Afternoon lectures in detail:
September 12, 2007 - Ute
Bargmann, Loom-Told Tales: Ancient Dreams of a Present-day Weaving Implement
Fairly recent observations of a carpet loom in Iran show that in all probability
this was the type of loom used to produce the magnificent Sasanid silk textiles
of the sixth and seventh centuries CE. This upright loom with a draw system can
be adjusted to the extreme widths (up to three yards) used in luxury textiles of
the era.
Ute received a diploma as translator and interpreter at the Sprachen-und
Dolmetscher Institut in Munich, and a Master Weaver certificate at the Hill
Institute in Florence, MA. She worked for many years in Special Collections and
Archives in the UMass Amherst Libraries. Ute specializes in historic and ethnic
textiles and different weaving techniques, sharing her knowledge through
teaching, writing, and demonstrating.
return to list
October 10, 2007 -
Karyl Lynch, Loomed Beadwork: Exploring Its History and Applications
The long and colorful history of beads ranges from ancient Egypt to
contemporary times and circles the globe. Loomed beadwork, one form of
beadweaving, created by a small number of devotees in indigenous cultures in
North and South America, Africa and Europe, has been one way in which
individuals have chosen to express themselves and their cultures. Loomed
beadwork became increasingly popular when seed beads became objects of mass production and were disseminated
around the world. This presentation will explore loomed beadwork’s historical
context and provide examples of how several contemporary artists use loomed
work.
Karyl Lynch began as a relief woodcarver and co-owner of a small woodcarving
business in the 1970’s. Her interest in color and texture led her to become a
weaver and ultimately a loomed bead worker. For almost ten years, her work
combined woodcarving and weaving in pieces for the wall before she transitioned
into working on the small scale mandated by seed beads. Karyl has participated
in many exhibits and won many awards in addition to writing about beadweaving.
return to list
November 14, 2007 - A Celebration of Master Weavers
In the morning bring your questions about your own work or master programs to
a session of "Ask the Masters!" during Weavers Helping Weavers (see
description).
In the afternoon there will be an exhibit of work from weavers in the guild
who have completed the Weavers Guild of Boston Master Weaving Certificate, or
one of the other guilds, Hill Institute, or HGA (COE) master certification
programs. Take a look at the kind of work that has been successfully completed
for all levels of these programs, talk to the master weavers about the benefits
of completing such a program, and learn about the variations between the
different programs. Feast your eyes on the work that the weavers have created
since finishing their certification. A day of inspiration for all who are
interested in furthering their own education and/or seeing what their fellow
guild members have been weaving.
Bring a holiday potluck dessert or appetizer to share!
return to list
February 13, 2008 - Edward
Maeder, Rise and Fall of the Breast: The Aesthetics of the Bosom in History, (postponed from last May)
~~ Rescheduled to annual meeting ~~
The display or non-display of the bosom is culturally tied to humanism,
naturalism, religious reformation and moral considerations, but it is much more
than that. Ideas of freedom, both sexual and political are embodied in this
omnipresent part of the female anatomy. Desirable size changes, not quite as
quickly as the weather but very rapidly indeed. A few years ago the raging
battle between the "look" of Jane Fonda and pumpin’ iron vs. the
overblown endowment of Dolly Parton resulted in the massive augmentation of
breasts in the fashion industry. The only thing we know for certain is that
fashion is constantly changing and as long as we have the ability to alter
nature’s handiwork, we will.
Edward Maeder received a Master of Arts in the History of Dress Department at
the Courtauld Institute of Art, University of London. Since 2003 he has been the
Director of Exhibitions and Curator of Textiles at Historic Deerfield, Inc.,
Deerfield, MA where he came to work in 2000. Prior to that Edward worked as a
museum consultant, founding Director of the Bata Shoe Museum in Toronto, Curator
of the Department of Costumes and Textiles in the Los Angeles County Museum of
Art, Associate Curator of Costume at the Fashion Institute of Technology, New
York City, and has written, taught, and lectured extensively on many aspects of
historic costume, style, and needlework. He admits to a long term fascination
with the lecture subject.
return to list
March 12, 2008 - Charlotte Hamlin,
Islamic Textiles
With the advent of Islam in the seventh century, costume and textiles became
major elements in both the practice and the spread of the religion. Early
Islamic textiles ranged from rough embroidered linens to the finest complex
silks, demonstrating specific motifs and visual compositions that combined
pattern and faith.
Charlotte Hamlin currently teaches undergraduate and graduate courses in
Textile History, surface design and fiber arts in the Textile Design and Fiber
Arts Program at UMass Dartmouth where she is also the Assistant Dean of the
College of Visual and Performing Arts. Along with holding nursing degrees, she
received a BA in Anthropology from UPenn and an MFA from UMass Dartmouth. Her
work has appeared in national and regional shows and she has recently taught at
NEWS.
return to list
April 9, 2008 - Fran Curran, Combining Weave Structures
From time to time we look for new weaving challenges and combining weave
structures is fun to try. Every weaving structure has its own peculiar
characteristics and it can be fascinating to try combining these different
qualities in a single piece of cloth. This talk will focus on how to approach
this challenge, starting with possibilities offered by four harnesses. By
carefully selecting and combining patterns and textures it is possible to
produce distinct and unique cloth. This talk will attempt to motivate you to
take yet another path on your weaving journey.
Fran holds a BA in Textiles and Fine Art from Manchester College of Art and
Design, Manchester, England and a MALS from Wesleyan University. She has taught
weaving at Wesleyan Potters since 1984 and has presented classes at NEWS, the
Handweavers’ Guild of CT, Middletown Adult Education, and Durham Adult
Education. Her work has been published in Handwoven and exhibited
throughout New England. Fran is the past president of the Handweavers Guild of
Conneticut and immediate past president of NEWS. More recently, in
addition to teaching at Wesleyan Potters, she has been an artist in residence in
the Middletown school system. Fran also teaches and designs for "The
Artisan" weaving program at Oak Hill in Hartford.
return to list
May 14, 2008 - Annual Meeting
Morning: Rescheduled workshops and Weavers Helping Weavers from
February
Noon: Potluck Lunch and Annual Meeting
Afternoon: Fashion Show and Walking Display of Non-Wearables
Afternoon Speaker:
Edward
Maeder,
Rise and Fall of the Breast: The Aesthetics of the Bosom in History
On display: Samples and finished pieces from this year’s morning
workshops and the Special Workshops in April to show. The work of several people
who have passed the Ratings this year.
Potluck Lunch: Bring a dish to share. Please securely attach a label
with all the ingredients to help those members with food allergies and dietary
limitations. Your contribution does not need to be homemade or elaborate, though
those items are very welcome! A bowl of berries, cheese, or a simple salad from
the store always goes with everything.
Annual Meeting: Dean Florence will conduct the Annual meeting with speed
and vigor so that we will be able to have the end-of-year reports, thank-you’s,
vote(s) on board positions, and installation of new officers as painlessly as
possible. At the end of the Annual Meeting the Silent Auction winners will be
announced and the winnings distributed.
Fashion Show: This is a no stress, light-hearted chance to display what
you have been weaving this year and receive numerous compliments and weaver’s
handshakes. If it is not wearable, you can hold it up, drape it over yourself
inappropriately, or coerce a friend to pose as the table the runner should be
sitting on. Pieces from guild classes and workshops are welcome. Strut your
stuff, bring your camera, cheer on the participants, and let your inner model or
paparazzi loose.
return to list
|