Saturday, May 12, 2018

Into the Nature: Cycles, Habitats & Elements of Place--exhibit at the Hudgens Center


My art work is included in an exhibit opening on May 22 at the Hudgens Center for Arts and Learning, Duluth, Georgia.  Angela Nichols, the curator, is bringing together works of seven fiber artists.  Each is inspired by the physical world to create works in many styles and materials.  My tapestries and works on paper will be featured as a solo component showing in the Kistner Atrium Gallery.

Link to more about this on the Hudgens Center website is here.
Yesterday my pieces were picked up and delivered to the Center.  What a challenge to get them off the walls and wrapped up for the ride in a rental van!  I sent twenty-three tapestries and about 40 works on paper for Angela to select from for exhibit.  Although not all pieces will likely fit into the atrium gallery, I know she'll display as many as possible.

A reception for the exhibit will be held on Saturday, June 2 from 2-4 pm.  There is a Hudgens Center member outing planned to visit my studio in Dahlonega on Monday, June 11.  And then I'll be at the Center on Saturday, June 23 to demonstrate weaving during Family Day from 11 am to 1 pm; I'll plan at least one other demonstration during the exhibition at a date still to be determined.

Next up?  A retreat of Tapestry Weavers South members is coming soon at St. Simon's in south Georgia.  This will be the second version of what seems to be becoming an annual event.  We were there last year and had a great time.  I wrote a little about last year's retreat at this blog post.  Lots of sharing and weaving and discussions about all things tapestry will take place.  The week after that I'll be going to John Campbell Folk School to teach a class and I'm really looking forward to it.  In the class we'll be looking at nature and finding ways to interpret what we find in tapestry. The Folk School at this time of year will hold many visual treasures to inspire.

Now... today... some dyeing and weaving are on my schedule!  After a visit to the local farmers' market to see what I can find.  I love spring!

Sunday, May 6, 2018

Cancer is a cruel one



Two weeks ago today our family lost a wonderful person.  My sister-in-law's seventeen year battle with cancer came to an end.

Joanne was funny, interested in others, loved her family and friends dearly.  She was compassionate and always kind.  She was a loyal sibling, spouse and mother.  She was a wonderful aunt, sister-in-law and friend to many.  She was a role model of courage and determination as she met each new episode of cancer and other health issues stoically.  She continued to have a sense of humor and relished laughter.  She will be missed always by everyone who knew her.

Here she was in 2008 when she and her twin sister came to spend a week at "weaving boot camp" at my studio.  I showed them both how to set up a loom and they planned, warped, and wove rag fabric into a rug (Joan) and a runner (Jean).




 At the end of the week I took them on a field trip to John Campbell Folk School and my husband treated us all to dinner that evening--at which time he presented them both with a trophy, blue ribbon and a certificate of achievement he'd printed just for them!  What a fun time for us all.


Joan had such a good time doing the weaving she bought a loom and wove quite a few things with it until other health issues arose that caused her not be able to weave any longer.  I have a hand towel and a table runner she wove that I treasure and I think of her every time I use them.

She will be truly missed by all who knew her.  Here are links to the posts I made when our boot camp was going on in 2008:


Tuesday, April 17, 2018

To every thing there is a season...


And my season of traveling to teach workshops is about over.

As of right now, looks like I'll bow out of the teaching circuit by the end of 2019.  I've had several very nice invitations for next year but have declined those that weren't already on my schedule as of the first of this year.

There are many reasons that I'm deciding this.  One reason is that I need to spend more time at home and with my own work at this point in my life.  Another is that there are many fine tapestry teachers out there who make some or most of their living with teaching and I want to support those folks whenever I can. 

I've been grateful to have now been a teacher for fifty years.  I began in the summer of 1968 with a children's class that I taught between my junior and senior years at the University of Georgia where I was an art education major.   My full-time career as an art teacher started in the fall of 1969 after graduation.  I was in public school (middle & high school) for three years before beginning to work at the Fine Arts Department North Georgia College (now the University of North Georgia).  And I remained at North Georgia as full-time until 2000 and then as part-time weaving instructor until 2009.  I began the weaving program at UNG when I first began working there in 1972 and I'm happy to say that it's still alive and well.

When I left my full-time responsibilities I began to teach short classes and workshops frequently throughout the year.  I'd been doing some summer workshops since the 1980s but the ability to schedule during any time of the year was nice.  I've now been teaching for guilds, fiber conferences or craft schools since 2000. 

It's been tremendously rewarding to spend time with people of all ages and interests in workshops.  Every time has been a learning experience for me as I've developed new teaching materials, seen amazing solutions to tapestry design ideas, and been challenged with lots of "what ifs?"  I haven't always know the answers but I've appreciated the questions and tried to help as best I could.

I won't stop teaching about design and tapestry... just change the way I'm doing it.  I hope to be able to occasionally offer master classes based in my studio here in Dahlonega for one or two people at a time.  Or perhaps something with a larger group in collaboration with the university's art department may develop in the future.

So... until the end of 2019 I'm looking forward to these upcoming classes:
John C. Campbell Folk School, Brasstown, North Carolina, May 27-June 2, 2018
Arrowmont School of Crafts, Gatllinburg, Tennessee, July 29-August 4, 2018

Aya Fiber Studio, Stuart, Florida, March 4-8, 2019
John C. Campbell Folk School*, April 29-May 4, 2019

Links to these are in the side margin of the blog.  Maybe I'll see you there!  And if not, maybe you'll think about coming to Dahlonega in the future when I have classes going here.  I'll be sure to announce whatever may be coming up in my blog.

*The first weaving workshop I taught was at John C. Campbell Folk School in the early 1980s.  It was a basic weaving class using the looms that had been at the school for many years and held in the building that now houses the History Center at JCFS.  I feel it will be quite fitting and appropriate to end my teaching years once more at the Folk School in 2019, book ending many decades of instruction in a beautiful spot that holds a very special place in my heart.

Friday, March 30, 2018

Lillian Smith Center--another beautiful visit comes to an end


I've spent the past week in residence at the Lillian Smith Center.  I've been working on a writing project for several months, mostly in fits and starts.  I needed to concentrate on editing and getting away for a few days has given me time to do that.


Here's where I've spent much of each day:


But I've also done this:


And some of this:


I've taken time to walk the loop road around the Center and also get on one of the hiking trails briefly.  Spring is finally coming to the north Georgia mountains--even though it's been chilly enough to wear my coat and gloves every time I've been out this week.

Walking in early springtime brings so many wonderful surprises.  I got to see fiddleheads poking up through the leaf litter--that was quite exciting!  I missed them last year while I was at Penland, just wasn't out in the woods at the right time.



Other tiny things are to be noticed, too:





There was this little fellow:


Some day to be like this:


It's been gray and damp for several days this week but the sky is blue today with puffy, white clouds whipping all around in the breeze.


Now it's time to go home and get back to the work of tapestry weaving.  I hope to be back here soon!

Had to end with a photo of the red door... if you've read past posts from LES Center, you'll have seen the red door before!


Sunday, March 11, 2018

Exhibit Thoughts


In the past two weeks I've had the opportunity to see two tapestry exhibits, both stellar in their own way.  I've also learned the results of three juried shows into which I'd entered tapestries.  And I've met with the gallery coordinator about an upcoming exhibition of several of my pieces in the Atlanta area.

I have several things I want to write about concerning each of these things... so here goes.

On February 27 I saw the Tapestry Weavers South exhibit that's currently on display at the Southern Highland Craft Guild's Folk Art Center, near Asheville, North Carolina.  Fifty tapestries by twenty seven TWS members hang in the Main Gallery at the FAC and are there until April 29.   The exhibit is well worth making a trip to Asheville to see. 




Tapestry Weavers South is a group to which I belong and one that's dear to my heart.  I'm one of the founding member of the organization that was born when about eighteen people from the southeast came together to establish TWS in 1996.  We've been going strong ever since and almost every year have mounted an exhibit of our members--always, to this point, an unjuried exhibit usually held somewhere in the southeastern U.S.  In 2012-2013 we teamed up with another regional group, Tapestry Artists of Puget Sound, for a joint exhibit called NW x SE that was shown in locations in both the northwest and the southeast.

The second tapestry exhibit I was fortunate to see before the end is a solo show of works by Molly Elkind.  It's currently on display at the Southeast Fiber Art Alliance Center in Chamblee, Georiga.  The title of the show is Iconic and features tapestries Molly has created in the past five years.


Many of the pieces are inspired by a sixth-century icon of the Virgin Mary, photos of Molly's mother and also self-portrait.  This is a quote from her artist statement:
"Much of contemporary art is about issues of identity, and this series is aobut identity for me, too.  My given name is Mary.  But in a larger sense I'm concerned with how impossibly high standards of goodness, purity, beauty, and obedience attributed to Mary have influenced notions of ideal womanhood and ideal motherhood.  In my tapestries I have tried to discover ways of reading Mary that acknowledges qualities of depth, imagination, and courage."
Molly is talking to a couple of visitors.
Another group of of works she calls "Illuminated Manuscript Series" and she describes the motivation for those this way:
"...inspired by my interest in medieval illuminated manuscripts.  Many of these were ... prayer books of devotions to Mary.  The graphic qualities of the manuscript pages--the dense and colorful patterns, the mix of text, images and decoration in the center, surrounded by either wide empty margins or even more dense patterning and decoration--all this inspired my series of contemporary illuminated manuscripts in tapestry form."
Seeing Molly Elkind's exhibit and reading her statement reinforces my belief that once one finds a "What"--the "Why" and "How" will follow.  The "What" was Molly wanting to explore and express about the iconic images that drew her attention.  The images of Mary combined with her own image and her mother's ... very thought provoking for the viewer and I'm sure has given Molly many hours of contemplation while developing the theme, the "Why" of it all.  The "How" she's developed along the way as she's woven more and more tapestries, taken workshops, developed new skills and techniques with the medium.  I am truly in awe of what she's accomplished in the last five years.  Molly has written about the concepts for her work at her blog--well worth reading.  Congratulations to you, Molly Elkind, for creating these passionate and beautiful tapestry pieces. 

Now... about the exhibits I've entered and been accepted into (or not).  At the last minute, I decided to enter Fantastic Fibers 2018 to be held at the Yeiser Art Center, Paducha, Kentucky.  I've entered other versions of this exhibit in the past, never successfully.  And I expected the same result this time around.  But, no... this time a piece was accepted! That was wonderful--but on the other hand, the piece I entered is 60" x 60" and framed in a float frame.  Shipping it via UPS or FedEX, the two carriers they require for receiving works, won't be possible.  Solution?  Rent a van and drive the tapestry almost 400 miles to Kentucky.  Then at the end of the exhibit, repeat the process in reverse.  Ah well.  One of the many costs of exhibiting works.

Within a day or so of learning and being excited about the Fantastic Fibers acceptance, I got word that the pieces I'd entered for the Handweavers Guild of America Small Expressions exhibit were declined.  Ah well, again.  BUT, the good news is that I'll now be able to send one of the tapestries to the American Tapestry Alliance small format UNjuried exhibit that will held in Reno, Nevada this summer.  So lose some, win some.

The third juried exhibit I'd entered is also sponsored by HGA, to be held in Reno during Convergence this summer..  The Playa is the title of the exhibit of textile works of all kinds.  Ironically, the piece I'd entered in that show I'd just sold and delivered to Molly Elkind!  Molly is allowing me to exhibit the work--thank you, Molly--I do appreciate that.

Molly, holding my tapestry she'd just purchased...you can see two more of her works beside her.
Lastly, I want to mention briefly that I'm getting ready for an exhibit of several tapestries to be held in an arts center in the Atlanta area from May 28-July 28.  I'll write more about that later.  I'm currently preparing a demo loom for use in the gallery.  I'll have a tapestry partly woven for the exhibit and will return to the center to weave at least once during a Family Day.  Here's the beginning of that piece:


So... I titled this post "Exhibit Thoughts" but seems it's turned into mostly an "Exhibit News" commentary, I guess.  I'll end with these thoughts about exhibiting--it's a curious, daunting, challenging, troublesome, exhilarating, expensive, rewarding process.  Why do I do it?  To see my work in a context other than my own studio and home, for one reason.  And to share with others a little of the way I see the world.

Now,  off to the studio to actually do some weaving that can be exhibited! 

Sunday, February 25, 2018

WWoO (Wonderful Weavers of Orlando)!


I just returned from a very nice trip to Florida where I taught a workshop for the Weavers of Orlando.  The workshop was called "Weaving the Days of your Life" and focused on the practice of weaving a tapestry diary.

The WoO members meet at Westminster Towers in Winter Park for workshops, using the top floor art/craft space called the Roof Room.  It's a nice, large space with fabulous views in two directions--here's Orlando in the distance:


And here's a view toward more of Winter Park; Rollins College buildings are those in the left side of the photo:


The workshop began on Saturday, the 17th but I left home on the 15th to drive part of the way.  I arrived in the afternoon of the 16th, unloaded with the help of the workshop organizer and moved things to Roof.  Westminster Towers is part of a retirement community and the facilities are spacious, bright and quite impressive.  I stayed in one of the guest rooms courtesy of my hosts, Edie and Bob, who are residents there.  It was so convenient to be able to park my car after I unloaded it, then not have to get back into it until days later.  Both Edie and Bob are weavers and have been instrumental in Weavers of Orlando being able to use the facilities for meetings and workshops.

There were 15 people in the class and we met for a hour or so on Saturday morning before the monthly meeting of the larger guild group.  It was held on the first floor in a conference room, complete with two large screens on which my slides were shown when I made a presentation following their business meeting.

Lots of weaving, discussions and ideas flowed through the weekend.  There were many types of frame looms in the class, from commercially available ones to home-made.  A Wolf Pup floor loom was also in use.  It was great fun and I hope many (maybe most?) of those participants will continue to weave the days of their life for many years in the future!  Here are a few photos taken during the three days:














On the way home I was able to visit a couple of friends in Deltona.  It's always nice to see a tapestry I've woven living with someone--and this was the case!  My friend's partner had surprised her with it a few years ago, going into cahoots with her daughters and another friend to buy it together.  I gave her the watercolor on which the tapestry was based, also.  Thanks, Fran and Val, for the hospitality!



I spent the next two days getting home, stopping overnight in central Georgia on my way back.  Driving for about five or six hours at a time is about my limit now.  I love doing workshops but it always takes a bit of reentry time when I get back.  Unload the car, reorganize things I've taken to the workshop, do laundry, tie up loose ends from the workshop (if any--and there was this time--like a major mistake in one of my handouts that I needed to correct and have reprinted, then mail to everyone).  And, sometimes have adventures along the way!  This time those included a trip to the Cornell Fine Art Museum at Rollins College to take in an Impressionist show and to the Deland Museum of Art to see a fantastic exhibit of M.C. Escher's work.  Other less fun adventures were having my credit card declined at two service stations (all OK but because I was out of state, red flags were up) and seeing the "check engine" light on my dash come on.  A trip to a car dealership in Dublin, Georgia resolved that issue--and gave me time to do a bit of waiting room sketching, too!




I'm settling in at my studio to weave in a few days.  A new tapestry is on the horizon, to begin soon!  In the meantime, I'll continue to weave the days of my life on my tapestry diary warp.  Day by day by day by day....

Wednesday, January 24, 2018

Creative Reading...or Reading for Creativitity -- ATA blog tour!


I’m happy to be part of the American Tapestry Alliance blog tour this year. My blog topic is about how books, catalogs of exhibits, and other print media all play a role in my quest for design inspiration and ways to enhance my creative process. 

I once thought the answers to all my questions about creativity and inspiration were probably in a book—I just needed to find the right book. I was always eager to dig into any book with a topic of creativity, creative process, ways to become more creative, as well as books about design. I also loved to read about other tapestry makers--especially if the books were biographies or memoirs about their particular creative journey.  For years, I've checked out books, purchased books, borrowed them from friends, and pored over books in libraries--all in the search for the answers.

My reading corner at my studio. 
A couple of my home bookshelves.
When I came across The Mind’s Best Work by D. N. Perkins a few years ago, I hoped it held the secret of how to come up with novel ideas. But what I learned instead from Perkins was that there isn’t a secret, magic formula for “being creative.” Instead, it results most often from—work!


Writers often say: “You have to show up every day…” and that’s true for me in my visual work.  In my own art making, I’ve found that the process of first digging for inspiration and then developing it further into images is sometimes painful, sometimes joyful but can only be accomplished by action.  I have to have confidence that the daily effort will help me to discover some of the potential that lies in my assorted ideas, and that I’ll eventually find images to express those concepts.


A closer view of the book shelf.
And more...
I now know that reading a book will not “make me creative,” but I usually find encouragement in the writing.  And it often turns out that the author suggests pointers I haven’t yet discovered. For instance, a couple of books I’ve found that have helpful suggestions are The Artist’s Way by Julia Cameron and Drawing on the Artist Within by Betty Edwards.

I began the practice of daily writing that Cameron calls “morning pages” in 2009. Since then, sitting down with a cup of coffee and my favorite fountain pen to write three pages has become an important part of my morning ritual. I’ve found this habit to be a great way to combat the niggling anxieties of my life by getting them onto the page and out of my head.

Favorites for morning pages ritual: spiral bound notebook, Lamy fountain pen, and strong black coffee in a Bob Owens mug!

I’ve also used the morning pages much like a diary to recount previous day’s events and sometimes I jot down ideas about ongoing tapestries or make planning notes for classes I’ll be teaching soon. I feel being faithful to writing the morning pages has enhanced my tapestry making (and my life in general) by helping me to both sort out negative thoughts and to generate positive ones.


In addition to the private morning pages notebooks, I also have journals I don't mind sharing with others in which I mull over current tapestries in the making—and anything else that happens to wanders through my mind. I have found that writing helps me elaborate ideas as I design for tapestry by giving me a way to clarify my thoughts while I’m developing the concepts for a tapestry more fully.

A few of my many journals from the past twenty + years.
Drawing on the Artist Within by Betty Edwards has excellent suggestions for visual exercises. In fact, I like this book better than her Drawing on the Right Side of the Brain. Several of her exercises were particularly helpful in pushing me out of my typical approach to designing when I was struggling with an idea that I just couldn't resolve into a cartoon.

One of Edwards's recommendation was to make quick gesture drawings from photos, with a timer set for one minute. The photos I worked from were ones I’d taken of emerging fiddleheads and I dearly wanted to design a tapestry based upon those young, developing ferns. But I just couldn’t seem to get it right by looking at one or two photos and making a painting--so much visual activity in the forest floor was in those photos and I couldn't seem to simplify!

The rapid gesture drawing activity forced me to loosen up and become less concerned with detail. Instead, I could see the energy of the spiral growth of the fiddleheads and I responded to that in lines I quickly scribbled. Later, I refined the images by scanning them and printing several versions of each one that I developed further in value studies. Several tapestries resulted from the momentum I gained by looking for the photographs in different ways in those fast sketches from Betty Edwards’s suggestions.

Charcoal gesture drawings made from my photos of fiddleheads
These are some of the value studies made on the scanned versions from the charcoal sketches.
These two turned into tapestries.
Spring Profusion, 31" x 25" wool and cotton
Once Upon a Time, 40" x 25"
I've also gained so much inspiration from reading about the creative journeys taken by other artists, especially those of tapestry artists.  I have Woven Color by Carole Green and James Koheler, a wonderful look at James's life and work.  Others are The Tree of Lives by and about Jean Pierre Larochette and Yael Lurie; Christine Laffer: Tapestry and Transformation by Carole Greene; Nezhnie: Weaver and Innovative Artist about Muriel Nezhnie by Linda Rees; Weaving a Chronicle by Judith Poxson Fawkes; and Helena Hernmarck: Tapestry Artist by Monica Boman and Patricia Malarcher.


Last year, Rebecca Mezoff self-pubished a small volume about her month-long artist residency at the Petrified Forest.  She document the tiny daily tapestries she did while she was there in a Blurb book that I love to flip through, see the tapestries and read her comments about finding the inspiration for and weaving the little pieces.

Rebecca Mezoff's Petrified Forest National Park, Artist-in-Residence Tapestries.
Finding sources of inspiration and ways to sustain creative flow are distinct challenges for me—and maybe for you, as well. Sometimes taking time to sit down with a book that’s an old favorite and that’s been on the bookshelf for years is nice to do. Maybe while flipping through the pages you’re reminded of the wisdom contained within both the book--and yourself--and that’s all you need to spark a burst of creative energy.

Other times, maybe seeing pieces included in an exhibit catalog will energize you. Perhaps you bought the catalog when you visited the exhibit and you’ll be reminded of how the works looked in person. Friends may also mention a book to you. In fact, your online social networks are great places to learn about new books—just recently on Facebook I found out about the beautifully inspiring publication, Joy: Yellow is the New Blue by Jilly Edwards and a copy of it now lives on my bookshelf (when it isn't in my lap being pored over!)


I've subscribed to several publications for many years and keep the old issues to revisit.  Although it was only published for a few years in the 1990s I enjoy going back to issues of the International Tapestry Journal to reread articles.  Unfortunately, I don't know how one might find those any longer--if anyone has that information, it would be wonderful to find out!

One of the benefits I've gotten from being a member of British Tapestry Group is receiving their Tapestry Journal in the mail.  I love VAV, the Scandinavian weaving magazine.  And I also subscribe to Surface Design Journal and to Fiber Art Now.  I've been a member of Handweavers Guild of America for years and their publication, Shuttle, Spindle and Dyepot is among my magazine copies, too.  I have most of the copies of the no-longer-published Fiberart Magazine.  And many other fiber journals--it's amazing how many tapestry articles there once were in Handwoven magazine in the 1990s.

Of course, I can't leave out the American Tapestry Alliance and many of the back issues of the newsletter, Tapestry Topics, at their website at this link.  

These are just a few of the many files of magazines that are both at home and at my studio.



I love hard copies of any reading material--yes, I do go to the Internet daily to search for information and to travel down particular rabbit holes that open up. But I just don't get the same sensual response from a laptop or phone screen as I do from sitting down with a publication in my hands. Even the smell of printing ink can be intoxicating when the new magazines arrive!
 
I’ve posted a selected bibliography of books to which I’ve returned time and again in the left margin of the web view of my blog under Books I Love. And, here’s a link to my most of my studio books at Library Thing: http://www.librarything.com/catalog/tmscanlin

The ATA website also has a book list compiled by many members at this link: https://americantapestryalliance.org/tapestry-education/books-on-tapestry-weaving-technique/


The online digital archives of weaving materials also holds a wealth of information.

I hope your design routine will include time for you to sit with a good book about art, design, tapestry weaving, nature studies--or any other topic that grabs your attention and that may inspire your thoughts.  And now that I've written this I think I'll select one of the books from my shelf that I haven't gotten down in awhile and see what I might find to shift my thinking!


And... don't forget to enter your name for the prizes that are being provided by wonderful folks as a thanks for following the blog tour! 
  
Here's how to do that:


THE BLOG TOUR

January 22nd: Molly Elkind: Collage as research

January 23rd: Ellen Bruxvoort - Vlog on Instagram about her design process

January 24th:​ Tommye Scanlin: Literature as inspiration

January 25th: Debbie Herd: Digital design tools

January 26th: Barbara Burns: Documenting your design for promotion

WIN ONE OF 26 PRIZES!

Follow all the stops on the blog tour to increase your chance to win one of the following prizes: $50 towards a Mirrix Loom, a Hokett loom kit, a Hokett Tiny Turned Beater, a project bag from Halcyon Yarn containing rosewood bobbins and a voucher for their online shop, a voucher for Weaversbazaar’s online shop, a free entry into ATA’s 12th international, unjuried, small format exhibition and a free one-year membership to ATA.

Here’s how to enter to win. Comment on this blog post then go here to let ATA know that you commented. The more blog posts you comment on the more chances you have to win so be sure to follow along. Ellen Bruxvoort is doing an Instagram video for the tour and if you respond with a photo or video on social media describing how you design tapestry you get five extra entries in the giveaway. Let the sharing begin!

To win another 5 entries into the giveaway enter to exhibit in The Biggest Little Tapestries in the World, ATA’s 12th international, unjuried small format exhibition, and then let us know that you entered by going here by Sunday January 28th. For this exhibition all entries get accepted to exhibit as long as your tapestry fits within the size requirements!

The Biggest Little Tapestries in the World, ATA’s 12th international, unjuried small format exhibition is open to all weavers. We invite entries which fit more traditional definitions of tapestry, and also entries that expand upon the core principles of the medium as they explore new techniques and processes. Multimedia work is welcome. The Biggest Little Tapestries in the World! will hang July 2018 at the Northwest Reno Public Library, 2325 Robb Drive. The entry form (intent to participate) is due February 15, 2018. The tapestry, and an image of the tapestry is not due until March 31, 2018. Find more details here




ABOUT AMERICAN TAPESTRY ALLIANCE

The American Tapestry Alliance is a nonprofit organization that provides programming for tapestry weavers around the world, including exhibitions (like Tapestry Unlimited), both juried and unjuried, in museums, art centres and online, along with exhibition catalogues. They offer workshops, lectures, one-on-one mentoring and online educational articles as well as awards, including scholarships, membership grants, an international student award, and the Award of Excellence. They also put out a quarterly newsletter, monthly eNews & eKudos, an annual digest. Members benefit from personalized artists pages on the ATA website, online exhibitions, educational articles, access to scholarships and more.

You’re invited to exhibit! The Biggest Little Tapestries in the World, ATA’s 12th international, unjuried small format exhibition is open to all weavers. We invite entries which fit more traditional definitions of tapestry, and also entries that expand upon the core principles of the medium as they explore new techniques and processes. Multimedia work is welcome. The Biggest Little Tapestries in the World! will hang at the Northwest Reno Public Library, 2325 Robb Drive. The entry form (intent to participate) is due February 15, 2018. The tapestry, and an image of the tapestry is not due until March 31, 2018. Find more details here