Christien Meindertsma

Christien Meindertsma is an artist working out of the Netherlands whose work is mainly fibers based and is worth checking out. www.christienmeindertsma.com

Happy Halloween!

Have a very Happy Halloween with crocheted ghouls, from Theo Sundh, the crochet bloke.

Check out his lovely blog: http://www.crochetbloke.blogspot.com/

His most recent blog post includes patterns on how to make your own crocheted Mr. Boo and Pumpkin Head featured above.

how sewing machines work!

roz leibowitz

hannah's ecstasy, 2009, ink on vintage book pages, 28 x 22, white china, 2009, ink on vintage catalog pages, 34 x 23, the beautiful false world, 2007, pencil and prints on vintage paper with piercing, 11 1/2 x 9 1/2, grossman's ecstasy, 2009, on vintage catalog pages, 34 x 23

My work is influenced by the Romantic sensibility in the truest sense of that term: I believe that there is a Spirit that moves the heart and hand, and, without such a Spirit, a work is dead, just as without the hand, the Spirit is silenced. I believe in the panentheistic universe of Blake and Boehme, that things have Souls, that history is alive in a scrap of paper, that great cities have whirlwinds within, and that the dead behind us show us the steps ahead.

I believe in the power of mothers and grandmothers, women before my own time, who kept their hands busy and their eyes wide open. I believe in this Busy Work, that it is the hum of the universe, a Serene Repetition left mark by mark. I trust in the redemptive power of Ecstasies, those I have felt and those I await....

see more here.

wearable art swap!!

Get Art Off Our Backs event on Sunday, November 7th

everyone is invited to come to the Philadelphia Museum of Art on that Sunday afternoon (around 2pm - more specific info will be available the week of the event) and join us.

Bring along some ART THAT CAN BE WORN ON THE BODY and meet up with other GAOOBers in the Great Stair Hall of the Art Museum and wander through the crowd. When you see someone wearing or displaying something you like/love/want, approach that person and see if they'd like to give it to you as a gift or swap their thing for something you have. Repeat for as long as you like and walk away with an amazing new collection of wearable art. It isn't a "flash mob" or a demonstration or a performance, it's just... what it is. I'm thinking of it as a cross between a costume party and a "Really, Really Free Market"

GAOOB encourages Improvisational Collaboration and Promiscuous Cross-Pollination during the event: Offer to combine something that you've brought with someone else's something to create an exciting, hybrid wearable work of art.

Since you're already in the Museum, why not wander around for a while wearing your new finery - if we all take off in different directions we can turn the whole Museum into a giant sort of... museum!

Lets transform the Art Museum into a temporary living museum!

Subscribe to the GAOOB email update list so you can keep up with what's going on.

for more information about GAOOB, visit here.

The Virgin Knitter, Textile Arts Center, November 5, 2010-December 11, 2010.

The Virgin Knitter, Textile Arts Center, November 5, 2010-December 11, 2010.

Kimberly Hall, a textile design artist, will be hosting this exciting exhibition that coincides perfectly with the chilly winter season. She teaches anyone who's never finished a knitting project how to knit in exchange for their first scarf. Her belief is that each first scarf is a lucky object because it is the only first scarf the knitter can make. Though this is a simple idea this project puts emphasis on not only aquiring the skill, but also on the unusual beauty and power of creating an object from scratch.

Kimberly is interested in exploring the questions:
What makes an object lucky?
What makes a garment attractive?
What is appealing about handmade items?
How do I value what something is actually worth?

In addition to the exhibition there will also be a silent auction for each of the virgin scarves. Kimberly believes that the act of giving away allows the maker to consider the emotional and intellectual work he/she put into the piece.

http://virginknitters.com/

Textile Arts Center

505 Carroll Street

Brooklyn, NY 11215

Tel. 718.369.0222

Fax. 718.228.7187

info@textileartscenter.com

http://textileartscenter.com/

Samantha Jones, featured in the 2010 Student Showcase, in Fiber Arts Magazine.

Samantha Jones, 1st year MFA Fibers and Materials Studies, is featured in the

2010 Student Showcase in the November/December 2010 issue of Fiber Arts Magazine.

Please follow the links below to view her work.

Congratulations Sam!

http://www.fiberarts.com/artist-highlight/nov-dec-2010/2010-Student-Showcase.asp

http://www.samjonesstudio.com/

Critical Dialogues, Visiting Artist: Marc Swanson, Monday, October 25, 2010, B04 Auditorium.

Untitled (Antler Pile), 2010

Antlers, crystals, adhesive

31 x 29 x 29 in.

78.7 x 73.7 x 73.7 cm

Form and content are deftly bridged in Marc Swanson's visual vocabulary, as the artist's carefullyconsidered materials complement the deeply personal narratives that run throughout his work.Swanson was born in Connecticut in 1969 and grew up in rural New Hampshire where his father,a deer hunter and former Marine, attempted to instill in his son the rugged-yet somewhatromanticized- outdoorsman traditions of New England. Elements of East Coast wilderness informmuch of Swanson's work, juxtaposed with theatrical flourishes (glitter, rhinestones) and a senseof personal mythology and nostalgia.Swanson has lived in Boston and San Francisco, where he became involved in various facets of gay subculture, experimenting in art, music, fashion, and performance. He studied at Skowhegan School of Painting and Sculpture in Maine in 2000 and received an MFA at the Milton Avery Graduate School of the Arts at Bard College, Annandale-on-Hudson, New York, in 2004. Swanson currently resides in Brooklyn, New York. He has had solo or two-person exhibitions at the Saint Louis Art Museum; Richard Gray Gallery, Chicago; and Bellwether Gallery, New York. He has been included in exhibitions at MoMA P.S.1, The Whitney Museum of American Art at Altria, The Seattle Art Museum and The Miami Art Museum. Swanson currently has a solo exhibition on view at the Kemper Museum of Contemporary Art, Kansas City, Missouri and has an upcoming solo exhibition at the Contemporary Art Museum Houston in 2011.

sherry markovitz

my mule, 2003-06, Glass beads, papier machê, and mixed media, 23 x 18 x 30, white fawn, 1984, Beads and mixed media on papier-mâché, 14 x 9 x 9.5, morning ewe, 2006-07, Glass beads, papier mache, mixed media, 19 x 15 x 17

In 1981, I began the series of ornamented animal trophy heads of deer, elk and moose and wild cats...they are beautiful images of rebirth, the death somewhat masked by their beauty. They are also a feminization of the traditionally male role as hunter, which has for centuries carried an unspoken taboo for women....

The aspect of collective memory refers to something people of my generation all remember. For people of future generations these iconic images become collectibles. "Collectibles" does, in fact, refer to our collective memories. It is important that these works not be nostalgic or sentimental, but offer a departure point for all of us to remember as we face the future.

see more work here and a video here.

The Sitting Room: 4 Studies Jennifer Angus, Ligia Bouton, Carole Loeffler and Saya Woolfalk.

September 24th, 2010 to January 3rd, 2011 Second Floor Galleries: The Sitting Room: 4 Studies Jennifer Angus, Ligia Bouton, Carole Loeffler and Saya Woolfalk Public Opening: Friday, September 24, 2010, 5:30 to 7:30 p.m. Throughout the first and second floor galleries the Philadelphia Art Alliance (PAA) will present The Sitting Room: Four Studies, an exhibition that will incorporate newly commissioned works with a post-disciplinary approach to the expanding definition of the term “craft” to create four separate but interrelated installations based on the historical concept of the sitting room. All exhibitions are organized by Melissa Caldwell, Director of Exhibitions at the PAA. An opening reception will be held on September 24 from 5:30 to 7:30 p.m. The Sitting Room considers the ideological meanings associated with the history of the sitting room, the original function of the building as a residence, and the physical features of the first and second floor galleries of the PAA. Four artists will create installations that are not an historical recreation of the building as a private home, but an interpretation of the concept of “display”—as a reflection of social anxieties and desires—for a contemporary audience. In addition, the projects for The Sitting Room invite connections between craft and conceptual art practices, bringing the usual assumptions of craft as domestic ornament into the realm of installation art. The exhibition takes three factors into consideration. First, this exhibition considers Victorian concepts of the parlor room. The sitting room (also termed the parlor room or the drawing room) was a prominent feature of domestic architecture until the early 20th century and served as a public reception space within a private setting. As the site of public social interaction, it was meant to exhibit or display the home in its most refined state. As such, the sitting room acted as a performance space for the social presentation and the self-imposed definition of its inhabitants. In this framework, the sitting room as a site for private display parallels the purpose of the PAA as a site for public display. Secondly, the projects consider the position of craft within contemporary art. The recent resurgence in scholarship posits craft as an expanding concept that transcends boundaries based on medium, function, or empty aesthetic pleasure. The term now incorporates many other fields of creativity as well as new technologies, reinforcing a post-disciplinary approach beyond the restriction of a single medium, and a connection of the crafted object to the fine arts, interior design, architecture, new media, performing art, and pop culture. Third, the theme of the exhibition is predicated upon the history of the building as a residence. The Philadelphia Art Alliance (cited on the National Register of Historic Places in Philadelphia) was built as a residence in 1906 for Samuel P. Wetherill. The rigid delineation of internal space reflected the standard models of the Victorian home, and as with most mansions of the period, the first floor of the Wetherill residence contained two formal sitting rooms, a public reception room to greet guests and a parlor room for entertaining. Despite the aesthetic differences in the work that will be commissioned for this exhibition, several overlapping themes emerge through the project proposals. As the sitting room in the Victorian area signified a place in the home with specific functions, all of the artists have chosen to interpret this for a contemporary audience by addressing several subjects from a sociological perspective: for Jennifer Angus, an alternative view of the 19th century and the mania surrounding ideas of collection and display during that period; for Carole Loeffler, the psychological implications of the domestic interior; for Ligia Bouton, the history of Victorian parlor seances; and for Saya Woolfalk, the creation of an alternative utopian space for an imagined future--using vernacular materials combined with technology--to forge alternative/mobile spaces that create ideal social communities.

Project Description: Jennifer Angus Jennifer Angus' project is an investigation into biology (specifically entomology) that merges seamlessly with her artistic practice through an evocation of domestic interiors. Angus will create an interior that is literally “wallpapered” with insect carapaces, combining these objects with actual wallpaper designed by the artist that contain insect themes from children’s literature. Her project will invoke the Victorian aesthetic of taste, clutter, and exotica (all artfully displayed in unusual “cabinets of curiosity”) from an age in which travel, exploration, and scientific study were immensely popular. Her project will also incorporate another common use for Victorian sitting room as place for the viewing of the recently deceased. For The Sitting Room, Angus will divide her selected gallery into three rooms all appearing to be of the Victorian era: a ladies’ parlor, a men’s parlor, and a common space which will give the impression of a dining room for a funerary feast. Located within the parlor spaces, resting upon tables will be Victorian style dollhouses with insect carapaces placed in anthropomorphized positions to enact parlor activities—reminiscent of animal characters in children’s literature from the period. Through the creation of a tripartite space, Angus examines the sitting room from several vantage points: as a private refuge and as a quasi-public space within a home, as a display context for possessions, memories, and souvenirs, as a space for memorial, and as a setting for discussions of how spaces are defined by gender. Although referencing the Victorian era and the “home” aesthetically, Angus will explore the fantastic and whimsical meanings of the domestic interior, seizing upon the contemporary collective visual imagination of 19th century society. Angus received a B.F.A. from the Nova Scotia College of Art and Design, Halifax Nova Scotia and a M.F.A. from the School of the Art Institute of Chicago, Chicago, IL. She also studied at the Penland School of Crafts, Penland, North Carolina, and University of British Columbia, Vancouver, British Columbia. Angus taught and lectured throughout the United States and Canada and is currently Associate Professor of Environment, Textiles and Design, University of Wisconsin, Madison. Her work is in numerous private as well as public collections, including: American Craft Museum, New York, NY, Hachioji City, Tokyo, Japan, Ministry of Foreign Affairs, Ottawa, Canada, The Library and Gallery, Cambridge, Ontario, and The Museum for Textiles, Toronto, Ontario. Carole Loeffler Carole Loeffler’s work is a form of visual archaeology rather than a specific aesthetic style. She creates elaborate cultural object based narratives through furnishings and décor. Her installations use objects to signify displacement, as she considers the objects as metonyms or stand-ins for the person who's not visible. Rather than symbolic, the objects are specific in terms of an individual's use in an exact position, adjacency, and context of the room. For the exhibition Loeffler will present an installation entitled, 5 Situations: to conflict and coalesce. This will include five small circular rooms within the gallery space. The walls will be made out of fabric that is Victorian inspired hung on a circular frame with individual flooring. In each room there will be a set of upholstered chairs. Each set of chairs will create a feeling that occurs in a formal reception space. The placement of the chairs is meant to dictate the different feelings and emotions a living room creates and to reinforce various feelings, such as separation, isolation, tension and awkwardness. For example, in one room, two chairs will be upholstered together back to back. The vertical backs of the chairs will be one unit. Another room will have two chairs upholstered together to sit side by side, and yet two others will be created as circles facing inward and outward. In addition, each room will also include a multi-layered sound piece that involves verbs that begin with the letter c. The subtle sound element is meant to reinforce the range of feelings in each room or "situation”. Loeffler received her M.F.A. from University of South Florida in Tampa. Previously, she taught and directed the Foundations program at Southern Illinois University Carbondale in the School of Art and Design. She is currently teaching and coordinating the Foundations program at Arcadia University. Recent solo exhibitions include: “Conglomeration, Three Rivers Community College,” Norwich, CT (2009); Fringed, Full, Furry and Fuzzy, Art Gallery, Eastern Washington University, Cheney, WA (2007); infestation, Window on Broad, Rosenfeld-Wolf Galleries, Philadelphia, PA (2006); sensations & wishes, Howard Community College Gallery, Columbia, MD (2006) Materiality: Sculpture and Installation, Resnikoff Gallery, Roxbury, MA (2006); tubes/tuffets, Gallery One, McHenry County College Gallery, Crystal Lake, IL (2005); linger, Gallery Two, McHenry County College Gallery, Crystal Lake, IL (2005); Dangling, draped and dilly-dallying, Community Center Gallery, Greenbelt, MD (2005); Immersion: Dialogue, Fine Arts Center Gallery, Northeastern Illinois University, IL (2005); Linger, ARC Gallery, Chicago, IL; (2005); Tubes & Tuffets, McLanahan Gallery, Penn State University, Altoona, PA (2005), among many others. Saya Woolfalk For “The Sitting Room,” Saya Woolfalk will focus on the function of the sitting room in futuristic and utopian terms. Her project, entitled The Ethnography of No Place, includes a series of videos and a resulting installation that inhabits the intersections of surrealism and relativist ethnography. As Woolfalk notes, “the name is derived from the English word, “utopia,” coined by Thomas More from the Greek “no” (ou) and “place” (topos)--literally, No Place.” Constructed from household materials using a craft based approach and aesthetic, the place and characters evoke travel narratives, body transformation, costumes, children’s playrooms, and science fiction. The installation is based on a series of films that find relevancy to all times and periods. The participants of No Place inhabit an imagined utopia through play and masquerade to reconsider ways we normally think about and represent gender, race, class, and the environment. Performers will interact with objects and wear costumes that denaturalize their bodies, and will expose how such symbols influence subjectivity from a sociological vantage point. These videos of No Place--produced with anthropologist and filmmaker Rachel Lears--will present different facets of this imagined society: its birth, death, afterlife and mourning; kinship; object exchange; war and play; collecting and memory. Viewers will watch The Ethnography of No Place in a room with brightly painted walls and props and costumes from the videos. Overall, the installation gives a view into communally imagined permutation of a space for the future. Wookfalk received a B.A. from Brown University, Providence, RI and a M.F.A. at the School of the Art Institute of Chicago, Chicago, IL. In addition to her residency at The Studio Museum, Harlem, Woolfalk has had residencies at Yaddo, Saratoga Springs, NY (2005); Sculpture Space, Unitca, NY (2005) and the Millay Colony for the Arts, Austerlitz, NY (2004). Woolfalk has studied at the Skowhegen School of Painting and Sculpture as well as the Whitney Independent Study Program, Whitney Museum of American Art, NY. She has received a NYFA Fellowship (2007); Art Matters Grant (2007); Fulbright Grant from the Brazilian Fulbright Commission (for the study of performance and craft traditions in Latin America, 2005); and the Joan Mitchell Foundation MFA Fellowship (2005), among many others. Ligia Bouton Ligia Bouton’s work combines sculpture with performance, digital video, and photography. Each project wrestles with issues of functionality and narrative, drawing on sources from art history, classical and contemporary literature, and science. Sculptural objects are used in documented performances to recreate these appropriated narratives. The desire to “try on” different identities does not equate itself in this work with a need to become someone or something else. Rather, by recreating or enacting these roles, what surfaces is an awareness of the body’s own distinct boundaries. For The Sitting Room, Bouton turns to early documentation of Victoria parlor séances to create an installation that explores the intersections between fantasy and reality, desire and deception. As the spiritualist movement gained popular support during the mid-19th century, it was common to receive invitations to parties that included “tea and table-tilting.” These small private gatherings often included local mediums who caused furniture to vibrate and move due to what they claimed was a direction communication with spirits and ghosts. It is not surprising that these events happened in the parlor or sitting room of a private home; this room was accustomed to playing an intermediary role, as it traditionally provided a middle-ground between the privacy of the domestic setting and the larger forces of the public world. Drawing from photographs taken during the later half of the 19th century that attempted to prove the authenticity of these spirit encounters, this installation will recreate the very real desire displayed in these images to communicate with the dead while also employing the artifice and trickery skillful mediums used to ensure this desire was fulfilled. In Tea and Tabletilting, Bouton will create several small vignettes or theatrical sets in which hand-painted wallpaper and faux architectural elements will combine with photographic cutouts of the séance participants. These figures, furniture pieces, and additional props will appear like lifesized paper doll pieces. The spirits summoned into each space will be created with sculptural elements and projected video, and their vivid color and mobility will appear, as a means of meditating on human desire, more life-like than the rest of the sepia-toned scene. Here, the artist plays the role of the original medium by constructing an experience where, (with the help of some simple technological slight-of-hand and trick-of-the-eye) the worlds of the living and the dead seemingly collide. Ligia Bouton was born in Sao Paulo, Brazil and received a B.A., from Vassar College, and a M.F.A., Mason Gross School of the Art, Rutgers University. Bouton recently lectured at the Dialogue Among Peers, which was sponsored by Santa FE Council for the Arts and Center for Contemporary Arts, Santa Fe, NM and is currently on the faculty of the University of New Mexico. She is represented by EVO Gallery, Santa FE, NM. Recent solo exhibitions include Six Photographs of People I Don’t Know, EVO Gallery, Santa FE. NM (2007); hybrids, Boulder Museum of Contemporary Art, Boulder, CO (2006); and Compound, Plan B Evolving Arts, Santa FE, NM (1999). Group exhibitions include: Biennial Southwest, Albuquerque Museum, Albuquerque, NM (2006); Embodied: Seven Studies in Video, Museum of Fine Arts, Santa Fe, NM (2005); The True Mirror, City Without Walls, Newark, NJ (2005); Subversion & Censure, EVO Gallery, Santa Fe, NM (2005); Motion, Santa Fe Art Institute, Santa Fe, NM (2005); Rocky Mountain Biennial, Museum of Contemporary Art, Fort Collins, CO (2004); Tell Me a Story of a World Without Words, City Without Walls, Newark, New Jersey (2004); Manifestations: Form and Function, Denise Bibro Fine Art, New York, NY. Support for The Sitting Room is provided by: Additional support provided by the Independence Foundation, Pennsylvania Council on the Arts, Philadelphia Cultural Fund, and Members of the PAA.

For more information about the Philadelphia Art Alliance Exhibitions Program, contact Melissa Caldwell at 215-545-4302 or mcaldwell@philartalliance.org. Gallery Hours: Tuesday through Sunday 11 a.m. to 5 p.m. Admission Fee: $5 for adults $3 for students and seniors Pay what you wish on Fridays.

Japan Fashion Now Symposium 2010, The Museum at Fashion Institute of Technology.

Museum at the Fashion Institute of Technology
Seventh Avenue at 27 Street
New York City 10001-5992

http://fitnyc.edu/9121.asp

This international interdisciplinary symposium will explore contemporary Japanese fashion—from avant-garde to street and subcultural styles. Topics will include the historic roots of Japan’s fashion culture, the role of uniforms and uniformity, the Japanese “fashion revolution” of the 1980s, the geography of Tokyo fashion, the rise of the young male fashion consumer, and the significance of cuteness in Japanese girls’ culture. Held in conjunction with the exhibition Japan Fashion Now, on view through January 8, 2011. Speaker biographies Registration Form

	Thursday, November 4
9:30–10:30 am	Check-in, registration, and coffee Haft Auditorium, Feldman Center, second floor
10:30 am–12:30 pm	Welcoming remarks Dr. Joyce F. Brown, president of FIT, Welcome Dr. Valerie Steele, Japan Fashion Now Dr. Toby Slade, Modernity in Japanese Fashion Hiroshi Narumi, The Construction of Japaneseness in Fashion Dr. Brian McVeigh, Fashion as Self-Consumption: Personalizing and Individualizing Student Uniforms in Japan
12:30–2 pm	Lunch break
2–5 pm	Patricia Mears, Formalism and Revolution: Rei Kawakubo and Yohji Yamamoto Miki Higasa in conversation with Patricia Mears Dr. Sharon Kinsella, Cute in Feminine Subcultural Fashion: The Strange Travels of Cute from Naive Subculture to Grotesque Parody
	Friday, November 5
9:30–10:30 am	Check-in, registration, and coffee Haft Auditorium, Feldman Center, second floor
10:30 am–12:30 pm	Dr. Laura Miller, Perverse Cuteness in JapaneseGirl Culture Dr. Yuniya Kawamura, Japanese Youths as Producers of Subcultures and Fashion Trends Masafumi Monden, The Importance of Looking Pleasant: Reading Japanese Men’s Fashion Magazines
12:30–2 pm	Lunch break
2–5 pm	Tiffany Godoy, Fashion City: Shopping in Tokyo Dr. Miwako Tezuka, Yoshitomo Nara: Nobody’s Fool and the Kids with Attitude h.NAOTO in conversation with Valerie Steele

alumni happy hour

Set Pieces, Curated by Virgil Marti from the collection of the PMA.

Set Pieces, Curated by Virgil Marti from the collection of the PMA

September 15, 2010 - February 13, 2011 - 12:00pm - 5:00pm
Institute of Contemporary Art
118 S. 36th Street view map

Set Pieces restages objects and art works from the collections of the PMA. Curated by Katherine Stein Saches CW’69 and Keith L. Sachs W’67 Guest Curator Virgil Marti, a Philadelphia-based artist, the selection taps treasure from the museum’s storage. Reflecting the artist’s own immersive sculptural environments that cross art and decor, Marti draws especially on decorative arts and sculpture. The installation is informed by favorite films and those cinematic moments that highlight the unique capability of film to stitch together random incidents. The result is a series of tableaux of objects that might not meet up outside this unconventional display of art objects.

Free and open to the public.

http://www.icaphila.org/exhibitions/set-pieces.php

elisa d'arrigo

Recollection...terracotta (2), 2008, cloth, thread, acrylic paint, 15 x 14 x 3, Budding (6) DETAIL, 2001, cloth, thread, acrylic paint, 33 x 47 x 49, Shift Into Black, 2007, cloth, paper, thread, acrylic paint, marble dust, 29 x 25 x 4

Attempting to translate a mental image into a physical object is fraught with frustration due to the fugitive, constantly shifting nature of memory. It sometimes seems that a piece could be worked on forever, continuously evolving, expanding, and also contracting....

...The tension and puckering created by sewing the individual components results in structures that billow, as if animated from within. These undulations are a chance product of the sewing process. My responses to such unplanned effects plot the trajectory of each piece. There is no understructure of any kind. These pieces are held together with thread alone. Seams define contours, and stitches create lines, marks and surface.

see more work here and here.

start your monday off right!

go here to see 109 cats wearing fabulous fall sweater fashions!

DuPont: Woven Car at Crane Arts.

Woven Car

Dates: October 12-17, 2010
Hours: Wed – Fri 12-6pm
Location: Grey Area

DuPont supplied visionary artists Ann Conte and Jeanne Wiley with sheets of DuPont Corian Oat and Corian Cocoa Brown from the earth-friendlyTerra Collection to create the interior of the “Woven Car.” An old rusted MG Midget that was given new a life and identity with sustainable design materials, the Woven Car was transformed with sustainable Corian® seats and window shield frame, made sleek and smooth by Sterling-Miller Design.

The whimsical and unexpected Woven Car design was created entirely from recycled and overstock materials, including pale gold seatbelts that were woven to create a checkerboard pattern around the body of the car, and 500 yards of webbing that was adhered to the shape of the car. The car’s stick shift is a bouquet of hollow ceramic flowers that were created by dipping live flowers in paper clay. The flowers were evaporated in the heat of the kiln, leaving a shell that was glazed. The tail lights are also ceramic, featuring 60s-inspired orange, yellow and red prints.

Crane Arts LLC · 1400 N American Street · Philadelphia, PA 19122-3803

http://www.cranearts.com/

Fashion Forward: Sustainable Fashion and Philadelphia, Part I and II.

Fashion Forward: Sustainable Fashion and Philadelphia, Part I

Thursday, October 7, 2010, 6:00 - 8:00 PM

Hear local favorites in the Philadelphia textile and accessory industries discuss the challenges and advantages of incorporating sustainable, organic and fair-trade practices into their work.

Learn what the City is doing to heighten visibility for designers who choose to create and manufacture in Philadelphia and find out what local buyers are looking for when stocking their shelves with eco-chic items.

This is a must-attend event for anyone interesting designing, making and buying sustainable threads.

Panelists:

• Jamila Payne; National Association of Sustainable Fashion Desginers (SBN Co-Board Chair)
• Susan Firestone; Siw Thai Silk (SBN Board Member)
• Sarah Van Aken; SA VA Fashion and S.V.A. Holdings Corporation

Panel Tickets includes admission to Industry Social Netoworking Event on Thursday, October 14th, 2010 from 8:00 - 10:00 PM at Solmssen Court at the University of the Arts.You must be 21 years of age or older to attend Social.

Network over drinks with designers, buyers and fashionistas all intrested in Sustainable Design.

Location:
CBS Auditorium - Hamilton Hall
The University of the Arts
320 South Broad Street
Philadelphia, PA‎

http://www.sbnphiladelphia.org/events/view/fashion_forward_-_a_two-part_series_on_sustainable_fashion_and_philadelphia/

Fashion Forward: Sustainable Fashion and Philadelphia, Part II and Reception

Thursday, October 14, 2010, 6:00 - 8:00 PM

Part II: Design in Action

The fashion market is rapidly expanding with sustainable options. This panel will feature designers that are working in the trenches to create a more sustainable fashion industry. Our panel will share real life stories of how they have overcome obstacles and stuck with their values to create impact. Attendees will learn what it takes to get started and grow your fashion enterprise. Early registrants will receive a free booklet on sustainable fashion resources from Grid magazine and Sustainable Designers. There will be an industry social with hors' douvres and drinks immediately after the panel in order to allow for networking between buyers, designers, and retailers.

Panel Tickets includes admission to Industry Social Netoworking Event on Thursday, October 14th, 2010 from 8:00 - 10:00 PM at Solmssen Court at the University of the Arts.You must be 21 years of age or older to attend Social.

Location:
CBS Auditorium
The University of the Arts
320 South Broad Street
Philadelphia, PA‎

http://www.sbnphiladelphia.org/events/view/fashion_forward_sustainable_fashion_and_philadelphia_part_ii/

dorothy napangardi

Sand Hills, 2005, acrylic on belgian linen, 165x124, Salt on Mina Mina, acrylic on belgian linen, 104x82, inland sea, acrylic on belgian linen, 168x123

When I paint, I think of the old days, as a happy little girl knowing my grandfather's dreaming.

a view of the landscape through simple marks...see more here and please take some time to read the explanation of each.

It's Philadelphia Fashion Week!

Autumnlin Designs, http://autumnlin.squarespace.com/, featured above.

Philadelphia Fashion Week 2010 will be held October 6-9 at:

23rd Street Armory
22 S 23rd St
Philadelphia, PA 19103

For additional information and to purchase tickets: http://www.philadelphiafashionweek.org/

Yarn bombing.

I came across this website and think the craft/graffiti concept is interesting: http://yarnbombing.com/