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Media Kit2019

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Ready to get started? F IBER ART NETWORK

A publication of the

VOL 8 | ISSUE 3 | SPRING 2019

Jen Moniz 413-222-0720 | jenmoniz@fiberartnow.netMarcia Young 413-222-0720 | marcia@fiberartnow.net

fiberartnow.net

Fiber Art Now—the publication of the Fiber Art Network—has become one of the largest & most influential communities in fiber art & textiles. We leverage every part of our organization to benefit our media partners. Fiber Art Now is the only publication of its kind that spans retail, subscribership, organizational membership, art exhibitions, and more. We leverage the entire organization to support our advertisers and help them achieve their sales and growth goals.

Our community regularly engages with the Fiber Art Now brand via print and digital publications, several social media communities that we have developed, a highly trafficked website, many submission opportunities and exhibitions, and our regular eNewsletter. Wherever possible we leverage every component of the organization to benefit our media partners.

Our community is hungry to learn about new materials and supplies, eager to read about exhibitions and conferences, and excited about taking classes to improve their skills.

We also appeal to arts professionals and private collectors. We are fostering a passionate audience base in these related industries and are giving them a way to communicate with each other through the magazine’s print and digital formats, our online community, several Facebook communities that include Fiber Art Now, Fiber Art School, New Felting Resource, and Fiber Arts/Mixed Media. We also bring our active Instagram and Twitter audiences to bear when publicizing our advertisers’ happenings and business priorities.

Jen Moniz 413-222-0720 | jenmoniz@fiberartnow.netMarcia Young 413-222-0720 | marcia@fiberartnow.net

Embracing the phenomenon of nature as simultaneously ordered and irregular, sculptor Amy Genser interprets her impressions with her medium of paper. Using techniques she has developed and refined, she tears, cuts, rolls, stacks, and collages small tubes of papers to present intricate abstractions of natural, geographic, and celestial interpretations.Her key environmental inspiration tends to be flowing water viewed from above. The influences of topographical and aerial maps, as well as views from space, are clear. Constantly observing the physical world and seeing it through the eyes of others as well, Genser points to glass artist Josh Simpson and his interpretations of earth from photographs taken by his astronaut wife. However, Genser uses those references as a jumping-off point rather than as a direct application. She has done some commission work that makes a commitment to authenticity, but prefers to allow her work the free ebb and flow, and so to change a composition to reflect her own imagination. Viewers may recognize a bend in a stream or a rock formation and can imagine themselves in

the serene setting of a memory. Yet the masterful manipulation of the composition keeps the eye moving through the sculpture almost as if traveling through it to some future destination.Genser first became enamored of working with paper in a class at Rhode Island School of Design while an MFA student, where she fell in love with the medium. She never looked back. In Genser’s words, “I never thought of myself as a fine artist. I didn’t feel I had anything profound to say. But playing with the paper sculpturally allowed me to find a way of creating the images I saw in my head, and of the beauty I saw in the world. I never would have taken the turn had I not taken that papermaking class, and been open to creative exploration.” She admits to an ongoing obsession with color, pattern, and texture that is clearly reflected in her art. Although she works mainly with mulberry paper, her third-floor home studio has hundred of papers collected from all over the world. “I treat the paper as my pigment,” she shares. Each rolled and shaped section takes on the layered effect of a highly textured painted canvas. The work usually begins with a choice of substrate, canvas or wood depending on the dimensions, and is painted with the beginnings of a composition. A mixture of acrylic and gel medium creates the first layer of texture that the paper will be adhered to. Next the papers are rolled. Pieces are cut or torn into about 12-inch strips of varying widths and then stacked with other colors from her stash of multi-colored papers to provide contrast and visual interest within each roll. She keeps in mind the overall effect needed as various levels of color are combined in ever-changing ways as they are rolled with each other. The rolls are then sealed and cut into varying sizes to provide the “pigment” for placement.Amy tends to work on one composition at a time. The paper rolls are arranged, rearranged, and manipulated in groupings until she is satisfied and then they are moved to the canvas. She prefers to work this way so that she can visualize the possibilities before adhering the pieces. How the cut rolls are arranged determines how they interplay with each other and provide even more sense of change, color, and patterns. Placing the now individual small tubes next to each other develops a sense of movement and relationships. It is not unusual for Genser to move pieces on and off repeatedly to find just the right juxtaposition for the composition. She will continue to go back to the rolling process on and off as she sees

OPPOSITE PAGETOP: Beeswax; 2012; paper and

acrylic on Masonite board; 18 x 18 x 1.5 in.

SUMMER 2016 • FIBERARTNOW.NET 23

TEAR, CUT, ROLLTHE WORK OF AMY GENSERBY TRUDI VAN DYKE

When I’m deep into a project

I feel like I can’t

work fast enough. The

images of what I

want to make constantly

flash through my mind. – Amy Genser

22 FIBERARTNOW.NET • SUMMER 2016

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Simply stated… I’m extremely pleased with the positive results I’ received from advertising on Fiber Art Now. Basically, I’m a skeptic when it comes to the thought of getting good results from any sort of advertising. However, beginning with our opening ad placement on FAN, all nagging doubts about the advertising outcome came to a quick end as we picked up a surprisingly large number of new customers. Many first time visitors to our site made purchases, and the orders continue to flow in. I’m especially grateful to all the helpful people at FAN who were instrumental in developing targeted customer channels that gave us noticeably better results for our advertising dollar than I previously considered possible.

Jim AustinJapanese Folk Textileswww.kimonoboy.com

Our Expanded ReachWe consider ourselves an outside marketing arm for our advertising partners.This means that the print ad you purchase is just one component of a package that includes ongoing social media outreach and support.

At Fiber Art Now, we multiply returns on your print advertising investment through ongoing social media support and an online advertising package. From our launch in fall 2011, to our global reach today, we have developed a proven multi-platform model supporting our advertisers in reaching their business goals. Our readers and followers are interested in news, ideas, and connections related to fiber art and textiles. Fiber Art Now is a main information hub for accessing information about supplies, events, tours, workshops, schools, university programs, exhibitions, and conferences related to contemporary fiber art, textiles, and fine craft.

With our print ads, the savvy Fiber Art Now digital marketing team keeps on top of the latest trends in social media marketing and has a proven track record of success in helping many organizations and businesses create buzz about their offerings. We focus our efforts on Facebook, Twitter, Pinterest, LinkedIn, and Instagram, and are able to leverage our audience for our advertising partners.

We consistently post about every print advertiser on Facebook between issues. These posts, scheduled 1–2 times per month, or more, depending on advertiser events and specials, link to your website, blog, or any particular URL related to your news.

We use Twitter to raise awareness and spread information about your organization, too! Connect with us on Twitter, and be promoted throughout each ad cycle to our Twitter audience. That means, when you tweet, your information will be retweeted to all Fiber Art Now followers.

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20,000

103,400

6,500

6,800

4,170

12,700

TOTAL SOCIAL AUDIENCE

eNewsletter list recipients (newsletters are sent out 4x per month)

133,580

Includes four fiber art-focused Facebook pages

Powerful Social Media/Marketing PartnershipPrint ads are only one component of the marketing partnership with Fiber Art Now. Our mission is to help you grow your business by spreading your message on various platforms–print, digital, and multiple social media channels. While every advertiser receives consistent mentions and posts, to ensure even more exposure, email special events, sales, and happenings to our social media team, and we’ll spread the news on both Facebook and Twitter.

Gain exposure with print advertising and drive even more traffic with access to all our social media channels through our advertising partnership. We will list and share specials, giveaways, events, and happenings to more than 130,000 followers.

Every print advertiser is listed in the Supplies and Resources section of our website, and special events are posted on our interactive calendar and map. Your website will be linked to your listing.

Jen Moniz 413-222-0720 | jenmoniz@fiberartnow.netMarcia Young 413-222-0720 | marcia@fiberartnow.net 5

We have worked with Fiber Art Now’s advertising team for a while now and they are always a pleasure to work with. They really want to help build a connection between their readers and advertisers that benefits both. They appreciate that artists need the right tools and supplies to make great art and businesses like ours need he right tools to reach artists.

– Elizabeth Holdmann, Marketing Coordinator, Dharma Trading Co.

The winter issue features selected work from Excellence in Fibers, our annual juried submission and exhibition. It is sold on newsstands and is sent to 200 leaders in fine craft galleries/museums and deans of textile-related departments at colleges across the US. It also serves as the annual exhibition catalog at the full-scale museum exhibition. So far it has been sold at the New Bedford Art Museum, New Bedford, Massachusetts; Highfield Hall and Gardens in Falmouth, Massachusettes; the San Jose Museum of Quilts and Textiles, San Jose, California; the Craft in America Center, Los Angeles, California. Our partner for 2020 is the Muskegon Museum of Art, Muskegon, Michigan. The exposure of the winter issue goes well beyond our typical reach, with the same ad rate!

eNewsletter AdvertisementFiber Art Now sends out an enewsletter to 20,000 recipients every week.

Advertisers that commit to an annual agreement (four issues) are listed as sponsors in the annual Excellence in Fibers issue. We also work with every partner to publicize their happenings in our eNewsletters, scheduling your publicity alongside your marketing plans and priorities. We work with each advertiser to time their newsletter promotion according to their special events or sales. Advertisers with an annual agreement are also welcome to submit a blog post to the Fiber Art Now website.

Jen Moniz 413-222-0720 | jenmoniz@fiberartnow.netMarcia Young 413-222-0720 | marcia@fiberartnow.net

We absolutely love and value our advertising relationship with Fiber Art Now. The staff has been top-notch from their initial contact with us, to guiding us through producing effective and professional print ads, to adding the ‘social media cherry on top.’ We advertise in several different venues, but we get the best bang for our advertising buck with Fiber Art Now. because our print ad contract includes free digital opportunities through their social media feeds. Besides that, the staff treats us like friends, which makes meeting those ‘advertising deadlines’ so much nicer!

– Gail Pierce, Wooly Lady Dye & Design Studio www.woolylady.com 6

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16 FIBERARTNOW.NET • WINTER 2018/2019

Browse the online gallery to see more EIF entries. WWW.FIBERARTNOW.NET/GALLERY

The Gown: Affinity

Jan Huling

Jersey City, New Jersey

2017

3-D printed copy of wedding

gown, vintage glass seed beads,

crystal chain, various cabochons;

beads strung and then glued to

a solid substrate

62 x 59 x 81 in.

Daphne

Nancy Loorem Adams

Langley, Washington

2018

reed, pigment, silk

cocoon, paper, acrylic

mediums; papier-mâché,

random weave, painted

surfaces, applied

embellishments

17.5 x 9 x 11 in.

Photos: Michael Stadler

CATEGORY

WINNER

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FROM THE JURORS

WINTER 2018/2019 • FIBERARTNOW.NET 7

of contemporary craft. He previously served as curator of exhibitions and collections for

Fuller Craft Museum in Brockton, Massachusetts, where he developed and oversaw all

aspects of the New England craft museum’s exhibitions and collections initiatives. He is a

scholar of contemporary studio craft, material culture, decorative arts, and design.

What a pleasure it was to serve as juror for this year’s Excellence in Fibers alongside co-

jurors Beth McLaughlin and Carol Sauvion. Reviewing and selecting work for exhibitions

and shows such as these can be a lonely process, and I am very grateful for the opportunity

to benefit from the careful consideration and sharp observations of these wonderful

colleagues. Their insightful comments on the work during our deliberations should give

all participating artists, both those whose work was selected as well as not, confidence

that their submissions were carefully considered and—though I am sure we all would have

rather had a body of work to share with you much larger than you see here—the show

represents our best efforts to present a range of exemplary work that responds to the

contemporary moment in fiber. The submissions to Excellence in Fiber IV demonstrate

how expansive the field has become; from the most experimental in material, process,

and voice to the dedicated continuation of traditional forms and practices, fiber continues

its remarkable evolution. The challenge and opportunity afforded by this project is to take

in at one fell swoop the multiplicity of voices, preoccupations, and issues of fiber artists

today. It could never be exhaustive or complete, but I hope

this Excellence in Fibers provides reflection, engagement,

and celebration in equal measure. It was my privilege to be

a part of it.

CAROL SAUVION

Carol Sauvion is the creator, co-executive producer and

director of Craft in America, the documentary series

celebrating American craft and the artists who bring it to life.

She also serves as the executive director of the non-profit

organization Craft in America, whose mission is to promote

and advance original handcrafted work through educational

programs in all media. Projects include the documentary

series; the book, Craft in America: Celebrating Two Centuries

of Artists and Objects; two inclusive websites: www.pbs.org/

craftinamerica and www.craftinamerica.org; and the Craft in America Center, located in

Los Angeles and open to the public.

Sauvion has served on the board of the Craft Emergency Relief Fund and is currently on

the board of the American Craft Council. For the past 37 years she has been the director of

Freehand, her Los Angeles gallery specializing in functional craft. Prior to her involvement

in the gallery, she was a potter for 10 years. She continues to make pots as an avocation.

Sauvion earned a BA in art history from Manhattanville College, Purchase, New York.

Jurying the Excellence in Fibers exhibition was a daunting task in many ways. The applicants

for the exhibition are gifted and technically excellent practitioners who put their skill as

well as their personal artistic message into each piece to be considered. The choices were

exciting, although I wanted to see more detail and I wish I could have!

Congratulations to the artists whose work will be displayed in the Excellence in Fibers

exhibition. You represent some of the best work being created in the field of fiber art.

6 FIBERARTNOW.NET • WINTER 2018/2019

BETH MCLAUGHLIN

Beth C. McLaughlin is Chief Curator of Exhibitions and Collections

at Fuller Craft Museum in Brockton, Massachusetts. McLaughlin

has held leadership and curatorial roles in the arts and museum

fields for over 25 years at institutions across the US, including

Fuller Craft Museum, The Oakland Museum of California, and

DeCordova Sculpture Park and Museum. She has curated over 40

exhibitions and has served as a juror/adjudicator for a number of

cultural organizations including the Massachusetts Cultural Council,

the Tennessee Arts Commission, the Duxbury Art Association,

Providence Holiday Art Sale, and the City of Worcester. McLaughlin

has been published in several national periodicals, such as Fiber

Art Now, the Decorative Arts Society Newsletter, and American

Craft Magazine. McLaughlin is passionate about expanding awareness of the craft field,

promoting the makers, and exploring the transformative powers of handwork.

It was my great pleasure to serve as a juror for the Excellence in Fibers IV competition,

along with my fellow jurors Perry Price and Carol Sauvion. Evaluating the hundreds of

fiber works was no easy task, and as I reviewed the entries on my computer screen, I

yearned to see them in person—to examine firsthand the finely rendered details, to

experience their physical presence. Yet, despite the limitations of a digital review, I found

the jurying process to be both rewarding and educational. I enjoyed being introduced to

talented artists from all over the world, and I relished the opportunity for a deep dive into

contemporary fiber arts.

I assess artworks every day as a curator, and I used the same evaluative approach for the

Excellence in Fibers IV review. The initial visual impact and overall design was important,

and I made special note of those objects that compelled me to look further. Generally, I was

looking for work that was technically accomplished, demonstrated material innovation, and

delivered thought-provoking content. Additional consideration was given to those artists

with a distinct point of view that offered something new to the field.

I would like to thank Marcia Young and her staff at the Fiber Art Network for inviting me

to serve as a juror, alongside Carol and Perry. It was an honor to work with them, and

with Noelle Foye who facilitated the stimulating process. I would like to

congratulate those selected for the exhibition, and I would like to thank

all the applicants for sharing their work with the jurors and the world. The

craft community and the fiber art field are strengthened by their creative

voices.

PERRY A. PRICE

Perry A. Price is executive director of Houston Center for Contemporary

Craft (HCCC), in Houston, Texas. Price received a BA in the history of

art from Johns Hopkins University and an MA in museum studies from

Cooperstown Graduate Program in Museum Studies, State University

of New York Oneonta and the New York State Historical Association.

Prior to joining the HCCC, he served as director of education for the

American Craft Council in Minneapolis, Minnesota, where he was

responsible for developing and presenting programming and outreach,

providing thought leadership, and cultivating critical thinking in the field

THE FIBER ART

NETWORK/FIBER ART

NOW IS PLEASED TO

PRESENT THIS FOURTH

ANNUAL JURIED

EXHIBITION, EXCELLENCE

IN FIBERS IV. We are

delighted to announce that

our exhibition partner for

Excellence in Fibers IV is

the Craft in America Center and Gallery, Los Angeles, California. The addition

of a physical exhibition has expanded our core mission of supporting fiber

artists and working to integrate fiber, textiles, and mixed-media artwork into

more venues, private collections, and public settings. Our focus is two-fold:

1) collect and promote an excellent body of work in fibers and 2) increase

artists’ opportunities throughout the year.

Besides providing cash prizes, this expanding project is designed to maximize

opportunities for our Fiber Art Network member artists, including getting their

work shown in respected venues; sharing it with decision-makers in fibers and

fine craft; exposing it to jurors with influence in fibers, fine craft, and the art

world in general; and considering it for inclusion in future issues of Fiber Art

Now magazine, an international publication with worldwide reach, subscribers,

and newsstand and gallery sales.

We now invite you to peruse the final set of work juried into Excellence in

Fibers IV in the pages of this issue of Fiber Art Now. To see every piece in

person plan to visit Excellence in Fibers IV at the Craft in America Center,

May 11-July 6, 2019. We will also draw on the submitted work for ancillary

exhibitions throughout the year and promote that work online, regardless of

whether it has been selected by the jurors for inclusion in this exhibition.

There are five category winners and the Paul J. Smith Excellence in Fibers

prize, selected by Mr. Smith. The selected pieces are a representative ratio

of the entries in each category.

THE CATEGORIES___________________________________________________

INSTALLATION WORKS Three-dimensional work created as an environment

SCULPTURAL WORKS Three-dimensional works in fiber

VESSEL FORMS/BASKETRY Functional work and sculptural expressions of the

vessel form

WALL/FLOOR WORKS Two-dimensional pieces, including quilts, tapestries,

weavings, carpets, or works in any other fiber-related medium or created

using fiber techniques, that are intended for wall or floor display

WEARABLES Body adornments, including wearable art clothing, accessories,

and jewelry____________________________________________________________________

THANK YOU to our jurors, Beth McLaughlin, Perry Price, and Carol Sauvion.

They each bring a unique and well-rounded perspective of fine craft and fiber

art to their jurying task. Learn more about them on page 6.

Finally, a heartfelt THANK YOU to all of the

artists who applied to this year’s exhibition.

We are grateful to have been introduced to

your work and our team is looking forward

to drawing on your entries for consideration

in upcoming issues of Fiber Art Now

magazine as well as for entry into our

exhibitions throughout the year.

ON THE COVER:

Jan Huling, True

Colors; 2014; beads,

cabochons, toys,

chain, etc.; glued onto

wooden palette;

20 x 15.5 in.Photo by Phil Huling

HERE (left to right, full

credits on pages listed)

Svenja, Freyja (p. 64);

Xia Gao, Passing

(p. 42); Tressa Sularz,

Cascade (p.34);

Michelle Montjoy,

Installation for

Figure of Speech

Exhibition San Diego

International Airport

(p. 12); Kate Barber,

Above and Below

Two (p. 18)

Marcia Young, Editor in Chief

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EXCELLENCE IN THE ORIGINAL

IVjuried exhibition in print

nowFiber Art

4 PAUL J. SMITH AWARD

FOR EXCELLENCE IN FIBERS

Cassia Kite, KANEKO Soundstitching

6 THE JURORS

10 INSTALLATION WORKS

Award: Ann B. Coddington, made and found

16 SCULPTURAL WORKS

Award: Jan Huling, The Gown: Affinity

26 VESSEL FORMS/BASKETRY

Award: Jackie Abrams & Deidre Scherer

Couples

38 WALL/FLOOR WORKS

Award: Sandra Martinez, Tronco

58 WEARABLE WORKS

Award: Ann Futterman Collier

When They Came Home: Wearing the

Yellow Dust Legacy of Uranium Mining

68 ARTIST STATEMENTS

GALLERY OF EXCELLENCE IN FIBERS

Jackie Abrams & Deidre Scherer 26

Nancy Loorem Adams 17

Linda C. Anderson 39

Kate Barber 18

Pamela Becker 27

Eva Camacho-Sanchez 40

Ann B. Coddington 10

Ann Futterman Collier 58

Linda Colsh 19

Sherrell B. Cuneo 59

Karin E. Dahl 60

Erika R. Diamond 61

Cheri Dunnigan 28

Suzan Engler 41

Kathey J. Ervin 29

Xia Gao 42

Sarah D. Haskell 43

Linda W. Henke 20

Jeanne Hewell-Chambers

& Nancy Chambers 44

Maggy R. Hiltner 45

Kristin Holte 46

Jan Hopkins 47

Jan Huling 16

Cassia Kite 11

Kathy Knapp 62

Deborah Kruger 48

Denise Labadie 49

Daryl Lancaster 63

Connie R. Lippert 50

Kari Lonning 30

Sandra Martinez 38

Wence Martinez 51

Penny Mateer & Martha Wasik 52

Dorothy McGuinness 31

Amy Meissner 21

Michelle Montjoy 12

Gladys Paulus 13

Susan S. Reckford 22

Gail E. Resen 53

Kathryn Rousso 32

Elizabeth Runyon 33

Melinda K.P. Stees 54

Laura Strand 55

Tressa Sularz 34

Svenja 64

Tali Weinberg 23

Ann P. Wessmann 56

76 CONFERENCES, EXHIBITIONS,

TOURS & TRAVEL, & CALLS FOR ENTRY

COMPILED BY: JOAN CIOLINO

Our DistributionFiber Art Now appears on these newsstands annually, with the winter double issue, concurrent with our annual Excellence in Fibers submission and exhibition.

200Newsstands

Barnes & Noble,Books-a-Million,

and more!

Select Dick Blick Art Supply

Stores

Our digital edition is included with print subscriptions. Every

advertisement is

linked,

giving readers access to your organization with a single click.

Our reader reach is

15,000+ people

Based on an average of 2.5 readers per magazine

6,000 print

is our direct circulation base with many more

eyes on the ads as a result of shared copies and our

digital issues.

Jen Moniz 413-222-0720 | jenmoniz@fiberartnow.netMarcia Young 413-222-0720 | marcia@fiberartnow.net

It is always a pleasure to work with Fiber Art Now. The publication looks great, the advertising is reasonable, and the staff is helpful and organized. We really appreciate the bonus Facebook posts too. Thank you for helping us reach a good audience for our fiber art exhibitions.

– Marguerite Curran-Gowron Communications and Public Relations Manager Muskegon Museum of Art www.muskeganartmuseum.org

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Editorial Calendar

Jen Moniz 413-222-0720 | jenmoniz@fiberartnow.netMarcia Young 413-222-0720 | marcia@fiberartnow.net

RESERVATION

ART SUBMISSION ON SALE DATE & PAYMENT

Spring 2019 February 11, 2019 February 18, 2019 March 6, 2019Summer 2019 June 27, 2019 June 29, 2019 July 10, 2019Fall 2019 August 16, 2019 August 22, 2019 September 28, 2019Winter 2020 November 15, 2019 November 21, 2019 December 10, 2019

36 FIBERARTNOW.NET • FALL 2018

FALL 2018 • FIBERARTNOW.NET 37

“I don’t think of my work solely in terms of fiber. I think of my work as

sculpture that is executed through a fiber discipline,” says Pontz.

As an exhibiting fiber artist for more than 20 years, she understands

that textiles beg to be touched and she always makes a point of having

hands-on samples available at her shows, offering viewers an atypical

museum experience.

Her upcoming solo exhibit, Integration, at the Michener Museum

of Art in Philadelphia, the culmination of years of work, offers an

exciting window into Pontz’s artistic vision. Visitors are invited

to directly experience the art, which is composed of four distinct

pieces, linked by both idea and form, by physically interacting with

each piece.

“The whole point of my work is for the visitor to bring their own set of

values and understanding to the work. I provide the resources, but they

have to figure it out for themselves,” she says.

Pontz has been working on the title piece of the show for about three

years. Though “integration” has been a recurring theme both in her

thoughts and sketchbook, she wasn’t even aware she had started it. As

she often does, Pontz had drawn out the pattern for the original piece

but it was adding elements that clarified the direction for her. About

a year into working on it, the Michener curator Louise Feder made a

studio visit to discuss a solo exhibit, offering Pontz unqualified support

to finish and include the piece.

Philadelphia artist Leslie Pontz crochets monofilament into

organic forms, often combining them with iron and fiber

elements. Elevating the traditional women’s craft of crochet to

fine art, her work addresses a world of contrasts. The translucent

qualities of ordinary plastic when combined with rusted iron or cotton

or silk create a strong balance visually as well as spiritually. Many of

her pieces hold weights that further highlight the tension created by

juxtaposing such disparate materials.

“The work is all about opposites coming together to produce a stronger

statement as a unit than any one of these materials would have

separately,” she says.

With a master’s degree in printmaking from Syracuse University, Pontz’s

career has led her through painting and etching to owning a business as a

designer of hand-printed table linens, which she ran for 12 years. Starting

a full-time studio practice in 1996, she was exploring art quilting using

translucent fibers and layering when she stumbled into Tracy Krumm’s

crocheted metal work at the Sculpture Objects Functional Art and

Design (SOFA) Fair and had an “aha” moment. Though she had never

crocheted before, Pontz plunged into the medium, basing her approach on

the shapes and textures of the desert landscape that had so resonated with

her years earlier and continue to inform her visual voice.

Her work embodies a visceral reaction to material and form. Thus, she cites

as influence work from differing media such as that of glass artists Dale

Chihuly and Lino Tagliapietra along with the fiber work of Sheila Hicks.

LESLIE PONTZBALANCE THROUGH CONTRASTS

BY ADRIENNE SLOANE

LEFT: Build (detail) HERE: Build; 2016; cotton, wood, paint, monofilament,

rubber, cardboard, wool roving, cork, satin, cardboard, Plexiglas; crochet, dry point,

constructed Plexiglas box, hand cut lettering of red satin word “rebuild”.

HERE: Rebuild (detail) BELOW: Artist Installing Rebuild; 2016; cotton, jute,

wood, cork, lead, rubber, Plexiglas, satin; crochet and constructed Plexiglas

box; dimensions always vary, but approximately 74 x 45 in. x variable.

7

4 FROM THE EDITORS 5 GRANTS & AWARDS Public Installation Award REMEMBRANCE 7 Mary Giles BY RHONDA BROWN

8 OUR COMMUNITY FIBER HAPPENINGS 10 World of Threads Festival 2018

14 Contextile 2018

DEPARTMENTS

ON THE COVER: Ágnes Herczeg, Untitled; 2016; thin copper wire, madeira and hemp thread, coconut shell; needle lace;

16 cm high OPPOSITE PAGE: Ellen Ramsey, Seattle, Washington, USA, Satori; 2018; cotton warp, mixed weft of wool,

silk & rayon; haute-lisse woven tapestry; 152 x 152 x 1 cm. THIS PAGE TOP: Mary Giles, Sunrise Totem (detail)

SPOTLIGHT ON ORGANIZATIONS 18 TSGNY: 40 Years & Counting BY PATRICIA MALARCHER BUSINESS MATTERS 20 Business Matters to Gentle Roller BY JONI CORNELL

ARTIST PROFILE40 Susan Avishai: Refashioning Memories BY ANDRA F. STANTON

44 The Miniature Worlds of Ágnes Herczeg BY TRUDI VAN DYKE47 CONFERENCES, EXHIBITIONS, TOURS & TRAVEL, & CALLS FOR ENTRY COMPILED BY JOAN CIOLINO

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TS22 FEATURING YARN Fiber Art Now and Darn Good Yarn recently partnered to call for submissions of fiber art featuring the use of yarn. Proving that the possibilities are endless, these selected works in the categories of sculpture and installations, wearables, and scarves give you a taste of the innovative, fresh work that was submitted.

28 ON THE DARKSIDE BY BETH SMITHWith the approach of fall, store shelves are crowded with decorations for Halloween and Day of the Dead. Though the celebrations are colorful, at the core of these trimmings are allusions to change and decay, the tensions between life and the inevitability of death. Three artists explore this theme with memento mori, an ancient artistic tradition of artwork designed to remind the viewer of their mortality and of the shortness and fragility of human life.

32 LETTING GO: MOVING FORWARD WITH SARAH HASKELL BY JANET MENDELSOHNWhile raising a family, Sarah Haskell’s work focused on the home and motherhood, but the horrific events of 9/11 catapulted her focus into the larger world. She responded to the tragedy by designing and creating her first community project, Each One: The Button Project, a 9/11 Memorial. That lesson was well learned and her movement forward as an artist has continued unabated. Read how her art traces her life journey while connecting with universal themes of longing, grief, exploration, and inevitable change.

36 LESLIE PONTZ: BALANCE THROUGH CONTRASTS BY ADRIENNE SLOANEElevating the traditional women’s craft of crochet to fine art, Leslie Pontz’s work addresses a world of contrasts that engender balance, visually and emotionally. Material and form are the nucleus of her vision, the materials being translucent monofilament, silk, and natural fibers that are often contrasted with iron and steel.Pontz’s fiber sculptures beg to be touched, a participation that she encourages through participatory installations that serve as metaphors for life’s varying circumstances and ongoing challenges. Join us as we preview her upcoming solo exhibit, Integration, coming to the Michener Museum of Art in Philadelphia.

THE WORLD OF THREADS

FESTIVAL, HELD IN OAKVILLE,

ONTARIO, CANADA, is a

leading showcase of international

contemporary textile and fiber art.

The event began in 1994 as a single

Oakville exhibition, expanded to a

full festival in 1998, and became

international in 2009. The festival

has featured the work of hundreds

of artists and draws thousands

of visitors from across the region

and internationally. Unlike many

similar festivals and shows, World

of Threads doesn’t pre-determine

a theme for the event. The shows

develop out of the submissions

received, and themes emerge

from the connections among

the thousands of artworks from

around the world. For example,

one exhibit focused on works

in neutral colors, another was a

highly eccentric exhibit of artwork

that dealt with themes of nature,

plants, and animals, bringing to

mind the collection of a mad

19th century naturalist. Below,

people involved with the festival

comment on their experiences

with the event in the past as well

as what to expect this year.

FIBER HAPPENING

10 FIBERARTNOW.NET • FALL 2018

WORLD OF THREADS

FESTIVAL 2018 WHEN HER MOTHER DIED,

IT FELL TO SUSAN AVISHAI,

HER ONLY DAUGHTER,

TO DISTRIBUTE HER

BELONGINGS. There were

many dresses and Avishai brought

some home, the ones with special

memories. Her mother had,

throughout Avishai’s childhood,

supplied her with everything

she needed to make art: colored

pencils at six, pastels at 10, oils at

13. So even in death, it seemed she

was providing her with materials.

Avishai, who was a working artist

and illustrator, began cutting up

the clothes and making fiber

pieces as homages to her mother.

That was 10 years ago. Today

Avishai is an accomplished fiber

artist whose work has been shown

in galleries and art exhibitions

around the world.

El Anatsui, the Ghanaian artist

who creates tapestries from

bottle collars and caps, served as

Avishai’s first major inspiration.

She says, “I was gobsmacked the

first time I saw them. My years

of nearly photographic realism

in egg tempera were done.” But

she needed a medium in which

to be expansive; something

ubiquitous, something cheap. With

those homages to her mother, it

declared itself: cast-off clothing,

specifically men’s shirts. She

brought home armfuls from thrift

shops and rummage sales, and even

occasionally received some from

friends as birthday gifts. She says,

“There’s a sameness about men’s

shirts. I can deconstruct them,

piling up heaps of collars and cuffs,

pockets and plackets. All those tiny

buttons! And I associate the feel

of the fabric with memories from

my own life—‘daddy hugs’ and the

smell of ironing or Old Spice.”

According to Avishai, El Anatsui

got it exactly right when he said,

“The amazing thing is that the

poverty of the materials I use in no

way precludes the telling of rich and

wonderful stories.” She adds, “It is

the utter transformation of the no-

longer-useful into magnificent art,

ARTIST PROFILE

SUSAN AVISHAI: REFASHIONING MEMORIESBY ANDRA F. STANTON

BY AMY DiPLACIDO

40 FIBERARTNOW.NET • FALL 2018

YARN24 FIBERARTNOW.NET • FALL 2018

4 WEARABLES

Luisa De Santi www.crochetdoll.it Friuli Venezia Giulia, Italy

Love doesn’t judge by sight (Creatures); 2017;

cotton yarn (Anchor Freccia), recycled polyester

and cotton yarn, silicone, plastic elements; crochet,

3-D crochet (filled); 38 x 22 in.; model Rouge5 SCULPTURE & INSTALLATIONS

Luisa De Santi www.crochetdoll.itFriuli Venezia Giulia, Italy

Tree Yarn Bombing & Performance; 2017; acrylic

(Schachenmayr Bravo), polyfill; crochet, 3-D crochet

(filled); dimensions variable; Luisa De Santi and Rouge.6 SCULPTURE & INSTALLATIONS

Huckleberry Elling www.huckandstuff.comMassachusetts, US

Rainbow Monsters In Their Habitat; 2018; wire, acrylic

yarn, polymer clay, armature built for head, head and bodies

crocheted, tent built from canvas, fur, metal poles; 9 x 6 x 6 ft.

6

4

5

ROBE

RTO

PAS

TRO

VICC

HIO

ROBE

RTO

PAS

TRO

VICC

HIO

YARN22 FIBERARTNOW.NET • FALL 2018

The materials a fiber artist chooses are at the very heart of their work. Collaborating with Darn Good Yarn offered an opportunity

for Nicole Snow, founder and president of Darn Good Yarn, Inc., to serve as a juror and to engage directly with many artists working in the field of fiber art. In Snow’s own words, “Darn Good Yarn is a bold, forward-thinking, customer-centric company. We provide

fun, holistic strategies and solutions. We are committed to creating meaningful connections in our business practices, offering the

optimal opportunity to grow community and shared success around the globe.” Fiber Art Now is grateful for the opportunity to work

with a mission-based organization such as Darn Good Yarn on this project. Thank you to the artists who submitted their work!

– Noelle Foye, Exhibitions Coordinator, Fiber Art Now

YARNFiber Art Now + Darn Good Yarns present:

Follow Your Bliss aligns with Darn Good Yarn’s own core values of manifesting your own creativity into everyday life. We were delighted to

see the variety of ways all the artists used yarn, colors and textures to create innovative and awesome work! – Nicole Snow

SCULPTURE & INSTALLATIONSJane Reiter www.retreadart.com Michigan, USFollow Your Bliss; 2018; recycled silk fabrics and garments, along with yarn (silk, cotton, rayon, wool, acrylic), bamboo poles, purchased umbrellas and umbrella frames, umbrella covers hand crocheted, pom poms made by hand with yarn, mostly synthetics. The purchased umbrellas are mounted on the fence; 96 x 720 in.

SPONSOR’SCHOICE

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1/2 Horizontal7 .5”w x 4.75”h

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Our Readers • Our audience, as measured on Facebook Insights and Google Analytics is 93% female and 7% male, with an average age of 43, and an annual household income of $79,350.

• We are a US-based organization serving readers worldwide. Fiber Art Now has followers and readers in many countries. After the United States, our top subscriber communities include Canada, the United Kingdom, Australia, New Zealand, and Denmark.

• Readers of Fiber Art Now also read American Craft, Art News, and other related magazines. This is not a “how-to” magazine; it is edited for, and read by, an upscale, arts-driven audience, which includes professional artists and hobbyists, educators, students, collectors, and arts professionals, who visit museums, galleries, and niche markets. Each issue includes ideas and inspiration across the contemporary fiber art and textile spectrum.

Jen Moniz 413-222-0720 | jenmoniz@fiberartnow.netMarcia Young 413-222-0720 | marcia@fiberartnow.net

43is the average age

$79,350is the annual household income

9

SARA

H H

ASK

ELL

I have been working with FAN for one year now and the experience has been tremendously positive. The team is very helpful with reminders and encouragement for promoting entrepreneurs in the textile and fiber world. My workshop enrollment has increased thanks to their posts in their newsletters, something that comes without spending extra money.

— Eva Camacho Studio evacamacho.com

93% are female

7% are male

Advertise on our websiteWe offer click ads on our website, as space allows. These ads appear on almost every page of our website, along the right-hand column. The Fiber Art Now website (fiberartnow.net) averages 197,000 page views per month, and the numbers continue to grow. Web ads also include social media support!

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Ready to get started? Jen Moniz 413-222-0720 | jenmoniz@fiberartnow.netMarcia Young 413-222-0720 | marcia@fiberartnow.net

What I appreciate most about Fiber Art Network is that they are building a tribe. It is the most ponderous job these days to join forces of a printed magazine and all the opportunities given by the internet and social media to provide a virtual agora (marketplace) to exchange news, ideas and opportunuites, when the brick-and-mortar fiber venues are closing, and it is getting quite challenging to find like-minded people in real space. Partnering with FAN, I got way more than just a printed ad: blogposts, social media pres-ence, and connection with people who are looking for my services.

I have collaborated with Fiber Art Now several times in the past year. I always get prompt answers to my questions and a lot of help and wide support.

— Flora Carlile-Kovacs Seattle-based felt artist & felt tour leader