individual authors and are the essential question remains: is it not necessarily the opinions of the SAQA Fletcher, Hilary. Interview: The Art of Quilting, board members, president, or execu- good art? PBS. Wisconsin Public Television, 2007. tive director. The SAQA Journal editor SAQA professional artist member Julia E. Stevens, Rebecca. Lecture: The Quilt Idea, Art encourages SAQA members to express Pfaff made her first quilt at the age of ten Quilts at the Sedgwick, Philadelphia, April their ideas through the Opinion forum. and has an undergraduate degree in art 8, 2006. history and a masters of fine art degree

Two questions were sent by email: 11% said the terminology they use depends on both the audience and occasion, sometimes using “art quilt” and 1. Do you use the term “art quilt” or “quilt artist” when “quilt artist” and sometimes using “work,” “art,” “fiber art,” referring to your work and/or yourself? “artist,” or “fiber artist.” 2. If not, what term or description do you use to describe your work and yourself? A total of 54% do not use the terms “art quilt” or “quilt artist” when talking about themselves or their work. Survey Findings 31% said they make fiber or textile art. They call themselves 147 emails were sent out to individual artists. A number of the either artists (13%) or fiber/textile artists (18%) artists were represented in two or three of the selected shows. 140 individuals received my questions; 7 were bouncebacks 11% call themselves artists (with no prefix) who make art or email errors. 110 participants responded, giving me a very (again, no prefix) good response rate of 78.6%. 5.5% call themselves artists who make quilts A total of 46% use the terms “art quilt” and “quilt artist” 4.5% identifiy themselves as quilters who make quilts. These 17% said they use both terms. They make art quilts and are felt the use of “artist” or “art” was either problematic or quilt artists presumptuous or something for the audience to assign 1 person said she is a quilter who makes art quilts 1 person calls herself a craftsperson 17% call themselves an artist or a fiber artist and they make art quilts 1 person calls herself a designer who makes quilts.

SAQA Journal • Spring 2009 • 15 Artistic advice Have you considered creating three- dimensional quilts? by Carolyn Lee Vehslage

s the SAQA Journal editor, one the realm of sculpture. She Knitted Aof my jobs is to come up with encouraged Jill to create larger 93˝ x 62˝ x 6˝ the contents of each issue and decide works, which started her © 2006 Jill Rumoshosky Werner what type of artwork will be pub- thinking about the possibili- The quilt is 1.25˝ by 70 yards lished in the Member Gallery pages. ties of working in 3D. long. The needles are 46˝ each. I was so inspired by the 3D artwork Many of Jill’s 3D pieces have featured in this issue, I asked some of no special internal structure. the artists who responded how they These pieces are created in the started creating quilted sculptural same fashion as any other quilt, objects. This led to asking how they then are shipped rolled up to a give them structure, how they display venue and installed on site. Other them, how they ship them, where pieces have various stiffening agents received for her 3D artwork, she finds they exhibit them, and if they’ve inside, including Peltex®, buckram, it isn’t the type of art people buy to been successful in selling them. fusible fleece, wire mesh, wood, or hang above their living room sofa, so Jill Rumoshosky Werner (www. metal. Sometimes a hanging stick is she hasn’t sold any significant pieces. wernerstudio.com) made her first involved displaying her 3D artwork, This lack of sales has been difficult three-dimensional quilted artwork, and sometimes there are wood or for her to mentally reconcile with her Discombobulated, in 2001. On a whim, metal parts that support it. business and marketing background. she made a long, skinny quilt that Jill finds that her art defies easy However, she feels that creating a was 2 inches wide by 10 yards long. classification. She has entered it in significant body of work is essential Initially, she used it when she gave exhibitions for quilts, fiber art, fine to her artistic growth and journey, so “artist in the classroom” presentations craft, sculpture, and mixed media. she plans to continue on the same to young children in the local public She does not enter “pipe and drape” path. schools. She would ask them, “Who quilt shows because there is no way Barbara Barrick McKie (mckieart. wants to be wrapped up in a quilt?” to display dimensional artwork there. com) started creating 3D artwork in Then she would tie the kids up using Despite the recognition Jill has early 2002. She became interested the quilt like a rope, and they would always end up laughing wildly. Several times, she tried to create a two-dimensional wall piece out of it, but it never seemed successful. One day, when she left it piled on a table, another artist commented that she liked the way it looked. Jill photo- graphed it as it was, in a heap, and entered it into a show where it was accepted. It went on to be shown in a number of exhibitions and is now part of the Thomas Contemporary Quilt Collection. When Discombobulated was exhibited in the firstArt Quilts at the Whistler in Lowell, Massachusetts, the artist who gave the gallery talk com- Surface Design #3 mented on the significance of this 25˝ diameter, 4˝ deep piece because it took quilting into ©2002 Barbara Barrick McKie

foam, plastic board, and aluminum armature wire. The Ferris wheel has a welded steel armature created by a friend of hers. Shipping is a challenge because her artwork is large and unusually shaped. However, it’s fairly light, since most of the innards are made of plastic. She often adapts a new cardboard carton (such as a wardrobe box, available at self-storage facilities), and protects the piece with bubble wrap. Susan enters her artwork in national juried quilt shows, sends her artwork to gallery exhibitions, and sells her artwork through her local open studios tour. Her pieces have a humorous edge, and it takes in origami and took a class from a quilt. The two ideas came together a particular kind of gallery to market Connecticut artist who taught her on her design wall, and she placed them. The San Jose Museum of Quilts some paper folding techniques. Barb her figures on a stage-like structure. and Textiles has her small 3D artwork thought she could achieve some Her artwork stayed fairly flat and in their gift shop. She has sold at least interesting designs if she applied the wall-oriented (shallow, wall-mounted half of the artwork she has made over techniques to fabric. dioramas) for a while, but it has the past ten years. Barb stuffs her pieces with batting morphed over the past ten years into Regina Benson (www.reginabenson. and quilts them while flat. Then she free-standing objects. com) made her first original two- soaks the pieces in Stiffy® and shapes Primarily, she does figurative work: dimensional quilt in 1969. Her first them. Most of her 3D artwork is both individual figures and more sculptural fiber piece in 1974 was mounted on a quilted circular back- complex scenes. Two recent major a natural-dyed doll set called ground that she attaches to a circular pieces are motorized: a quilt-covered The . The 18-20 inch dolls ½˝ foam board for added stiffness. Ferris wheel, complete with riders and Conversation stood together, and she found it a She finds that this solution works soundtrack, and a life-size, quilt-cov- challenge to figure out how to make well, and if an edge gets bent a bit, ered skeleton that is very festive in an them stable without filling the bot- she can use a steam iron to press it eerie way. Although her small-scale toms of them with metal or other back in place. For hanging, she glues figures, less then ten inches high, do heavy material. That experience made a saw-toothed metal hanger to the not incorporate a quilted surface, she her realize she needed some formal back of the foam board. always uses quilting somewhere in training about sculpture, gravity, To ship or store her 3D artwork, the settings for them. Her large-scale and many other aspects of materials which is usually about 25˝ in diam- figures, 18˝ and larger, have quilted engineering. eter, Barb stuffs tissue paper under surfaces composed of many different Regina took a course in architec- the center of the pieces and along fabrics. tural materials offered by the Indus- the raised edges. She also wraps them Susan has also created a long- trial Arts Department of her local in tissue, paying careful attention to running series of rock pieces, from community college. It taught her the tops, and places them in a large, full-sized rock walls to small groups which materials were appropriate to square box that is about 6-8˝ high. of river pebbles. She is on a personal interpret aspects of skyscraper, bridge, Susan Else (http://susanelse.com) mission to show that this medium and highway overpass construction, started creating quilted 3D artwork in can be used to create anything that and it also taught her which met- 1998, after she saw her friend Michael exists in our universe. als could support her pieces without McNamara make some cloth figures. She uses various armature materials showing a visible, heavy structure. At the same time, she had added a inside the cloth surface of her art- raised inner border to a small, flat art work, including fiberfill, polystyrene continued on next page

threads a thin aluminum be displayed. or steel rod, slat, or wire. While Regina enters mostly fine art To maintain a specific and sculpture exhibitions, Surround vertical shape, she nor- Sound received the Quilt National ’07 mally echoes the shaping Award of Excellence and was pur- by threading an extremely chased by a collector from St. Louis, light metal rod, slat, or Missouri. Her artwork Downpour was wire in a bottom sleeve juried into Quilt Visions ’08, and one that usually hangs free of her newest dimensional pieces was from the wall. juried into Quilt National ’09. She has Her dimensional artwork a special solo show of her artwork, is shipped much like her entitled On the Curve, scheduled for flat art quilts. The textile May 1 – July 11, 2009, at the Byron C. parts are normally wrapped Cohen Gallery of Contemporary Art around a cardboard or in Kansas City, Missouri. plastic (swim noodle) tube, She has sold several dimensional along with the separately pieces to municipalities through wrapped metal rods, slats, their public arts programs. Hard Rain or wires. Both parts are was purchased by the city of Aurora, placed in a box. The only Colorado, and Eroded Message was She learned how to curve and undu- hanging problem seems to be that purchased by the city of Lakewood, late her artwork, and how to keep her wall-hung artwork requires a Colorado. She completed three large it from sagging. The bulk of her 3D hard-surface wall. Large quilt con- private commissions within the last artwork has been made since 2006. ference venues such as The Inter- year — one for a couple in Germany, She uses her own surface-designed national Quilt Festival at Houston, one for an architect in San Diego, and cloth to create art quilts that float off Mancuso Shows, or Festival of Quilts one for a pediatrician in Chicago. the ceiling or off the wall. She likes have to provide something other Kris Gregson Moss (www.krisgregson- the spatial aspect of her artwork and than their normal aluminum rod- moss.com) started making 3D artwork the shadow play that happens as curtained walls, or her artwork can’t in 1995 when she took a sculpture someone views the artwork. Fre- class at her local community col- quently, the viewer must step into, lege. The instructor was amazed at around, and across her artwork to her desire to make a sculpture out of fully experience the piece. In Hard textiles. Kris imagined pieces of fabric Rain, the viewer can actually be sur- falling from Heaven rather like the rounded by the artwork. In On Edge, autumn leaves in the Adirondacks. the piece is composed of 9 double- For her 7-foot high, 8-foot diam- sided quilted panels all hung at 30 eter artwork Quilters’ Progress, she degrees. As you pass the piece from fashioned three ladies from copper left to right, the entire view changes. tubing. They stand in a circle with For Core Sample, a triptych, the lay- their right hands together, holding a ered surface includes various sheer needle from which flows a 96˝ hex- fabrics that change from yellow to agonal snowflake quilt that ends up rust as the viewer walks by it. resting on the floor at their feet. Regina has learned how to devise Her structures are sometimes sup- simple ways to invisibly hang her ported by wooden frames that her 3D artwork. All of her wall pieces are engineer husband builds. She has hung from a 1- or 2-point support, used foam core in smaller sculptures such as a nail, against a firm surface. but is moving away from it, as it has Most of her ceiling-hung artwork a tendency to bend out of shape. She has a 3-point support (attachments uses layers of very hefty interfacing at three places that connect invisible line or thin steel wire from the ceiling Melody to the piece.) All of her recent pieces 21˝ x 8˝ x 11˝ have an upper sleeve in which she © 2007 Kris Gregson Moss

18 • SAQA Journal • Spring 2009 and Timtex® in some of her artwork. or directly on the floor if they are Top, left: Two Friends in an Armchair Some of her mobiles are suspended larger works. 9˝ x 9˝ x 11, © 2007 Judy Cuddihee on embroidery hoops. Wire and tree Judy enters them into mixed media Top, right: Tea Party branches are effectively utilized also. and doll art exhibitions. She has yet 12˝ x 13˝ x 8˝, ©2001 Mary Beth Bellah Shipping is a problem for Kris. to sell a 3D piece through galleries Rather than shipping her larger but has made some direct sales. Par- pieces, she has driven them to venues ticipating in open studios has enabled and installed them herself. She built her to sell her quilted sculpture as a “cradle” of styrofoam for her piece well. Melody, for the Tactile Architecture Mary Beth Bellah (www.marybeth- She usually has to build a shipping 2007 exhibition, but it was shipped bellah.com) started creating quilted box for each piece. Most of her 3D back without the cradle. Her larger teapots in 1996 when her mother artwork is pedestal displayed or wall pieces, Sea Star and Nova, have their inherited the family tea cup collec- mounted with traditional methods of own pedestals that must be delivered tion. Mary Beth wanted to make her wire/monofilament supports. Compli- to the site. mother a birthday gift that celebrated cations arise when she needs to con- Many juried quilt shows do not this collection. The quilted teapot vey to the people who are installing accept 3D artwork. Most of Kris’ series evolved as she played around an exhibition how to assemble the sculptures have been shown by the with quirky tea-related phrases. She artwork or set up the supports. She SAQA regional group Fiber Revolution has completed over 30 teapots so far. takes close-up pictures of her process (www.fiberrevolution.com). Her expe- As she developed expertise in and then sends those photos in a rience is the opposite of Jill Werner’s; handling materials “in-the-round,” step-by-step instruction sheet. she has sold only her 3D artwork, and her ideas continued to stretch and Bruce Hoffman invited Mary Beth not her 2D quilts. expand. A group exhibition in 1991 to exhibit her teapots at the Works Judy Cuddihee (www.judycuddihee. titled From a Woman’s Hand inspired Gallery in Philadelphia, and he has com) finds 3D artwork to be an easy her series of 3D quilted hands that are also taken them to SOFA (Sculpture blend of her art and needle skills. She both free-standing sculpture and inte- Objects and Functional Art exhibi- started creating fiber sculptures in grated components of dimensional tion) in Chicago. There are several 2005 during a metal sculpture class. wall artwork. other galleries that have sold her 3D It seemed natural to her to cover She also has a series of large scale artwork as well. her metal sculpture with yarn and grids and structural portrait pieces. After reading about how these SAQA attach layers of fabric and canvas to She frequently uses recycled materi- members have expanded in new direc- it. She describes her pieces as “hug- als. The larger artworks are impor- tions, maybe it’s time for you to take gable,” meaning they are soft and tant to Mary Beth, because they tell your artwork into another dimension. approachable. different stories depending on the Think of the possibilities! She uses stuffing, wood, metal, perspective of the viewer. She tries to and found objects to give her “crea- let people know that if they just see SAQA Journal Editor Carolyn Lee Vehslage tures” structure. Instead of shipping her artwork from one spot, they’ve is a fiber artist and director of the SAQA the heavier pieces, she drives them missed a good bit of the conversation. regional group Fiber Revolution (www. fiberrevolution.com). She lives in Sickler- to venues. Her lighter pieces can be Different wire meshes are covered ville, New Jersey. Her web site is www. shipped without difficulty. They are with batting and fabric to create clvquilts.com. usually displayed on gallery pedestals her intricately curved sculptures.

SAQA Journal • Spring 2009 • 19 SAQA member gallery: 3-Dimensional work

Sarah Ann Smith Naiads 45˝ x 18˝ x 2˝, © 2007 www.sarahannsmith.com Made for the It’s Good to Be Green invitational exhibit curated by Larkin Van Horn. I believe the naiads — the guardian spirits of the waters — are the true “green” spirits. Willows always grow by water, and I wanted to create a piece where a passing breeze would sway the branches, just like a willow growing near a stream.

Jane Kenyon Shroud for the Northern Abalone 17˝x 20˝ (open, shown left); 6˝ x 6˝ x 20˝ (closed, shown right); © 2006 | www.janekenyon.com This Shroud is part of a series of 12 Shrouds for red-listed endangered species in British Columbia, Canada. Unlike the usual art exhibition, the public was invited to handle the artwork, thus creating a more intimate experience with the pieces and with the endangered species represented.

Diane Savona Domestic Archaeology Series: Chest 11˝ x 17˝ x 3˝ closed; 11˝ x 26˝ x 3˝ open, ©2007 My work uses salvaged textiles to honor the traditional skills of earlier generations. I print crochet images and instructions on found cloth. Remnants of needlework are handsewn onto their printed images along with ceramic impressions of needlework. This is presented in the framework of domestic usage: stretched on folding triptychs constructed from old wooden drying racks or sewn into modified sewing boxes.

20 • SAQA Journal • Spring 2009 Jane Kenyon Shroud for the Northern Abalone 17˝x 20˝ (open, shown left); 6˝ x 6˝ x 20˝ (closed, shown right); © 2006 | www.janekenyon.com This Shroud is part of a series of 12 Shrouds for red-listed endangered species in British Columbia, Canada. Unlike the usual art exhibition, the public was invited to handle the artwork, thus creating a more intimate experience with the pieces and with the endangered species represented.

Dinah Sargeant Kathleen McCabe

Red-Handed Board of Directors 54˝ x 41˝ x 4˝ © 2007 18˝ x 11˝ x 4˝, ©2002 www.kathleenmccabecoronado.com www.dinahsargeant.com Working with a board of directors can be a Catching self with a memory. frustrating experience.

Holly Brackmann Folded Currents 20˝ x 23˝ x 16˝ © 2008 www.hollybrackmann.com This piece is part of a series starting with flat fabric which has been permanently pleated and manipulated into a sculptural form. Career advice Considering sponsorship by Tove Pirajá Hansen

eeting the love of your life image, and promoting the work. A can start with mutual interest. There Mis a gift. I knew that when I friend helped me discern who my is no need to sell your soul — you can met accountant Michael Larsen last own target market is. Michael found always say “no.” year. He changed my life both roman- several examples of sponsorship con- Refuting our own stereotypes of tically and economically. He is very tracts on the Internet, and we created what an artist’s life is like is still a enthusiastic about my art quilts. He one specifically for my needs. hurdle for some. Who says an artist tries to understand how I can make I worked on making a professional should be doomed to poverty and sense out of the chaos in my atelier sponsoring proposal that would be misery? It’s work like any other. Why and bring it together into fine pieces attractive to my sponsor. Anne-Lis shouldn’t artists get paid and/or be of art. was impressed to see that there was sponsored? We have an active role He suggested the idea of getting a clear advantage for her to sponsor in society. It’s art and artists who a sponsor for my art quilts. My first me. She would provide funds for me inspire, provoke, and ask questions of reaction was that it would be impossi- to create and promote my art, while I the society we live in. We contribute ble. But after a few weeks of thinking advertised her aloe business through to the development of our culture. about sponsorship, it sounded more my own PR. She sent me the money We have the ability to urge people to and more plausible. at once, and we began packing for think about our values and rethink When one of my art quilts was cho- France. our civilization, and we deserve to sen for SAQA Europe’s Wide Horizons, Through this experience, Michael be acknowledged and supported for I said to Michael, “We’re traveling and I discovered how well we’re it. That’s why I believe I am a good to France in two months.” Although matched. He gave me a good idea, candidate for a sponsorship: because money was tight for both of us, I felt and I ran with it. As a consequence, I can contribute something unique. it was important to set the goal, have we had a wonderful trip to Alsace, And quite honestly, if companies faith, and keep an open mind. The where we enjoyed ourselves, met new are willing to pay a fortune to have idea of sponsorship sounded better people, and received fresh inspiration their names on sweaty T-shirts worn and better. for our lives. by violent soccer players, they may Fate must have heard me. A week enjoy sponsoring me for a change. Thoughts and considerations later, I had a visit with Anne-Lis Sponsorship: step by step Gjødsbøl. When we had met a couple When I first heard Michael’s idea about getting a sponsor, I had many of years ago, we discovered that we 1. Make sure you know what your questions. Here are some of them. had something in common: a passion image is. for what we do. She is passionate Throughout art history many maece- about her part-time business selling nas (rich patrons of the arts) helped 2. Find out who your target market is. artists financially so they could work. aloe vera products, and I’m really into 3. Find out who could be a possible Where are these patrons today? Could art quilts. It was our enthusiasm for sponsor. our work that made us click. In some sponsors be a possible modern inter- ways, aloe vera and art quilts are pretation of what maecenas were for 4. Define what services you can offer alike: not many people know about artists back in history? Would spon- your sponsor. sors interfere in the creative process them (at least in Denmark), and it 5. Define what kind of sponsorship as they used to? Can art and money takes time for people to understand you want. How much do you need? and enjoy them. be united? During our visit, I told her about Art is born of a free mind. I am 6. Write a contract. the one in charge and I set the rules. Wide Horizons and my hopes of find- Your image ing a sponsor. She was thrilled with I don’t have to change what I do or The first thing you have to do in my news and believed that I abso- how I see my art just to please the order to get a sponsorship is to clarify lutely had to go to France. She was sponsor. The market is big enough to your image. Think of what you do willing to sponsor my trip right then attract somebody who likes my art- and how you do it. These questions and there. She asked how it would work. There is more freedom today, may help: work, and thus began my research. very different from centuries ago I found out that sponsorship is when the world was as big as the vil- • Who connects to your art? What about targeting a market, having an lage you lived in. A partnership today kind of people does it attract?

Think of people who come to your they do attract a certain type of art also offer a 20% discount for artwork open studio days and exhibitions. lover. These people can be a possible commissioned in the current year What do they have in common? target market for another business. of our sponsorship contract. Shortly This is valuable information for a after the contract was signed, my • Which values are important to sponsor. Sponsorship is not mercy or sponsor asked me to help her design you and your art? Does it have a compassion. Sponsoring is a way of her business cards. She is also con- message? promoting your sponsor’s business. sidering an art quilt portrait of her • How would you describe your art if You’re connecting your image to favorite plant, the aloe vera. you were not a quilter? Try to see it your sponsor’s image. An artist who Sponsorship types from different perspectives. works with environmentally friendly procedures and materials would be a There are two benefits that motivate • Can some of the procedures in your good candidate for sponsorship by a sponsors. One is access to your target artwork relate to other procedures company who’s searching to improve market and the potential for profit, and values in the business world or its “green” image. On the other hand, and the other is a desire to support society? it wouldn’t make sense to seek a art for art’s sake. This company may When you have these answers, you sponsorship from a cigarette com- want the title of “art supporter” to know what image you’re “selling” to pany if you’re planning an exhibition be part of its image. Sewing machine your sponsor. You’ll also be able to for a cancer center. companies, an example of the first focus your search on a select group type of sponsor, might be very inter- What your sponsor gets in return of companies that might connect ested in your target market because with your artwork. Here is a story to For my sponsors, I offer free advertis- some of the people admiring your art illustrate this. The Danish national ing on my web site, at exhibitions quilts would actually buy a machine. soccer team is sponsored by Albert where I can get permission to adver- A big shipping company, on the other Knudsen, a company that develops tise, during my open studio days, hand, may sponsor you out of a more and manufactures light switches. in my newsletter, and even on my altruistic motive, which might still After years of sponsorship on national everyday jacket where I embroidered can help their image, if not their sales TV, the company in Denmark is well my web site’s address and my spon- directly. known because soccer is so popular. sor’s name and address. I hope my experience can inspire This sponsorship has been successful Besides improving the company’s you and help you get a sponsor. Best because it fulfills two needs: it sup- image, there might be other advan- of luck! tages. Here in Denmark, for example, ports a popular and nationally known SAQA professional artist member Tove it is possible to deduct a sponsorship sports team, and it provides advertis- Pirajá Hansen is an art quilter living in from taxes. Ask your accountant what ing to the company. Bredsten, Denmark. Her web site is www. Art quilts may not be soccer, but rules may apply in your country. I tovepirajahansen.com.

SAQA Journal • Spring 2009 • 23 Career advice Expanding your artistic production by Bonnie J. Smith

y fiber art experience began Earth From Above by Yann Arthus-Ber- gious exhibition is something I will Mafter I was injured on my trand. The moment I saw the image always be extremely proud of. job, and I was told that I had to sit thru the one-inch square, it owned Another one of the four-plex works, all the time so my feet could heal. I me. Togetherness was juried into the 4-Friends, was in ArtQuilt Elements couldn’t fathom reading any more 2006 California Art Quilts by SAQA 2008 in Wayne, Pennsylvania, and books than the pile I had already Members exhibition at the California was reviewed by Bruce Hoffman, the read, so I decided to sign up for a Heritage Museum in Santa Monica. director of The Snyderman/Works beginning quilting class. I couldn’t It was the first piece of artwork sold Galleries in Philadelphia. Bruce understand why the teacher wouldn’t from the exhibition. Togetherness wrote, “I very much liked the simple allow self expression. When she ques- was also juried into the Santa Cruz idea explored by Bonnie J. Smith in tioned my color choice, I stuck to my Art League’s annual fiber exhibi- 4-Friends. Four repetitive blocks con- decision and created a quilt using my tion, where it received the Recipient taining repeated shapes and pattern own ideas. Award, their highest honor. with subtle color changes. Simple, When we purchased a new house, While I was making Togetherness, powerful, successful: design and I said, “I’ll make art for our new I kept saying to myself, “I think this craftsmanship working together”. home.” To get ideas for my artwork, would make an interesting design My idea to push the design further I have developed a great design trick. if I just keep expanding the color came from my love of the original I take a blank 3x5 file card, and cut a palette.” I was off and running, and I Togetherness quilt. It’s simple and one-inch square in the center of it. I made a couple of four-plex artworks direct, and I wanted to find some move the opening around magazine based on this design. Then I created way I could keep that design around images, illustrated books, and pho- the granddaddy of them all, Images. me every day in a functional piece. tographs until I find an interesting This piece was juried into the 2008 I eventually came up with the idea composition. Quilt Nihon exhibition in Tokyo, of a purse. A clutch is my favorite My first design from this method Japan, where it received an Honorable purse design; it allows me to carry the became a quilt called Togetherness. Mention. Having my artwork juried essentials. I call my creations Opera I found the inspiration in the book by Michael James into such a presti- Purses. I started by measuring one of my old purses to figure out how large I wanted my clutch to be. My biggest concern was making sure the closing flap included all of the large, curved part of the design. I used fabric, batting, and a layer of Timtex™ to create the clutch. Quilting gave the purse more texture and stability. I used a

See “Expanding,” page 36

24 • SAQA Journal • Spring 2009 Career advice Thinking of getting a studio space? by Joyce Hanlon

ave you ever thought about 280 sq. ft. space leases for about $21/ artistic voice, what some might call Hhaving your own studio ft, almost $6,000 annually, which “signature style.” The studio allows space, separate and apart from your includes utilities and heat (not an me to hang several finished pieces at residence? I took the plunge several insignificant cost in the Northeast.) I once. It gives me the opportunity to years ago and would like to share signed a five-year lease to cap annual consider the strong and weak points some thoughts about finding space increases. of each work, and to consider what and what effect a studio might have The previous studio debacles influ- my next direction should be. It also on your artwork. enced my decision to invest in pre- generates meaningful discussions When it comes to studio space, the mium space. My current studio is part with my studio neighbors. adage “let the buyer beware” is good of a well-managed building with 62 Since I’m the only textile artist in advice. My first studio was part of studios with full floor-to-ceiling walls the building, my work space is some- a small building rehab. There were and large windows. It is open 24/7, what of a novelty. I’ll never forget to be four artist studios, and I was has good security, and the owners are the day a studio neighbor came by to the first to take occupancy. About a committed to providing good value look at my work. His comment was, month after I set up shop, I arrived for the artist tenants. Considering the “Oh, I see, you paint with fabric!” to find the front door locked with a $600/sq.ft. residential real estate costs In today’s academic art world, the notice instructing tenants to contact in Boston, a studio rental is a sensible myriad possibilities of expression the building owner’s attorney. It turns alternative. that don’t include painting are often out that my landlord was a tenant, My studio is a 15-minute drive given short shrift. Once someone subleasing the space to me. Since from my home. This travel time gets beyond the thought that quilt- he hadn’t paid the rent in several creates a meaningful psychological ing is something for grandmothers, months, the building owner was ter- and emotional division from all of our discussion becomes a rich mutual minating his lease. It took me several the activities that happen at home. exchange about color, composition, weeks, and an attorney, to retrieve my Quilting is the sole reason for making and expression. We also discuss more equipment and security deposit. the trip. mundane topics like framing and My next space proved to be equally The studio space affords me the how to price an artwork. disastrous. This studio was in a well- opportunity to have all of the essen- I have participated in several open known artist building in the area. I tial workstations up and running at studios to date and have reached was familiar with the space, but what the same time. There is a huge old the point where I now have repeat I didn’t know was that the studio was hutch to store fabrics where I can visitors who want to see what new located next to an active factory that see them and be inspired, as well projects are on display. I have also ran until 8 p.m. each night and all as plenty of shelving for reference begun to make contact with gallery day on Saturday. I had to buy noise- material. A large sewing table with owners who like my artwork and are cancelling headphones to block out an L-shaped configuration allows interested in exploring the possibil- the buzz from the cutting machines. me to keep fabric and resources ity of working together. Open studios Worse yet, fine dark particles were close at hand. A cutting table, raised also provide a strong motivation to drifting into my studio, so I had to prevent backaches, provides an finish a piece! to cover up all surfaces every night efficient working surface and a place I don’t consider myself a profes- and wipe them down again the next to test out fabric combinations. There sional quilter yet, but I believe that morning before working. Not exactly is an area where the ironing board is working in a studio will ultimately an ideal environment for working always ready. The biggest benefit is a allow me to make that transition. with textiles! Fortunately, the land- design wall about eight feet wide and When I close the door to the studio, lord was sympathetic, and I was able as high as I can reach. If I’m working I’m alone. It’s just me, the fabric, and to break the lease. on small projects, I can have multiple an idea. No interruptions, no tempta- The good news is that I finally projects going at once. tions, just the unlimited possibilities landed great space in an active and There is one more benefit, which of inspiration. thriving artist studio building. Since at my stage of artistic development SAQA active member Joyce Hanlon is an there is a shortage of studio space is very significant. I haven’t been art quilter living in Watertown, Massa- in the greater Boston area, available quilting for very many years, and I chusetts. She is a member of the Joy Street studios are snatched up quickly. My am still on my way to finding my Artists web site www.joystreetartists.org.

SAQA Journal • Spring 2009 • 25 Career advice What judges look for by Morna McEver Golletz

Reprinted from The Professional system, an elimination system, or a appropriate for the quilt. ™ Quilter with permission. combination of the two, to evaluate • Color provides interest and move- the individual entries. The point sys- ment to the quilt. tem uses a predetermined maximum • The materials are suitable to the ou’ve just finished your latest number of points to judge specific design and function of the quilt. Yquilt, are proud of your accom- areas. For example, 20 points for plishment, and want to show it off. color and design, 20 points for con- • The quilting design enhances the You first share it with your family, struction, 15 points for finishing, etc., top design. then with your small quilting “bee,” with the total of 100 points. Each • The quilting design is in proportion and finally take it to show and tell at quilt is judged on its own merits, and to the top design and is planned to your next guild meeting. For some the quilt with the highest total num- fill the spaces. quilters, this is enough. For others, ber of points is awarded first place. Workmanship it is not. Many quilters want to see The elimination system, on the how their quilts stack up against the other hand, allows each judge to • Piecing is precise, corners match competition, whether that is hanging evaluate a quilt, make comments on and points are sharp. the quilt in a local, non-judged show its technique, and offer feedback for • Seams, including those of sashing or entering it in a major juried and improvement. If the judge feels the and borders, are secure, straight judged competition. In addition to quilt should be held for an award and flat. gaining recognition for your quilts, consideration, it is put aside. If not, it • Appliqué is attached with matching you also educate other quilters and is released from the competition por- thread, when appropriate, and is the general public about quilting and tion. After the quilts are judged in this smooth. its standards. For local guilds, this is preliminary fashion, the held quilt often a primary reason for holding is compared to others in its category, • Curved pieces, whether pieced or a show. Additionally, if your quilt is and the winners are determined. appliquéd, are smooth. entered in a judged show, you can Neither system is perfect. Regard- • Shadowing of dark fabrics under set goals for improvement based on less, judges evaluate quilts against the light fabrics is not apparent. feedback from the judges, or your same standards. Here are commonly • Decorative thread work is appropri- own comparison with winning quilts. held standards that judges use: ate to design and well executed. And, of course, you might just win General Appearance • Embellishments are attached a prize, either a ribbon, cash, or securely and are appropriate. merchandise. • The quilt makes an overall positive Impartiality in judging is important, statement upon viewing. • Special techniques, such as trapunto, photo transfers, embroidery, etc., are and one way this is done is through • The quilt is clean and “ready to executed effectively, and comple- the use of a panel of independent show,” i.e., no visible marks, no ment the quilt design. judges, usually three. Judges can be loose threads, no pet hair, no offen- trained and certified by the National sive odors, etc. • Quilting stitches are even and con- Quilting Association, or they can be sistent in length over the quilt top • The quilt’s edges are not distorted. trained through experience. They all and back. This is easier to gauge when the adhere to similar standards of judging. quilt is hung. • Tension of quilting stitches is Judging can take place either before even, particularly when done by or after the quilts are hung in a show, Design and Composition machine. and each method has advantages. • All the individual design elements • Quilting stitches are straight Judging quilts after they are hung of the quilt — top, quilting, choice where intended and curved where allows the visual impact of the quilt of fabric, sashes, borders, embellish- intended. to be better appreciated. Judging ments, finishing — are unified. quilts before they are hung is usually • If the quilt is tied, the ties are uni- faster than after hanging, but visual • The design is in proportion and form and secure. impact takes second place to the abil- balanced. • The amount of quilting is sufficient ity to view the workmanship. • Borders or other edge treatments and appropriate for the design of Judges often use scorecards or enhance the quilt’s appearance. the quilt top. evaluation forms, and either a point • The colors are harmonious and See “Judges” on page 35

26 • SAQA Journal • Spring 2009 Career advice Video documenting your artwork by V Kingsley

ocumenting the process of When my eyesight was restored raphers — I’ve recently been working Dquilt making and the stories with a new technique using pros- with a very talented woman named that accompany the fabric is what thetic lenses from the Boston Founda- Erica Crawford in Santa Cruz, Cali- really excites me! This is partly tion for Sight in 2005, the first thing I fornia, but there are many others: because I’m easily bored, partly wanted to do, after seeing my family, Gregory Case, Ben Peoples, etc.; just because the quilts I make are usually was to make a quilt to say “thank Google “quilt photographer.” on commission, and partly because you” to the Foundation. I made a 2.5’ Printed photographs are for your I do not spend a lot of time with x 3’ wall hanging of a giant crazy- hand-held portfolio or the glossy the quilts after I have created them. quilted eyeball. At some point in the postcard you get at the fabric store The process is all there is. I love the process of making that quilt, I real- check-out counter. Digital images journey, and then I love to share ized that it might be a good idea to are necessary for juried shows, or as the journey with others through the document what I was doing — to tell a photo to accompany a magazine World Wide Web. the story behind this giant eyeball. article or pattern book. I took snapshots along the way and Video documentation is a dynamic Background made them into a slide show with the way to reach the public, to promote My journey into quilt making began story in accompanying text. It was your art, your process, your passion, with handwork as a child, moving my first documentary. and your merchandise. Videos can into novice quilting and quilt restora- reach a worldwide audience in a way Documentation tion in the mid 1980s. My first quilt that glossy postcards, books, and commissions came in the 1990s, and In this new digital age, it is impera- quilt shows never can. All it takes is a my art quilt commissions began in tive that we know how to document digital camera and time. 2001. our work. Maybe you take your own One way I use videos is for my In 2003, however, my quilting photographs; maybe you hire a studio iPod. They become a portable portfo- came to a screeching halt when I photographer to shoot them for you. lio and entertainment wrapped up in went blind. I had severely dry eyes Maybe you use film, or maybe you one. I carry my entire portfolio of still due to complications with cancer and have gone digital. It is hard to imag- images and videos on a contraption an allergic reaction to chemo. I could ine a modern, professional quilter the size of a makeup compact in my no longer open my eyes. My sight who does not photograph his or her purse. As they say, a picture is worth a was reduced to quick snapshots (like artwork. thousand words. the camera-shutter), and all I could There really is no substitute for one Videos can be used on Internet see were undefined shapes on a color decent photograph of a finished quilt channels, as vodcasts, they can be scale from black to gray and peach to that can be printed with accurate used on RSS feeds in tandem with orange. colors. There are professional photog- online journaling and blogs, in classes with children, with our guilds — they are simply another way for people to experience our passion. I use videos on the Internet: YouTube and Google Video are two of the most popular sites that allow us to post videos. After the video is uploaded, I can forward the link to other people. What I love about YouTube is that it is marketing for me. When some-

continued on next page

V Kingsley with I Am Mermaid

SAQA Journal • Spring 2009 • 27 Video from previous page

one types “art quilt” into the You- There are excellent tutorials that don’t have the time, space, or frankly, Tube search engine, they might find show visually what I will be explain- the patience to set up a professional videos of SAQA Journal editor Carolyn ing. They are an excellent supplement photo shoot every 10 minutes in my Lee Vehslage or a number of other art to this article. Just Google “Windows studio, but luckily for me, the Inter- quilters. But no matter which one the Movie Maker Tutorial” or “iMovie net does not demand that I do so. I user picks, YouTube will list my video Tutorial,” and you will get pages of usually work on a design wall and as a suggested related video in the step-by-step tutorials to choose from. just click away, capturing the drama sidebar. The videos I create are made from of the changes. Yes, I definitely lose a combination of .avi movie file clips the true colors when I use a flash. Yes, Digital cameras and/or .jpg digital photographs. I lose the texture and the tiny stitches I like the ease, size, and quality of Because the videos are condensed of the quilting, but that isn’t what a my Casio Exilim 6.0 digital cam- before they can be uploaded to the video is about. A video is about the era. About the size of a modern cell Internet, the quality and size of the process of the quilt, the story in the phone, it takes both digital stills and photographs for my web video are fabric, the emotion, the step-by-step video up to several minutes long. nowhere near the quality and size of action. If someone wants texture, Four things to look for in a camera: a ready-to-print file that I would need color, and beautiful lighting, show • I recommend at least a 5 or 6 mega- for a glossy postcard. them your portfolio or bring them to a quilt show. pixel camera for this level of work. Set Up Once I have the photographs (.jpg • The LED (light emitting diode) I begin my documentary by taking files on my camera) and the videos viewer in the back of the camera photographs using the standard Inter- (.avi files on my camera), I upload should be big enough to see what net image size of 640 x 480 pixels. Set them into a folder on my hard drive you are doing. A 2x3-inch LED is the camera for economy-sized photos by connecting a cable from my cam- pretty good. The bigger the LED, and video at the outset, or take high- era to my computer. On a Mac I see the bigger the camera, so it’s a quality images and resize in a soft- an icon of my camera drive; in Win- ® trade-off. ware program like Adobe PhotoShop . dows, I search for that auxiliary drive. You can make a photograph with a • Make sure the camera has a digital Once in the drive, I drag and drop the larger number of pixels smaller, but video recording feature with at .jpgs and .avi files into a folder on my you cannot make a photograph with least a 3-minute or higher limit for desktop. a small number of pixels larger. the recording time. Mine is limited Use your favorite movie-making If you talk in front of your quilt only by the size of the memory software, such as iMovie on the Mac during your movie, I recommend card. (I have 4.0.1) or Windows Movie combining any “talking head” shots Maker for the PC. These programs • Make sure that you can read the with other visuals and music in the should be bundled into the operat- menu and navigate the buttons on finished project. I think it’s tough to ing systems and can be found in the the camera. They are all different. I hold the viewers’ interest with a talk- Applications folder. If you would like have had digital cameras that had ing head or with voice audio alone. to download them for free, go to my buttons too small for my fingers, On the whole, the Internet viewer is web site, www.alotoflife.com, and which was very frustrating. You driven by the desire for the visual. click the buttons on the bottom of may not understand everything on Considerations my LINKS page. the menu, but you should at least be able to navigate through the The first thing I do is to take a series Let’s make a movie pages of the menu with ease. of photographs and very short videos There are 8 steps to go from raw data of the process of making a quilt. on your hard drive to a video that Try out, look at, hold, and compare Sometimes I take many, many pic- can be seen on any computer in the cameras in the store. If you want to tures along the way so that I can line world: support your local business people, them all up, almost like an old-fash- buy locally. It’s usually cheaper ioned flipbook or stop-motion film • Import data into the movie-making online. Google the name and model (think of time-lapsed photography of program. number of the item you want and an opening flower). • Add music. Google will give you a number of The best way to photograph, even choices including eBay listings and for the web, is to have a tripod for • Create a timeline or story board. refurbished models. the camera and diffused light from • Create transitions. Make sure the camera comes with a both sides in front of the subject warranty and keep all of your paper- matter, close to a 45-degree angle. I • Create video effects. work and receipts.

28 • SAQA Journal • Spring 2009 • Create titles and credits. with either music or audio of myself After I save the project, I need to explaining what free-motion quilting make a .mov file that can be read by • Save the finished product. is, and how I do it. Quicktime or Windows Media Player. • Upload the movie to the Internet. The audio can be edited at any From the File menu, choose “Share” point in the process. I usually fade to see several options: whether to I work exclusively on a Mac, but the music in and combine a couple of share it in an email, for a video Windows Movie Maker is easy to use songs for longer movies. Sometimes I camera, on a DVD, or for Quicktime. also. Sometimes I alter the images in have time to do an audio explanation I always make a Quicktime .mov file a photo editing software program like of what I did in my process. Some- with the best resolution (or frames Adobe Photoshop, but you don’t have times I just want to get the video out per second) that I can. I then go back to. I import my photos into iPhoto there, so I keep it simple. and make a Quicktime compressed and then I launch iMovie. For the .avi file for web streaming or for CD Rom. Storyboard video files, I just drag and drop the I choose whatever will get me clos- video files onto the clipboard pane Once I have the music and images est to 100 megabytes but not more, of the movie program. I keep them imported, I can set up the storyboard because YouTube videos cannot be there until I’m ready to use them. or timeline. Video is dragged onto the greater than 100 MB. With Windows, import the files from timeline in the same way, but usually It’s showtime the file menu in the movie making needs to be edited down. To edit a program. video clip, use the Split command (on Now that I have a finished video Now it’s time to add the audio. the Preview pane in Windows or from compressed to the right size, it’s time To make it super-duper easy, I try to the Edit menu on the Mac), and take to upload it onto the Internet. I go to make the videos and photographs the part of the clip that you don’t Google Video or YouTube.com and fit into the length of my chosen want and delete it or drag it up onto set up an account. Then I click on the song — about 2-4 minutes. (A You- the Clip pane to use later. button that says “Upload Video.” It Tube video has to be less than 10 Both programs use the concept of walks me through the process, and minutes long.) I suggest choosing a a timeline. The photos are imported it’s super easy! song, or combination of songs, that from your photo file folder (or in my It’s important to make sure that I have some relationship to the artwork case, from iPhoto) and dragged onto put tags (keywords for search engines) you are showing. This really adds to the timeline in the order in which I that best describe my artwork. For the overall effect of the video. It’s a want them to appear in the finished example, I almost always include multi-media world now, and videos video. Photos can be shown for long “art” and “quilt” along with “quilter” need movement and audio. Familiar- periods of time (like 6-10 seconds), and “documentary” plus any special ize yourself with copyright law and if I want to get a good look at some- features of the quilt like “mermaid” ethical uses of music in videos. thing, or if I’m explaining something or “New Orleans.” A snappy descrip- I import the music as an MP3 in depth. They can be resized to a tion in the description box doesn’t file from iTunes. On Windows, just much shorter time (1 or 2 seconds) if hurt either. Once I have uploaded import the music file from the File I want the images to blend together my video, it takes at least 30 minutes menu. The .avi files have the audio to make a stop-motion sequence. for it to post to the Internet so that portion of the video in the file. It can Once all the images are where I people can see it. be separated from the video using the want them on the timeline or story You can find my latest video on my File menu. Another thing I do is to board, and the audio tracks are laid YouTube channel, www.youtube.com/ record my voice on my digital video in, it’s time to get fancy. Sometimes I vkingsley. camera. I take the audio files from my add transitions between the photos, I hope you will have a fun time camera and turn them into MP3 files and sometimes I don’t. I don’t use with the learning process. It can be by saving them into iTunes. transitions if I want a stop-motion frustrating at times (I make new mis- For example, say I take a video of effect. I like to add titles. I think it’s takes every time I make a video), but myself free-motion quilting either imperative to add credits if I’m using each one gets better and easier. Enjoy, by having a friend take the video, or photographs that can be credited to and start filming! photographers, or music that belongs setting up my camera on a tripod. It’s SAQA professional artist member V Kinsley to someone else. Most importantly, I fun to watch, but the sound of the is an art quilter who works mainly on want to point viewers to my web site machine in the background might commissions. She lives in Felton, California, not be the best audio to keep the so that they can discover more of my and her web site is www.alotoflife.com. viewer engaged. I separate the audio artwork. When it’s all finished, I save from the visual and replace the audio the project.

SAQA Journal • Spring 2009 • 29 Artist in residence My experience at the Summer Institute by Heather G. Stoltz

n August of 2008, I had the privi- following year, explaining that the able doing. Ilege of serving as one of two artists volunteer committee that selects the I was moved by the depth of these in residence at the National Havurah artists changes each year. So, with a quick sketches, which represented Committee’s Summer Institute in few more lines on my résumé and moments of joy, wonder, sorrow, and Rindge, New Hampshire. NHC is a nothing to lose, I applied again the confusion. I really wanted to see how nondenominational, multigenera- following year, and to my surprise each of them would have represented tional, egalitarian, and volunteer-run and delight I was selected as one of these pieces in fabric, but the evening network of diverse individuals and the 2008 artists in residence. presentation didn’t provide time for communities, dedicated to Jewish liv- Since I am still in the beginning quilting. ing and learning, community build- stages of my art journey, it felt like The class met for about an hour ing, and tikkun olam (repairing the a huge and terrifying step toward and a half each morning for four world). accepting the label “artist.” After days. I entered my classroom that first Their annual Summer Institute, receiving the news in December 2007 day to find 22 students ranging in age which is often described as a Jewish that I was to be an AIR in August of from 11 to 65, including experienced hippie summer camp, is a week-long 2008, I had 9 months to convince sewers and quilters, people who had retreat of Jewish learning, sharing, myself that I was truly an artist, so never sewn before, and everything and growth for almost 400 partici- I could act accordingly at the Sum- in between. I knew that the varied pants from all over North America. mer Institute. After several months skill levels would be a challenge, so It reflects all denominations and of thinking, planning, and sewing, I had carefully created lesson plans persuasions from secular to ortho- I was ready to embrace the title and that would allow me to teach basic dox, intermarried, multi-racial, and share my artwork with the NHC techniques to those who needed newcomers to Jewish life. As an artist community. them, while those who knew what in residence, I taught a class called My first task, after arriving on cam- they were doing could work indepen- Translating Text into Textile, gave a pus at Franklin Pierce University, was dently. It all looked so nice and neat presentation on my artwork to the to give an introductory talk to the on paper, but by the end of the first entire community, and guided the community. I put together a Power class, I knew that all of my lesson children in the Kids Camp through a Point® presentation of my artwork plans had to be completely reworked. fiber art project. titled Quilting our Jewish Journeys. I Everything went according to plan I learned about NHC when I was explained how I discovered fiber art for most of that first class as I guided in New York City pursuing an M.A. and talked about the stories that I them through an exercise. I wanted at the Jewish Theological Seminary. I depict in my artwork. to get them thinking about translat- had discovered a couple of indepen- I was a little nervous about giving text into textile by interpreting dent minyanim (Jewish prayer groups ing a formal presentation. I placed the theme of the Summer Institute not affiliated with any denomina- the screenshots of my journal quilts (Blessed is the One who spoke the tion). One spring, several attendees at the end of the presentation and world into being) into a visual repre- at a group called Kol Zimrah started concluded with a short exercise. I sentation. We talked about the many talking about an upcoming summer encouraged everyone who attended ways that this theme, which comes retreat that sounded like an amazing to create a visual representation of from the morning liturgy, can be extension of this unique community. an important moment in their lives interpreted, and how each interpreta- I didn’t attend at that time but did go using a series of guided questions to tion could be rendered artistically. the following year, after I completed help them translate experiences into Once the process was clear, it was my degree and moved out of the city. color, line, and shape. time to move on to the design phase I had found myself craving the It was exciting to see people of their personal pieces. enthusiastic Jewish community I had intently drawing, reliving their cho- Via email beforehand, I had also left behind, so I loved every minute sen moments, as they sat scattered asked each participant to bring an of the intense week of study, prayer, around the room. After a few min- inspiration source that they were to and song. I sent an application to be utes, I encouraged everyone to share focus on for the remainder of the an artist in residence two years later. their drawings with one or two other week. It could be any text: a favorite That application was rejected with a people and explain as much of the quote, a poem, prayer, or story from note encouraging me to try again the story behind it as they were comfort- any source. Using the same steps we

used for anything Creation, I asked them to work in else that week, pairs and assigned each group a students slowly different day of Creation. I walked started arriving around the room, asking each group earlier, staying about their piece, and was humbled later, and com- by one group working on the sev- ing back during enth day (Shabbat). As I approached other sessions. this pair, I saw that they had placed It was a hectic a few squares of fabric on the back- Friday afternoon, ground and had declared the piece but everyone completed. completed his/ I questioned them about the her artwork along piece, not expecting much response with a short artist because I assumed they were not went through as a group, the students statement. fully engaged in the project. The took their personal inspirational text Rachel Sommer was one of the young boy pointed to a brown square and started sketching. people quietly working away on her and explained, “This is the Torah.” It was at this point that I faced an quilt all week. Every time I checked He then went on to point out the unexpected challenge that a teacher in with her, she was busy with her Shabbat candles, represented by shouldn’t complain about — too crazy quilt background, and on the two yellow squares, and glue for the much enthusiasm! Some people two pieces that were appliquéd on wicks. A cluster of blue squares stood started quietly sketching, others knew top. One of those pieces contained for the earth. I asked if anything was immediately what they wanted to do her inspiration quote: the verse from missing from the Shabbat piece, and and started pulling fabrics. The rest of Genesis when Sarah learns that she is after a moment of thought he told the class was having trouble getting going to have a son and laughs. me that nothing was lacking. At that started on their sketches and needed Only after I saw her artist state- moment, I learned not to assume or a little support. In the last 5 minutes ment, which told the story of her judge anyone’s art. This work, which of class, the room was transformed struggle to conceive, and her own at first glance seemed to be random from a quiet space full of creative laughter upon learning that she was and thoughtless, was in fact, just as potential energy into a frenzied room six weeks pregnant with her first valid a representation as the other full of fabric pieces, questions, and child, did I fully appreciate the power artwork created that week. comments, leaving me feeling simul- of the piece. Each piece held its own At our final art show, all of the taneously overwhelmed and ener- surprise that Friday afternoon and pieces were hung together. The spirit gized. I was excited to see what would I could not have been more proud of the NHC, where all voices are transpire, but nervous about how I and impressed by the depth of the heard and respected equally regard- would be able to harness this energy artwork my students created in four less of age, belief, or background, and give each person in the class the short days. They were able to truly was expressed through fiber art. Each attention they needed. translate their inspiration texts into quilt told the story of its creator, and That night, I revised my lesson textile art which was meaningful to each was valued for its underlying plans. Over the next few days, I let them and the community. I have meaning and ability to speak to the each person work at her/his own posted most of their artwork on my community. pace, assisting with design or tech- web site at www.sewingstories.com/ Beyond that, the art of quilting nique questions as needed. I gave nhc08.htm. has proven to be a powerful medium brief lessons to anyone who wanted Also on display at the end of the which has the capacity to unite gen- to learn specific techniques. As the week was the artwork created by the erations. I was proud to help facili- week progressed, everyone was children in the Kids Camp. Again, tate this visual conversation and to engrossed in his/her work and feeling using the theme of the Institute, I introduce the NHC community to the the pressure to complete their piece worked with the 6-9 and 10-14-year- wonderful world of fiber art. by Friday afternoon, so we could olds separately. I asked each group to SAQA active member Heather G. Stoltz is hang the artwork for our Shabbat art tell me about Creation. a fiber artist living in New York, New York. show. When the 14 younger students Her web site is www.sewingstories.com. Since our classroom was not being started recounting the 7 days of

SAQA Journal • Spring 2009 • 31 Career advice To publish or to be published That is the question — Part II by Carol Ann Waugh

n the last issue, I talked about the get even one copy of your book into agree that the book is unique and has Iadvantages and disadvantages of print. These companies have been a good chance to sell, you need to do having a traditional publisher publish around for a long time, and in my the hard part. Write the book. your book. This article will help you opinion they are a complete rip-off The first draft should be written (no to decide whether self-publishing is for authors. Most of these companies photos, illustrations, or anything spe- the route for you to take. overcharge for providing limited cial) to the best of your ability. Don’t At one time, there was a stigma services and require that you sign stress over it too much, because the associated with self-published books, over all your rights in the process. next step will help you in the process. but new technology like Print on In addition, they do nothing to help Hire a freelance editor. You want to Demand (POD) and new suppliers you sell your book other than provide find someone with experience in edit- like BookSurge and LightningSource a media kit and a list of publications ing craft and art books. Editors can have changed that perception over you have to contact on your own. It’s do many things to help you refine the past few years. Today, it’s difficult hard to separate the vanity publishers your book. They can act in many to tell the difference in quality or from a real publisher, but the general different roles: developmental editor, content between traditionally pub- rule of thumb is find out who is pay- coach, content editor, copyediting, lished and self-published books. ing whom. indexing, proofreading, substantive Becoming your own publisher Publishing your own book isn’t editing, and even help with writing. entails learning some important new rocket science. All you need to do is You can also find editors who serve things, but there are many resources understand the process and find the as project editors, who can help you out there to help you. Before you best people to do the job. with the entire process from concep- jump in, I’d like to share some overall The first thing you need to do is tion through finished book. There are information about this important complete a book proposal as though associations of these editors, such as decision. you were submitting one to a tradi- the Northwest Independent Editors First of all, there are many “van- tional publisher. This will be your Guild and the Freelance Editors’ Asso- ity” presses who will try to get your initial test of concept. Is there room ciation of Canada (FEAC). These are business. These shops are one-stop in the market for your title, and do good places to start to find someone companies that will take you through you have a good way to market it? you can work with. the publishing process and charge Once you and your friends (yes, The next step is to hire a graphic you between $15,000 and $20,000 to circulate this around, show it to book designer. Often, the editor you have store buyers, quilt store buyers, etc.) chosen will have connections with designers they’ve worked with in the past. Most traditional publishers use freelance designers, so it’s fairly easy to find designers with experience in designing craft and art books. Just look at your own library of books. Often these designers are given credit on the inside of the book. Once your manuscript is finalized, you’ll need to decide how you are Six Degrees of going to illustrate your book: how Separation many and what kind of illustrations 40˝ x 42˝ you need. Often the graphic designer © 2007 Carol Ann Waugh can either execute the photos and illustrations or knows someone to recommend. You’ll need to decide how you are going to print your book, because the design specifications are sometimes particular to each printer.

See “To publish” on page 36

32 • SAQA Journal • Spring 2009 Career advice My first year as a SAQA member by Casey Puetz

ave you ever joined an orga- that use discharged black fabric as the inclusion in SAQA’s Portfolio 14. My nization to learn more about background and made-up characters very rudimentary skills using Photo- H ® yourself by rubbing elbows with like- as the focal point. shop Elements and a digital camera minded people? Have you ever found a UFO in caused me all kinds of headaches. The Have you ever been so inspired your studio and decided to resurrect image made it onto a CD, but just by that organization, that you grew it? Well, I have, and that one piece barely. There’s much more for me to beyond your wildest dreams? became a series of three pieces. Two learn in this department. The image Have you ever looked back a year of the three artworks, Market Day I was included in the full-color book later to realize the organization’s and Market Day II, were juried into that has been widely distributed to art impact? SAQA’s Balancing Act exhibition at museums and interior designers. Well, I have. In the Spring of 2007, the Lawrence Street Gallery in Fern- Have you ever dreamed of having I joined SAQA and attended the 2007 dale, Michigan. Imagine my elation at a solo show? I have. My previous SAQA conference entitled Bridging being juried into a show on my first SAQA successes gave me the cour- the Gap: Quilt World to Art World in attempt. age to approach the owners of our Athens, Ohio. The topics included Shortly thereafter, a digital image artist-friendly downtown bookstore. Crossing the Technology Bridge and of Pseudoglyph II was submitted for Numerous fine art exhibits have been Enriching your Marketing and Artistic hung there over the years. So, on one Skills. They were well-timed for my particularly courageous day, I walked evolving artistic direction. in and introduced myself. We had an I started as a traditional quilter in old-fashioned, low-tech, conversation the early 90s. By the time of the 2007 to establish interest and preliminary conference, my pieces had become dates. Through the kindness and contemporary and had been included guidance of Norm and Eve Bruce in exhibits with the Milwaukee Art who own Martha Merrell’s Books, Quilters (MarQ) and the Professional my first solo show became a reality. Art Quilt Alliance (PAQA). emer.gence: coming into view was dis- The conference was planned to played for six weeks, complete with coincide with the opening of Quilt an opening reception. Friends and National ’07. Seeing such a wide family were tremendously supportive. variety of art quilts, meeting the Guiding me through this process artists, and spending unlimited time were various SAQA Journal articles. examining techniques up close was Especially useful were articles on a real slice of heaven. Kasia, another press releases by Jake Finch, Eileen art quilter, drove with me to the Doughty, and Ellen Lindner. conference, and we made a pact to Wouldn’t you know it, but right meet every two weeks to support on the heels of preparing for the each other’s work and ambition. Our solo show, the mailman delivered an “Stand by Me” meetings continue to acceptance letter. Keiko Study #1 was this day. accepted for a Lark Books publication SAQA opened another door by way entitled Creative Quilting with Beads, of an invitation to donate a 12x12- which was released in the summer of inch artwork for the 2007 reverse 2008. auction fundraiser. Fellow SAQA Have you ever wondered “What’s member Betty Ford purchased my next?” I have. The list of opportuni- piece Pseudoglyph I. This art quilt was ties continues to grow, and at the the first of a series of six similar pieces time of this writing include: accepting an art walk invitation, signing two contracts to teach in new venues, Emergence I upcoming dual exhibitions with 33˝ x 13˝, © Casey Puetz See “My first year” on page 34

SAQA Journal • Spring 2009 • 33 My first year from page 33

Kasia at two art galleries, inclusion www.QuiltCritique.com in a SAQA web site virtual gallery exhibit titled Balance , publication Join Sandra Sider and Lisa Chipetine in SAQA’s Portfolio 15, and partici- for lively, interactive critiques of pation in the SAQA 2008 reverse auction. contemporary quilt art Have you ever said thank you ➤ Have your quilt critiqued as an Active to an organization that nurtured, Participant and participate in a live taught, inspired and expanded you discussion of your work, or and your career? I have, and I do: Thank you, SAQA. ➤ Be a Silent Participant to watch, listen, and learn SAQA professional artist member Casey Puetz is a quilt artist and teacher living ➤ BEST DEAL: Critiques on Demand offers in Waukesha, Wisconsin. Her web site is full access to recorded sessions plus Silent www.caseypuetz.com. participation

➤ All you need is a computer and a telephone! Editor’s note: All of the SAQA Newsletter and Journal articles are readable online on SAQA-U. Go to http://www.saqau.wikispaces.net/ Res+SAQA+Journal+Back+Issues and log in with your ID and password. All the World’s a Classroom®

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34 • SAQA Journal • Spring 2009 Judges from page 26 CREAM Award – Quilt Visions 2008 • Starts and stops of the quilting stitch do not show. Any knots are popped into the batting. SAQA’s Cathy Rasmussen Emerging Artist Memorial • The fi nishing technique is appropriate for Award (CREAM) winner the quilt. at Quilt Visions 2008 is • Any binding is straight and applied so that Leslie Joan Noble-Riley it is fl at and of a consistent width. of Stokie, Illinois for her • Batting extends to fi ll the edge of the quilt Plaid Constructions binding. #3. This award for a As noted, judges consider certain “stan- fi rst-time exhibitor was dards” when evaluating quilts. The list is established in the memory really quite extensive, but how do they decide of past SAQA executive which quilts are the prizewinners? And what director Cathy Rasmussen is more important, design or workmanship? and is totally funded by In the end, I think it comes down to design, donations from SAQA the quilt with the greater visual impact. But members. In addition to even the quilt with the greatest visual impact the cash prize, as part of cannot rescue poor workmanship. the award, Leslie will have a one-year membership in Morna McEver Golletz is the editor and publisher SAQA and a subscription to of The Professional Quilter, a quarterly business the SAQA Journal. journal for serious quilters offering judging and other business resources for quilters. To subscribe to The Professional Quilter or to sign up for a free monthly online newsletter, visit www.professionalquilter.com.

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SAQA Journal • Spring 2009 • 35 Expanding from page 24

satin stitch to finish the edges. and the work behind the scenes, is ing for more exposure for the purses, The purses were well received at the very exciting. The team I work with is either in print or in another gallery. 2008 SAQA Conference trunk show in extremely professional. All members I’m sure that if I keep working toward Wayne, Pennsylvania. With encour- of the curating team are involved in this goal, it will happen. agement from Carolyn Lee Vehslage some way in textiles, whether it is I want to thank SAQA and its mem- and Deidre Adams, I approached the teaching, costume design, or quilting. bership for being so supportive and Dayle Dunn Gallery in Half Moon The physical work of hanging an open. I enjoy attending meetings and Bay, California, about selling them. exhibition can be gruelling. Nor- I always come away with the feeling When Dayle saw my purse design, her mally, the first day is spent taking the that the sky is the limit. SAQA has word was “exquisite” and she called it previous exhibition down, packing it given me the knowledge that, yes, I “functional art.” up, and shipping it out. On the sec- can achieve my artistic goals if I work About a year ago, I decided I ond day, it’s exciting to place the new at them. The day I became a profes- wanted to learn more about curat- artwork on the walls. sional artist member was a turning ing textile exhibitions. Working The opportunity to see all the point in my artistic career, one more with the nearby San Jose Museum of exhibited works up close has been step up the ladder of my plan. Quilt & Textiles seemed the obvious completely gratifying. After volun- SAQA professional artist member Bonnie J. choice. I contacted Deborah Corsini, teering for a year, I approached the Smith lives in San Jose, California, with the curator at SJMQT. It has been a SJMQT store director, and now my her husband of 37 years. Her blog is terrific opportunity. Learning how Opera Purses are on display in their www.bonniejofiberarts.com. professional exhibitions are hung, museum shop. I am currently look-

To publish from page 32

There are two things you need the ultimate satisfaction of learning your teaching fees. If your book cost to think about when printing your new things and seeing the result of $10,000 to print, you’ll break even in book: the number of copies you think all your work. There is nothing like two years. you’ll need in the first six months, opening up that first box of books Whichever way you choose to get and your available financial invest- and thinking, “I did it all myself!” published, I hope you find a way to ment. Obviously, the more you print, The biggest disadvantages of add your voice and expertise to the the less the unit cost of each book, publishing your own book are the quilting world. We all want to hear but the more you’ll spend in total upfront financial investment and from you! cost. Printing 3,000 books will cost the time to complete the process. It you thousands of dollars upfront (not doesn’t take many books to break SAQA active member and CO/WY/UT SAQA representative, Carol Ann Waugh to mention the cost of storing all even on the financial investment, from Denver, CO, has co-authored three those books). POD offers you a low- and after that, you can make some books on quilt making. Carol has started cost way to get a small inventory, but serious money. Let’s say you are a and sold two publishing companies (unre- the unit cost increases substantially. teacher and teach 200 students a year. lated to quilting). Today, she earns her Check out the POD printers such as If you sold them each a copy of your living as a publishing consultant, and is LightningSource and BookSurge, as book at $25 each, that would bring developing a career as an artist. Her web well as short-run printers like Hignell in an extra $5,000 a year on top of site is www.carolwaughquilts.com. Book Printing (Canada) or Edward Brothers. Once you have suppliers in place, Resources: begin developing your marketing BookSurge: www.booksurge.com plan. The Small Publishers Associa- tion of North America, and PMA: The LightningSource: www.lightningsource.com Independent Book Publishers Asso- Northwest Independent Editors Guild: www.edsguild.org/ ciation can help. Both offer annual Freelance Editors’ Association of Canada (FEAC) www.editors.ca/about_EAC conferences where you can make Hignell Book Printing web site: www.hignell.mb.ca contacts with other publishers and Edwards Brothers web site: www.edwardsbrothers.com climb the learning ladder quickly. Small Publishers Association of North America: www.spannet.org There are many advantages of pub- PMA: The Independent Book Publishers Association: www.pma-online.org lishing your book yourself, including

Leslie Rego is an award- winning full-time studio artist who loves color, July 19 - 31, 2009 texture, and pattern, and is 29th Annual Quilting Conference constantly intrigued by the 31 Quilting Classes myriad combinations they New Location! produce. She uses hand- Onondaga Community College dyed and commercial silks, Syracuse, NY cottons, and velvets. Spring faculty Thaw is from her Meander- Bob Adams Rayna Gillman ings series, in which she Elizabeth Barton Anna Hergert combines curved sections to Marilyn Belford Alice Kolb Judi Blaydon Jan Krentz form a background for Dorothy Caldwell Katie Pasquini Masopust intricately embroidered Cynthia Corbin Jane Sassaman vines, ferns, berries, leaves, Rosalie Dace Fran Skiles Jane Dunnewold Laura Wasilowski thistles, and other forms of vegetation to form a seren- www.quiltingbythelake.com dipitous tribute to nature.

photo by F. Alfredo Rego Schweinfurth Memorial Art Center 205 Genesee Street, Auburn, NY 13021 (315)255-1553

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SAQA Journal • Spring 2009 • 37 Meet your regional representatives

Leni Levenson Wiener Jane Dávila New York co-representative In 2001, I decided to change my New York co-representative www.leniwiener.com life and began teaching traditional www.janedavila.com quilt classes. The following year, a Like so many I am a self-taught business trip to Houston for new class girls of my fine artist who ideas introduced me to the amazing generation, I first began my world of art quilts. Everything came learned to sew in professional art together for me; I knew I had found seventh grade career as a my medium. Home Ec class. printmaker, I prefer to work in raw edge Although the specializing in machine appliqué and thread paint- skirt I made that intaglios and ing, leaving the frayed edges and semester could etchings. I was a puckers that are inherently the nature have been studio artist for of fabric. Presently, I use only com- considered my initial foray into many years, exhibiting and selling mercially available fabric, and no abstraction, I was hooked. My parents through galleries and art consultants other embellishment. It is my hope bought me my first sewing machine nationwide. Then I took a few years that viewers are drawn into my ($85 at Sears — with the cabinet!). My off to start a family. I switched to artwork in order to decide for them- love of fabric must be genetic; my fiber and textile as my main medium selves what the story is behind the mother was an interior designer, her in 2002, but I have continued to image. mother made custom hats. My heart incorporate paper and printmaking My first book,Thread Painting, was still races every time I walk into a techniques in my artwork. The released in 2007, and a second book, fabric store. experience of living in Peru in the Photo-inspired Art Quilts, will follow In college I studied art history and 1980s has had a lasting impact on my this spring. I continue to teach both archaeology; I spent a season at the appreciation for the diversity of traditional and art quilt techniques. Tel Gezer Excavations in Israel, and cultural expression and iconography, My association with SAQA has completed my MA in Art Restoration/ which shows up as a theme in my exposed me to many extraordinary Conservation and Museology in Flor- artwork. My art tends to be figurative artists, and their inspiration has ence, Italy. and reflects natural subjects such as helped me grow as an art quilter. insects, fish, and flora. Elin Waterston and I have written two books for C&T Publishing, Art Quilt Workbook (2007) and Art Quilts at Play (2009). Together, we recorded an instructional DVD, Jane Dávila and Elin Waterston Teach You Art Quilt Basics, in April 2008 in my studio in Connecticut. Writing and teaching are very satisfying ways to share my passion for art and fiber. I also run a quilt shop (brick and mortar, as well as online) in the met- ropolitan New York City area with my mother, Claire Oehler. We host SAQA meetings, open to all members, once a month. We discuss professional topics like writing artist statements,

38 • SAQA Journal • Spring 2009 Quick Notes Board Members President Judith Content, Palo Alto, CA To find out more about SAQA, contact Martha Sielman, Vice President executive director, (860) 487-4199; [email protected]; or Lisa Chipetine, West Hempstead, NY visit our web site at www.saqa.com. Annual membership: active Treasurer (US and international) $50, professional artist members $115; Nelda Warkentin, Anchorage, AK student (full-time, with copy of ID) $25. Secretary Studio Art Quilt Associates, Inc. is a non-profit organization Penny McMorris, Bowling Green, OH whose mission is to promote the art quilt through education, exhibitions, professional development, and documentation. Jacqueline Atkins, Allentown, PA Patricia Bolton, Stow, MA The SAQA Journal is published four times a year. E-mail articles Karey Bresenhan, Houston, TX to editor Carolyn Lee Vehslage at [email protected]. Linda Colsh, Everberg, Belgium Peg Keeney, Harbor Springs, MI Deadlines for articles: Carolyn Mazloomi, West Chester, OH Summer: February 1 Sandra Sider, Bronx, NY Fall: May 1 John M. Walsh III, Martinsville, NJ Winter: August 1 Executive director Spring: November 1 Martha Sielman, Storrs, CT

SAQA Journal Books by SAQA members are now available Editor in the SAQA store. To order, go to Carolyn Lee Vehslage, Erial, NJ www.saqa.com > saqa store Art director/graphic designer Deidre Adams, Littleton, CO

Printed in China Address Requested Services Storrs, CT 06268-0572 P.O. Box 572 Associates Quilt Studio Art PERMIT NO. 470 SANTA ROSA CA NON-PROFIT US POSTAGE PAID Caída Libre, 10˝ x 10˝, ©2007 Jane Dávila

preparing portfolios, and setting up websites, and we share our artistic journeys. My husband, Carlos, is an Endangered Bliss abstract oil painter and sculptor, and 28˝ x 27˝ x 1.75˝, ©2006 C. Susan Ferraro there’s nothing like having another artist around for support and critique. He completely gets it when I’m following the muse at 2 a.m! in our planet’s survival. My goal is to many combined with fiber art exhibi- capture the audience’s emotions, tions, focusing on subjects that all encouraging them to take that extra members can learn from. We always step to care for our endangered include a “secret” guest or give- C. Susan Ferraro species and our Mother Earth. away. It’s quite gratifying to see that I originally met SAQA Execu- members are eager to learn from one Connecticut representative tive Director Martha Sielman while another through many of the topics www.artisancsf.com attending the SAQA regional group we discuss. My focus in art is Fiber Revolution’s second exhibi- Through SAQA and all the oppor- wildlife and its tion. The art quilts were so amazing. tunities it has to offer, we can get many facets. I It was a turning point in my life to the message out about our art quilts, depict mammals, become a part of this talented group. including why they are important birds, sea life, Through inspiration and positive in our lives. SAQA’s vibrant leaders, and insects. I add reinforcement from our members, I the Journal, informative conferences, dimension and have sharpened my skills for creating regional meetings, SAQA-U, and all inventive quality artwork and made use of the of the avenues SAQA can lead us materials such as many resources Fiber Revolution has through, are truly gifts for our mem- fiber-optic to offer. bers to embrace. lighting to my artwork. My artwork Our biannual SAQA Connecticut over the past two years has focused meetings are educational and fun. We on endangered species and their role have meetings in different locations,

SAQA Journal • Spring 2009 • 39