Open Studio, Fibers and Material Studies Area, Tyler School of Art, Temple University, FiberPhiladelphia Opening Weekend, Saturday, March 3, 2012, 10:30am-4:00pm

Open Studio, Fibers and Material Studies Area

Tyler School of Art, Temple University 

FiberPhiladelphia Opening Weekend

Saturday, March 3, 2012, 10:30am-4:00pm

Tyler School of Art is located on Temple University's main campus in Philadelphia, PA. The Fibers & Materials Studies Program offers both BFA and MFA degrees with a strong interdisciplinary approach toward traditional textile processes in combination with innovative contemporary techniques. The Fibers & Materials Studies curriculum teaches technical skills to allow students to explore possibilities through loom and off-loom processes, dyeing, printing and digital output.

Visitors will see the Fibers and Material Studies studio which includes loom, off loom, dye, screen printing, sewing, toxic process, and digital printing on fabric areas.

Elizabeth Hamilton, Samantha Jones, and Ashley Rodriguez Reed, Fibers and Material Studies MFA candidates, will be in their studios preparing work for their Spring 2012 thesis exhibitions.

Fibers and Material Studies
Tyler School of Art
Temple University

250K, Second Floor
2001 N. 13th Street
Philadelphia, PA 19122  

Contact: C. Pazia Mannella, pazia@temple.edu

http://tylerfiber.blogspot.com/

8th International Fiber Biennial Opening March 2nd!

Fibers Sale Fundraiser!

"Indigo at Indigo: Indigo-dyed Textiles from Africa", Various artists, including Nigerian artist Gasali Adeyemo, March 3rd to April 28th, 2012.

"Indigo at Indigo:  Indigo-dyed Textiles from Africa"Various artists, including Nigerian artist Gasali AdeyemoMarch 3rd to April 28th, 2012

Indigo Arts Gallery
Crane Arts Bldg., Suite #104,
1400 N. American St., Phila. PA 19122www.indigoarts.com
215-765-1041
Contact person:  Anthony Fisher
Email:  indigofamily@indigoarts.com
Receptions:   Saturday, March 3rd, 5 to 8pm (to coincide with Outside/Inside the Box reception).  Nigerian indigo artist Gasali Adeyemo will also be demonstrating his technique and selling his work at the gallery from 2 to 8pm. Second Thursday Reception, March 8th, 6 to 9pm
Special Events:  Indigo dyeing demonstration and workshop by Yoruba, Nigeria master dyer, Gasali Adeyemo:  Sunday, March 4th, 12 to 3pm, in Rm. 207 (Dianne Hricko’s studio) in the Crane Arts Bldg.

Additional description:
In celebration of Fiber Philadelphia, and our 25th anniversary in Philadelphia, Indigo Arts Gallery presents an exhibit of the rich tradition of Indigo textiles.  The exhibit focuses on African indigo dyeing and weaving techniques, including the resist-dyed adire cloth of the Yoruba people of Nigeria, tie-dyes fabrics of the Yoruba and the Bamana people of Mali, and woven indigo kente cloth from the Ewe of Ghana and Togo.  A sampling of indigo textiles from other African, Asian and Latin American traditions will also be on display.  The exhibit will also feature a demonstration of cassava-starch resist dyeing and tie-dyeing by master Yoruba artist Gasali Adeyemo.  Mr. Adeyemo will be present to demonstrate his techniques at Indigo on the opening day, Saturday, March 3rd, and on Sunday, March 4th will conduct an indigo dyeing workshop in the building.  (Additional information on the artist at:org/index.php/profiles/entry/gasali_adeyemo/>)

kathy weaver

Correlated Pathways, canvas, airbrushed, hand-quilted, 50 x 50, Generated Topology, satin, airbrushed, hand quilted, 42 1/2 x 48 1/2, Initial Condition, satin, airbrushed, hand quilted, 38 1/2 x 37 1/2

...The robot’s setting is that of a tilted stage or shadow box and in this environment the robot is a translator of events, an alter ego, a doppelganger. The robot can be an observer, a soothsayer, a malcontent or a destructor. The viewer is invited into the picture plane to see the modality of the robot’s disposition as it reflects human nature....
...During the past year, I have focussed on inventing the robot’s world, using plant and cellular forms that are stranger than life and pregnant with meaning. These works consist of intricate collaged embroideries, egg tempera paintings on wood panels, and gouache paintings on paper. The robot’s environment of oversized botany is steeped in a visceral, atavistic aura. The natural and pseudo mechanized images represent the dichotomy between issues of fatalism and hopefulness.


see more here.

Rachel Barnes BFA Exhibition- Bee.F.A.

Senior Fibers & Material Studies major Rachel Barnes will be having her B.F.A. exhibition this week. The show opens today and runs through the 25th of this month. The opening reception will be held on Friday, February 24th from 6pm-9pm. The work is on display in the atrium outside of the Stella Elkins Tyler Gallery within Tyler School of Art. Please stop by and check out the show this week, it is sure to be great. Congratulations Rachel!

Call for Entries for the $1500 2012 Nancy and Harry Koenigsberg Student Award. Entries must be postmarked by March 23, 2012.

Textile Study Group of New York
Nancy and Harry Koenigsberg Student Award
Box 286036 Yorkville Station
New York, NY 10128
www.tsgny.org
www.tsgnyblog.org
www.facebook.com/TSGNY


Call for Entries for the $1500
2012 Nancy and Harry Koenigsberg
Student Award


The Textile Study Group of New York (TSGNY) has announced a call for entries for the
2012 Nancy and Harry Koenigsberg Student Award (NHKSA). College students and
graduate students who create fiber artwork and who are matriculated in a college,
school, or university in CT, DC, MA, MD, ME, NH, NJ, NY, PA, RI, VA, and VT, are invited
to submit their fiber artwork to the NKHSA competition. There are no entry fees and
students do NOT need to join the TSGNY in order to compete. The winner will receive a
$1500 award, a one-year TSGNY membership and an invitation to present his/her fiber
artwork at the June 20, 2012 TSGNY meeting held in New York City. Students’ entries
will be juried by the TSGNY Student Award Committee.
The TSGNY defines fiber art as “fine art made with flexible materials.” Fiber artworks
may be flat or sculptural, functional or non-functional. There are absolutely no limitations
on materials, which may be natural or man-made. Techniques include (but are not
limited to) tapestries, quilts, basketry, needlework, hangings, crochet, beadwork, weaving,
embroidery, knotting, jewelry, surface design, knitting, costumes, collage, soft
sculpture, and wearables. Non-fiber artworks that are constructed with textile techniques
are also eligible.


NKHSA application forms are available at http://www.tsgny.org/ACTIVITIES.html or by
sending a ($.64) self-addressed stamped envelope to:
Margaret Cusack


Textile Study Group of New York
124 Hoyt Street in Boerum Hill
Brooklyn, NY 11217-2215.
For more information: 718.237.0145 or cusackart@aol.com.


Entries must be postmarked by March 23, 2012.

Student Discount on FiberPhiladelphia Bus Loop.

If you're a student currently enrolled in a degree granting institution, your school ID will get you a big discount on the FiberPhiladelphia Bus Loop. On Saturday, March 3rd, $10 cash and your student ID will get you on the bus loop traveling between the best Philadelphia galleries with these people, our awesome Fibers and Material Studies students and majors!

For more information: 
http://www.fiberphiladelphia.org/_blog/Blog/post/Student_Discount_on_FiberPhiladelphia_Bus_Loop/

I ♥ CZ, Susie Brandt.

At the beginning of the Spring 2012 semester, Susie Brandt visited the Temple Gallery here at Tyler to create a site-specific couch installation.  This "couch intervention" project started as an ongoing interaction with the gallery couch to engage artists and students to give the couch a new context.  The majors from the Fibers and Material Studies area were the first to take on this project.  Each week the couch took on new life as it was transformed through different materials and each groups ideas.
      When Susie was initially approached for the "couch intervention" project, she thought it sounded very strange and different, so she immeditatley wanted to take on the challenge.  Her work often addresses the idea of utility so the theme carried over.  For example, she has made latch hooked rugs that visually translate the mapping of walks throughout Baltimore where she currently teaches Fiber at MICA.  For the couch project she took inspiration from the pioneering fiber artist Claire Zeisler.  Susie worked with Claire in her early career and the sculpture, Coil Series III--A Celebration from 1978 came to her mind.  For the couch, Susie re-upholstered the cushions with plain linen and the rest of the red acrylic strings of yarn where individually hand tied onto the frame of the couch, giving the it an impressive mane of hair.  The piles of spilling hair carry the body of the couch onto the floor creating less separation between floor and furniture.  It is tempting to sit on the cushy red piles pf yarn rather than the couch itself...but do we dare mess up its style?  It was great to have Susie's presence and work in the gallery, while sharing stories of travel, the paths of making it as an artist, and most importantly the collaboration and sense of community this kind of project bring when working together.  Thanks Susie!


Written by Ashley Rodriguez Reed.

gregory euclide

Looming, 2009, Acrylic, Cedar, found foam, leaves, Moss, pencil, photo transfer, pine needles, polyurethane foam, Sedum, sponge, 23 x 29 x 7, Produced within the layers of viewing’s making, 2009, Acrylic, Buckthorn root, Cedar, found foam, insulation foam, Moss, palm, paper, pencil, photo transfer, satin ribbon, Sedum, sponge, 23 x 29 x 4, Because abundance emerged beneath the messy promise, 2010, acrylic, found foam, pencil, paper, moss, Photo transfer, pine cone, sedum, sponge, wood, 35 x 29 x 5

When I am in nature I experience the world through all of my senses in a dynamic way, but at the same time I am framing what I see through the cultural expectations I have absorbed through representational systems such as landscape painting, wildlife documentary, and travel guides. It is very difficult, then, to have a true, non-mediated experience of nature even though I may long for it. My work explores the contradictions between the projection of idealized, picturesque views of landscape and my desire to have an authentic experience in nature.

My recent compositions contain a mixture of landscape images painted on paper, which have been shaped into three-dimensional sculptures that protrude from the wall. The battered and wrinkled sheets of paper that are the foundation of these works carry a blend of imagery containing picturesque landscapes drawn from memory, photo transfers based on nature photography, abstract areas of raw paint, and actual artifacts from the land such as pine needles and bark. By employing multiple representational modes, I create tension between the cultural codes traditionally used to represent landscape. For example, pools of thick, raw, liquid paint at once expose the illusion of representational systems and mimic the properties of the rivers and streams they are used to signify. Similarly, the exaggerated folds of the thick watercolor paper transform the flat, framed image of the traditional landscape into a dimensional topography that cannot be completely owned from one vantage point. The three-dimensional forms of these new terrains -- painted on both sides and containing hidden vignettes -- encourage the kind of exploration one might find in nature rather than a traditional picture.


see more here.

Art in City Hall Exhibition Opportunity

Call for entries, deadline February 20: Art In City Hall issues a call to Philadelphia area artists for the next exhibition in historic City. Meta-Fiber, part of FiberPhiladelphia2012 is open to artists working in non-traditional ways and with non-traditional materials that utilize fiber and textile art-making techniques such as weaving, sewing, applique`, quilting...
Non-traditional materials may include: recyclables, post-industrial, organic, or repurposed products, etc. Exhibition display case dimensions are 84” H x 94” W x 30”D. There are 7 display cases. Exhibition Dates: March 12—May 11, 2012 For prospectus: http://tinyurl.com/7s2cp8q

diana al-hadid

spells on our youth (detail), 2009, steel, resin, fiberglass, polymer gypsum, high density foam, 15x16x16, spun of the limits of my lonely waltz, 2006, wood, polystyrene, plaster, fiberglass, 6x5x5, portal to a black hole, 2007, wood, plaster, fiberglass, polystyrene, cardboard, plastic, paint, 10x13x14

see more here.

Book Club: Stitched By Hand by Susan Elliott.

All photos courtesy of Susan Elliott.


I am an embroiderer. 
I can spend an entire day with needle in hand and have only one stitched petal of a flower to show for it.  One exquisite petal, but still.
In this age of “Made in China” there are very few women willing to dedicate their time to embroidery, which makes my love for it all the greater – and my love for the art form extends beyond practical application to the collection of all things needle.
I have just finished reading The Hare with Amber Eyes by Edmund de Waal. The memoir traces a collection of Japanese netsuke inherited by the author back through five generations. De Waal claims that how objects are handed on is all about storytelling. Sometimes objects are given for a reason... they have special significance to the giver; they will be well cared for by the receiver, etc. But all too often, objects are found having lost their records of ownership; having lost their stories of creation altogether.
Though I am driven to collect works of exquisite craftsmanship, I have never had the benefit of knowing their stories. I have never inherited any such treasures from my relatives. Instead, I am left to hunt and gather on my own – acquiring not just embroideries, but all of the tools and exquisite supplies that would have been used by a well-needled woman. A hand-carved pearl button, a hand-embroidered lace, a sterling thread holder, a thimble case in the shape of an acorn made by Tiffany & Co.
Over the years, these treasures have become more and more difficult to find. Some have landed in other collections, but I fear that more have fallen into the hands of someone who has no concept of their value – no concept of their story. And so they are relegated to the back of a dusty drawer or, even worse, tossed away by someone with no idea that it took 200 hours to stitch that one embroidered whitework collar. 
And it’s not just the finished items that are being lost. In order to make exceptional handworks, there’s a need for exquisite materials as well.  Today, the technology for making the finest beads, sequins, laces, and threads is disappearing rapidly. There simply hasn’t been enough demand to keep these industries going.
And so I collect. 
I collect to ward off the inevitable extinction of some of the most beautiful embroideries of humanity. I collect the fine gold and sterling needlework tools that were used by needlewomen on a daily basis in pursuit of their art. I collect the French enamel buttons of the 19th century, handmade laces, and purses made with beads that are smaller than dust. Unfortunately, I don’t know their actual stories. But what I do know is the amount of skill, time, and passion it takes to create these precious displays of artistic expression.
And so I am their guardian, only for a short while, until I am gone. Then it is my responsibility to share the stories of the pieces I leave behind because I know what it means to stitch only one petal of a flower in an entire workday. 
This post is part of a series of blogs about our upcoming book club meeting at the American Craft Council’s Baltimore show. Pick up a copy of Edmund de Waal’s The Hare with Amber Eyes to join in the fun.
http://www.craftcouncil.org/event/book-club-hosted-celeste-sollod
Susan Elliott is a needle artist who draws on many different needlework disciplines to tell her stories with needle and thread.  Her unique combinations of fabrics, embroidery, stumpwork, quilting, beadwork, and ribbonwork are a trademark of her artistic style. This mixed-needle approach to her work, coupled with her love for photography, makes a visit to her blog a treat for the senses. See more of Susan's writing, work, and photography at her blog Plays with Needles. 
http://plays-with-needles.blogspot.com/
For more information: http://www.craftcouncil.org/post/book-club-stitched-hand

American Craft Council Show

Free bus trip to the American Crafts Council Craft Show in Baltimore. Bus leaves from 13^th & Diamond Street at 8:00 am Wednesday, February 22, and returns approximately 8:00 pm the same day. Tickets are available from Kari Scott, Student Life Coordinator beginning Wednesday, February 8. Pick up tickets in the Exhibitions office in person, or from Kari in at the Tyler front desk during office hours: Monday 9:30 - 11 am, Tuesday 12 - 2 pm and Wednesday 3 - 4 pm. Must show Temple ID and trip is open to ALL TEMPLE students.

More information on the show is available here:

http://craftcouncil.org/baltimore

And be sure to check out the American Craft Council's Website:
http://www.craftcouncil.org

Emilie Faïf

Emilie Faïf is an artist living in a northern suburb of Paris whose studio practice relies heavily on her use of textiles. More images of her work and further information can be found on her website:
http://emiliefaif.com

jessoo lee

sorry, no info available.

see more here.