Tapestry TopicsA Quarterly Review of Tapestry Art Today

N e w s l e t t e r o f t h e A m e r i c a n Ta p e s t r y A l l i a n c e

Fall 2006 Vol 32 No 3

Letter from the Directorby Becky Stevens

As of the first of July, the new fiscal year, Ibecame Director of Member Services. I will carryon for Alex Friedman who has done an outstandingjob of representing ATA. Thank you, Alex, for fouryears of sound leadership, for promoting ATA hereand abroad, and for remaining on the board.

I am honored to be part of this dedicated and hardworking board and plan to maintain its commitmentto a schedule of educational retreats and speakers’

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www.americantapestryalliance.org

In this issue:

Grand Ideas Small Format Tapestries . . . . . . . . . . 3

by Deborah Corsini

Notes from “The Way In” Retreat . . . . . . . . . . . . 5

by Rita Landau, Barbara Burns, Betsy Snope

Monique Lehnan’s Tour de Force . . . . . . . . . . . . . . . . . . 7

by Linda Rees

Energy: The Tapestries of Shelley Socolofsky . . . . . . . . . . . . . . 8

by Linda Rees

Tradition and Change . . . . . . . . . . . 10by Bhakti Ziek

Katherine Perkins: In Celebration of Wildness . . . . . . . 12

by Lany Eila

It is Only Natural . . . . . . . . . . . . . . 13by Katherine Perkins

Review: COVER-UPS & REVELATIONS . . . . . 14

by Micala Sidore

Mary Merrill, 1921-1999 . . . . . . . . . 16by Nell Znamierowski

Review: FOLKS IN FIBER . . . . . . . . 18by Louise Abbott and Jill Montgomery

Book Review: Kids Weaving: Projects for Kids of All Ages . . . . . . . . . . . . . . . . 20

by Mary Dieterich

Volunteers Make it Happen. . . . . . . 21by Mary Lane

Katherine Perkins, "Aspen Vista," 37" x 21"See article on page 12.

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forums. We welcome your input on what subjects,teachers, and speakers will benefit your developmentas a tapestry artist. We are considering expanding theexhibition opportunities to include a small formatinternational exhibit and discussing ways that we canhave more contact with the regional groups. The newroster is out and shows ATA has grown to 427 mem-bers, 111 of whom are Circle Members. We will cele-brate our 25th anniversary next year with a GalaSilver Celebration.

Christine Laffer is stepping down as Director ofResources to devote more time to the growing web-site. Thank you, Christine for four years of your wisecouncil, for fostering ATA’s place in the art communi-ty, and for continuing on the board. Linda Wallacehas agreed to serve the remainder of Christine’s term.We welcome her enthusiasm and her good ideas. Asa Canadian, Linda will bring a valuable perspective toATA and will expand ATA’s representation of NorthAmerican tapestry weavers.

There are other subtle shifts of duties with theaddition of new volunteers. Karen Crislip has agreedto become the archivist. New board member, LindaWeghorst, will take over the Distance LearningProgram from Priscilla Lynch who has nurtured it forseveral years. Thank you, Priscilla. Barbara Hellercompleted eight years as a board member, wearingmany hats. Her enthusiasm, ready support and goodideas will be missed. Thank you, Barbara. DavidJohnson has created guidelines to make it easy forany of us to be a guest curator of an ATA web exhibi-tion. Board member Janet Austin is the curator of thenewest exhibit, “Fractured Landscapes,” which pres-ents the work of Suzanne Pretty. It can be seen on thewebsite www.americantapestryalliance.org.

Many of us were fortunate to attend Convergenceand ATA events in Grand Rapids, Michigan in lateJune. It was a busy and exciting time, filled withexcellent exhibits, provocative lectures and temptingvendor displays. Many people contributed their ideasand energy to make the ATA events at Convergenceso much fun. Here are a few: Peggy Strang -- ATB6;Lynn Mayne and committee --ATB6 Catalog; ElinorSteele -- ATB6 postcards; Priscilla Lynch -- GrandIdeas Exhibition and Catalog; The Wednesday Group-- Exhibition; and David Johnson -- No Host Dinner.Mary Lane organized the Forum, Exhibitions A-Z, theSlide Slam, and "The Way In Retreat. Michael Rhodecontributed to Slide Slam and Christine Laffer wasthe moderator of Exhibitions A-Z.

Several of our members had one-person exhibi-tions and many sent work to the Convergence exhibi-tions. My heartfelt thanks to each of you for sharingyour work, for inspiring us and giving us the oppor-tunity to satiate our senses with tapestries of manyvarieties. I look forward to hearing from each of youabout how ATA can better serve your needs, and howyou can contribute to the success of upcoming pro-grams and events.

Happy weaving! Becky Stevens

Mark AdamsThe newsletter has been remiss in announcing the

death of tapestry designer Mark Adams on January 24of this year. His career was very long and diverse.Although he started out in the 1950’s as a designerfor tapestries after studying with Jean Lurçat, he wasalso a successful designer of stained glass. However,by the 1970’s he became more interested in painting,especially watercolor images of very pristine objects.

An article about his life and influence onAmerican tapestry weavers will be in our anniversaryissue. We would like to feature comments from themany California artists and others who were influ-enced by his work or his personality, especially inconjunction with the San Francisco TapestryWorkshop. My own weaving style was affected by hisalmost abstracted use of hachures as a design elementfor contemporary imagery, after seeing one of the tap-estries he designed for the WeyerhaeuserHeadquarters. Please help us to portray a full pictureof this influential artist.

Next Issue: Transitions as Design Elementincluding joins and border treatments. DeadlineOctober 1. We are looking for articles that addressthe various ways tapestry weavers approach transi-tions and use the necessary breaks to good effect.The subject can be scholarly, ethnic, about cleversolutions or the simplest of techniques. Note theearly deadline. Other themes under considerationfor future issues include Narrative tapestry,Working with disturbing topics/ political or person-al, Color, and All about exhibiting. You are verywelcome to add to the list and even join in the funof selecting authors and featured artists.

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ATA Student Award Recipient Mary Caitlin Sellers, a textile student of Susan Iverson at the Virginia

Commonwealth University, has been selected by the Board of American TapestryAlliance as the first winner of the American Tapestry Alliance Student Award.

Caitie was inspired to weave as a young child by watching her great grand-mother weave on a counter balance loom. Intrigued by the complex machine she

enrolled in weaving classes to learn how to use it. She soon realized she wanted more creativity than whatpattern weaving allows. She transferred to VCU to study tapestry and jewelry making. She will graduatewith a double concentration in textiles and metals in 2008. Her future plans may include graduate schooland possibly teaching in a craft school. We wish her all the best in her future career as a tapestry artist.

The Board of ATAcreated this award toencourage youngertapestry students. Ifyou are interested inhelping to fund theaward, please contactAlex Friedman. Welook forward to rec-ognizing many morenew tapestry artists.Mary Caitlin Sellers, "State of Mind II – February," 10" x 35" x 1", 2006,

tapestry with pile weave, rayon weft, linen warp

“Grand Ideas” Small Format Tapestries are GrandBy Deborah Corsini

Of the myriad textile exhibitions at Convergence 2006 in Grand Rapids, MI, the ATA sponsored Small Formattapestry exhibit, “Grand Ideas,” was the most charming and engaging to see. Tapestry artists responded to the10” x 10” x 1” maximum size requirement with a multitude of techniques, materials and themes. Tapestry artistsfrom the very well known, like Archie Brennan and Susan Martin-Maffei, to less experienced weavers took onthe challenge of the small scale with inventiveness, humor and sensitivity.

I was lucky enough to have a pre-conference workshopin the Kendal Center of Art where the tapestries were nice-ly hung in the bright lobby entrance to the building. Forthree days I could examine each piece and find new sur-prises and wonderful jewels amongst the over 150 smalltapestries exhibited. Techniques ranged from very tradi-tional, to shaped, stitched and embellished pieces and alsoincluded four wedge weaves, to my delight. Materials ranthe gamut from natural wool, cotton, linen and silk tosewing thread, embroidery floss, synthetics, rayon, plastic,and beads.

A selection of my favorites would have to include“Swimming” by Urban Jupena. This tapestry pictures a

Urban Jupena, "Swimming" detail showing bead "bubbles"

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solitary figure swimming through sunlit water. Woven in embroi-dery floss it shimmers with the addition of tiny beads like waterbubbles that sparkle in sunlight. This tapestry perfectly cap-tures the effervescence of splashy foam and the reflection oflight on water on a hot summer day. Jupena’s use of anexposed linen warp as the frame is a pleasing and practicalcontrast to the image.

Barbara Arrighi’s “Warped Mind – A Self Portrait,” is acharming, expressive tapestry portrait. The face, divided by coloras if to reveal mixed emotions, has a quizzical, funny expressionthat we all can relate to. Although primitive, the features, espe-cially the lips, are well rendered. The area above the eyebrowsand below the hair is unwoven, exposing the warps, a peakthrough the brow to the brain and to our collective weavers’ joke– are you warped?

“Variations on a Theme – Moment to Pause” by Kathe Todd-Hooker is a delicate and exquisite tapestry thatcaptures a panoramic sunset view over the mountains. Her fine sewing threads and embroidery floss are skillfullyblended and catch the glow and beauty of nature’s palatial setting. This small piece is a quiet and stunningreminder of our beautiful planet and of taking amoment to appreciate its natural splendors.

Other scenes that are handsomely depicted areSusan Martin-Mafffei’s “Views Near Mme.Touitou’s – The Craigs”, an interior window witha delicately woven textured, transparent curtain.“En Attendant le Printemps” by Christine Pradel-Lien views a stylized abstracted nature through awindow. Nature seems to enter into the interiorand pattern the walls with designs, shadows, andspring itself.

Though there are so many other tapestries thatI could mention, I particularly liked “River City”by Priscilla Lynch (see photo on cover page). Herimagery, an illustrative and beautifully patterneddepiction of architecture, water and sky is richwith color, pattern and playful design. The redsculpture towering by the water’s edge remindsme of how important art is to our community andto our lives. Lynch also did an exceptional jobchairing and organizing this year’s small formatexhibit. The accompanying catalogue (nowunfortunately sold out) is a wonderful and inspir-ing document of the exhibit that reminds us ofthe beauty, diversity, experimentation and com-pelling stories that can be told at this intimatewoven scale.

Barbara Arrighi, "Warped Mind - A Self-portrait"

Susan Martin-Maffei, "Views Near Mme. Touitou’s – The Craigs"

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Notes from

“The Way In” Retreat

Rita Landau: Sharon Marcus Workshop

Feeling the need to expand my parameters, I hadchosen Sharon Marcus' workshop. The experiencewas just what I needed. In preparation, I read severalof the articles Sharon had suggested and subsequentlybecame a trifle concerned that maybe this class wouldbe somewhat “over my head”. As it turned out, thatwas definitely not the case. Sharon's approach wasvery thoughtful, provoking, and tantalizing, challeng-ing all of us to explore one of three suggested topics:They were: Use Pattern / Ornament in a SubversiveWay; Consider one of the following words as a start-ing point: Palimpsest (i.e., re-used writing materialthat retains evidence of previous text), Diaphanous,(or a texture so fine it appears transparent), andParadigm (model or pattern); or Use word associationto consider Sense of Place, how the smell or sound ofa particular place might be portrayed. For example,Don Burns communicated that in word associations,what comes to mind are typically visual words. Butby questioning what a certain smell or a certain soundmight look like or if it is “touchable” he was able toillustrate a much stronger picture of that place. Evenwith an art background, it had been a long time sincehe approached design conceptually. The word associ-ation exercise allowed him to be more imaginative.

Following a short slide presentation of variousartists' work we immediately set to work, each of usstretching our creative juices in our own way todevelop ideas through writing, sketching, collaging,even stitching and weaving. When the time came topresent a preliminary plan, Sharon sat with each of usindividually to assist with further developing thedesign process. Her personalized interaction wasinvaluable. Also, everybody in the class felt verycomfortable with each other, sharing ideas and mak-ing helpful suggestions.

On the second day, the walls around the roomwere filled with wonderful creations, and we each hadthe opportunity to present our ideas, and to receivefurther suggestions and friendly comments from oneanother. In addition, we were able to compare noteswith people in the other two groups, giving us aneven broader scope of various design processes, andto enjoy the work of other fine tapestry weavers.

I would say that two days were perfect, keeping inmind that many of us had already been working hardduring Convergence. I came away feeling veryenriched and invigorated.

Barbara Burns: Jane Kidd Workshop

I went into the workshop with the desire to takemy designs to a new level of sophistication, lookingfor more complex ways to tell a story that woulddraw the viewer in.

Jane began our class by handing out an “ideamap” consisting of a list of questions that give you aframework for expression, and facilitate a personaldialogue to develop a design using key words, sym-bols, patterns and other images found in research andexploration. Technical data such as scale, color, andtechnique is also recorded.

Jane then showed us examples of her use of theidea map and sketches, as well as slides demonstrat-ing the progression from a literal design to a moresubtle one by pealing away the layers of irrelevantdetail. This was very useful to me since subtlety isnot my strong suit. From there we set to work on ourown ideas. Jane spoke with each of us individuallyabout our concept.

Later in the day it was time for group discussion.With the walls covered with our designs in process,Jane stressed the need for the group to not critique atthis point, simply to offer insights and suggestions.Experiencing group comment time was inspiring andthought provoking. There was a great deal of sharingand a sense of equality. I have to admit at this pointthat I had some trepidation when I saw who was inmy class: people I consider “heavy hitters” in the

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Jan Austin confers with Kathe Todd Hooker whileTommye Scanlin listens to Sharon Marcus.

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world of tapestry, and whose work I have admired. I foundthat everyone was there to learn and share and, from what Icould see, no one was made to feel their work was inferior.

We also received a Composition Checklist which posedquestions about compositional concerns that may or may notbe applicable to the particular design in progress. This includedsuch things as spatial organization, color systems and whetherto use borders.

I appreciated that Jane gave everyone individual attentionseveral times in the workshop as well as time for feedbackfrom the group. I found Jane to be insightful, sensitive andnon-judgmental. She always managed to boil something downto its essence and explained her ideas clearly and concisely.

The time spent outside of the class was also valuable.There was a great deal of sharing and camaraderie betweenpeople in all three classes. I feel I have made connections with

a few people that I would like to foster. Really, the only faults I could find were that I would have liked anotherday to work and, of course, to socialize; and the timing with the July 4th holiday was less than desirable.

It was one of the most productive workshops I have taken in a while. I left with a cohesive plan for how toapproach and develop a design concept. I know I will use what I learned for a long time. I also came home witha design in process that will, with more work and research become, I hope, my best work to date.

Betsy Snope: Susan Iverson Workshop

“The Way In” was a wonderfully appropriate title for the retreat. I had been particularly eager to attend thisworkshop. Although I love the act of tapestry weaving, I feel quite “artistically challenged”, having very little artbackground. Meeting so many of the artists I've admired for years has been a thrill.

I attended Susan Iverson's section, which started with an introduction and review of her handout. Topicsincluded: “Where do Ideas come from?”, “Categories of Subject Matter”, and “Developing the Idea into Image”.She emphasized the need to “draw, draw, draw!” The remainder of the two days consisted of a group process fordeveloping a topic, such as “words of contrast,” then employing hands-on exercises, such as using stripe compo-sitions to convey the contrast. Each exercise was wall-mounted and critiqued by the group. One of the exercisesinvolved bringing a favorite poem or quote, sharing it with the group, then making a collage, avoiding illustra-tion of the poem, while retaining meaning for the reader/viewer. The various exercises were interspersed withslide presentations of art and nature. Another interesting exercise involved taking a 12" square of brown paper,cutting it up and creating a balanced visual space with the pieces encompassing at least a 36" square surface. Weall had opportunities to speak individually with Susan about our current and proposed projects.

I came away realizing I had learned a lot and need to learn more. I must admit, however, that having spent thetime at Convergence before the retreat, I don't know if I could have absorbed another day. I will, however, beback for the next retreat. You can count on it!

ATA is turning 25 and we're having a party!Save the date: April, 2007

in conjuction with the opening of ATB6 at the San Jose Museum of Quilts and Textiles.

Details to be announced. To volunteer your help in planning our big event, please contact Joan Griffin, Volunteer Coordinator. joan@joangriffintapestry.com

Barbara Burns and Betsy Snope discuss aproject with another participant.

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Monique Lehman’s

Tour de ForceBy Linda Rees

By using woven monofilament fishing line tooverlay the image, Monique Lehman has created aremarkably effective innovation in the tapestry“Heartsong of American Hero Mattie Stepanek.”The portrait of the young poet and victim ofMuscular Dystrophy was initially woven forPasadena, California’s 2005 annual “Peace ThroughMusic” benefit concert devoted to handicappedchildren. Monique added the second layer after theevent, feeling that something more was needed togive the image greater impact. She was trying toconvey the loss, the ephemeral nature of life. Oneof the most challenging tasks in art is to balanceappealing imagery with an unpleasant reality thatneeds to be addressed. This tapestry accomplishesthe feat. The portrait reveals the youthful optimismand charisma in its well-rendered face, while thefilmy, luminescent overlay reminds the viewers ofhis fate. The tapestry is the property of the PasadenaHuman Relations Commission and will be auctionedto benefit Muscular Dystrophy once it has finishedtouring in ATB6.

Technically, Lehman rotated the tapestry, form-ing a new warp of monofilament over portions ofthe image and proceeded to needle weave with thefishing line in selected areas across the originalwork. Other sections of this layer were woven inthick, dark wool so that only portions of the tapestryreveal the grid covered figure. The tension is sur-prisingly even, given the difficulty in working withthe stiff monofilament. Mounting the tapestry on abacking board further enhanced the controlledappearance. Light catches the line creating a shim-mering effect in contrast to the matt appearance ofthe wool. “Heartsong” is deserving of the accoladesit received from viewers for its craftsmanship andvisual appeal.

Lehamn is an energetic and ambitious artist.Besides being in “ATB6” and the small formatexhibit, “Grand Ideas,” she won first place in“Celebration!,” an HGA exhibit featuring spiritualwork. The tapestry “Empty Space Filled withParticles that Perpetually Pop In and Out of

Existance” was woven on a single layer of monofil-ament in a more conventional manner. In addition,she had two items juried into the fashion show,which were used to give a dramatic beginning to theevent, and two small works in the “Cutting EdgeGrandeur” multi-medial exhibit also sponsored byHGA. (See Tapestry Topics, Winter, 2005 forimages of Cutting Edge and Grand Ideas entries.)As most readers know, Monique spearheaded the“Memorial Tapestry Project,” found venues andpublicity for it in at least two continents, and wasfeatured on television talk shows. She was awardeda “Models of Unity” award by the Pasadena Human

Monique Lehman, "Heartsong of American Hero Mattie Stepanek," 56" x 30" x 3", 2005

Energy: The Tapestries ofShelley SocolofskyBy Linda Rees

“Incantation” and “Well of Surrender” byShelley Socolofsky, were two of the most talkedabout tapestries in the “American Tapestry Biennial6” exhibit. The large tapestries emit energy, andreveal astoundingly vibrant color interplay alongsidevery muted and grayed out blending; all compactedinto complex narratives, ripe for interpretation. Alarge, relatively classical female face defines themood of each piece, although to quite differenteffect. In “Well of Surrender,” the eyes are almosthidden behind a deep blue “filter” while a pensiveor petulent mouth challenges the viewer to payattention to the interior landscape on which the faceis resting. (See ATA artist pages.) In “Incantation,”the viewer becomes the mirror observing features ina face that is, perhaps, trying to come into focus.The palette of this tapestry is primarily patterns inred, brown, blue and the mixture of light neutrals ofthe face, except that a band of yellow filters the areaabove the face where the imagery is less stormy ordebris-like, more circular, than in the lower sections.The superimposed color layers appear to have sym-bolic meaning, again, subject to interpretation.

Part of the success of Socolofsky’s particularform of fragmenting images is that she uses sharpvertical or horizontal transitions to simulate col-lage/manipulation of otherwise quite organic set-tings. The imagery dominates the surface, almostmaking the medium irrelevant. However, one onlyhas to step in close to the tapestries where myriadcolor changes and the persistant orderliness of theweaving reafirms the power of tapestry and theimpressive skill of its maker..

In the early 1980s, while working toward a BFAin textiles at the University of Oregon, Shelley spenta year in France studying French art history and lit-erature. During that time, she discovered Gobelinstapestry. She return to France after graduating totrain at the Goblelins workshop.

Socolofsky’s career since that time is as multi-faceted as her weavings. She began doing privatecommissions as early as 1985 and major projects forpublic spaces by the 1990s. As she explained in the“Art Pages” of the Valley Library, Oregon State

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Relations Commission in 2004 in recognition of theproject and her years of teaching many ethnicgroups in the area.

Monique began her weaving career by receivinga master degree from the Fine Arts Academy inWarsaw, Poland. In an email, she described herexperience: “In the ’70s everyone in Europe wasfascinated with fiber; artists were showing theirpower by creating heavily textured, monochromaticmonumental fiber constructions. My inspiration toweave came from visiting the tapestry collection ofPolish 16th century king, Zygmunt August at theroyal castle in Cracow - Wawel. My tapestries werenot well received by Polish artists, because theywere realistic, flat, colorful and they looked likephotographs. I was happy to find out that in thiscountry [USA] craftsmanship and realistic imageswere valued.” She moved here in 1978, where shehas done numerous commissions, especially findinga niche in hospital settings for her representationalcontent. She continues to challenge herself to pro-duce innovative exhibition work.

Congratulations are in order for a very produc-tive 2006 Convergence endeavors.

Monique Lehman, "Empty Space Filled with Particles thatPerpetually Pop In and Out of Exisitance"

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Hendersonville, NorthCarolina. Shelleyremains decidedly com-mitted to tapestry weav-ing but feels it is worthexploring other, quicker,methods for potentialcommission work. She isconvinced that the quali-ty could never be as richwithout the artist’s handin the ongoing weaving.The surface qualities oftapestry appeal to her.The university has pur-chased professionalgrade equipment but asof yet Shelley had notbegun to actually weaveon it. That will have towait until the next schoolyear begins. For thesummer she is workingfrantically on a commis-sioned tapestry.

Socolofsky is reputedto be exceptionally quickat weaving. However, anartist who thrives oncomplex imagery is facedwith the dilemma of howto balance the desire todelve into intricate colorchanges and the realiza-tion that time spentweaving translates intocost. For Shelley, the

hope is that she will find Jacqurd weaving reward-ing and visually appealing enough for commis-sions and continue to weave work for exhibitionsin the tapestry technique she loves.

She currently received an HGA scholarship forthe 2006-2007 school year, and also has theopportunity to teach tapestry at the University ofOregon this fall. If she were to pursue a full timeteaching position at some time in the future, expe-rience with jacquard weaving will surely enhanceher eligibility.

University(OSU), whichis one of the many univer-sities to own her work: “Ispent the next 10 years[1985-1995] in LosAngeles, teaching textilesat the Otis Art Institute ofParsons School of Designand exhibited my worknationally. It was in LAthat I became enamoredwith the immediacy ofcollage, photo-montageand computer manipula-tion. Collage emulated themodern “quick fix” cul-ture. Its immediacy, setagainst the ritualistic,rhythmic, slow process ofweaving intrigued me. Ibegan using collage andother mass media technol-ogy . . . as the basis formy tapestry images”

When she returned toOregon in the mid-nineties she taught highschool art classes inSalem OR, still producingcommissions and person-al imagery for exhibitionuntil 2004, when shebranched out artisticallyby returning to theUniversity of Oregon foran MFA. She has been infour of the seven FiberartsDesign Books and, in 2001, received a NationalEndowment for the Arts Regional Fellowship Grantsponsored by the Oregon Arts Commission to pur-sue her own work. Her work has won honors andbeen featured in numerous exhibits and printedcommentary, including an “Art in the Governor’sOffice” solo exhibit in Salem OR, in 2006.

The decision to return for an MFA was influ-enced by the opportunity to learn Jacquard weaving.She accompanied Barbara Pickett, head of the fibersdepartment at the university, to the Lisio Foundationin Florence, Italy and also to the Jacquard Center in

Shelley Socolofsky, "Incantations," 65" x 36", 2005

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Dobby looms had broadened the spectrum of cloth forme, but these swatches needed way more individualcontrol of threads than the dobby allowed. I was on aquest to understand the relationship between structureand image in cloth.

Curiously, at this same time, 1984, a class wasoffered in New York on jacquard design, taught bytwo up-and-coming designers for industry. It was atheoretical class that did not even visit a mill, but itintroduced me to the basics of jacquard. It alsoshowed me the compartmentalization that existed inthe textile industry. One teacher knew how to drawdesigns for jacquard, and the other knew how tochoose structures and yarn, but neither was a techni-cal designer who created the structures (a specializa-tion of another person to whom they went for input). Irealized that I wanted (needed) to wear all the hats,and the creation of the structures was an essential ele-ment missing from the puzzle.

Then, during graduate school, I began to researchhistorical textiles and their structures for my own useat both dobby and floor looms. Like many tapestryweavers, I am intrigued with the possibility of narra-tive in cloth. I feel a tangible excitement that a grid ofthreads interlaced at 90 degree angles can end uplooking like a row of irises, a man fishing, or a multi-headed monster. Since I already knew how to createimagery through brocade and tapestry processes, Iwas more inclined to study complex structures unfa-miliar to me, like compound tabby and lampas.Patience was useful here, as I would hand pick stud-ies, eventually creating pseudo-jacquard pieces on thecompu-dobby. (See photo page 12.) The unfolding ofthe images afforded me perseverance, but so did thechallenge of moving back and forth from the loom tothe computer, figuring out ways to create and inter-leave the chains of structure. I found the explorationof new structures to create color and textural contrastsexhilarating; it furthered my visualization of howthreads dived back and forth in the web of the cloth.

A few years later, I was in the right place at theright time. The industrial textile program where I wasteaching replaced their 19th century jacquard loomswith two state-of-the-art fully electronic jacquardlooms. Over the next 8 years I learned more than halfa dozen specialized software programs for designingjacquard and dobby fabrics. I had access to the typeof intricate structural possibilities and the motifs theycould engender that I had been studying in the FITswatches. Actually, due to the ease of modifying both

(Ed. Note.) Because of the recent increase in Jacquard entries infiber exhibits, I became curious about the practical aspects of anartist pursuing this style and wrote to Bhakti Ziek, with the fol-lowing questions. How easy is it for a practicing artist to haveaccess to the technology – computer software and connection tocommercial production if not affiliated with a university? Aremost such pieces funded through grants? Can an artist out on herown, not teaching at a university, have the resources to stay com-petitive with those who are? How far in advance do you typicallyhave to schedule production time? If there is much wait-time,does it effect the continuity of design ideas? Do you get to bethere to supervise or to check in at various stages? Is there a sub-stantial amount of conversion or coding to be done once an ideais in your head? What is the most exciting phase of the processor the least exciting? Ziek has recently coauthored the book:TheWoven Pixel:Designing for Jacquard and Dobby Looms UsingPhotoShop® with Alice Schlien.

Tradition and ChangeBhakti Ziek

I was one of the lucky attendees of the infamousconcert by Bob Dylan at Forest Hills where he wasbooed and threatened for going from acoustical toelectric guitar. We have seen a similar reaction in thetextile world when computerized dobby looms werefirst introduced, and we are seeing another wave offear as artists turn to new hand jacquard looms, and tofully automated looms. My path of exploration hastaken me from backstrap to digital weaving. Nothinghas been abandoned; rather it has been a journey ofabsorption and expansion of possibilities. As a proj-ect unfolds I have to ask myself “what is the appro-priate loom for this expression?”

I will try to detail some of the excitement I havefound from using digital methods of weaving. First Ishould mention that I am a very fast typist and wasone of the first people in this country employed usingword processing. I would not qualify as a “geek”, butI enjoy sitting in front of the screen for hours. When Idiscovered software for weaving in the mid-1980s itwas like a marriage of two interests. Designing fordobby looms with software was a breakthrough inunderstanding—suddenly the relationship of tie-up,threading and treadling made sense. For the first timeI really could understand the three-dimensional natureof weaving, the fact that threads do move through planes,and where they reside affects the look of the cloth.

While I was learning weaving software, I was alsoborrowing textile swatches from the Fashion Institutefor Technology (FIT) Swatch Library in New YorkCity. Here was a source of constant inspiration andfrustration for me. How was it possible to get suchfluid imagery with so many colors into this cloth?

Newslet ter of the American Tapestry Al l iance 11

my imagery and structural components, I had access to quick-er methods of evaluation and change in design than everbefore possible in the history of weaving.

My dreams about structural possibilities increased. SinceI was not designing yardage for industry, I could push theprocess and ignore the factor of competitive pricing. I startedto feel a kinship with printmakers, who can work on a plate,print from it, modify the plate, and print again. I was able toproduce groups of weavings that dug deeper into the con-cepts than would have been permitted by the time constraintsof weaving by hand. My ”History of Fabrics” series not onlyallowed me to weave my handwriting, I was also able to pro-duce large-scale two-sided weavings that looked different onthe two faces. Although I could have produced multiples ofmy work, I chose to produce one-of-a-kind weavings. Theonly limitation on my designing was the fact that the loomhad four repeats of approximately 12.5 inches in width acrossthe cloth. Mostly I worked within that constraint; thoughsometimes I cut the fabric up and reassembled it to defy therepeat.

In more recent years I have produced limited multipleeditions of some of my work. These pieces were conceivedof as blankets, geared to a specific market, and pricedaccordingly. They were produced at a mill — I designed thecloth on my computer but was not involved in the actualmanufacturing (whereas at the college, I used to run theloom for my own work). I did not have the flexibility of weftyarn choices that I was used to, nor could I do the samplingand reweaving until I got exactly what I wanted. I workedfrom a weave blanket, which can be thought of as a box ofcrayons. The structures varied in terms of which yarn colorscame to the surface, but otherwise the cloth was fairly uni-form in texture.

I have found that production work and sales are not myforte. Luckily I discovered two mills whose requirementsallow me to design at home and send loom-ready weavefiles through the Internet. Their small minimums match myneeds. Again, the designs I send to each mill are createdwith their constraints in mind.

Working on hand jacquard looms (the TC-1 and AVLlooms) I have been able to incorporate the best of bothworlds. As with power looms, I can create intricate imagery

and play with complex structures, but I can also tie on my own dyed warps, use dyed wefts, and expand the vari-ation of weft material (limitations on the power loom had made me cautious about weft choices). The weavings Ihave created on hand jacquard looms appeal to me because they meld all I have learned about weaving — struc-ture, material and image. I can even brocade my jacquard weavings on the hand jacquard.

I do not think there is any inherent value in hand weaving fabric that I could produce equally well, and faster,on a fully electronic loom. Likewise, I do not want to be limited in my materials and techniques because of the

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Above: Bhakti Ziek, "History of Fabrics: Barbara'sSong," Side A detail. 87" x 54", 1996, cotton,

woven on a fully automated Jacquard loom. Below: Bhakti Ziek, "History of Fabrics: Barbara's

Song," Side B detail.

Ta p e s t r y To p i c s F a l l 2 0 0 612

constraints of the loom. One loom does not meet allmy creative ideas and needs. Fortunately I haveaccess to many methods of weaving through thelooms in my home, the internet and current willing-ness of a few mills to work with individuals, andthe ability to travel to sites that have a handjacquard loom for rent.

Groups like the American Tapestry Alliancegather and form because the details matter; and yet,even within specialty groups like this there are dif-

ferent approaches to work that cause alliances anddisagreements. Different approaches, different con-cerns, different results yet each one defines herselfas a tapestry weaver. So if one specialized group canyield so many variations, it is not surprising that theumbrella of weaving covers a huge range of inter-ests, approaches, and modes of working.

Weaving by an individual is such an anachro-nism in our society that no matter what form youuse for your work, you are still part of a relativelysmall group. For some of you, knowing that thecomputer can be used as part of your weavingprocess will be an exciting new venture. You mighttry it and get deeply involved, or try it and feel indif-ferent, or you might just enjoy watching the results ofother people’s research. Surely digital technology willnot be the last modification to come along andchange our perceptions of what it means to be aweaver. The spectrum of possibilities as a weaver isvast — truly the most important thing is to find meth-ods and materials that capture your imagination andget you to work.

Bhakti Ziek, "Washer Woman Revelation," triptych, 70" x 118", 1988. Hand-picked compound

triple warp pick-up (pseudo-jacquard)

Katherine Perkins: InCelebration of Wildness By Lany Eila

If you would like to find Katherine Perkins, firstexplore the mountains and arroyos around Santa Fe,where she takes long daily walks with her enthusias-tic dogs, then look for her at her loom surroundedby windows and a garden view, or on the back deckbrewing a pot of natural dyes. If you would like tosee the joining of this inspiration into her work, visither recent show at Weaving Southwest in Taos, NewMexico, in Taos, New Mexico, online at(http://www.weavingsouthwest.com).

The images in Perkins’ work include both inti-mate, stylized studies of plants found in the south-west, and the open spaces in which they grow. Theten tapestries were all woven at a galloping pace inonly 18 months, and yet each is detailed and expert-ly crafted. The fact that this body of work waswoven during a relatively concentrated period oftime gives the show continuity, with themes and col-ors bouncing back and forth between works.Perkins’ flowing, variegated backgrounds also tiethe show together.

Many of the tapestries are paired. “CaliforniaGold” and “Nature’s Paintbrush” feature framed,stylized poppies and paintbrush flowers. “AutumnI” and “Autumn II” offer framed images of blowing

Katherine Perkins, "Autumn II," 31" x 35"

Newslet ter of the American Tapestry Al l iance 13

sojourn through the joys of the natural world.As each of these tapestries was woven I couldimmerse myself in the memories of time andplace that served as the inspiration for theircreation.

The viewer, too, may enter into the natural beauty ofthese tapestries.

leaves against blue and orange/red backgrounds,respectively. Leaves are joined with pinecones andbranches in “Forest Floor.” “Windy Ridge” carriesforward both the framed style and the theme ofblowing leaves. It, along with “Aspen Vista” and“Sky Island,” offer the additional dimension of dis-tant horizons. The yellow cactus flowers in theforeground of Sky Island seem lit from within.

“Apache Plume” and “Desert Rose” emerged inresponse to Perkins’ extended exploration of the nat-ural dyes cochineal, madder, and lac. In an effort touse many of her approximately 50 shades of reds,pinks, browns and oranges, she framed the flowersin multicolored backgrounds echoing Rio Grandeblankets. These tapestries merge Perkins’ historicaluse of the Rio Grande style of tapestry with her cur-rent use of French tapestry techniques.

Perkins’ artist statement brings the viewer backoutside. She states:

In an era of exploding population, rampantdevelopment, expanding technology, and unmiti-gated assaults on the environment, those of usmore connected to the natural world than to themodern world need to embrace and defend allaspects of wildness. As our wild areas areimpinged upon by advancing urbanization weare, out of necessity, looking more closely at natu-ral things of beauty. Broad vistas evoke a visceralreaction to the wonders of the wild, but, as thesevistas are now often punctuated by cell phonetowers or other signs of man, advocates of wild-ness are turning to less grandiose, more intimate,though equally evocative, signs of natural beauty.

What better way to celebrate wildness than tojoin warp and colorful weft in a time-intensive

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It is Only NaturalBy Katherine Perkins

As a lover of the wild it was only natural, soto speak, that I would eventually begin using dyesthat originate in wild places. It has been a delightfultrip, but not without unforeseen consequences.

Although I have done all of my own dyeingfor about ten years, using acid dyes with good suc-cess, the allure of the natural dyes was always there.Previously, I was too obsessed with acquiring theright color to make the plunge, not that I always gotthe “right” color. However, one day while wander-ing the woods I was looking at the chamisa, oak,and juniper and said “do it: start using naturaldyes.” As a resident of the extremely arid state ofNew Mexico, I deliberately decided for environ-mental reasons not to gather my own plants. Since Iwas going to purchase rather than collect, I figured Iwould start with my favorite color -- red.Cochineal, madder, lac. Ah, but what about value?I do use chiaroscuro and as I experimented, I real-ized getting a wide variety of values was more diffi-cult with natural dyes than it is with synthetic dyes,especially for this raw beginner. ATA member KrisBergstad was most helpful in answering a variety ofquestions about madder and cochineal. Unfortunately,I had to cease dyeing before I really got startedbecause we were in such a severe drought I couldnot, in good conscience, use the water.

Luckily, in the winter of ‘04-’05 we were blessedwith significant snow thus enabling me to resumedyeing. The following summer I forged ahead withmy education and had many dye days that producedunbelievable reds. I was like a kid in the candystore and could not seem to get enough of thatcochineal or madder. What could I possibly do withthat many skeins of different reds using my French

Katherine Perkins, "Apache Plume," 27" x 35"

Ta p e s t r y To p i c s F a l l 2 0 0 614

style of weaving? I had absolutely no intention when I startedweaving that the Rio Grande style would be the technique I adopted.My tapestries are representational, so shifting entirely to geometricabstraction was too much of a stretch. The solution was to do both.I added a desert rose to one tapestry, and an Apache plume to anoth-er. However, as great as those reds look in a Rio Grande tapestry,the style is not what I want to weave.

Brian Murphy, in the book The Root of Wild Madder, said “thechallenge for weavers is the same that has taunted artists forever:trying to sense a divine power and represent this feeling in form andcolor.” Though not an especially spiritual person I do find a connec-tion to the natural world that touches my soul. Frankly, geometricshapes do not express these feelings for me. Thus I needed tostretch my pallet so I could create representational images, or betteryet, abstracted representational images that would evoke the powerof wildness.

Now that the show I was preparing for is up at WeavingSouthwest, I am shifting my focus to a yearlong color class at thelocal quilt store. The samples for class can be done in any medium,thus I can work in tapestry. Each piece helps me expand on how touse the reds. Meanwhile, adding green to my natural dye pallet hasmade my heart soar almost as much as the reds did, especially since

green is so essential to depicting things wild. I still struggle with the values, but, since it is yet again a year ofdrought, I will have to delay the educational process for now.

Had I not started using natural dyes I would not have had these amazing colors that require me to reconsiderhow I use red in tapestry. At the same time my excitement over the cochineal, madder and lac dyes have givenme inspiration to move beyond my usual colors. It has been a fascinating experience, and I am just itching toadd new wild colors to my palette.

Katherine Perkins, "Nature’s Paintbrush"35" x 25"

Review: Cover-ups & RevelationsBy Micala Sidore

Barbara Heller’s thoughtful, provocative and powerful tapestriesdisplayed in the gallery at the Fiber Arts Center in Amherst, MA,during April and May 2006, made for a hugely successful exhibition.The work, from one of the top weavers of contemporary tapestry atthe height of her abilities, pulsed with life and inspired choices.Barbara attended the opening and conducted a gallery walk, a ques-tion and answer session with the public, and a lecture and discussionwith members of TWiNE [Tapestry Weavers in New England]. Hellerhas been weaving tapestries for about thirty years, and says that it is amedium where she “can give reality to my inner visions withoutbeing overtly political or mystical.” She adds that “viewers are firstenticed by the tactile beauty of the yarns and the image itself, allow-ing time for the message behind the image to be absorbed.”

For the exhibition she included pieces from several of her well-known series. From the Ghost Image group (also known as Spirits in

Barbara Heller, ”Natan in Egypt” 64" x 48", 1987

detail showing the two warp setts.

Newslet ter of the American Tapestry Al l iance 15

the Stones) she displayed “Natan in Egypt” and“Conversation at Megido,” as well as “Habibi”; herCover-Ups included “School-Crossing Guard,”“Afghani Woman” and “Eritrean Refugees.” She hasexplored the image of the wounded bird for a longtime, making that the subject of her talk to TWiNE,and the exhibit included two smaller groups of birds.Three were called collectively “War Zones” and indi-vidually “Bosnia,” “Somalia,” and “Rwanda,” and apair were titled, simply, “Good Bird” and “Bad Bird”.She also included “Revelations: Still Life with Bird,”one of three larger tapestries from the series “ModernApocalypse”; this one dedicated to the events of 9/11.(See ATB6 catalog.)

Heller’s themes obviously often refer to politicalevents, subjects that can easily overwhelm all effortsto be subtle or thoughtful. Yet these pieces lackcant, bombast or cliché. In part, she achieves thisbecause she does not seek to make just one point.The artist in Heller always remains in control, con-structing pieces that carry multiple meanings. Herresponse to world events runs on many tracks.

What makes her efforts all the more extraordi-nary is the way her work celebrates the medium oftapestry and the structure of woven cloth withsuperb technical ability, both as weaver and dyer.Viewers can observe her appreciation of textiles inthe Ghost Series, for instance, where images of peo-ple emerge from within walls. Heller believes thatwalls carry their histories with them, and in thesepieces she has decided to make visible the peoplewho have lived there. She exploited a weaver’strick to make these tapestries: she doubled warp thatshe split for the more exact images of the people butleft doubled for the ground, the walls of the envi-ronment in which the people live—or might havelived. These images suit the woven medium pre-cisely, in that no other medium would represent asclearly the idea of something embedded within andcoming into sight as part of something else. Shehas also precisely dyed the wool in a range of tonesthat helps to pull off the illusion.

In the Cover-Ups she is playing with materialitself—wool used to represent cloth and plastic andmud—as she seeks to “explor[e] the way we relateto people whose faces are covered-up by their cloth-ing or costume.” Historic tapestries used techniqueslike hachure to show the way that cloth can drape—curtains, furnishings, bed-coverings, clothing.

Heller’s garments do the work of conveying whatwe don’t see: “the body language...contradicts ourinterpretation of [what we see,]...as we misjudge.”

Half of the exhibition featured a repeated icon,birds. The idea, as she explained to TWiNE, aroseout of a moment in time, in the late 1980’s, when“My cat was killing birds. At first he left only a fewfeathers, a claw, a beak. Then I began to find wholebirds.” She considered what was happening. “Wasthe fact that the cat is programmed to kill for food amitigating circumstance even if he does not eat whathe kills? Is he still part of the balance of nature?Can killing a living creature ever be justified? Oneneeds to think about something while spendinghours at the loom weaving a tapestry and philosoph-ical constructs give much room for meanderingthoughts.”

Heller pursued these thoughts as she researchedbird imagery in art, and found several historical tap-estries where birds play a role that has symbolic sig-nificance. Doves, herons, phoenixes and others addrange and depth to the tapestries they adorn. Hellersays, “There can be some debate as to whether anartist uses a bird in an artwork just because he likesbirds or feels they are needed to give life to a land-scape.” In her subsequent correspondence with agroup of contemporary artists, many working intapestry, she heard how myths enrich the storiesthat people tell about the birds in their work.Heller’s correspondents also talked about whatbirds do, like fly.

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Barbara Heller, "Good Bird" 23" x 26", 2005

Ta p e s t r y To p i c s F a l l 2 0 0 616

A bird that might be a vulture—or even an eagle—hovers over the remaining skeletal frame of majorbuildings in “Revelations: Still Life with Bird”. Is this[bird] the avenging angel of death,” asks Heller,“come to wreak havoc on an uncaring world, or isthis the phoenix, rising from the desolation to create anew and better world?” Shards of gray, either feath-ers or ash, drift through the orange golden brown sky.Five blue rectangles line up across the bottom of thetapestry, each embellished with actual bits of bone.Life and the renewal of life, death and the remains ofdeath, all contribute to the satisfying complexity ofthe piece, brilliant and grim.

Oppositions also play an essential role in “GoodBird/Bad Bird,” where a bird in tones of white and itsmirror image, in tones of blue and gray, each occupya field, one black and one white. “I was thinking ofthe raven and the dove,” says Heller, “and how onehas come to be associated with goodness and onewith evil I have placed them on black or white back-grounds to emphasize that it is often our attitudestowards a person or thing that makes it bad or good,not anything inherent in the thing itself.”

Students sometimes expect that once they haveacquired the techniques, the art will take care ofitself. But finding the right subject, discovering apersonal vision and transforming it into tapestry, willalways pose a challenge. Exploiting technical skill togood effect in a woven medium increases both thepossibilities and the challenges. These dozen tapes-tries that Heller provided for the exhibit demonstratehow consummately successful Barbara Heller is atachieving these ends.

Mary Merrill, 1921-1999By Nell Znamierowski

Color and the delight of submerging one’s sensesin the vitality of bright hues was one of the importantfactors that drew the late Mary Merrill to tapestry.This love of color and its many variables found arespondent chord in her as she began to observe col-ors in Latin America and in the paintings of artistslike Gauguin and the Fauves. Yet the very strongemotional pull towards color did not resolve itself forMary until the last quarter of her life, when shebecame a tapestry weaver.

Mary Kohler Merrill was born in Chicago, Illinois,in 1921. She attended Brown University inProvidence, Rhode Island, but left her studies tomarry Charles Merrill in 1941. The couple traveledfrequently. A trip to Oaxaca, Mexico, was memorablefor her, especially experiencing the early morning col-ors of the ancient Mayan hilltop plaza at MonteAlban. This memory stayed with her, along with theexhibit “Masterpieces of French Tapestry” at the ArtInstitute in Chicago in 1949. It was a survey of worksfrom the Middle Ages through to the 1940s, includingthe work of modern French artists, Lurçat and DomRobbert. Seeing this show planted the idea of weav-ing into Mary’s mind. There it met color.

However, such ideas were temporarily put on holdsince there were five children to raise as the familymoved from city to city. In the early 1950s they livedin St. Louis, Missuori, for Charles’s work with educa-tional institutions. It was there that Mary saw a smallfour-line ad in a magazine. “Learn to weave” jumped

Barbara Heller, "Bad Bird," 23" x 26", 2005

Mary Merrill, "Jackson’s Red Maple," 21" x 30", 1977Inspired by A.Y. Jackson’s painting, "Red Maple" at the

National Gallery, Ottawa, Ontario Canada

Newslet ter of the American Tapestry Al l iance 17

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off the page at her and she was on her way. From 1952-1955 she studied with Margaret Drewes, a local weaverand wife of painter, Warner Drewes. She learned harness loom weaving, not tapestry, but Mary took to it andsoon after the lessons began, she purchased her first loom and produced scarves and linens.

There followed two years in Paris after which the family settled in Boston in 1957. Mary continued her fab-ric weaving and became a member of the Weaver’s Guild of Boston. Mary and I became acquainted at this time.Friendship developed along common interests in painting and color. It was Mary who introduced me toHarrisville Designs yarn company where I subsequently became their color consultant. Mary was a devotee ofthe Harrisville wool singles and used it in all her tapestries. She loved to twist two strands of this fine yarntogether to obtain a new color or for a mottled effect. When Harrisville discontinued the singles, Mary boughtup whatever they had in stock and I contributed all I had from my yarn inventory.

She was very active in the Boston guild, even becoming “Dean of the Guild” from 1970 to 1972, and devotedmany years to two specific projects. One was with the “Plimouth Plantation,” the site of the Pilgrim settlementin Plymouth. It had been excavated, rebuilt as in olden times, and in need of cloth to make garments for the new“pilgrims” working as guides and interpreters. For 10 years, Mary was in charge of the historically correctweaving and knitting. She delegated work as well as producing it herself. How dull the gray cloth must haveseemed for someone who loved color so much. Meanwhile, in 1974 and 1978, she took workshops in tapestryweaving with guild members, Ursula Jaeger and Barbara Herbster and began to make small tapestries. She con-tinued to weave tapestries during the years between 1976 and 1984.

Her second long-term project was the Young Collection of Pre-Columbian Peruvian Textiles. Fellow guildmembers, Dr. Lloyd Young and his wife, Dorothy, had amassed a vast collection of Inca weavings while living inPeru. On behalf of the guild, Mary took responsibility for storing the pieces in her home while she organizedmembers to help her research and catalogue the collection. In 1989 she was instrumental in having it permanent-

ly installed at the Haffernreffer Museum of BrownUniversity. She enjoyed the project and felt it had intro-duced her to a “common humanity” in the work ofweavers of another time and culture. The experienceprompted Mary to finish her interrupted college studies.She obtained her degree from Brown in the 1980s. (Familyaccounting lists Mary as having received her degree in1942. The discrepancy will be investigated further.)

Not being a trained artist, and not trusting her owndesign sense, her first tapestries were adaptations of paint-ings she loved., modifying the original and adding herown color ideas. In the summer of 1983 she went to studytraditional tapestry techniques with Michele Mesnage inBoisson-Allegre in the south of France. There she met thewest coast tapestry artist, Sharon Marcus, who became hermentor and with whom she studied in 1987 at Arrowmont,in Tennessee. Later, she also took a color workshop withtapestry weaver/writer, Carol Russell.

Shortly after the lessons in France, Mary bought a largetapestry loom from Quebec and ventured into her owndesigns. Merging her love of architecture and nature, trav-el was her big inspiration, with Latin America being thechief source of her designs. She took photographs andsketched in thinned gauche or crayon. Her early adapta-tions verged on the abstract whereas, I would call her owndesigns “expressionist realism.” Whatever the style, it isevident that Mary reveled in luxuriant display of color.

Mary Merrill, "South IV - Dos Chicas," 66" x 48", 1992

Ta p e s t r y To p i c s F a l l 2 0 0 618

She proved to be very adept at using them dramatical-ly for compositional effect and to build interest in theshaped areas and she achieved heightened intensitythrough contrast, placement and yarn blending.

Mary’s love of color was strongly influenced byGauguin, as the warmth of her palette might suggest;although to me, it is the Fauves and some earlyKandinsky that comes through. The clashing yetcompelling contrasts with yellows and golds as starplayers and brilliant red-oranges as close seconds arecomplemented with her greens, which are always“yellowy,” and all the purples and blues. Mary onlydeparted from all bright tones in her last two tapestriesin which she contrasted muted and bright ones.

She was a modest weaver. Although she exhibitedin group shows locally, she was not after commissionsor prestige. She wove for the joy of working withfiber and color and to bring places that spoke to herto pictorial reality. Her output was small, 17 complet-ed tapestries with, perhaps, one or two unaccountedearly pieces. The size range was from approximately21” x 31” for the early works to 70” x 58” for thevery last piece. Each completed piece was cut offwith her husband present, followed by a champagnetoast. It was all done very quietly in her studio inHancock, New Hampshire.

Mary’s first one-person show was at HarrisvilleDesign in October. 1990. Two years later she had atwo-person exhibit in conjunction with her husband’spaintings at Cohassett, south of Boston. She begancomposing her memoirs at that time, in which shecites her “defining moments:” Monte Alban, the

Review: FOLKS IN FIBERBy Louise Abbott and Jill Montgomery

LA:If you drive too fast through the intersectionof Route 28 and 130, you might miss the CahoonMuseum of American Art in Cotuit on Cape Cod,Massachusetts. A modest 1775 Georgian Colonialthat was once an overnight stop on the stagecoachline between Sandwich and Hyannis, the CahoonMuseum today houses the collection of whimsicalfolk paintings of Ralph and Martha Cahoon who hadtheir home, studio, and gallery in the old house from1945 until 1982.

The setting for the “Folks in Fiber” exhibit on thesecond floor of the Cahoon was spacious yet intimate.Its focus was on the human face and figure with treat-ments ranging from stylized to realistic. Forty-nineworks were displayed from this country’s top fiberartists. The collection represented great diversity insubject matter and age, along with an interesting mixof cultures and ethnic groups. All the fiber pieceswere beautifully executed.

The Curator, Peg Irish, a rug hooker of interna-tional reputation, did a beautiful job displaying thepieces. Her thoughtful consideration given to thedimensions and fiber techniques enabled the imageryto flow from one room to the next. I was impressedby the way each individual piece was professionallypresented. For example, “Oui’ll Always Have Pears”by Anne McGinn of LaGrange, Illinois was mountedon a board covered with silk fabric with hand embroi-dery, and sides that mirrored the border around theweaving itself. It is elegant, woven with fine silk,

French Tapestry show in Chicago, “Learn to weave,”and in 1953, Gauguin’s “Mahana no Atua” for color.

Mary was just hitting her stride when illness inter-vened. Her last solo exhibit was in August 1999, afew months before her death from cancer. The open-ing was very poignant, eliciting joy at seeing Mary’sbeautiful life’s work yet sadness at knowing that thiswas the last good-bye. Her tapestry collection resideswith the Foundation for Fiber Art in Amherst,Massachusetts. From there it has traveled to muse-ums from coast to coast and is still available for exhi-bitions. It remains a joyous legacy from an artist witha soul as bright as her colors.

Mary Merrill, "Primary North," 60" x 79", 1996, Inspired by Norway

Newslet ter of the American Tapestry Al l iance 19

linen and cotton. JM:Earthtones dominateMcGinn’s small, 10” x 8”tapestry, which mightwell be called ‘still lifewith pears and woman’,but that would not havecleverly evoked a memo-rable Casablanca moviequote. Crossing angles ofthe background seem toenlarge the work, whilerounded pears forms inthe dress pattern, andbowl of pears repeat thetheme. (See the ATA website “About ATA” sectionand the ATB3 catalog.)

Moving through thegallery spaces, viewing the 49 fiber works includingtapestry, quilting, rug hooking, felting, threadwork,beaded pieces and even origami, one could not help butappreciate the inventiveness and creativity the artistshave shown. Though much more could be said aboutthe fascinating and beautiful works shown, below is anoverview of the tapestries exhibited.

Climbing the narrow stairway to the exhibitrooms, one is drawn in by two beach scenes thatevoke the Cape Cod setting. Priscilla Lynch’s “BeachBabes” (See Tapestry Topics, Spring 2004) is ahumorous piece depicting three ‘babes’ languishingon deck chairs. It is finely woven with elements por-trayed on the same plane, a flat perspective. Theposes, outlining of the figures, and the blank eyes ofthe models all help to render an attitude of total“chilling” out. This tapestry and Ruth Manning’s“Polka Dot Swimsuit” are wonderful introductions toset the mood of the exhibit. Manning’s work particu-larly stands out for its bold, colorful imagery thatescapes its small (5”x11”) frame. It depicts a womanswimming next to a very decorative rope.

LA: Suzanne Pretty of Farmington, NewHampshire, chose to mount her tapestry inside a smallshadow box, which played into her title of “Outsidethe Box”, a statement of the Corporate Culture condi-tion that exists today in many of our large corpora-tions. In her clever interpretation, two of the five fig-ures have managed to escape! Suzanne’s use of colorand beadwork offer a sharp contrast to the box. (SeeTapestry Topics Fall 2003 Issue.)

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The tapestry, “Washington Square” by SusanMartin Maffei of Manhattan, New York, has a won-derful black and white woven checkerboard border.This design is repeated throughout the weaving and isa marvelous background for the many people of eth-nic diversity gathered in the square. The colorfultapestry is beautifully presented, mounted on a blackfabric covered board and then remounted on anotherboard a little larger. JM: From across the room, youfirst see Maffei’sa narrow 40”x25” image as a patternof earth-colored vertical shapes. The woven chess-board frame draws one closer as images are sortedout. Archie Brennan’s work, one of a series based onhis life drawings, presents a bold, striking image, thatis strong and effective in its simplicity. LA: “IWonder What You’re Thinking” by Archie Brennan ofManhattan, New York is similarly mounted on a blackcloth covered board. The quizzical expression of theman’s angular face captures the mood of the title. Ifound myself reflecting on my own thoughts whileobserving the tapestry.

JM: Linda Rees’ “Whose Way? What Way? MyWay!” is another piece that treats the human form asa design element rather than a personality. Outlinesof human forms appear to be on a floating stagebefore an audience indicated by several heads facingthe figures. The muted grayish/violet color filling theoutlines against the background of violet andflesh/peach tones are very effective. LA: These fig-ures were isolated by hachure areas above and below.

Ruth Manning, ”Polka DotSwimsuit," 11" x 5"

Linda Rees, "Whose Way? What Way? My Way!" 28" x 27", 2002

Ta p e s t r y To p i c s F a l l 2 0 0 620

I loved the effect of the audience, the back of fiveheads observing the gesturing group.

“Dancing to Background Noise”, by MarianneHaller of Berkeley, California uses the technique ofhachure to help convey the feeling of movement, andmid-tone grays and blues to help set the mood. Theartist combines the “use of photography and tapestryweaving to chronicle the passing of time”. I foundthe piece very nostalgic. JM: Haller’s “Dancing toBackground Noise” is a subtly colored and rhythmicpiece with an elegant couple dancing. You canalmost hear the music. One imagines that as newly-weds, this is their ‘first dance.’ The tapestries ofMarianne Haller and Linda Weghorst were in the pre-vious biennial, ATB5. Weghorst’s “Tribute to OtharTurner: A Complete Human Being” is finely woven inmuted, soft shades.(See Tapestry Topics, Fall, 2004)The colors in the figure’s clothing are repeated in abackground of rectangular shapes. I had never heardof the man but learned a great deal about his characterfrom the tapestry. The exuberant imbalance of thefigure and facial expression tell the story of a greatlyenjoyed life.

LA: There were other large tapestries on display.“Four Girls and an Apple; Tangbe, Mustang, Nepal”by Eve Pearce from Bennington, Vermont showed thecaptivating backs of four Tibetan children with armslinked. The background in neutral shades encouragesthe feeling of desolation and solitude. The apple inthe child’s hand is quite a contrast. JM: It is anotherin her series of large landscapes inspired by a trek shemade in Mustang, a small Himalayan kingdom, and isreminiscent of the rooftop scene she exhibited inATB5. This contemplative work’s fine weaving andsubtle colors set off all sorts of imaginings. Onewants to walk into the work and learn about thesechildren, their camaraderie, and their sense of being.

LA: “Hut on the Rock” by Sarah Swett ofMoscow, Idaho has an interesting design for a borderand strong use of color. It is a water scene with chil-dren paddling a small boat to a hut on a rock. Sarahbelieves “frankly, there is no point in making any-thing unless one is thoroughly attracted both to a sub-ject and to its form. There are too many ideas andtoo little time for anything else.” JM: The two chil-dren are rowing a bowl-like boat across a beautifullypatterned, colorful sea while being watched intentlyby a frog in this fantasy piece.

The theme of the show, the human form; folks atplay, relaxing, contemplating, is all in keeping withthe Cahoons’ sense that art should be entertaining aswell as informative. Also, the curator’s respect andlove for fiber are clear in this exhibit.

Book Review: Kids Weaving:Projects for Kids of All AgesBy Sarah Swett • Illustrations by Lena Corwin •Photographs by Chris HartloveStewart, Tabori & Chang Hardcover 8" x 9", 35 full-color photographs, 60color illustrations, 128 pages ISBN: 1-58479-467-4 US $19.95 CAN $27.95 October 2005

By Mary Dieterich

“Thank you so much for teaching us how toweave. I used to think that weaving . . . was meantfor old women with canes and white hair, but boy, didyou prove me wrong!” -- Fifth grader, ArrendondoElementary, Tempe, Arizona

If weaving continues as a cultural tradition,instructions and encouragement will begin with theyoung. Call it the Mother’s Knee Concept. Theyoung learn easily those things that are enjoyable,challenging and supportive of self-esteem, all at thesame time. Certainly, weaving is one activity that ful-fills such a criteria, and along comes Sarah Swett’sbook Kids Weaving to encourage this concept.

Kids Weaving is immediately appealing, as muchto adults as to the intended audience of weavers.Charming children working at various projects, beau-tiful colored photographs, the clarity of text, instruc-tions and diagrams, plus the inventiveness of fifteenprojects, all contrbute to the overall impression ofcareful attention to details.Marianne Haller, "Dancing to Background Noise"

37" x 45"

Newslet ter of the American Tapestry Al l iance 21

In the Introduction, Swett sets the stage by defin-ing weaving as a process and discusses the long histo-ry of the craft in terms of both time and geography.An explanation of what the reader/participant mayexpect to learn and do while exploring the book clari-fies the author’s intent. The text contains eight othersections. There are four chapters presenting activitiesand instructions under the titles “Weaving Without aLoom,” “Weaving on a Cardboard Loom, “Beginningon a Pipe Loom,” and “Advancing on a Pipe Loom.”“Sources for Supplies” lists commercial entities forsuch items as various wools, natural dyes and mor-dants, yarns, and twine. “Recommended Reading”entries follow, including picture books and noveltitles for the young. After the “Acknowledgements”and “Index,” there are templates for the Dancing MapDolls project.

As the author acknowledges, a lack of comercialequipment is often seen to be an inhibiting factor toindividual activities. It is refreshing to see discus-sions for finding means that may be constructed fromthe most common of materials : cardboard, sticks,kithchen string, etc. The projects, excepting those forthe pipe loom, are possible under almost any circum-stances. With names like Dancing Map Dolls, FairyFence and Friendship Bracelet, these projects willintrigue the weaver-to-be

The latter half of the book is devoted to the uti-lization of the pipe loom. The design and directionsfor building and warping it are credited to ArchieBrennan. Once assembled, there are instuructons forweaveing shoelaces, dog collars, belts, a weaver’sbag, and a scarf. By including such a loom, the inter-est level for the book is extended considerably.

One of its rewarding features is the inclusion ofcomments that inform the weaving process via relatedareas of exploration. Any subject that hints of magicwill appeal to most children and the section entitled“Glorious Colors from Natural Dyes” is just such asubject. An attractive aspect overall is the use ofinformation that reinforces a strong connectionbetween cultural traditions and weaving practices. Itintroduces many cultures that have inhabited the con-tinents both past and present, providing vast resourcesfor design images and production techniques. Theuniversality of weaving is thus honored. One canimagine textiles as a basis of stories within one’s ownfamily: the experience of grandparents, the adapta-tions of aunts and mothers.

continued...

Kids Weaving is an idea book that will lend itselfto enhancing known practices as well as inspiringnew ones. Not only will individual kids find interestand challenge, but so will teachers, art supervisors,librarians, camp counsellor, parents and baby-sitters.All will find ideas that can enliven their special areasof activity.

By the time this book arrived in my mailbox, I hadjust completed a series of tapestry lessons with 241Fifth Grade students. As I opened Sarah Swett’s KidsWeaving, I could imagine all sorts of ways to rechargemy classroom plans in the future. If ever there was areference that could help save the world for weavers,this book is a fine roadmap to that world.

Volunteers Make It HappenBy Mary Lane

This edition high-lights the committeethat produced the cata-log for “AmericanTapestry Biennial 6.”Lynn Mayne generous-ly volunteered to chairthe ATB6 catalog com-mittee because shebelieves that catalogsare crucial in document-ing the field of contem-porary tapestry. Catalogs provide a valuable historicalrecord. They also offer us an opportunity to share theexciting work being done in our medium with others.

She values volunteering for ATA because it givesher a chance to interact with other tapestry weavers.Networking with colleagues is especially important fortapestry weavers, who are widely dispersed and oftenwork alone. Her involvement with ATA also supportsher commitment to placing contemporary tapestrywithin the fine art world. In addition to her involve-ment with ATA, Lynn belongs to TAOS (TapestryArtists of Sarasota) and Tapestry Weavers South.

Besides her extensive work on the ATB6 catalog,Lynn's Allergy series was beautifully displayed atGallery 800 in Grand Rapids.

Lynn started weaving tapestry in the 1970s whenshe attended a class at the Saginaw Art Museum taught

Ta p e s t r y To p i c s F a l l 2 0 0 622

by Roz Berlin. She later studied with Michelle Mesnage inFrance. She now divides her time between Florida andMichigan, committing five to six hours each day to her stu-dio. Her current project, understandably slow to start becauseof her commitment to the ATB6 catalog, is a diptych portray-ing blooming Bird of Paradise flowers and a Tri Color Heron.

When Lynn is not weaving she enjoys playing golf andtennis, choral singing, playing the piano and spending timewith her husband, children and grand children.

Traudi Bestler of Minnetonka, Minnesota, proofread thetext for the ATB6 catalog. She expresses her commitmentto the organizations to which she belongs by being an activemember. Her involvement as a volunteer for ATA reflectsher love of tapestry and her desire to contribute to the futureof contemporary tapestry. Traudi believes that tapestryneeds to be represented within the larger art world, notingthat many people do not recognize its value.

In response to the question, “How did you get interestedin tapestry?” Traudi responded, “I was curious, and thingsjust sort of got out of hand.” Although she does not have alocal tapestry group in her area, Traudi is planting the seedsby teaching weaving in her local art center. She also enjoysreading, gardening and music.

In addition to Lynn and Traudi, four other ATA members,who declined an interview for this column, provided vitalassistance to the ATB6 catalog. Katzy Luhring edited thecatalog essays, Laurie Robbins compiled the biographies ofthe ATA board members, Terri Stewart was involved withthe search for a printing firm and the pre-sale mailings andJohanna Timpson helped in the search for a printer.

Member NewsBy Ellen Ramsey

Thank you new and renewing Circle members for the sec-ond quarter of 2006. Your additional support makes a realdifference!

Studio Circle: Elizabeth Buckley, Odette Brabec, LyndaBrothers, Mary Rawcliffe Colton, Nancy Diggs, PamelaDone, Lany Eila, Ronda Ganson, Joan Griffin, Susan HartHenegar, Silvia Heyden, Urban Jupena, Beverly Kent, JudyKoelsch, Mary Meader, Olga Neuts, Sandy Oravec, PamPatrie, Shelley Quiner, Christina Rasmussen, BarbaraRichards, William Saunders, Sarah Swett.

Curators Circle: Helena Hernmarck, Katherine Perkins,Jean Smelker-Hugi, Frances Williamson.

Temporarily Away? The post office hasbeen notifying us about more and moreundeliverable newsletters mailed to mem-bers who are “temporarily away” forblocks of time in the winter and summermonths. Just a reminder that it is veryhard for us to keep track of who mighthave missed an issue due to travel. Non-profit mail is not forwarded. If you havea second home, we can mail to you thereif you provide the dates and information.If all else fails and you miss an issue wewill gladly mail you another one whenyou get home, but you will need to remindus to do so.

That said, by now you should havereceived your 2006-2007 MemberDirectory. If you have not, please contactEllen Ramsey at 206-440-8903 orew.ramsey@comcast.net.

KudosMarti Fleischer and Marianne Viganderhave work in the group show, “L.U.N.A.” atthe Fountain City Art Center, Fountain City,TN, August 11-September 22, 2006

Monique Lehman will have a one-personexhibit at the Institute for Genetic MedicineGallery, University of Southern California,from November 9, 2006 to February, 2007.

Deborah Corsini, Suzanne Pretty, andMichael Rohde had work in the “By theHand” exhibit at the Bedford Gallery inWalnut Creek, CA. Through September 10,2006

Elinor Steele had work in “Fiber Celebration2006” in Colorado this summer and also in“Crafts National 40” in Pennsylvania, whereshe received an “Award of Merit”.

Karen Page Crislip has been chosen as anArtist in Residence at the Herbert HooverNational Historic Site in West Branch, Iowa.She will be designing and weaving tapestrythere from September 13th to September30th, with presentations on both weekends.

Newslet ter of the American Tapestry Al l iance 23

ATA MEMBERSHIP FORM

1 year 2 years Name__________________________________________Individual $35 $65 Address________________________________________Studio Circle $55 $100 ______________________________________________Curator's Circle $125 $225 City________________________________State_______Collector's Circle $250 $450 Postal Code_________________Country______________Student* $25 $45 Phone_________________________________________*enclose copy of current student identification card with payment Fax/Alternate phone_________________________________Please contact me about volunteer opportunities Email__________________________________________Send payment to: ATA Membership _______________________________________________

c/o Janet Austin Visa/Mastercard number Exp. Date 191 Cedar StEast Greenwich, RI 02818 _______________________________________________(401) 885-5595 card holder's signature

Contact ATAPO Box 28600 San Jose, CA 95159

Director of Member ServicesBecky Stevens rebeccas27@tampabay.rr.com

Director of ResourcesLinda Wallace yellowcedar@shaw.ca

TreasurerBarb Richards barbrichards@airbits.com

Member ChairEllen Ramsey ew.ramsey@comcast.net

Membership Database and Ask ATA HostJanet Austin nitsuanaj@yahoo.com

Education ChairLinda Weghorst lweghorst@midsouth.rr.com

Ed. Coordinator, Events & Online study groupsMary Lane marylane53@mac.com

ATB6Peggy Strang peggy@frenchcreekfiber.com

ATB7Alex Friedman alexfriedmanata@gmail.com

Library Chair, Archives & Slide RegistryJoyce Hayes joyce.hayes@comcast.net

Volunteer CoordinatorJoan Griffin joan@joangriffintapestry.com

Web EditorChristine Laffer claffer@christinelaffer.com

Webmistress Jeanne Bates aBates@3-cities.com

Web ExhibitsDavid Johnson urbanwild@earthlink.net

Artist PagesMichael Rohde rugweaver@aol.com

Want to network with other ATA members?

Check out our volunteer wish list. Working on a committee is agreat way to network with other members. All the programs forATA are done by our great volunteers – a fun way to use orlearn a new skill.

Current Volunteer Wish List

Public Relations: As ATA expands we need to spread theword to the larger community. We need people to write pressreleases, research media contacts etc.

Anniversary Celebration: As we gear up for ourAnniversary Celebration (early summer 2007) we need membersto help with fundraising/planning for the events.

Please contact Joan Griffin (joan@joangriffintapestry.com) formore information on specific jobs...thanks. ATA will behappy you did and so will you.

ATB6 artists. Deborah Corsini, Ellen Ramsey, Joyce Hayes,Christine Laffer, Jane Kidd, Monique Lehman, and Don Burns.Laffer’s entry "Cloth of Construction," Lehman’s "Heartsong"

and Cecilia Blomberg’s "June 4th" are in the background.

American Tapestry AlliancePO Box 28600San Jose, CA 95159-8600

CHANGE SERVICE REQUESTED

Tapestry Topics

visit our websitewww.americantapestryalliance.org

Guidelines for submitting articles to Tapestry Topics:

Next Deadline: October 1, 2006 theme: Transitions as Design Element, January 15, 2007, April 1, July 15.

Send all items to: Linda Rees: lerees@comcast.net --Or--

1507 Elkay DriveEugene, OR 97404

All photographs and electronic images should be accompaniedby the following information : Size, date completed, and photocredits. Do not insert images into the text body. Attach each oneseparately.

Articles should be under 2000 words. Submissions will be edit-ed for clarity and space requirements

Exhibition reviews: Articles should describe the overall sense ofthe show with insight and critical observations, and explain theparts that contribute to its impact.

Newsletter committee: Proofreader: Anne Clark, Layout: ElinorSteele, Distribution: Ellen Ramsey

Priscilla Lynch, "River City" See article on page 4.