Saturday, November 24, 2012


New York City sky

I used to say that New York City is the only place where I know north, south, east and west. Just put me down somewhere in Manhattan and I can tell you where I am. I was born in Manhattan but raised on Long Island. My siblings and I knew that we didn’t belong there, and as we listened to our parents moan about life in that small town (whose edges blended seamlessly with all the other small towns on the south shore), we would encourage them to move back to the city. Maybe it was lack of courage, or maybe they really meant it when they said they had moved there for us—but it certainly didn’t make any sense since the schools were better in the city, the ease of attending cultural events couldn’t be argued, and the ability to have dim sum every day, or real Indian, Italian, Middle Eastern, or any ethnic food was an important point. I guess riding your bicycle in the street was a plus for Long Island, but by the time I reached junior high I was taking two buses, and a subway almost every weekend to the city to attend a Broadway play with another friend whose parents had excelled her on Long Island.

Guggenheim Museum, NYC 
We were raised to understand that school meant kindergarten through college, and then we could move back to Manhattan. That is almost exactly what I did—with a few months in Europe before moving to the City. Until I was 42, I moved in and out of the city—thriving and excited until I would reach the point where I was reading the New York Times on a Sunday, mentally attending all the week’s activities, and then doing nothing. The four walls of my apartment would become my boundaries, and I would know it was time to move. The last time I left the city (this time from Brooklyn, not Manhattan) I went to graduate school. In a way it marked a change in my life because it opened up the possibilities of jobs with responsibility and creative outlets. It helped that my first full-time job was only two hours from New York City. That first year or two we drove there almost every weekend. I distinctly remember the evening we were stopped in a traffic jam trying to enter one of the bridges, and pulled over, singled out because our car had out of state plates. That $200 fine really hurt, and our trips to the city dropped off as we began to investigate Philadelphia.

33 Years! 
There have been lots of moves in my 33 years with Mark (anniversary next week), and now we are trying to figure out the next one. Just last week a friend looked at me with an extremely severe, stern expression on her face and reminded me that I have a beautiful house with lots of room (meaning studio space). Yes, I know she is right. But I can’t help thinking that we are pieces of a jigsaw puzzle, me and Mark, locked together and trying to find the surrounding puzzle where we fit. You know how you have a puzzle piece that looks like it should fit in a space, and you move it around in every possible position trying to get it in, and you sort of can even squeeze it in, but you know it isn’t right. When the piece fits, it eases into place with an audible sigh of relief. We are looking for that ease.

Mark Goodwin's studio in Vermont 
In the last few years, now that we are back on the East Coast, we have had the chance to return to New York and Philadelphia, and a few other places we have called home, and just this week I returned from a fabulous two weeks in New Mexico, the last place we called home. What I have learned is that my compass has expanded. New York, Santa Fe, Philadelphia—each of these places is familiar. Walking their streets is like an embrace by someone you love. There is a constant nodding of recognition, an internal ahhhhh, the yes of knowing where you are and what is around the corner. Of course there are changes—and despite the economic woes of these times—those changes feel vital and good.

Love my Friends!
Returning to these familiar places has also shown me what a people person I am. I love my friends. I love sitting with them (in that Chinese buffet where the food is not really very good but where we feel comfortable to sit for hours and talk; or in their kitchen which is a new place for me but still feels known because of all their possessions moved from the old house to the new) and catching up on their children, or siblings, or mutual friends, or themselves. Names of people I have never thought of since the last time I sat with them bubble up in my consciousness and I can ask how they are, what they are doing, where they are. It isn’t just gossip, or chatter, it is taking a reckoning of position, it is settling into home.

Folk Art Museum, Santa Fe, NM 
Maybe once we leave this place, we will return and find the same sense of the familiar. Five years have brought many shifts in my feelings. This spring/summer/fall were so beautiful that I couldn’t help seeing and acknowledging how gorgeous the world is in this area. But the cold has started, my arthritis is acting up, the days are too short. The litany of reasons to move doesn’t evaporate, despite the almost equal list of reasons to stay. Another place has become familiar but it still doesn’t feel like home. We have enough energy to believe that we could be happier somewhere else, enough energy to pack again and jump off the cliff. We just don’t know where we will land. I came home from Santa Fe with the same reaction I had to Philadelphia-- we can return. We just don’t know if we will return.

New Mexico Sky

Friday, October 26, 2012


I don’t think of myself as a consumer, but I love to shop for some things. Groceries are top on my list. Did I write about this before? How I came home late one evening from two years living in Guatemala and Mexico and immediately went to the grocery store and walked up and down every aisle. I just starred at all the boxes of cereal, all the types of cookies, all the cheeses, and all the fruit and vegetables out of season for that area but available to purchase anyway. These days I don’t go up and down every aisle, in fact I never go past the boxed cereals or canned vegetables, but I still love going to the supermarket and slowly going through my list. I try to limit myself to a written list, but never manage to succeed. Besides the monthly bills that must get paid (like the mortgage), the grocery stores get most of my money. When times are rough, I ask Mark to do the shopping. He sticks to the list.

The other item on which I spend money is books. I used to buy textile related books. I have learned that if I see a book that looks good, I had better get it, because it won’t be there next time I look. The bookstores in Santa Fe always had something to tempt me. One memorable trip there, a fantastic bookstore was going out of business, and we flew home with armfuls of heavy art books. That was before the airlines started to charge for luggage. The books stay with us, from house to house, as we crisscross the country. They fill shelves in almost every room. Sometimes I don’t take one off the shelf for months, but when I do, it is like visiting an old friend.

 I go in cycles of topics. Indonesian textiles were high on my list for a while. In fact, almost any book on ethnographic textiles will catch my attention. These books are usually filled with lots of photos, and admittedly, I have looked at the pictures more than I have read the texts. I also like how-to books on weaving. No book has come close to Deborah Chandlers’ Beginning Weaving, one of the first books I owned, but that doesn’t stop me from buying all the ones that have come out since hers, explaining how to wind a warp, or set up a loom, or weave simple fabrics. There is this thing that comes over me when I find one of these books—I think it is called greed. I just have to have it. It’s as if my life will not be complete unless that book is put on my shelf. This hasn’t happened in Vermont because I have never seen a book on weaving that I don’t already own in any of the bookstores here.

 Lately cookbooks are calling to me. There used to be a Borders within a half hour of my house, and I would loose myself looking at all their cookbooks. Now I find I am creating quite a long wish list on Amazon; books on chocolate are piling up fast. I haven’t actually made any chocolates yet—but I am reading about them—and lusting after more books on them. Reading is definitely less fattening than making and eating, but I know that soon I am going to start…and then my list of needs will increase to molds, and dipping forks, and exotic ingredients. Cookbooks always seem to lead to purchases of kitchen tools.

 Desire is an interesting phenomenon. I can thumb through dozens of books and put them back on the shelf without a flicker of interest—but suddenly, when something catches my fancy, it seems like dozens of others are suddenly enticing. I have some control, so I whittle things down to one or two purchases, which then trigger a delayed action. Sooner or later I will be back to get the others. I have rationalized some of it. A book on weaving or cooking is something you return to again and again. It isn’t an item you can get from inter-library loan because you never are quite finished with it. Even if it isn’t a very good cookbook or textile book, still you might need to use it again in the future; and if it is a good cookbook or weaving book then you definitely will need to use it again. These are research items. Research is such a respectable word that allows me to indulge in consumerism. Mark thinks I should do some weavings based on cooking. Now that will really legitimize my research.

Tuesday, October 16, 2012

Master Weavers

Mark Goodwin deciding what to install next after hanging My Roof by Bhakti Ziek on back wall at AVA Gallery and Art Center, Lebanon, New Hampshire.

I am currently in two concurrent exhibitions with Cyndy Barbone, Deborah Carlson and Fuyuko Matsubara. It surprises me that many people think we are showing the same work at both venues, since their dates overlap. So just to be clear, the makers are the same, the work is different. The Fuller Craft Museum in Brockton, Massachusetts is hosting Grand Tales of the Loom: Four Master Weavers until January 20, 2013; AVA Art Gallery and Art Center in Lebanon, New Hampshire is hosting Affinity: Cyndy Barbone, Deborah Frazee Carlson, Fuyuko Matsubara and Bhakti Ziek from October 19 - November 16, 2012. Since we hung the AVA show on Saturday, I can post pictures from that installation in this post.

Margaret Jacobs, head of exhibitions at AVA Gallery (on ladder) and her assistant, Kayla Gilbert, did an amazing job hanging Fuyuko Matsubara's masterpiece, In the Earth 2, at AVA Gallery and Art Space, Lebanon, New Hampshire.

This is a good time for weaving and textiles in general. Material explorations have exploded and when one sees work using fiber materials in art galleries now it is just identified as art, not ghettoized as fiber art. Most of these artists will roam from media to media, as their ideas or fashion dictate, and I have no problem with this. Nor do I mind that many of them are reworking ideas that have been done before--though I do think it is sad that their education has not informed them of the artists who trod the path before them. And I do mind it when I read statements implying that they are the first ones to combine concepts with fiber materials--a blatant sign of ignorance and self-aggrandizement. On the other hand, one has to excuse some of their ignorance because many artists using fiber materials that express ideas have been excluded from major museums, galleries, exhibitions and catalogs just because they were using those materials.

Cyndy Barbone (left) and Deborah Carlson (right) photographing the installation at AVA Gallery and Art Space, Lebanon, New Hampshire with Cyndy's weaving on the left wall and Deborah's weaving on the wall between windows.

So I think it is a great thing that the walls seem to be coming down (okay, I am skeptical--just like when I think that women have come a long way since my youth, I realize how few women are in the senate or house of representatives or hold positions of real power, and I wonder if they will repeal the woman's right to vote after they take away her right to choose). And I think this is the time for all of us who have been working for years to make an effort to show. So naturally I am thrilled that I can be part of two strong shows happening right now. Thrilled because when I stand in front of the work of Cyndy, or Deborah, or Fuyuko I am reminded of why I love weaving (as a medium, not as a process). Of the awe I feel when I realize that they have patiently manipulated vertical and horizontal threads to create these personal, passionate narrative works that evoke place and spirit and light. I can get lost in front of each work in these shows, whether small in scale or large, mesmerized by their beauty and substance. 

Portrait by Cyndy Barbone (on display at AVA Gallery and Art Center, Lebanon, NH) is woven with inlays of yarns of different densities creating a figure from degrees of transparency. 

And I realize that what I am looking at is the product of years of study, research, exploration and learning. Each of us has been weaving for more than thirty years. We bring knowledge of dyes and dyeing, materials, and weave structure to the table. Double weave or triple weave isn't used because it is complicated but because it is the right method to produce the elements needed for the ideas being expressed. The slowness of a process is not an end goal, but if the only way to produce the idea is slow, then that is the path that must be followed. The fact that I am using a computerized loom ("new technologies") is something I have grown into, from hand manipulated supplementary weft to weft-backed satin structures; it facilitates the making of my current work but it doesn't do the work for me. And our work is informed by the awareness of great works of art in textile form, from Coptic textiles to Safavid to Bauhaus to contemporary fiber art. We know we are the current practitioners of a long lineage of artists who have found their voice at the loom; a practice that dates back to centuries dated B.C. We want people to understand through our work that the expression of woven threads is sublime and spiritual.

Deborah Carlson's woven portrait of a memory, with its golden heart, and surrounding gold leaf will draw you into the room at the exhibition Affinity at AVA Gallery and Art Center, Lebanon, NH.

Just like I have earned the right to use my Thread Controller loom, so all of us have earned the title of Master Weaver. We aren't the only ones. I can name a handful of amazing artists who are also master weavers and could easily be in the shows with us. So I hope this is just the beginning. That our work will travel, that there will be other shows with more people, other shows with more work to dazzle the eyes and entice the contemporary public to appreciate weaving as an art form.

Deborah Carlson's work on left of left wall; Bhakti Ziek's weaving Vowels to right of it; and Bhakti Ziek's My Roof on back wall--on view at AVA Gallery and Art Center, Lebanon, NH.

Fuyuko Matsubara's weaving to the left; Cyndy Barbone's weavings are in the center and to the right--on view at AVA Gallery and Art Center, Lebanon, NH.

If you want to read more about my thoughts, there is an interview with me on the Fuller Craft tumblr site. I don't remember sending it off with all the typos and misspellings and words that should be other words (like wave for weave), but maybe I did. So if you can overlook those things, you might find it interesting to read. Click here.

Tuesday, October 9, 2012

Fall Catch Up

Fall in Vermont
This fall is going so quickly that I am just going to play catch up and post briefly about several events. It has really been a beautiful fall, following a magical summer, so I have some hope for winter.

Four "Master Weavers" standing in front of Cyndy Barbone's work at top left with Cyndy second from left; standing in front of Deborah Carlson's work with Deborah at right; standing in front of Fuyuko Matsubara's work with Fuyuko second from right; and standing in front of Bhakti Ziek's work with Bhakti at left (photos by Cyndy Barbone).
The Fuller Craft Museum exhibition opened with a reception for the four "master weavers" (I love writing master weaver and really, we all have earned that title and deserve to be honored this way) on September 30th. It was a lively, well-attended event and the work of each of us shone on its own and worked in harmony with the other weavings. This exhibition will be on view through January 20th. On November 18th we will return and give artists' talks at 1 p.m. Here is a walk-through of the exhibition:

Top left is view from the entrance and top right is looking back to the entrance showing the title wall with work by Deborah Carlson and the side wall with work by Deborah Carlson; the middle left image shows the right wall with work by Bhakti Ziek; and the middle right image is the back wall with work by Fuyuko Matsubara; the bottom left image shows Cyndy Barbone's work which hangs on the left wall; and the bottom right image shows work by Deborah Carlson which is on the front wall.
Top left: Marianne McCann in front of her gypsy wagon and studio building; Top right: Holly Jennings at left, Marianne, Barbara Moon Boertzel and Harry Boertzel; Middle Left: Marianne in front of one of her paintings which she made for her mother but I always think she is talking to me; Center Top Right: lunch on Andy Wasserman's porch--Andy is on the right at the back, I am across from her; Center Bottom Right: Vermont view; Bottom Left: spur of the moment salad--yum; Bottom Right: Andy's chickens. 
A visit by Barbara Moon Boertzel and Harry Boertzel brought together a group of us who all know them from different times related to Cranbrook. We had a delicious Portuguese dinner their first night here made by Holly, Marianne and myself because we are all focusing on David Leite's The New Portuguese Table for this round of the Dowdy Corners Cookbook Club. No pictures but good memories. Next day we visited Marianne and Andy. We had plans to go to Montpelier for lunch and drink Vermont beer but never got there. Instead we had a marvelous spontaneous lunch that was truly a feast at Andy's house. The stop at Marianne's reminded me that despite her M.F.A. (all the women at the lunch table have their M.F.A.s from Cranbrook) she is truly an original folk artist. If the right person from the outsider art world fan group discovered her, she would have a long list of people wanting her work.

Jennifer Moore from Santa Fe, NM standing in front of a table of her samples that she brought to the Vermont Weavers Guild workshop at the White River Craft Center.
Just this morning we took Jennifer Moore to the airport. She came to Randolph to teach a workshop on doubleweave for the Vermont Weavers Guild. I know Jennifer from Santa Fe, so was happy to spend evenings together catching up. You can see from the photo above that Jennifer loves color and knows how to use doubleweave in so many ways to bring color and structure together. If you want to know more about her work check out her excellent book, Doubleweave. And if you are a member of a guild or group that brings in people to teach workshops, you should definitely put her high on your list. I walked through her class yesterday morning and was so impressed by the energy coming from each loom.

In just a few weeks, the trees went from green to a myriad of color. To my eyes, the sumac is an especially vibrant red this year. I googled garlic and read that when the hills were a field of color, that was the time to plant the bulbs. So I did. Then heaped on leaves, which are falling fast. The color never lasts long enough, just like summer never stays quite as long as I want. But the beauty of each season seems particularly beautiful to me this year, and I am curious to see what Winter will bring. Meanwhile the fires in the wood stove, which have begun, seem more like a luxury than a necessity.

One of the last walks before all the leaves are gone.

Friday, September 14, 2012

The Woven Pixel Goes to

Front Cover of The Woven Pixel

The Woven Pixel: Designing for Jacquard and Dobby Looms Using Photoshop®, Alice Schlein and Bhakti Ziek, was first published in 2006 in physical form. It was a 362-page black & white book with accompanying compact disk; the CD included all of the major illustrations in color, and all of the more than 1400 weaves described in the book immediately loadable as Photoshop Pattern Presets. The book went through two print editions.

After all the physical copies were sold in 2010, the authors offered the book and CD contents as a digital download, at a reduced price. Sales of the digital download continued until the present time (2012).

In the original TWP, the authors were working with Photoshop CS2 and Elements 4. The Adobe software has gone through many versions since then, and as I write this, Photoshop CS6 and Elements 10 are being sold. The techniques described in the book remain mostly valid for these later versions, although the user may have to look for  different paths to achieve the same ends.

The original TWP contains lists of resources, some of which are sadly out of date.

The vast majority of the book, however, remains as valuable today as it was in 2006: chapters on jacquard history, jacquard design, weave structures used by jacquard and dobby weavers, and an extensive bibliography are among the many gems to be found here.

The authors are not inclined to undertake a major revision of TWP, but want to ensure that this important text remains available to the weaving community. Toward that end, we have made an arrangement with Kris Bruland at to offer the digital version of the book, minus the CD, as a free download. We are grateful to our many supporters who have invested in the print and digital versions of the book and CD; without them we couldn't have committed two years of our lives to the work. The original CD will not be included in the free version of the book, but will be available as a digital download at a cost of $100. Contact Bhakti Ziek (ziekgoodwin[at]gmail[dot]com) or Alice Schlein (aschlein[at]att[dot]net) for more information.

We hope you will agree that TWP was an important contribuion to the world of jacquard design and that  it will continue to inspire weavers and add to the spirit of sharing which  is a hallmark of the present-day weaving community.

Back cover of The Woven Pixel

Wednesday, September 5, 2012

Repetitive Motions

This has been the summer of repetitive motions. You might leap to the conclusion that I am talking about weaving--the rhythmic throwing of the shuttle from one selvedge to the other, feet alternately depressing pedals--but I am talking about scraping paint off the house, painting on primer, painting the first coat of color, then painting the second coat. Of action that seems like it is going nowhere but suddenly a new view pops into focus. The last week or so it seems the house really is looking different.

Summer house work in Vermont
That's Mark's woodpile at the bottom, referencing the Green Mountains of Vermont. Stacking the wood started the summer work. After some attempts to avoid the house painting (successfully ignored for several years) we just bit the bullet and started scraping. What you can't see are all the clapboards Mark had to replace, or the rotting window frames he fixed, or that the steps are new and include a poured cement step. In other words, what he has done looks so good that you don't notice how much he has done. It's like that with art too.

Garlic from Tunbridge Hill Farm, Tunbridge, VT
It's like that with the garlic we have been peeling for the last month and will continue through October. I never realized that the bulbs I have purchased in the past, white and clean, had to be carefully peeled to remove the dirt in which they grew and the outer stained layers so that the customer could purchase the illusion of pristine bulbs. So, in exchange for our CSA share, we have put peeling garlic into our summer routine. Scrape, scrape, peel, peel. Read.

I am reading Simon Schama's Landscape and Memory. Recommended by a friend, it made my eyes sparkle from the very first sentence. I am trying to understand the myth of place, and this author, who addresses it, along with fascinating, meandering discussions that others might ignore but that he, happily, feels it necessary to explore in order to complete the idea he is addressing. Big old Victorian houses that need painting every year and garlic bulbs and local food are part of the landscape of Vermont. What parts of the illusion do I cherish and want to keep in my life? What parts seem like the DisneyWorld Pastoral Ride to me? It seems many of the places I have lived have strong identities ("Santa Fe" evokes a rich tapestry of images that are quite distinct from the equally rich tapestry of images evoked by the word "Vermont"). When I look at a map of the USA I realize that ideas of place keep me from considering many states as home. In fact, right now, I think the lack of a myth about another place is keeping us stationary.

Elin Noble and friends at her exhibition at Colo Colo
Stationary, not immobile. Just had a wonderful day with a friend driving down and back to New Bedford to see Elin Noble's inspiring exhibition at Colo Colo Gallery. These small marbled pictures are worlds within worlds, swirling energies of macro and microcosm, everything contained in nuances of black and white.

Garden Spirits by Lasse Antonsen at Slocum's River Reserve
We also got to visit the Slocum's River Reserve to see Lasse Antonsen's installation of Garden Spirits. Eeire forms, part tree, part insect, part alien figure, the installation is a wonderful start of a career change where Lasse has exchanged his curator's hat for that of an artist's. I am sure this multi-faceted creator is actually going to be many-headed continuing as writer, teacher, artist, explorer.

Amaral's in New Bedford, MA
What we didn't get to do was shop at Amaral's or walk the beach at Horseneck Beach--both priorities on the trip but proof that things are not in our control. However, I was able to get some Portuguese food items at Marketbasket--needed because the current Dowdy Corners Cookbook Club selection is David Leite's The New Portuguese Table. I made his green soup last night and it was delicious--perfect for these early fall days that seem colder than they are because they are in such close proximity to the glorious warmth of summer. You know I am not a cold weather aficianado, but I admit that I am ready to put away the scraper and pick up a shuttle, exchanging one repetitive motion for another.

Saturday, August 25, 2012

Look Again

Dowdy Corners Cookbook Club
I joined the Dowdy Corners Cookbook Club! This might not seem newsworthy to you but it shows a shift in terrain for me. Holly Jennings (third from left in the photo above) is the founder of the club--amazingly patient cook (read her past posts), photographer, and alumni of same graduate school as me. That's how we met--introduced via email by a mutual friend from school. I couldn't quite believe that someone else from Cranbrook had moved to this small town, but she had. When we first met, and she told me about the cookbook club, I was definitely interested in joining; but that was a period when I was pulling back from everything. I remember telling her that I had a tendency to join and then quit, so I would save us both the trouble and just not join. That was several years ago, and though I didn't join, I did read her blog and even bought one of the books and cooked from it.

Holly and Wendy (second from left in photo above) stopped by our porch during the town's July 4th parade and Wendy was very enthusiastic about the cookbook club and encouraged me and Marianne (left in photo above) to join. Suddenly it made sense to me. I love cooking (sometimes). It is one of the few things that really gets my attention these days, and I want to learn more about it, I want to get better. I even want to go back and get a degree in baking, though I doubt I will do that. So I said yes. And then I did it. I actually signed up on line and bought the current selection, Ripe by Nigel Slater. In fact, I actually bought a different Ripe first--amazed that it was so much less expensive at Jessica's Biscuits than on Amazon--not noticing that it was a different price because it had a different author. Both books are pictured above.

I think of Slater's book as a non-recipe book. It is a beautiful book--inspiring pictures, luscious words, and simple instructions. Sort of, wash a peach and eat it. But I used it (and Cheryl Sternman Rule's book) for many dishes (his blueberry pancakes made with ricotta cheese are excellent, and once I made them with glutton-free flour and they might have been even better than the first round which were also delicious) and felt that both books had something to offer. But when I went to the pot luck last week I was amazed at how wonderful the meal was--how every dish enhanced the other. Nothing was too sweet. Everything tasted fresh and satisfying. I think the other people (Melanie is 2nd from right, and Tamara is on the right) all felt the same. Maybe this book (Slater's) has more to it than I gave him credit for. I can't wait to read Holly's evaluation on the blog. By the way, she encourages people from other areas to join, and to start their own group for potlucks. I love the idea of communities of cooks gathering together all over the country comparing dishes they made from the same book.

I often don't spend money on anything except the monthly bills (boring and annoyingly regular) but I do spend money on food shopping and books. For awhile now I have managed not to buy books--and the Kimball Library here in Randolph is fantastic about getting books that are requested (and the staff are super excellent)--but I admit that a perk of joining the club is that I now can legitimately buy cookbooks. I have to--library loan just won't do for something like this (so I say). You should see my wish lists on various sites (but I think I made them private).

Beyond Craft: The Art Fabric by Mildred Constantine and Jack Lenor Larsen
(Top Right: detail of Space Hanging by Lyn Alexander; Middle Left: detail of Orange Weaving by Olga de Amaral; Middle Right: detail of HUM by Susan Weitzman; Bottom Left: detail of La Visite Di Aldebaran by Jindrich Vohanka, Bottom Right: detail of Raumelement, Yellow by Moik Schiele)
I had a visitor the other day who had some questions about fiber processes and during the discussion I pulled out my copy of Beyond Craft: The Art Fabric by Mildred Constantine and Jack Lenor Larsen. Most of you know this was the first definitive book on fiber art. I have looked at this book hundreds of times. Some works, like Susan Weitzman's HUM, have always left me breathless. She is one of those mysterious artists who made such an impact on people but who removed herself from the spotlight, something else drew her attention. But what she contributed has withstood the decades of change since she made that work. It still pulls me in and holds my attention. Other works are just invisible to my eyes and sensibilities, though I recognize their ambition and creativity.

But I must say, this is a time to pull that book off your shelves again and look through it. It is full of the most amazing work, by artists who truly were pioneers, working with materials in ways no one had thought of before and in a scale that is, even now, mind-boggling. I have just put a few details of works above, pieces that have great subtlety, simplicity, imagination, and skill. None of them tell stories per se. They are not the works that would have attracted me (except Weitzman's) when I first saw the book. But WOW--they sure look interesting to me today. And of course, the great tragedy, in this current time of anything goes--where fiber seems to be the material of choice for many young artists--the works in this book are not known. So pull that book off your shelves and start showing it to everyone you know who says they are interested in art. It really is a book that has retained its relevancy.

Nomad (Panels 1, 2 and 3) by Bhakti Ziek, 2010
Just a final note to say that I have completed re-finishing my six panels of Nomad. I don't have a wall large enough to photograph the six panels together so I had to do it three by three. No lights either, but....The Fuller Craft Museum has posted the exhibition information: Grand Tales of the Loom: Four Master Weavers. The exhibition will run from September 22, 2012 through January 20, 2013. There will be an artists' reception on Sunday, September 30th from 2-5 pm and all of us (myself, Cyndy Barbone, Deborah Carlson, and Fuyuko Matsubara) will be there. The four of us "came of age" as artists in the 1980s, a generation after the artists in Beyond Craft. We stayed with the loom, really mastering its possibilities, rather than working away from it, as did most of the artists in that book. We had our own "time" and as artists and teachers, we influenced others. I do hope this show will again prove that working at the loom in a careful, thoughtful way is still relevant.

Nomad (Panels 4, 5 and 6) by Bhakti Ziek, 2010

Okay, one comment more about Joan Didion's book, Blue Nights. I read the book straight through yesterday. At the back of the book, a library book, was a page where readers could leave comments. The first commenter felt she had never encountered a more self-centered woman, and added, "get a life." The second comment noted how sad the book was. I wasn't going to add anything but just couldn't help coming to Didion's defense, so I added something to the effect that she talks about truths that others want to ignore, deny, or hide from. The loss of her husband and daughter within 20 months of each other is almost too sad to bear. The way she keeps repeating certain phrases over and over reminds me of the way our minds gloam onto something and get stuck, the way records used to do. A life full of memories but always the same few come back to haunt us. And her writing about aging, so stark and honest, is almost terrifying. I note in my own life how 66 is nothing like I imagined it. It is both better and worse. And honestly, I don't think my friends who are younger can understand until they get here. I might think I am 12 inside, but when the young man at the liquor store tells me I shouldn't waste my money on an expensive (we are talking $20 here) bottle of wine because "older people can't taste things anymore" I admit that I am shocked at both his rudeness and the fact that he sees me as old. So Didion's experiences of vulnerability and insult are ones I can hear. I haven't read much by her, but I found this book compelling. And the shift of terrain I mentioned at the start of this post is something about aging, and finding new ways to engage with the preciousness of time.

Saturday, August 11, 2012

Navigating Truth

Here is a picture of the top of the Chinese chest that is in our dining room. Does it look like I am someone who would enjoy craft fairs?

Some objects we have collected in our travels.
Ethnographic fairs--YES--but craft fairs....? Yesterday, however, I dragged my husband away from painting the house (thunderstorms) and down to a famous one in New Hampshire. Once again I find myself thinking that I should try to make functional textiles; that the economic climate is only good for the .000001 percent of the artists who are showing in top NYC galleries; and that $25 is probably the price point of what most people are willing to spend on non-essentials. I thought maybe I would get inspired by seeing what others are doing. Instead I found myself thinking of one of Fran Lebowitz's statements in Public Speaking (the Martin Scorsese excellent documentary on this outrageous and brilliant writer). She was telling an audience that just because you think something doesn't mean you have to write it--in fact, please don't share it with us. If I remember correctly, she even specifically mentioned blogs (I do note her words, even as I ignore them and write). So change writing to THINGS and you know how Mark and I felt at the fair.

There was a bright spot though in the middle of the tents, where Sarah Heimann had a booth of her beautiful, incredibly intricate carved ceramics. Seeing her work was worth the price of admission. One of her pots would look very good indeed on our Chinese cabinet top.

Sara Heimann with her wonderful hand carved ceramics.

This might not seem related, but I have been busy reading cookbooks and chef's memoirs this summer. Have you read Blood, Bones and Butter by Gabrielle Hamilton? I might not want to become her close friend (and what is the likelihood that I will ever get a chance at that?) but I loved her book and the truths she writes. I related to so many things she wrote about, relating her chef's experiences to my weaving experiences--being invited to a panel on women's chefs and getting quieter and quieter as she internally compared the reality of her life to the bromides of enthusiasm the others were throwing out; or her "lack of enthusiasm" as she approached Vermont thinking about people in cars going the other way "...fellow travelers, people like us who enjoy other human contact and human activity and who don't need to be secluded on a hundred acres without even a house pet..." And now I am almost done with Anthony Bourdain's Kitchen Confidential. I know I could never keep up with his drugs, and drinking, sex, and rock and roll but I really get it when he talks about good chefs failing when they stop doing what they do well and think they can do everything. So maybe I won't go the functional textile route, other than for my own use, or if I do, I will have to stay close to my personal likes and my strengths, and ignore the market research of finding out what others are selling.

Scale model of upcoming exhibition at Fuller Craft Museum
(work by Fuyuko Matsubara on back wall, Deborah Carlson on side wall, and Bhakti Ziek's Nomad on right wall)

In light of that wisdom to stay true to one's self ("Follow your bliss" is the way Joseph Campbell put it), I am refinishing the six panels of my weaving Nomad. I am going to be in an exhibition at The Fuller Craft Museum opening September 15, 2012 with an artists' reception on Sunday, September 30th. Cyndy Barbone, Deborah Carlson, Fuyuko Matsubara and myself will be exhibiting together. Cyndy and I put together a scale model of the exhibition and decided I should put the panels together. That led me to decide that I should stretch them onto bars so I can exhibit them taunt--the way I see the cloth on the loom--the way I like seeing the work as I make it--the way I intend it in my mind. It was going to cost almost $700 to purchase frames and canvas, and they still would have to be put together (by Mark, of course) so I was thrilled when he said he could make them from scratch (another words, stop painting the house for a week and work for me). So it is only costing one-quarter of the purchased price and it is much better because these are exactly the size I need.

Panel 2 (of 6) from Nomad by Bhakti Ziek, 2010

When I was weaving Nomad, thinking about how large the world is, how vast the ocean, how dark the deep waters on a night without the moon, remembering living on an island in the Yucatan for eight months where the sound of the waters was always with me, I could see that the words, which map places I have lived or travelled and that take the shape of the continents of the earth, were very subtle, floating in and out of the ground water. I decided to give myself permission to be as subtle as possible, to create an experience where one has to sit with the piece and look long and hard before the piece revealed its secrets. I know I have created a difficult work for these times, where looking seems to need big panels of explanation next to a work, or a voice tour that you access as you tour an exhibition, or those recently ubiquitous QR codes. But I hope the new installation will invite some people to look, experience, and be inspired. A dark night, moonless....just you and the vastness of the ocean, the sky, the air, your memories, and your thoughts.

Just want to end by saying I had a wonderful day at King Arthur Bakery last month, the gift of my generous friend Steve Ford (superb baker and artist extraordinaire, partner in Ford/Forlano). He took me to a sour dough bread workshop (Amber Eisler was the excellent teacher), and Mark to a rye bread workshop. They have remodeled their facilities and the class room was terrific. I still have to learn my way around the new store, but I am sure I will.

Amber Eisler teaching sourdough bread making at King Arthur; Steve Ford and Clive in middle picture left; the classes beautiful results bottom right.

Monday, July 2, 2012

Weaving Fun Stuff

Rigid Heddle Looms by Travis Meinolf
I have been watching the post daily anticipating the small package that arrived today. Two rigid heddle looms that I got from Travis Meinolf. He calls himself an Action Weaver and I read about some projects he did with the public where he had people weave strips of cloth on these looms. He makes the rigid heddles with a lasar cutter--and I was entranced by the bright colors and energy of bringing weaving into the streets. So I wrote to see if I could purchase some, and he said he would trade if I had something to trade (he "doesn't believe in money" is the way he put it; I thought, "I was young once too.") I knew he was going to be teaching at SAIC this summer, so I suggested I bake cookies and send them. After I sent the email I wondered if that was a bit too homebody, but he wrote back and said GREAT--and please send enough for the class. That was easy. Apparently he sent me two looms from Germany (he lives in Berlin) but they never arrived. Wonder who the lucky person is who has my package. I can't imagine some custom officer wanted these looms. Fortunately, Travis had two with him in Chicago, and those are what arrived today.

They are very clever. The flat wooden parts are ways to hold your warp at both ends, and attach them to a stationery something and around your back. Another words, a very sweet backstrap loom. I can't wait to try. And my part of the exchange--I made the madeline recipe from my Laduree cookbook and also their apricotines which are almond cookies with apricot jam sandwiched between two of them.

Book by Marion Tuttle Marzolf
Another fun weaving-related item that is by my bedside is this book, Shuttle in Her Hand by Marion Tuttle Marzolf, which my friend Toni King lent me a couple of days ago. Clicking on the title leads you to a nice review of the book online by Daryl Lancaster. Toni, who is a writer herself, knows Marzolf from Michigan where they were in a writers group together. When she read the book she thought I would be interested--and she is right. I enjoy reading about shuttles and threads and patterns and things that are familiar to me playing a leading role in a novel. I have just started but I know it is going to lead me to places and people that I know too.

I am not doing much in my studio these days. I rationalize it this way. Winter is nine months long in Vermont, summer is a brief three months. We (Mark and I) are painting the exterior of our house (I will post an image when one side is complete) and three brief months will probably not complete it--so this is the time to be outside scraping and painting, and sooner than I like it will be cold and I will have lots of time up in my studio.

Dance Performance Directed by Hannah Dennison
The other fun thing was going to see an amazing dance performance held in the Breeding Barn at Shelburne Farms. I think I wrote about seeing the movie Pina on this blog--and if not, I should have. It was so profound, and most nights one of us is watching some video clip of Pina Bausch and her group. I find the music as mesmerizing as the movement. So when a friend told me about this dance performance directed by Hannah Dennison called Dear Pina, the name alone inspired me to buy tickets. Clicking on the title brings you to Dennison's website about the dance. You can see parts of the dance, images of the barn, and you can see the costumes. If you look carefully at the brochure above you will see that I tried to sketch one of the dresses. I even asked the costume designer, Marz Black aka Leslie Anderson, if she had a pattern I could buy but she said she doesn't use patterns and besides each dress was made specifically for each dancer. Maybe I should have offered to barter cookies for a pattern specific for me.