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Titleragged cloth cafe, serving art and textiles | discussions and ideas about art and textile art

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jasper johns gray: looking and seeing (by clairan ferrono)
laurie wohl — unweavings (by kathleen loomis)
have you ever wondered where your sewing machine came from? (by sandy wagner)
material and immaterial (by eileen doughty)
winning hands (by olga norris)
white gloves at the ready!
found in the international honor quilt boxes — ana lupas (by kathleen loomis)
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ragged cloth cafe, serving art and textiles https://raggedclothcafe.com/
blog https://raggedclothcafe.com/
about https://raggedclothcafe.com/about/
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jasper johns gray: looking and seeing (by clairan ferrono) https://raggedclothcafe.com/2015/04/05/jasper-john-gray-looking-and-seeing-by-clairan-ferrono/
art ideas https://raggedclothcafe.com/category/art-ideas/
comments https://raggedclothcafe.com/2015/04/05/jasper-john-gray-looking-and-seeing-by-clairan-ferrono/#comments
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laurie wohl — unweavings (by kathleen loomis) https://raggedclothcafe.com/2015/03/22/laurie-wohl-unweavings-by-kathleen-loomis/
artist https://raggedclothcafe.com/category/artist/
textile art https://raggedclothcafe.com/category/textile-art/
comment https://raggedclothcafe.com/2015/03/22/laurie-wohl-unweavings-by-kathleen-loomis/#comments
laurie wohl, http://www.lauriewohl.com/
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art with a needle http://artwithaneedle.blogspot.com/
have you ever wondered where your sewing machine came from? (by sandy wagner) https://raggedclothcafe.com/2015/02/15/have-you-ever-wondered-where-your-sewing-machine-came-from/
art ideas https://raggedclothcafe.com/category/art-ideas/
comments https://raggedclothcafe.com/2015/02/15/have-you-ever-wondered-where-your-sewing-machine-came-from/#comments
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- https://raggedclothcafe2.files.wordpress.com/2015/01/1880.jpg
material and immaterial (by eileen doughty) https://raggedclothcafe.com/2015/02/10/material-and-immaterial/
art ideas https://raggedclothcafe.com/category/art-ideas/
comment https://raggedclothcafe.com/2015/02/10/material-and-immaterial/#comments
art theory https://raggedclothcafe.com/tag/art-theory/
brooklyn museum https://raggedclothcafe.com/tag/brooklyn-museum/
judith scott https://raggedclothcafe.com/tag/judith-scott/
new york city https://raggedclothcafe.com/tag/new-york-city/
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http://www.brooklynmuseum.org/exhibitions/judith_scott/ http://www.brooklynmuseum.org/exhibitions/judith_scott/
winning hands (by olga norris) https://raggedclothcafe.com/2015/02/08/winning-hands-by-olga-norris/
art ideas https://raggedclothcafe.com/category/art-ideas/
10 comments https://raggedclothcafe.com/2015/02/08/winning-hands-by-olga-norris/#comments
making https://raggedclothcafe.com/tag/making/
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white gloves at the ready! https://raggedclothcafe.com/2015/01/25/white-gloves-at-the-ready/
art ideas https://raggedclothcafe.com/category/art-ideas/
comments https://raggedclothcafe.com/2015/01/25/white-gloves-at-the-ready/#comments
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via http://www.melbournemodernquiltguild.com/2014/11/08/
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via http://www.quilts.org/angels.html
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via http://margaret-cooter.blogspot.co.uk/2014/08/foq-2014.html
this http://www.nzherald.co.nz/nz/news/article.cfm?c_id=1&objectid=10873118
- https://raggedclothcafe2.files.wordpress.com/2015/01/whiteglove.jpg
via http://mehitabelsmusings.blogspot.co.uk/2013/03/inter-national-quilt-day.html
contemporary quilt http://www.contemporaryquilt.org.uk/
- https://raggedclothcafe2.files.wordpress.com/2015/01/san-diego.jpg
via http://www.sandiegoquiltshow.com/oh-night/%20
- https://raggedclothcafe2.files.wordpress.com/2015/01/ireland12.jpg
via http://www.quiltmaker.com/blogs/quiltypleasures/2013/09/quilted-inspiration/
- https://raggedclothcafe2.files.wordpress.com/2015/01/pin.jpg
via http://www.road2ca.com/
found in the international honor quilt boxes — ana lupas (by kathleen loomis) https://raggedclothcafe.com/2015/01/12/found-in-the-international-honor-quilt-boxes-ana-lupas-by-kathleen-loomis/
art ideas https://raggedclothcafe.com/category/art-ideas/
artist https://raggedclothcafe.com/category/artist/
textile art https://raggedclothcafe.com/category/textile-art/
women in art https://raggedclothcafe.com/category/women-in-art/
comment https://raggedclothcafe.com/2015/01/12/found-in-the-international-honor-quilt-boxes-ana-lupas-by-kathleen-loomis/#comments
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my personal blog http://artwithaneedle.blogspot.com/2015/01/ihq-1-ana-lupas.html
next page » https://raggedclothcafe.com/page/2/
- http://junomain.wordpress.com/feed
jasper johns gray: looking and seeing (by clairan ferrono) https://raggedclothcafe.com/2015/04/05/jasper-john-gray-looking-and-seeing-by-clairan-ferrono/#comment-58304
jasper johns gray: looking and seeing (by clairan ferrono) https://raggedclothcafe.com/2015/04/05/jasper-john-gray-looking-and-seeing-by-clairan-ferrono/#comment-58303
laurie wohl — unweavings (by kathleen loomis) https://raggedclothcafe.com/2015/03/22/laurie-wohl-unweavings-by-kathleen-loomis/#comment-58125
have you ever wondered where your sewing machine came from? (by sandy wagner) https://raggedclothcafe.com/2015/02/15/have-you-ever-wondered-where-your-sewing-machine-came-from/#comment-58081
liz hankins http://vision-gallery.co.uk
the art of fiber / the fiber of art (by olga norris) https://raggedclothcafe.com/2014/12/21/the-art-of-fiber-the-fiber-of-art-by-olga-norris/#comment-58046
material and immaterial (by eileen doughty) https://raggedclothcafe.com/2015/02/10/material-and-immaterial/#comment-57937
winning hands (by olga norris) https://raggedclothcafe.com/2015/02/08/winning-hands-by-olga-norris/#comment-57898
have you ever wondered where your sewing machine came from? (by sandy wagner) https://raggedclothcafe.com/2015/02/15/have-you-ever-wondered-where-your-sewing-machine-came-from/#comment-57890
sheila barnes http://idahobeautyquilts.blogspot.com/
have you ever wondered where your sewing machine came from? (by sandy wagner) https://raggedclothcafe.com/2015/02/15/have-you-ever-wondered-where-your-sewing-machine-came-from/#comment-57823
sheila barnes http://idahobeautyquilts.blogspot.com/
winning hands (by olga norris) https://raggedclothcafe.com/2015/02/08/winning-hands-by-olga-norris/#comment-57822
sheila barnes http://idahobeautyquilts.blogspot.com/
white gloves at the ready! https://raggedclothcafe.com/2015/01/25/white-gloves-at-the-ready/#comment-57821
sandrasart http://sandralwagner.com
have you ever wondered where your sewing machine came from? (by sandy wagner) https://raggedclothcafe.com/2015/02/15/have-you-ever-wondered-where-your-sewing-machine-came-from/#comment-57756
aikifox85 http://acloththeworld.wordpress.com
have you ever wondered where your sewing machine came from? (by sandy wagner) https://raggedclothcafe.com/2015/02/15/have-you-ever-wondered-where-your-sewing-machine-came-from/#comment-57752
have you ever wondered where your sewing machine came from? (by sandy wagner) https://raggedclothcafe.com/2015/02/15/have-you-ever-wondered-where-your-sewing-machine-came-from/#comment-57751
have you ever wondered where your sewing machine came from? (by sandy wagner) https://raggedclothcafe.com/2015/02/15/have-you-ever-wondered-where-your-sewing-machine-came-from/#comment-57750
jasper johns gray: looking and seeing (by clairan ferrono) https://raggedclothcafe.com/2015/04/05/jasper-john-gray-looking-and-seeing-by-clairan-ferrono/
laurie wohl — unweavings (by kathleen loomis) https://raggedclothcafe.com/2015/03/22/laurie-wohl-unweavings-by-kathleen-loomis/
have you ever wondered where your sewing machine came from? (by sandy wagner) https://raggedclothcafe.com/2015/02/15/have-you-ever-wondered-where-your-sewing-machine-came-from/
material and immaterial (by eileen doughty) https://raggedclothcafe.com/2015/02/10/material-and-immaterial/
winning hands (by olga norris) https://raggedclothcafe.com/2015/02/08/winning-hands-by-olga-norris/
white gloves at the ready! https://raggedclothcafe.com/2015/01/25/white-gloves-at-the-ready/
found in the international honor quilt boxes — ana lupas (by kathleen loomis) https://raggedclothcafe.com/2015/01/12/found-in-the-international-honor-quilt-boxes-ana-lupas-by-kathleen-loomis/
international honor quilt project (by kathleen loomis) https://raggedclothcafe.com/2015/01/05/international-honor-quilt-project-by-kathleen-loomis/
the art of fiber / the fiber of art (by olga norris) https://raggedclothcafe.com/2014/12/21/the-art-of-fiber-the-fiber-of-art-by-olga-norris/
suffering for art (by margaret cooter) https://raggedclothcafe.com/2014/12/15/suffering-for-art-by-margaret-cooter/
perfect copies — but are they art? (by kathleen loomis) https://raggedclothcafe.com/2014/11/23/perfect-copies-but-are-they-art/
the fascination of ferrous oxide (by olga norris) https://raggedclothcafe.com/2014/11/16/the-fascination-of-ferrous-oxide-by-olga-norris/
messing about with books (by margaret cooter) https://raggedclothcafe.com/2014/11/03/messing-about-with-books-by-margaret-cooter/
still lifes of georgio morandi (by clairan ferrono) https://raggedclothcafe.com/2014/10/26/still-lifes-of-georgio-morandi-by-clairan-ferrono/
quilt (r)evolution exhibit at the dairy barn (by kathleen loomis) https://raggedclothcafe.com/2014/10/19/quilt-revolution-exhibit-at-the-dairy-barn-by-kathleen-loomis/
art & perception http://http://www.artandperception.com/
wordpress.com http://wordpress.com/
wordpress.org http://wordpress.org/
angela moll http://www.angelamoll.com/
eileen doughty http://www.doughtydesigns.com
gabrielle swain http://www.gabrielleswain.com/
jane davila http://www.janedavila.com
june underwood http://www.juneunderwood.com
kate themel http://www.katethemel.com
linda frost http://www.13thstreetstudio.typepad.com/
martine house http://www.housefiber.com/
sandy wagner http://www.sandralwagner.com
terry grant http://andsewitgoes.blogspot.com/
angela moll https://raggedclothcafe.com/author/amoll/
art and the natural world (by angela moll) https://raggedclothcafe.com/2008/08/13/art-and-the-natural-world-by-angela-moll/
living with art (by angela moll) https://raggedclothcafe.com/2008/05/04/living-with-art-by-angela-moll/
agnes martin (by angela moll) https://raggedclothcafe.com/2008/04/06/agnes-martin/
craft vs. art, one more time – angela moll https://raggedclothcafe.com/2008/03/07/craft-vs-art-one-more-time/
clairan https://raggedclothcafe.com/author/clairan/
jasper johns gray: looking and seeing (by clairan ferrono) https://raggedclothcafe.com/2015/04/05/jasper-john-gray-looking-and-seeing-by-clairan-ferrono/
still lifes of georgio morandi (by clairan ferrono) https://raggedclothcafe.com/2014/10/26/still-lifes-of-georgio-morandi-by-clairan-ferrono/
some time later (by clairan ferrono) https://raggedclothcafe.com/2014/07/27/some-time-later-by-clairan-ferrono/
racine art museum (by clairan ferrono) https://raggedclothcafe.com/2014/04/13/racine-art-museum-by-clairan-ferrono/
emily carr, redux (by clairan ferrono) https://raggedclothcafe.com/2014/01/07/emily-carr-redux-by-clairan-ferrono/
eileen https://raggedclothcafe.com/author/eileenqa/
material and immaterial (by eileen doughty) https://raggedclothcafe.com/2015/02/10/material-and-immaterial/
maya lin: systematic landscapes (by eileen doughty) https://raggedclothcafe.com/2009/04/14/maya-lin-systematic-landscapes-by-eileen-doughty/
critique or collaborate? by eileen d. https://raggedclothcafe.com/2008/08/07/critique-or-collaborate-by-eileen-d/
mlk brouhaha (eileen d.) https://raggedclothcafe.com/2008/05/25/mlk-brouhaha-eileen-d/
draw a pig (eileen d.) https://raggedclothcafe.com/2008/04/01/draw-a-pig-eileen-d/
gabrielleswain https://raggedclothcafe.com/author/gabrielleswain/
sabbatical and the quilt artist (gabrielle s.) https://raggedclothcafe.com/2008/04/02/sabbatical-and-the-quilt-artist/
picasso: the blue period and comments on working in series https://raggedclothcafe.com/2008/02/07/picasso-the-blue-period-and-comments-on-working-in-series/
louise nevelson….independent and innovative https://raggedclothcafe.com/2008/01/02/louise-nevelsonindependent-and-innovative/
the creative personality by gabrielle swain https://raggedclothcafe.com/2007/12/05/the-creative-personality/
richard diebenkorn: a master of spatial relationships https://raggedclothcafe.com/2007/11/08/richard-diebenkorn-a-master-of-spatial-relationships/
jane davila https://raggedclothcafe.com/author/jdavila13/
public art, by jane dávila https://raggedclothcafe.com/2008/03/31/public-art-by-jane-davila/
andres serrano, by jane dávila https://raggedclothcafe.com/2008/02/13/andres-serrano-by-jane-davila/
willie cole – by jane davila https://raggedclothcafe.com/2008/01/09/willie-cole-by-jane-davila/
mike kelley, by jane dávila https://raggedclothcafe.com/2007/12/12/mike-kelley/
meret oppenheim – by jane davila https://raggedclothcafe.com/2007/11/14/meret-oppenheim-by-jane-davila/
june https://raggedclothcafe.com/author/junomain/
david hockney and drawing (with digressions, as usual) (by june underwood) https://raggedclothcafe.com/2014/03/04/david-hockney-and-drawing-with-digressions-as-usual/
karenmusgrave2013 https://raggedclothcafe.com/author/karenmusgrave2013/
is it the 1960s? (by karen s. musgrave) https://raggedclothcafe.com/2014/02/26/isitthe1960s/
clay and fiber: more in common than you think (by karen musgrave) https://raggedclothcafe.com/2013/12/15/clay-and-fiber-more-in-common-than-you-think-by-karen-musgrave/
eva hesse: a woman ahead of her time (by karen s. musgrave) https://raggedclothcafe.com/2013/10/27/eva-hesse-a-woman-ahead-of-her-time/
kate https://raggedclothcafe.com/author/katethemel/
disciplined observation by kate themel https://raggedclothcafe.com/2009/02/10/a-world-of-detail/
being creative in our art and our budgets: by kate themel https://raggedclothcafe.com/2008/12/15/being-creative-in-our-art-and-our-budgets-by-kate-themel/
news of the weird – should i be insulted by this horse? by kate themel https://raggedclothcafe.com/2008/10/17/news-of-the-weird-should-i-be-insulted-by-this-horse/
technology and human touch within fabric art – kate themel https://raggedclothcafe.com/2008/09/14/technology-and-human-touch-within-fabric-art-kate-themel/
grožnjan istra, croatia: revitalization through art by kate themel https://raggedclothcafe.com/2008/07/14/groznjan-croatia-how-artists-revitalized-a-town/
kathleenloomis https://raggedclothcafe.com/author/kathleenloomis/
laurie wohl — unweavings (by kathleen loomis) https://raggedclothcafe.com/2015/03/22/laurie-wohl-unweavings-by-kathleen-loomis/
found in the international honor quilt boxes — ana lupas (by kathleen loomis) https://raggedclothcafe.com/2015/01/12/found-in-the-international-honor-quilt-boxes-ana-lupas-by-kathleen-loomis/
international honor quilt project (by kathleen loomis) https://raggedclothcafe.com/2015/01/05/international-honor-quilt-project-by-kathleen-loomis/
perfect copies — but are they art? (by kathleen loomis) https://raggedclothcafe.com/2014/11/23/perfect-copies-but-are-they-art/
quilt (r)evolution exhibit at the dairy barn (by kathleen loomis) https://raggedclothcafe.com/2014/10/19/quilt-revolution-exhibit-at-the-dairy-barn-by-kathleen-loomis/
lindafrost https://raggedclothcafe.com/author/lindafrost/
helmericks-louder’s nature inspired art by linda frost https://raggedclothcafe.com/2008/08/27/helmericks-louders-nature-inspired-art-by-linda-frost/
one for all and all for one https://raggedclothcafe.com/2008/07/22/one-for-all-and-all-for-one/
far from the madding crowd by linda frost https://raggedclothcafe.com/2008/06/27/far-from-the-madding-crowd-by-linda-frost/
claire watson’s “with kid gloves” by linda frost https://raggedclothcafe.com/2008/05/28/claire-watsons-with-kid-gloves-by-linda-frost/
got any spare art? by linda frost https://raggedclothcafe.com/2008/04/23/got-any-spare-art/
dena dale crain https://raggedclothcafe.com/author/mamakiboko/
what is art? part 1: background vs composition by dena dale crain https://raggedclothcafe.com/2013/11/24/what-is-art-part-1-background-vs-composition-by-dena-dale-crain/
martinehouse https://raggedclothcafe.com/author/martinehouse/
talmont: lingering inspiration – martine house https://raggedclothcafe.com/2007/11/28/talmont-lingering-inspiration-martine-house/
mcooter3 https://raggedclothcafe.com/author/mcooter3/
white gloves at the ready! https://raggedclothcafe.com/2015/01/25/white-gloves-at-the-ready/
suffering for art (by margaret cooter) https://raggedclothcafe.com/2014/12/15/suffering-for-art-by-margaret-cooter/
messing about with books (by margaret cooter) https://raggedclothcafe.com/2014/11/03/messing-about-with-books-by-margaret-cooter/
artist twins who meld traditions (by margaret cooter) https://raggedclothcafe.com/2014/09/21/artist-twins-who-meld-tradtitions-by-margaret-cooter/
why fabric? (by margaret cooter) https://raggedclothcafe.com/2014/08/10/why-fabric-by-margaret-cooter/
olganorris https://raggedclothcafe.com/author/olganorris/
winning hands (by olga norris) https://raggedclothcafe.com/2015/02/08/winning-hands-by-olga-norris/
the art of fiber / the fiber of art (by olga norris) https://raggedclothcafe.com/2014/12/21/the-art-of-fiber-the-fiber-of-art-by-olga-norris/
the fascination of ferrous oxide (by olga norris) https://raggedclothcafe.com/2014/11/16/the-fascination-of-ferrous-oxide-by-olga-norris/
an exquisite extra: endpapers (by olga norris) https://raggedclothcafe.com/2014/10/05/an-exquisite-extra-endpapers-by-olga-norris/
meaningful? morbid? … or simply a mixed bag to be sorted each on its own merit? (by olga norris) https://raggedclothcafe.com/2014/08/24/meaningful-morbid-or-simply-a-mixed-bag-to-be-sorted-each-on-its-own-merit-by-olga-norris/
pamdora https://raggedclothcafe.com/author/pamdora/
back to the future: why does art survive? https://raggedclothcafe.com/2008/03/23/back-to-the-future-why-does-art-survive/
ruth asawa: a life in art, by pam rubert https://raggedclothcafe.com/2008/01/30/ruth-asawa-a-life-in-art-by-pam-rubert/
sandyw https://raggedclothcafe.com/author/sandyw/
have you ever wondered where your sewing machine came from? (by sandy wagner) https://raggedclothcafe.com/2015/02/15/have-you-ever-wondered-where-your-sewing-machine-came-from/
the world is an apple – the still lifes of paul cezanne (by sandy wagner) https://raggedclothcafe.com/2014/07/20/the-world-is-an-apple-the-still-lifes-of-paul-cezanne/
writer lorraine hansberry https://raggedclothcafe.com/2014/05/18/writer-lorraine-hansberry/
helen frankenthaler – artist (by sandy wagner) https://raggedclothcafe.com/2014/03/22/helen-frankenthaler-artist/
sequoyah of the cherokee nation – independent creator of the cherokee syllabary (by sandy wagner) https://raggedclothcafe.com/2014/01/26/sequoyah-of-the-cherokee-nation-independent-creator-of-the-cherokee-syllabary/
snicklefritzin43 https://raggedclothcafe.com/author/snicklefritzin43/
carrying the story of his ancestors to the canvas, by kristin mcnamara freeman https://raggedclothcafe.com/2014/09/29/carrying-the-story-of-his-ancestors-to-the-canvas/
tucked away in a small montana town……by kristin mcnamara freeman https://raggedclothcafe.com/2014/08/17/tucked-away-in-a-small-montana-town/
take a ride on a carousel by kristin mcnamara freeman https://raggedclothcafe.com/2014/05/26/take-a-ride-on-a-carousel-by-kristin-mcnamara-freeman/
how a lady with green hair tapped into the creativity of more than 50 years of artists (by kristin mcnamara freeman) https://raggedclothcafe.com/2014/04/06/how-a-lady-with-green-hair-tapped-into-the-creativity-of-more-than-50-years-of-artists-by-kristin-mcnamara-freeman/
the magician finds color in growing things, by kristin mcnamara freeman https://raggedclothcafe.com/2014/01/19/the-magician-finds-color-in-growing-things-by-kristin-mcnamara-freeman-2/
terrygrant https://raggedclothcafe.com/author/terrygrant/
klaus moje, by terry grant https://raggedclothcafe.com/2008/05/20/klaus-moje/
personal icons – terry grant https://raggedclothcafe.com/2008/04/16/personal-icons-terry-grant/
charla khanna’s dolls – terry grant https://raggedclothcafe.com/2008/03/19/charla-khannas-dolls-terry-grant/
hogarth’s line of beauty – terry grant https://raggedclothcafe.com/2008/02/21/hogarths-line-of-beauty/
corita kent, by terry grant https://raggedclothcafe.com/2007/12/19/corita-kent-by-terry-grant/
websandthreads https://raggedclothcafe.com/author/websandthreads/
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ragged cloth cafe, serving art and textiles discussions and ideas about art and textile art blogaboutfaqs for contributors jasper johns gray: looking and seeing (by clairan ferrono) published april 5, 2015 art ideas 2 comments near the lagoon 2003 118x79x4″ can you always articulate why you like or dislike a piece of art?  i can’t.  several years ago, when the modern wing of the art institute of chicago had just opened, i was just looking for a bench, exhausted by the  many wondrous works i had seen.  instead, my eye was caught by a very large, monochromatic — painting, collage, sculpture? — i couldn’t even tell what it was! it was jasper johns’ near the lagoon. i examined it minutely.  time passed.  i sat with it.  i tried to sketch it.  what was it about it that so riveted me? jasper johns? he was the guy with the flags, right?  nope, not interested . . . or was i?  i needed to know more. white flag 1955 79×120″ white flag.  it’s sort of white, sort of a flag.  but far more interesting.  johns is interested in “how we see and why we see.”  he wants us not only to look past the known object, the flag, but into it.  “at first i had some idea that the absence of color made the work more physical,” he explained. “early on i was very involved with the notion of the painting as an object and tended to attack that idea from different directions.” gray-numbers 1958 the dutch wives 1975 catenary-call to the grave 1998 near the lagoon 2003 detail johns attached objects to the surfaces of his encaustic paintings.  in the catenary series, of which near the lagoon is the final and largest one, the looping string is the catenary (the curve made by string hanging from two points).  and it’s a real string.  in near the lagoon, one of the things that first struck me was the string — i had to get close to see if it was painted or not.  and then i laughed because the actual string casts a shadow, but there’s a painted shadow as well. and a little ditch caused by the string’s having gotten stuck in the wax and being pulled out. the color, in the wax, makes each brush stroke individual, the texture a real physicality.  and the side of this fascinating work of art looks like part of an old door or shutter. a window? a real window, and a window into the painting.  the real and the painted. the object and the object objectified.  johns asks us to look and to see.  to observe.  and his work is very richly textured and rewarding. laurie wohl — unweavings (by kathleen loomis) published march 22, 2015 artist , textile art 1 comment several weeks ago i got to see a show by laurie wohl, a new york fiber artist who has concentrated on liturgical and religious-themed work.  her show at the patio gallery in louisville was a series based on christian, jewish and muslim poetry and spiritual texts.  (sorry that i didn’t visit in time to tell you about it before the show closed.) she wrote: “for this project, i emphasize particularly the common themes and striking parallels between arabic and hebrew texts, similarly rich in a poetry of spiritual love, an extensive poetry of exile, a poetry of nostalgia for andalusia, and poetry speaking of enemies and reconciliation.” it’s a daring subject in this era of widespread fear of radical islam, to seek similarities between that religion and christianity and judaism.  in fact, viewers might have shared the tiniest start to read wohl’s categorization as “the abrahamic religions” — we judeo-christians don’t usually think of islam as our sibling, although it reveres the old testament, regards jesus as a holy man and sprang from the same tradition. wohl’s works in this series make extensive use of calligraphy, mostly hebrew and arabic scripts, and also repeat the imagery of a veil, through her signature “unweaving” technique.  working with a heavy canvas, she slices either the warp or weft threads around the edge of a shape, then unpicks the weave to leave the other strands loose.  because the weaving process puts a lot of crimp into the strands, when they’re set free over a long distance they’re significantly longer than the woven part of the canvas, so they droop and/or bulge. laurie wohl, window of prayers (detail below) i missed the gallery talk so i didn’t learn how wohl achieves the sharp raised edges on her letters and shapes. laurie wohl, babylon (detail) i could tell that she painted the “unwoven” strands of her canvases and often strung beads on them.  sometimes she sliced the free strands at the top of the shape so they would hang down below the unwoven area. laurie wohl, elegy for cordoba (detail below) (note how the rods at the bottom droop slightly at the center where more of the weave has been removed.) usually she removes the horizontal threads and leaves the vertical, but not always. laurie wohl, watchwords (detail) i’m always intrigued by art that uses text or letterforms, and though i read neither arabic nor hebrew, i could tell that wohl’s calligraphy is exquisite.  the works have a solemn presence as well as a bright and lively sparkle.  the show was well worth a visit. — i’m cross-posting this to my own blog, art with a needle.  please stop by and visit me some time! have you ever wondered where your sewing machine came from? (by sandy wagner) published february 15, 2015 art ideas 7 comments as a child i sewed by hand (age 8), my father worked in a place that had satin and taffeta scraps and he brought them home. as i grew up, age 9, i got a tin toy sewing machine with a crank handle. i was in heaven i could sew tube tops for me and things for my dolls. 12 years old when i got a real sewing machine wow.  did i wonder where the sewing machine came from? no –  and had not really thought about it until thinking about a post for rcc.   the inside of the modern-day sewing machine. head front view a sewing machine is: “a machine used to stitch fabric and other materials together with thread.” these machines were invented during the industrial revolution to decrease the amount of time it took to hand sew garments. in 1755, charles frederick wiesenthal, a german born engineer living in the uk was issued the first british patent for a mechanical device to aid in the art of sewing. the machine consisted of a double-pointed needle with an eye on one end.  in 1790, the english inventor thomas saint invented the first sewing machine design, but he did not market the machine well.  the machine was designed to sew canvas and leather type materials.  it is thought that saint had a working model but it has never been found.  the machine produced a chain stitch method (a vertical needle bar and a looper), the single thread  made a simple stitch in the material and with the aid of the stitching awl which pierced the material going to the underside forming a stitch – the process was repeated and formed a locked stitch. howe’s lockstitch machine and built-in 1845 this machine was also used to make saddles, bridles, canvas and boat sails.  his machine was very advance but needed steady improvements over the next decades.  in 1874 william n. wilson found saints british patent in the patent office.  wilson made adjustments to the looper and built a working machine – the machine is in the london science museum. in 1804 a sewing machine was built by englishman thomas and james henderson, an embroidering machine was built by john duncan in scotland, austrian tailor, josef madersperger began developing his first machine in 1807, his first working model was in 1814. you could go on and on through the years but to be up to date we shall skip a few of the years.  1845 brought an important improvement “the needle running away from the point, starting from the eye”.  there have been patent infringements  and awards made this machine. isaac singer enter the picture:  he saw a rotary sewing machine being repaired and thought it to be clumsy, singer then designed a better one using a falling shuttle instead of the rotary plus he included a presser foot to hold the fabric in place – the needle was placed vertically, had a fixed arm to hold the needle and provided a basic tension system   singer was granted a patent in 1851 and suggested a patent for a foot petal (called a treadle) but this foot petal had been in use for too long to get a patent. with the invention of the sewing machine a mans shirt could be produced in 1 hour where by hand it took 14.5 hours.  since 1877 many types of machines have been designed i.e. overlock, crochet, vibrating shuttle . in 1880 this machine was built by the wilson and wheeler company.  notice the crank. as the years evolved so did the sewing machine industry – making a selection as to what you need or want – are you going to quilt on it, sew garments, make sails, overlock., embroidery, felt or ??? what size throat, domestic or longarm, it goes on and on.  then comes price.  a big new bernina would be fun but do you need a new car?  the first big bernina cost $12,000.00 , a ford focus cost $11,000.00. looking back over the years what have been your machines, what type of sewing have you done?  i have a 1-year-old jamone 8900 horizon, the first computerized machine i’ve owned.  my all time favorite is my 30-year-old 930 bernina.  i do wall art quilts, wearable art and streetwear. material and immaterial (by eileen doughty) published february 10, 2015 art ideas 1 comment tags: art theory, brooklyn museum, judith scott, new york city during a recent visit to new york city, i spent a delightful afternoon at the brooklyn museum. on the fourth floor, adjoining judy chicago’s “the dinner party,” is an exhibition of outsider fiber art called “bound and unbound.” judith scott (1943‒2005) began creating art in 1987, beginning with painting and drawing – with lukewarm interest. early on, she was guided by the center’s facilitators, but eventually was self-directed. her drawing style presaged her fiber art wrappings, with “repetitive, swirling linear gestures with multiple color variations.” [quotes in this post are from museum signage; images are mine, without flash, per museum policy. click on the thumbnails below for a larger image.] once introduced to fiber art materials, however, she seemed to find a match for her creative needs. her first wrapped piece was sort of a bridge between media, as she painted the surface – and that was also the last time she bothered with paint, apparently. she made only one monochromatic work (shown on the right), from torn paper towels, when she ran out of her usual materials: primarily yarn and torn cloth. (analogous to making patchwork quilts or rugs from used clothing? when you have the urge to create, you use the materials at hand) the wrapped bundles became more “elaborate and refined” over time. the object(s) being wrapped were not recorded at the time, and for most, it is now impossible to now know what is inside them. scott created her artworks on top of a table, with the objects in a manageable horizontal orientation. physically she would need help in manipulating the large objects, but the artistic choices were all hers. the museum displayed a few pieces on the wall (below, and a detail). “scott constructed a number of pieces with…relief-like surfaces that, when hung on a wall, feel fluid or imply movement, while when presented horizontally appear more fixed and grounded.” (an analogy with wall vs bed quilts?) the artworks could take weeks or months to complete. she knew when she was finished with a piece, never revisiting it but just going on to the next project. “by 1989, scott was experimenting with more elaborately composed works featuring bent and trussed forms, creating a structural tension that is seemingly held in place by her wrapping and weaving technique. formally, they show an awareness of negative space and sometimes make reference to biological forms amid their elaborate openwork construction.” scott produced her art in oakland, california, at the creative growth art center, an organization which still serves mentally, developmentally, and physically disabled adult artists. individuals are encouraged to create art as an end in itself, rather than as therapy. they worked side-by-side in many media: painting, ceramics, tapestry, etc. scott was deaf, essentially mute, and had down syndrome. “given…her inability to communicate in a conventional manner, judith scott was not in a position to explain her work. what she was actually making, and why she made it, therefore remains elusive.” studying her work, i could see many examples of the principles of design. did scott re-discover these on her own? in which case, are they innate to human nature? the lines of wrapping provide rhythm, line, pattern, area.  her choices of materials display harmony, and hierarchies of scale. an example is the yarns and tubing/plastic hose in this piece (28 x 15 x 27 in). or consider all the circles in the wrapped chair – particularly, a bike wheel and a hat. yet there are surprises that are delightful to find. for example, one foot of the chair is different from the other three. colors in some pieces are sharply contrasting, while in others they are similarly hued. the “book” has reddish colors, with the spark of blue in the center. nothing in this exhibition looks like a random hodgepodge of “stuff”. the analysis of any one piece could almost be a ragged cloth post in itself. scott covered mundane objects, making them unknowable. the object wrapped is immaterial (interesting word!) to its surface – it has become non-objective art. none of the artworks have titles. judith scott left no comment, statement, explanation; leaving us open to interpret as we will. i find this is art at its most powerful. judith scott—bound and unbound elizabeth a. sackler center for feminist art, 4th floor brooklyn museum (new york) through march 29, 2015 http://www.brooklynmuseum.org/exhibitions/judith_scott/ winning hands (by olga norris) published february 8, 2015 art ideas 10 comments tags: making shaping autumn (digital design) my present stitching on silk it strikes me again and again that the person who benefits most from fibre art is the maker. to my mind the overwhelming reason for using fibre, cloth, thread, etc. is because of the feel of it – and yet once it is made art it must no longer be touched. it is often admired and judged by photograph – a two dimensional reduction of a whole body experience which can powerfully include smell in the case of huge sisal weavings, rope crochet, oiled wool knitwear, dried grass baskets, even paper …. i love combining ideas, thinking, drawing and digital collage, and the two dimensionality of printmaking – those intellectual pursuits – with the haptic pleasures of working the needle through the cloth. of course it is not just fibre which gives this pleasure: the handling of clay, slip, wood, stone, – the holding of a pen, etching point, a knife, a chisel as well as the wielding of a needle and scissors all bring their particular joy. but perhaps because fibre deteriorates first, after the piece is completed, if it is deemed to be art rather than artefact it is handled less. penelope’s garden ( quilt detail) how lucky we makers are to handle, to feel, to manipulate, to stroke and be stroked, to use the fine nerve endings to distinguish the subtleties of soft, to gauge just the right amount of strength, pressure to use to turn, to fold, to pierce (and be pierced!), to pull – not simply to use those fingers to point. handling fibre helps us to see in fine focus as well as in broad perspective, and in making by hand we make time for ourselves as well, gradually building our self portraits. when i handle one of my basket collection i feel an urge to be making a basket. when i see a weaving or tapestry i admire, i feel the urge to be weaving in order to appreciate it more. it is the fantasy of handling the materials which is seductive. a stitch in time (small quilt) how much my mother, my grandmothers, my aunts all enjoyed the social stitching of items for family and friends. my scottish grandfather too, the tailor enjoyed the feel of a good tweed or twill in his hands. and now i have the added exciting challenge of trying creatively to combine intellect and emotion with the haptic pleasures in the repeated attempt to express myself artistically in such a way that the two dimensional representation of the finished article will somehow convey not only a meaning but also the story of the making. the sewing chair (digital design for stitch) are we makers not fortunate indeed! white gloves at the ready! published january 25, 2015 art ideas 3 comments it is a truth universally acknowledged that quilt shows must have invigilators of some sort. you see them at shows all around the world. white glove ladies (and quiltmaker) at melbourne modern quilt guild, australia (via) quilt angel at houston show, texas (via) white glove helper at road to california quilt show (via) taking up positions at festival of quilts, birmingham, uk (via) call them white glove ladies, or quilt angels, stewards or quilt guardians – they are there to keep an eye on the quilts, to keep them safe. they can make sure no-one simply walks off with one (it has happened! remember this?) and that visitors obey the do not touch the quilts signs. at glendale, ca, quilt show (via) these helpers also get to share their love of quilting in conversations with interested visitors. (they don’t even need to be an expert on the techniques as there are usually samples or statements that can be looked at and read for the details, to which visitors can be referred.) they might need (in smaller shows) to keep a tally of visitors, or take money for items being sold. when things are quiet, they have a chance to chat with other helpers and get to know them better. that last consideration is important in a large regional or even national group, in which members don’t meet face to face very often. my own experience is of contemporary quilt in the uk – we communicate with each other through a yahoo group, and see other members mainly at festival of quilts each year. it makes a difference to be able to put a face to the name. men in tuxedos did the white-gloving at san diego quilt show’s “it’s a zoo out there” preview night (via) kilted white glove helper at the international quilt festival of ireland (via) with all these positive aspects, and no training needed (you just need to smile, be pleasant, use common sense) – why are people so reluctant to volunteer to help out in this way? some, of course, live too far from the show, or have health issues or conflicting responsibilities that make this impossible. for shows in big national venues, the hassle of travelling to get there and the costs involved, and then the time that needs to be set aside, can deter volunteers. some are shy or afraid of the public; others don’t feel they know enough to be able to answer questions. some – usually the same people time after time – will help out at the drop of a hat and travel for one or two hours to do so. what about the rest … are they lost causes? is this reluctance to volunteer for a simple task a part of a general lethargy and apathy?  when stewarding slots need filling, how can these people be “incentivized”? one incentive for doing several hours of minding the quilts is to get a day pass to the (large) show, which allows several hours of looking around at other displays and traders. collectible “quilt angel” pins are a tangible reward. for example, the“roadie” bar is earned by volunteering four hours or more at the road to california quilt show. each year “roadies” receive a year bar to add to their special pin. at houston, the “quilt angels” earn an angel pin for a three-hour shift, and if they serve two shifts, they earn priority registration for the next show. the “roadie” pin (via) a rather compelling incentive is pressure from others in the group – the sense that every member makes a contribution, not just of their membership fee but of something else, which can be helping run the organization or doing one of the behind-the-scenes jobs – or contributing by looking after the quilts at shows near them. found in the international honor quilt boxes — ana lupas (by kathleen loomis) published january 12, 2015 art ideas , artist , textile art , women in art 1 comment i wrote last week about my new volunteer gig, helping to catalog the “international honor quilt” collection of panels  that were made to accompany judy chicago’s dinner party installation.  my favorite piece in the first 200 panels i’ve catalogued is this one, by ana lupas: yes, at first glance it looks pretty awful, a mess of raggedy interfacing and loose thread ends.  but as you look more closely, you notice the intricate machine-stitched gridwork in the center: why did this piece call out to me so loudly?  i love grids, and i love dense machine stitching, and i love old-fashioned typewriters like the one used to type lupas’ name and address on the interfacing.  but what i really admire is the supreme confidence of an artist who can put such humble materials together — the edges are secured with staples! — and make them stand up straight and proud. the panel stood out from the others — not pretty, not earnest, not awkward or amateurish, despite its seemingly haphazard construction.  it’s the only one i’ve seen so far that strikes me as art rather than as decoration. i had never heard of ana lupas, but some research reveals her to be 75 years old, still living in cluj, romania, where she was born.  she started her art career as a tapestry weaver and was exhibited in all the major shows, including several times at the the lodz triennial, where she won gold and silver medals in 1979. she expanded her work to installations and happenings, especially outdoors where she was among the earliest land art practitioners and strongly influenced many of her fellow artists in eastern europe.  she would enlist people from villages to construct wreaths, towers and other forms from straw, then leave them outside for years to weather and disintegrate.  predating christo’s running fence, she had 100 women help her cover an entire hill with clotheslines of wet linens. ana lupas, humid installation, 1970 i was unable to find more information about lupas and her recent work, even by painfully reading google translations of art criticism from the hungarian. i found an artist statement that somebody else had translated into english, but it left most of its meaning behind.  she talks about art having “to contribute, to shape, and to give new dimensions to the social existential universe,” whatever that means.  she has no website, and i could find no images of her early tapestry work, predating the internet. i’m afraid she will remain a mystery to me; her work calls out to me across the years but leaves me hungry for more. i’m also posting this to my personal blog, artwithaneedle.blogspot.com next page » follow blog via email enter your email address to follow this blog and receive notifications of new posts by email. join 208 other followers recent comments clairan on jasper johns gray: looking and seeing (by clairan ferrono) olganorris on jasper johns gray: looking and seeing (by clairan ferrono) olganorris on laurie wohl — unweavings (by kathleen loomis) peggy in tulsa on have you ever wondered where your sewing machine came from? (by sandy wagner) liz hankins on the art of fiber / the fiber of art (by olga norris) clairan on material and immaterial (by eileen doughty) olganorris on winning hands (by olga norris) mcooter3 on have you ever wondered where your sewing machine came from? (by sandy wagner) sheila barnes on have you ever wondered where your sewing machine came from? (by sandy wagner) sheila barnes on winning hands (by olga norris) sheila barnes on white gloves at the ready! sandrasart on have you ever wondered where your sewing machine came from? (by sandy wagner) aikifox85 on have you ever wondered where your sewing machine came from? (by sandy wagner) olganorris on have you ever wondered where your sewing machine came from? (by sandy wagner) clairan on have you ever wondered where your sewing machine came from? (by sandy wagner) recent posts jasper johns gray: looking and seeing (by clairan ferrono) laurie wohl — unweavings (by kathleen loomis) have you ever wondered where your sewing machine came from? (by sandy wagner) material and immaterial (by eileen doughty) winning hands (by olga norris) white gloves at the ready! found in the international honor quilt boxes — ana lupas (by kathleen loomis) international honor quilt project (by kathleen loomis) the art of fiber / the fiber of art (by olga norris) suffering for art (by margaret cooter) perfect copies — but are they art? (by kathleen loomis) the fascination of ferrous oxide (by olga norris) messing about with books (by margaret cooter) still lifes of georgio morandi (by clairan ferrono) quilt (r)evolution exhibit at the dairy barn (by kathleen loomis) blogroll art & perception wordpress.com wordpress.org contributors angela moll eileen doughty gabrielle swain jane davila joanna van ritbergen june underwood kate themel kristin freeman, guest linda frost martine house sandy wagner terry grant angela mollart and the natural world (by angela moll)living with art (by angela moll)agnes martin (by angela moll)craft vs. art, one more time – angela moll clairanjasper johns gray: looking and seeing (by clairan ferrono)still lifes of georgio morandi (by clairan ferrono)some time later (by clairan ferrono)racine art museum (by clairan ferrono)emily carr, redux (by clairan ferrono) eileenmaterial and immaterial (by eileen doughty)maya lin: systematic landscapes (by eileen doughty)critique or collaborate? by eileen d.mlk brouhaha (eileen d.)draw a pig (eileen d.) gabrielleswainsabbatical and the quilt artist (gabrielle s.)picasso: the blue period and comments on working in serieslouise nevelson….independent and innovativethe creative personality by gabrielle swainrichard diebenkorn: a master of spatial relationships jane davilapublic art, by jane dávilaandres serrano, by jane dávilawillie cole – by jane davilamike kelley, by jane dávilameret oppenheim – by jane davila junedavid hockney and drawing (with digressions, as usual) (by june underwood) karenmusgrave2013is it the 1960s? (by karen s. musgrave)clay and fiber: more in common than you think (by karen musgrave)eva hesse: a woman ahead of her time (by karen s. musgrave) katedisciplined observation by kate themelbeing creative in our art and our budgets: by kate themelnews of the weird – should i be insulted by this horse? by kate themeltechnology and human touch within fabric art – kate themelgrožnjan istra, croatia: revitalization through art by kate themel kathleenloomislaurie wohl — unweavings (by kathleen loomis)found in the international honor quilt boxes — ana lupas (by kathleen loomis)international honor quilt project (by kathleen loomis)perfect copies — but are they art? (by kathleen loomis)quilt (r)evolution exhibit at the dairy barn (by kathleen loomis) lindafrosthelmericks-louder’s nature inspired art by linda frostone for all and all for onefar from the madding crowd by linda frostclaire watson’s “with kid gloves” by linda frostgot any spare art? by linda frost dena dale crainwhat is art? part 1: background vs composition by dena dale crain martinehousetalmont: lingering inspiration – martine house mcooter3white gloves at the ready!suffering for art (by margaret cooter)messing about with books (by margaret cooter)artist twins who meld traditions (by margaret cooter)why fabric? (by margaret cooter) olganorriswinning hands (by olga norris)the art of fiber / the fiber of art (by olga norris)the fascination of ferrous oxide (by olga norris)an exquisite extra: endpapers (by olga norris)meaningful? morbid? … or simply a mixed bag to be sorted each on its own merit? (by olga norris) pamdoraback to the future: why does art survive?ruth asawa: a life in art, by pam rubert sandywhave you ever wondered where your sewing machine came from? (by sandy wagner)the world is an apple – the still lifes of paul cezanne (by sandy wagner)writer lorraine hansberryhelen frankenthaler – artist (by sandy wagner)sequoyah of the cherokee nation – independent creator of the cherokee syllabary (by sandy wagner) snicklefritzin43carrying the story of his ancestors to the canvas, by kristin mcnamara freemantucked away in a small montana town……by kristin mcnamara freemantake a ride on a carousel by kristin mcnamara freemanhow a lady with green hair tapped into the creativity of more than 50 years of artists (by kristin mcnamara freeman)the magician finds color in growing things, by kristin mcnamara freeman terrygrantklaus moje, by terry grantpersonal icons – terry grantcharla khanna’s dolls – terry granthogarth’s line of beauty – terry grantcorita kent, by terry grant websandthreadstrash, art and craftcategories architecture (3) art criticism (26) art history (53) art ideas (119) art intepretation (33) art technique (37) artist (78) artist development (13) contemporary art (52) contributors (2) gaze (3) paintings (6) quilt art (19) sculpture (3) textile art (43) uncategorized (48) women in art (35) archives archives select month april 2015 march 2015 february 2015 january 2015 december 2014 november 2014 october 2014 september 2014 august 2014 july 2014 june 2014 may 2014 april 2014 march 2014 february 2014 january 2014 december 2013 november 2013 october 2013 december 2012 july 2011 june 2011 october 2010 august 2010 may 2010 march 2010 february 2010 january 2010 december 2009 november 2009 october 2009 september 2009 august 2009 july 2009 june 2009 may 2009 april 2009 march 2009 february 2009 january 2009 december 2008 october 2008 september 2008 august 2008 july 2008 june 2008 may 2008 april 2008 march 2008 february 2008 january 2008 december 2007 november 2007 october 2007 september 2007 august 2007 july 2007 june 2007 may 2007 april 2007 march 2007 february 2007 january 2007 pages about faqs for contributors contributors’ calendar register log in entries rss comments rss wordpress.com create a free website or blog at wordpress.com. rss entries and rss comments ragged cloth cafe, serving art and textiles blog at wordpress.com. post to cancel


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