S: New Image Artists somewhere else
BC: New Image Artists B.J. Adams Mary Beth Bellah Jeanne Benson Sara Brown Candace Edgerley Lesly-Claire Greenberg Catherine Kleeman Verena Levine Dominie Nash Sue Pierce Ginny Smith Sandra Woock
FC: somewhere else | STUDIO QUILTS BY NEW IMAGE ARTISTS
1: somewhere else | STUDIO QUILTS BY NEW IMAGE ARTISTS
2: somewhere else STUDIO QUILTS BY NEW IMAGE ARTISTS Managing editor: Catherine Kleeman Layout design: Jeanne Benson © 2013 New Image Artists www.newimageartists.com Trudi C. Van Dyke, Curator firstname.lastname@example.org All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the written permission of the editor and individual artist. Cover Beyond Gray by B.J. Adams
3: "How often I found where I should be going only by setting out for somewhere else." Buckminster Fuller
4: Introduction and Curatorial Statement Artists reach into all facets of their lives and experiences for inspiration. Looking forward and looking back coalesces into new directions, development and experimentation. The artist whose work constantly grows, changes and emerges has tapped into her personal environment and infused it into new work. In the exhibition "Somewhere Else" ten of the New Image Artists have added a new factor to a creative challenge. New Image has a rich heritage, still boasts some original members and encompasses more than a 30-year exhibition history. The tastes and techniques of these artists strive to be their own. They have far-reaching and individual goals for their work. Within the group there is great respect for the talent and creativity of each other. Each of the artists designed a piece of original fabric that was developed from the structure of their own work. The artists could elect to work in their somewhat traditional paths or use this as an opportunity to branch out and experiment. The artists selected whatever design and techniques motivated them to create. The range of design approaches settled on by the individual artists included manipulated original photography, drawing, calligraphy, printmaking, painting and a variety of other techniques. The spectrum of the exhibit integrates traditional and original creative processes. The design was then commercially printed in one-yard pieces. Each artist consigned two pieces or more to be printed with creative options of various repeats and placements on the yardage as well as color saturation. The artists online manipulations allowed them the freedom to produce designs that are works of art in themselves and that were to become the foundation for the contemporary quilts of the exhibition. Decisions were also individually made to reflect the preferred choice of fiber content to be printed.
5: Each artist was tasked to create two pieces of work for the exhibition. She would create a new work using one yard of her printed fabric in whatever way she desired. As usual for New Image artists the work became totally individualized utilizing a myriad of techniques to take the fabric from flat and printed to dimensional and contemporary. The second quilt began with one yard of printed fabric from a second participating member of New Image. As curator I was tasked to decide the pairings of the fabrics before any manipulations began. It was an exciting and somewhat daunting curatorial challenge. I moved the fabric images around without regard to the artist while trying to find connections and challenges between possible pairings. I attempted to make thoughtful decisions that I hoped the artists would embrace as inspiration for their submissions to the exhibition. My ultimate goal was to stretch the artist's comfort zone in two ways. First they would be "required” to include the partner's fabric into a new work. The fabric could be used in any way including changing, cutting or manipulating it to enhance the new work. I ventured to pair artists whose works seemed less compatible with their usual way of working. My second goal was that by incorporating the "requirement" they would stretch themselves to look at their own techniques and planning processes in new and insightful ways. The audiences of this exhibition are rewarded with a collage of works that can both stand alone as individual pieces and have become part of a cohesive contemporary fiber art show. The work shown in the catalog and on exhibit showcases the way the challenge succeeded. Images of the ten original printed fabrics are included as well as the completed pieces - two by each artist.
6: The first part of the catalog shows each artist’s fabric design. The next section shows details of the finished quilts in progression from artist to artist, mirroring the gallery hanging. The final section presents full views of all the quilts alphabetically by artist. The resulting exhibition moves fluidly throughout the gallery and catalog providing a showcase of wall hung fiber art. The artists have stretched themselves in original ways to incorporate not just the inspiration of seeing another colleagues work but to actually infuse some of that design in their own new work. The incorporated fabric is meant to be located by the viewer (a requirement imposed by the group on each other). Sometimes it is a subtle disclosure and sometimes it is obvious. Throughout the exhibition the viewer is drawn into the expansive depth and beauty of the work. Striking differences in techniques, materials and presentation strengthen the exhibition. These nationally and internationally respected fiber artists have again risen to new heights to present an exceptional contemporary fiber exhibition. Trudi C. Van Dyke Curator The exhibition and catalog debuted at the Waddell Art Gallery in Loudoun County, VA and is available for additional venue bookings. Contact: Somewhereelse@gmail.com
7: B.J. Adams FABRIC DETAIL While on a bird watching tour along the eastern Sierra Mountains in Nevada and California I became aware of the many wild flowers that were blooming. Photographing these, often very small, flowers became my primary interest for this trip. Eight of these photos had been uploaded to an on line printing service creating the design for my fabric. I chose to have them printed on a very heavy wide material. | Mary Beth Bellah FABRIC DETAIL An assortment of poultry and livestock wander the meadows and hillsides of my home in Charlottesville, Virginia. I find it impossible to resist gathering up the molted feathers from my many fowl and increasingly these little bits are being incorporated into my art work. For our fabric-design challenge I decided to feature some guinea and pied peacock feathers. A simple, closely cropped photo translated into a complex design on cotton when arranged in a kaleidescope repeat.
8: Jeanne Benson FABRIC DETAIL I drew three "maple keys" from a favorite box elder tree. My medium is colored pencil on fabriano watercolor paper. I scanned this image and sent the jpeg of it to the fabric printing service. It was printed with a half-brick repeat onto the yardage. | Candace Edgerley FABRIC DETAIL Intrigued by the possibility of digitally printing a pattern created by hand, I printed cotton fabric with dye using a process referred to as deconstructed screen printing. Using my digital camera, I photographed the fabric, manipulated the image to change the scale, and ordered two yards.
9: Lesly-Claire Greenberg FABRIC DETAIL The Alamo, San Antonio, TX provided the inspiration for my fabric. The walls were being painstakingly restored during my visit. The image was uploaded to the online printing service, the color was adjusted replacing some colors, then special effects were applied. The fabric was ordered with a classic mirror image making a seamless design. | Catherine Kleeman FABRIC DETAIL This is an image of a small quilt that I made several years ago. It is comprised of small pieces of fabrics that I created using many different surface design techniques, stitched together, threw paint at, and then quilted. After uploading to the online service, it was printed with a half-brick repeat.
10: Verena Levine FABRIC DETAIL For my fabric design I used a machine embroidered spider web that I designed for a previous quilt. The yardage turned out quite dark and reads almost like a solid. | Dominie Nash FABRIC DETAIL I created a full size collage to fill the yard of fabric, so there is no repeat, just a single image of various leaf prints I have made.
11: Sue Pierce FABRIC DETAIL My photos of the decaying walls of an old factory were colorized and repeated with mirror images to create the pattern of this fabric. | Ginny Smith FABRIC DETAIL I created the fabric to use as parts of birds in my bird quilts. Wings, legs, patterned bodies and tails can all be made from my own fabric, even eyes!
12: B.J. Adams | Mary Beth Bellah | Mary Beth Bellah with fabric by B.J. Adams | Jeanne Benson with fabric by Mary Beth Bellah | somewhere else
13: Jeanne Benson | Lesly-Claire Greenberg | Candace Edgerley | Lesly-Claire Greenberg with fabric by Jeanne Benson | Candace Edgerley with fabric by Lesly-Claire Greenberg | Ginny Smith with fabric by Candace Edgerley
14: Ginny Smith | Sue Pierce | Sue Pierce with fabric by Ginny Smith | Catherine Kleeman with fabric by Sue Pierce | somewhere else
15: Catherine Kleeman | Verena Levine | Dominie Nash | Verena Levine with fabric by Catherine Kleeman | Dominie Nash with fabric by Verena Levine | B.J. Adams with fabric by Dominie Nash
16: B.J. Adams | Desert Wild Flowers, © 2012, 18 x 38 inches (8, 8x8 inch panels)
17: Beyond Gray, © 2012, 18 x 38" (8, 8x8 inch panels)
18: Mary Beth Bellah | Feather Tree, © 2012, 56.5 x 35 x 3.5 inches
19: A Murder of Crows, © 2011 56 x 27 x 1 inches with partner fabric by B.J. Adams
20: Jeanne Benson | Box Elder, Copters, © 2012, 40 x 39 inches
21: Box Elder, Leaves, © 2012, 40 x 39 inches with partner fabric by Mary Beth Bellah
22: Candace Edgerley | Deconstruction, © 2012, 36 x 31 inches
23: Construction, © 2012, 33 x 34.5 inches with partner fabric by Lesly-Claire Greenberg
24: Lesly-Claire Greenberg | Grounded, © 2012, 38 x 42.5 inches
25: Flight, © 2012, 38 x 35.75 inches with partner fabric by Jeanne Benson
26: Catherine Kleeman | Indigo Sun, © 2011, 33 x 33 inches
27: Alleyways, ©2012, 35 x 35 inches with partner fabric by Sue Pierce
28: Verena Levine | Last Days of Summer, © 2012, 30 x 30 inches
29: Along the River, © 2012, 30 x 30 inches with partner fabric by Catherine Kleeman
30: Dominie Nash | Big Leaf 30, © 2012, 46 x 38 inches
31: Stills From a Life 43, © 2012, 49 x 40 inches with partner fabric by Verena Levine
32: Sue Pierce | Vivid Memories, ©2012, 28 x 45 inches
33: Fantasy Field, ©2012, 42 x 28 inches with partner fabric by Ginny Smith
34: Ginny Smith | One Bird, © 2012, 35 x30 inches
35: Two Birds, ©2012, 42 x42 inches with partner fabric by Candace Edgerley
36: New Image Artists SELECTED EXHIBITIONS 2012 Wildlife, Muse Gallery, Longmont, Colorado 2012 Connectivity: Threads of Community, Torpedo Factory Art Center, Alexandria, VA 2010 Yard Art at the Yard, Workhouse Arts Center, Lorton, VA 2010 HARDWARE, La Conner Quilt and Textile Museum, La Conner, WA 2009 New Image: Mirror Image, Rawls Museum Arts, Courtland, VA 2009 New Image: New Visions, Suffolk Museum, Suffolk, VA 2009 New Image: Fiber As We Know It, Gallery 222, Leesburg, VA 2008 Together and Apart: New Image Quilts, Rehoboth Art League, Rehoboth, VA 2008 HARDWARE, Barry Gallery, Marymount University, Arlington, VA 2005 HARDWARE, Target Gallery, Torpedo Factory Art Center, Alexandria, VA 2005 The HIVE Project, Southwestern Illinois College, Belleville, IL 2003 The HIVE Project, Southwest School of Arts and Crafts, San Antonio, TX 2002 Arrowmont School of Arts and Crafts, Gatlinburg, TN 2002 The HIVE Project, McClean Center for the Arts, McClean, VA 2002 The HIVE Project, Maryland Art Place, Baltimore, MD 2002 Together and Apart, Virginia Quilt Museum, Harrisonburg, VA 2000 Art Quilts, Rockville Civic Center Mansion, Rockville, MD 1995 Quilt National, The Dairy Barn, Athens, OH PUBLICATIONS: Opposite Coasts Parallel Goals, Fiber Art Now, Spring 2012, by Trudi Van Dyke Variations on a Theme; élan magazine, Dec 2008, by Trudi Van Dyke Fiberarts, Sept/Oct 2002, The HIVE Project by Patricia Autenrieth COLLECTIONS: Birds Eye Foods, formerly Agrilink Foods, Inc., In The Market The Tilton Family Collection, Never Done Diane DeVaul, Astrological Landscape
37: Photo Credits In-progress and in-studio photos by individual artists. Photos of finished work: B.J. Adams and Jeanne Benson by Paul-Ricardo Elbow, Mary Beth Bellah by the artist, Candace Edgerley by Perry Melat, Lesly-Claire Greenberg by Greg Staley, Catherine Kleeman by the artist, Verena Levine by Neil Ostrander, Dominie Nash by Mark Gulezian, Sue Pierce by Chad Davis, Ginny Smith by Steve Tutle. | New Image Contacts Adams www.BJAdamsArt.com Bellah www.marybethbellah.com Benson www.jeannebenson.com Edgerley www.candaceedgerley.com Greenberg www.lesly-claire.com Kleeman www.cathyquilts.com Levine www.verenalevine.com Nash www.dominienash.com Pierce www.suepierce.com Smith www.ginnysmithart.com All artists can be contacted through our website www.newimageartists.com Contact Trudi C. Van Dyke at email@example.com