thelmasmith

“Growth is only possible as a product of history. Without memory, innovation is merely novelty. History gives growth a direction. But a memory is never perfect. Every memory is a degraded or composite image of a previous moment or event. That’s what makes us aware of its quality as a past and not a present. It means that every memory is new, a partial construct different from its source, and, as such, a potential for growth itself.”  © Bruce Mau Design

I have subscribed to the announcements provided by ArtScene. They appear in my email several times a day. Almost always they are accompanied by images that provoke thinking. Again, another source of images and information that are geographically inaccessible. I tend to think of the work of artists as work belonging to a very broad universe. ArtScene and magazines help me keep in touch with all sorts of things that are not within arm’s reach.

Recently, they have invented a radio - I don’t know whether to call it a station or a system as I think it is internet only - ArtScene Visual Radio.

The image is copyright ArtScene Visual Radio and is provided here for educational purposes under the fair use clause of the copyright law.

PS, my server has been acting up.  I have lost the thumbnail setting on my WordPress.  It will be fixed in the next few days.  Thank you for your forbearance.

The textile arts are a varied lot. They show up in the most unexpected places. The image below is copyright by two entities and the artist; it is published here according to the fair use for educational purposes section of that law.

Notice that Untitled, by Joyce Melander-Dayton, is of acrylic, cotton, wool and beads on linen. The very definition of textile art. This advertizing popped up on page nine, more or less, of the May 2007 issue of art & antiques. Copyrights are held by Melander-Dayton, the June Kelly Gallery in New York City, and by arts & antiques.

I like the fact that textiles are popping up in unexpected places. These places that are geographically removed. Those of us who practice the textile arts should be an encouraged.

I read arts & antiques monthly; quite honestly it’s more wallowing in the luscious glossy printing of high quality photographs. This magazine gives me a window on all sorts of visual art from many centuries. I find it is a very pleasant way to add to my knowledge. I see things I would never see in a venue restricted to textiles. I think that is important.

The mail man left me a rubber banded stack of paperbag envelopes today. I have seven copies of this new magazine from Spain. I am completely flummoxed. My spanish is just barely enough to understand that writer, J. M. León Moriche, has captured my thoughts about person to person conversations among the citizens of many nations. ArtePatchwork serves Spain and Europe. For those of you who are bilingual, have fun with the website.

There are seven additional artists featured with good, four color, images. I have magazines for each of you. I find that leaves not one for myself. I shall have to scan and print for my portfolio. I don’t know who will get the slightly used copy. Here’s the list:

Eve Under Scrutiny, Pamela Allen, Kingston, Ontario, Canada

Rebirth, Scott Murkin, Asheboro, North Carolina

Choices I, Peg Keeney, Harbor Springs, Michigan

Trapped, Lisa Chipetine, West Hempstead, New York

The Coat of Old Responsibility, Jane Herrick, Eau Claire, Wisconsin

Who’s Counting, Eileen Doughty, Vienna, Virginia

What We Know, Lauralyn Sciretta, Tucson, Arizona

The article is magnificent. León Moriche has grasped the concept of societal commentary.  His appreciation of that concept combined with textile art is evident. When I find assistance for a professional translation I will see to it that the artists receive a copy. In the meantime, I’m over the moon.

I think this publication is suitable for every textile artist world wide. Not only will it serve to tweek your multilingual struggles, the text is exploratory and intelligent. The magazine is probably two thirds editorial reportage. The balance of the information is focused on those of us who are still learning. It is not just patchwork, it is threads, and yarns, and all sorts of learning. Well worth the quality of the printing and the images.

It’s a lesson to bureaucrats in the United States that we, as citizens, should honor our hispanic compadres by matching their efforts to be not only bilingual and multilingual but to become multilingual and multiliterate ourselves as well.

Textural Rhythms: Quilting the Jazz Tradition landed in my mail box. I’ve just begun reading the text having fallen into and through the images several times already.

Here’s a look at the work from another direction, Kyra, talks about how the book captivates her. Here’s Sonji Hunt’s lovely review of the opening reception.

The most amazing thing I have learned about myself from Dr. Mazloomi’s writing:

“Jazz speaks for life. The Blues tell the story of life’s difficulties, and if you think for a moment, you will realize that they take the hardest realities of life and put them into music, only to come out with some new hope or sense of triumph. This triumph is music.”

Now I know why my series, The Blues, is languishing. It has finished itself. I have found that triumph of new hope. I want to thank Dr. Mazloomi for putting it in words for me. I really needed to see that in print so that I could see into my own spirit.

You can get the catalog here. Keep an eye on Dr. Mazloomi’s website for information about the travels of this exhibition. Be sure to see it when it comes within a day’s drive. The catalog is spectacular; the exhibition is even better.

I also received my copy of Threads of Faith. This is another magnificent catalog with lots of text. The traveling exhibition has closed but the book will transport you there.

Many thanks to Dr. Carolyn Mazloomi for permission to use her copyrighted dust jacket images of the book.