©2008 American Tapestry Alliance
Winter 2008 Vol 34 No 4
A Quarterly Review of Tapestry Art Today
Note: Tapestry Topics Online has been trimmed down in order to present color images with selected excerpts from the printed version, available to members by mail. For the full articles refer to the printed Winter 2008 issue. < Back     Page > 1 2 3 4 5 6 7


January 15: Sustaining Creativity

What reference material or practices are helpful? For more information contact Lyn Hart; desertsonghart@msn.com.

April 1: The Materiality of Surface

Commentary that highlights work that has distinctive surfaces qualities.

July 15: Tips and Tactics

What clever ideas have solved tricky problems at the loom?

North America Perspective on Australia's Tapestry 2008
by Linda Wallace

Travelling the vast distance from North America to Australia to attend Tapestry 2008 in Canberra turned out to be one of the best journeys I have ever made. . . . two recurring thematic patterns [are] emerging.  The first is the understanding of connections: between artists, through time, within and without our medium. . . . The second is the realization that 'tapestry' is evolving. . . .  The strongest single impression I took home. . .was one of passionate creative commitment of artists working in ways unique to their individual development.

Below: The Aino Kajaniemi master class, from left to right ( faces showing)  Joan Korn, Jan Howard (barely seen), Linda Wallace, Ines Parker, unidentified participant,  and Dorothy Clews

Below: Details from two apestries Aino Kajaniemi shared with the class.

Kajaniemi 1 - Detail
Kajaniemi 3 - Detail

Below: Sue Lawty talking to students in her Master Class at the Tapestry 2008 symposium in Canberra, AU

The Evolving Nature of Tapestry
By Dorothy Clews

Various themes underpinned presentations at "Tapestry 2008" -- transformation of the tapestry textile, space, time, and process. . . . Techniques borrowed from other textile practices were used. . . by Sue Lawty.  By weaving small strips of tapestry and stitching them together like a piece of patchwork, sometimes . . . to place the strip sideways, a network of light and shade is created across the surface. . . . Sue constructs weavings of lead which . . . come under her hammer. . . This blurring of the boundaries of traditional tapestry with other techniques . . .adds another layer of meaning

Below: Example of Sue Lawty's work with metal, fibers, and stones

Tapestry 2008: The Fine Art of Weaving
by Debbie Herd

The first major gathering of world tapestry to be held in 20 years was to be an event that may take several years to digest. . . . Marie Cook, a founding weaver at the Victorian Tapestry Workshop and lecturer in the Diploma of Arts, Tapestry at South West Institute of TAFE, presented a review of community tapestries produced in Warrnambool, Victoria. . . . Included in the presentation was the Elaine Hosking commemorative tapestry which hangs in the Tafe Library where Elaine worked.  The project of three tapestries designed and coordinated by Mary O'Brien took eight years for the voluntary weavers to complete. See: http://www.swtafe.vic.edu.au/library/elainehosking/elaine_hosking.aspx

Below: Elaine Hosking tapestry at the TAFE Library in Warrnambool. Project duration: 1993–2001 Designed by Mary O'Brien, Design consultant: Marie Cook Weavers: Many weavers donated their time to work on the project. Students from the Diploma of Arts (Tapestry) course also participated in the weaving. Dye technicians:Barbara McKenzie and Lorraine O'Brien. See: www.swtafe.vic.edu.au/library/elainehosking/general.aspx
Panel 1: Mallee, Elaine the Child 59" x 79" (150cm x 201cm)
Panel 2: Mallee, New Guinea and Europe—Elaine Wife and Mother 59" x 79"
Panel 3: Mallee, Warrnambool— Elaine the Worker 59" x 79"

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

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