Surface Design Journal - Fall 2012 - Sample Issue by Surface Design Association

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Coast to Coast Last fall, I was asked to contribute an article to SDA NewsBlog by Leesa Hubbell, SDA Digital Publications Editor. Leesa handles NewsBlog, website, eNews, and Facebook content with admirable enthusiasm and creativity. She is also one of my favorite writers, introducing readers to a wide range of thought-provoking artists and textile-art trends in the pages of Surface Design Journal. Leesa’s extensive background in fashion and applied design makes her the ideal collaborator for this special issue dedicated to “Interior Spaces.” Our combined perspectives on contemporary art and design have resulted in an energizing assortment of stories to explore this theme. Equally exciting is the chance to share some exceptional installation art that I have admired for years. Amanda McCavour’s dreamy machine-embroidered narratives materialized at SOFA Chicago in 2009; her playful blend of nostalgia and fragility were an unforgettable high point of that international art fair. Reflecting on the myriad of compelling fiber pieces I have seen in private collections, I asked J. Susan Isaacs to tackle an in-depth exposé on “Collecting Trends Today” (page 32). In 2010, an ethereal site-specific piece by Beili Liu brought tears to my eyes at the San Jose Institute of Contemporary Art. Jason Hackenwerth’s amazing monumental (and often wearable) creations made from balloons have lifted my spirits ever since I saw them hovering overhead back in 2007 (article on page 26). Let us know what you think of the joint effort on this issue, and be sure to make SDA Newsblog a ‘favorite’ to find related content online. —Marci Rae McDade Surface Design Journal Editor journaleditor@surfacedesign.org

One of the many perks of New York City living is access to design shows like International Contemporary Furniture Fair (ICFF). Every May, I get to ogle hot new home furnishing ideas. I shared an overstuffed folder of these with the Surface Design Journal Editorial Committee—the group that picks Journal themes based on perceived trends. My excitement was contagious and I was happy to accept Marci’s invitation to be co-editor of this special “interiors” issue. I graze in cyberspace, so I do not even remember how Anne Kyyrö Quinn’s felt acoustics fell on my radar. Luckily, Jessica Hemmings could interview her in London and share her absorbing story. Textilicious seating kept popping up all over so it was cathartic to get an assortment of Tex-Chair(s) into the mix (article on page 10). ICFF exhibitors Tracy Kendall and Flavor Paper burned a hole in my wallpaper folder; Vic De La Rosa has the right stuff for capturing that heat. Weaver Sara Goodman agreed to write about the valuable work of the GoodWeave Foundation, which includes her own rug designs (page 42). When I saw Tomomi Sayuda’s Japanese-flavored lighting, I knew it would be a good fit for First Person. Marci and I come from different generations, different professional backgrounds, and live on opposite coasts. These diverse perspectives enrich our collaborative effort to find new synergies across SDA publications for your benefit. An example? Links to Journal features appear on SDA NewsBlog. It gets over 2000 monthly visitors from 140 countries. Click on SDA IN PRINT to access links to this issue at www.surfacedesign.org/newsblog/. —Leesa Hubbell SDA Digital Publications Editor newsbloged@surfacedesign.org

C o r r e c t i o n SDJ Summer 2012, Vol. 36, No. 4 In the article “Threads of Peace in Rwanda,” the contact for sales and exhibition inquiry is kathleen.malu@fulbrightmail.org. ABOVE LEFT: MARCI RAE MCDADE. ABOVE RIGHT: LEESA HUBBELL. COVER CREDIT: BEILI LIU Lure Series Installation view of the artist in process, thread, needle, dimensions variable, each coil 2"-5" in diameter, 2008-2011. Photo: www.romainblanquart.com. Fall2012

Surface Design Journal

f e a t u r e s 06 Quiet Spaces: Anne Kyyrö Quinn by Jessica Hemmings

Tex-Chair: Textiles Take a Seat by Leesa Hubbell

Amanda McCavour: Stand-Ins for Home by Joetta Maue

20 Against the Wall in a New Millennium

by Vic De La Rosa

26 The Floating World of Jason Hackenwerth by Dan Bischoff

32 Collecting Trends Today

by J. Susan Isaacs

38 34

Beili Liu: Poetry in Space by Susan Taber Avila

42 Weaving Hope by Sara Goodman

Surface Design Journal

Fall 2012 Volume 37 Number 1

d e p a r t m e n t s 48

Exposure A gallery of recent work by SDA members

First Person Tomomi Sayuda

2011 Creative Promise Award for Student Excellence Kate Nartker

Spotlight on Education Rhode Island School of Design: RISD Textiles Department

In Review Textility Summit, New Jersey Outfitters: The Contemporary Art of Clothing Walnut Creek, California Joyce Melander-Dayton: Constructions in Concert Minneapolis, Minnesota 8th Kaunas Biennial TEXTILE ‘11: Rewind—Play—Forward Kaunas, Lithuania Olek: I do not expect to be a mother but I do expect to die alone London, England

Fall2012

B e i l i

Poetry in Space i u b y

S u s a n

T a b e r

A v i l a

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

Surface Design Journal

Beili Liu’s 2012 site-specific installation at Vessel Gallery in Oakland, California, included a dynamic encounter between opposing forces. Two 18-foot-long, graphite-colored needles faced each other in the moment before impact, held back and defying gravity by a myriad of white threads stitched through the objects, suspending them in space. Hung at eye level, the piece invited provocation, yet almost everyone experiencing the work had the urge to stand in the minimal space between each missile and stare down one of the projecting protagonists. While there is an obvious military implication—and Liu even toyed with naming the piece MAD (mutually assured destruction)—she opted instead for the more optimistic description of balanced confrontation, Stalemate. Threads function both physically and metaphorically to hold back the pointed objects and prevent impending war. Liu’s work often captures the moment of tension between opposing forces, the hesitation between fragility and strength, hard and soft, or good and evil. In her 2011 installation/performance, The Mending Project, Liu sat quietly sewing under a cloud of imported scissors. The sharp blades hung by threads and pointed toward her head as a poignant visual metaphor for the vague uncertainty and fear often felt by the artist, but also relevant to anyone who has experienced moments of vulnerability. Additionally, the instantly recognizable and particular shape of the iconic Chinese scissors provided additional subtext about the cruelty implied by pointing scissors in Chinese culture. As a balance to the threatening violence overhead, the act of mending was healing and restorative. Liu stitched together fragments of pure white cloth (provided by gallery visitors) into a growing

carpet with a calm persistence that asserted strength and control over the situation. Chinese references occur frequently in Liu’s work. Born in a small farming village in Jilin, China, she moved around frequently during tumultuous times in Chinese history. She eventually ending up in bustling Shenzhen, a highly commercialized area that provided more freedom and information about western culture than other areas of China. After studying Chinese literature for two years in Shenzhen, she decided to pursue her passion for art in the United States. She received an undergraduate degree in graphic design from the University of Tennessee and an MFA in mixed media art from the University of Michigan. Living alone in each new city meant cultural shock and adaptation as she adjusted to the contradictions between East and West. It is no surprise that experiences from her past continuously inspire her creative work. Her adoption of red thread—a ubiquitous emblem of good luck in Chinese society—is an example of how her Chinese background inspires her creativity. In one of her first installations in graduate school, she had the idea of wrapping chopsticks and silverware with thread. While she was aware of the cultural associations of red thread, initially she chose the color intuitively, perhaps subconsciously attracted to the idea of protection or good energy the red thread implied. It was years later that she revisited thread as an art material, specifically utilizing it to materialize an ancient Chinese love story. The resulting Red Thread Legend series has been presented in various forms and venues. According to the Chinese myth, at birth everyone is tethered to their one true soul mate by an invisible red thread. The thread keeps them connected as they BEILI LIU Lure Series Installation view, thread, needle, dimensions variable, each coil 2"-5" in diameter, 2008-2011. Photo: Beili Liu Studio.

Fall2012

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

get closer and closer to finding each other. Liu has interpreted this story by creating multitudes of coiled disks joined in pairs. A needle pierces the center of each red spiral so that it can be hung from the ceiling and float delicately in space. The repetition and visual rhythm of these lyrical elements beautifully illustrate the true love allegory. When installed at the Urban Institute of Contemporary Art in Grand Rapids, Michigan (2010), it not only was awarded third prize in the prestigious Michigan ArtPrize competition, but it also prompted one man to use the setting for a marriage proposal to his girlfriend. For an installation at the San Jose Institute of Contemporary Art in California (2010), she appropriated a corner of the gallery for another version in her Red Thread Legend series. For this site-specific piece, Liu outlined the images of two figures with needles hammered into adjacent gallery walls. Threaded through each needle on one figure was a corresponding thread attached to the other. The illusion created by the masses of hanging red threads softened the hard edged walls and the figures subverted to shadows visible only at certain angles. 40

Material experimentation—exploring the physicality and potential for transformation— provides the catalyst for much of Liu’s work. She is a constant collector of stuff and sees the potential in almost anything as art media. Her work depends on a genuine connection with material and begins with playful sampling; she might burn, dissolve, stretch, pierce, or cut to discover a material’s secrets. From there she will further manipulate the results to fit her conceptual plan. When she chooses common materials, like salt, wax, or thread, their built-in associations further enhance interpretations of her work. The process of creating work, in particular the energy and effort, is another integral quality for Liu. She believes she has a responsibility to the audience who will invest time and energy in viewing her work. In this way she reflects a textile sensibility; the invisible element of time adds sincerity and genuineness to her handmade objects. This commitment to process imbues her work with awe and wonder. In the Affine series, for example, all of the threads are hand cut from a single piece of paper. A similar effect could be achieved through laser cutting, but then the Surface Design Journal

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

intuitive and fluid act of minute aesthetic decisions would not be possible and viewers could not discover almost the imperceptible marks and jags on the paper surface. Much of her process occurs on site, and she is best known as an installation artist. Liu’s site-specific work is usually carefully engineered and planned out with help from her collaborator and husband, Blue Way. However, unless she can physically visit and experience the space beforehand, installing on site often means snap decisions giving way to spontaneous interventions and her viewing the exhibition space as an extension of her studio. By nature impermanent, installations record a passage of time. Again, the artist’s early experience in China, moving from country to city, and frequently thereafter, probably feeds her fascination and innate desire to define space. Fall2012

Beili Liu’s work conveys a sense of place, process, and material in a way that transforms common objects into poetic installations. She is an artist with a deep urge to express herself creatively. Ever observant, she absorbs the physical presence of her environment and is constantly processing events and perceptions from her life. Ultimately, the quiet, powerful radiance in Liu’s art allows viewers to share the magic inherent in every day. Beili Liu’s website is www.beililiu.com. Liu’s Lure/Kaunas (2011) installation received a Distinction Award at the 8th Kaunas Biennial Textile ‘11 in Kaunas, Lithuania last fall. To read a review, turn to page 62.

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

E POSURE

LIZ ALPERT FAY Sandy Hook, Connecticut Collector of Words: I Dream in Color (with detail) Hand-hooked rug: recycled wool on linen, antique linen textile: hand-embroidered, reclaimed metal bed, beaded picture frame, wooden base, ric rack, section of old map, 45.5" x 40" x 85", 2011. Photo: Brad Stanton. www.lizalpertfay.com

JENNIFER A. REIS Morehead, Kentucky Fire in the Belly Embellished textile assemblage, 20" x 16", 2011. www.jenniferareis.com 48

Surface Design Journal

RIGHT: JOHN HESS Salt Lake City, Utah Sight Unseen 2 Fabric paint on woven and folded cotton double weave, 25" x 23" x 3", 2011. www.johnhessart.com

ANN NYBERG Gnesta, Sweden Exile Weaving, embroidery, mixed techniques, 61" x 43.25", 2010. www.annnyberg.se

Artists represented on the “Exposure” pages are members of the Surface Design Association (SDA); www.surfacedesign.org. Fall2012

CAROLE P. KUNSTADT New York, New York Sacred Poem LXXV Paper: pages from Parish Psalmody dated 1849, gold leaf, nylon thread, weaving, knotting, 9.625" x 9.75", 2011. www.carolekunstadt.com

i nr eview Summit, New Jersey Reviewed by Patricia Malarcher

Textility Visual Arts Center of New Jersey In recent New York gallery shows, embroidered panels hung beside paintings; malleable forms (often embellished with buttons or beads) sprawled across floors; repurposed swathes of everything textile—clothing, blankets, handkerchiefs—were ubiquitous. Has fiber art’s “moment” arrived? Not quite, as indicated by Textility, an exhibition that filled the Visual Arts Center of New Jersey (January 13–April 1, 2012). Textility, as defined in the catalog, “describes a contemporary esthetic which draws from a textile tradition, or which exhibits a material presence or conceptual quality related to textiles.”1 The show, organized by Mary Birmingham, the Center’s curator, and Joanne Mattera, a studio artist as well as an independent writer and curator, was not about textile as a visual arts discipline with a historical and cultural frame of reference. Rather, it focused on the current visibility of cloth and other pliable materials in sculptures, paintings, drawings, prints, collages, and architectural installations. Notably absent were works by artists who identify themselves as “fiber artists” and show at galleries supporting that genre.2 Nevertheless, among the 40 pieces by 28 artists, some—owing to the skill with which they were made—would have fit well into a sophisticated fiber art show. Among those were Mary Carlson’s Ghost Flag, a 10-foot-high Old Glory in sheer white fabric (Mattera places it in a fine art context by referring to it as “the anti-Jasper Johns”), Nava Lubelski’s elegant abstract Chance of Flurries with webs embroidered across holes in canvas, and Joelle Baxter’s Endless Day composed of paper strips plaited into a two-sided square shown horizontally like a mat. Sensitivity to textile construction was apparent in skeletal grids by Elana Herzog and Pip Culbert. Herzog’s untitled piece of frayed seams resembles a tattered fabric deconstructed to its bare bones. In Culbert’s elegantly minimal Patchwork, Blue and Pale Blue, pencil-thin fabric strips sketch the outline of a quilt. Taking Textility on its own terms, this viewer found it interesting to sort out various aspects of textiles the show brought to light. Grace DeGennaro’s labor-intensive dot-by-dot 56

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

geometric creations, for example, parallel the stitch-by-stitch development of weaving or needlepoint. For Jennifer Cecere and Susanna Starr, the traditional openwork doily was a point of departure. Cecere’s Mother is a lacelike pattern cut from a single piece of nylon eight feet in diameter. Also resembling lace, Starr’s six-foothigh Dresser Doily, intricately cut from wood veneer, wittily conflates the scale and material of furniture and the intricate texture of a doily. Artists’ eternal fascination with rendering textile surfaces in different mediums was evident in several works, including Gray, a superrealistic painting of folded and wrinkled fabric masterfully executed by Lalani Nan. (Some viewers noted its disturbing similarity to Tauba Auerbach’s better-known work featured in the 2010 Whitney Biennial, but Nan’s piece was dated 2006.) Black-and-white studies of textile construction included Aric Obrosey’s meticulously detailed charcoal drawing of netting. Sam Messenger’s haunting Veil from Alpheus, with its distorted central rectangle bordered by rows of faint weave-like lines, resembles a negative print of an antique photo of a textile. The twelve colorful encaustic-painted panels comprising Wherewithall exemplifies Barbara Ellman’s free interpretations of ethnic textile designs such as Surface Design Journal

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

Kuba cloth, improvisational patchwork, and East European embroidery. Teasing a viewer’s mind and eye, Carly Glovinski’s 3-D trompe l’oeil Untitled (dishrag) casually hangs on a nail, requiring a surreptitious touch to verify that it isn’t cloth but a deceptive paper copy. The cloudy translucence of Arlene Shechet’s life-size cast glass sculpture of a coiled rope imbues the image of a common commodity with mystery. Derick Melander’s columns of neatly stacked secondhand clothes, chromatically sequenced to imply an inner light in the middle, vividly demonstrates the surplus of material goods. These sculptures offer cogent commentary on a cultural phenomenon; as well, they embody a formal intelligence that makes them deeply satisfying as visual art. Fall2012

Notwithstanding a few naively craftless pieces that lacked the spark of art, Textility was a fascinating and ambitious, provocative show. The curators made a lively contribution to the current discussion on the place of fiber in the larger art world. 1, 2Joanne

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

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

—Patricia Malarcher is a studio artist and an independent writer. She was formerly editor of the Surface Design Journal. 57

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