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April/May 2005
 

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Contents

WEB EXCLUSIVE RESOURCES: How to start a critique group, discussion guidelines, and more

 
 

 

Inside the April/May 2005 Issue

Vol. 31  No. 5

ABOVE LEFT: Susan Moran, Terra Osage, 2003; silk; silk screen, shibori, fabric collage; 34" x 54". Photo: Christopher Campbell. Moran is profiled on page 14. ABOVE RIGHT: Joan Morris/Michèle Ratté, Net 2, 2004; silk, dyes, 23-karat gold; monoprint, shaped resist; 30" x 53". From Traditions/Transitions: The Changing World of Fiber Art, a recent exhibition at the Wadsworth Atheneum Museum of Art. We’ve got a review on page 62.

Features

THE FUTURE OF FIBER ART
A sampling of student work

INDIA INSPIRES
by Brinda Gill
The colors and textiles of India feed the creative energy of Alaska tapestry artist Helga Berry.

ON THE ROAD WITH FIBERARTS
by Liz Good and Kit Kinseth
A fiber-inspired road trip across the United States

THE CREATIVE CRITIQUE
by Sunita Patterson
Four experts share their methods for organizing and getting the most from critiques.

ABOVE: Lori Lupe Pelish, Safe in Suburbia; cotton; machine appliquéd, embroidered, and quilted; 41" x 69". From Quilt National ’05, on view May 28–September 5 at the Dairy Barn Cultural Arts Center in Athens, Ohio. We go through Ohio on our fiber-themed road trip, page 46.

 

Departments
Notable Events
Fiber Art in palmbeach3
COLLECT 2005 in London
¡Carnaval! in Santa Fe

Profiles
Susan Moran: Sanctuaries in Silk
Rudolf Smend: The Accidental Expert
Jean Shin: Playing with Space and Time

Creative Process
Wearable-Art Course: From Concept to Installation
Michael Brennand-Wood’s Fields of Flowers
Fiber Pleasures at Flying Shuttles
The Indonesian Batik Cap

Reviews
Quilt Visions 2004
Traditions/Transitions: The Changing World of Fiber Art
No Boundaries: Fiber + Art


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