Tuesday, December 9, 2008

ANU Weavers’ Summer School

January 19-23 + 27-28

The ANU Textiles Workshop is again offering a Weavers’ Summer School. This is an opportunity for intermediate and advanced weavers to use the workshop looms for a personal project. This can be for a finished piece or to engage in weave experimentation. Applicants will need to have completed basic introduction to 4 shaft weave structures.
- 3 counter-march 8-10 shaft treadle looms, all with double back beam
- 5 computer dobby looms (16-24 shaft), all with double back beam
- Weave equipment i.e. warping mill, shuttles, bobbin winder, threaders, temples etc
- Assistance with calculations and set up of projects
- Instruction and assistance with use of computer design program and looms + a/h access to workshop
- Informal show-and-tell and exchange by participants and tutor
Participants are required to contact the tutor to organise materials before the summer school starts.
Tutor: Monique van Nieuwland has been a weaver for 30 years and teaches evening weave classes. She exhibits her work regularly, is the technical officer at the ANU Textiles Workshop and is an Accredited Professional Member of Craft ACT.
Proposals: Please contact the tutor asap with your project proposal to see if it is feasible. Proposals can be sent to the tutor by email: monique.van-nieuwland@anu.edu.au
Dates: January 19-23 + 27-28, 2009 Cost: $600
Materials: Participants are required to source materials for the warp and weft themselves, but the Textiles Workshop can provide some weft materials at cost.Contact: ANU Textiles Workshop on 6125 5833, valerie.kirk@anu.edu.au
To enrol in weavers’ summers school: Cheques: payment to Australian National University

Credit Card: BC – MC – VISA Name on card:

Number: _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ Expiry date: Amount: $600


Address and contact details:
Mail to: ANU, School of Art, Textiles Workshop, Building 105, ACT, 0200.

Wednesday, November 26, 2008

British Tapestry Group members’ un-juried Exhibition 2009

Stirling Castle and the Stirling Smith Art Gallery and Museum
12th September – 1st November

We’re really excited to announce the British Tapestry Group [BTG] will be holding a 2 venue exhibition in Stirling during the autumn of next year. It will also be a double first for BTG as it’s the first time we’ve exhibited in Scotland, and the first time we’ve held a small format, un-juried show. The venues are: the Historic Scotland room at Stirling Castle; and Gallery One, the Ballengeich Room, at the Stirling Art Smith Gallery and Museum.

We’ve only had both venues confirmed in the last few days, but here’s all the information you’ll need to get you started:

1. entry is open to all members, including any international members BTG may have at the time of the exhibition.
2. the theme of the exhibits is open to individual member choice.
3. entries will be limited to up to two tapestries per member, although only one may be exhibited.
4. each tapestry is to be no larger than A3 (277x420 mm or 11.7x16.5 inches), including any frame or other method of mounting the work, in either portrait or landscape format.
5. all tapestries are to be wall pieces, hung with mirror plates. More details will follow about this.
6. any tapestries sold whilst on show at Stirling Castle may be removed immediately, provided a replacement tapestry is available.
7. only tapestries of a standard appropriate to being a member of the British Tapestry Group will be hung.

Apologies to anyone who would have liked to submit a free-standing tapestry but there simply isn’t anywhere such pieces can be exhibited this time – save those for the next BTG Open exhibition.

We’ll be asking all exhibitors to send a digital image of their work[s], so that the exhibition can be shown virtually on the British Tapestry Group’s website at http://www.thebritishtapestrygroup.co.uk/.

Linked to the exhibitions, BTG will also be holding a weekend of workshops and talks at both venues. We’ll be publicising this event once the dates are finalised.

Further details can be obtain by contacting Jane Freear via The British Tapestry Group website

Tuesday, November 25, 2008

Liz Williamson: Textiles, Living Treasure 2008

Liz Williamson: Textiles at Object Gallery
Living Treasures: Master of Australian craft website
Liz Williamson Living Treasure 2008

Liz Williamson website

Generate: art inspired by Charles Darwin by Julie Ryder

Julie Ryders new Exhibition opens at the Australian National Botanic Gardens visitors centre on 2rd December 2008 running until 26th March 2009.
Generate: website

Tuesday, November 11, 2008


Denise Stevens
Old tiles detail 2008,
wool & cotton
woven tapestry 42cm x 56cm

Sorry about the lateness of the exhibition posting, I have just discovered it!
17 October - 24 November 2008

EXHIBITION OPENING Wednesday 29 October 2008
By Tamworth Textile artist Glenys Mann at 2pm.

To be followed by a floor talk by Armidale textile artist Tom Moore All welcome to attend Weaver.......Showing Off

The weavers are all members of the Australian ‘Weavers’ Forum’, a group established in 1998 by local Trudy Newman.

“When the group first started we had about 20 members and it has now grown to around 200,” says Trudy. “We have members in every state of Australia and they keep in touch via newsletter and our web site http://www.weaversforum.com/

Approximately 22 works will be on show reflecting a wide range of techniques available to the hand weaver. Both tapestry and loom weaving are represented and visitors can see on display rugs, wall hangings, garments, wraps and shawls.

Friday, November 7, 2008

Meryn Jones moving from tapestry to tapa & shell

Material Modesty
Meryn Jones
November 26 - December 20 2008
Artist celebration
Saturday December 20

Modesty Apron in Mother of Pearl #1 2008 (Detail)
Shell, buttons, cultured pearls & polyester thread on raw tapa cloth
600 X 300mm (Photograph: A. Higgins artisan.org.au Queensland)

Stephen McLaughlan Gallery
Level 8 Room 16 Nicholas Building
37 Swanston Street Melbourne 3000
(on the corner of Flinders Lane)
T : 0407 317 323
E : st73599@bigpond.net.au
Saturday : 11am-5pm
Wednesday-Friday : 1pm-5pm
& by appointment

Wednesday, October 15, 2008

Daniels Edwards Tapestry



Assessment time is coming quickly for ANU students, final year students have to mount a mini exhibition of there years work. This is generally display in the ANU Art Shool Gallery. Good luck Dan!

Monday, October 6, 2008

Structures, Ingela Valtind

STRUCTURES - Imaginations About the Hidden

The Royal Norwegian Embassy and the Embassy of Sweden in cooperation with the Australian National University proudly presents the exhibition STRUCTURES - Imaginations About the Hidden by Swedish-Norwegian textile artist Ingela Valtind.

Swedish born Ingela Valtind lives and works in Norway, where she has developed a unique textile process which involves dyeing and laminating cotton fabric. This innovative technique opens new structural possibilities for textile work. She is a visiting artist in the TextilesWorkshop. 1 Oct – 30 November 2008

Exhibition 7-11 October 2008 at the ANU School of Art Foyer Gallery opening on Tuesday October 7 at 6 pm in the ANU School of Art Foyer Gallery

Lecture open to the public on Thursday 16th October 2008 1pm Art ForumANU School of Art Lecture Theatre.

The Weight of Nothing

"The Weight of Nothing"
Recent tapestries by Laura Mar
Opening 23rd October 2008 - 5:30pm - 7:30pm
Exhibition 23rd October - 1st November
Wednesday - Friday 12 - 6pm
Saturday 12 - 4pm
level 2 Nicholas Building
37 Swanston Street

ph: 0408 033 035

Essence of Place Exhibition

Exhibitions Dates 28/10/2008 - 08/11/2008

Tuesday to friday 11am - 5pm

Saturday 12pm to 4pm

Fortyfive Downstairs

45 Flinders lane

Melbourne 3000

Friday, October 3, 2008

Entanglement Exhibition

Manningham City Council invites you to the opening of
Featuring the work of glass artists and weavers.

Curated by Megan McEvoy.
To be officially opened by Jason Smith, Director of Heide
Museum of Modern Art.

6pm – 8pm, Wed15 Oct 2008.
RSVP by Thur 9 Oct 2008 to the Gallery: 9840 9367

Exhibition Dates
Wed 15 Oct – Sat 1 Nov 2008
Jazz in the Gallery
The Lisa Young Quartet.
Fri 24 Oct, 8-10pm, $18/12.
Bookings: 9840 9367.

Public Galleries Association of Victoria Open Day
Floor talk, weaving and glass demonstrations.
Sun 26 Oct, 2-4pm, free admission.
Bookings: 9840 9367.

Tour to Monash University Art and Design
Faculty and Victorian Tapestry Workshop
Fri 31 Oct, free admission.
Bookings: 9840 9367.

Manningham Council Municipal Offices,
699 Doncaster Road, Doncaster, 3108.
Mel Ref 33 F12.
Gallery Hours
Tue – Fri, 11am-5pm. Sat, 2pm-5pm.
Free admission.
t. 9840 9367 e. gallery@manningham.vic.gov.au

Thursday, September 25, 2008


An exhibition of new tapestries for sale will be held at
GALLERY 4747 Great Russell Street, London, WC1B 3PB
(Opposite the British Museum)
11th November – 22nd November 2008
Open daily including Sunday, 16th November between 10am & 4pm
If you would like to receive an invitation to the Private View to be held onMonday 10th November from 4-8pm, please contact Barbara Heller,
Phone: 44 (0)20 7267 1034, e-mail: barbara@wissa-wassef-arts.com

Wednesday, September 17, 2008

From Mardi Nowak

Mardi Nowak's Blog

had an email from a student at ANU Canberra today who is studying tapestry with Valerie Kirk. She had to complete an assignment on tapestry weavers who use the human image or form in their work. She had discovered me and sent me a list of questions for me to respond to for her assignment. It's always interesting doing these exercises as it makes me think back to why I do this stuff and what I think about.
So here are my responses to her... yes, I did feel like I was starting to write a thesis again!

1. What is your background? What led you to pursue tapestry as an art form?I have completed a Bachelor of Fine Art majoring in tapestry at Monash University Melbourne in 1998 and have also completed my honours and then a Masters of Fine Art by Research all primarily working in woven tapestry. Kate Derum was my supervisor during that time.

pursued tapestry mostly as I saw it as a challenge. I had previously worked in painting and printmaking and had initially thought that I would major in one of those disciplines at university. I had seen tapestry but had thought I knew how to do it to major in it! However after a discussion with Kate Derum out in a corridor who claimed that my work and style would lend itself to tapestry well, I decided to take the plunge and move into a new discipline. I should mention that I had always had a strong history with textiles. My parents owned a Singer sewing machine store, were boot makers, milliners and pattern makers so I had always worked with textiles, even when I was printmaking, so it seemed a natural progression for my work.

When it comes to being an artist, in particular an artist working in woven tapestry, I love being part of a very old tradition but showing contemporary imagery. I also like the fact that it’s a skill based art that not everyone does, so it makes it a little special - it has a bit of ‘wow’ factor. When it comes to motivation and inspiration, the everyday is what inspires me. Now that I don’t have much time to spend on my artwork, I make things that I want to make and that I feel strongly about or have a connection with. I don’t make work that is controlled by what may sell or what other people want. The imagery I create is made very intuitively but the selection of what will be woven is selected on aesthetic basis and because it has something to say, either about me or because there is a narrative I want to share. I’m heavily influenced by artists such as Karen Kilimnik and Elizabeth Peyton with whom I share a love of figurative works that have a quiet narrative and who also put the viewer and artist into a range of characters.

2. Do you practice other art forms, and if so, what would they be?Although I primarily work in woven tapestry I do work across a wide range of media. Most of my tapestries have a collage starting point and mostly I will work on paper, either collaging, mixed media or drawing. Often I will work with objects as well and during my honours year I was making 3D dolls to add to tapestries and also bags that held objects and tapestries, primarily looking at new ways to display tapestry as well as ways to get my ideas across.

I still work on paper constantly, mostly as my tapestries are big and it’s a quick way to get ideas down. I am still working with objects and the idea of the doll as well as creating artist books of images. I’ve always been very interested in artist books as I’m heavily influenced by popular culture and fashion magazines and liked the idea of creating my own.

3. I notice that your work features young, attractive women. Is there a particular reason for your work taking this direction?I have always worked with the figure and when it comes to what inspires me to create my imagery I stick with things that I know and that relate to my own personal experience. More and more now I find that I am intuitively drawn to selecting figures (or characters) that seem very much like me; that they become the vehicle of my statements within the tapestry. Although it seems very egotistical to say that I am a ‘young and attractive woman’, the works are very much about my view on the world or an imaginary character that I would like to play at some point. The works for my Masters thesis titled ‘Outfit’ talked about our obsession with celebrity and the role of the fan. I can relate to the role of the fan and in some ways idolise and fanaticize about the role of celebrity.

am interested in the notion of ‘people-watching’ and find it an important inspirational tool to capturing the essence of the everyday for me and my work. I think that people watching can be used for static forms such as magazines also and that this crosses over into my work whereby the images created through weaving are static. I also enjoy the strong history of portraiture in art and think that most people are obsessed with looking at others and situating themselves within how others appear.

Often viewers have asked if the girls in the tapestries are me. From a resource point of view they are not. The original images are often found from fashion magazines or advertisements. Though I think even when I was still painting and creating portraits and figures, they inevitably ended up with qualities similar to my own. Now, they have dark hair, big eyes and a fringe, which most people would say are my own features.

4. I'm interested in the career paths that a Fine Arts degree can lead to. I see that besides being a practising artist, you are also the curator at the Town Hall Gallery in Hawthorn. Could you comment on your choice of career in the arts field?I usually describe myself as a full time curator and part time artist these days.I always had an interest in how exhibitions were constructed and the role of the gallery in educating, inspiring and challenging people. Becoming a curator is something that I fell into. I started working as a volunteer in a regional art gallery at a very young age and then was mentored by the Director. I had been given the opportunity to curate an exhibition in my final year of VCE and found that I loved the balance of creating my own work and working with other artists and being inspired by their ideas.

Although I had always thought that I would do a Fine Arts degree, I continued with curating and being heavily involved in the behind the scenes in exhibitions mostly as I felt that it allowed me to become a better artist. Many curators have gone on to do Museum or Arts Management studies, though I believe that the continual hands on work has allowed me to become the curator I am today, along with being an artist as well, gives me insight into dealing with other artists, their aspirations and when they will panic!

Being a tapestry weaver and a curator also has allowed me to continue with my passion of tapestry being seen as a contemporary art form. Working in the industry allows me to push the envelope, so to speak and to put it into a critical context with other works. Most people say that I’m very lucky to work within the arts but I think that the curating and creating feed off each other in the way that I think and approach both my works.

Monday, September 15, 2008

1. Re: "a marginalized discipline" . "suddenly wonderous and revelatory" (Stanley Bulbach)

Since it seemed to pass by unnoticed amongst most of the fibercommunity, I want to share a local news report of importance to theentire fiber community. The news was featured in not one, but two --TWO !! -- front page stories on the New York Times Wednesday, September 10.

The Front Page of the New York Times carried the stories, "Curator atMet Named Director of the Museum" by Carol Vogel and "A New Voice From Within" by Michael Kimmelman. When Director Philippe deMontebello retires in January, he will be replaced by Thomas P.Campbell, the Met's Curator of Textiles. Again as in the past, thewriters emphasized the importance of his exhibition, "Tapestry in theRenaissance: Art and Magnificence".

Mr. Kimmelman wrote "He no doubt is only known to a wider public asthe curator behind the Renaissance and Baroque tapestry shows thatwere among the finest, most beautiful and most praised exhibitionsthe museum has done in years. Via those shows and their heftycatalogs, Mr. Campbell brought to life a marginalized discipline andmade it seem suddenly wondrous and revelatory."

Ms. Vogel wrote "His exhibition "Tapestry in the Renaissance: Artand Magnificence" became the sleeper hit of 2002, attracting some215,000 visitors, more than twice what the museum had project, withmany works that had never been seen in America."

(That story from 2002 alone -- of double the number of visitors thanthe museums best projections -- should be a constant topic ofdiscussion on our fiber bulletin boards, in our fiber publications,in our fiber organizations, etc.)

I think we fiberists can rejoice that a curator in our field is beingacknowledged in this manner. And not just any textile curator, butone who is cited as knowing the rules of bona fide academic research-- relatively unknown in our field -- including the primaryrequirement that you actually have to look at a field's contentaccountably before you pass "expert" judgment on limited parts ofit. For years I have attempted to urge fiberists to encourage anopen dialogue about the importance of our work and how it isinaccurately overshadowed in the broader art world.

To this day, most of our fiber bulletin boards still prohibitnon-technical discussions. Our media, for example Interweave Press,is increasingly owned by investment companies, for example, AspireMedia, that focus on fiber as a retirement distraction and not alsoan art form equal to others. Our primary advocacy organizations, forexample HGA and ACC, have lost about 20% of their membership base andeconomic support over recent years. Yet we have censored ourselvesfrom speaking out in a normal, constructive, academicallyinvigorating manner to preserve and improve our field.

Thus, there is even more reason to celebrate today the Met'sselection of Mr. Campbell as its new Director. This is the mostencouraging news I've seen on the front page of the New York Times inquite some time!

Three cheers from New York City,

PS. I sent this report Wednesday to the American TapestryAssociation, and there has been dead silence in response! I find nofield that matches ours for pursed lips and self imposed silenceabout our relatively poor position.

Stanley Bulbach, Ph.D.


Wednesday, September 10, 2008


I have added a list for exhibitions on the right hand side navigation bar. If you have an exhibition coming up or know of one please email through the details so it can be added to the list.
The only information we need is the name of the exhibition and the URL ( web address) of the exhibition eg: the gallery page listing the exhibition.

Daniels Edwards Artist statment

Hi, my name is Daniel. I am currently in my third undergrad. year at the ANU School of Art in the Textiles Workshop. This year in my work I’ve been exploring the theme of masculine identity in craft. My work includes three tapestries woven with rug yarn combining geometric patterns that emphasise the woven quality with abstract portraits of bearded men. I hope to produce work that shows empowerment of gender suggesting that in practising craft one can form an identity in the field and medium. I have been collecting images of and looking at the bearded man and the aesthetic link that the present day has to the recent decades past where sporting facial hair was fashionable – particularly in the 1970s. The abstracted portraits are developed as iconic images or trademarks of the “maker”. I am interested in hearing from anyone who has ideas about what the bearded crafts person symbolises. Also gathering information on men in Textiles and the roles they play and gathering interesting pictures of bearded craftspeople.
Email Dan or phone 0413 275 869

Monday, September 8, 2008

Images from the conference

The British Tapestry Group goes global.....

Jennie Moncur

The British Tapestry Group goes global.....
BTG has decided to open up its membership to international tapestry weavers. You can join simply by visiting the BTG website, http://www.thebritishtapestrygroup.co.uk/, although please be patient whilst we get our PayPal account sorted out. Membership fees for the current year, to April 2009, will be posted on the site.

Membership Benefits include:
· Access to the restricted members’ area on the website
· Access to the new BTG online Forum
· Create your own gallery page
· Subscription to the BTG Newsletter
· Member discount for the Tapestry 08 catalogue
· A range of members’ only exhibiting opportunities
· Reduced fees for Conference, Seminar and Workshop events

The new BTG Management Committee are also looking to forge links with international tapestry weaving groups, as well as individual weavers, so opening up our membership is our first step in this new direction. We’re already in the initial stages of organising an event for 2009, and the next major juried show, which we hope to tour to galleries around the UK.

2008 has certainly been a landmark year for the worldwide community of tapestry weavers with the Tapestry 2008 Symposium and events in Australia; BTG’s exhibition, conference and workshops in the UK; the American Tapestry Alliance’s Convergence events and exhibitions in the US; as well as the opening of the European Tapestry Forum’s second major touring show.

Add the British Tapestry Group website – http://www.thebritishtapestrygroup.co.uk/ - to your favourites list and keep yourself up-to-date with what’s happening in the UK.

Jane Freear-Wyld – Chair, the British Tapestry Group

Tuesday, September 2, 2008

American Tapestry Alliance New Project

"Inspiration & Creativity," curated by Mary Lane.

Inspiration & Creativity, a project hosted jointly by the American Tapestry Alliance’s Web Exhibition and Educational Articles programs presents the viewpoints of four internationally recognized artists: Peter Horn (Germany), Murray Gibson (Canada), Kay Lawrence (Australia) and Joanne Soroka (United Kingdom). Each artist has generously offered his or her perspective on the creative process through an essay published as an Educational Article. Each artist’s work is featured in the concurrent, and eponymous, Web Exhibition.

Inspiration & Creativity

Peter HornLighter Than Air

Sunday, August 24, 2008

From Cresside Workshop

Tapestry woven by Jillian Brammer

Friday, August 1, 2008

Selling Yarns 2: Conference 2009

The website has been launched of the 2009 conference Selling Yarns

Selling Yarns 2: Innovation for sustainability is a conference that addresses contemporary Indigenous craft and design practice. It draws on the outcomes of the first Selling Yarns 2 conference held in Darwin in 2006 that looked specifically at contemporary Indigenous textile practice

The conference is supported by the Australian University Research School of Humanities, Australian University School of Art , Craft Australia and the National Museum of Australia

Craft Australia publishes a free online newsletter
716 craft·design

Subscriptions to 716 are free.

Sue Lawty's V&A Blog

The Vicotria and Albert museum ( V&A ) have publish Sues' first blog enrty on the their website about the Tapestry2008 conference, Concealed, Discovered, Revealed

World Beach Project : Sue Lawty

The world beach project that Sue Lawty spoke about at the Tapestry2008 conference.

Tuesday, July 15, 2008

World Textile Art Organization Program


The 5th International Biennial of Textile Art will be held from April 1st to 25th, 2009 in Buenos Aires, Argentina, organized by the World Textile Art Organization (WTA).

WTA is a non-profit organization, founded in 1997, with headquarters in Miami, USA. WTA has already organized four Biennial Exhibitions in Contemporary Textile Art, both in the United States and in different countries of Latin America with the participation of international artists and juries.

We would like to point out that WTA is the only International Biennial originating in the Americas.

The venue for the WTA Biennial exhibition will be the Palais de Glace – National Exhibition Hall. An international jury of the highest level will be present, and WTA has issued an invitation to more than 20 very high-profile international artists to show their works in this Biennial Exhibition.

Since in Buenos Aires various exhibitions of both Pre-Columbian Textile Art are to be held throughout the year in several differents museums and cultural centers, WTA is arranging for all shows to be run in parallel.

These will be:
The National Museum of Fine Arts: will be showing its Pre-Columbian Collection.

The National Museum of Decorative Arts: will show Gobelin Tapestries Heritage as well as works by 8 Argentine Textile Artists.

The “José Hernández” Museum of Popular Art: will present its entire collection of Textile Art and the prized works of the last 5 exhibitions of Contemporary Textile Art and of several invited artists.

The Architecture Museum Buenos Aires University will show the results of a contest among textile design students.

The National Museum of Clothing History: Will host the Montreal exhibition “Americas sinuous / intersection of extremes”. A group show 0f 15 artists from Canada and Argentina.
The Borges Cultural Center: will be showing an international exhibit of Contemporary Textile Art.

CAAT – Textile Art Centre of Argentina: will present“The Mini-Textile Salon”.
The National Foundation of Arts: will be showing part of its textile legacy and will be in charge of the workshops.

The Recoleta Cultural Center: will be presenting International Contemporary Art.

AMIA:Will sponsor an installation by a group of textile artists, with the theme, “The Net”in its, three connotations – Solidarity – Communication – Textile.

WTA is also working towards a show that brings together Argentina’s “Pioneers” of Contemporary Textile Art.

As a means to integrate the whole country to this grand project, a group of textile artists from the City of Cordoba (Argentina) will mingle and interact with the audience wearing artistic designs of hand-crafted clothing and hats during the openings. The Cordoba artists will prepare a performance called “Blue Gold”, which underscores landscape and environment increasing awareness on the subject of “Water, a very precious possession”.

Furthermore,we have plannedto include in the General Program:

- Talks and lectures by guest artists and well-known figures of the Textile Art World.
- Seminars and workshops.
- The “Olga Amaral Award” presentation to an outstanding public figure within the Textile Art field.
- A tour circuit connecting all participating museums and exhibition halls to guide and help both foreign and local visitors reach all the different venues.
- A one day “Roundtable Meeting” between participating artists.
- Visits to the ateliers of well-known textile artists.
- An Open Day for school children with guided visits to visit the exhibitions with the presence of the participating artists.
- A interesting Social Program will be included on the agenda.

Tel. (5411) 4788-8080 Fax (5411) 4787-1316
E-mail : contact@wta-online.org - worldintextileart@gmail.com

World Textile Art Organization

5th International Biennial of Textile Art
Palais de Glace - Buenos Aires - 2009
The 5th International Biennial of Textile Art will be held from April 1st to 25th,
2009 in Buenos Aires, Argentina, organized by the World Textile Art
Organization (WTA).
WTA is a non-profit organization, founded in 1997, with headquarters in Miami,
USA, that has already organized four Biennial Exhibitions in Contemporary
Textile Art, both in the United States and in different countries in Latin America
with the participation of international artists and juries.
The 5th International Biennial of Textile Art places its attention on those artists
who choose to express themselves through fibers and weaving , resignifying
through their work the concept of Textile Art, by taking away all boundaries and
making it explode into many meanings and connotations.
Overstepping boundaries and combining different disciplines, those artists
participating in the 5th International Biennial of Textile Art start from the mere
fibers to merge into new technologies, venturing to follow new lines of
investigation, fusing their quests and challenging categorizations but keeping
the soul of textile materials as the integrating element.
1. Participation
1.1 Participation is open to all artists of legal age from all over the world.
1.2 Submitted works: up to three (3) works per artist - either brand new or
already shown. All submitted works have to be created later than year
1.3 Free subject
1.4 Works can be either two-dimensional or three-dimensional or any kind
of installations with no specific size.
2. First Stage – Regulation
2.1 The proposal must be send together with the signed application form
2.2 For each work to be submitted authors shall send:
a) CD containing:
Two professional digital photographs – 8.5 inches or 21,5 cm width and
300 dpi - one of them depicting the whole work and the other one
showing a detail of the work.
All photographs should be clear and sharp, with non- interfering
backgrounds in order not to disturb the actual image of the works. This
is of the utmost
importance, since they will be included in the Exhibition Catalogue.
b) A good color print 20 x 28 cm photograph of the work.
Both the CD and the printed photograph shall bear at the back the
following information: name of the artist, e -mail address, telephone
number, image direction, title of the work, work completion date, list of
all employed materials, list of applied techniques, and work
c) Brief CV including: date of birth, education, gallery representative
status, awards and scholarships, main exhibitions both individual and/or
collective, where the artist’s work has been shown (please mention 10
at the utmost) and also any other interesting professional experience.
2.3 All applicants submitting works to be considered in the selection
process shall bear a U$S 30 – thirty US dollars – non-refundable fee.
2.4 This non-refundable fee can be paid by check in US Dollars,
International Credit cards payable in US Currency or Postal Transfers in
US Dollars (in this case please consult the Organization).
All submitted documentation will be kept and will be become part of
the archives of the Organization.
v All the requested items shall be sent together with the corresponding
application form to the Buenos Aires Headquarters of the Word Textile
Art, addressed as follows:
5th International Biennial of Textile Art
11 de Septiembre 2761 (CP 1428)
Buenos Aires – Argentina
v Final date for proposals reception will be September 1st , 2008 –
which will be validated per post stamp date.
3. Second Stage - Work Selection
3.1 WTA will inform on October 13th, 2008 via e-mail the applicants who
have been chosen to be included in the Biennial.
3.2 The participation at 5th International Biennial of Textile Art bears a cost
of U$S 70.- Seventy US dollars
3.3 Those chosen artists will have to acknowledge receipt of the e-mail
before October 31st, 2008 to confirm their participation at the 5th
3.4 Chosen works shall be sent to WTA before January 30th, 2009. The
sending address will be informed in the next communication.
v Please bear in mind that all parcels should be sent “door to door” and
should be marked “ NO COMMERCIAL VALUE “
All the parcels sent via DHL – FEDEX – UPS and/or similar private postal services are
bound to discharge customs duties at arrival at Buenos Aires. Those expenses shall be
solely for the owner’s account. WTA will not be liable for any kind of payment or
disbursement related either to postage or customs and /or transportation duties.
Non -donated work will only be returned after the settlement of “shipping & handling”
3.5 All forwarding and/or sending postage and insurance costs and
traveling risks shall be wholly borne by the owner and/or sender and at
their own risk.
4. Jury
4.1 The Jury will be formed by highly prestigious authorities of the
international art field. As soon as the jury members are appointed, their
names will be informed through the web page.
4.2 The same jury will gather in Buenos Aires to award the corresponding
Their decisions will be final and non- appealable.
5. Prizes
Prizes will be as follows:
First Prize: U$S 3.000.-
Second Prize: U$S 1.500.-
Third Prize : U$S 500.-
Honorable Mentions to be considered by the Jury
Granted awards are not considered as “acquisitions”
6. Donation and /or Return of the works
At the end of the Biennial each of the participating artists will be able to
donate their work to the WTA and become a member of the Organization,
and as such, they will :
1 - be granted the status of Honorary Member of WTA
2 - be entitled to receive all relevant information regarding Textile Art such
as Exhibitions, seminars, articles, etc
3 - be able to load their CVs and photos of some of their works in the WTA
4 - be part of the sales & promotion scheme of WTA
v Those works which are not donated will be returned to their countries of
origin at their owner’s account and risk, after the corresponding
payment has been effected by the owner.
v WTA will have a (3) three months period to return all not donated works
to artist’s origin countries
v WTA will give each one of the participating artists a color printed
catalogue of the Biennial and a Participation Certificate
v WTA reserves the right to publish those photographs they deem
convenient to promote the Biennial and advertise within the media
7. Important dates
Deadline for application ………………………… September. 1st, 2008
Confirmation of participation …………………… October 13th, 2008
Acknowledgement of Mail reception …………… October 31st, 2008
Work reception deadline ………………………… January 30th, 2009
Opening day. ……………………………………… April 1st, 2009
For further information please contact:
Tel. (5411) 4788-8080 Fax (5411) 4787-1316
E-mail : contact@wta-online.org - worldintextileart@gmail.com
5th International Biennial of Textile Art
Palais de Glace - Buenos Aires - 2009
Name: ……………………………………………………………………………………
Place and date of birth:
Telephone: ……………………………..Celular phone: ……………………………..
Full address: …………………………………………………………………………….
Email (must): ……………………………………………………………………………
Conceptual artwork explanation:
Title: …………………………………………………………………………………….
Year: …………………………Price in dollars:……………………………………
Dimentions: ……………………………………….
Weight: …………………………………………….
Materials: …………………………………………..
Would you like to donate your art work to the WTA Organization?
YES ……………. NO ……………….
I agree with all conditions set forth in this application form
Signature _______________ Date ___________________
5th International Biennial of Textile Art
Palais de Glace - Buenos Aires - 2009
(Check one)
Name: …………………………………………………………………………………
Telephone: ……………………………. Celular phone: …………………………
Full address: …………………………………………………………………………..
Number of the check: ……………………………………
Visa ( )
American Express ( )
Master Card ( )
Number: …………………………………………………
Expiration date: ………………………………………….
Signature______________________ Date ________________________

Sunday, July 6, 2008

Good Conversation

Lots of good conversation and friendships made in Valerie living room!

Katie and Belinda

Sue, Jane and Fiona

From Andrzej Banachowicz

Photos sent from Sue Lawty. I am sorry I don't know all names please feel free to fill me in so I can update captions.
Tapestry2008 reception at University House.

Sue Lawty ( left ) Susan Mowatt (centre) Andrzej Banachowicz (right )

Fiona Rutherford(left) Julie Ryder (centre) Belinda Jessup ( right)

Andrzej Banachowicz

Andrzej Banachowicz (left) Valerie Kirk ( centre)

Linda Wallace (American Tapestry Alliance), Jane Kidd, Fiona Hutchinson, Yasuko Fujino, unknown , Belinda Jessup, Katie Hutchinson

Thursday, July 3, 2008

From Cresside's workshop

Hi Cresside, Thought I would try to complete our exercise in the spirit of
its name, rather than photos, so-- I sat at my front door and wove the view
out the gateway and across to my neighbour! Good fun and going to try
another one further afield -- when the weather improves, hope all is well
with you and yours, regards, Marie Drury

From Cresside's workshop

Here is my finished tapestry from the Botanic Gardens workshop in Canberra. I really enjoyed this project and found weaving directly from the landscape very liberating. So I plan to do this more often.

Lisa Molvig

From Cresside's workshop

Hi Cresside,
I am leaving for three weeks holiday tomorrow and just remembered you
said to email you the completed tapestries we did in the Botanic
Gardens in Canberra. Here is mine - the last part with some artistic
licence.bI'm not an experienced tapestry weaver but I was quite
pleased with it and really enjoyed the experience of plein air
Ruth Lathlean

Wednesday, July 2, 2008

Aino Kajaniemi Report

Click on the image to enlarge and read, ( if you can read Finnish!).

Monday, June 23, 2008

And more from Jane

Second set of 'Scarf Slice' manipulations