Surface Design Journal - Winter 2013 - Sample Issue

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e d i t o r i a l

ABOVE: The Alamo, San Antonio, Texas. Photo: www.thealamo.org.COVER CREDIT: ANNET COUWENBERG Clothing as Interface: Pansori Portraits #1 Single channel HD video on monitor, 45" x 26," 2010. Korean

pansori singer Park Jung Bong wears a traditional hanbok costume and Dutch collar made of stitched paper doilies. Photo: Kika Nicolela.

in•ter•face

Winter2013

In•ter•face is defined by Merriam-Webster as“the place where two independent systemsmeet and act on or communicate with eachother.” Later this year, hundreds of textile-lovingartists, educators, and enthusiasts will do just thatwhen they come together at the 17th InternationalSurface Design Association Conference in SanAntonio, Texas (June 6–9, 2013). The conferencetheme of in•ter•face, further defined as “the meansby which interaction or communication isachieved,” will be explored through a series ofinspiring lectures, workshops, demonstrations, andgallery exhibitions. This year’s keynote speakers,acclaimed artists Janet Echelman and NathalieMiebach, will open our collective minds to ways of engaging more creatively with the world around us.

This issue examines the concept ofin•ter•face with a selection of thoughtful articlesby and about several featured conference partici-pants. Elissa Auther shares the illuminating multi-cultural works of Annet Couwenberg, who traveledabroad to gain a stronger sense of self. WarrenSeelig takes a closer look at the budding love affairbetween contemporary art and fiber materials andtechniques. Bean Gilsdorf unpacks Otto vonBusch’s experimental fashion “hactivism” work-shops held around the world. Closer to home,Gabriel Craig pieces together a heartfelt storyabout Kathryn Clark’s Foreclosure Quilts. At theother end of the spectrum, Michaele Haynesbrings to light San Antonio’s glamorous century-long Fiesta Gown tradition.

I love to travel and revel in seeing sites ofAmerican history. San Antonio’s most famoustourist destination, by far, is the Alamo. Research-ing the Texas Revolution, I learned that the finalbattle (fought between less than 200 defendersagainst over 1500 attacking troops) took place in1836 on March 6—my birthday. No wonder I’velonged to see this patriotic memorial since I was akid. The Alamo’s official website says it best, “Peopleworldwide continue to remember the Alamo as aheroic struggle against impossible odds—a placewhere men made the ultimate sacrifice for free-dom. For this reason, the Alamo remains hallowedground and the Shrine of Texas Liberty.”

Other exciting sites in San Antonio I can’twait to visit are the Southwest School of Art, host of our conference workshops, demonstrations,and exhibits of recent work by featured speakerMichael James, Trish Ramsay, and NaomiWanjiku. The hotly-anticipated Members’ FashionShow, in•ter•face: Fabricate, will be presented bythe University of the Incarnate Word’s renownedfashion program with special guest artist JudyBales. The pre-conference one-day Fiber StudyTour will include SDA President Jane Dunnewold’snew Art Cloth Studios, a Fiesta Gown exhibit atthe Witte Museum, and a stop at the McNay ArtMuseum to see the collections of theater arts, cos-tume drawings, and stage models from around theworld. Save me a seat on the bus!

Interested in submitting your work for theupcoming SDA Members’ Show, Members’Fashion Show, and/or Student Members’ Show?Online applications for all three will be availableJanuary 7, 2013 to coincide with online registra-tion for the conference. To download the submis-sion guidelines and the in•ter•face brochure, visitwww.surfacedesign.org/2013conference.

—Marci Rae McDade

Surface Design Journal [email protected]

Copyright Surface Design Journal®. Not to be reprinted. All rights reserved.


www.surfacedesign.org/2013conference

Surface Design Journal W

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06 Annet Couwenberg: Clothing as Interfaceb y E l i s s a A u t h e r

12 Unraveling Economies: Gali Cnaanib y J e s s i c a H e m m i n g s

16 Change from Within: Otto von Buschb y B e a n G i l s d o r f

20 Catching the Light in San Antoniob y M i c h a e l e H a y n e s

26 Kathryn Clark’s Foreclosure Quiltsb y G a b r i e l C r a i g

30 An Artworld under the Spellb y Wa r r e n S e e l i g

36 Alighiero Boetti: Game Planb y M a s o n R i d d l e

40 Mining for Gold in Museum Collectionsb y B r u c e W . P e p i c h

46 Simon Beck’s Winter Wonderlandb y J a m i e C h a l m e r s


Winter 2013

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Volume 37 Number 2

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54

d e p a r t m e n t s

50 ExposureA gallery of recent work

by SDA members

52 First PersonBeth Barron

54 In ReviewCrossing the Line:

The Many Faces of Fiber

New York, New York

COTTON: Global Threads

Manchester, England

Edward Lambert: A Retrospective

Greenville, North Carolina

60 Spotlight on EducationUniversity of the Incarnate Word

San Antonio, Texas

Southwest School of Art

San Antonio, Texas

64 In PrintThe Art of Not Making:

The New Artist/Artisan Relationship

65 A Letter from Jane Dunnewold, SDA President


b y E l i s s a A u t h e r

Annet Couwenberg’s artistic practice hasalways been concerned with structure, and hernewest body of work Clothing as Interface is noexception. The moniker is an umbrella for threeprojects—Cross-Cultural Muslim Identity (2010);Pansori Portraits #1–4 (2010); and Shared History(2010)—that originated in creative encountersbetween Couwenberg and, respectively, Muslimwomen in the Netherlands and pansori singers inSouth Korea. Much of the artist’s work leading upto Clothing as Interface—for instance, the corset-like form Untitled #4 (1996) or the deconstructedRuffled Collar (2004)—has investigated dress forits structural capacity, likening it to architecture orfurniture. Textiles have also often functioned asmarkers of identity in Couwenberg’s pieces. Withthis new body of work, the artist extends herlong-standing investigation of both issues byfocusing on the role textiles play in social struc-tures, not only as emblems of group identity, butalso as an “interface” that inflects our sense of selfin relation to others.

Cross-Cultural Muslim Identity was con-ceived and carried out in Rotterdam Zuid (South),historically a working class, and, after WWII, pre-dominantly immigrant neighborhood whereCouwenberg lived as a child. For this project,Couwenberg joined Freehouse Rotterdam, aneighborhood social enterprise organized to pro-vide resident women with an income fromsewing. The group consisted of Muslim women ofprimarily Turkish descent and Couwenberg, who,while sewing alongside the other participants,conducted informal interviews with them abouttheir experiences as immigrants. As an immigrantto the US nearly 25 years ago, Couwenberg is asympathetic interlocutor when it comes to thestruggle to recreate a sense of belonging in one’sadopted country. As the video documenting theproject suggests, ties to family, the larger immi-grant community, and religion mattered

ANNET COUWENBERG with her piece Clothing as Interface: Shared History.

RIGHT, TOP: ANNET COUWENBERG Clothing as Interface: SharedHistory Recycled advertisement vinyl banners, industrial ties, thread,

bojagi, Seminole Patchwork, 12" x 150" x 280", 2010.RIGHT, BOTTOM: ANNET COUWENBERG Clothing as Interface:Meeting Point #2 Recycled advertisement vinyl banners, industrialties, thread, origami, 12" x 100" x 30", 2010. Photos: Dan Meyers.

Clothing as InterfaceA n n e t C o u w e n b e r g


7Winter2013


ANNET COUWENBERG Clothing as Interface: Pansori Portraits #2 Single channel HD video on monitor, 45" x 26," 2010. Korean pansori singer Ko So Ra wears a traditional hanbok costume and Dutch collar made of stitched paper doilies. Photo: Kika Nicolela.

9Winter2013

immensely to the women, and the role of tra-ditional dress, such as the wearing of the hijabheadscarf, was connected to maintaining allthree. The video work also recordsCouwenberg in student mode learning tomake oya, a Turkish lace that adorns scarves,towels, and tablecloths, among other items.This exchange of fiber culture, history, andskills between the artist, herself a skilled lacemaker in the Dutch tradition, and her collaborators extended Couwenberg’s goal ofcreating a meaningful reciprocal relationshipbetween her and the foreign-born participantsof the sewing sessions.

Cross-Cultural Muslim Identity con-tributes to the already prominent position offiber-based art within the contemporary genreknown as social sculpture or, more commonly,social practice in the arts. In such projects,

artists function as choreographers of socialinteractions intended to motivate communalforms of exchange. It’s no surprise that craft,particularly sewing and other forms of fiberart, is often the glue that holds these projectstogether and creates the possibility for positive forms of interaction. The pleasure ofproductive, immersive labor combined with a creative component built into the task athand creates a platform for sociability andexchange.

No doubt, Couwenberg’s nearly 20years of professional experience as the chair of the Fiber Department at the MarylandInstitute College of Art (MICA) in Baltimoreprimed her for the demands of working in col-laboration with others. In 2009, she steppeddown as chair to spearhead a new MFA insmart textiles, a field that is inherently cross-disciplinary. Out of this work came coursesthat were team-taught with faculty acrossMICA. In 2010, she took this cross-disciplinarymodel to a new height with her course Wash &Wear Electronics: Smart Textiles, which

brought together MICA’s departments of Fiberand Interactive Design, and Johns HopkinsUniversity’s Digital Media Center. Togetherthey created the Collaborative Smart TextilesResearch Lab, an unconventional learningenvironment that challenges students fromboth institutions to work across disciplines orin fields altogether new to them.

Couwenberg continued her explo-ration of the role of traditional dress in SouthKorea where she spent part of 2010 and 2011in residencies at the Gyeonggi Creation Center(GCC) and the Kaywon School of Art & Design(KSAD) in Seoul. The starting point for thework that resulted from these residencies wasan examination of the traditional Korean dresscalled the hanbok, worn only in performanceor ceremonial settings at this point in its histo-ry. In the work that resulted, Couwenbergexamined the hanbok’s structure of layers andfolds and reimagined it as a hybridized form.

The first works to be completed wereClothing as Interface: Meeting Point #2 and #3(2010). These floor-based sculptures are madeof discarded vinyl banners stored at the GCCthat have been folded into hanboks. The flat-ness of the constructions highlights the ele-gant intricacies of the dress’s pattern of foldsand references paper origami, particularly inthe way the bodices of the sculptural formsgently rise from the ground and are suspend-ed in place through a precise crease. There is anoble regal tone to the prostrated ancient gar-ment that contrasts with the salvaged contem-porary advertising banners used to constructthem. The collision of Korean history with con-temporary commercial culture in these worksacts as a metaphor for Korean society itself,wherein respect for tradition and the embraceof the modern are held in delicate balance.

Korea and the Netherlands share ahistory that dates back to the 17th centurywhen Hendrik Hamel shipwrecked off theSouthern coast of South Korea and JanWeltevree was stranded in 1627 near Busan.The presence of both has left traces on thelocal culture and, through the writings ofHamel, gave the Dutch a firsthand account of Korea. In Clothing as Interface, Couwenbergreferences this cross-cultural encounter in thevideo installation Pansori Portraits #1–4 (2010)and the sculpture Shared History (2010).

Clothing as Interface: Pansori Portraits

Korea and the Netherlandsshare a history that dates backto the 17th century…


#1–4 are four single channel, highdefinition videos of well-knownKorean pansori singers wearingand performing in the traditionalhanbok fitted with Dutch ruffledcollars made of stitched-togethercommercially available paperdoilies. Pansori is a genre of tradi-tional Korean music consisting ofa single vocalist-storyteller singingsongs of love and loss and a per-cussionist who punctuates thestory and singing style with sim-ple beats and verbal sounds. Intheir video portraits, Couwenbergasked the singers to sit silently inposes reminiscent of Rembrandtportraits while running through aperformance in their heads. Thepatient viewer will notice thatthere is an occasional change infacial feature, like a tear streamingdown the face of one of thesingers at a dramatic point in thisdifficult mental exercise.

Couwenberg introducesthe Dutch ruffled collar again inClothing as Interface: SharedHistory. In this case, the collar formis part of a broader cross-culturalencounter where it comingleswith Korean hanbok and bojagitextile forms and Native AmericanSeminole patchwork. Together,these forms representCouwenberg’s Dutch heritage,adopted homeland of the US, andher new Korean environment atGCC. This work ideally illustratesCouwenberg’s stated vision ofClothing as Interface as a fiber-based global gathering site of traditions and histories.

ANNET COUWENBERG Clothing as Interface: Pansori Portraits #3 Single channel HD video onmonitor, 45" x 26," 2010. Korean pansori singer Han Jung Yi wears a traditional hanbok costume

and Dutch collar made of stitched paper doilies. Photo: Kika Nicolela.

No doubt, Couwenberg’s nearly 20 years of professional experience… primed her for the

demands of working in collaboration with others.

11Winter2013

ANNET COUWENBERG Clothing as Interface: Pansori Portraits #4 Single channel HD video onmonitor, 45" x 26," 2010. Korean pansori singer Kang Tae Gwan wears a traditional hanbok

costume and Dutch collar made of stitched paper doilies. Photo: Kika Nicolela.

Couwenberg’s return toRotterdam and her residenciesin South Korea provided theartist with a period of time toreflect upon her own journey to the US and the opportunityto examine the boundaries ofher own heritage in relation toothers through the history oftextiles and clothing. However,Clothing as Interface is not just apersonal investigation; it alsosupports the value of hybridizedidentities in a world where peo-ple, often disconcertingly, preferto cling to expressions of identi-ty defined as “pure,” many car-ried out through dress or othertextile forms.

Annet Couwenberg’s website iswww.annetcouwenberg.com. To learn more about the FiberDepartment at the MarylandInstitute College of Art (MICA) inBaltimore, visit www.mica.edu.Author and art historian ElissaAuther will be a featured speaker atin•ter•face, the 17th InternationalSurface Design Association confer-ence in San Antonio, TX (June 6–9,2013). To read the brochure andregister online, visit www.surfacedesign.org/2013conference.

—Elissa Auther is AssociateProfessor of Contemporary Art atthe University of Colorado,Colorado Springs, and the author ofString, Felt, Thread: The Hierarchyof Art and Craft in American Art(2010, University of MinnesotaPress). www.elissaauther.com




E POSUREX

MARIA SHELLAnchorage, AlaskaSpeedy Higgins Plays the DrumsVintage and commercial textiles,hand-dyed fabrics, thread, batting, machine quilting, 37.5" x 37.5", 2012.Photo: Chris Arend.www.mariashell.com

JANET LASHERCharlotte, North CarolinaConscription (with detail) Abaca, seed, sinew,cast abaca pulp over reed, sinew stitchedspine, 24 figures each 47" x 13" x 9", 2012.Photos by the artist.www.janetalasher.com


www.surfacedesign.org/users/janet-lasher

www.surfacedesign.org/users/maria-shell

51Winter2013

Artists represented on the “Exposure” pages are members of the SurfaceDesign Association (SDA); www.surfacedesign.org. This issue featuresmembers who will present exhibitions of recent work during in•ter•face,the 17th International Surface Design Association conference in SanAntonio, Texas (June 6–9, 2013). To read the brochure and register online,visit www.surfacedesign.org/2013conference.

KELSEY VIOLA WISKIRCHEN

Kirksville, MissouriHer Name is Sopapilla Polyester thread, free-motion machine embroidery, 35" x 24", 2012.Photo by the artist.www.kelseyviola.com

TRISH RAMSAY

Huntsville, TexasInterloper (with detail) Over 1200 felt balls onsteel rods placed around a 130-year-old cedartree, 20' x 20' 2012. Created with help from students at Sam Houston State University,Huntsville, Texas. Photos by the artist.www.innerspacelabs.com/ramsay

www.surfacedesign.org/users/kelsey-wiskirchen

www.surfacedesign.org/users/trish-ramsay

The Textile Study Group of New York (TSGNY)celebrated its 35th anniversary with an exhi-bition of members’ work that showcased howdiverse fiber art has become. Crossing the Line:The Many Faces of Fiber consisted of 58 pieces cre-ated by 54 members chosen by juror Rebecca A. T.Stevens from 160 entries. The show was elegantlymounted in the spacious World Financial CenterCourtyard Gallery (December 6, 2011–April 1,2012) with natural light changing the character ofpieces throughout the day.

Diversity was everywhere apparent.Techniques ranged from the use of high-techelectronic equipment to very simple, slow, repeti-tive handwork. Often it was technique layeredupon or used with another. Materials could bethe time-honored fibers such as linen, wool, silk,and cotton, or novelties including various metals,wires, papers, buttons, tea bags, zippers, tire frag-ments, and other found materials. Recycling wasa prominent theme in the show. Size ran thegamut from very small to large; most pieces werewall-mounted since only about a dozen objectscould be considered truly three-dimensional.Concepts ranged from ultra-realism to impres-sionism, fantasy, and pure abstraction. Color wasa strong element in much of the work, with therest relying on form and line to carry the content.

Every piece was worthy of a few wordsof comment, but several “spoke” with more inten-sity to me. I was immediately drawn to the darkhue nuances and dramatic U-shaped sweep ofExtension/Velocity by Elaine Longtemps, with itsmyriad of thin, multicolored cotton ropesstitched to a white canvas. Equally fascinatingwas Polly Barton’s Sotto Voce, a silk and rayonpiece using ikat and sumi ink to imply a centeredorb in shades of orange. In an almost mysticalway, color and form shifted and coalesced withinthe frame. White and gold sparkled from NancyKoenigsberg’s Morning Lightmade of knottedcopper wire and glass beads. It flowed downfrom the wall glistening, glowing, and rivetingthe eye.

Betty Vera’s Division is a beautifulabstract of a hundred colors in a barely defined

landscape—one of the best pieces to come froma jacquard loom in a long time. In Kate Weaver’sCrude Explorations, bright color is airbrushed onsatin and hand-quilted into a shiny, futuristicpainting. The brilliant colors of Flag 5 by LarrySchulte are created with acrylic paint on paperthat was cut into strips and woven into a symmetrical pattern with a center that seems to pulsate.

The other side of bright was LeavingHome, a quiet, contemplative piece by GraceBakst Wapner. This linear abstraction is composedwith a minimum of color in thread, paint, andpaper with intimations of Paul Klee and theserenity of Agnes Martin. Also toned down isGeorge-Ann Bower’s Ohlone Housecoat with itspalette of tans, browns, and grays. Triple-weavepickup gives form to the deep, undulating foldsof the front side of this portly house-wife’s gar-ment, accessorized with a stuffed purple belt.

Emotion overtakes color in Hyunju Kim’sNubigt, 000, 080, a realistic portrait of a gaunt,warrior-like face. The large blue background clothhas an irregular edge as if it had been violentlycut from its source. The strong face with its shad-ows and contours is machine-stitched over andover in whites and grays to obtain the powerful,sad expression. In this same forlorn vein is FatedGlory, Adrienne Sloane’s knitted version of theAmerican flag. It looked merely torn until I real-ized the red stripes were hung or falling bodies.

Never a Dull Moment by Emily Dvorinwas one of the few sculptural pieces, small butintriguing in shape, and even more so in its useof found materials like cable ties, bobby pins,florist wire, and gutter screening. This fascinatingassemblage is held together with embroiderytechniques.


Reviewed by Nell Znamierowski

New York, New York

Crossing the Line:The Many Faces of FiberWorld Financial Center Courtyard Gallery

i nr eview

HYUNJU KIM Nubigt, 000, 080 Stitching on repurposed denim cloth,dimensions variable. Photo: Manhong Lee.


ELAINE LONGTEMPS Extension/Velocity Hand-painted cotton ropes, gessoed cotton canvas, acrylic polymer, pencil grid, knotting, stitching,

draping, painting, 106" x 72" x 3", 1972. Photo: D. James Dee.

Winter2013 55

A New York–based organization, TSGNYstarted with just a few fiber artists meeting infounder Nancy Koenigsberg’s living room.Membership now hovers around 207 andincludes artists from other states, as well asCanada and Europe. Kudos to both TSGNY andthe Brookfield Group that manages the WorldFinancial Center Courtyard Gallery for all the hardwork it takes to present such a large and com-plex survey of contemporary fiber art.www.worldfinancialcenter.com/arts-eventswww.tsgny.org

—Nell Znamierowski is a retired textile designer, color

consultant, and professor at the Fashion Institute of

Technology in New York. She has written about textiles

and related subjects since the 1950s.

EMILY DVORIN Never a Dull Moment Gutter screening, cable ties,bobby pins, florist's wire, assemblage and embroidery,

11" x 21" x 12", 2009. Photo: Kate Cameron.

LARRY SCHULTE Flag 5 Acrylic paint, cotton rag paper, painted paper cutinto strips and woven, 34" x 34" x 2", 2005.

Photo: D. James Dee.

POLLY BARTON Sotto Voce Rayon warp and ikat silk weft, vermillionsumi ink, tapestry and ikat, 51.25" x 53.75" x 1.5", 2006.

Photo: Wendy McEahern.

asti

HistoryFounded in 1977, the Surface Design Association is an interna-

tional not-for-profit organization with an office in Sebastopol,

California. SDA seeks to raise the level of excellence in textile

surface design by inspiring creativity and encouraging inno-

vation through all its undertakings. Our current membership

of nearly 4000 national and international members includes

independent artists, designers, educators, curators and gallery

directors, scientists, industrial technicians, entrepreneurs, and

students.

Publications and Website

Surface Design Journal, the Association’s quarterly magazine,

offers in-depth articles on subjects of interest to contempo-

rary textile artists, designers, and other professionals in the

field. Each issue is designed around a theme relevant to sur-

face design and offers perceptive commentary unequaled by

any other peer publication. Accompanying each article are

full-color reproductions of work by leading-edge artists.

The monthly eNews spotlights time-sensitive information,

including exhibition opportunities and initiatives.

The online SDA NewsBlog features news of SDA member

activities, reports on events relevant to surface design, and

information on professional resources. The blog is located on

the SDA website (www.surfacedesign.org).

The website includes ongoing updates on SDA conferences; a

gallery featuring members’ artwork; an international calendar

of textile-related events; and a bulletin board listing opportu-

nities for exhibitions, grants and employment.

Conferences

The Surface Design Association sponsors major biennial inter-

national conferences as well as smaller regional and interna-

tional conferences. Programs feature distinguished speakers

offering perspectives on surface design, workshops and

demonstrations covering a wide range of contemporary and

historical techniques, exhibitions, fashion shows, vendor

expos, and other events. Conferences have been held at differ-

ent US and international locations.

Member Benefits

• Four issues of Surface Design Journal

• Ongoing SDA NewsBlog updates & monthly eNews

• National, international and regional conferences

• Networking opportunities

• Opportunity to submit images of work to the “Exposure”

section of the Journal

• Image Library for promotion of members’ artwork

• SDA Instructors Registry

• Promotion and representation of members’ work and

professional activities via the Journal, NewsBlog and website

• Free 30-word non-commercial classified ad

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Surface Design Journal - Winter 2013 - Sample Issue

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