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The Dye process:
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left: Patricia Dunn, Measuring turquoise dye solution. photo by Mark Dunn
below: Patricia Dunn, Dye records, formulas and samples of each tapestry woven since 1991 photo by Mark Dunn
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right:Jane Hoffman, Record Keeping
below: Jane Hoffman, Natural dyed yarnsn
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left :Sarah Swett, My balance
below:James Koehler, Dye Studio
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Review: "Black + White + Red All Over,"
By Sandip Wilson
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"Black + White + Red All Over," an exhibit at the New Hampshire Institute of Art in Manchester in October, 2007 featured 47 tapestries woven by Micala Sidore. . . . until a tour of the exhibition, when Micala explained its concept, I had not thought that the work might be characterized as a kind of “what if” exercise. What if she used a limited palette to explore the possibilities of three words and the colors they represent? The results of her fifteen years of work in progress, were more than I was prepared for. The variously sized and shaped pieces . . . showed how tapestries, exploring an ostensibly simple idea, offer an experience that captures the qualities and history of the art form while enveloping viewers in a rich artistic experience. . . . the artist limits options to explore the world more thoroughly.
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below: Micala Sidore, "Black + White + Red All Over"
installation shot; photo by Janet Austin
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The historical heritage of tapestry is a constant influence in these tapestries. . . . The richness of medieval tapestries encouraged multiple meanings, and pieces in this collection invite a similar experience. . . .
Although narrative ideas of tapestry may not focus on it, directionality is a central feature of the art form and in this collection pieces focus on directionality undisguised by representational images. The piece, “#9, bottom to top,” 1995, joins the visual experience with the meaning of the words. . . .. . .
The coherence of the forty-seven pieces is based on multiple meanings of words, shapes, and hue in positions that are connected to one another yet the content gives viewers a variety of ways to engage the work. Symbols and marks have meanings by themselves but in relation to other symbols their meanings change. Micala has made the familiar strange and new causing the viewer to rethink and re-view meanings that are taken for granted.
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below: Micala Sidore, "Black + White + Red All Over #26: Labor…and Likud (smole and yameen, left and right)," 2.5" x 29", 2002
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below: Sidore, "Black + White + Red All Over #9 bottom to top," 10" x 7", 1995
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James Koehler Receives Governor's Award
By Letitia Roller
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James Koehler [is] one of the recipients of New Mexico's 2007 "Governor’s Award for Excellence in the Arts." There were eight recipients in 2007 in fields varying from the visual arts to theater and music. In the 34-year history of this award only three other weavers have been so honored. It is an extraordinary achievement that James was chosen as one of the awardees.
Governor Bill Richardson stated that, “Each year we present this prestigious tribute to artists, craftspeople and art supporters who exemplify the energy and creativity of our state. This year's recipients of the Governor’s Awards for Excellence in the Arts proudly reflect New Mexico’s reputation as the “State of the Arts”. Day in and day out year after year, these artists work to enrich our lives, our communities, our spirit.”
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below: James Koehler with Governor Richardson's wife, Barbara; photo by Missy Wolf
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Irvin Trujillo Wins NEA "Lifetime Honors" Award
By Linda Rees
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Congratulations to Irvin Trujillo for being awarded a National Endowment for the Arts "Lifetime Honors" 2007 NEA National Heritage Fellowship. . . .
As quoted from the NEA Lifetime Honors web site, Irvin is "Both a keeper of tradition and an innovator, Irvin has received many awards including three Grand Prizes and the Master's Award for Lifetime Achievement from the Spanish Market in Santa Fe. His work reflects who he is and where he comes from. Weaving only five to eight pieces in a year, he says, 'When I do a major piece it is like putting my life on that line of weft. All of my experience goes into it. I am trying to approach the spirit of the old pieces. In doing that, I need to learn from the past, but how to live in my time and environment.' "
While Irvin is a master at the Rio Grande weaving tradition, his own artwork has explored using weft ikat in combination with more traditional patterns.
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below: Irvin Trujillo, "Lotus," 84" x 54", 1992; wool, natural dyes; photo by Addison Doty
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below: Irvin Trujillo, "TATU," 84" x 54", 1992; wool, natural dyes; photo by Mesa Photo Arts
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A tapestry by Lyn Hart woven for the "Countdown To Peace" project was used on the initial postcard for the project's first exhibit.
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below: "Lyn Hart, "Peace Dove," 4" x 4", 2007
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