tag:blogger.com,1999:blog-21450320061459730792024-03-05T01:43:30.532-08:00Desert Tapestry Weaversa forum for tapestry weavers living in the deserts of the worldblog weaverhttp://www.blogger.com/profile/09621896197371634532noreply@blogger.comBlogger15125tag:blogger.com,1999:blog-2145032006145973079.post-17228082013937739402009-03-09T15:53:00.000-07:002009-03-09T15:58:50.142-07:00Thanks for visiting....Since the last post, written in May 2008, there have been no submissions of news, events, announcements, or articles by any members.<br /><br />There will be no more posts on this blog. However, the blog will remain here for visitors to enjoy (until Blogger.com "purges" it which they sometimes do with inactive blogs).blog weaverhttp://www.blogger.com/profile/09621896197371634532noreply@blogger.com2tag:blogger.com,1999:blog-2145032006145973079.post-60726343988782701722008-05-20T12:39:00.000-07:002008-12-09T07:17:56.514-08:00Desert Meditations online exhibit & newsletter<div align="center"><strong><em><span style="font-size:130%;">Greetings to everyone!</span></em></strong></div><br /><br /><div align="left">We hope this post finds you with wonderful tapestries in progress on your looms or an idea for one in the works!<br /><br />The exhibit will be followed by the newsletter, which unfortunately will be very short as there were minimal submissions, and which will also be the last formal newsletter. Upon founding Desert Tapestry Weavers, we had envisioned the group's core focus to be a forum where <em>all</em> members shared their tapestries and their journeys in creating them. From the beginning, we knew we did not want the newsletters<strong> </strong>evolving<strong> </strong>to be written largely by us or to only represent the work of a small portion of the members. We had entertained very high hopes that member participation would assist in keeping the group dynamic and viable. With 36 members and 63 readers, the interest is definitely there, but sadly the participation has declined and is not enough to support the publishing of regular newsletters unless we both continue to give more of our time to fill in the gaps, which we cannot do.<br /><br /></div><div align="left">We would like to extend very sincere thanks and gratitude to those members who did take the time to contribute over the last year and also to the members who submitted works for this exhibit. The Desert Tapestry Weavers site will remain "alive", but it will now function as a forum to announce news related to tapestry. Please feel free to submit news about exhibits, calls for entry, workshops, or publications and we will gladly post them. We would also like to create another "Link" section where we can post member's websites, so if you would like your website included, please send the address to us!</div><div align="left"></div><div align="left"></div><div align="left"><br /><br />Enjoy this online exhibit of Desert Tapestry Weavers member's works. These tapestries embody in part what the phrase <em>Desert Meditations</em> signifies for each artist.<br /></div><div align="left"></div><div align="left"><br /><br />Lyn & Kathy P.<br /><br /><br /></div><div align="left"><br /><br /><br /></div><div align="center"><span style="font-size:130%;"><strong><em>Desert Meditations</em></strong></span><br /><br /></div><p align="center"><img id="BLOGGER_PHOTO_ID_5202559506793927842" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-CAkGWUbOadId_H_JIscQmSA92F1z6OZlxBXdck3CpxbrLbuq3hzOy7ChkZCEzJXDFqh1TrGG60rzcWf8NSmxD4e1xRno_iJhv4Fl58hwuqwXc-_pWlfo_gMPom3OIBeBpuZAFeO3L08/s400/buckley_sandia+winter+sunset.bmp" border="0" /><em><strong>Sandia Winter Sunset</strong><br />Elizabeth J. Buckley </em><br /><em></em></p><p align="center"><em>4 inches x 24 inches<br />wool on cotton warp</em> </p><div align="center"></div><div align="center">"Sandia Winter Sunset" is a study I wove in preparation for a commission for a private collector, who was visiting her daughter here in Albuquerque, New Mexico during the winter of 2007, when we actually had snow. The desert sunset light is amazing here in how it makes the land glow with colors shifting from watermelon to mauves and golden rust tones, bringing out the texture of the grasses. My client shared a number of walks with her daughter in the foothills of the Sandia mountains, which border the eastern edge of Albuquerque, and she wanted a tapestry to reflect not only the magical quality of shifting sunset light, but the strength and character of the mountain as well. As I have been weaving on this commission (to be 30" x 46" horizontal), I find myself engaged in an in-depth dialogue with this high desert mountain, as I describe in tapestry its shadows and cliffs, foothills and grasses.<br /></div><div align="center"><br /></div><div align="left"><br /><br /><br /></div><div align="center"><br /></div><div align="left"><br /><br /><br /></div><p align="center"></p><img id="BLOGGER_PHOTO_ID_5202561594148033714" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR8V2X-rlzfUbF6qgZn9rR4lNC47Vj36FeskBudyCZCNpvIS8mvYJJNMQvOFPuFdtvhTXS3bTJW27ZbANJLXLTdPo_kyJZUVAkMa4ZAG-ZrziSyW8JXI4KKWE4j20Y5p1VeA79B44CzcI/s400/clews_flow.JPG" border="0" /><em><strong></strong></em><br /><div align="center"><em><strong>Flow</strong></em><em><strong> </strong><br />Dorothy Clews</em><br /><em><br />37cm x 17cm<br />2008<br />cotton, silk, viscose, banana paper<br />tapestry weaving; decomposition - sun, rain, earth, micro-organisms; time and stitch </em><br /><br /></div><p align="center">I have always been interested in patterns and systems in the natural environment. Water moves through our lives, often unseen, like warp threads in a tapestry. Disrupt the natural pattern and something else happens, revealing unseen connections, threads and patterns.<br /><br />“Flow” as a tapestry, spent much of it time under the soil evolving into something else, at one time it was under three feet of floodwater. Leaf litter and rootlets were entangled in the threads when it was dug up. It speaks of water that flows, changing as it moves from sky to earth, earth to plant, plant to animal, animal to human, human to artifact: a changing, evolving force that gives a hidden structure to life.</p><p align="center"></p><p></p><br /><br /><br /><br /><br /><br /><p align="center"><em><img id="BLOGGER_PHOTO_ID_5202565214805464258" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWPZk3phh7QBBzAyAMDNCtIeVgDcF6EcvNZJfAF_z3pg3tvI72fxK-wJjeSCwL3EIAfk4kWoccn-qOH30xWQyWVPb4NJJ95ZYXS-qfyfSCG1C_BWDaW_SOP8FvaCFO2DpuSSGgdkt0N8U/s400/colton_+once+there+was+a+river.jpg" border="0" /> </em><em><strong>Once There Was a River<br /></strong>Mary Rawcliffe Colton</em> </p><p align="center"><em>41" x 70" (triptych, as hung)<br />2005<br />hand-dyed Churro wool </em><br /></p><p align="center">"Once There Was a River" is my commentary on the desert - and its limited water supply - being overwhelmed by too many people. I wove it as a triptych to indicate passage of time.</p><br /><br /><br /><p><br /><br /><br /><br /></p><br /><br /><br /><div align="center"><img id="BLOGGER_PHOTO_ID_5202567422418654418" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTef_ayQyAdZTlSUsUEWw0F7LQ1sncYELL_0fQ3os6VbmuehEKkNTeG7Zr9SmAatN9XwxEqK2EaJhxrRgta75zsXnWSYr1IhPqfu9YW4mXzIFMQuVRutNZIXHsu7dao6RFxpiR895piyQ/s400/crislip_chaco+view.JPG" border="0" /><em><strong>CHACO VIEW<br /></strong>Karen Page Crislip</em></div><div align="center"><br /></div><div align="center"><em>12" Square<br />wool, alpaca, silk<br /></em><br />This tapestry was inspired by my first visit to Chaco Canyon and its pre-Columbian ruins of the Anasazi, the ancestors of modern Pueblo Indians. I was intrigued by the openings left in the ruins and the distant views, both real and imagined, from these rough portals.</div><br /><br /><br /><p></p><br /><br /><br /><br /><br /><br /><br /><p align="center"><img id="BLOGGER_PHOTO_ID_5202568028009043170" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRnRrwntbyGhH7FpkUqbu1zYB94rIuL7Tt-V-ow4xj7TVWkVUQt-65GY-SEbSEFUyoVCL9jjPjulBtoEF7RXvx6Fc6qR4p5hO3HNarWGwftKlEK9lV7O4Sq0FFeedM3UO_UT5FRYz8S8E/s400/crislip_sacred+place.JPG" border="0" /><em><strong>SACRED PLACE</strong><br />Karen Page Crislip</em> </p><p align="center"><em>12" Square<br />Hand-Dyed Wool<br /></em><br />"Elsewhere the sky is the roof of the world; but here the earth was the floor of the sky." ~Willa Cather referring to the Four Corners region<br /><br />All of Canyon De Chelly is sacred to the Navajo--including Spider Rock, the most dramatic geologic feature of the canyon, believed to be the birthplace of all weaving. My tapestry is of just one location at the bottom of the canyon--one small area full of natural symbols underlying the spirituality of the canyon as the source of an ancient people.<br /><br /></p><br /><br /><br /><p align="center"><br /><br /><br /><br /></p><br /><br /><br /><p align="center"><img id="BLOGGER_PHOTO_ID_5202568990081717490" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf9jIKW9-X0rZ6knZaHx2SDSfRkon09Q6Pf-8mDVYmGwFnBoPzRO1kOyCq2c6N2ihCX6TczSoKqgA-4u_QOAqnszsJym4TFIASyqmvAberA3AzKxOkkti3s0pH_1Yfg1uRG9mSN1LDMm0/s400/eila_centuryplantmoonlight.jpg" border="0" /> <em><strong>Century Plant in Moonlight<br /></strong>Lany Eila</em><strong><em> </em></strong><br /></p><p align="center">6"square</p><p align="center">"Century Plant in Moonlight" is based on experiences during a recent trip to Big Bend [Texas].</p><br /><br /><br /><br /><br /><br /><br /><p align="center"><img id="BLOGGER_PHOTO_ID_5202570918522033410" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-1Y0YkGHJeZ_8gzDfUFd4oJu-RX1tosYwdKkgoR-Nri2dzkagRBmbgMS4igPS7pCn6rWiYkCktc5KnK62FXeWbmdAgknhYu1egB_WxahLrVIP8mm_Z0f-BCqFGHpkjG9lfdptZ-EkQcY/s400/earth+%26+sky.jpg" border="0" /> <strong>earth & sky<br /></strong>Lyn Hart<br /><br /><em>10” x 10.5”<br />november 2007<br />natural & synthetic dyed wools, cotton<br /></em><br />This tapestry was inspired by a digital photo I took while my husband & I were hiking along the base of the Vermillion Cliffs during a trip to the Marble and Paria Canyon areas of northern Arizona. The beauty of the land here mesmerizes. While the elements of earth, air, fire and water are an integral part of every natural environment, it seems that in the deserts of the Southwest one can see, hear, smell, and taste the pure essence of these elements. Pared down to the essentials, these elements no longer exist as part of the landscape; they define the landscape, demanding unwavering attention of our senses.<br /></p><br /><br /><br /><br /><br /><br /><br /><p></p><br /><br /><img id="BLOGGER_PHOTO_ID_5202572563494507794" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8yaRkiUAx59CRPjut_0CezCep84Drgs83PsAfeiZVFstJBSPr3faQQqLwwxeJKPPekHouCA-go6mds5SHMsQUjn4_cbu-f_aJMtM9H-t0AtzBATXLjCsTt7NdUh9b7jgqS0kJPmtbOg0/s400/headrick_wildflower+meadow.jpg" border="0" /> <p align="center"><em><strong>WILDFLOWER MEADOW</strong><br />Betty Headrick<br /><br />approx 16” x 20”<br />two ply wool weft and cotton seine warp</em><br /><br />This weaving is part of the “Harriet’s Challenge” project for the Tucson Handweavers and Spinners Guild. Last year Harriet Rein challenged guild members to create a project that reflected their love of the Arizona desert. Some of my favorite times in the desert are hikes with my husband and dog. The spring wildflowers were spectacular this year and gave opportunity for many wonderful hikes. While hiking my mind frequently “wanders” and projects and creative efforts find a seed among nature. It is also a time to find peace in my life among the many pressures of the world.<br /><br />The colors of the flowers and the general shapes of the flowers were generated from photographs taken by my husband. I used the computer to identify the colors and to change the basic flower shape.<br /><br /><br /><br /></p><p align="center"><br /><br /><br /></p><img id="BLOGGER_PHOTO_ID_5202573882049467682" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFMk5slymhJlstpc2wxUuJZJdoQL7ZJjcZ22YPssu6p4IX2BsWBUDJHUB1ZWmU0kf3nFkegzd6n-GlBdZMEQgXXUCFHkNenTOIKBs_a_Rw4c8iRC3aNAaGWgfNP73fopEbDr6CrWagzeQ/s400/hutley_shattered.jpg" border="0" /> <p align="center"><em><strong>Shattered<br /></strong>Pam Hutley<br /></em><br /><em>4" x 13.75"<br />hand spun wool warp<br />hand spun wool, silk and mohair weft<br />all natural dyes<br /></em><br />Land, and the country of my childhood. Eucalyptus forest country and thick Brigalow<br />scrub.<br /><br />This same country is now under the development of the coal mining industry. The open cut method of mining creates deep canyons across the land, and within the canyons there is a deceptively narrow seam of coal visible.<br /><br />The explosive material used to open the earth for mining the coal felt like<br />earthquakes. Our homestead would shake and rattle though we lived a great distance<br />away.<br /><br />The black in my tapestry represents not only the seam of coal, it represents the<br />markings of the Richter scale, used to measure the magnitude of an earthquake.<br /><br />The forests and scrubs are gone, the rich red and brown layers of topsoils separated<br />from the under layers of the earth, forever disturbed and shattered.<br /><br /></p><p align="center"><br /><br /><br /><br /><br /></p><p align="center"><img id="BLOGGER_PHOTO_ID_5202575192014492978" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqlXCyI-iHS4Mg5X67C2E2kfD0MWVcqcRs5bQIg94QYQ4qDniaIJxH18Z5ViVeOQGJqKx6J4Y14wP7fxBusI-UpXRgtItd6XyUq1FJT4XfJ_HB793M0fU2iXYAQBYkCm6NppXAVj9v1nM/s400/perkins_wild+wood+II.jpg" border="0" /> <em><strong>Wild Wood II: Arizona sycamore<br /></strong>Kathy Perkins<br /><br />43” x 10.5”<br />2007<br />hand dyed wool on cotton warp<br /></em><br />I am in awe of trees, trees of all kinds, and have wanted over the years to do tree series. I<br />actually got the inspiration for the first of my trees while at the American Tapestry<br />Alliance 25th anniversary gathering in San Jose. I fell in love with a eucalyptus tree in<br />the median strip near the entry to San Jose State. I went home with my countless photos<br />and designed away. While still weaving that tapestry I decided the Arizona sycamore<br />should be the next in the series since I love their shapes, bark, and, especially their<br />environmental setting. Thus, I dug out all of my photos from my Arizona sojourns and<br />created this tree from a variety of trees from the past. While weaving both tapestries I<br />relived many experiences of adventure and exploration in which the trees were clearly a<br />prominent feature of the landscape.<br /></p><br /><br /><br /><br /><br /><p align="center"><strong><span style="font-size:130%;">DTW Newsletter</span> </strong></p><p align="left"><strong><span style="font-size:130%;">News</span><br /></p></strong><br /><p align="left"><em><strong>Canadian Tapestry Network<br /></strong></em>If you haven't checked the sidebar links on this site lately, you should! CTN now has a website up and running. Their latest newsletter is posted, along with a wonderful tapestry slideshow and links to resources.<br /><a href="http://www.canadiantapestrynetwork.com/index.html">http://www.canadiantapestrynetwork.com/index.html</a></p><p align="left"><strong><em>Magpie Woodworks<br /></em></strong>John Jenkins, the wood artisan & owner of Magpie Woodworks, now has a website. He crafts beautiful custom tapestry forks with steel tines (you can even choose the tines per inch - tpi), needle cases, and other fiber related tools.<br /><a title="http://magpiewoodworksusa.com/" href="http://magpiewoodworksusa.com/">magpiewoodworksusa.com</a></p><p><em><strong>Tapestry Blogs<br /></strong></em>These are noteworthy tapestry blogs... many of the weavers journal about their weaving, their design process, and post photos as the work is in progress. They hail from different parts of the globe, are a wonderful resource and very inspiring. How exciting to have opportunities to see tapestries as they are being woven and to be able to email a weaver to ask questions when something they are doing intrigues you! Make sure to check the links on each of these blogs when you visit them, they will lead to other tapestry & fiber art related sites that are awaiting exploration.</p><p><a href="http://austintapestry.blogspot.com/">http://austintapestry.blogspot.com/</a><a href="http://austintapestry.blogspot.com/"></a></p><p><a href="http://www.desertsongstudio.blogspot.com/">http://www.desertsongstudio.blogspot.com/</a></p><p><a href="http://debbieherd.blogspot.com/">http://debbieherd.blogspot.com/</a></p><p><a href="http://tapestry13.blogspot.com/">http://tapestry13.blogspot.com/</a></p><p align="left"><a href="http://kspoeringtapestries.blogspot.com/">http://kspoeringtapestries.blogspot.com/</a></p><p align="left"><a href="http://www.tapestry.co.nz/blog/">http://www.tapestry.co.nz/blog/</a></p><p align="left"><a href="http://www.meabhwarburton.blogspot.com/">http://www.meabhwarburton.blogspot.com/</a></p><p align="left"><a href="http://www.vam.ac.uk/vastatic/microsites/1395_lawty/wordpress/">concealed, discovered, revealed</a></p><p align="left"><a href="http://tapestry2008.blogspot.com/">http://tapestry2008.blogspot.com/</a><strong><em><br /></em></strong></p><p align="left"><strong><em>Calls for Entry<br /></em></strong>Consider subscribing to the following blog to receive succinct news about calls for entry to fiber related exhibits--<a href="http://fiberartcalls.blogspot.com/">http://fiberartcalls.blogspot.com/</a><br /><span style="font-size:130%;"><strong></strong></span></p><p align="left"><span style="font-size:130%;"><strong>Weavings & Wanderings</strong></span><strong><em> </p></em></strong><p align="left"><strong><em>Hot, dry and, very occasionally, wet</em><br />by Dorothy Clews</strong><br />For the majority Australians the desert is – ‘out west’. For those who live ‘out west’ the real desert is always further on westwards. For the last few years, while living in Southwest Queensland, I have made brief forays in to the desert in the corner country of southwest Queensland, South Australia, and the Northern Territory.</p><p align="left">The Simpson Desert is a land that is not what people expect. There is aridity, sand, clear blue-white skies, but there is also gibber plains, trees, food producing plants; even water, sometimes permanent, sometimes only after rain. And there is a record of thousands of years of habitation for those that can read the land and find that water. </p><p align="left">Everywhere in the desert there are signs of water. In the dry, salty, cracked clay pans that occur in between each 140 km long parallel dune. The small occasional woodlands of stunted and twisted gidgee and coolibah search out water and survive in the dry periods. A waddi tree grove, one of three sites that have been found in Australia also records that somewhere deep in the earth there is enough moisture to support a few trees. </p><p align="left">The desert is drained by five major rivers that cover one sixth of the continent flowing into Lake Eyre and other salt lakes. These rivers act as a refuge for wildlife, which spreads out into the desert during rain. </p><p align="left">Once this area was an inland sea. There are clues to this past for those that know where to look. Bounding the somewhat less arid borders to the east and south east are ranges which hide bands of opal bearing rock- the boundary of the land and sea in the distant past. Opal which is 30% water. On the desert edges to the west and south there are mound springs which are like a giant release valve for the Great Artesian Basin, part of which is under the Simpson Desert. This network of springs has in the past provided a network of life support for animals as well as humans. Another source of water from the Basin is Purnie Springs a bore drilled for the oil exploration teams that opened up the desert tracks, and then later abandoned them. This bore (now controlled) runs into a small waterhole that supports wildlife and a welcome rest for travellers. A beautiful campsite with a hot shower, courtesy of the naturally heated fossilised water that comes from deep underground. </p><p align="left">A pulse of life goes through the country after major rains. To see tyre tracks filled with brilliant small flowers, as flowing water filled them a few weeks earlier is a magical sight. This pulse is repeated on a cosmic scale. The desert landscape is stacked in time. Every hundred thousand years there are glacial/interglacial cycles with the country becoming wetter or dryer with the general trend to increasing aridity. These pulses are like a beating heart that is slowly running down with the warming of the planet. </p><p align="left">Over the last two years I have worked with the theme of water, and the lack of it, salt, clay and sand, resulting in twelve small tapestries that reflect the arid landscape of Southwest Queensland in particular the two gardens I have established first in Charleville and later in St George. </p><p align="left">‘Pulse’ was planted in our St George garden last August around the time it rained for the first rain in months. It took a while to start decomposing, but the waterhole in front of our house had actually received some water and we were able to water our gardens again. </p><p align="left">One of the most magical sounds I have heard is the sound of the water coming down a dry creek bed after 7 years of drought - small rippling sounds, gurgles, sucks and splats as<br />it flowed down the dried out cracks in the riverbed and over the surface. You could hear the dry earth drinking it up.</p><p align="left">It was after this I began the stitching of ‘Pulse’ in December, a lot more rain had fallen, and the river was flowing as I stitched. The unraveled threads and the woven remains developed a rhythm of their own reflecting the rise and fall of the town waterhole as upstream rain flowed down, water was harvested by irrigators for the first time in a couple of years, and environmental flows were allowed to flow on down the system. </p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiubdirwryxE6MzLaW6X4Gket2ufm79LroDMZPpxVF9n5DLoQLBZpzTTqryTzGpCMfZtbf97GSzD4rIffr94-SZ0gcTFYy7bMAGm7ZxYkFznl6I29S25XuIxZbb9eBOkAr9AxPzXQ_smGQ/s1600-h/clews_+pulse+in+progress.JPG"><img id="BLOGGER_PHOTO_ID_5202605896735692098" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiubdirwryxE6MzLaW6X4Gket2ufm79LroDMZPpxVF9n5DLoQLBZpzTTqryTzGpCMfZtbf97GSzD4rIffr94-SZ0gcTFYy7bMAGm7ZxYkFznl6I29S25XuIxZbb9eBOkAr9AxPzXQ_smGQ/s320/clews_+pulse+in+progress.JPG" border="0" /></a><br /><br /><br /><br /><br /><br /><p align="left"><em>Pulse</em> in progress</p><br /><br /><br /><br /><br /><br /><div align="right"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrmZl_zR60j2Uc-VNRaVz2o_u9gK4wa10cwIXVaLKsJI1HQU-ACZJblT6m4TheVk7Zi0ivAWEgngHlaYoJFHPZEhiHTGsQ88dFB-FZMEfvoc6UeLKj_b6WZOpuymGFv53sY6Qjx_-1XEc/s1600-h/clews_pulse+detail.JPG"><img id="BLOGGER_PHOTO_ID_5202606403541833042" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrmZl_zR60j2Uc-VNRaVz2o_u9gK4wa10cwIXVaLKsJI1HQU-ACZJblT6m4TheVk7Zi0ivAWEgngHlaYoJFHPZEhiHTGsQ88dFB-FZMEfvoc6UeLKj_b6WZOpuymGFv53sY6Qjx_-1XEc/s320/clews_pulse+detail.JPG" border="0" /></a><br /><em>Pulse</em> detail<br /></div><br /><br /><br /><br /><p align="left"></p><p><br /><br /><br /><br /><em></em></p><p><em>Pulse</em> unwashed<br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNI8cIKOHLJXZFN5FXG7QQEHhCPaJvhesuEiLomvXZt1U26ffUUXydFvNKsRG5OgAfiOjVLNMHPlfxcjNIcFajBb6qDrBoAEU5KR3khLpVcRMRaqpx4Nkt0GmNkVDUin591JAznDkPdko/s1600-h/clews_pulse+unwashed.JPG"><img id="BLOGGER_PHOTO_ID_5202606824448628066" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNI8cIKOHLJXZFN5FXG7QQEHhCPaJvhesuEiLomvXZt1U26ffUUXydFvNKsRG5OgAfiOjVLNMHPlfxcjNIcFajBb6qDrBoAEU5KR3khLpVcRMRaqpx4Nkt0GmNkVDUin591JAznDkPdko/s320/clews_pulse+unwashed.JPG" border="0" /></a><br /><br /><br /><br /><br /><br /></p><p align="left"></p><br /><br /><p><em></em></p><br /><br /><p align="right"><em>Pulse</em> washed detail<br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbl998iPQTJ5SJKOuMHn90eYj3lEcaAtcMaXW1UOSo7e9dKj_4zrGat8q5js23F7Xm5cMeYI9deU0PoBb4zpKhDOB48B9sdJcjOSinUv8_TH4tNoKOY5FiEQqtB6qTPkdHXQVMXaRjRyI/s1600-h/clews_+pulse+washed+detail.jpg"><img id="BLOGGER_PHOTO_ID_5202607412859147634" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbl998iPQTJ5SJKOuMHn90eYj3lEcaAtcMaXW1UOSo7e9dKj_4zrGat8q5js23F7Xm5cMeYI9deU0PoBb4zpKhDOB48B9sdJcjOSinUv8_TH4tNoKOY5FiEQqtB6qTPkdHXQVMXaRjRyI/s320/clews_+pulse+washed+detail.jpg" border="0" /></a><br /><br /><br /><br /><br /></p><br /><br /><p align="left"></p><br /><br /><br /><br /><br /><br /><br /><br /><p align="left">Recommended reading:<br /><em>‘Dune</em> <em>is a four letter word’</em> by Griselda Sprigg for a mother’s view of the first crossing of the desert by car.</p><p align="left">Links:<br />Desert<br /><a href="http://www.nma.gov.au/research/centre_for_historical_research/the_centres_projects/into_the_desert/" target="_blank">http://www.nma.gov.au/research/centre_for_historical_research/the_centres_projects/into_the_desert/</a><br /><br />Research on the Simpson Desert with good images<br /><a href="http://www.worldwildlife.org/wildworld/profiles/terrestrial/aa/aa1308_full.html" target="_blank">http://www.worldwildlife.org/wildworld/profiles/terrestrial/aa/aa1308_full.html</a><br /></p><p align="left">Research on the Simpson Desert<br /><a href="http://www.abc.net.au/rn/hindsight/features/landscape/default.htm" target="_blank">http://www.abc.net.au/rn/hindsight/features/landscape/default.htm</a><br /></p><p align="left">ABC program interviewing people who live or work in the Central Desert.<br />Tapestry<br /><a href="http://www.americantapestryalliance.org/Members/NLv32n2/NLv32n2p2.html" target="_blank">http://www.americantapestryalliance.org/Members/NLv32n2/NLv32n2p2.html</a> <a href="http://www.americantapestryalliance.org/phpBB2/viewtopic.php?t=344" target="_blank">http://www.americantapestryalliance.org/phpBB2/viewtopic.php?t=344</a> <a href="http://www.americantapestryalliance.org//Exhibitions/FindingHomeExh/FindingHome.html" target="_blank">http://www.americantapestryalliance.org//Exhibitions/FindingHomeExh/FindingHome.html</a> </p><br /><em><strong>Mary Rawcliffe Colton</strong><br /></em>A weaver since the early 1970’s, I began in the New England tradition of pattern weaves and clothing. However, a St. Louis neighbor was Muriel Nezhnie who made certain that local weavers were exposed to tapestry, and an early success came when Francis Merritt, then Director of Haystack, awarded a prize for my tapestry mask and encouraged me to attend Haystack.<br /><br />During the 1980’s and 1990’s in Albuquerque I wove Ikat garments and wall hangings in a Collingwood technique called “clasped weft,” both faster and easier to sell than tapestry. For most of the 1990’s I was the adjunct weaving instructor in the Art Education Department of the University of NM, addressing all the basic techniques and all the beginning questions of weaving. With retirement in sight and a need to check my range of weaving skills, I earned HGA’s Basic Level Certificate of Excellence in 1996. For my Master’s Level I focused on the technical choices a tapestry weaver has to make, including a study of techniques used in a number of cultures around the world. I earned that COE in 1998 and retired from regular teaching in 1999.<br /><br />Since then I have critiqued with a number of tapestry friends and worked on the development of an active tapestry group in Albuquerque’s Las Aranas Spinners and Weavers Guild. Presently that group has woven more than 50 small tapestries for a “Doors, Gates and Windows” challenge with the Vancouver Island tapestry weavers; half of those tapestries will be shown in the ATA small format exhibit (Woven Gems) at Convergence. The full show will hang at First Unitarian Church in Albuquerque, 9/7/08 to 10/18/08.<br /><br />With training both in English teaching and biology, I look to poetry and to the natural world for inspiration. My triptych “Once There Was a River” [in the online exhibit] is a visual commentary on the high desert’s being overwhelmed by too many people.<br /><br /><strong><em></em></strong><br /><strong><em>Pam Hutley</em></strong><br /><strong>Mackay QLD</strong><br />I have been a tapestry weaver for many years, developing my style as a designer and weaver as I developed the hand spun and natural dyed yarns I weave with. I am a pictorial tapestry weaver, but now and then I step aside from this way of weaving to explore other ways to express my thoughts. [See Pam's tapestry, Shattered, above in the online exhibit]<br /><br /><span style="font-size:130%;"></span><br /><span style="font-size:130%;"><strong>Workshops</strong></span><span style="font-size:130%;"><strong> </strong><br /></span><br /><em><strong>Natural Dye Workshop</strong></em><br />August 8-10, 2008<br />Jane Hoffman's Blue River Wilderness Retreat, AZ<br /><br />Accommodations:<br />Available in Alpine, Arizona, National Forest campgrounds and at Jane and Don's Blue River Wilderness Retreat.<br /><br />Skill Level:<br />Beginning and Intermediate<br /><br />Description:<br />This 2 1/2 day comprehensive workshop shows you how to create a rich palette of beautiful, lightfast and washfast color from natural dyes. We will be using native, cultivated, and imported dye material including plants from Jane's dye garden. She will share her knowledge and methods for producing many shades of color from each dye-pot. You will learn to prepare the dye, to mordant and dye protein fiber (i.e. wool, silk, mohair, alpaca), and to experiment with color by using post-mordant baths, exhaust baths and over-dyeing.<br /><br />Class fees dependent upon number of participants:<br />4 = $240; 5 = $192; 6 = $160; 7 = $138; 8 = $120; 9 = $107; 10= $96<br /><br />Materials:<br />Materials will be provided (materials fee: $25)<br /><br />Contact:<br />Jane Hoffman <a title="mailto:j.hoffman@frontiernet.net" href="mailto:j.hoffman@frontiernet.net">j.hoffman@frontiernet.net</a> or Sandy Gally 928-445-1499 or <a title="mailto:sbgally@hotmail.com" href="mailto:sbgally@hotmail.com">sbgally@hotmail.com</a><br />("I have taken several dye workshops and none can compare to Jane's workshop. I learned more in her workshop than all the others put together. On top of that her folder of instructions, recipes and information are second to none; and we get to keep the folder. It has been said that natural dyeing is not color or washfast.. Her natural dye tapestries prove otherwise. And one could not ask for a more beautiful setting. If you need more encouragement, give me a call or e-mail me." -Sandy Gally)<br /><a title="http://www.blueriverretreat.com/" href="http://www.blueriverretreat.com/">http://www.blueriverretreat.com/</a><br /><a title="http://www.artistsregister.com/artists/AZ104" href="http://www.artistsregister.com/artists/AZ104">www.artistsregister.com/artists/AZ104</a><br /><br /><br /><strong><em>Habu Textiles lecture, workshop and trunk show</em></strong><br />October 21st 2008, 9:00 am- 4:00pm<br /><br />Come see, feel, and learn how to use Habu's unusual yarns and fibers during their one day visit to the Desert Weaving Workshop. Habu carries unusual and difficult to find fine yarns from Japan and Asia for weavers, knitters, basket makers, stitchers, and artists. Naturally gold colored silk, raw and degummed bombyx silk as fine as 42 denier and up, hand reeled raw and degummed Akagi silks, extra fine silk, wool, cotton or wool/cashmere crepe, hand-tied ramie banana "basho", bamboo, silk & wool stainless steel, paper, hemp bark, etc. are only a few of over 300 selections we have. We offer some special equipment and also "rodin" silk degumming powder.<br /><br />To register, visit the <a href="http://www.desertweaving.com/GeeCalDet1.php?calendar-id=411720794&year=0&month=0&day=0">Desert Weaving Workshop website</a>.<br /><br /><br /><strong><em>COLOR AND DESIGN FOR CONTEMPORARY TAPESTRY </em></strong><br />with James Koehler<br />February 7-11, 2009, Saturday through Wednesday, 9:00 am – 5:00 pm<br />Desert Weaving Workshop, Tucson, AZ<br /><br />This workshop is a continuation of study begun in Color and Design I. Exercises in design will include symbolism & the design principles of Form; grid structures, tilings & fractals; and the pliable plane. Color study will focus on the Goethe color system and various optical effects of color. There will be opportunity to weave up to three miniature tapestries based on the design and color exercises. Participants should have basic knowledge of tapestry weaving. Color and Design I is not necessarily a prerequisite.<br /><br />COST: $400. Register before Jan 1 and save $25.<br />A $25 materials fee will provide for warp and weft and a folder of handouts.<br />Scholarships may be available. Let us know if you are interested.<br /><br />To register, visit the <a href="http://www.desertweaving.com/GeeCalDet1.php?calendar-id=210413838&year=0&month=0&day=0">Desert Weaving Workshop website</a>.<br /><br /><br /><span style="font-size:130%;"><strong>Media </strong></span><br /><br /><br /><strong><em><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXiBrb2ex-ZxqmEJ9SRwkw_BK_vrkrNYI5V8Zu_1lafyvciWlv6LgzS88PVazrsUlhRELe7UHQKJFnsbhoRNZ96fZ-sG2qWudiLdfwmKA1W3G3CTS-IntIhp_1oMzza-4KTUss_j1iTUk/s1600-h/cardon+natural+dyes.jpg"><img id="BLOGGER_PHOTO_ID_5202611935459710338" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXiBrb2ex-ZxqmEJ9SRwkw_BK_vrkrNYI5V8Zu_1lafyvciWlv6LgzS88PVazrsUlhRELe7UHQKJFnsbhoRNZ96fZ-sG2qWudiLdfwmKA1W3G3CTS-IntIhp_1oMzza-4KTUss_j1iTUk/s200/cardon+natural+dyes.jpg" border="0" /></a>Natural Dyes: Sources, Tradition, Technology and Science</em></strong><br />by Dominique Cardon<br />September 2007<br />ISBN-10: 190498200X<br />ISBN-13: 978-1904982005<br /><br /><br /><br />This authoritative resource is an expanded, corrected and updated translation of the award -winning book Le Monde des Teintures Naturelles published in 2003 in Paris. To my knowledge, this is the most comprehensive book on natural dyeing currently available. If you are a natural dyer and want to have at your fingertips every scrap of info, including history and chemical structure of the dyes, there is no other book that will give you that kind of info in this depth. A hefty text, it contains an unbelievable amount of content. Dyes are categorized by color, the pictures are outstanding, and it is very enjoyable to read, not dry and boring like many other "technical" manuals. The bibliography alone is worth its weight in gold. Expect to pay close to $200US for this book, but it is worth the cost!<br /><br /><br /><br /><strong><em><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwCJ4mtjg7bn_2ySukGPrfhekt9g2yPoKNiGEnF4FqIDLlVZaYGIi-xdvDxLKtLszaEjAZ20pTvq0f9zbK3rI14O9C1CZWOIRs2AQqV5hiindFCDhSnkNKjv2nZaVfqZnd3bRPT5Owilc/s1600-h/walker+vtw+tapestries.jpg"><img id="BLOGGER_PHOTO_ID_5202612206042650002" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwCJ4mtjg7bn_2ySukGPrfhekt9g2yPoKNiGEnF4FqIDLlVZaYGIi-xdvDxLKtLszaEjAZ20pTvq0f9zbK3rI14O9C1CZWOIRs2AQqV5hiindFCDhSnkNKjv2nZaVfqZnd3bRPT5Owilc/s200/walker+vtw+tapestries.jpg" border="0" /></a>Artists Tapestries from Australia 1976-2005</em></strong><br />by Sue Walker<br />October 2007<br />ISBN-13: 9780947349509<br />ISBN: 0947349502<br />find it at <a href="https://www.booktopia.com.au/">Booktopia.com</a><br /><br /><br /><br /><br /><br />The story of the Victorian Tapestry workshop from its formation to 2005. It details not only the pioneering interaction of the Workshop with aboriginal artists but also how the VTW promoted collaborations with noted artists of the times, acting as a springboard that raised tapestry to become considered an accepted, respected, and treasured art form in Australian. The photos are to die for, with many, many wonderful close ups of weave structure and also "historic" photos from the VTW's early years. The ultimate "coffee table" book for all tapestry weavers! Also a very large, pricey text, the best price may be found at the Australian website listed above.<br /><br />(reviews by Lyn)<br /><br /><br /><strong><span style="font-size:130%;">Happy Weaving!</span></strong>blog weaverhttp://www.blogger.com/profile/09621896197371634532noreply@blogger.com1tag:blogger.com,1999:blog-2145032006145973079.post-59589853228557853862008-04-01T12:47:00.000-07:002008-12-09T07:17:56.682-08:00Ramses Wissa Wassef Art Centre Petition – A Thank You<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfh6PA8S4-ahCohJ_tXa7PBbG8D6uTP3URg9R1TZW1Ne48X7mYovTvAJUuPeJRi2tPVVw3Wsoo_EIPJx2Yxc8-rRapKwiR-wRJpmRnhePKM0SXojjWccTtuRN-9MFRGbEThJlvO9KVcZk/s1600-h/rww+tapestry.jpg"><img id="BLOGGER_PHOTO_ID_5184366283450109010" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfh6PA8S4-ahCohJ_tXa7PBbG8D6uTP3URg9R1TZW1Ne48X7mYovTvAJUuPeJRi2tPVVw3Wsoo_EIPJx2Yxc8-rRapKwiR-wRJpmRnhePKM0SXojjWccTtuRN-9MFRGbEThJlvO9KVcZk/s400/rww+tapestry.jpg" border="0" /></a><br />The petition launched in January 2008 on behalf of the Ramses Wissa Wassef Art Centre calling on the Egyptian authorities to take action against the rising ground water table that has greatly damaged the adobe buildings of the Art Centre has had an encouragingly positive outcome.<br /><br />The petition was organised by The Ramses Wissa Wassef Exhibition Trust, London and signed by some 1700 people from many different countries. It was presented to the Governor of Giza in mid-March. Plans made by the authorities to cover the drainage canal that was causing the devastation were given top priority. Construction work has begun and it is expected that most of the problems will be eliminated by the end of April. Renovation work to restore the buildings of the Art Centre will begin in the summer.<br /><br />The Wissa Wassef family wish to thank the Governor of Giza and the irrigation and drainage departments for the swift action and most particularly to thank all who signed the petition for your most valuable support.<br /><br />Ikram Nosshi<br />Ramses Wissa Wassef Art Centre<br /><br />Barbara Heller<br />Ramses Wissa Wassef Exhibition Trust London<br /><br /><a href="http://www.wissa-wassef-arts.com/intro.htm">http://www.wissa-wassef-arts.com/intro.htm</a>blog weaverhttp://www.blogger.com/profile/09621896197371634532noreply@blogger.com0tag:blogger.com,1999:blog-2145032006145973079.post-72598109401011977892008-03-21T11:10:00.000-07:002008-12-09T07:17:56.870-08:00Fall 2008 Textile offering at Penland School of Crafts, Penland, NC, USA<div align="center"><strong><img id="BLOGGER_PHOTO_ID_5180262347709500482" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-FxYb1tSCi1DJ_tAjx5-_E1r8K3vA6qgoh323-66QBLn9gyYwfnaKvLi9NsJysPOpEX6Cooj7yjgr_ep6k65RfLgYLDxJIPxzoy6BgG2fvDkkVncZ5Q_RrkqwQlsq50kjxY4qe_wivik/s320/penland.jpg" border="0" /></strong></div><div align="center"><strong><em><span style="font-size:130%;">Tapestry and Creative Potential</span></em></strong></div><div align="center"><br /></div><div align="center"><em>September 21-November 14, 2008</em></div><br /><br /><div align="center"><em><strong>Instructors</strong></em>: </div><br /><div align="center"><em>Peggy McBride, Tommye Scanlin, and Pat Williams</em></div><p><br />Tapestry weaving techniques are easy to learn yet often take a long time to master. Along the way to mastery, there are many roads to consider in methods and in design ideas. This class will be about both: the known paths to basics of tapestry technique and the creative meanderings where ideas develop. Collaborations among teachers and students will encourage all to delve into sequence and resolution, tradition and innovation. We will explore ways to find and develop personal concepts and images through which to celebrate the nature of tapestry. Instructors McBride, Scanlin and Williams are long-time friends in fiber; over the past twenty-five years they've worked together in fiber art guilds, workshops, and critique sessions. They are eager to share ideas with others during this eight-week session at Penland, one of the most exciting craft schools in the U.S.<br /><br /><strong><em>Brief bios</em></strong>:<br /><br /><em><strong>Peggy McBride</strong></em><br />Mixed media artist (commissions: Atlanta's Alliance TheatreCompany, Children's Hospital, Federal Reserve Bank); owner, Globe Galleryin Clayton, GA; grants administrator for state's Grassroots Arts Program; creative consultant for non-profit art organizations.<br /><br /><em><strong>Tommye Scanlin</strong></em><br />Studio artist; juried member Southern Highland Craft Guildand Piedmont Craftsmen; professor emerita of art, North GA College & StateUniv (GA); other teaching at John Campbell Folk School, Penland (NC), Arrowmont (TN); American Tapestry Alliance award (2007); works included in several public and private collections.<br /><br /><em><strong>Pat Williams</strong></em><br />Studio artist; juried member Southern Highland Craft Guild; Masters in Art Education; art teacher of fifteen years (public school); American Tapestry Alliance award (2006); exhibited nationally and internationally with tapestry works in private collections.<br /><br /><br /><em>For more information</em>: <a href="http://penland.org/">http://penland.org/</a></p><p></p><br /><br/><br /><br/>blog weaverhttp://www.blogger.com/profile/09621896197371634532noreply@blogger.com0tag:blogger.com,1999:blog-2145032006145973079.post-45101593915074718392008-02-26T05:52:00.000-08:002008-12-09T07:17:57.002-08:00Workshop Announcement<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirjRCXHBtqOHUrs-gURBsH6akWxt2uePn0lGOpgdQYlkRxdOosamxMTVnkTVikBDlDZnK-Q2HJwLlUsarRTJeidqlaZzdxpGZQRr5z_6GJRPTMWy3Jpe-UbGJBk8YOJNYxzk5AYXomB28/s1600-h/desert+sunflower.jpg"><img id="BLOGGER_PHOTO_ID_5171288475154010786" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirjRCXHBtqOHUrs-gURBsH6akWxt2uePn0lGOpgdQYlkRxdOosamxMTVnkTVikBDlDZnK-Q2HJwLlUsarRTJeidqlaZzdxpGZQRr5z_6GJRPTMWy3Jpe-UbGJBk8YOJNYxzk5AYXomB28/s200/desert+sunflower.jpg" border="0" /></a><em><strong>Tapestry Workshop by Jane Hoffman<br /></strong></em><div><br /></div><div><em>Place:<br /></em>Waugh Mountain Alpacas<br />Nutrioso, Arizona<br /><br /><em>Date:</em> </div><div>Saturday, August 23, 8:00am to 5:00pm</div><div>Sunday, August 24, 8:00 am to 3:00 pm</div><div><em>Skill Level:</em> </div><div>Beginning and Intermediate<br /><br /><em>Description:</em> </div><div>Participants--<br />-will investigate the art of tapestry by learning tapestry techniques.<br />-weave a sampler using basic tapestry techniques.<br />-explore the quality of texture by incorporating a variety of fibers in their sampler. </div><div></div><div><em></em></div><div><em><br /><br />Workshop can include the following:<br /></em>-warping<br />-design methods for planning a tapestry.<br />-slide show<br />-finishing, blocking, and mounting tapestries<br /></div><div><em></em></div><em></em><br /><em><div>$175 per person - includes breakfast and lunch both days and a tapestry loom for you to keep. Kids 12 yrs and older are welcome (cost for kids is the same to cover materials and food)No special skills or prior experience are needed!<br />Breakfast and lunch will be served both days of the workshop.<br />Yarn will be supplied by Jane Hoffman & Waugh Mountain.<br />The workshop will be at Waugh Mountain Ranch which is located on the east side of Hwy. 180 in Nutrioso, Arizona; just south of mile marker 414 (across from the transfer station)<br /></div><div><strong>Visit this </strong><a href="http://www.waughmtnalpacas.com/tapestryworkshop.php"><strong>link</strong></a><strong> for more info & registration form!</strong></div><div><br />contact:<br /></em></div>Dave and Terry Fillipi<br />928-339-4244<br /><a href="http://us.f593.mail.yahoo.com/ym/Compose?To=fillipi@cybertrails.com" target="_blank" rel="nofollow" ymailto="mailto:fillipi@cybertrails.com">http://us.f593.mail.yahoo.com/ym/Compose?To=fillipi@cybertrails.com</a><br /><a href="http://www.waughmtnalpacas.com/" target="_blank" rel="nofollow">http://www.waughmtnalpacas.com/</a><br /><br /><div>Jane Hoffman, Blue River Studio<br /><a href="mailto:j.hoffman@frontiernet.net" target="_blank" rel="nofollow" ymailto="mailto:j.hoffman@frontiernet.net">j.hoffman@frontiernet.net</a></div><div><a href="http://www.blueriverretreat.com/" target="_blank" rel="nofollow">http://www.blueriverretreat.com/</a></div><div><a href="http://www.artistsregister.com/artists/AZ104" target="_blank" rel="nofollow">www.artistsregister.com/artists/AZ104</a></div>blog weaverhttp://www.blogger.com/profile/09621896197371634532noreply@blogger.com0tag:blogger.com,1999:blog-2145032006145973079.post-70984211426399161332008-02-11T10:39:00.000-08:002008-12-09T07:17:57.185-08:00Desert Meditations exhibit deadline reminder!<div align="center"> Greetings to all!</div><div align="center"> </div><img id="BLOGGER_PHOTO_ID_5165797991931245682" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQYSMRhXrH0JexZAFVhURv1pxGtwDv6O4qIppQdaC3XEy78Ju6EysLdp7_NJL9ichMOygpkVs0-CpAmXh4_CUBDz52W_RjsX5pG4nwcUCokiu0CAFweb_0EA3lcX8rud-7gUxZiIz0Hmg/s400/tricocereus.jpg" border="0" /><br /><div></div><div>Seasons are changing in both hemispheres of our beautiful planet, and the time is quickly approaching for Desert Tapestry Weavers' 1st year anniversary and our first members' online exhibit!</div><br /><div></div><div>This is a reminder for all members... please consider entering a work that represents your interpretation of the theme <em>Desert Meditations. </em>Also, our first newsletter of the year will be published at the same time, so please consider submitting an article... introduce yourself if you haven't already; let us have a peek of what's on your looms, what you just cut off, or what you are planning; if you don't have a tapestry to submit for the exhibit write about your desert meditations to inspire all of us!</div><br /><div></div><div>Here are the details again:</div><br /><div></div><div>The show’s title, <em>Desert Meditations</em>, was selected because it is inclusive of all things desert. Whether you interpret it as a specific thing or place, or as an abstract tapestry reflecting a mood or sense of place, it does not matter. All entries are welcomed.</div><br /><div></div><div><em>Format</em>: </div><div>~jpeg or gif format (include file name in your email, please!)</div><div>~name and size of tapestry, plus materials used</div><br /><div></div><div><em>Some specifics</em>:</div><div>~all entries will be accepted<br />~there is no size constraint</div><div>~the work can be current or from the past</div><div>~include a short statement (200 words or less) about the tapestry</div><br /><div></div><div><em>Deadline</em>:</div><div>Files are due to Lyn (<a href="mailto:desertsonghart@yahoo.com">desertsonghart@yahoo.com</a>) by May 1, 2008 so the show can be posted by our first anniversary, May 22, 2008.</div><br /><div></div><div>Happy weaving, everyone!</div>blog weaverhttp://www.blogger.com/profile/09621896197371634532noreply@blogger.com0tag:blogger.com,1999:blog-2145032006145973079.post-408925297272037082008-02-05T15:22:00.000-08:002008-12-09T07:17:57.649-08:00<img id="BLOGGER_PHOTO_ID_5163644059560878290" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhos8FqZ4iHDNollpCOhYPJU2WTbgBK7LbzkBKoXMLFIVGQ_gKrLwmjMjjbLyGUuQSq2s11n67LOKVdvQ34_IUW-nlC5cMQ_XnucoUALqOCnzYfmyCJJ44vmuD2jFlJ98tf_gWz12DAEMM/s400/TC.jpg" border="0" /><br /><div><div align="center">Tohono Chul Park is seeking submissions by Southwest artists for an upcoming exhibit:<br /><br /><strong>Artful Insects and Inspired Arachnids<br /></strong><em>May 22 – August 17, 2008<br />Free Artists’ Reception: Thursday, May 22, 5:30 – 7:30pm<br /></em></div><br /><img id="BLOGGER_PHOTO_ID_5163645700238385378" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjekQ_dEvJkaqGP32x5GQ8p_6Tt5xH1h_mHHCtpYlv3wjRPwLjR9qe0RwkM9p74x9IJwR_dfMFluPg-e40fpjRucJkd7v0pZ5GwMD7mxxQQ6iOerwX-VdjnubYUaibicFqU6KPHkrVOeU8/s400/pine+white+butterfly2.jpg" border="0" /><br />We are surrounded by a universe of fluttering moths and butterflies, hovering dragonflies and honey bees, industrious harvester ants and paper wasps, lacy web-making spiders, and a plethora of other insects. Quite simply, as we hustle about our daily routines, we often do not notice the various bugs and spiders that are denizens of our environment. Perhaps they get our attention when we get bitten by one or when they have munched the leaves in our garden. And yet, if we take a closer look at the complex beauty of the six- and eight-legged critters—their artful camouflage, their delicate, iridescent wings—and the various roles they play—as they pollinate plants which feed the planet and loosen and fertilize the soil-- we may gain a greater appreciation of these diminutive creatures.<br /><br />This group exhibit will focus on a wide range of paintings, drawings, jewelry and beadwork, works in clay, fiber, metals, mixed media, and photography inspired by the insects, spiders and creepy crawlies primarily from our region. From realistic renderings to artful fancy, the diversity of artworks helps us all to be aware of and look a little closer at the tiniest creatures in our world and see them a little differently.<br /><br />Tohono Chul Park, where nature, art and culture connect, is a not-for-profit organization located in a residential setting in northwest Tucson. The Park is a 49-acre desert garden with a charming 75 year-old restored adobe building providing space for changing displays. It has an active art and cultural exhibits program and a family-oriented audience. Gallery hours are 9:00 am-5:00 pm daily. Our website is <a href="http://www.tohonochulpark.org/">http://www.tohonochulpark.org/</a>.<br /><br /><br />Submissions accepted: through April 8, 2008; No Entry Fee; No limit on number of works that can be submitted.<br /><br />Slides, photos or CDs of completed work may be submitted by mail to: (Please include SASE)<br />Vicki Donkersley, Curator of Exhibitions<br />Tohono Chul Park, 7366 N. Paseo del Norte, Tucson, AZ 85704<br /><br />Or digital entries will be accepted by email to: <a href="mailto:vickidonkersley@tohonochulpark.org">vickidonkersley@tohonochulpark.org</a><br /><br />Please print the form below and mail with your entries or reproduce the form and send digitally.<br /><br /><strong>Entry Form<br /></strong><br />Artist’s Name:_____________________________<br /><br /><div align="left"></div><div align="left">Address:_________________________________</div><br /><div align="left">City/State/Zip:____________________________<br /><br />Phone: (_____)______________ email:_________________<br /><br />Submitted by: Mail______________ Email___________ Date submitted_________<br /><br />Type of Media submitted: Slides_________ Photos__________ CD_________ </div><br /><div align="left">Digital__________<br /><br />Number of entries: ___________<br /></div><br /><div>Title: ________________ </div><br /><div>No. Images: ___________ </div><br /><div>Medium: _____________ </div><br /><div>Size (H x W x D): _______<br /><br /><em>Please include short statement about your work as it relates to the theme of the exhibit with your entry form.<br /></em><br />Checklist:<br />Entry form<br />Slides or photos identified with artist name and title/or jpegs on a single CD<br />A self-addressed, stamped envelope with enough postage for return of mailed materials<br />Short statement about the work as it relates to the theme<br /><br />Questions: </div><div>Contact Vicki Donkersley, 520 742-6455 x218<br />or email: <a href="mailto:vickidonkersley@tohonochulpark.org">vickidonkersley@tohonochulpark.org</a><br /><br />If works are offered for sale, Tohono Chul pays artist 60% and keeps $40% commission. Works do not have to be for sale. Sales are handled through the Museum Shop. All work must remain on display until the end of the exhibit. Work is insured while on display at the Park.</div></div>blog weaverhttp://www.blogger.com/profile/09621896197371634532noreply@blogger.com0tag:blogger.com,1999:blog-2145032006145973079.post-23423655316599153442008-02-04T13:55:00.000-08:002008-12-09T07:17:57.790-08:00<div align="center"><strong><em>Artists Call to PEACE </em></strong></div><strong><em><div align="left"><br /></em></strong>Inspired by collaborative projects like the Aids Memorial Quilt and Sonya Clark’s Beaded Prayers Project, we invite you to help create the “Countdown to PEACE.” Presented in calendar format, the project will begin with March 19, 2003 (the day the war in Iraq began) and will end when the war ends. At this point we are into the fifth year of the war; the calendar format allows us a way to measure the full extent of the war and gives us a visual sense of its continuing scope. </div><div align="left"></div><img id="BLOGGER_PHOTO_ID_5163247913252331714" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4YwPXDQm5VuRrE_5T_v-QLgxykCwao4efZzEaylSsqtbCBuzW3mBcVx3efUprhlt7xWMDNJW4ySH-ixLhQzw9wRh3-J_kt13PaB3Ljy32cerDCndeiHQMjMD5PhmM_i7kUBPS4gP6avk/s400/peace+dove+postcard+5x7_front.jpg" border="0" /> <p align="center"><span style="font-size:85%;">tapestry woven by DTW member Lyn Hart was used for the first exhibit postcard</span><br /><br /></p><br /><div align="center"><em><strong>CRITERIA</strong></em></div><br /><div align="left">Each calendar month will be its own presentation board made up of 4-inch squares, 7 across and 5-6 rows down. Each entry will represent one day of this war. We are inviting artists to send us entries that are no larger than 4-inches square, no deeper than l inch, and no heavier than 2 pounds. Limiting size will make display feasible. Work that is included in this project will become the property of the project. The entries will be permanently attached to the “calendar” pages for ease of transporting.<br /></div><p><br />Any media is acceptable. Remember that since only one side of the work will be seen, 2-D approaches are preferred, however clay or metal works done in relief (for example) will also be accepted. Please adhere photographic images or paper entries to foam core or cardboard cut to size. And with all entries, please indicate the TOP of the work.<br /><br /><br />We intend for the project to be POSITIVE in nature. We are mainly interested in your personal VISION OF PEACE. Please do not use imagery and/or text that is specific to any government officials or policies. Please keep the focus on PROMOTING PEACE rather than on decrying war.<br /><br />Entries that do not meet the criteria in terms of size or content will be returned to the sender.<br /></p><p align="center"><em><strong>WHAT TO DO</strong></em></p><p>Download the <a href="http://pages.suddenlink.net/w2la_design/peace/Peace-Submission-Form.pdf">Entry Form </a>(PDF), print and fill out all information requested. Send your work, along with $10. PER ENTRY; the entry fee is non-refundable. Make checks payable to “Countdown to Peace.” </p><p>Mail your entry and check to:<br />Countdown to Peace, PO Box 145, Ayden, NC 28513<br /></p><p>Money collected from the entry fees will be used STRICTLY to defray the costs of display materials, promotional information, shipping, and insurance.<br /><br /><br />Our website: <a href="http://pages.suddenlink.net/w2la_design/peace/index.htm">http://pages.suddenlink.net/w2la_design/peace/index.htm</a> is up and running. It will provide information on current developments and will also give participating artists a link to their websites. Our first exhibit was November 2007 at the Mendenhall Gallery on the campus of East Carolina University. Included in the exhibits will be 1. an alphabetical listing of all contributors with the day, month, and year where each entry is displayed and 2. a chronological listing of entries along with artist’s name. </p>blog weaverhttp://www.blogger.com/profile/09621896197371634532noreply@blogger.com0tag:blogger.com,1999:blog-2145032006145973079.post-55560351479326076982008-01-09T09:42:00.000-08:002008-12-09T07:17:58.381-08:00<div align="center">Happy New Year to All!<br /><br /><img id="BLOGGER_PHOTO_ID_5153535451494706386" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb8bA9mf_nS0B9GsMFtv4HADX81VgfZ58e8qcxhiVFhxPr-VqNXECnBV21U9njcM2P8I1aFt9rLT8rLhljet7nPKoFWfPHv5WoCk-vIJSmE6ydKzvuQV8mc7P3b_uzGzawRhgt-8kbmEE/s400/RWW1.jpg" border="0" /><br /><br /></div><div align="left"></div><br /><br /><div align="left"></div><br /><br /><br /><br /><br /><br /><br /><br /><br /><div align="center"></div><div align="center"></div><div align="center"></div><div align="center"></div><div align="center"></div><div align="center"></div><div align="left"></div><div align="left"></div><div align="left"><br /></div><em><p><br /></p><p></p><p></p><p></p><p><br /><br /><br /><br /><br /><br /><br />Please take a few minutes of your time to read the following message about the Ramses Wissa Wassef Art Centre that was forwarded to us by Barbara Heller in Vancouver, B.C., Canada. Also, please note that the Barbara Heller who wrote this is not the same person as Barbara in Canada!</em><br /></p><p align="center"><em></em> </p><p align="center"><em><strong>URGENT</strong></em></p><p>To all friends of the Ramses Wissa Wassef Art Centre:<br /><br />I am writing to you as I know you will be concerned to learn that the survival of the Art Centre in Harrania, for whose adobe workshops and galleries Ramses Wissa Wassef won the Aga Khan Award for Architecture in 1983, is seriously threatened by rising water.<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpCVI8EmI9IF7L35o3R37zQdORbA2XuzonWF7KT-mkd0Eh1BU4d8Gkl2dNXm-SNOSRQUj7wLShL_j4G4hW1Lqo_prOq7hdfHnjk6STQCOJk6GMtlpBPIoTPEhalx0GuUEuTho-1R71WfA/s1600-h/RWW2.jpg"><img id="BLOGGER_PHOTO_ID_5153535576048757986" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpCVI8EmI9IF7L35o3R37zQdORbA2XuzonWF7KT-mkd0Eh1BU4d8Gkl2dNXm-SNOSRQUj7wLShL_j4G4hW1Lqo_prOq7hdfHnjk6STQCOJk6GMtlpBPIoTPEhalx0GuUEuTho-1R71WfA/s400/RWW2.jpg" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /></p><p></p><p><br /><br /><br /></p><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"><br /></div><p></p><p><br /></p><p></p><p><br /><br /><br />To view dramatic photographs and to read a report about the damage please visit <a title="http://www.wissa-wassef-arts.com/petition.html" href="http://www.wissa-wassef-arts.com/petition.html">www.wissa-wassef-arts.com/petition.html</a><br /><br />The trustees of the Ramses Wissa Wassef Exhibition Trust, a charity registered in the United Kingdom which in 1985/86 and 2006 organised a series of highly successfully exhibitions of the tapestries in the UK, plan to present a petition to the Governor of Giza and other authorities in Egypt.</p><br />Please lend your support to this call for urgent action to ensure the survival of the Art Centre and of the tapestry weaving experiment which continues to delight and inspire thousands of people thoughout the world. Any further help you can give by urging friends and colleagues to sign the petition would be greatly appreciated. All signatures will be added to the 300 collected at the recent exhibition of new tapestries for sale held in London at the end of 2007.<br /><br /><em>Barbara Heller, Trustee & Secretary of the Ramses Wissa Wassef Exhibition Trust<br /></em><br />Please sign the on-line petition by 10th February 2008 at<br /><a title="http://www.gopetition.com/petitions/on-behalf-of-the-ramses-wissa-wassef-art-centre-egypt.html" href="http://www.gopetition.com/petitions/on-behalf-of-the-ramses-wissa-wassef-art-centre-egypt.html">http://www.gopetition.com/petitions/on-behalf-of-the-ramses-wissa-wassef-art-centre-egypt.html</a>blog weaverhttp://www.blogger.com/profile/09621896197371634532noreply@blogger.com4tag:blogger.com,1999:blog-2145032006145973079.post-34377423769880398242007-10-28T16:05:00.000-07:002008-12-09T07:17:59.192-08:00Update: Conferences, Calls for Entry, & Workshops in Australia & Tucson, AZ<div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqSWtqlQoCKE-2RyAfYHT7_cgsJKB6kAkRtS6ihib_ozFrXu7x8qmg1slG_fXapXHARkVLIllgaQgmWO9HTUL2nph8MAyFyA_hgljnzZTrtKhuDPciXMLYK6OCFHeDFnCIMXPL-Ldzju0/s1600-h/alpacas.jpg"><img id="BLOGGER_PHOTO_ID_5126903337233569202" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqSWtqlQoCKE-2RyAfYHT7_cgsJKB6kAkRtS6ihib_ozFrXu7x8qmg1slG_fXapXHARkVLIllgaQgmWO9HTUL2nph8MAyFyA_hgljnzZTrtKhuDPciXMLYK6OCFHeDFnCIMXPL-Ldzju0/s400/alpacas.jpg" border="0" /></a><em><span style="font-size:85%;"> alpacas grazing in Sonoita, AZ<br /></span></em><p align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfPrzKl7eNUhrXaBiUVFuuzm0UkZzJGoiFtuY8Erl3uo90ByJUx7XGNT4s0qyMnm1yGN8PteetCkkNBxpih-PRtH6qzP9Si6-tGmQnyoQUPrFhHex-T38We5PpEvkbErJMAOMM-uVq7f0/s1600-h/alpacas.jpg"></a></p><div align="center"><br /><strong>Fibers Through Time 2008: Connections With the Past</strong></div><div align="center"><strong>April 3 - 6, 2008</strong></div><div align="center"><strong>Tucson, AZ<br /></strong><em>Sponsored by: Arizona Federation of Weavers & Spinners Guilds, Inc.</em></div><br /><div align="left">Our Board of Directors and Conference Committee are delighted to bring you Fibers Through Time 2008. Because of scheduling conflicts at the Central Arizona College, we have moved our Fifth Biennial Conference to a new site – the Holiday Inn Palo Verde in Tucson, Arizona.<br /><br />We will celebrate our Connections with the Past by sharing old traditions including historic patterns in the center pieces and scarves, and learning more about the history of fibers grown in our area from our keynote speaker, Dr. Glenna Dean, as she talks with us about the Archeology of Cotton.<br /><br />Please join us in learning more about our crafts and their connections to the past and be inspired to stretch our abilities and imaginations to plan for future endeavors.<br />Elaine Ross, President<br /><br /><em><strong>Keynote Speaker<br /></strong>Glenna Dean, Ph.D.</em><br />Dr. Glenna Dean's fascination with archaeology was sparked by 1950's National Geographics and her mother's few recollections of her own grandmother's Cherokee childhood. Glenna acted on this fascination by beginning her college archaeological field school the week after graduating from high school. Glenna says “I guess I was born curious about the past – I’ve been fascinated by how people lived in the past ever since I learned to read. I’ve always wanted to be able to experience first-hand what I’ve read about too, so I learned to spin and weave and dye yarns and make clothes and tan hides and all kinds of things. I love touching the past, whether it be an artifact or the pollen grains left in a pot from cooking supper a thousand years ago.”<br /><br />Holding graduate degrees in archaeology and botany, Glenna specializes in archaeobotany, the study of people's interactions with plants as revealed in charred seeds, broken plant parts, pollen grains, basketry, sandals, and other textiles made of plant fibers. She came to the Historic Preservation Division, part of the Department of Cultural Affairs, State of New Mexico in 1994 and became the New Mexico State Archaeologist in October 1997. Her job is largely public outreach, meaning that she gives talks to groups, writes articles for publication, helps get important archaeological sites listed on the State Register of Cultural Property and the National Register of Historic Places, and stages the New Mexico Archaeology Fair in a different small town every year. She also works with the Office of the Medical Investigator, law enforcement officers and Indian tribes on the best things to do after human bones are accidentally discovered by hikers or during construction.<br /><br />“The Archaeology of Cotton”, her keynote topic, seems straightforward enough: cotton was grown by Ancestral Puebloans in New Mexico and Arizona before the advent of Columbus. Spanish explorers remarked on the cotton fields lining the Rio Grande in the 16 and 17 centuries before sheep and wool c th th ompletely replaced the native crop. Cotton is the “natural” fiber of choice in today’s society. What’s the big deal? Prepare to be entertained and enlightened!<br /><br /><em><strong>Juror’s Choice Exhibit<br /></strong>Claire Campbell Park, Juror</em><br />Claire Campbell Park is an artist, lecturer and curator. Her interests include color, fiber, mixed media, sculpture, weaving, basketry and cultural diversity. She received an M.F.A. from UCLA in 1978, and immediately became Head of the Color and Fiber areas at Pima Community College in Tucson, Arizona. Pima Community College is the nation’s eighth largest community college with 75,000 students. Teaching at Pima Community College has given Claire the opportunity to work with thousands of students from extremely varied geographical, cultural, economic, vocational and educational backgrounds and this has led to a creative philosophy that is both inspiring and accessible to a broad audience.<br /><br />Claire exhibits and lectures nationally and internationally. Exhibits include “Made in California 1900-2000: Art, Image and Identity” Los Angeles County Museum of Art, “The Twelfth International Biennial of Miniature Textiles” Szombathely, Hungary and “The International Textile Competition” Kyoto, Japan. Lecture venues include the Louvre and Ecole Nationale Sup6rieure des Arts D6coratifs, Paris; Seian College of Art, Kyoto; Apeejay College of Fine Arts, Jalandhar, India; and the University of South Australia, Adelaide. Claire researched Moroccan textiles and served as an exhibit consultant for the Textile Museum in Washington, D.C.<br /><br />Claire also leads retreats and workshops on Creativity, Culture and Spirituality - most recently for the Newman Center at the University of Arizona, and on Seeing Color and Light for the Arizona-Sonora Desert Museum.<br /><br /><em><strong>Conference Schedule</strong></em><br /><em>Thursday, April 3<br /></em>Pre-conference tours<br />Wine and Cheese Party 6:30 to 8:30 pm<br />(transportation provided)<br />Registration 1:00 to 7:00 pm<br /><br /><em>Friday, April 4<br /></em>Workshops 8:30 to 11:30 am<br />Vendors 11:00 to 5:00 pm<br />Workshops 1:00 to 4:00 pm<br />Vendors 7:30 to 9:00 pm<br />Dinner 5:30 pm<br />Keynote Speaker<br /><br /><em>Saturday, April 5<br /></em>Workshops 8:30 to 11:30 am<br />Vendors 11:00 to 5:00 pm<br />Workshops 1:00 to 4:00 pm<br />Vendors 7:30 to 9:00 pm<br />Dinner 5:30 pm<br />Awards<br /><br /><em>Sunday, April 6<br /></em>Workshop visitation 8:00 to 9:00 am<br />Workshops 9:00 to 12:00 pm<br />Vendors 10:00 a.m. to close<br /><br />Juror’s Choice Exhibit will be open during lunch breaks Friday, Saturday and Sunday, one hour before the start of morning workshops Saturday and Sunday and Friday and Saturday evenings from 5:00 to 9:00 PM. Volunteers will monitor the gallery during these times. Participants must deliver their entries to the Barcelona room off the main lobby no later than Friday morning at 8:00AM. All entries must be picked up at 1:00PM on Sunday.<br /><br />For complete information regarding the conference, visit the Arizona Federation of Weavers & Spinners Guilds <a href="http://www.azfed.org/">website</a> to view a downloadable version of the registration booklet. <em>You do not need to be a member of an Arizona guild to register!</em></div><div align="center"><br /></div><div align="center"></div><span style="font-size:85%;"><img id="BLOGGER_PHOTO_ID_5126892269102847362" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLdnkgFVul80pI4jI7dVnJzAyBMdolrvGzn_fsxSIGKZ_W-d89koTt1u0yENvdfxDxVdju6hJFiGweQfHhn1LVfFByFA6ABABcCFMAY74LE7lS7lck4aHDq8dCLhc-ADKp1mmG8indWuI/s200/maggieforks1.jpg" border="0" /> <em>custom tapestry forks by <a href="mailto:%20magpiwdwks@aol.com">John Jenkins</a> of Magpie Woodworks<br /></em></span></div><div align="center"></div><div align="center"></div><div align="center"><br /><br /></div><div align="center"><strong>TAPESTRY 2008: The Fine Art of Weaving </strong></div><div align="center"><strong>April - May, 2008</strong></div><div align="center"><strong>Australia </strong></div><strong><div align="center"><br /></div><div align="left"></strong>Contemporary woven tapestry's rich colours, strong images, tactile and malleable surfaces, range of scale from small to monumental, and handcrafted expertise, make it an exciting artistic medium. It possesses a powerful physical presence and is able to impart permanence through its timeless qualities together with images relevant to the modern world.<br /><br /></div><div align="left"></div><div align="left">It has a short history in Australia, developed through the contemporary craft movement, community tapestry projects, the Victorian Tapestry Workshop and other artists and arts organizations. The main influences here are from European traditions dating back to the medieval period. In the Renaissance, Raphael's tapestry cartoons depicting the “Acts of the Apostles” established a close relationship between teams of tapestry artisans and painters. This way of working continued through to William Morris who brought about changes in design for tapestry, refined the use of colour and reinstated tapestry as an art form of its own right. French painter Jean Lurcat and Scottish master weaver Archie Brennan then developed and shaped the European and related North American and Australian movements in the 20thC. However other models for tapestry production exist in Scandinavia, South America, the Middle East and Asia where images intrinsically linked to the warp and weft structure are produced, with no reference to painting. In these cultures tapestry is firmly part of weaving culture. This project highlights the global diversity of tapestry and the exciting new developments in relation to weaving/Fine Art. The aim is to increase a wider understanding, create awareness and appreciation, encourage critical debate and provide alternative models for artists to develop. Through this stimulation tapestry can continue to evolve into relevant forms for the future.<br /><br /><em><strong>THE PROGRAM – 2 APRIL-7 MAY 2008, Canberra, Australia<br /></strong></em>“TAPESTRY 2008” builds on the momentum of previous events in Australia and overseas and explores the relationships between visual art, tapestry and the craft of weaving, internationally. It brings together weavers in the community, professional practitioners, educators, students, collectors, critics, theorists and historians from around the world for exchange of ideas, interaction, practical learning, exposure to new works and informed debate. The conference stimulates critical discussion and the program of exhibitions, focussed talks with tapestries in collections and institutions including National Gallery of Australia, Parliament House, Department of Foreign Affairs plus practical workshops and seminars reaches a wide audience and provides development opportunities for artists.<br /><br /><em><strong>The Conference – Friday 2- Saturday 3 May 2008, The Australian National University, School of Art.</strong></em><br />Papers presented on tapestry and its relationship to art/weaving to investigate and seek solutions to issues of originality, creative content, authenticity and appropriateness of design process with a view to developing the art practice. Themes addressed include but are not restricted to:<br />Sharing experiences and the relationship of the artist/weaver to tapestry<br />Investigations of the techniques of weaving and tapestry cross-culturally<br />Community engagement with tapestry to create a sustainable and relevant future<br />Increasing the profile - collectors, the patron and tapestry for public places<br />Cultural diversity – tapestry from specific cultural traditions<br />Engaging with new technologies and applications - contemporary developments/perspectives<br />Creating greater income for artists through design, collaboration, industry involvement<br />Creative marketing, web profile and raising public awareness<br />Producing opportunities for international exposure and commissions<br /><br /><em><strong>Master classes and Seminar Program – 30 April – 7 May</strong></em><br />Workshops with leading professional artists to investigate approaches to technique/design/image-making including 3-hour seminars on developing professional skills and running a community tapestry project.<br /><br /><em><strong>Exhibition Program – 2 April – 4 May<br /></strong>Lao PDR Tapestry: “Weaving Dreams and Aspirations”</em><br />ANU, School of Art Foyer<br />Fine silk tapestries from the rich artistic tradition of Laos where the weaver works directly at the loom creating a composition of patterns, symbols and motifs. She invests her life in the fabric and it tells of her hopes, dreams, ambitions, sense of self and position in the world.<br /><br /><em>“The Fine Art of Tapestry Weaving”</em><br />School of Art Gallery<br />Aino Kajaniemi, Finland, Susan Mowatt, Scotland, Yasuko Fujino, Japan, Sue Lawty, GB, Sara Lindsay, Australia, Jane Kidd, Canada and Fiona Rutherford, GB.<br /><br /><em>“LAND”</em><br />The Tapestry Foundation of Victoria Open Entry International Award Exhibition to encourage emerging artists and recognise professional artists.<br /><br /><em>“En Pleine Air Tapestries - A Month at Bundanon: Tapestries and Drawings by Cresside Collette”</em><br />curated by Alison French, at the Drill Hall Gallery, Canberra.<br />There will be focussed talks at public venues displaying tapestries in Canberra .<br /><br /><em><strong>ARTISTIC BENEFITS and OUTCOME<br /></strong></em>The program will take place 20 years on from the International Tapestry Symposium, held in Melbourne in 1988. This previous event was the first truly global event of its kind in the world and the impact was far-reaching. In the last two decades there have been considerable changes that have impacted on the field in a range of arenas including economies, interest in minority/traditional/sustainable cultures, directions of art/architecture/design to the exploding world of technology. What place has tapestry now? Finding the answers to this question is crucial for the dynamic future of this art form. The program for TAPESTRY 2008 has been carefully considered and designed to address the emerging issues and to seek solutions. As such there are many anticipated opportunities and outcomes for artists and the wider public.<br />Bringing people together from many traditions, fields of art practice and countries will be an important aspect as many individual artists work in isolation; groups are separated by distance, financial constraints and lack of networks encompassing the breadth of the weaving/tapestry/art field. Often artists are pigeon-holed in art, craft, design fields and not provided with the opportunity to cross-fertilise ideas and ways of working or practically work across/between or change disciplines. Participants will be able to engage in discussion, compare techniques and consider new approaches, stimulating ways to move forward. They will be able to practically engage in master classes to learn weaving/tapestry/art skills from their own discipline or another. Tapestry 2008 will re-invigorate the perception of the practice, introduce emerging artists to the field, arm professional practitioners with new perspectives and professional skills and confirm a valued place for tapestry in the cultural landscape.<br /><br />****Information subject to change. Please e-mail: <a href="mailto:Valerie.Kirk@anu.edu.au">Valerie.Kirk@anu.edu.au</a> and ask to be added to the TAPESTRY 2008 group mailing list if you are not already on the list.*********************<br /><br /><br /><strong>Call for entry:</strong><br /><strong></strong></div><p align="center"><strong>THE AUSTRALIAN NATIONAL UNIVERSITY<br />“LAND”<br /></strong>The Tapestry Foundation of Victoria<br />Award Exhibition<br />The Australian National University, School of Art<br />9 APRIL – 3 MAY 2008</p><div align="center"><br /></div><img id="BLOGGER_PHOTO_ID_5126897530437784994" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbKm_q_rjlhevKJaieYWj0ukYY64NiBq3JyvP1kfQ1reYaBjT8OPlYM383JL5GepcCU3l2SUCsmjWb15oxJsLYM84yW8DpghobzlDCTCTooabEN-nWhZ3TZ6oSx2WR4S4jPliIKS0g7FE/s400/laura+stewart+tapestry.jpg" border="0" /><br /><p align="center"><em><span style="font-size:85%;">Laura Stewart, “In My Garden” detail<br /></span></em><br /></p><br />A major tapestry event will be held in Canberra, Australia in 2008. There will be a program of<br />exhibitions, focussed talks with tapestries in collections and institutions, practical workshops, seminars and symposium, TAPESTRY 2008: The Fine Art of Weaving 1-4 MAY 2008. This will build on the momentum of previous events in Australia and will explore the relationships between Fine Art, Tapestry and Weaving. The event will bring together practitioners, educators, students, collectors, critics, theorists and historians for exchange of ideas, interaction, practical learning, exposure to new works and informed debate. In recognition of the strength of contemporary tapestry world wide, there will be an open submission award exhibition.<br /><br /><em>EXHIBITION ENTRY<br /></em>1. Tapestries must address the theme “LAND”. This could be but is not restricted to depicting the landscape from traditional or non traditional perspectives, dealing with issues of land<br />ownership, preservation of land, economics/social/cultural/spiritual issues relating to land,<br />ecology, environmental issues etc<br />2. The exhibition is open to all tapestry weavers internationally. Students through to professional weavers are encouraged to submit works.<br />3. The tapestry must measure 10 cm in height by as long as you want (i.e. horizontal landscape<br />format). Tapestries will be hung in one line with space between the works at eye level.<br />4. No frames, but tapestries finished off ready to hang by pinning or Velcro sewn on the back.<br />5. There will be a major award of $1000 and an award of $500 for an emerging artist (student or working in tapestry for less than 5 years).<br />6. The judge’s decision will be final and no correspondence will be entered into.<br />7. Entries must be delivered to ANU, School of Art, Textiles Building 105 ACTON ACT 0200,<br />AUSTRALIA, by 21 March 2008. They must be free of all freight and other charges.<br />8. An A4 page with a title, an artist’s statement about the work, details of the artist, sketch or<br />design work for the tapestry, suitable to photocopy and present in a folder for viewers to access<br />should accompany the work in hard copy and in digital form on CD if possible.<br />9. Artist’s name and title of the work must be attached to the back of the tapestry.<br />10. Entry form must be returned with the work.<br />11. Insurance for the work in transit and while at the gallery is the responsibility of the artist.<br />12. Sales of work can be arranged directly between buyer and artist.<br />13. It is the responsibility of the artist to arrange and pay for the return freight of the work within 2 weeks of the exhibition closing.<br />Please distribute this information to anyone else interested.<br />Please e-mail an expression of interest in participating to: <a href="mailto:Valerie.Kirk@anu.edu.au">Valerie.Kirk@anu.edu.au</a><br />……………………………………………………………………………………………………………<br />ENTRY FORM<br />The Tapestry Foundation of Victoria Award Exhibition<br />The Australian National University, School of Art 9 APRIL – 3 MAY 2008<br />Entries and forms must be delivered to ANU, School of Art, Textiles Building 105 ACTON ACT<br />0200, AUSTRALIA, by 21 March 2008. They must be free of all freight and other charges.<br />Name<br />Address<br />Phone number<br />Email<br />Established artist or emerging artist/student<br />Permission to use image of tapestry for publicity yes no ?<br />Title of Tapestry<br />Date of production Dimensions<br />Details for return of work:<br />Artist’s Checklist:<br />_ Entry Form<br />_ A4 statement/bio/etc hardcopy and if possible on cd.<br />_ Tapestry finished and ready to hang with pins/Velcro on back<br />_ Artist’s name and title of work on back of tapestry<br />TO BE DELIVERED to ANU, School of Art, Textiles, Building 105 ACTON ACT 0200,<br />AUSTRALIA, by 21 March 2008.blog weaverhttp://www.blogger.com/profile/09621896197371634532noreply@blogger.com1tag:blogger.com,1999:blog-2145032006145973079.post-20098604921221796412007-10-12T15:26:00.000-07:002008-12-09T07:18:02.725-08:00DTW Newsletter, October 2007: Desert Meditations, part 1<strong>Greetings </strong><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg49OwnZmKg-x5dG5Hjuy9MoIV_ngFWM2uWZZcpbNQZk27gXnyWfg265MuIvlqktaYlg793fycByL1UNUT3Y6OzoqOTch3JTDUrW4oXw2p8CoUXilECJbdIxy-EKomGybHYUqW9r71pt5E/s1600-h/hart+african+aloe.jpg"><img id="BLOGGER_PHOTO_ID_5121316276207874482" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg49OwnZmKg-x5dG5Hjuy9MoIV_ngFWM2uWZZcpbNQZk27gXnyWfg265MuIvlqktaYlg793fycByL1UNUT3Y6OzoqOTch3JTDUrW4oXw2p8CoUXilECJbdIxy-EKomGybHYUqW9r71pt5E/s320/hart+african+aloe.jpg" border="0" /></a><br /><div align="left"><strong></strong></div><div align="left">Welcome to the 2nd edition of the Desert Tapestry Weavers newsletter. We hope that this finds everyone happy, well, and getting some good loom time in!<br /><br />We also hope that everyone is enjoying the shift into a new season—fall in the northern hemisphere and spring in the southern parts of the globe. As all of us who love the desert know, the shift can be subtle, discernible only to those who know the land well, or perhaps not so subtle, as in the incredible burst of life that usually follows any measurable amount of precipitation or the increased plant and animal activity with the return of warmer temps, depending on the season.<br /><br />What most of you will notice isn’t so subtle is the smaller size of this newsletter in comparison to our first. Thank you so much to those weavers who were able to submit articles and photos for the rest of us to enjoy. We know how hard it is to find time to do so when there are tapestries to design and weave, workshops to teach and attend, and all of the other issues that pop up in life. After much consideration as to why we didn’t receive as many articles and announcements as we had hoped for, we came to the conclusion that perhaps our goal to publish 4 times a year was a bit too lofty. As well, tapestry weaving is a slower process than other art forms, and tapestry weavers tend to be a busy bunch of people! So, taking those issues into consideration, coupled with our wish that the newsletter consist of submissions from as many members as possible in order to nurture the sharing and inspiration concept we had upon founding the group, we have made the decision to only publish twice a year at this point in time, May and November. If we see that submissions begin to become too numerous to be contained within one newsletter, we will expand the number of publications. We encourage everyone in the interim between newsletters to submit news of exhibitions your work is included in, workshops you are teaching or have heard about, or anything else that has a timeline which would be missed if it waited for the formal newsletter. We will post those types of announcements on the website in the same manner that the newsletters are now being posted.<br /><br />Please enjoy this issue. It is our sincere desire that it will inspire everyone to consider participating in the online exhibit next spring!<br /><br />Lyn Hart & Kathy Perkins<br /></div><div align="left"><br /><strong>News</strong> </div><br /><div align="left"><em><strong>Desert Tapestry Weavers Internet Show</strong></em><br />As announced in our inaugural newsletter, we will be sponsoring an Internet exhibit for members of Desert Tapestry Weavers. Although our goal is to eventually have an actual show in some fabulous desert gallery or exhibition space, our hope for this exhibit is that everyone participates.<br /><br />The show’s title, <em>Desert Meditations</em>, was selected because it is inclusive of all things desert. Whether you interpret it as a specific thing or place, or as an abstract tapestry reflecting a mood or sense of place, it does not matter. All entries are welcomed.<br /><br /><em><strong>Format:</strong> </em><br />~jpeg or gif format (include file name in your email, please!)<br />~name and size of tapestry, plus materials used<br /><em><strong>Some specifics:</strong></em><br />~all entries will be accepted </div><div align="left">~there is no size constraint<br />~the work can be current or from the past<br />~include a short statement (200 words or less) about the tapestry<br /><strong><em>Deadline:</em><br /></strong>Files are due to Lyn (<a href="mailto:desertsonghart@yahoo.com">desertsonghart@yahoo.com</a>) by May 1, 2008 so the show can be posted by our first anniversary, May 22, 2008.<br /><br />We know everyone is busy with all the other deadlines out there, but this one is months later and, hopefully, can be viewed as an opportunity to unwind and weave a tapestry that reflects your connection to the desert.<br /><br />Kathy P. & Lyn<br /><br /><strong>Weavings & Wanderings<br /><br /></div></strong><br /><div align="left"><strong><em>Rocks of the Colorado Plateau</em> </strong><span style="font-size:85%;">by Karen Page Crislip</span></div><div align="left"><br />Five of my tapestries (including my first large format piece, woven over a dozen years ago) and the very large tapestry I am currently working on are in my favorite, what I call my “Rock Striation,” series. I live part of the year in Estes Park, Colorado (the eastern gateway to the lush and fertile Rocky Mountain National Park) and part of the year in Albuquerque, New Mexico—yet it is the desert that most inspires me, not the mountains. In the beginning I thought it was because I had lived in the Rockies for 30 years, and the desert southwest contained “new” and surprising scenery for me—rock striations whose colors changed with the time of year, the time of day, the weather, my mood, etc. Then I thought that my fascination might have something to do with Willa Cather’s description of the landscape in New Mexico as being “unfinished” by its creator (in Death Comes to the Archbishop). What a challenge and ultimate high for an artist—to “finish” the desert landscape! But then I realized that my tapestries weren’t really finishing what I saw, smelled, heard, touched--even tasted. But I was expressing my own impressions of these sensory experiences—by the subject I chose to weave, the fiber I <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHzuY9_ZQgYWNnuPq88LjgeF0XAr6v142c6rf38gqTIBfzBtOmdtUani6TUOt6z2LdHOMayImsbtvui6LPlRLD0AMSV1oIPhsfyQOma3XxCatO0lEd7PQqWFvl-J6n5NOFkR7erxXq4yw/s1600-h/Crislip+sweet+light+on+sandstone.bmp"><img id="BLOGGER_PHOTO_ID_5120581471728038018" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHzuY9_ZQgYWNnuPq88LjgeF0XAr6v142c6rf38gqTIBfzBtOmdtUani6TUOt6z2LdHOMayImsbtvui6LPlRLD0AMSV1oIPhsfyQOma3XxCatO0lEd7PQqWFvl-J6n5NOFkR7erxXq4yw/s320/Crislip+sweet+light+on+sandstone.bmp" border="0" /></a>used, the size of the piece, the limitations I imposed, the artistic liberties I took, etc. We can’t always explain love—maybe it’s the emptiness we feel when who or what is loved isn’t present. I just know that I do love the desert and keep returning to it—and I love weaving rocks!<br /><br /><em><span style="font-size:85%;">“Sweet Light on Sandstone” Karen Page Crislip<br />Wool Weft/Cotton Warp<br />2’ square</span></em><br /><br /><br /><br /><strong><em>Bengt Erikson, AZ</em><br /></strong>I am a newcomer to the Southwest. I'm a little like the <a href="http://links.jstor.org/sici?sici=0010-7484(197224)13%3A1%3C44%3A%22TBRIC%3E2.0.CO%3B2-C">Isherwood camera</a>, what you see is what you get! </div><div align="left"><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCHEqmg_1RC8aOQGzxUpZSaRJekzE_ZIuuQqwhRr8Scxc6UPViSlJ7zrGH6HOSVKRaWQ5JVvBb7KEFe-TimrZXsXfi-UxGWY7APzJkaieSTjDZJeRf77E0KUfzhZWH8PFlja2CjWdO6YE/s1600-h/Erikson+tapestry+2.jpg"><img id="BLOGGER_PHOTO_ID_5120582313541628082" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCHEqmg_1RC8aOQGzxUpZSaRJekzE_ZIuuQqwhRr8Scxc6UPViSlJ7zrGH6HOSVKRaWQ5JVvBb7KEFe-TimrZXsXfi-UxGWY7APzJkaieSTjDZJeRf77E0KUfzhZWH8PFlja2CjWdO6YE/s320/Erikson+tapestry+2.jpg" border="0" /></a><br /></div><em><span style="font-size:85%;">The first tapestry completed after Bengt’s relocation to Arizona, seen here fresh off the loom, is based on his view of the Rincon Mountains from his studio.</span></em><br /><div align="right"><br /><br /><br /><em><span style="font-size:85%;">An earlier Erikson tapestry. </span><br /></em><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm4-CxtT9j4Ctehdv5RcdD7fRUvqSN3oIl4ADskmEoFePRjAfcuRwW5ct2FaovkfRw07FsSxLU9Ai3GlebJQQ56Zk1PxiyHUwZP14ozMIhXqscnanSNIPbXa9gG_q-n_k1j-l8smnvUwg/s1600-h/Erikson+tapestry+1.jpg"><img id="BLOGGER_PHOTO_ID_5120582506815156418" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm4-CxtT9j4Ctehdv5RcdD7fRUvqSN3oIl4ADskmEoFePRjAfcuRwW5ct2FaovkfRw07FsSxLU9Ai3GlebJQQ56Zk1PxiyHUwZP14ozMIhXqscnanSNIPbXa9gG_q-n_k1j-l8smnvUwg/s320/Erikson+tapestry+1.jpg" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /></div><div align="left"><strong><em></em></strong></div><div align="left"><strong><em></em></strong></div><div align="left"><strong><em></em></strong></div><div align="left"><strong><em></em></strong></div><div align="left"><strong><em></em></strong></div><div align="left"><strong><em></em></strong></div><div align="left"><strong><em></em></strong></div><div align="left"><strong><em>My Desert Meditations</em></strong> <span style="font-size:85%;">by Lyn Hart</span> </div><div align="left"><br />I’ve been practicing yoga about 8 years, more or less. I “discovered” it after moving here to the desert 10 years ago; in the small southern town where I lived most of my young adult life, things like “yoga” just weren’t done. Of all of the poses I’ve twisted my body into during these years, the hardest are still the meditation poses at the beginning and end of class. Try as I may, although I can attain perfect stillness of my physical body and maintain a deep relaxing breath, my mind scurries furiously from one subject to the next, like a hyped-up hamster in a very squeaky, wobbly wheel. The one place I have found that my mind can usually achieve its most still and calm state is outside in the desert.<br /><br />In thinking about this, I have discovered that for me this feeling is a meditation of sorts and with further consideration I have identified that the experience is a moving meditation arranged in concentric circles, the innermost being very near my back door and the furthermost extending many miles beyond my home.<br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHiDnXnGPesVv3GRruG16HQPZ8hkd7L8-tGmI5PyMDvUMgPa7EjAJTBh7IvFfedG825d2gKlkiK_MnFv4qCF-zBfpyb-e1Qv8wu1x4ae5d3Aq0K-fK7_0Cw1O0jD7uP9KR-LZ7AsR-G_A/s1600-h/hart+cactuswren.jpg"><img id="BLOGGER_PHOTO_ID_5120583924154364130" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHiDnXnGPesVv3GRruG16HQPZ8hkd7L8-tGmI5PyMDvUMgPa7EjAJTBh7IvFfedG825d2gKlkiK_MnFv4qCF-zBfpyb-e1Qv8wu1x4ae5d3Aq0K-fK7_0Cw1O0jD7uP9KR-LZ7AsR-G_A/s320/hart+cactuswren.jpg" border="0" /></a></div><div align="right"><br /></div><div align="left"></div><div align="right"><br /></div><div align="left"><span style="font-size:85%;"><em>cactus wren, 4" x 6"</em></span></div><div align="right"><br /></div><div align="left"></div><div align="right"><br /></div><div align="left">Most every morning, I sit outside with my coffee, while my dog, Roux, wanders about being a dog. I contemplate the environment near my back door and ramada, watching, listening to, and smelling the desert as it awakens with me. Each season brings with it its particular plethora of plants, insects, flowers, birds, animals, fragrances, and light. Morning coffee, evening wine and beer are enjoyed back<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwvWzOifBEV_0Oym7ZtT8GQQra_x6PlmAkbFqbwKG6zkdRhUGEDUUKb4revSYt1TvZhDlLR2NGOMzitBGMKX76i9NqAzpcVJGdbycV6F_P6oyGTWCLHj3LD-fc_rO3O6qzSTwiH_W3dTg/s1600-h/hart+dyerun.jpg"><img id="BLOGGER_PHOTO_ID_5120584190442336498" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwvWzOifBEV_0Oym7ZtT8GQQra_x6PlmAkbFqbwKG6zkdRhUGEDUUKb4revSYt1TvZhDlLR2NGOMzitBGMKX76i9NqAzpcVJGdbycV6F_P6oyGTWCLHj3LD-fc_rO3O6qzSTwiH_W3dTg/s200/hart+dyerun.jpg" border="0" /></a> here, and I do my natural dyeing in this area. Our property is large by city standards, almost 5 acres; my husband Dennis and I practice xeriscaping so that plant life (and everything associated with it) is most lush in certain areas nearest the house and then gradually transitions to pure desert, still lush because it is the Sonoran desert, but living life on its own without our assistance or interference.<br /><br />Movement into the next circle occurs when Roux and I take walks around the perimeter of the area the previous owner had bladed in order to keep horses, something around the size of two acres. The path is a minimalistic labyrinth of sorts, the most complicated the walk becomes is maybe a figure 8. Over the years we have observed this area’s revegetation, measured small saguaro cactus against our own heights until they became taller than us and started putting on arms, come out to see water running in the little washes after storms, cherished every new plant that pushed its way up through the baked earth. But, while I take note of the immediate environment while Roux and I are walking, it is far and away that my eyes are drawn, to the mountains that encircle the Tucson basin. The <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjzDHIGhO6XZ9_Bg5r391FLk3IOghNGnnFR3BVmk_TMaC4ptCQyxGw1pUJSfhkIdR-hgP83RwyyYjBqOHiM1Ig_mpZSIaB5N8fxshUMtalosXJYANigCTIJL9CUjTncQTPUfLS4oiRczw/s1600-h/hart+monsoon+morn1.jpg"><img id="BLOGGER_PHOTO_ID_5120584503974949122" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjzDHIGhO6XZ9_Bg5r391FLk3IOghNGnnFR3BVmk_TMaC4ptCQyxGw1pUJSfhkIdR-hgP83RwyyYjBqOHiM1Ig_mpZSIaB5N8fxshUMtalosXJYANigCTIJL9CUjTncQTPUfLS4oiRczw/s200/hart+monsoon+morn1.jpg" border="0" /></a>Santa Catalinas to the east, the closest mountains at about 5 or so miles away, are usually featureless cardboard cutouts with either a sunrise or the sun itself shining from behind them in the mornings. During monsoon weather, more of their features can be seen in the morning light, but they may also be cloaked in clouds and mist. At times, they may be covered in glittery white snow. During the day they are fortresses of craggy granite. At days’ end, they may blush with the glow from the sunsets. To the southwest, Wasson Peak in the Tucson Mountains obsesses me as I <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpxy1jtLd5Eh0NoG88w9PvJ-dfiggMPgthTSM0HBI7tHMbABjLCrULqjt2rTQ83BNTCG9dGGsPRPpTFI4EEHc0IiYfc7pb-eY7QTc5wpkyEBA-98rgJubYQKvWxmJpsLyIhT_InXvC1Og/s1600-h/hart+wasson+peak.jpg"><img id="BLOGGER_PHOTO_ID_5121297936697520418" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpxy1jtLd5Eh0NoG88w9PvJ-dfiggMPgthTSM0HBI7tHMbABjLCrULqjt2rTQ83BNTCG9dGGsPRPpTFI4EEHc0IiYfc7pb-eY7QTc5wpkyEBA-98rgJubYQKvWxmJpsLyIhT_InXvC1Og/s200/hart+wasson+peak.jpg" border="0" /></a>continually try to capture with my digital camera its ridges and folds that stand out in such vivid, yet soft contrast in the morning light. Behind it, some 50 miles or so from where I can see it, Kitt Peak Observatory is a gleaming white dot, perched in the Quinlan Mountains of the Tohono O’Odham Nation. The other mountains aren’t as readily visible as they once were when we first moved here because trees have become taller—the Santa Ritas to the south and the Tortolitas to the north.<br /><br /><br /></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left">The outermost circle has no fixed boundary because it encompasses areas in the southwest were we’ve traveled and become enamored of, and I hope this circle becomes ever expanding. As of now, of all the places we’ve been my mind’s eye instantly thinks of the vast vistas of the Navajo Nation in northeast Arizona where we have traveled through many times to make trips into the Grand Canyon, to Marble and Paria Canyons, and in the past when our other dog was still alive and they were both young, pontoon boat camping in Lake Powell. The views of the Echo Cliffs and Vermillion Cliffs sing in my soul and are able to most successfully put my chattering mind to rest. How can a person possibly think of anything else when those beautiful, eroded, magical, majestic, massive, <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiIWgeF6F0y1I6_MJDQtx2bWGtuS97_r-Vp0HGQCrROHAwwzQW09RaWbNhnYDZpaLZT4-RWuIybOU-rSV4jjkV4l6EiTm9rhg8IwdotCu1Mp-nf4igwDddjGkWcvFIc2u80K1bai1Ot24/s1600-h/hart+echo+cliffs.jpg"><img id="BLOGGER_PHOTO_ID_5120584877637103890" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiIWgeF6F0y1I6_MJDQtx2bWGtuS97_r-Vp0HGQCrROHAwwzQW09RaWbNhnYDZpaLZT4-RWuIybOU-rSV4jjkV4l6EiTm9rhg8IwdotCu1Mp-nf4igwDddjGkWcvFIc2u80K1bai1Ot24/s320/hart+echo+cliffs.jpg" border="0" /></a>rugged, earthen cliff faces are staring at you, shifting into myriads of shades of red, rust, orange, brown, and purple with every second of the sun’s progression across the sky or every cloud shadow, except… I want to weave that!<br /><br /><strong><em>Sky Island Tapestry: Part 2</em></strong> <span style="font-size:85%;">by Jane Hoffman</span><br />In my first article I talked about my inspiration behind the creation of my “Sky Island” tapestry. Currently six of the twelve 8 inch x 8 inch components are completed. Now I would like to share with you some of the technical aspects of this tapestry.<br /><br />Back in the mid-1970s, when I first learned to weave tapestry as an art major at Western Washington University in Bellingham, Washington, the trend was to weave highly textured pieces with loops, heavy yarn, beads and fringe. Slowly my work evolved away from texture, until in the late 1990s, I wove a landscape of all one brand of single ply yarn from Burnham Trading Post’s Wild ‘n Wooly Yarn. I dyed most of the yarn with natural dyes, which gave me the true colors of the high desert cinder cones near my home. After weaving “Cinder <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyFZa34Xxenm_TfnjjfCkicaOH614-olnHfJE_FXCbbxyxGh1wA5BV_ybPwpR5-7M2-rwjmqg_-eXWDmijFY33cq2DIYFb5mBIbKfJp7XnI56sXkh2pOgWau4vfyRVKwUt5lNSQvaAC5c/s1600-h/hoffman+janie+%26+cinder+cone.jpg"><img id="BLOGGER_PHOTO_ID_5121300170080514386" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyFZa34Xxenm_TfnjjfCkicaOH614-olnHfJE_FXCbbxyxGh1wA5BV_ybPwpR5-7M2-rwjmqg_-eXWDmijFY33cq2DIYFb5mBIbKfJp7XnI56sXkh2pOgWau4vfyRVKwUt5lNSQvaAC5c/s320/hoffman+janie+%26+cinder+cone.jpg" border="0" /></a>Cone”, I realized I really missed the qualities of texture in my work. Now, coming full circle, texture is very evident in “Sky Islands”.</div><em><span style="font-size:85%;"></span></em><div align="left"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyFZa34Xxenm_TfnjjfCkicaOH614-olnHfJE_FXCbbxyxGh1wA5BV_ybPwpR5-7M2-rwjmqg_-eXWDmijFY33cq2DIYFb5mBIbKfJp7XnI56sXkh2pOgWau4vfyRVKwUt5lNSQvaAC5c/s1600-h/hoffman+janie+%26+cinder+cone.jpg"></a></div><div align="left"><br /><br /><br /><em><span style="font-size:85%;">Jane with Cinder Cone</span></em><br /><br /><br />As a designer of tapestry, the qualities that I am drawn to that texture provides include: more light reflection, more detail to the foreground in landscape, and surface depth with the combination of smooth and pile surface areas. As a weaver of tapestry, I enjoy handling a variety of fiber from fuzzy mohair, soft alpaca, luminous silk, smooth linen, and of course wool. For “Sky Islands”, I have superimposed predator and raptor tracks over parts of the landscape. The tracks are woven with silk, linen, and alpaca against the landscape background of wool and mohair. The depth of the mohair makes the tracks appear sunken into the landscape. <em><br /></em><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAiQEXTaEDw3S388j6PGkUny32uzF6ivhLMV1UlIaA1hsDNHUcPTP3x29Q0ACLwJnHT3EBO5pDpUwezmN2LwvE9zFvKTpB0NKThXHobZNhKjuj0M_1eOfV5XDJ9zP-2PXqdxs-WcRdYHI/s1600-h/Hoffman+natural+dyed+skeins2.gif"><img id="BLOGGER_PHOTO_ID_5121299701929079106" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAiQEXTaEDw3S388j6PGkUny32uzF6ivhLMV1UlIaA1hsDNHUcPTP3x29Q0ACLwJnHT3EBO5pDpUwezmN2LwvE9zFvKTpB0NKThXHobZNhKjuj0M_1eOfV5XDJ9zP-2PXqdxs-WcRdYHI/s320/Hoffman+natural+dyed+skeins2.gif" border="0" /></a>I have always used natural dyes and synthetic dyes to round out my color palette. I am not a purist when it comes to dyeing my yarn. As an artist, the priority is to have a full color palette whether the yarn is commercially dyed or dyed by me. Because I primarily weave tapestry or plant life, I do most of my dyeing with natural dyes. Natural dyes produce the colors found in my landscape – high desert to mountain mixed-conifer forests here along the Arizona/New Mexico border.<br /><br />My design for “Sky Islands” began with a concept. It does not depict a real place as many of my landscapes do. Usually I begin with a photograph and then I paint a watercolor using the photograph as my guide. Starting with a concept rather than a photograph, freed me from realism and allowed me to design the tapestry with elements that represent my idea of reconnecting the fractured landscape. I began with a watercolor sketch that depicted a vista <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw-x9k0ODdK1aVXHTyVyMsZZBe6dqssL4kec3nUACC_nNWDZuvjXiOywwe3ojcw_v6yr_dDXYJ2cQEUEdAoBI2Y_UHQFcPr0p-yXB3LR25kkZ1gPgmDTo33b2jOLFumOYfiHp8s6lrAoE/s1600-h/Hoffman+four+on+maquette.JPG"><img id="BLOGGER_PHOTO_ID_5121298374784184626" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw-x9k0ODdK1aVXHTyVyMsZZBe6dqssL4kec3nUACC_nNWDZuvjXiOywwe3ojcw_v6yr_dDXYJ2cQEUEdAoBI2Y_UHQFcPr0p-yXB3LR25kkZ1gPgmDTo33b2jOLFumOYfiHp8s6lrAoE/s320/Hoffman+four+on+maquette.JPG" border="0" /></a>from the top of one sky island with a view across the desert floor to another sky island on the horizon. The watercolor was then enlarged to full scale and cut up into twelve separate 8 inch x 8 inch cartoons. Each cartoon was then removed from the maquette and hung behind the warp when it was its turn to be woven.<br /><br />Weaving a composite tapestry such as “Sky Islands” has presented challenges. The overall design of the twelve 8 inch x 8 inch components must take into account the 1 inch separating space between each one when they are displayed on the wall. It is also very important to keep track of wefts that flow from one component to another. Each of the twelve components is numbered. I have a bin with labeled plastic bags to identify wefts and their location in the landscape. I write notes on the cartoon, my weaving time log, and in my notebook. I listen to the advice of my husband who has over 30 years of experience in managing, hiking, trail-building, and advocating for wilderness areas in the southwest. His passion for saving wild places inspired me to weave “Sky Islands”. </div><div align="left"></div><div align="left"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXohXk0PdwscArowPuvzMqwRS5deLnEO8OnRrSFHlNIfs1RXSFFbQC7qRPl-wp5e_Y_hmiTmndNEkHZp4o8u7x2i9uJ6q0lj_dbI2BgKGnF_Q3mQ6fq9jTu6N-dBImrQMbHFk1jt4jl4Q/s1600-h/Hoffman+detail+Cougar.JPG"><img id="BLOGGER_PHOTO_ID_5121301200872665458" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXohXk0PdwscArowPuvzMqwRS5deLnEO8OnRrSFHlNIfs1RXSFFbQC7qRPl-wp5e_Y_hmiTmndNEkHZp4o8u7x2i9uJ6q0lj_dbI2BgKGnF_Q3mQ6fq9jTu6N-dBImrQMbHFk1jt4jl4Q/s200/Hoffman+detail+Cougar.JPG" border="0" /></a> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4N73tKdUH4F3dNTSMNzCwuZ23FObR0HN13BKPujPpZ135izWssieNhz6a6fbsEiPeLj4eRHWzyxkJ6STVspj-n_mk3NklGwN6tJNUWI1r1Pjg2qeVMW6LIz4MGtJdWmDII5Y7NhUU-NA/s1600-h/Hoffman+angle+detail+Bear.JPG"><img id="BLOGGER_PHOTO_ID_5121300960354496866" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4N73tKdUH4F3dNTSMNzCwuZ23FObR0HN13BKPujPpZ135izWssieNhz6a6fbsEiPeLj4eRHWzyxkJ6STVspj-n_mk3NklGwN6tJNUWI1r1Pjg2qeVMW6LIz4MGtJdWmDII5Y7NhUU-NA/s200/Hoffman+angle+detail+Bear.JPG" border="0" /></a></div><div align="right"><br /></div><p align="right"><img id="BLOGGER_PHOTO_ID_5121301428505932162" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBYNYAtRH3o13iBuOki9LlVAkFF0G7rySFJjITcrdPYUImHFhgXpleuBUddWR5O1K6troACsrmPmWwFAcStrCpyOvz-yLaHCtCsFnS0kOtg9MUD7w7DlDB9cYPFnuYaPTBhDxLejHO18Q/s200/Hoffman+Racoon+on+loom.JPG" border="0" /></p><div align="right"><br /></div><p align="left"><span style="font-size:85%;"><em>clockwise from upper left : Bear detail; Cougar; Racoon on loom</em></span><br /></p><p align="left">In a future article I will cover the challenges of mounting and hanging this tapestry composite.<br /><br />I would love to hear from you!<br /><br />Jane Hoffman<br /><br />My websites: <a href="http://www.artistsregister.com/artists/AZ104">www.artistsregister.com/artists/AZ104</a> and <a href="http://www.blueriverretreat.com/">http://www.blueriverretreat.com/</a><br /><br />My email: <a href="mailto:j.hoffman@frontiernet.net">j.hoffman@frontiernet.net</a><br /><br /><br /><strong><em>Desert Magic</em></strong> <span style="font-size:85%;">by Kathy Perkins</span><br />Each desert sojourner finds their own magic in the sand, rocks, and sky of arid environments. When I first met the desert I was most excited about the huge possibilities for exploration. But soon the desert started resonating in different ways and over time there came to be one thing more than any other that defined desert for me: silence. Silence from the modern world; silence from the daily chaos. I continue to long for that silence, I constantly seek it, but I rarely find it.<br /></p><p align="left">Eons ago when I lived in California, taught in an overcrowded Orange County high school, battled the nightmarish freeways twice a day and, basically, had no life of my own, I found refuge from this chaotic world in the desert. After a grueling work week we would escape to Anza Borrego Desert State Park or Joshua Tree National Monument (now Park). It was a total mood altering experience for me and I still recall the first hour upon arriving at our destination as the most glorious--most glorious because it was a place of silence, a place for meditation. I can still feel the stress falling away as I drank in the solitude of my favorite, hidden places.<br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXAxpeeOUiRxSwHRSu0TUL89pZAZt6yFO74NMRj6UFd_iQ6__IYC4AqqR_ePerbAFFqJs31SXM0yzWIj5pNLc5DEVO9_i42Y1Cwo5rJ-Yk-Heb8yt2RvbSRFTkEZCbrod38Jah5xVeU8w/s1600-h/Perkins+Joshua+Tree.bmp"><img id="BLOGGER_PHOTO_ID_5121302459298083218" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXAxpeeOUiRxSwHRSu0TUL89pZAZt6yFO74NMRj6UFd_iQ6__IYC4AqqR_ePerbAFFqJs31SXM0yzWIj5pNLc5DEVO9_i42Y1Cwo5rJ-Yk-Heb8yt2RvbSRFTkEZCbrod38Jah5xVeU8w/s400/Perkins+Joshua+Tree.bmp" border="0" /></a><br /></p><p align="left"></p><p align="left"></p><p align="left"></p><p align="left"></p><p align="left"></p><p align="left"></p><p align="left"></p><p align="left"><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />Among the places of peace and serenity that I often sought were the boulder piles of Joshua Tree. With some agility, long since passed, I could crawl, claw and climb to a secluded alcove and listen to the sounds of nature. My favorite and the most memorable sound was the croak of raven and the wind whistling through his wing feathers.<br /><br />Now I live in Santa Fe, a very high desert environment and here I am certainly surrounded by the noise of traffic and town. I find the croak of the raven daily, but silence is still hard to come by. I frequently go to the national forest, which by rainfall statistics is a desert, and it is most often quiet, but not same quiet as found in the deserts of long ago escapes. For those peaceful days in desert California I need to go to memory, for even now those very places have changed beyond recognition by the sheer numbers of people who visit. Silence, the soul of wilderness, is becoming increasingly difficult to find.<br /></p><p align="left"><strong><em>WHITE SAHARA<br />(Egypt’s Western Desert)<br /></em></strong><br />1.<br /><br />Sand speaks eternally of water. Wind-shaped into ripples,<br />it stretches far … white mimicking the ocean.<br /><br />My fragile skin wrapped in yard upon yard of rainbow-<br />woven cloth, still the sand filters in as our little tin<br />oven on wheels rattles across the desert.<br /><br />Bedouin acquire, young, the “desert eye” that reads<br />clouds, sun, the shadows on the dunes to find<br />survival’s landmarks:<br /><br />the lone acacia, centuries old, twisted and black,<br />reaching deep beneath the desert floor to draw life<br />molecule by molecule from an invisible well.<br /><br />And these dark, high-soaring desert birds?<br />Surely somewhere, in this infinity of dunes<br />they, too, find sustenance. Find solace.<br /><br />2.<br /><br />Towering rocks, sand-bitten into parodies—<br />cobra, lion, giant mushroom—stand about,<br />stark and white.<br /><br />Sun arrived at its blind zenith, a camel train rests<br />in their meager shade, five knob-kneed mountains<br />of dusty cloth crouched on the sand,<br />while a few yards off, their turbaned driver<br />sleeps and watches, watches and sleeps.<br /><br />3.<br /><br />Dung beetle, disk of gold, this high, molten sun<br />is born each day, they way, of woman<br />and set to float in a mystical ship across the sky<br /><br />from the black, basalt dunes of the East<br />to the blazing White Sahara. And here, at dusk,<br />the goddess Nut swallows it up again.<br /><br />Legs, belly and rib cage stretched the whole length<br />of heaven, she lets its bright burning<br />move all night, invisible, through the core of her—<br /><br />until, at dawn, the new sun emerges,<br />round, red and glistening,<br />from between her attenuated thighs.<br /><br />4.<br /><br />This shell I plucked from the sand, small,<br />translucent, gently cupped like my fingernail—<br />it is a survivor, too.<br /><br />And what am I in the desert? Sand grit<br />insinuated into every crevice<br />of my being, I cling to the thought<br />of the slender, black umbilicus,<br />all that joins us, mingy flea-<br />bitten oasis by oasis to—<br />far beyond our sight—almost<br />beyond imagining—<br />the lush, green belt of the Nile.<br /><br />5.<br /><br />Sand erases tears and the incidents of our days.<br /><br />Like years, the desert stretches before and behind,<br />potsherds and crumbled brick<br />all that remains of history’s brave outposts.<br /><br />And yet, look, in a cranny scratched<br />out of the rock that rises close,<br />here, beneath earth’s crystalline skin,<br /><br />a farmer and his infant son lie, spiced, wrapped<br />and buried for eternity, the tiny bundle placed to rest<br />on the breast of the large.<br /><br />-- Mary Coolidge Cost,<br />from Goldfinch and Memory<br />(Steamboat Press, 2005)<br /><br /><br /><strong>Exhibits<br /><em></em></strong><br /><strong>to enter:</strong><br /><br /><strong><em>American Tapestry Biennial Seven</em></strong> <strong><em>(ATB 7)<br /></em></strong>Juror: Susan Warner Keene, Canadian artist, educator and independent writer/curator<br />Entry Form due November 30, 2007:<br /><a href="http://www.americantapestryalliance.org/ArchivedDocuments/ATB7_Entry_Form.pdf">ATB7 Entry Form</a><br />Venues:<br />University of Tampa Scarfone/Hartley Gallery in Tampa, Florida in conjunction with Convergence 2008. (June or July 2008)<br />Other venues to be announced.<br /><a href="http://www.americantapestryalliance.org/">http://www.americantapestryalliance.org/</a><br /><br /><strong><em>Earth, Air, Fire, Water<br /></em></strong>Tohono Chul Park, Tucson AZ<br />January 17 – March 9, 2008<br /><br />Tohono Chul Park, an arts and cultural center located within a 49-acre desert garden in Tucson, AZ is seeking submissions for Earth, Air, Fire, Water, an upcoming exhibit that will feature a range of styles and different approaches by Southwest artists.<br /><br />Element (eľ ə-mənt)<br />1. A fundamental or essential part of a whole.<br />2. The forces that collectively constitute the weather, esp. inclement weather.<br />3. The physical manifestations or material substances, but also as spiritual essences<br /><br />Earth (ûrth), n.<br />1. The planet on which human beings live, the third planet from the sun.<br />2. The land surface of the world; ground.<br />3. Soil, dirt.<br /><br />Air (âr), n.<br />A colorless, odorless, tasteless, gaseous mixture chiefly nitrogen and oxygen.<br />The earth’s atmosphere; overhead space; sky; the firmament<br />A breeze, wind.<br /><br />Fire (fīr), n.<br />A rapid, self-sustaining chemical reaction that gives off light and heat,<br />A destructive burning; conflagration.<br />To ignite; flame.<br /><br />Water (wô΄tər), n.<br />A clear, colorless, odorless, and tasteless liquid that is essential for most plant and animal life and is of various forms of water, as rain.<br />A body of water, as an ocean, lake, river, or stream.<br /><br />Through artists’ eyes, the exhibit takes a closer look at the four elements and the powerful forces that impact the planet, and specifically the Southwest region. Artworks may be inspired by the elements in action: the ripples in sand dunes, dust devils, brooding clouds and monsoon sheets of rain, reflections in a quiet pool, etched rocks from erosion, a fiery sunset, lightning bolts, wildfires. Or work may be more abstract: interpreting elemental symbols, sculptures made with earth, sand, pebbles, twigs, and other media that reflects the theme. Paintings, photographs, works in clay, fiber, metals, mixed media, and other media approaches are encouraged as submissions.<br /><br />Submissions accepted: through Dec 1, 2007<br />To submit work for consideration, please provide full contact info (name, address, phone, email), object info (title, media, & size of work) along with visual materials and a brief statement about the work as it relates to the theme.<br /><br />Slides, photos or CDs of completed work may be submitted by mail to: (Please include SASE)<br />Vicki Donkersley, Curator of Exhibitions<br />Tohono Chul Park, 7366 N. Paseo del Norte, Tucson, AZ 85704<br />Or digital images may be submitted by email to: <a href="mailto:vickidonkersley@tohonochulpark.org">vickidonkersley@tohonochulpark.org</a><br /><br />Tohono Chul Park, where nature, art and culture connect, is a not-for-profit organization located in a residential setting in northwest Tucson. The Park is a 49-acre desert garden with a charming 75 year-old restored adobe building providing space for changing art exhibits. It has an active cultural program and a family-oriented audience. Gallery hours are 9:00 am-5:00 pm daily. Our website is <a href="http://www.tohonochulpark.org/">http://www.tohonochulpark.org/</a>.<br /><br />Questions: Call Vicki Donkersley, 520-742-6455 x 218 or email at above address.<br /><br />Vicki Donkersley<br />Curator of Exhibitions<br />Tohono Chul Park<br />7366 N. Paseo del Norte<br />Tucson, AZ 85704<br /><br /><strong><em>Woven Gems</em></strong><br />American Tapestry Alliance - Small Format Exhibitions<br /><br />Eligibility:<br />• The exhibit is open to all artists working with small format handwoven tapestry<br />• Tapestry is defined as handwoven, weft-faced fabric with discontinuous wefts.<br />• The size of the tapestry may not exceed 10" x 10" x 1" deep (25cm x 25cm x 2.5cm).<br />• Artists may submit one piece. Group challenges and mentoring projects are encouraged.<br />• Work must be original, executed by the entrant, of recent completion and not shown in a prior ATA or HGA show.<br />• The tapestry must be available for the duration of the exhibit.<br />For more information and entry form, download the .pdf file, print it on your printer and follow the directions.<br />Entry Form due January 15, 2008:<br /><a href="http://www.americantapestryalliance.org/ArchivedDocuments/Woven_Gems_Prospectus.pdf">Woven Gems Entry Form (color) .pdf<br /></a>Venue and Exhibition Dates:<br />TECO Plaza Art Gallery, 702 No. Franklin St., Tampa, Florida<br />June 1 to July 31, 2008<br /><a href="http://www.americantapestryalliance.org/">http://www.americantapestryalliance.org/</a><br /><br /><strong>to visit:</strong><br /><br /><strong><em><a href="http://www.tohonochulpark.org/Art/DayofDead.html">Día de los Muertos/Day of the Dead: The Gift of Remembrance</a></em></strong><br />August 23 – November 4, 2007<br />Tohono Chul Park<br />Tucson, AZ<br />DTW members represented – Su Egen, Lyn Hart<br /><br /><br /><strong>to see online:</strong><br /><br /><a href="http://www.americantapestryalliance.org/Exhibitions/GRANDList.html">GRAND IDEAS 2006 - Small Format Tapestry</a><br />American Tapestry Alliance<br />June 18 - July 24, 2006 (was installed during this time, but it is still posted for view on ATA's website)<a href="http://www.americantapestryalliance.org/GRAND_IDEAS/mainpage.html"><br /><br /></a><strong>Workshops</strong><br /><br /><em><strong>Channeling your Muse: Experimentation, Research, Innovation, Design</strong></em><br />Educational Events at Convergence 2008: ATA Sponsored Programs<br />ATA's 2008 Educational Retreat<br />Tuck your muse in a beach bag and set sail for Tampa Bay to join talented tapestry artists Joan Baxter (<a href="http://www.joanbaxter.com/">http://www.joanbaxter.com/</a>) and Mary Zicafoose (<a href="http://www.maryzicafoose.com/">http://www.maryzicafoose.com/</a>)! Dive into ATA's educational retreat and stuff your treasure chest of creativity with tools that will make your tapestries shine. Like hunting for buried gems, you will discover: strategies to identify, develop, and personalize design concepts and resources; skills and motivation to move beyond the initial design phase; formal tactics for concept expansion; image manipulation; dynamic use of color; and methods to catch and ride your wave of creativity.<br />Whether new, novice, or seasoned, all weavers will uncover pearls of wisdom during this tropical retreat! ATA's retreat will follow Convergence 2008 in Tampa Bay, from June 29 through July 1, 2008. Registration materials will be available by December 2008. Mark your calendars!<br /><br /><br /><strong>Media</strong><br /><br /><strong>books</strong><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1F-GTyHisVG9PM-fcgxh9DM7-VkwtIP_FDyJvDa30kOF2gum3VTDXFeyn8OfVqwHy5ZA3bl4Cw-9KJ9Ubb3PZSB5AdY6v5L0Xub5vIshAAQO77Mdv-0xQMxrSck_emo8u-Wi6ksC8weo/s1600-h/tapestry+handbook.jpg"><img id="BLOGGER_PHOTO_ID_5121303240982131106" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1F-GTyHisVG9PM-fcgxh9DM7-VkwtIP_FDyJvDa30kOF2gum3VTDXFeyn8OfVqwHy5ZA3bl4Cw-9KJ9Ubb3PZSB5AdY6v5L0Xub5vIshAAQO77Mdv-0xQMxrSck_emo8u-Wi6ksC8weo/s320/tapestry+handbook.jpg" border="0" /></a><strong><em>Tapestry Handbook: The Next Generation</em></strong><br />Carol Russell<br />ISBN: 9780764327568<br />The newly released updated edition; it is a little different than the original Tapestry Handbook in layout and appearance. It has been expanded and includes much content the first did not, but the most apparent change is the updated tapestry artist representation. Congrats to fellow DTW artists, Elizabeth J. Buckley and Nancy Jackson! Each had two beautiful tapestries included in this publication. For those of you who are also ATA members, the many other familiar names and tapestries you will find within reads like a list of old friends!<br /><br /><br /><strong>Next Issue</strong><br /><br />The next issue will host and present the Desert Tapestry Weavers online exhibit, <em>Desert Meditations</em>. Please feel free to also submit other articles & news— it will be posted as “regular newsletter” content following the exhibited tapestries.<br /><em>Deadline for submissions: May 1, 2008.</em><br /></p>blog weaverhttp://www.blogger.com/profile/09621896197371634532noreply@blogger.com3tag:blogger.com,1999:blog-2145032006145973079.post-88489181061721655792007-07-12T15:07:00.000-07:002008-12-09T07:18:07.458-08:00DTW Newsletter, July 2007: Who we are & how we define "desert"<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHVNXh_J_jfCqfAWyzdRRKL8rjbIStltdMh9H8YRTIzI9vf2dCbl35WT2dTDPkDaHvTtN9UPBhmCmBwi3S-BDD54ZFxw4n5kBbbHEIKP1A2lpd4Wie4mtPrlya1U7G9t4PFoShBTUgo6A/s1600-h/paria+canyon.jpg"><img id="BLOGGER_PHOTO_ID_5087563122854158450" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHVNXh_J_jfCqfAWyzdRRKL8rjbIStltdMh9H8YRTIzI9vf2dCbl35WT2dTDPkDaHvTtN9UPBhmCmBwi3S-BDD54ZFxw4n5kBbbHEIKP1A2lpd4Wie4mtPrlya1U7G9t4PFoShBTUgo6A/s400/paria+canyon.jpg" border="0" /></a> <strong>Greetings!<br /></strong>For this very first DTW newsletter, we called on members to submit brief articles about themselves, their tapestries, their weaving lives, and how the desert influences all of the above so we could “meet” each other. Many members also sent images of their work. Thank you to everyone who took time away from the loom to contribute. If you are among those who weren’t able to chip in for this edition to introduce yourselves or write an article, keep in mind that you may always do so in a future newsletter!<br /><br />Please remember this is an interactive newsletter… you may leave comments in regards to anything you read in this edition by clicking on the “comment” link at the bottom of this post. If you are unsure of how to do this, please visit this <a href="http://deserttapestryweavers.blogspot.com/2007/06/clarifications-membership-subscribing.html">previous post</a> which gives instructions.<strong></strong><br /><br />We hope everyone enjoys this marvelous first issue!<br /><br /><em>Lyn Hart & Kathy Perkins<br /></em><br /><strong>The Desert as Muse</strong> <span style="font-size:85%;">by Katherine Perkins</span><br />The word desert elicits a visceral response in most people. For some it is the epitome of negative: hot (or cold), arid, barren. Since one of the definitions of desert is “a desolate or forbidding area” it is natural some would view desert negatively. However, for others of us the vastness, ruggedness, stark beauty, solitude, and silence that make it forbidding for some are viewed by us as positives. We find the words “desolate and forbidding” mysterious, inviting, and surreal.<br /><br />Although the desert was the birthplace of major world religions, site of numerous exploratory expeditions and subject for historians and novelists, many are still repelled by the awesomeness of desert. Brought up on a curriculum based on European history, literature, ethics, and art, most modern sojourners have little knowledge of desert. Verdure became the archetype of proper art, romance writers chose Paris or Rome as the center of their writings, the nations of Europe became the historical emphasis.<br /><br />So, to be a desert rat, a lover of barren tracks of land, an artist who celebrates desert, you will have found your own sources of inspiration. Perhaps it is your years of living in the desert, or the search for books and movies that inspired desert travel.<br /><br />But, the question remains, what is it about desert that nourishes the soul and acts as muse to the artist in us? The light, the color, the air, the aridity, the vastness and the barrenness, the wind, the silence and the sounds, the horizon, the shapes, the smell, the geology.<br /><br />Upon arriving in the desert we are instantly aware of the air. It touches our body and our mind. Our skin feels the essence of sun, shade, aridity, wind. Everything is in sharp relief and the colors are enhanced by the lack of humidity. We want, somehow, to share this feeling in our art. We try to get the feeling of the light, the colors, the space we are in. Georgia O’Keeffe comes to mind as an artist who captured the colors and light of high desert country in her paintings of the area around Abiquiu.<br /><br />Because the air is dry, the land is barren and little populated, much of the desert has a vastness that can chill the soul. Paul Bowles, in his book “The Sheltering Sky,” uses his two protagonists to illustrate this power of desert. The desert vastness and its far reaching horizons serve as an inspiration and all powerful force for one character, and as a source of terror and suppression of soul for the other. Bowles shows how the endless expanse of desert can manifest itself upon the human psyche.<br /><br /><div align="center"><img id="BLOGGER_PHOTO_ID_5087559781369602082" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAECXWN74qqf7yX_lSD4s6g9TfrKKa_zLyH1MWM_eG7iaY1TSmjBmm6YR1VlrwB7Y3J63iDSDgW0TdGntZjo1t7N-f2CY1Ns-xgZTVirhpu-bbgvvXlVXQnZLpcJnEplQK8Crv0ztlsdo/s400/LongLandscape.jpg" border="0" /> <em>Sand/Stone Motif</em><br /></div><div align="center">19" x 29"<br /></div><div align="center">Mary Cost</div><div align="center">Santa Fe, New Mexico<br /></div><br /><div align="left">The movies “Lawrence of Arabia” (from the writings by T.E. Lawrence), and to a lesser extent “The English Patient” (from the novel by Michael Ondaatje) are masterpieces of desert photography. If you are exhilarated by wide open, arid, “lifeless” land, the incredible scenes of the vast North African deserts and the sense of man’s insignificant place among the towering sand mountains will mesmerize you. It is also clear in both movies how the desert played on the psyche of the characters. The English patient revels in the awesomeness of desert, having his favorite quotes from Herodotus read to him over and over until the day he dies. T.E. Lawrence, on the other hand, is driven mad by his years in the desert. But, there is no escaping in either movie how intense the landscape is, and how it plays on a person’s inner soul--and how much the artist in us wants to depict that which touches our senses.<br /><br />The sound of desert stirs us to try to convey something far more difficult--the sound of wind, sand storm, rain, thunder, flash flood, wind moving through flapping raven wings, and myriad other minute noises that will stay with us long after our desert days have passed. If one has been in a sand storm and then sees an image of a storm can one hear the sounds? Can a viewer of a tapestry of a flying raven hear in his/her mind the sound of wings upon the wind? Can images depicting wind actually awaken that sound in the mind?<br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMT0i-M33wMlunSnh8Hivf0lILqXrtozXI4SNpyJgwFRC6tS8YGkG5n8-JWJyFeLHHNxocMplphLupOG6eCEkPrID4z6OEjUjSy-vmW7Flu4eGFSUd3NmPX92pG9wxoIcCq119BIszPCA/s1600-h/k+perkins+windy+ridge.jpg"><img id="BLOGGER_PHOTO_ID_5087561048384954434" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMT0i-M33wMlunSnh8Hivf0lILqXrtozXI4SNpyJgwFRC6tS8YGkG5n8-JWJyFeLHHNxocMplphLupOG6eCEkPrID4z6OEjUjSy-vmW7Flu4eGFSUd3NmPX92pG9wxoIcCq119BIszPCA/s320/k+perkins+windy+ridge.jpg" border="0" /></a><br /></div><em></em><div align="right"><em>Windy Ridge</em><br />c 2006, 28" x 36" </div><div align="right">Katherine Perkins</div><div align="right">Santa Fe, NM </div><div align="right"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"><br /><br /><br />The smell of desert is even more difficult to convey, but it, nonetheless, acts as muse in subtle ways. To this day, for me the smell of sage is associated with my childhood summer vacations in the Eastern Sierra Nevada. It reminds me of traveling up Hwy. 395, but does an image of sage act in the same way? I contend that some things cannot be conveyed through art. I do not smell sage in my mind when I see an image of sage. But if I actually smell it, then I do experience an internal image of the Eastern Sierras.<br /></div>I suggest that some things of desert that we hold dear cannot really be considered as muse. Some things can be depicted successfully--shapes, horizon, color, land--and can be shared, even in dramatic and soulful ways. Things you hear and smell are much more difficult to convey. The more subtle muses serve us in far more intangible ways. They help us center on place, give the feel of the surroundings, maybe even serve us in selection of subject, color, mood.<br /><br />However, those very things of desert that do serve as muse are so incredibly powerful that they move us to create. Sometimes we might wish to create a tapestry of a brilliant sunset. Other times it might be the subtleness of a mariposa lily among the sand dunes, or the soft colors of a rock formation. Our deserts are so unique and picturesque that we want to invoke the very essence of the land in our tapestries.<br /><br /><strong>A Desert Primer</strong> <span style="font-size:85%;">by Lyn Hart</span><br /><u><em>Desert</em></u>:<br />1. dry area: an area of land, usually in very hot climates, that consists only of sand, gravel, or rock with little or no vegetation, no permanent bodies of water, and erratic rainfall<br /><br />2. deprived place: a place or situation that is devoid of some desirable thing or overwhelmed by an undesirable thing<br /><br />3. lifeless place: a place devoid of life<br /><br />Three concepts to consider, assess, and transform.<br /><br />Kathy Perkins and I first met at the recent American Tapestry Alliance’s Silver Anniversary Celebration held in April. At the beginning of the day, there was a break for a “networking session” in which regional groups were given time to meet. Someone looked at my name tag that identified me as being from Tucson, Arizona and said, “Oh, the southwest doesn’t have a group, but there’s some weavers from New Mexico over there.” Certainly feeling like definition #2, I went over and introduced myself to Kathy and Elizabeth Buckley. As we talked, we quickly realized a shared aesthetic and passion for our respective deserts and their influence to be found in our tapestry designs. Kathy and I made plans to contact each other after we returned home to pursue the idea of creating a regional group for tapestry weavers who felt as we did about the desert.<br /><br />Kathy and I began communicating by email and began tossing ideas around for the group’s formation. We immediately realized we would have to declare the boundaries of our region, and just as quickly decided we didn’t want to do that. Deserts didn’t recognize city, state, territory, or country boundaries so why should we? Inspired by the visionary goal to some day “go global” announced at the ATA celebration, we decided to include weavers from desert areas worldwide. As word about Desert Tapestry Weavers spread, our membership quickly sprouted like plants after the monsoons. We found ourselves reveling in the fait accompli, and I began to wonder just how many deserts are there in the world?!?<br /><br />I must admit that I “skipped” taking geography in school, so I had to do a little research to answer my question. I was amazed and intrigued to learn that there are deserts on every continent on Earth! The incredible list of deserts includes the well known and not so well known, some in unbelievable locations… the largest (Antarctica’s interior), largest dry desert (Sahara, Africa), one of the most isolated (Tanami, northern Australia), largest in the Americas (Patagonian, Argentina), largest sandy desert (Taklamaken, Central Asia), greatest biological diversities (Mojave, U.S. - 1750 to 2000 plant species; Sonoran, U.S./Mexico - 60 mammal species, 350 bird species, 20 amphibian species, 100+ reptile species, 30 native fish species, and more than 2000 native plant species-- so much for definition #1!), driest place on Earth (Atacama, Chile—100 times drier than Death Valley), as well as Europe’s largest (Hálendi, Iceland). Visit the <a href="http://en.wikipedia.org/wiki/List_of_deserts">Wikipedia web page</a> where I gathered this info to read about all 36 deserts and to view some gorgeous photos.<br /><br />It is also important to note that within these arid regions Desert Tapestry Weavers has chosen to embrace exist areas known as “sky islands”, isolated mountain ranges encrusted like jewels within desert systems. Because sky islands have existed and evolved segregated from nearby mountain environments by the surrounding deserts, their ecosystems develop unique flora and fauna, similar to, but distinctly different from other mountainous regions’ ecology. Sky islands exist in North America, South America, Africa, and Asia (<a href="http://en.wikipedia.org/wiki/Sky_islands">Wikipedia</a>). Although many sky islands are considered alpine environments they are situated in desert geographical regions and often share ecological relationships with their surrounding deserts; Desert Tapestry Weavers embraces the inclusion of tapestry weavers living in sky island areas.<br /><br />Seems it is safe to say that definition #3, along with definitions #1 and #2, have been definitely refuted. Perhaps msn’s encarta needs to come up with a new description. The quick enthusiasm demonstrated by all of you who have joined Desert Tapestry Weavers in the short time since it became a tangible entity is proof enough that deserts are places of diversity, inspiration, and life, where creative passion flows as a constant, thirst quenching river.<br /><strong></strong><br /><strong>News<br /></strong>American Tapestry Alliance’s next edition of Tapestry Topics will include articles about regional tapestry groups; Desert Tapestry Weavers will be included!<br /><br /><em>Online exhibition for Desert Tapestry Weavers members!</em> We would like to start making plans for the exhibition to take place next year, the exact date to be announced in the next newsletter. We will host the exhibition here on our website and it will be open (non-juried) for all members to participate in. The theme for the exhibition is <em><strong>Desert Meditations</strong></em>, and will be open to your own personal interpretations.<br /><br />Did you know?...<br />Since becoming an "entity" as of May 22, 2007, Desert Tapestry Weavers has:<br />27 members<br />31 subscribers<br />been visited a total of 359 times<br />visits from 10 countries-- Australia, Bulgaria, Canada, Finland, France, Ireland, Netherlands, Portugal, United Kingdom, United States<br />Wow!!!<br /><br /><strong>Weavings & Wanderings</strong><br /><br /><strong>Christopher Allworth</strong>, Halifax, Nova Scotia, Canada<br />Working in a theological school these last twenty years alerts one to life questions and raises many fascinating subjects. I have been attracted to metaphor as a means of expression. “Desert” has been viewed as a place destitute of life. After visiting both Arizona and New Mexico, I found that this popular view was no longer tenable for me; that the desert is indeed life giving or, perhaps one might say, soul giving.<br /><br />An earlier exploration of the realities of metaphor was that of weave, ‘the warp (woof) and weft of life’. I decided to take on this metaphor and sought out weaving lessons. That was six years go and I have not stopped! Tapestry or picture soon became a sub-theme as I abstracted ideas in my rug making.<br /><br />Soon, however, I talked turkey about tapestry and spent a week with Irish weavers in Co. Donegal where Blackface sheep far outnumbered the villagers of Malin Beg. Since then I Have learned from Anke Fox, Archie Brennan and Susan Martin-Maffei and, currently, from Thoma Ewen of Moon Rain in the Quebec Gatineau Hills.<br /><br />Desert and tapestry have thus come together to find expression in the tapestries I make. Despite being a professional church musician, I seldom listen to recorded music; rather, I listen to the ambience of the loom and the world around me. I am perhaps still in the desert listening to it.<br /><br /><strong>Bonnie Best</strong>, Arizona<br />I started weaving in 1996 when I took a fibers class at the University of Arizona taught by Ann Keuper. I have <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNUQzY7NbiAviQ5_aPtnHsoSkFR1lYNC3NKdgMGw57nBDzdaxh66m6E0mQiCJRhgxWPimh0sSSzmgF3I1SFVd0jTkDGg8HI3-4i7R468D_xXMss34AgQB-x6BiSLfccApVcDEDtC9dezo/s1600-h/bonnie+b+AZsunset.jpg"><img id="BLOGGER_PHOTO_ID_5087560593118421042" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNUQzY7NbiAviQ5_aPtnHsoSkFR1lYNC3NKdgMGw57nBDzdaxh66m6E0mQiCJRhgxWPimh0sSSzmgF3I1SFVd0jTkDGg8HI3-4i7R468D_xXMss34AgQB-x6BiSLfccApVcDEDtC9dezo/s320/bonnie+b+AZsunset.jpg" border="0" /></a>woven on free standing frame looms, floor looms, a table loom, vertical tapestry looms that have harnesses controlled by foot treadles, as well as tension adjustment systems, all while a student at the university where I ended up taking 8 semesters of fiber classes.<br /><em></em><br /><br /><br /><div align="right"><em>AZ Sunset</em><br /></div><br />This is a picture of the tapestry that I wove last summer - it is 3ft by 4ft. I bought some pine lumber for the frame loom that is 4 ft by 5 1/2 ft. I have some smaller frame looms, but I wanted to weave something a little larger and I enjoyed weaving what I call the “AZ Sunset” stripes tapestry. The warp is linen and the weft is mostly wool yarn, but I did incorporate some synthetic yarn in some areas. I have this on the wall above my computer desk and I enjoy seeing the various colors everyday. I have several of my tapestries on the walls of my house.<br /><br />After I make a Navajo style loom and learn how to string the warp, my next weaving project will be weaving an Indian style tapestry. I found instructions on-line on how to make a Navajo Loom and I just need to get over to Home Depot to buy the lumber/brackets/dowels/screws/etc, and put it together. I will probably wait until fall to get this started when it's a little cooler outside where I will cut the wood and assemble the loom.<br /><br />I had a knee injury and knee surgery in January and I've been recovering from that. I'm doing OK now and I hope to get back to weaving on one of my frame looms soon. I have something in mind so will have to decide the size, colors, etc.<br /><br />Do hope everyone has a wonderful summer.<br /><br /><strong>Elizabeth J. Buckley</strong>, New Mexico<br />I have been weaving for nearly 40 years now. I first learned when I was 10 years old, on a small frame loom made of wooden stretchers that my mother warped up for me one summer. This was during the 7 years when she went away during the summer to work on her master’s degree in art education at the University of Colorado. I spent those hot, humid Kansas summers pretty much like any kid trying to find ways to stay cool, especially since my house had no air conditioning. I remember my mother showing me the basics of over and under, and giving me a pile of assorted yarns to play with. Over the weeks that she was away, I figured out how to make angles, hills, insert flat, dried seed pods, and anything else that occurred to me to try. I have been weaving ever since then.<br /><br />Now, I have projects going on three different looms, plus ideas I am trying to get onto paper via watercolors and drawings. On my 60 inch Aubusson loom, I have a 4 x 5 foot tapestry started, exploring the idea of transparency, earth and shell shapes emerging from ocean waves, and the veil between this earthbound world and the beyond. On the Larochette sample loom, I am working on a small study for the piece for the Aubusson loom. On the 60 inch Cranbrook, I am in the process of launching a commission for a private collector who wants a tapestry of the Sandia Mountain, which borders the east edge of Albuquerque. She spent this past winter walking its foothills with her daughter, and observed the amazing light and colors cast on the mountain in snow at sunset, and wanted a tapestry of this mood.<br /><br />I love the many moods of the desert, and the incredible clarity of light here. I never grow tired of the rugged terrain or the texture of the grasses, nor the colors of the sky at sunrise or sunset. There is so much sky, so much space, so much horizon.<br /><br />I live in the South Valley of Albuquerque, a few miles west of the Rio Grande River. Cottonwood trees border the small irrigation ditch that runs along the east side of the acre I live on, and my studio is near these trees where a Cooper's hawk family built a nest last year. My studio is a converted 3-car garage, located maybe 50 yards from my back door. My studio is my haven, my place of contemplation and meditation, as well as a place where students come periodically. Often when I work, I listen to acoustic guitar, jazz, Andean flutes, African rhythms. Sometimes, I work in silence, so I can hear the wind rustle the cottonwood leaves, the chatter of birds, the quiet stillness that can occasionally happen in the middle of this urban environment. The writers I am reading right now, include: Pema Chödrön, Mary Oliver, books on medieval life and women troubadours.<br /><br />I will have work in an upcoming group show this October, along with other tapestry weavers of the Las Arañas Spinning and Weaving Guild. It is called, "Doors, Gates, and Windows", and included in it will be a display of the small format group challenge and exchange we are doing with Canadian tapestry weavers. Those of us here in New Mexico are weaving New Mexico doors, gates and windows; while the Canadians are weaving ones of their area. We will then exchange tapestry images, and weave responses to each other's tapestries. By October, the New Mexico and Canadian "Doors, Gates and Windows" tapestries will be ready (approximately 24 pieces) and maybe some of the response tapestries in addition. By March of 2008, we anticipate having all 48 or so tapestries completed, to be displayed in the ATA Small Format Tapestry Exhibit: "Woven Gems" at Convergence 2008.<br /><a href="http://www.americantapestryalliance.org/AP/ArtistBio/BuckleyE.html">ATA artist page</a><br /><br /><strong>Karen Crislip</strong>, Colorado & New Mexico<br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnJAZ9_RmURQpKfbGnA6zR5IZ8ASBSvLbAMC_Ph1XBIZ-Q7Ne4bYXSB7ACGOPVDUJknIlk-jvkw4VQnAl_Kgir2P6Pdn-1f1U6seAT1s7fMXTmxuKrkXph-MP6GPFIkPg8Z-kCcZ78l5w/s1600-h/crislip+yellowstone+canyon.jpg"><img id="BLOGGER_PHOTO_ID_5087558316785754082" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnJAZ9_RmURQpKfbGnA6zR5IZ8ASBSvLbAMC_Ph1XBIZ-Q7Ne4bYXSB7ACGOPVDUJknIlk-jvkw4VQnAl_Kgir2P6Pdn-1f1U6seAT1s7fMXTmxuKrkXph-MP6GPFIkPg8Z-kCcZ78l5w/s320/crislip+yellowstone+canyon.jpg" border="0" /></a>Hello Desert Tapestry Weavers!<br /><br />My name is Karen Page Crislip (<a href="http://www.karencrislipdesigns.com/" target="_blank">http://www.karencrislipdesigns.com/</a>. I've been weaving tapestry for a quarter of my life although I've been creating art, working with fiber and teaching all my life (which is getting close to 60 years). I majored in art, design and education--twice!<br /><em>Yellowstone Canyon</em><br /><br />I'm been told that I'm very prolific in my production of tapestry and that my design strength lies in color. The "prolific" may be a result of trying to weave on a poorly made loom for the first 4 years, getting nowhere and then trying to catch up; and the "color" may be a result of moving to tapestry from black and white lithography.<br /><br />During my 14 years of tapestry weaving I've taught, exhibited and sold internationally. I've actually met all of my original goals and now spend most of my time just weaving. I limit my teaching to two workshops per year although I continue my work with an apprentice(s). I write an occasional article and review new tapestry books for Interweave Press, and I have contributed to Tapestry Topics (ATA) over the years. My next big exhibit will be the month of September in Estes Park, Colorado, where I will show my "Antiques as Inspiration" series along with a dozen or so <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCse4bdiSapTXOcIyBDvz_clDHVmCBFU9UZqKBfF5eQcFbOMaJ19ASeGGPPxtnSypa2am3i2HhDpoAaYUQTR7SwDmmZTKpDr3NMW9LmrHIx9bF5ZRsOeg0PgrZdrP2yRxQDlHCbXTjF_M/s1600-h/crislip+sweet+light+beyond.jpg"><img id="BLOGGER_PHOTO_ID_5087558574483791858" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCse4bdiSapTXOcIyBDvz_clDHVmCBFU9UZqKBfF5eQcFbOMaJ19ASeGGPPxtnSypa2am3i2HhDpoAaYUQTR7SwDmmZTKpDr3NMW9LmrHIx9bF5ZRsOeg0PgrZdrP2yRxQDlHCbXTjF_M/s200/crislip+sweet+light+beyond.jpg" border="0" /></a>miniatures. This year I taught a "Beyond the Basics" class at the Estes Park Wool Market, and I will teach a beginning workshop at IWC in July (full circle for me as that is where I took my first class--from John Pierre and Yael). My latest book reviews will be in the fall issue of Handwoven.<br /><br /><br /><br /><br /><p align="right"><em>Sweet Light Beyond</em><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhipaOqw3dThxVoo3K2caSgdTYV8eS07GWQwmoHodspa8GL5pjZ9XClVz8lhBDM1p43Sr1zhfFc51Rs-G2btiTZinnGdhRf6caZR4peYMmu4Ves_5hy7u_IjFHKf1kpUgGP3BtJOInecpo/s1600-h/crislip+sweet+light+beyond.jpg"></a><br /></p><p align="left">Last fall I was "Artist in Residence" at a national historic site in Iowa (where I grew up), and I am currently finishing the top hem on the 5th tapestry in my "Early Iowa Autumn" series. I have "Canyon Color" on my large (8' x 8') tapestry loom--my very colorful rendition of one of my desert lithographs, which I enlarged and am using as a cartoon. This will be another in my favorite "Rock Striation" series based on light and rocks that I find mostly in desert areas. These are images of two tapestries from this series.<br /><br />That's me--a little bit of this and some of that, along with a lot of tapestry weaving! It will be a pleasure to meet all of you!<br /><br /><strong>Su Egen</strong>, Arizona<br />I began to weave in 1971, 36 years ago. Prior to that I was a painter. I began with tapestry and continued with <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPyCcpO6AOwaReendKJyNFd-YbOsl0A0Urad6pxPpGd2jMpNRl0x5RXhWU0B0UuSx0WOLjnn6Cpb5BXooW0aX8cJ-dfjm5ZRkJYIYYp09MdPCeIpEME3AcuDA8tfGDyh_TUN-3PAahT5k/s1600-h/egen+weavingembroidery.jpg"><img id="BLOGGER_PHOTO_ID_5087554275221528418" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPyCcpO6AOwaReendKJyNFd-YbOsl0A0Urad6pxPpGd2jMpNRl0x5RXhWU0B0UuSx0WOLjnn6Cpb5BXooW0aX8cJ-dfjm5ZRkJYIYYp09MdPCeIpEME3AcuDA8tfGDyh_TUN-3PAahT5k/s320/egen+weavingembroidery.jpg" border="0" /></a>it throughout through the present. </p><p align="left"></p><p align="left"><em>Works on display during a Tohono Chul exhibit</em></p><p align="left"></p><p align="left"></p><p align="left"></p><p align="left"></p><p align="left"></p><p align="left"></p><p align="left"><br /><br />In 1972 I studied what we called then, “Scandinavian Art Weaving”, which included some thirty plus techniques, some quite old and rarely woven any longer. I taught weaving in my own studio for over twenty years, until women went back to work as a single income would no longer suffice. Students became irregular, and weaving began to fall out of favor, so I closed my shop, sold the student looms and worked full time in my studio ever since, sharing the studio with damask drawloom weaving and tapestry. I am currently working on studies in optical illusion, and have been so for over ten years, resulting in numerous tapestries. </p><p align="left">One of my former students designed and built the gallery and re-designed the workshop. Outside the look is Spanish and inside, Scandinavian, a wonderful contrast. The studio is composed of four rooms; one for embroidery, drawing and design, one for office and yarn storage, one weaving workshop and a gallery, designed and built by one of my former students. Housed in the workshop are three countermarch looms, one tapestry loom, and one 55 shaft damask draw loom. Presently three looms are on the floor and two are stored on the beams in the workshop, but within reach.<br /><br />Currently I am designing a complex piece for embroidery, which will involve much digitizing and computer work for the design. Should this go well, I will design a piece for the damask loom of the same theme, El Día de los Muertos (Day of the Dead) for possible inclusion in a show this fall in Tucson. Also in the works are two tapestries, both optical in nature, from the optical series. Both are being woven on Glimåkra countermarch looms. Last week, two pieces were cut off the damask drawloom, both experimental optical damask woven hangings.<br /><br />Simply said, my inspiration is the light and the openness of the land, when it hasn't been destroyed by development. When I came to Tucson in 1970 desert surrounded town. Now that very desert has the unthinkable - homes, massive and cookie cutter, perched on top of destroyed desert, on hills and climbing up our once pristine mountains, driving wildlife and nature ever further back to ultimate destruction. Nevertheless, they have not yet managed to massacre the light, though the night stars are all but obliterated by the growth, lights and subsequent pollution. On native land, one can still remember what it was that was inspirational about the desert. The other inspiration is color, the glorious colors that hail from the indigenous people of Guatemala, Ecuador, Peru, Bolivia, Mexico and Arizona. It is their culture that has been most inspirational as well as the way they appreciate and protect the natural world.<br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-LQCNQ2QvwzjI0oKB7VLxGziU_enVk3WDV6101AuMFDl2DoKVd2OgqpplF6vg4V8VMXfskmuG-dHi2Q8gFCebWaE9AOUVzmwowVXdL8RQyt9aB9O8jkLaIver6hlCiLcBRWgrC-De2HY/s1600-h/egen+treeset1.jpg"><img id="BLOGGER_PHOTO_ID_5087555589481521058" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-LQCNQ2QvwzjI0oKB7VLxGziU_enVk3WDV6101AuMFDl2DoKVd2OgqpplF6vg4V8VMXfskmuG-dHi2Q8gFCebWaE9AOUVzmwowVXdL8RQyt9aB9O8jkLaIver6hlCiLcBRWgrC-De2HY/s200/egen+treeset1.jpg" border="0" /></a><em>Tree 1</em></p><p align="left"><em>Tree 2</em></p><p align="left"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFStF2y9zRTsnxmPI6Ou2I6faQxZfgRLfW9JjBMY9t35lqqmSqJhvO_MArLTmqEdKgpsHuPipmvghiKJ923zET4DQyjXnvWv3G8HiKBWWA1OWi-qdIS0tou-Q-RmmmWyXEizKliAVzLa8/s1600-h/egen+treeset2.jpg"><img id="BLOGGER_PHOTO_ID_5087556044748054450" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFStF2y9zRTsnxmPI6Ou2I6faQxZfgRLfW9JjBMY9t35lqqmSqJhvO_MArLTmqEdKgpsHuPipmvghiKJ923zET4DQyjXnvWv3G8HiKBWWA1OWi-qdIS0tou-Q-RmmmWyXEizKliAVzLa8/s200/egen+treeset2.jpg" border="0" /></a></p><p align="left">One could say that all of my work has been inspired by the light and color of the Southwest. What comes to mind are two tapestries I completed and sold years ago, three sunset scenes, two imaginary and one of a pier in Mystic CT. Not a new theme, and not terribly sophisticated, but special in its own way. The first Tree tapestry was taken to a quilt show in NJ and sold immediately. The second was a commission for a similar piece with different dimensions. I am including a photo of each. The Mystic Pier (2) tapestry, is one of a series of three, taken while teaching a workshop in Mystic, CT on Finnish double weave pick up, with a small part of the workshop lecturing on figurative triple pick up. <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn2siwtbvBCEkk82a9c7rAI2Tbs8XnQ8F9KBJ8rHEvSsKXnBjR70l8AOVaPj8EgccOU9WUqCoQtELGd2Nvgjth8hsqHeu2andmRDHD_kWZ2HqY2LYogWZsNycKcm4FL8frGsKRhGH94V0/s1600-h/egen+mystic2.jpg"><img id="BLOGGER_PHOTO_ID_5087556345395765186" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn2siwtbvBCEkk82a9c7rAI2Tbs8XnQ8F9KBJ8rHEvSsKXnBjR70l8AOVaPj8EgccOU9WUqCoQtELGd2Nvgjth8hsqHeu2andmRDHD_kWZ2HqY2LYogWZsNycKcm4FL8frGsKRhGH94V0/s200/egen+mystic2.jpg" border="0" /></a></p><p align="right"><em>Mystic Pier (2)</em></p><p>Presently I have three damask hangings at the Tucson Museum of Art, in the Arizona Biennial '07, chosen from over 2000 submissions. There are, I believe just over seventy pieces in the show from 53 of 700 applicants. I am pleased to be among 53 artists chosen and to be able to represent weaving as well as "craft", in a show, that might be said to be heavily leaning toward "art". I think of myself as artist, craftsman or artisan...all. My work can be seen at Solar Culture, Tucson AZ (two damask hangings), Tucson Museum of art Craft Gallery (three framed optical embroideries and in the Arizona Biennial ’07 (three woven damask hangings).<br /><br /></p><div align="left">In the studio I presently am listening to the music of Ernest Stoneman (1928 Edison recordings), and the work of the Carter Family from 1927-1941. I am a traditional "folkie", and am currently practicing banjo, guitar and autoharp, time permitting.<br /><br />I have thought about putting up a web site, as I design websites for others, mostly non profits and performing groups, but have not made it a priority.<br /><br />As you can gather, I am short of one thing...time.<br /><br /><strong>Lyn Hart</strong>, Arizona<br />I was first introduced to weaving in the form of reed basketry while living in northwest Florida, during a break from nursing school. Upon graduation and entering the workforce, however, I was too busy honing my nursing skills, not to mention recovering from long shifts, to have much time for creative endeavors. All of my artistic pursuits— basketry, drawing, painting, quilting, were put on a very distant back burner.<br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNvaTY5WbIUWEpSpkwIH5u4EJotQx3nwzkTE7mTJj9siM3UZ9czVQKVhctTNLzRj_8uDIhO9AYSk7VBcdjA4UT443yl2qyn_WI4B2xUP3pVLuHW39bWlGFJCASDEp8VMLeRxFHuSd2WoA/s1600-h/verdin.jpg"><img id="BLOGGER_PHOTO_ID_5087553630976434002" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNvaTY5WbIUWEpSpkwIH5u4EJotQx3nwzkTE7mTJj9siM3UZ9czVQKVhctTNLzRj_8uDIhO9AYSk7VBcdjA4UT443yl2qyn_WI4B2xUP3pVLuHW39bWlGFJCASDEp8VMLeRxFHuSd2WoA/s320/verdin.jpg" border="0" /></a><br /><em></em></div><div align="left"><em></em></div><div align="left"><em></em></div><div align="left"><em></em></div><div align="left"><em>desert birds postcard series: verdin</em></div><br /><br /><br /><br /><br /><br /><br /><br /><p align="left">My husband, Dennis, and I relocated to Arizona 10 years ago and completely fell in love with the desert. Whenever we had time off from work, we planned backpacking and travel trips to see as much of the west as we could (we’re still not done!). A few years ago, I took some courses at the University of Arizona, one of which was Southwest Lands & Society which examined the origins of man in the southwest. During the class, I was exposed to Navajo weaving for the first time and was immediately captivated. I thought I would write the required abstract on that subject, but little did I know how much information would confront me when I went to the library to research it! So I chose another topic to write on, but came home with a book containing plans for building a Navajo style loom. We built a very large one, and it took me 3 years to weave my first piece. I discovered I like weaving, but was frustrated by the Navajo technique and did not want to emulate another culture’s art form.<br /><br />A couple years ago, I made the decision to leave my nursing career to pursue my art full time… I knew I wanted to weave and work with fiber, but wasn’t sure in what capacity. I started out by taking workshops to “sample” techniques so I could figure out what resonated with me. My epiphany came when I took a natural dye workshop during Intermountain Weavers Conference in ’05 taught by Jane Hoffman. Not only did I discover I loved natural dyeing, but when I visited Janie’s artist website and saw her tapestries depicting the environment surrounding her home on the Blue River, I was totally captivated and knew I had to learn to weave tapestries of the things I love here in the Sonoran desert. I initially studied with Ann Keuper at Desert Weaving Workshop here in Tucson and later with Jane on the Blue River. </p><p align="left">My tapestry designs are largely inspired by the flora and fauna here on the 5 acre patch of desert where we live, but I am also very enamored with and want to weave tapestries based on the larger Arizona landscapes I have seen on some of our travels… the Painted Desert, the Echo & Vermillion Cliffs on the Navajo reservation, the Grand Canyon, the many mesas, basins, and mountain ranges. For me, tapestry weaving embodies every aspect of art I’ve ever pursued and I am completely absorbed by it. <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6IlW2cSSJpKbeudVqVgvJ4Xkvp4gONdd-0juuC9MTU5OFkmPEM2-UMlWlUVFUTXJVLJCusBkJW4TUjUe_F4y0lKuRGRGyVeYARS-CdQJRr7rVg6LSN8i7uymEzYg4RHuuC-WD-H7k0uw/s1600-h/studio1.jpg"><img id="BLOGGER_PHOTO_ID_5087857203559882898" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6IlW2cSSJpKbeudVqVgvJ4Xkvp4gONdd-0juuC9MTU5OFkmPEM2-UMlWlUVFUTXJVLJCusBkJW4TUjUe_F4y0lKuRGRGyVeYARS-CdQJRr7rVg6LSN8i7uymEzYg4RHuuC-WD-H7k0uw/s200/studio1.jpg" border="0" /></a><br /><em></em></p><p align="right"><em>desertsong studio<br /></p></em><p align="left"></p><p align="left"><br /><br />I just finished a Georgia O’Keeffe biography by Roxana Robinson, supposedly the only author that the O’Keeffe family has ever cooperated with—it was very good. I don’t read much fiction; usually it is anything I can find about the desert or southwest… I’ve listed some favorites in the Media section of the newsletter. When I weave, I usually listen to instrumental world, electronic, jazz, or new age music. Favorites right now are Lanterna- <em>Desert Ocean</em>; Dean Evenson- <em>Peaceful Pond</em> & <em>Eagle River</em>; amethystium- <em>emblem</em>. If I am doing something more active, like designing or warping, I will listen to world, Latin, or pop… some of my faves are-- Charanga Cakewalk- <em>Lotería de la Cumbia Lounge</em>; Putumayo compilations; Annie Lennox- <em>Bare</em>. If I just can’t settle down to concentrate, I always reach for Steven Halpern- <em>Perfect Alignment</em>. <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw9TFpubnn6gMtmPZgq0RZJ-vo_NH2lgHsNPlhBvn2U5eX3bgbkiKI0wBaQLZJzJacvMhoDu6wRH1nk7DMJGXoK-YEPqYkzPhNjcgHTtXB1AyOFkfTQBBqUIMlOsl1BHZRgKVljhI7Fh0/s1600-h/recuerdos+de+georgia.jpg"></a><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirHZck21yDmVJplDFJLXwXDHiEbtDiey71xx9yFBymmu45A5Wn9QXHADZS1X9_43-klU440vjshbCMp-2lTInJmhk2j3WKdmtsNxba8EddfV8yI2ZrR85F4y5S_7NMpi1cQdbvlQEB0uA/s1600-h/recuerdos+de+georgia.jpg"><img id="BLOGGER_PHOTO_ID_5087553222954540866" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirHZck21yDmVJplDFJLXwXDHiEbtDiey71xx9yFBymmu45A5Wn9QXHADZS1X9_43-klU440vjshbCMp-2lTInJmhk2j3WKdmtsNxba8EddfV8yI2ZrR85F4y5S_7NMpi1cQdbvlQEB0uA/s200/recuerdos+de+georgia.jpg" border="0" /></a></p><p align="right"><em>recuerdos de georgia</em></p><p align="left">Last year, I set a goal for myself to “get serious” and weave works that I could submit for exhibition. I was very fortunate and thrilled to be accepted into both national and local exhibits. I experienced my first tapestry sale at one of the local exhibits, during the artist’s reception— if I wasn’t already bitten with fiber fever, the adrenalin rush from that moment would have cinched it! Fresh off my small loom is a mixed fiber piece with a tapestry as the base, <em>recuerdos de georgia</em>, a work I have submitted for Tohono Chul's <em>Día de los Muertos: The Gift of Remembrance </em>exhibit that celebrates the Mexican holiday, Day of the Dead. <a href="http://www.desertsongstudio.com/">http://www.desertsongstudio.com/</a><br /><a href="http://www.desertsongstudio.blogspot.com/">http://www.desertsongstudio.blogspot.com/</a> <em></em></p><p align="left"></p><div align="left"><strong>Jane Hoffman</strong>, Arizona<br />Dear Desert Tapestry Weavers,<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO0Bx5AFuM1lf3KabZFKUPvZZu4ejT5AY3Kk4ZWA0Ax_2uN-nSe0R373erNLN_hUsIJ2mk1nAdoOHisZW2zvR740mbLpDOqU50bz571VCRpicDBNLtB8JdtcpUKaRcGCGYkf5w77Zuqb4/s1600-h/hoffman+maquette+for+the+12+tapestries.jpg"></a>I am so happy to be connected to other tapestry weavers in the Southwest. I look forward to meeting other members in the future.<br /><br />For the past thirty years my work has represented the beautiful area where I live on the Arizona/New Mexico border next to the Blue Range Wilderness Area. My home and studio are situated in a lush riparian area along the Blue River at 6,400 feet. Recently I have had a desire to make a stronger statement about conservation and protection of our environment here in the Southwest.<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi466TyZ_nzZMIxIqDUAMhnD2sJLcx8K1tiDOjFBeo64nRBMgJ5wGnkcdlco4g0C-tWNm_Bf83TulJu0uDRSD8yl75cgt-iELvpNFVovzrDxYgKbl9b-oZ9VbEKRRN4HAg3789N9gvECAs/s1600-h/hoffman+maquette+for+the+12+tapestries.jpg"><img id="BLOGGER_PHOTO_ID_5087550109103251170" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi466TyZ_nzZMIxIqDUAMhnD2sJLcx8K1tiDOjFBeo64nRBMgJ5wGnkcdlco4g0C-tWNm_Bf83TulJu0uDRSD8yl75cgt-iELvpNFVovzrDxYgKbl9b-oZ9VbEKRRN4HAg3789N9gvECAs/s320/hoffman+maquette+for+the+12+tapestries.jpg" border="0" /></a></div><br /><br /><em>maquette for the 12 tapestries</em><br /><br /><br />The tapestry I am currently weaving represents the importance of protecting the Sky Islands of the Southwest. You may have not heard of Sky Islands, but if you live here or have visited the Southwest you are bound to have noticed them. The numerous mountain ranges that rise from the desert floor are called Sky Islands because the mountains, like islands in the ocean, have their own unique environment which is surrounded by the vast desert that stretches between each separate range.<br /><br />Many species depend on the habitat provided by the Sky Islands. In fact larger mammals and raptors must <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSrWwvP7m2NvshxKmri-iEHJahcODE8aU-38SOTa0bMlaOMWKVYVlXHLNL9yk0a27tqtW3YKy_mevJ8aZinwmAtJb7VDuZsTO8X2fje-hPThWxHZOUNMk8h-DiUx3mdpqqMSrXPWD1CaU/s1600-h/hoffman+two+tapestries+with+cartoon+just+removed+from+the+loom.jpg"><img id="BLOGGER_PHOTO_ID_5087551187140042514" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSrWwvP7m2NvshxKmri-iEHJahcODE8aU-38SOTa0bMlaOMWKVYVlXHLNL9yk0a27tqtW3YKy_mevJ8aZinwmAtJb7VDuZsTO8X2fje-hPThWxHZOUNMk8h-DiUx3mdpqqMSrXPWD1CaU/s200/hoffman+two+tapestries+with+cartoon+just+removed+from+the+loom.jpg" border="0" /></a>be able to travel to and from the Sky Islands in order to sustain themselves. Unfortunately, due to a growing human population, development of the desert and other incompatible uses of the land, species are getting cut off from their habitat. Individuals and environmental groups are educating the public of the importance of these wild areas and their connecting corridors. For more information about the ecological significance of the Sky Island Region go to: <a href="http://www.skyislandalliance.org/">http://www.skyislandalliance.org/</a> and <a href="http://www.azwild.org/">http://www.azwild.org/</a> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_jS7bib-luMz4Hvhg8vtPTgQ_QL0RncYLbX_pMQcBH3rk2Wr1QtBEBWJi_GNP_fMQvpNrEwI4q7qkpxcx5PmMqSsuTTolQdPJ-JXHIkgAgQqh9zPQRPZcz6WkJ_UFZ087OkQOFbDmRCI/s1600-h/hoffman+cougar+track+on+the+loom.jpg"><img id="BLOGGER_PHOTO_ID_5087550830657756930" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_jS7bib-luMz4Hvhg8vtPTgQ_QL0RncYLbX_pMQcBH3rk2Wr1QtBEBWJi_GNP_fMQvpNrEwI4q7qkpxcx5PmMqSsuTTolQdPJ-JXHIkgAgQqh9zPQRPZcz6WkJ_UFZ087OkQOFbDmRCI/s200/hoffman+cougar+track+on+the+loom.jpg" border="0" /></a><br /><br /><em></em><br /><br /><br /><br /><div align="right"><em>cougar track</em> on loom & detail<br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyGY71zLePCMkIWyDq_bdygd3SvXLzAU7DkrRw_FICbVuuT4Kro4q67BrvHPubgBuEuJY5ikddbfzalsNWmwmfsBSST-y5dNOCvQc1gzo2Ehw-K0WKzFf8pzJS1b53sHKQyFtMnc3TFfs/s1600-h/hoffman+detail+-+cougar+track.jpg"><img id="BLOGGER_PHOTO_ID_5087550426930831090" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyGY71zLePCMkIWyDq_bdygd3SvXLzAU7DkrRw_FICbVuuT4Kro4q67BrvHPubgBuEuJY5ikddbfzalsNWmwmfsBSST-y5dNOCvQc1gzo2Ehw-K0WKzFf8pzJS1b53sHKQyFtMnc3TFfs/s200/hoffman+detail+-+cougar+track.jpg" border="0" /></a> </div><div align="left"><br /><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3NN8ZjsT8aDb_IAXqZqwXQ8-jHwPplxXOGJokRb0awSmNJRaFPm-hb-LYUBhMNN4Z0WIjgTt15NQAP3F9kyN_iblpzYNzGeNfrggpkbFDspFmpw8wjP5S0_GB8Pn5egSeRPjGhIbfQNY/s1600-h/hoffman+wolf+track.jpg"><img id="BLOGGER_PHOTO_ID_5087551659586445090" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3NN8ZjsT8aDb_IAXqZqwXQ8-jHwPplxXOGJokRb0awSmNJRaFPm-hb-LYUBhMNN4Z0WIjgTt15NQAP3F9kyN_iblpzYNzGeNfrggpkbFDspFmpw8wjP5S0_GB8Pn5egSeRPjGhIbfQNY/s400/hoffman+wolf+track.jpg" border="0" /></a><br /><br /></div><div align="left"><br /><em>wolf track</em> on loom<br /><br /></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"><br /></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />My tapestry represents the idea of reconnecting “the pieces of the puzzle” in the fractured landscape. The work actually consists of twelve 8 inch x 8 inch tapestries that depict a vista from the top of one Sky Island across the desert floor to another neighboring Sky Island. Each of the twelve tapestries are like pieces of a puzzle that when hung together will form the landscape. Superimposed over each 8 inch x 8 inch segment of the landscape is an animal track. Each track represents an animal whose very existence is threatened by developing encroachment that blocks their access to their habitat.<br /><br />In a future article, I will talk about my progress on this piece and some of the technical aspects of its development. I will also talk about the variety of fibers and textures that I use.<br /><br />I would love to hear from you!<br />My websites: <a href="http://www.artistsregister.com/artists/AZ104">www.artistsregister.com/artists/AZ104</a> and <a href="http://www.blueriverretreat.com/">http://www.blueriverretreat.com/</a><br />My email: <a href="mailto:j.hoffman@frontiernet.net">j.hoffman@frontiernet.net</a><br /><br /><strong>Pam Hutley</strong>, Australia<br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsOht7itLdBsuMiVd_f-YIXQiOEHKErWV8ohcoit1y7sJTpgjt0bDhaoLCmn11mevdIr25YdJAzVvXRuWd7nd7hMGaAH2FjlCy5gTKhUfZpGbmygkeSdb_EkKDhvcmhPq3i0SKJ-bExsE/s1600-h/hutley+drought.jpg"><img id="BLOGGER_PHOTO_ID_5087548489900580530" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsOht7itLdBsuMiVd_f-YIXQiOEHKErWV8ohcoit1y7sJTpgjt0bDhaoLCmn11mevdIr25YdJAzVvXRuWd7nd7hMGaAH2FjlCy5gTKhUfZpGbmygkeSdb_EkKDhvcmhPq3i0SKJ-bExsE/s320/hutley+drought.jpg" border="0" /></a>While now living in a more 'civilized' area of Queensland, Australia, I lived the first 40+ years of my life on a cattle station battling droughts that made it feel like the desert it never was. I have the bush in my blood and it has influenced nearly all my work, even without it showing in every tapestry.<br /><br /><em>Drought<br /></em>80cm high x 58cm<br /><br /><strong>Nancy Jackson</strong>, California<br />My name is Nancy Jackson and I have worked under the name Timshel Studio <a href="http://www.timshelstudio.com/" target="_blank">http://www.timshelstudio.com/</a> for over 25 years. I live and work in Vallejo, CA, at the northeast tip of San Francisco Bay, where I also teach regularly. Most students fly or drive from far places and stay at the homes of two of my friends at about half the cost of local motels. Some have come from outside the US from as far as Panama and northeastern Canada.<br /><br />I teach a full curriculum of Aubusson & Gobelin tapestry methods to students at all levels. I enjoy providing a strong foundation for beginners and a challenging opportunity for more advanced students. Some people come to study to master weaver level and hope to exhibit and take commissions, but most people want to acquire excellent skills for their personal expression. I prefer to teach no more than three or four people at a time so I can offer custom-tailored instruction for each person.<br /><br />I weave tapestry commissions, speculative tapestries and sometimes contract with other tapestry artists to weave my cartoons. In more recent years, I have collaborated with students on tapestries also. Aubusson & Gobelin tapestry is my main expressive medium, but I also teach egg tempera and gilding methods and do commissions in these media also.<br /><br />My valuable education came in the 1980’s where for three years I was the sole apprentice to Jean-Pierre & Yael Lurie Larochette. I thank them always for their kindness and generosity in educating me in this fascinating medium.<br /><br />I am most interested in how human beings alter the desert and then how that alteration sometimes creates beauty. I am also interested in how the desert, how Earth in general, rejuvenates itself after human beings have altered its native shape. In “City/Country II,” 1996, I have enjoyed the human structuring for food production (wheat farming) of the high desert prairie of Montana where I lived in the late 1970’s and early 1980’s. I noticed how quickly the land recovered from this human invasion and was relieved to see that healing occurred so quickly. <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRePMtPRYUYOPJen1UHSbFwK0xlSzKTRAOrE9gkFXUZwJIVHQ1y7L5AjniW9HIIaLzi1lysmo5GtuVpmTGtTYgRpbSWgmaRbUEa0x1AxGEp6-tr-Kqf17MuhpuKnO9_kei5JWTf5KT88Q/s1600-h/jackson+citycountryII.jpg"><img id="BLOGGER_PHOTO_ID_5087548159188098722" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRePMtPRYUYOPJen1UHSbFwK0xlSzKTRAOrE9gkFXUZwJIVHQ1y7L5AjniW9HIIaLzi1lysmo5GtuVpmTGtTYgRpbSWgmaRbUEa0x1AxGEp6-tr-Kqf17MuhpuKnO9_kei5JWTf5KT88Q/s320/jackson+citycountryII.jpg" border="0" /></a><br /><br /><br /><br /></div><div align="right"></div><div align="right"></div><div align="right"></div><div align="right"></div><div align="right"></div><div align="right"></div><div align="right"></div><div align="right"></div><div align="right"></div><div align="right"><br /><em><br /><br /><br /><br /><br /><br /><br /><br /><br />City/Country II</em><br /></div><div align="left"><br />Vesterheim Museum in Decorah, IA, will show “Saint Olav King of Norway,” in the National Exhibition of Folk-Art in the Norwegian Tradition July. See <a href="http://www.vesterheim.org/" target="_blank">http://www.vesterheim.org/</a> , for details.<br /><br />San Jose Museum of Quilts & Textiles is exhibiting “Consanguine” and “Incarnation,” the two side panels from the “Incarnation Triptych” <a href="http://www.timshelstudio.com/" target="_blank">http://www.timshelstudio.com/</a> through July 7, 2007, as part of American Tapestry Biennial 6. See <a href="http://www.sjquiltmuseum.org/" target="_blank">http://www.sjquiltmuseum.org/</a>.<br /><br />Music: Ali Farke Toure, an African blues guitarist<br />Zap Mama, an African women’s vocal group<br />Native American music (not synthesized)<br />10th-14th century European music (Medieval)<br />Fairuz, female Lebanese vocalist<br /><br />Audio Lectures: Ancient Near Eastern Mythology<br /><br /><strong>Kathy Perkins</strong>, New Mexico<br />I have been weaving since 1993, tapestry since 1995. I just cut off two pieces that I will trash since they were color and design compromised. (How is that for saying I hate them?) I am trying to get past those two to start something new. I have made numerous designs in the past two weeks, but can't settle on anything that moves me. I love the silence of the desert. That is my fondest memory of the numerous camping trips to Anza Borrego State Park, Joshua Tree National Monument (now National Park), <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2ULh6p_28WmS3rIpUt7Z0WLti-uiNXdfP7JAUTcrZWU0aESbhZjb3_KRoErXoMwt0B1v2yvDofPJt2rY9U6Oct353OdGFLRVD9nm77Ia1llOPtCUZDCJuUoyE2wOPdWmUl-Sj8tEBZcU/s1600-h/joshuatree2+kathy.jpg"><img id="BLOGGER_PHOTO_ID_5087547729691369106" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2ULh6p_28WmS3rIpUt7Z0WLti-uiNXdfP7JAUTcrZWU0aESbhZjb3_KRoErXoMwt0B1v2yvDofPJt2rY9U6Oct353OdGFLRVD9nm77Ia1llOPtCUZDCJuUoyE2wOPdWmUl-Sj8tEBZcU/s200/joshuatree2+kathy.jpg" border="0" /></a>Canyonlands, and all of the other wondrous places in the Colorado Plateau. I also love the starkness, colors, and especially the flora and fauna.<br /><br /><br /><br /><em>Sky Island</em><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxK7h35dL5KBTnpVTVwgA7El6caKAsm0icqAJ3GCcjd9HIyAiaU_blWhTbKQcWVebflDJILfgz5mIhbYggVza6XWgyKgst8Sqh4yd4VIIRVgCLw4Wtq6W9xdT347hF3LLb894tv_E84i0/s1600-h/k+perkins+sky+island.jpg"><img id="BLOGGER_PHOTO_ID_5087547416158756482" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxK7h35dL5KBTnpVTVwgA7El6caKAsm0icqAJ3GCcjd9HIyAiaU_blWhTbKQcWVebflDJILfgz5mIhbYggVza6XWgyKgst8Sqh4yd4VIIRVgCLw4Wtq6W9xdT347hF3LLb894tv_E84i0/s320/k+perkins+sky+island.jpg" border="0" /></a><br />I wove a piece I called Sky Island, because they are such an oasis in the vast deserts of the Southwest. It is of an opuntia cactus that appears to be flying on a cradle of land, which is much my feeling when up high on a sky island looking out to the vast desert beyond.<br /><br /><br />I prefer to listen to nothing but the birds while weaving. However, since our quiet oasis on a dirt road has been turned into a paved freeway I will listen to music to drown out the hideous sound of the traffic. It is always classical. I do not listen to books on tape, because what I do is so intense that I can't concentrate on French tapestry and a book. Currently, I am reading the book "Mrs. Mike," about the far Northwest Territory in Canada--to get in the mood for my Canada trip.<br />No website; <a href="http://www.americantapestryalliance.org/AP/ArtistBio/PerkinsK.html">ATA artist page</a>.<br /><br /><strong>Stacey Redmond</strong>, Arizona<br />Currently, I have a tapestry of stripes in progress. My inspirations come from characteristics of Sonoran desert flora and fauna, including color and shape. When I’m weaving, I listen to a mix of music from folk and country to instrumental and Latin.<br /><br /><strong>Janine Skov</strong>, California<br />I don't have my cd player on, I prefer nature sounds when I'm doing artwork. Some singing birds right now, with orchestration provided by crickets. (Unfortunately there is the occasional percussion section of lawnmowers, leaf-blowers, etc. that has to be tuned out).My reading list?!?! All 100 books?? Seriously, I have a very large backlog. Science, science-fiction, art, even a book on weaving! (Rachel Brown's Weaving, Spinning, Dyeing -- excellent descriptions of different types of looms, they're all so fascinating!)<br /><br /><strong>Kathy Spoering</strong>, Colorado<br /><strong>Desert ‘Travel Sketch’ Tapestries<br /></strong><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfN1DjhmJzbabm85V1JE2mZsQ2KLkiy5F4etMSpPgTKNTyU50AXTpVxQpufkrnaZSEvf8v-R01zVM0Dkh21nrUxXR3I3HJxHgVTKwpQZ_WAw6oKQWEASAOfQ3Oiph9gvXi7foOnEEsm1s/s1600-h/spoering+bryce.jpg"><img id="BLOGGER_PHOTO_ID_5087542481241333330" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfN1DjhmJzbabm85V1JE2mZsQ2KLkiy5F4etMSpPgTKNTyU50AXTpVxQpufkrnaZSEvf8v-R01zVM0Dkh21nrUxXR3I3HJxHgVTKwpQZ_WAw6oKQWEASAOfQ3Oiph9gvXi7foOnEEsm1s/s320/spoering+bryce.jpg" border="0" /></a>Although many people may not realize it, the American desert region is filled with beautiful and breathtaking spots, many of them designated as National Parks or Monuments. A number of them are in Utah, a state of great landscape variety. Like my neighboring home state of Colorado, Utah has high mountains peaks, high mountain plains, and vast areas of desert filling the spaces in between. Because the city where I live is only about 20 miles from Utah, it is one of our favorite short-trip destinations. When I travel, I always have a sketchbook and watercolors with me, as well as my digital camera. Several years ago, I decided to turn sketches from my favorite Utah Parks into small tapestries. I did one from Zion National Park, of the White Throne peak; <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaOx3O6F13VqFP8V365Ka85QFJg8rxzWBDDpK2Ej9JL27Gfhj2tP0-OnKcwTek2L0RJ-7gxa5kPpq96vGlM2iRAkt7XOFlwV1pChjs1VDZKf_ULHIqOuUam6HWvBAUkKePUmFd-8GnYGY/s1600-h/spoering+zion.jpg"><img id="BLOGGER_PHOTO_ID_5087542876378324578" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaOx3O6F13VqFP8V365Ka85QFJg8rxzWBDDpK2Ej9JL27Gfhj2tP0-OnKcwTek2L0RJ-7gxa5kPpq96vGlM2iRAkt7XOFlwV1pChjs1VDZKf_ULHIqOuUam6HWvBAUkKePUmFd-8GnYGY/s320/spoering+zion.jpg" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJgTt8ZAbFPAUTeOVWdd6n34Ekq76oKrZcpYyQtHgQx66BOXB4GLHscbYGdsPUiK4ZrirZHYDWaUNl2eCxGGBD_0KJ9uVePhLXtrfwOhyGKuCcZfMhoDZScxg_H_JDI3PfoAuTvjJKl3Q/s1600-h/spoering+zion.jpg"></a> one of Bryce Canyon National Park, of the amazing rock ‘hoodoos’ dusted with winter snow; and one of the Arches National monument, of the Window Arch. All of these rock formations rise up from the sandy desert floor, created by erosion of the soft red sandstone. They are constantly evolving. Each of the tapestries is 8”x10”. They were loosely inspired by travel posters and postcards, so each has the name of the park woven in at the bottom. <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUJsDlIJtnp3Nzqjfn9_DmWFO7zQz6rRqKioxELeLtPja4u9z-KudypuVVnEOhWHgHe_IOOn5QZ_IgG-okjSV25SCSufXChOgTkgFkqS-67fugVdHqMg0fe2vcPY12e1gE4gcmulHw9xE/s1600-h/spoering+arches.jpg"><img id="BLOGGER_PHOTO_ID_5087543292990152306" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUJsDlIJtnp3Nzqjfn9_DmWFO7zQz6rRqKioxELeLtPja4u9z-KudypuVVnEOhWHgHe_IOOn5QZ_IgG-okjSV25SCSufXChOgTkgFkqS-67fugVdHqMg0fe2vcPY12e1gE4gcmulHw9xE/s320/spoering+arches.jpg" border="0" /></a>After weaving the three Utah pieces, I decided to mount them each on a watercolor sketchbook page, with images I had sketched on location during our trips to the parks. The three ‘sketchbooks’ were then mounted side-by-side on a foam-core base covered with a fabric <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWWgxWG9gFG7gcWz90iQGp2yKgyEKZeIjwB9uKERipICTNvIWXxDedipr_N0mlH0UKw4RMmIS98qlEzcib-438TR5qxtq4CMoNyeppcVskXGU08EoOYBV5pb6Kun8OzukC2Vxqbbvm4ak/s1600-h/spoering+sketchbook.jpg"></a><br />‘map’. They were then framed together. I called the framed piece “Utah Sketchbook Triptych.” It sold in a multi-media exhibition.<br /><br /></div><img id="BLOGGER_PHOTO_ID_5087541708147220018" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9NJTxysSe6acMHjRMoeMOG7-y1yH_B26j4ba51tI6KfeS9w9A3fP46Ig18jtBhTuGVJJxQt_suX0UVtJPp_mL4Kd1T-RE-a_za858JcC1aUrcSeZRuUtxGRA48enbm1CIMOWY_4K_uJQ/s320/spoering+sketchbook.jpg" border="0" /><br /><p align="center"><em>Utah Sketchbook Tryptich</em><br /><br /></p><p align="left"><strong>Exhibits</strong><br />(If you know of other exhibits not listed here, please send the info to us so we may add them to the list!)<br /><strong></strong><br /><strong>to enter<br /></strong><em><u>American Tapestry Biennial 7</u></em><br />entry deadline November 30, 2007<br />The American Tapestry Alliance is a not-for-profit, member-supported organization seeking to exhibit the best of contemporary tapestry. Since 1986 ATA has sponsored a biennial, juried exhibition. ATA invites submissions from all tapestry artists for ATB 7. Entry to ATB 7 is open to all tapestry artists who design and weave their own tapestries (defined as "hand-woven, weft-faced fabric with discontinuous wefts") either individually or collaboratively (all assistants shall be named). Entries must be one-of-a-kind and have been completed after January 2004. Artists may submit two entries for consideration.<br /><a href="http://www.americantapestryalliance.org/index.html">American Tapestry Alliance</a><br /><a href="http://www.americantapestryalliance.org/Exhibitions/ATBs/ATB7.html">ATB7 Entry Form</a><br /><br /><em><u>ARTapestry 2: European Tapestry Forum</u></em><br />entry deadline December 31, 2007<br />Open to artists living or working in Europe.<br /><a href="http://www.tapestry.dk/activities.htm">http://www.tapestry.dk/activities.htm</a><br /><br /><em><u>American Tapestry Alliance Woven Gems Small Format Tapestry</u></em><br />entry deadline January 15, 2008<br />The exhibit is open to all artists working with small format handwoven tapestry. Tapestry is defined as handwoven, weft-faced fabric with discontinuous wefts. The size of the tapestry may not exceed 10” x 10” x 1” deep (25cm x 25cm x 2.5cm). Artists may submit one piece. Group challenges and mentoring projects are encouraged.<br />Work must be original, executed by the entrant, of recent completion and not shown in a prior ATA or HGA show.<br />The tapestry must be available for the duration of the exhibit.<br /><a href="http://www.americantapestryalliance.org/Exhibitions/SmallFormat/WovenGems.html">Woven Gems Entry Form</a><br /><br /><em><u>Small Expressions 2008: Handweavers Guild of America Annual Exhibit of Small Scale Works </u></em>deadlines- international entries: January 11, 2008; U.S. entries: January 18, 2008<br />Small Expressions is an annual international, juried exhibit featuring high quality, contemporary small-scale works. Small Expressions is sponsored by the Handweavers Guild of America, Inc. to showcase fiber art of a small scale not to exceed 15 inches (38 cm) in any direction.<br /><a href="http://www.weavespindye.org/pages/?p=convergence2008/SmallExp.html&loc=3-72-00">Handweavers Guild of America Convergence Conference 2008<br /></a><br /><strong>to visit<br /></strong><em><u>Arizona Biennial ‘07</u><br /></em>May 19 – August 19, 2007<br /><a href="http://www.tucsonarts.com/exhibitions/index.php#97">Tucson Museum of Art</a><br />Tucson, AZ<br />520.624.2333<br /><br /><em><u>Sea of Cortez: A Desert Sea<br /></u></em>May 24 – August 19, 2007<br /><a href="http://www.tohonochulpark.org/art/seaofcortez.html">Tohono Chul Park Exhibit Hall</a><br />Tucson, AZ<br />520.742.6455<br /><br /><em><u>Fiber Celebrated 2007<br /></u></em><a href="http://www.intermountainweavers.org/">Intermountain Weavers Conference</a><br />July 10 – July 31, 2007<br /><a href="http://www.durangoarts.org/gallery.cfm">Durango Art Center</a><br />Durango, CO<br />970.259.2606<br /><br /><em><u>In the Making: Contemporary Canadian Tapestry</u></em><br />July 14 - September 11, 2007<br />Reception September 9, 2007 2 pm<br /><a href="http://www.burlingtonartcentre.on.ca/Exhibits/Tapestries_cat_web.pdf">Publication in PDF</a><br /><a href="http://www.burlingtonartcentre.on.ca/frames.html">Burlington Art Centre</a><br />AIC Gallery<br />Burlington, Ontario, L7S 1A9 905.632.7796<br /><br /><em><u>National Exhibition of Folk-Art in the Norwegian Tradition<br />Rosemaling, Weaving, Woodworking, Knifemaking</u><br /></em>A competition and sale of works by contemporary artists in the Norwegian tradition.<br />July 21 – July 28, 2007<br /><a href="http://www.vesterheim.org/exhibitions/national_exhib_of_folk-art.php">Vesterheim Norwegian-American Museum</a><br />Hauge Gallery, Westby-Torgerson Education Center<br />Decorah, IA<br />563.382.9681<br /><br /><em><u>Small Expressions 2007<br /></u></em>Handweavers Guild of America<br />July 27 – September 2, 2007<br /><a href="http://www/indplsartcenter.org/register/">Indianapolis Art Center</a><br />Indianapolis, IN<br />317.255.2464<br /><br /><em><u>Antiques as Inspiration</u></em><br />September 1 - 30, 2007<br />will feature more than a dozen of Karen Crislip’s new tapestries<br />Artist Talk and Reception September 6th, 2:00 to 4:00pm, Hondius Room of the library<br /><a href="http://estes.lib.co.us/default.asp">Estes Park Public Library</a><br />Upstairs Gallery<br />Estes Park, CO<br />970.586.8116<br /><br /><u><em>Tapestry: People and Places</em><br /></u>*this exhibit will feature works by tapestry weavers from our sister tapestry group, Tapestry Weavers South<br />Invitational Exhibition<br />September 27 - November 8, 2007<br />Opening Reception<br />September 29, 2-4pm<br /><a href="http://www.artisanscenterofvirginia.org/exhibitions.shtml">Artisans Center of Virginia</a><br />Waynesboro, VA540.946.3294<br /><br /><em><u>Las Arañas Tapestry Group</u><br /></em>September 28 – October 22, 2007<br /><a href="http://www.abqarts.org/gallery.htm">Arts Alliance Gallery</a><br />Albuquerque, NM<br />505.268.1920<br /><br /><em><u>Tapestry in the Baroque: Threads of Splendor</u></em><br />October 17, 2007–January 6, 2008<br />The Metropolitan Museum of Art<br /><a href="http://www.metmuseum.org/special/se_event.asp?OccurrenceId={EDAF202E-60FF-47BC-9909-F0F71008EAF6}">Special Exhibition Galleries</a><br />New York, NY<br />212.535.7710<br /><br /><strong>to see online<br /></strong><a href="http://www.americantapestryalliance.org/exhibitions/hellerwot/welcome.html"><em>Barbara Heller: Work Over Time</em></a><br /><a href="http://www.americantapestryalliance.org/exhibitions/tote/tote.html"><em>Tapestry On Edge</em></a><br />American Tapestry Alliance Web Gallery<br /><br /><em><u>Over/Under<br /></u></em>May 15 – July 15, 2007<br /><a href="http://www.fiberscene.com/">http://www.fiberscene.com/</a><br /><br /><strong>Workshops<br /></strong>(If you know of other workshops not listed here, please <a href="mailto:%20desertsonghart@yahoo.com">send the info to us</a> so we may add them to the list!)<br /><br /><em><u>Archie Brennan and Susan Maffei Workshop: July 28th - August 1st, 2007</u></em><br />Archie & Susan will give an intensive five day session at the Damascus Fiber School near Portland. $450.00 includes all yarns and a loan of a loom. Lunches are included as well as a host home if needed and transportation from Portland. Damascus School is a wonderful dreamy experience. It is an old school house with a great atmosphere. Last years session was said to be a life changing event for several of the participants! They are returning! A $100.00 deposit is needed to hold a place. The session is limited to 18. To find out more please contact<br />Pam Patrie<br />4314 NE 22nd Ave<br />Portland, OR 97211<br />503.284.2963<br /><a href="mailto:pampatriestudios@yahoo.com">pampatriestudios@yahoo.com</a><br /><br /><u><em>Mathematical Design: Symmetries, Tessellations and the Golden Proportion - Jennifer Moore: August 10-12, 2007</em></u><br />A class for any artisan (not just for weavers). Have you ever wanted to work with these wonderful tools forvisual design but been scared off by a lack of drawing or math skills? We will take a visual approach to working with symmetry movements, tiling patterns, and harmonious proportions, including the Fibonacci series. Through a series of fun exercises using drawing, rubber stamps and paper cutouts, you will create a toolbox of skills to use in creating your own designs. Jennifer has an MFA in Fiber, specializing in mathematical patterns and structures of music in weaving.<br /><a href="http://www.evfac.org/classes.htm">Española Valley Arts Center<br /></a>Española, NM<br />505.747.3577<br /><br /><u><em>Pictorial Tapestry - Robin Reider: September 8 – 11, 2007</em></u><br />Explore tapestry techniques and color grading. Using a photograph or picture of a landscape, the student will make a cartoon and create their own pictorial or abstract woven image. Participants will use prior tapestry knowledge to learn to follow curved lines as they grade and combine colors chosen from the instructor’s hand-dyed collection of wool. Both vertical and horizontal grading techniques will be taught. Robin shows and sells her tapestries and has wonnumerous awards.<br /><a href="http://www.evfac.org/classes.htm">Española Valley Arts Center<br /></a>Española, NM<br />505.747.3577<br /><br /><u><em>Weaving as Art, Weaving as Metaphor – Gerry Myers and special guest James Koehler: October 6, 2007<br /></em></u>In this seminar, we will use slides and short readings to explore some important concepts about art as it pertains to weaving. We will address the translation of art (paintings, poetry, etc.) into weavings. Participants can bring their favorite examples. We will also make inquiry into weaving as metaphor. Gerald Myers taught aesthetic philosophy at St John’s College, was director of the Community Seminar Program, and holds a PhD in biophysics. He now weaves in retirement.<br /><a href="http://www.evfac.org/classes.htm">Española Valley Arts Center<br /></a>Española, NM<br />505.747.3577<br /><br /><u><em>Connecting Image To Process/Process To Image - Susan Martin Maffei: October 16, 17, 18, 2007</em></u><br />Andean tapestry exhibits a stylized form of image, or mark making, that relates directly to the underlying structural grid of the weave and the techniques of woven tapestry. In this workshop we will explore these medium specific characteristics through hands on sampling of techniques, e.g. slits, interlocking, simple shape making and four-selvedge construction. Slide presentations will enrich our understanding of how the imagery in tapestries produced by different cultures is influenced by technical and structural constraints. Visits to museums, conservation labs and/or galleries will allow the examination of actual textiles. The knowledge gained in this exploration will be used to explore how these relationships might influence contemporary work. The workshop will be geared both towards those who are conversant with Andean textiles, but are not necessarily tapestry weavers, and to tapestry weavers whose familiarity with Andean textiles is limited. Participants are limited to twelve.For information and registration visit <a href="http://www.americantapestryalliance.org/">http://www.americantapestryalliance.org/</a>, or contact<br />Mary Lane at <a href="mailto:marylane53@mac.com">marylane53@mac.com</a><br />360.754.1105<br /><br />The workshop is timed to coincide with the opening of the Metropolitan Museum of Art’s exhibition, Tapestry in the Baroque: Threads of Splendor. Tapestry in the Baroque which opens October 17th. On October 20th and 21st the Met is hosting a two-day symposium in connection with the exhibition.<br /><br /><em><u>Intermediate Tapestry with Ann Keuper: November 2, 9, 16, 30 & December 7, 2007<br /></u></em>This class is an exploration of non-traditional and texture techniques in tapestry. During this six week session, students will dive into more adventurous tapestry techniques. Continuing to use the frame loom, students will weave another sampler using eccentric weaving techniques and texture techniques while also exploring the use of an assortment of weft materials. Students can be as adventurous or traditional as they would like. Designing intuitively is uncomfortable for many weavers. We will look at the weaving process and design an intuitive tapestry based on materials as time allows.<br />$135.00. Includes use of a frame loom, warp and weft materials, and handouts. $50 deposit required to hold your place, with the balance due upon the first day of class.<br /><a href="http://www.desertweaving.com/calendar.php">Desert Weaving Workshop</a><br />512 S. 6th Ave. Tucson, AZ 85701<br />520.792.6665<br /><br /><u><em>Hachure and Color Blending with James Koehler: Feb 23-27, 2008<br /></em></u>Participants will weave a sampler to learn various color gradation techniques and their uses in tapestry. Techniques taught in the workshop will include: hachure, hatching, the use of demi-duites, horizontal and vertical color gradation, and color mixing in weft bundles. A small scale tapestry will be woven incorporating the various techniques.<br />Participants should have a basic knowledge of tapestry techniques.<br />$400. Register before Jan 1, 2008 and save $25.<br />A $25 materials fee will provide for warp and weft and a folder of handouts.<br /><a href="http://www.desertweaving.com/calendar.php">Desert Weaving Workshop</a><br />512 S. 6th Ave. Tucson, AZ 85701<br />520.792.6665<br /><br /><em><a href="http://www.azfed.org/ftt.html">Arizona Federation of Weavers & Spinners - Fibers Through Time 2008</a> </em><em><u><br/>Natural Dye Workshop with Jane Hoffman: April 3-6, 2008<br /></u></em>Discover nature's sources of color. Trained artists know that muted, natural colors are the workhorses of their palette. A good color palette consists of harmonious hues and a range of value and intensity that frame and offset intense pure hues. Yarn shops offer limited choices of colors; however you can fill in the blanks by learning to dye. This comprehensive workshop shows you how to create beautiful, lightfast and washfast color from natural dyes. The emphasis in the workshop will be to create a range of value and intensity of colors. Jane will bring natural dye plants from her own dye garden, and native and imported dye material. You will learn to prepare the dyes, to mordant, to dye protein fiber, and to experiment with color by using postmordant baths, afterbaths, and exhaust baths. Handling dyes safely will be covered.<br/>*workshop will be held at <a href="http://www.desertweaving.com/calendar.php">Desert Weaving Workshop<br /></a>512 S. 6th Ave. Tucson, AZ 85701<br />520.792.6665<br /><br /><strong>Media</strong><br />(Know of any other fantastic reads or resources? Share them!)<br /><br /><strong>periodicals</strong><br /><em>the Crafts Report<br /></em><a href="http://craftsreport.com/">http://craftsreport.com/</a><br />A monthly business magazine for the crafts professional.<br /><br /><em>FiberArts</em><br /><a href="http://www.fiberarts.com/default.asp">http://www.fiberarts.com/default.asp</a><br />Contemporary textile art and craft.<br /><br /><em>Selvedge<br /></em><a href="http://www.selvedge.org/default.aspx">http://www.selvedge.org/default.aspx</a><br />A textile publication directed towards an international, discerning audience, Selvedge covers fine textiles in every context: fine art, interiors, fashion, travel and shopping.<br /><br /><em>Textile Fibre Forum<br /></em><a href="http://www.ggcreations.com.au/tafta/">http://www.ggcreations.com.au/tafta/</a><br />The aims of the magazine are eclectic, assuming the reader has a passion for textiles in many forms - the historical along with the contemporary - some curiosity about Australia and New Zealand in particular - empathy with the struggles of others (plus their successes and failures) in the textile journey - and a wish to be informed and entertained.<br /><br /><strong>books<br /></strong><em>Art & Fear: Observations on The Perils (and Rewards) of Artmaking</em> – David Bayles & Ted Orland<br /><br /><em>Almost an Island: Travels in Baja California</em> – Bruce Berger<br /><br /><em>The Anthropology of Turquoise: Reflections on Desert, Sea, Stone, and Sky</em> – Ellen Meloy<br /><br /><em>Barren, Wild, and Worthless: Living in the Chihuahuan Desert</em> – Susan J. Tweit<br /><br /><em>Bonelight: Ruin and Grace in the New Southwest</em> – Mary Sojourner<br /><br /><em>Desert Passages: Encounters with the American Deserts</em> – Patricia Nelson Limerick<br /><br /><em>The Desert Smells Like Rain: A Naturalist in O’Odham Country</em> – Gary Paul Nabhan<br /><br /><em>Fear Falls Away & Other Essays from Hard and Rocky Places</em> – Janice Emily Bowers<br /><br /><em>A Full Life in a Small Place and other essays from a desert garden</em> - Janice Emily Bowers<br /><br /><em>Getting Over the Color Green: Contemporary Environmental Literature of the Southwest</em>- Scott Slovic<br /><br /><em>The Mountains Next Door</em> - Janice Emily Bowers<br /><br /><em>Red: Passion and Patience in the Desert</em> – Terry Tempest Williams<br /><br /><em>Photographing Arts, Crafts & Collectibles: Take Great Digital Photos for Portfolios, Documentation, or Selling on the Web</em> - Steve Melzter<br /><br /><strong>Next Issue<br /></strong>Our current intent is to publish quarterly in January, April, July, and October. <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5GI3ZZqy3YMIb0BlQnZq94QgEmnN0HLrD_Dcb4C9W6p7gKheQB_dhlkTtPdSgX2jKoCPriBmQxB1QNy4fDwpLiNqQQ5XjwMM80NUlEqbnBCEK6C4Qref5opAKIRTucus-3T6U4o_TJ2s/s1600-h/joshuatree1+kathy.jpg"><img id="BLOGGER_PHOTO_ID_5087572352738877570" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5GI3ZZqy3YMIb0BlQnZq94QgEmnN0HLrD_Dcb4C9W6p7gKheQB_dhlkTtPdSgX2jKoCPriBmQxB1QNy4fDwpLiNqQQ5XjwMM80NUlEqbnBCEK6C4Qref5opAKIRTucus-3T6U4o_TJ2s/s320/joshuatree1+kathy.jpg" border="0" /></a><br /><br />The deadline for the next newsletter is September 30th.<br /><br />October's newsletter theme will be <strong><em>Desert Meditations</em></strong>, with the focus being centered on planning our online exhibit.<br /><br /><em>Please submit:</em><br />Any articles and images you would like to write surrounding that theme.<br />Any other topics pertaining to tapestry that you may feel inspired to write.<br />Info about where your work is currently showing.<br />Info about exhibits, workshops, or if you are teaching a class/workshop.<br />If you don't feel comfortable writing an article, send a few lines to introduce yourself if you haven't already done so, or to share with us what is current in your weaving world.<br />Remember, one of our group goals is to share and inspire each other!</p>blog weaverhttp://www.blogger.com/profile/09621896197371634532noreply@blogger.com3tag:blogger.com,1999:blog-2145032006145973079.post-30852724770506894822007-06-04T10:18:00.000-07:002008-12-09T07:18:07.650-08:00Clarifications - membership, subscribing, comments<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYaIM7eSmZrFl1apAy0Gn8ncpNidxEGg-o5XgwVv1uQJy2XwTeBMQZuTVmGpPAI_wiYULTYKE2joSfPROKifi1Phgrxzh-0iIn0wlOriZWv-0mw0HKx97dmAqZSK1RwhyphenhyphenIdy5Ya0fL8FM/s1600-h/lizard2.jpg"><img id="BLOGGER_PHOTO_ID_5072292888809016386" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYaIM7eSmZrFl1apAy0Gn8ncpNidxEGg-o5XgwVv1uQJy2XwTeBMQZuTVmGpPAI_wiYULTYKE2joSfPROKifi1Phgrxzh-0iIn0wlOriZWv-0mw0HKx97dmAqZSK1RwhyphenhyphenIdy5Ya0fL8FM/s400/lizard2.jpg" border="0" /></a><span style="color:#333333;"> As interest & membership in Desert Tapestry Weavers grows (members 22; subscribers 20), there may be a few wrinkles that pop up and need to be ironed out from time to time...<br /><br />It seems there is a little confusion surrounding membership, subscriptions, & comments, so please accept our apologies & we'll see if we can clear things up a bit!<br /></span><br /><br /><span style="color:#333333;">1.</span> <em><strong><span style="color:#993300;">Membership</span></strong></em><br /><span style="color:#000000;"><span style="color:#333333;">If you have</span> emailed <span style="color:#666666;"><span style="color:#333333;">us to let us know you'd like to be a member, you should see your name (first initial, last name, & state or country) listed in the drop down menu under the box entitled "<em>DTW members"</em> in the left hand column (click on the + to make the list drop down). If your name isn't there, & you want to be listed as a member, ple</span></span><span style="color:#333333;">ase</span> <a href="mailto:%20desertsonghart@yahoo.com">email</a></span><span style="color:#333333;"><a href="mailto:%20desertsonghart@yahoo.com"> us</a> so we can include you. Your name will be added to that public roster located here on the blog & your email will be kept in a private membership address book not accessible to blog readers. (Subscribing does not add you as a member-- more on this in a bit...)<br /></span><br /><span style="color:#333333;">2.</span> <em><strong><span style="color:#993300;">Subscribing</span></strong></em><br /><span style="color:#333333;">If you have received this post in an email, you have subscribed to the Desert Tapestry Weavers blog successfully! If you did not receive this post in an email, but discovered it upon visiting the actual blog & reading it here, you have not subscribed. You may subscribe by clicking on the link that reads "<em>receive Desert Tapestry Weavers blog updates via email"</em> under the SUBSCRIBE heading in the left hand column of the blog. Subscribing is an optional choice that is not necessary for membership.</span><br /><br /><span style="color:#333333;">3.</span> <em><span style="color:#993300;"><strong>Membership vs. Subscribing</strong></span></em><br /><span style="color:#333333;">This blog is a very public forum, meaning anyone on the web can read & post comments to it, which is desirable because we want to encourage all who may be interested in Desert Tapestry Weavers to come here for information and to spread the word about tapestry in general! However, all who may be interested in DTW may not also wish to be members. For instance, tapestry weavers from other regional groups may want to subscribe to receive news about our activities, but they may not want to get emails that are specific to members.<br /><br />Also, because of the public nature of DTW's blog, members are listed here only by first initial & last name to protect privacy. Member's email addresses will be maintained in a separate private address book and will not be posted on the blog unless a member chooses to post his or her email in a comment. Although most of our news will be disseminated via newsletters in the DTW blog, there may be occasions that information for members that does not need to be posted to the blog will be sent directly to members' email addresses.<br /></span><br /><span style="color:#333333;">4.</span> <strong><em><span style="color:#993300;">Leaving comments</span></em></strong><br /><span style="color:#333333;">Everyone may leave comments to the DTW blog's posts. It is not necessary to have an account on Blogger.com to do so. Please keep in mind that all comments are readable by all viewers, so do not post information that would compromise another person's privacy.<br /><br />Follow these steps to leave a comment:<br /><br /></span><span style="color:#333333;"><em>a. After clicking on the "comments" link below a post & getting the pop-up box, enter your comment.<br /><br />b. Then enter the "word verification" letters in the next field (word verification keeps auto-generated spam from being left as comments because the automated systems that send spam can't recognize or type in the letters).<br /><br />c. For "choose an identity", just choose "anonymous". In choosing "anonymous", you will not have to sign in or have any sort of account & you should be able to post your comment. Sign your post so we will all know it was from you!</em><br /><br />We hope this information clears up these subjects for everyone! If you still have questions, feel free to leave a comment to this post (others may have the same questions!) </span><span style="color:#666666;">or</span> <a href="mailto:%20desertsonghart@yahoo.com">contact us</a><span style="color:#333333;"><a href="mailto:%20desertsonghart@yahoo.com"> </a>directly.<br /><br />Lyn & Kathy P.</span>blog weaverhttp://www.blogger.com/profile/09621896197371634532noreply@blogger.com0tag:blogger.com,1999:blog-2145032006145973079.post-28602768581785469192007-05-23T10:30:00.000-07:002008-12-09T07:18:07.813-08:00Call for submissions! Deadline June 30th!<strong><em></em></strong><br /><strong><em>Desert Tapestry Weavers would like to publish the first quarterly newsletter & we need your help!!! </em></strong><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPbxomR6EbIYFIuq4nSEQNGmC9fDzYEBPlkZlo6DSFQccaW_tCkQ8vY2fzSUGMWP-1rdPPpLqTvMUsHgRp5Ucu_aqUjtr01slQyfdTcHjZsaXodmRAMEqSFgmdXwkvKfDZjtlsGg8f2_8/s1600-h/mini+desert.jpg"><img id="BLOGGER_PHOTO_ID_5078314001210956306" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPbxomR6EbIYFIuq4nSEQNGmC9fDzYEBPlkZlo6DSFQccaW_tCkQ8vY2fzSUGMWP-1rdPPpLqTvMUsHgRp5Ucu_aqUjtr01slQyfdTcHjZsaXodmRAMEqSFgmdXwkvKfDZjtlsGg8f2_8/s320/mini+desert.jpg" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />Please help make this first issue interesting & wonderful….<br /><br /><strong><em><span style="color:#993300;">Can you?.......</span></em><br /></strong><br />~Send us a brief article or poem you’ve written that describes how desert living has influenced your life & tapestry designs. Include images of your work, if available!<br /><br />~Send us news & images about what’s on your loom now & how your desert life played a role in its design!<br /><br />~Send us news of any workshops in the DTW region you know of!<br /><br />~Send us news of upcoming exhibits for entry, to visit, or to which your work has been accepted in the DTW region!<br /><br /><span style="color:#993300;"><strong>Reminders—<br /></strong></span><br />Please send your written articles & images as email attachments.<br /><br />If you are interested in being included as a member of Desert Tapestry Weavers, please leave a comment with your name on the “Welcome” post or <a href="mailto:%20desertsonghart@yahoo.com">contact us</a>.<br /><br />Take the time to <em>subscribe</em> to the DTW blog so you will receive notification of new posts!blog weaverhttp://www.blogger.com/profile/09621896197371634532noreply@blogger.com0tag:blogger.com,1999:blog-2145032006145973079.post-24753857130359033812007-05-22T09:03:00.000-07:002007-07-01T08:59:37.982-07:00Welcome!!!Welcome to the blog of Desert Tapestry Weavers, a loose organization of tapestry weavers from worldwide desert regions. Initially conceived as a regional group in conjunction with the American Tapestry Alliance, its concept has grown to include all desert weavers. It is our belief that for desert dwellers aridity and the awesome beauty of arid lands forms a certain state of mind. Given these similarities, we want to extend our region to all geographic areas of aridity. Our mission is to share our passion for tapestry through subjects common to all of us--scarcity of water, magnificent and unusual flora and fauna, arid landscapes, big skies. The list is long, but all of us who live in such environments know our connection to the land is profound. The vastness of the geographical area DTW includes would make actual meetings of the members hard to realize. For this reason, news and articles will be delivered to members via this weblog. This format will allow for membership and sharing of information without cost.<br /><br />Please join us in helping make this "regional" group a strong presence in the tapestry community. Our goals may be lofty, but we must start small by, first, defining the group which, thus, depends on you letting us know of your interest. Second, in time, we hope to launch an Internet show of tapestries on desert themes.<br /><br />Ultimately, we hope to have an actual show of medium or small tapestries in a yet to be discovered location. Since international participation is important to our goal we would encourage all international participants to consider post card tapestries, or small tapestries that are easily sent through the mails. To express your interest in becoming a member of DTW, <a href="mailto:%20desertsonghart@yahoo.com">drop us a line</a>! To voice your thoughts about the formation of this new group for all to read, click on the "comment" link at the bottom of this post!<br /><br />Again, welcome to Desert Tapestry Weavers! Please visit often to check for news updates as our organization grows.<br /><br />Kathy Perkins, co-director<br />Lyn Hart, co-directorblog weaverhttp://www.blogger.com/profile/09621896197371634532noreply@blogger.com6