Surface Design Journal - Fall 2012 - Sample Issue

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Page 1: Surface Design Journal - Fall 2012 - Sample Issue

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e d i t o r i a l

ABOVE LEFT: MARCI RAE MCDADE. ABOVE RIGHT: LEESA HUBBELL.COVER CREDIT: BEILI LIU Lure Series Installation view of the artist in process, thread, needle, dimensions variable,

each coil 2"-5" in diameter, 2008-2011. Photo: www.romainblanquart.com.

Coast to Coast

Fall2012

Last fall, I was asked to contributean article to SDA NewsBlog byLeesa Hubbell, SDA DigitalPublications Editor. Leesa han-dles NewsBlog, website, eNews,and Facebook content withadmirable enthusiasm and creativity. She is also one of my favorite writers, introducing

readers to a wide range of thought-provokingartists and textile-art trends in the pages of SurfaceDesign Journal.

Leesa’s extensive background in fashionand applied design makes her the ideal collabora-tor for this special issue dedicated to “InteriorSpaces.” Our combined perspectives on contempo-rary art and design have resulted in an energizingassortment of stories to explore this theme.

Equally exciting is the chance to sharesome exceptional installation art that I haveadmired for years. Amanda McCavour’s dreamymachine-embroidered narratives materialized atSOFA Chicago in 2009; her playful blend of nostal-gia and fragility were an unforgettable high pointof that international art fair. Reflecting on the myriad of compelling fiber pieces I have seen in private collections, I asked J. Susan Isaacs to tacklean in-depth exposé on “Collecting Trends Today”(page 32). In 2010, an ethereal site-specific piece by Beili Liu brought tears to my eyes at the San Jose Institute of Contemporary Art. JasonHackenwerth’s amazing monumental (and oftenwearable) creations made from balloons have liftedmy spirits ever since I saw them hovering overheadback in 2007 (article on page 26).

Let us know what you think of the jointeffort on this issue, and be sure to make SDANewsblog a ‘favorite’ to find related content online.

—Marci Rae McDadeSurface Design Journal Editor

[email protected]

One of the many perks ofNew York City living is accessto design shows likeInternational ContemporaryFurniture Fair (ICFF). EveryMay, I get to ogle hot newhome furnishing ideas. Ishared an overstuffed folderof these with the SurfaceDesign Journal Editorial Committee—the groupthat picks Journal themes based on perceivedtrends. My excitement was contagious and I washappy to accept Marci’s invitation to be co-editorof this special “interiors” issue.

I graze in cyberspace, so I do not evenremember how Anne Kyyrö Quinn’s felt acousticsfell on my radar. Luckily, Jessica Hemmings couldinterview her in London and share her absorbingstory. Textilicious seating kept popping up all overso it was cathartic to get an assortment of Tex-Chair(s) into the mix (article on page 10).

ICFF exhibitors Tracy Kendall and FlavorPaper burned a hole in my wallpaper folder; Vic DeLa Rosa has the right stuff for capturing that heat.Weaver Sara Goodman agreed to write about thevaluable work of the GoodWeave Foundation,which includes her own rug designs (page 42).When I saw Tomomi Sayuda’s Japanese-flavoredlighting, I knew it would be a good fit for FirstPerson.

Marci and I come from different genera-tions, different professional backgrounds, and liveon opposite coasts. These diverse perspectivesenrich our collaborative effort to find new syner-gies across SDA publications for your benefit. Anexample? Links to Journal features appear on SDANewsBlog. It gets over 2000 monthly visitors from140 countries. Click on SDA IN PRINT to access linksto this issue at www.surfacedesign.org/newsblog/.

—Leesa HubbellSDA Digital Publications [email protected]

C o r r e c t i o nSDJ Summer 2012, Vol. 36, No. 4

In the article “Threads of Peace in Rwanda,” the contact for sales and exhibition inquiry is [email protected].

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Surface Design Journal F

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f e a t u r e s

06 Quiet Spaces: Anne Kyyrö Quinnby Jessica Hemmings

10 Tex-Chair: Textiles Take a Seatby Leesa Hubbell

16 Amanda McCavour: Stand-Ins for Homeby Joetta Maue

20 Against the Wall in a New Millennium by Vic De La Rosa

26 The Floating World of Jason Hackenwerthby Dan Bischoff

32 Collecting Trends Today by J. Susan Isaacs

38 Beili Liu: Poetry in Spaceby Susan Taber Avila

42 Weaving Hopeby Sara Goodman

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42

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Fall 2012

3Fall2012

48 ExposureA gallery of recent work by SDA members

50 First PersonTomomi Sayuda

52 2011 Creative Promise Awardfor Student ExcellenceKate Nartker

d e p a r t m e n t s

54 Spotlight on Education

Rhode Island School of Design: RISD Textiles Department

56 In Review

Textility

Summit, New Jersey

Outfitters: The Contemporary Art of Clothing

Walnut Creek, California

Joyce Melander-Dayton: Constructions in Concert

Minneapolis, Minnesota

8th Kaunas Biennial TEXTILE ‘11: Rewind—Play—Forward

Kaunas, Lithuania

Olek: I do not expect to be a mother but I do expect to die alone

London, England

Volume 37 Number 1

50

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ABOVE: BEILI LIU Lure Series Installation view of the artist inprocess, thread, needle, dimensions variable, each coil 2"-5" in diameter, 2008-2011. Photo: www.romainblanquart.com.Detail LEFT. Photo: Beili Liu Studio.

38 Surface Design JournalSurface Design Journal38

B e i l i L i uPoetry in Space

b y S u s a n T a b e r A v i l a

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BEILI LIU Lure Series Installationview, thread, needle, dimensionsvariable, each coil 2"-5" in diameter, 2008-2011. Photo: Beili Liu Studio.

39Fall2012

Beili Liu’s 2012 site-specific installation atVessel Gallery in Oakland, California, included adynamic encounter between opposing forces.Two 18-foot-long, graphite-colored needles facedeach other in the moment before impact, heldback and defying gravity by a myriad of whitethreads stitched through the objects, suspendingthem in space. Hung at eye level, the piece invit-ed provocation, yet almost everyone experienc-ing the work had the urge to stand in the mini-mal space between each missile and stare downone of the projecting protagonists. While there isan obvious military implication—and Liu eventoyed with naming the piece MAD (mutuallyassured destruction)—she opted instead for themore optimistic description of balanced con-frontation, Stalemate. Threads function bothphysically and metaphorically to hold back thepointed objects and prevent impending war.

Liu’s work often captures the moment oftension between opposing forces, the hesitationbetween fragility and strength, hard and soft, orgood and evil. In her 2011 installation/perfor-mance, The Mending Project, Liu sat quietlysewing under a cloud of imported scissors. Thesharp blades hung by threads and pointedtoward her head as a poignant visual metaphorfor the vague uncertainty and fear often felt bythe artist, but also relevant to anyone who hasexperienced moments of vulnerability.Additionally, the instantly recognizable and par-ticular shape of the iconic Chinese scissors pro-vided additional subtext about the crueltyimplied by pointing scissors in Chinese culture. Asa balance to the threatening violence overhead,the act of mending was healing and restorative.Liu stitched together fragments of pure whitecloth (provided by gallery visitors) into a growing

carpet with a calm persistence that assertedstrength and control over the situation.

Chinese references occur frequently inLiu’s work. Born in a small farming village in Jilin,China, she moved around frequently duringtumultuous times in Chinese history. She eventu-ally ending up in bustling Shenzhen, a highlycommercialized area that provided more free-dom and information about western culture thanother areas of China. After studying Chinese liter-ature for two years in Shenzhen, she decided topursue her passion for art in the United States.She received an undergraduate degree in graphicdesign from the University of Tennessee and anMFA in mixed media art from the University ofMichigan. Living alone in each new city meantcultural shock and adaptation as she adjusted tothe contradictions between East and West. It is nosurprise that experiences from her past continu-ously inspire her creative work.

Her adoption of red thread—a ubiqui-tous emblem of good luck in Chinese society—isan example of how her Chinese backgroundinspires her creativity. In one of her first installa-tions in graduate school, she had the idea ofwrapping chopsticks and silverware with thread.While she was aware of the cultural associationsof red thread, initially she chose the color intu-itively, perhaps subconsciously attracted to theidea of protection or good energy the red threadimplied. It was years later that she revisitedthread as an art material, specifically utilizing it tomaterialize an ancient Chinese love story. Theresulting Red Thread Legend series has been pre-sented in various forms and venues. According tothe Chinese myth, at birth everyone is tethered totheir one true soul mate by an invisible redthread. The thread keeps them connected as they

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get closer and closer to finding each other. Liuhas interpreted this story by creating multitudesof coiled disks joined in pairs. A needle piercesthe center of each red spiral so that it can behung from the ceiling and float delicately inspace. The repetition and visual rhythm of theselyrical elements beautifully illustrate the true loveallegory. When installed at the Urban Institute ofContemporary Art in Grand Rapids, Michigan(2010), it not only was awarded third prize in theprestigious Michigan ArtPrize competition, but italso prompted one man to use the setting for amarriage proposal to his girlfriend.

For an installation at the San JoseInstitute of Contemporary Art in California (2010),she appropriated a corner of the gallery foranother version in her Red Thread Legend series.For this site-specific piece, Liu outlined theimages of two figures with needles hammeredinto adjacent gallery walls. Threaded througheach needle on one figure was a correspondingthread attached to the other. The illusion createdby the masses of hanging red threads softenedthe hard edged walls and the figures subvertedto shadows visible only at certain angles.

Material experimentation—exploringthe physicality and potential for transformation—provides the catalyst for much of Liu’s work. Sheis a constant collector of stuff and sees thepotential in almost anything as art media. Herwork depends on a genuine connection withmaterial and begins with playful sampling; shemight burn, dissolve, stretch, pierce, or cut to discover a material’s secrets. From there she willfurther manipulate the results to fit her concep-tual plan. When she chooses common materials,like salt, wax, or thread, their built-in associationsfurther enhance interpretations of her work.

The process of creating work, in particu-lar the energy and effort, is another integral qual-ity for Liu. She believes she has a responsibility tothe audience who will invest time and energy inviewing her work. In this way she reflects a textilesensibility; the invisible element of time adds sin-cerity and genuineness to her handmade objects.This commitment to process imbues her workwith awe and wonder. In the Affine series, forexample, all of the threads are hand cut from asingle piece of paper. A similar effect could beachieved through laser cutting, but then the

BEILI LIU The Mending Project Overhead view of installation and performance, iron scissors, fabric, thread, needle, mixed media, dimensions variable, 2011. Photo: Rino Pizzi. Detail RIGHT.

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intuitive and fluid act of minute aesthetic decisions would not be possible and viewerscould not discover almost the imperceptiblemarks and jags on the paper surface.

Much of her process occurs on site, andshe is best known as an installation artist. Liu’ssite-specific work is usually carefully engineeredand planned out with help from her collaboratorand husband, Blue Way. However, unless she canphysically visit and experience the space before-hand, installing on site often means snap deci-sions giving way to spontaneous interventionsand her viewing the exhibition space as an exten-sion of her studio. By nature impermanent, instal-lations record a passage of time. Again, the artist’searly experience in China, moving from countryto city, and frequently thereafter, probably feedsher fascination and innate desire to define space.

Beili Liu’s work conveys a sense of place,process, and material in a way that transformscommon objects into poetic installations. She isan artist with a deep urge to express herself cre-atively. Ever observant, she absorbs the physicalpresence of her environment and is constantlyprocessing events and perceptions from her life.Ultimately, the quiet, powerful radiance in Liu’sart allows viewers to share the magic inherent inevery day.

Beili Liu’s website is www.beililiu.com. Liu’s Lure/Kaunas(2011) installation received a Distinction Award at the8th Kaunas Biennial Textile ‘11 in Kaunas, Lithuania lastfall. To read a review, turn to page 62.

—Susan Taber Avila is Professor of Design at UC Davisand Sunshine Scholar at Wuhan University, China.

ABOVE: BEILI LIU Stalemate Installationview (Vessel Gallery, Oakland, CA) Maple, graphite, string, mixed media, each element 6" x 6" x 18', 2012.LEFT: BEILI LIU Bound#2 Thread, needle,red oak (reclaimed shipping crates), 6' x 10' x 18", 2009. Photos: Beili Liu Studio.

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E POSURE

JENNIFER A. REISMorehead, KentuckyFire in the BellyEmbellished textile assemblage,20" x 16", 2011.www.jenniferareis.com

LIZ ALPERT FAYSandy Hook, ConnecticutCollector of Words: I Dream in Color(with detail) Hand-hooked rug: recycled woolon linen, antique linen textile: hand-embroi-dered, reclaimed metal bed, beaded pictureframe, wooden base, ric rack, section of oldmap, 45.5" x 40" x 85", 2011.Photo: Brad Stanton.www.lizalpertfay.com

Surface Design Journal

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Artists represented on the “Exposure” pages aremembers of the Surface Design Association(SDA); www.surfacedesign.org.

RIGHT: JOHN HESS

Salt Lake City, UtahSight Unseen 2Fabric paint on woven andfolded cotton double weave,25" x 23" x 3", 2011.www.johnhessart.com

CAROLE P. KUNSTADTNew York, New YorkSacred Poem LXXVPaper: pages from Parish Psalmody dated1849, gold leaf, nylon thread, weaving,knotting, 9.625" x 9.75", 2011.www.carolekunstadt.com

ANN NYBERG

Gnesta, SwedenExileWeaving, embroidery, mixed techniques,61" x 43.25", 2010.www.annnyberg.se

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In recent New York gallery shows, embroideredpanels hung beside paintings; malleable forms(often embellished with buttons or beads)sprawled across floors; repurposed swathes ofeverything textile—clothing, blankets, handker-chiefs—were ubiquitous. Has fiber art’s“moment” arrived?

Not quite, as indicated by Textility, anexhibition that filled the Visual Arts Center ofNew Jersey (January 13–April 1, 2012). Textility, asdefined in the catalog, “describes a contemporaryesthetic which draws from a textile tradition, orwhich exhibits a material presence or conceptualquality related to textiles.”1 The show, organizedby Mary Birmingham, the Center’s curator, andJoanne Mattera, a studio artist as well as an inde-pendent writer and curator, was not about textileas a visual arts discipline with a historical and cul-tural frame of reference. Rather, it focused on thecurrent visibility of cloth and other pliable mate-rials in sculptures, paintings, drawings, prints, col-lages, and architectural installations.

Notably absent were works by artistswho identify themselves as “fiber artists” andshow at galleries supporting that genre.2

Nevertheless, among the 40 pieces by 28 artists,some—owing to the skill with which they weremade—would have fit well into a sophisticatedfiber art show. Among those were Mary Carlson’sGhost Flag, a 10-foot-high Old Glory in sheerwhite fabric (Mattera places it in a fine art con-text by referring to it as “the anti-Jasper Johns”),Nava Lubelski’s elegant abstract Chance of Flurrieswith webs embroidered across holes in canvas,and Joelle Baxter’s Endless Day composed ofpaper strips plaited into a two-sided squareshown horizontally like a mat.

Sensitivity to textile construction wasapparent in skeletal grids by Elana Herzog andPip Culbert. Herzog’s untitled piece of frayedseams resembles a tattered fabric deconstructedto its bare bones. In Culbert’s elegantly minimalPatchwork, Blue and Pale Blue, pencil-thin fabricstrips sketch the outline of a quilt.

Taking Textility on its own terms, thisviewer found it interesting to sort out variousaspects of textiles the show brought to light.Grace DeGennaro’s labor-intensive dot-by-dot

geometric creations, for example, parallel thestitch-by-stitch development of weaving orneedlepoint.

For Jennifer Cecere and Susanna Starr,the traditional openwork doily was a point ofdeparture. Cecere’s Mother is a lacelike patterncut from a single piece of nylon eight feet indiameter. Also resembling lace, Starr’s six-foot-high Dresser Doily, intricately cut from woodveneer, wittily conflates the scale and material offurniture and the intricate texture of a doily.

Artists’ eternal fascination with render-ing textile surfaces in different mediums was evident in several works, including Gray, a super-realistic painting of folded and wrinkled fabricmasterfully executed by Lalani Nan. (Some view-ers noted its disturbing similarity to TaubaAuerbach’s better-known work featured in the2010 Whitney Biennial, but Nan’s piece was dated2006.)

Black-and-white studies of textile con-struction included Aric Obrosey’s meticulouslydetailed charcoal drawing of netting. SamMessenger’s haunting Veil from Alpheus, with itsdistorted central rectangle bordered by rows offaint weave-like lines, resembles a negative printof an antique photo of a textile. The twelve color-ful encaustic-painted panels comprisingWherewithall exemplifies Barbara Ellman’s freeinterpretations of ethnic textile designs such as

Installation view of Textility at the Visual Arts Center of New Jersey in Summit, 2012. Photo: Joanne Mattera.

56 Surface Design Journal

Reviewed by Patricia Malarcher

Summit, New Jersey

TextilityVisual Arts Center of New Jersey

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ABOVE: CARLY GLOVINSKI Untitled (dishrag) Ink, correction fluid on paper, 16" x 9" x 6.5", 2010. Showncourtesy of June Fitzpatrick Gallery, Portland, Maine.LEFT: NAVA LUBELSKI Chance of Flurries Thread onstained canvas, 46" x 36", 2011. Shown courtesy ofLMAKprojects, New York, New York.

57Fall2012

Kuba cloth, improvisational patchwork, and EastEuropean embroidery.

Teasing a viewer’s mind and eye, CarlyGlovinski’s 3-D trompe l’oeil Untitled (dishrag)casually hangs on a nail, requiring a surreptitioustouch to verify that it isn’t cloth but a deceptivepaper copy. The cloudy translucence of ArleneShechet’s life-size cast glass sculpture of a coiledrope imbues the image of a common commoditywith mystery.

Derick Melander’s columns of neatlystacked secondhand clothes, chromaticallysequenced to imply an inner light in the middle,vividly demonstrates the surplus of materialgoods. These sculptures offer cogent commen-tary on a cultural phenomenon; as well, theyembody a formal intelligence that makes themdeeply satisfying as visual art.

Notwithstanding a few naively craftlesspieces that lacked the spark of art, Textility was afascinating and ambitious, provocative show. Thecurators made a lively contribution to the currentdiscussion on the place of fiber in the larger artworld.

1, 2Joanne Mattera, “Material Means: Diverse Practices,Common Threads,” Textility exhibition catalog.

For further information on Textility, visit www. joannemattera.blogspot.com. The exhibition catalog is avail-able for $12 from the Visual Arts Center of New Jersey,68 Elm Street, Summit, New Jersey 07901. (908) 273-9121; www.artcenternj.org.

—Patricia Malarcher is a studio artist and an independent writer. She was formerly editor of theSurface Design Journal.

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asti

HistoryFounded in 1977, the Surface Design Association is an interna-

tional not-for-profit organization with an office in Sebastopol,

California. SDA seeks to raise the level of excellence in textile

surface design by inspiring creativity and encouraging inno-

vation through all its undertakings. Our current membership

of nearly 4000 national and international members includes

independent artists, designers, educators, curators and gallery

directors, scientists, industrial technicians, entrepreneurs, and

students.

Publications and Website

Surface Design Journal, the Association’s quarterly magazine,

offers in-depth articles on subjects of interest to contempo-

rary textile artists, designers, and other professionals in the

field. Each issue is designed around a theme relevant to sur-

face design and offers perceptive commentary unequaled by

any other peer publication. Accompanying each article are

full-color reproductions of work by leading-edge artists.

The monthly eNews spotlights time-sensitive information,

including exhibition opportunities and initiatives.

The online SDA NewsBlog features news of SDA member

activities, reports on events relevant to surface design, and

information on professional resources. The blog is located on

the SDA website (www.surfacedesign.org).

The website includes ongoing updates on SDA conferences; a

gallery featuring members’ artwork; an international calendar

of textile-related events; and a bulletin board listing opportu-

nities for exhibitions, grants and employment.

Conferences

The Surface Design Association sponsors major biennial inter-

national conferences as well as smaller regional and interna-

tional conferences. Programs feature distinguished speakers

offering perspectives on surface design, workshops and

demonstrations covering a wide range of contemporary and

historical techniques, exhibitions, fashion shows, vendor

expos, and other events. Conferences have been held at differ-

ent US and international locations.

Member Benefits

• Four issues of Surface Design Journal

• Ongoing SDA NewsBlog updates & monthly eNews

• National, international and regional conferences

• Networking opportunities

• Opportunity to submit images of work to the “Exposure”

section of the Journal

• Image Library for promotion of members’ artwork

• SDA Instructors Registry

• Promotion and representation of members’ work and

professional activities via the Journal, NewsBlog and website

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