Getting Discouraged (Part 3 of 4) - Nancy Doyle

Following is the 3rd segment of
Nancy Doyle's article,"Getting Discouraged"

Being Discouraged about Our Work:

If we are feeling discouraged about one particular work, or all of our work, that it is not good, or not good enough, etc., there are things that we can do. When struggling with one particular work, when nothing seems to work in it, we can try the actions listed above: turning the work upside down, covering various parts to find trouble spots, coming back in a few days to get a fresh look. Another way is to plow right in, almost like wrestling an alligator. Especially when we are in the first years of painting, this can be an invaluable learning experience; and when it succeeds, the feeling of accomplishment is great. When working with oil paint, especially, there will be times where all you end up with is mud - all the wet colors have mingled together - even mangled - and it seems hopeless. You can scrape the excess paint off with a painting knife and start over, or you can take charge and dive right in, using determination as a weapon. Desperation doesn't usually correct the painting - try to remain calm, and stay focused on what you want to do with the image.

Art is related closely to our mental state; I try to paint only when fresh and well rested; if we are tired or agitated, the image will often mirror this. First - sit down about 10 feet away from the work, and take your time to study it. Compare it to the original idea you initially had; what was it that you wanted to do? Then methodically try to decide what steps you need to take to have the painting in front of you look like your original idea. You may have wanted to show a misty, romantic landscape, or study the geometric structures in a still life. This initial impulse will give you the information you need to make your decisions about how to proceed. Once you have a clear idea of what you want to do, plow right in and do it, scraping off paint if necessary. The very experience of plowing into the image is an empowering one - take the bull by the horns, so to speak.

The main thing about being discouraged is that you keep working through it. Painting is one of those things that lose momentum unless they are kept up, like practicing a musical instrument. I have found that if I stop for more than a few months, I lose ground; when I go back, I don't start at my stopping point - I have gone backward, and it takes extra time to catch up again.

Don't expect masterpieces too soon or too often. Like any activity, it will take time to learn - sometimes a lifetime. If we play golf, how long will it take to be as good as Tiger Woods? The main thing is that we enjoy the activity - it is still enjoyable for us, even if we are not champions. Working to produce masterpieces can be self-defeating; like in Zen philosophy, we have a much greater chance of succeeding if we are not thinking about succeeding. We can trick our minds into thinking that we are going to paint with conviction and energy, for the sheer experience of it, that we don't care if it is "good." That's always when I've done my best work. One trick I use is to listen to carefully selected music; when starting a painting and a bright white canvas is staring back at me, I put on music that is unpretentious, such as folk music. This makes me less self-conscious; I forget about myself and start working. Later, in the midst of the work, I can listen to more spirited music, to get me to be bold and honest in the painting - to remind me of the emotions and ideas I am trying to express in the work. Artists have spoken about the need to forget themselves while working; I find that music helps me do this. I listen to the music which makes my spirit soar (celtic music), without distracting me too much. For instance, I love the Rolling Stones - but if I play them while painting, I end up dancing more than painting, so I try to avoid stuff that is too intrusive.

To read this article in its entirety
without having to wait for the final segment:

http://www.ndoylefineart.com/discouraged.html
.
To learn more about Nancy Doyle and to view her art:

http://www.ndoylefineart.com/

Getting Discouraged - Part 2 of 4 - Nancy Doyle

Following is the 2nd segment of Nancy Doyle's article,
"Getting Discouraged"

Criticism:

Criticism can come from many quarters; from your roommate, your best friend, your worst enemy, a teacher, an art critic, and more. It can also be hurtful and discouraging, even devastating.

A casual remark can sometimes be disconcerting; "What is that supposed to be?", "That doesn't look anything like me", "It's so green", "This is finished?", "You're not supposed to use blue and red together in a painting". These are remarks made by ordinary people. The words of a teacher or art critic can be even more pointed and powerful. Teachers usually mean well, but sometimes they can say things that are off the beam. I had a teacher who told me that I should not put religious and non-religious items in the same drawing; (I had drawn a religious statue next to a plant.) These suggestions leave you scratching your head; when I was older I looked back and realized that this teacher was completely wrong. Try to put things said in perspective. Not everyone, teachers included, knows what they are talking about. Because they have a position of authority doesn't mean that they are always right. In art school, a painting instructor said that my idea of putting a vase of flowers in a portrait was "too sentimental"; I listened to him, and added an industrial sink instead. I've regretted it since; flowers were part of the expression I was aiming for - an Impressionistic feel for the image, and a direction I wanted my painting to go in. Because of his advice, this direction had to wait another 4 years to begin. Don't let someone waste your valuable time. In particular, don't let someone keep you from doing what you really want to do.

Often, we remember vividly these disparaging remarks - we can quote them, word for word. In art schools, professors sometimes seem to enjoy these putdowns, or at least feel justified in their criticism. I've seen students reduced to tears after a harsh "crit." I have always failed to see what the value of this kind of criticism is; perhaps to discourage a mediocre student from majoring in art. I just feel that none of us is that all-knowing, or has that much authority, that we can afford to break a spirit. Cezanne and Van Gogh, two of the best painters ever, both lacked 'facility' , meaning that nothing came easily for either of them. Their early drawings are very "bad." But this lack of facility proved to be a bonus for them, in that they were forced to produce original work - honest work, not the "polished" stuff of the prize students of their day (whose names are long forgotten).


I once had a student in my drawing class who seemed to have absolutely no perceptual ability. If I set up a still life with a bottle on the left, she would draw it on the right; I began to wonder if she was dyslexic. After a few weeks of class, she came to me in tears, saying that it was hopeless, that she could never learn to draw - she wanted to drop out of the class. She was a dance major; I felt that sooner or later she would be able to bring her dance experience to the drawing class - as the arts are all cousins. I encouraged her to try it for just a few more weeks. The following week, I showed slides of drawings in class. One slide in particular was a da Vinci ink drawing of a copse of trees, a very simple sketch. For some reason, she was inspired by this drawing; she began drawing landscapes outside, and they were wonderful. She was all fired up after that, and her work got better and better. Eventually, she became a drawing teacher herself. This experience proved to me that my feeling about criticism was true - that we never know who will succeed, or when.

Teachers can be very intimidating. An art critic in a newspaper or magazine can also be harmful. Their erudite and critical prose is perhaps designed to impress or intimidate; they perhaps think that their ability to criticize reflects their discriminating taste and sophistication. Far from it. A critic's true job is not to "criticize," but rather to elucidate and illuminate the work. The fact is that very few critics are remembered, whereas many of the artists they have belittled will be remembered forever. The magazine Art News has some really good critics, whose reviews are printed in the back of the magazine. Here it is easy to see the difference between a good and bad critic. One of these well written reviews (not necessarily positive) can also be a work of art - thoughtfully written, insightful, with pertinent background information on the artist and his or her historical context, etc. These enlightened reviewers illuminate the work for us, they help us to understand the artist's intentions and context. To have a negative review in a national publication can be decimating for an artist; I have met artists who experienced this, one of whom almost stopped painting because of it. These reviewers have a lot of power, in that sense; and also because their words in a major publication can "make or break" an artist, in the eyes of galleries, curators, etc. This is not what art is about.

Dealing with criticism:

Consider the source. Does the person have art training or experience? Is the person able to be objective? Does the person have a similar sensibility to me? How intelligent is this person? This goes both ways - if the person is intelligent, has training, has no axe to grind - perhaps some of what they are saying is true. We need to accept criticism without necessarily buying into it, or at least suspend our judgment. We need to consider it, over time, to see if there is anything we can gain from it. We can't take it personally; we can't feel that it renders us worthless as artists or people. If we look at it without our egos, we may glean great insight and help to make our work better. If we look at it in terms of helping us to be better artists - all of us can always be better - we just might find a breakthrough in our work, we might really grow from it. I once had a professor, whom I respected greatly, give frank and specific information about weak points in my work. I could see that he was right, and I was able to absorb and benefit from this information. I felt grateful to him for helping me improve my work. He gave the advice straight-on, without a personal attack at me.

On the other hand, when someone makes a critique into a verbal or personal assault, there is no value to this, to the critic or to the artist. When I read a scathing review, in which nothing positive is mentioned, I smell a rat. Does this person have an axe to grind? Particularly when the artist being roasted is a serious artist, with training, experience and something to say - which happens. Jasper Johns, the well known American artist, was once so roasted by a young, unknown reviewer; where is the value in this? It reveals more about the reviewer than about the artist. There is very little serious art about which nothing good can be said.

Protect yourself. I have found that if I show someone a painting before it is finished, a remark they make might affect the outcome of the work, in a less than positive way. Not just because they might say something critical - even a casual remark may make me think differently about what I am trying to do. Matisse referred to the initial impulse of an artwork as the conception, and recommended that artists remain true to this initial conception. Sometimes a casual remark can alter the execution of the work, particularly because an unfinished painting can look very different from what the final product will be. And in the case of someone being critical of the unfinished work, this may also cause self-doubt or confusion, which may interfere with the artist's state of mind or self-confidence. So I generally recommend not showing half-finished work to anyone, unless they are a trusted friend, or a fellow artist who is familiar with your work.

I also recommend not talking about ideas you have before you carry them out. For some reason, I have found that doing this dissipates the impulse somewhat; like the saying of it eliminates the need to actually make it. Also, in telling someone you take a chance that they may make a disconcerting remark, perhaps discouraging or critical. I've found that we need to nurture ourselves and our work. When the work is finished, then others can see and comment; no matter what they say, the work has been completed and realized, so nothing can alter it.

Be your own worst critic. We need to learn to separate our artwork from our egos. The quality of our work doesn't reflect our value as people. We are all growing and learning; we all need to improve our work. Don't be afraid to look at your work squarely, to find weak spots and negative tendencies. The more we can do this, the better our work will become. Don't try to compete with others - compete with yourself, and with the great artists (aim high). If you are constantly striving to improve your work, by working, by looking at good art, reading about art, talking with others about it, listening to what good artists have to say about the creative process - your work will reflect this personal artistic growth and depth.

This can be done with individual works, and with your work in general. Often when we have been working intensely on an image, we are too close to it and can't see it anymore. If this happens, stay away for a few days; often when you come back, you can spot the problem areas right away. Another trick painters use is to turn the work upside down; sometimes unbalanced design or proportions stick out like a sore thumb. Another way to find the problem area is to cover different areas with your hand or piece of paper; when you find that the rest of the painting works with one area covered, this is your problem area. Then you can try to find alternatives for this area - correct the drawing, change the color or value, eliminate the area, etc.

For general criticism of your work, seek out a respected fellow artist or teacher for honest, constructive advice. As always, you can keep the advice, or discard it; art-making is a process of self-discovery. If it is relevant to you, keep it; if not, discard it. One sign for me is whether the criticism pushes me forward or holds me back; if it demoralizes me enough for me to stop working, I usually discard it. Whatever makes me want to work harder, or inspires me, I hold onto. So, anything that is good for the work stays; anything that is bad for it has to go. We learn about good art by looking at art of the present and past; we look at Cezanne and others, whose work we know to be excellent. The more we learn about good art, the more we can be objective about our own work.

Student versus artist: When we are first learning about art, say the first 5-10 years of study, our goal is to learn as much as possible, to become a good artist (produce good work), and to experiment with new ideas and methods. For this reason, we have teachers and fellow students criticize our work in class, and we study design elements and principles, color theory, drawing, etc. At this stage we are making mistakes, and listening to advice and criticism, with an open mind. After this period, a young artist is still somewhat open, but is now more focused on his or her own vision (what is meaningful to them). We start zeroing in on our vision, we are less self-conscious about our work. We still experiment; but our acceptance of criticism is more selective than before. Finally, when we start to mature as artists, we keep only criticism and advice that is pertinent to our vision. In other words, our goal is not just to produce good work - it is to produce our own work - to produce a body of work that reflects our personal vision. So, now it is not just about correct technique, or good design, or following rules; it is not about formal perfection, or technical perfection. As Bob Dylan said, "I am not a musician - Segovia is a musician - I am an artist." He is not concerned with being the best guitar player, or the best singer; he is concerned with creating the music that will best carry his artistic vision, his view of the universe translated into art.

So when we think of criticism in this sense, it may or may not pertain to our work; if someone doesn't understand what we are trying to express, as mature artists, this means that the criticism is not relevant to us. So we need to discard it.

To read this article in its entirety without having to waitfor me to post the remaining 2 segments:
http://www.ndoylefineart.com/discouraged.html

.

To learn more about Nancy Doyle and to view her art:
http://www.ndoylefineart.com/

Getting Discouraged (Part 1 of 4) - Nancy Doyle

Nancy Doyle has written an extensive essay about a topic
with which all artists must cope at one time or another in
their careers. It will be posted over the next few days in four
consecutive parts: Today's segment is on "Rejection". The
remaining segments include: "Criticism" (including Dealing
with Criticism), "Being Discouraged about our Work",
and "The Solution". - Gwen Magee

Most, if not all, artists have times when they are discouraged about their work, or about how their work is received. Certainly if we look at artists from the past, many of the best ones struggled financially, emotionally, professionally, or all of the above. As sports players have slumps, artists go through periods that are fallow or difficult, when nothing seems to work, or we can't find the key, or we feel like we are laboring in obscurity. Society doesn't always embrace artists, who are left basically to fend for themselves, or art is perceived as a commodity, and there is talk about the "art market," the astronomically high prices for art of the past, etc., leaving the impression that the value of a work of art lies only in its investment potential.

It is a cliche that artists starve in garrets, and when they die their work may be sold for many millions of dollars. Van Gogh is a prime example of this; everyone knows how he labored in obscurity and finally in despair. Perhaps this is part of the charm of his mystique, and why people still line up to see his work; his vulnerability, like that of Marilyn Monroe, tugs at our heartstrings. Vincent may have committed suicide because his brother Theo, now married with a child, would no longer be able to support him. After Vincent's death, there was more interest in his work, and in fact the Paris art world would soon embrace work like Vincent's, for example that of Gauguin, Seurat, and Cezanne. So the thing is - maybe if Vincent had just hung in there a little longer, he may have finally found the success he craved, or at least the respect of his peers.
There are many artists who did not receive recognition or success in their lifetimes, or if they did finally arrive, it was shortly before their death, like Cezanne. Cezanne was able to rely on the estate left by his father, so he was relieved of the need to support himself with his work. Luckily for us, he didn't have to work in a bank; he was able to fully commit himself to his work, which was not comprehended by the average person.

There is the idea that art is not a "legitimate" type of work; that it is a frivolity best saved for spare time, etc., or a luxury for the wealthy. But for artists who have a vision that they are compelled to share, art isn't frivolity or luxury - it's a necessity. And for society, art is also a necessity, although this may not be realized by many. We are the spirit-keepers, the mirrors, the candles. And we need to become our own best friends - to believe in ourselves and what we do. And stick together, rather than compete with one another.

So, it can be tough to be an artist; but the job satisfaction is very high. Art uses the whole person - the soul, heart, body and mind. It is a healing activity that brings the joy of producing something meaningful, for the world. It is a magical process, even though it is hard to learn and sometimes difficult to do. I think the origins of art are very old; they say now that art-making may have started hundreds of thousands of years ago, even before homo sapiens evolved. There are gorillas and one elephant who paint, who supposedly love the activity. Maybe some think that this means the activity of art takes no intellectual ability; I take it to mean that art-making is a pre-literate activity coming from our deepest past, that all sentient creatures are capable of accessing their inner selves to produce art. The two gorillas who paint can also speak sign language, and both have described their paintings to humans. Their images are based on specific subjects, and painted with appropriate colors and style to depict that subject. The paintings resemble Abstract Expressionism, with bold colors and gestural strokes.

We paint and sculpt our dreams, our nightmares, our loved ones, our future, our past, beauty, heroism, sorrow, and much more - anything that can be imagined and imaged. As a Beethoven symphony is without words and still expresses a great deal, even to those who know little about music, so art is part of us all. Those of us who make art have a special honor, and an obligation to ourselves and others, to be true to ourselves and to share our vision.

This isn't always easy, and sometimes we get discouraged. This can be due to:

Rejection:

Artists can get rejected when they enter shows, submit their work to galleries or other venues, or unsuccessfully put their work up for sale.

When we are rejected from a juried exhibition, as we all will be, it is a real disappointment. We have created our best work, we have framed it, and we have paid a fee to enter the show. I can only speak about art in the United States, but here there are now a great number of good artists, many of whom have had formal training. The number of eligible artists applying for almost any show is usually very high; transversely, the number of exhibition opportunities is relatively small. A local art center, organization or gallery will hold a juried show, having the capacity to hang maybe 40 or 50 pieces, or less. Two thousand artists will apply; obviously most will be rejected, not necessarily because their work is under par. A juror has to make tough decisions; he or she brings their training, experience and taste to the jurying process. They may have a preference for Minimalist art, or figurative work; they may have little or no art training. (Sometimes a local person is hired, perhaps a knowledgeable architect or craftsperson, who chooses work based on their experience, or lack of it.) Sometimes a juror will select work that collectively combines to create a consistent theme, aesthetically, for instance non-objective work. (Juried shows, where each piece is created by a different artist, can often be a hodge-podge when hung; this is a "necessary evil," but a juror may prefer to hang pieces similar in style, framing, or even size or medium used. One way to deal with this situation is to enter shows selectively, choosing those where your work has a greater chance to be accepted. This can be done by joining art organizations which reflect your aesthetic viewpoint; some art centers may specialize in representational art, other organizations may focus in new, experimental work. By visiting these centers and shows, you may be able to see a certain style preference, or level of sophistication. The identity of the juror also may indicate what he or she will choose; a juror's preferences may be predicted beforehand. Sometimes the entry form for the exhibition will include a juror's background; if the juror is from New York City, this may indicate a preference for new art, whereas a local art teacher may indicate a more traditional approach.

If you are rejected by the juror(s), and visit the show after it has been hung, the work there may explain to you why you were rejected. If you are a painter of flowers, and the juror has selected Minimalist paintings and sculptures, you will have your answer (or vice versa). I have gone to a show a couple of times, and found work that I considered more traditional than mine, or less competent. For the latter, we just need to be philosophical - these things just happen in life sometimes. Sometimes, there is no explanation as to why our work is not chosen; it could be anything - the juror had a headache that day, she doesn't like the color red, he doesn't care for abstraction, etc. Just as we can be rejected in life, our work can be rejected. Try not to take it personally, or be offended; try to be philosophical about it, and try to focus on the shows you have a better chance of getting into. This may take some work and some time, but hang in there - there is a place for almost any type of art, you just need to find it. You might have better luck joining the local art center; they often have both juried and non-juried shows; the non-juried, usually called members' shows, hang every work submitted. (Usually a member can submit up to two pieces.)

Many organizations also hold annual shows, often for fundraising purposes, such as colleges, nonprofit groups, and charity groups. Look for advertisements of these in your local newspapers, or check the bulletin boards at art centers and organizations for "call for entries." If you hear about a show, call the organization and ask how to submit your work for review for inclusion. When a show's purpose is fundraising, they may not care as much about the quality of your work, as about how well it will sell. (They are all about raising money; a local fundraising group stated upfront that they didn't care how good your work was, they only cared whether or not it would sell.) Usually, a group will want to see slides of your work, or the originals, to see if your work will help them raise money, or appeal to their potential buyers. In this case, show them your most "saleable" work; from my experience, this could be florals, beaches, landscapes, or other appealing subject matter. But you can also bring a couple of things that are your specialty, perhaps unique to your work. Try to show them your best work.

There are also local art festivals, especially outdoors in the spring and summer; again, keep an eye on your local paper to catch these. These are usually not juried. Usually you can rent a space or stall for one or two days, where you sit all day and try to sell your work. These are fun, but can also be disappointing if your work is not all that commercial. Usually, smaller paintings and prints sell better here. I can remember sitting at a festival all day, and no one even stopped to look at my work; at the end of the day, the guy next to me who painted images on velvet had a big wad of cash to show for his day. (These experiences humble us; that may not always be a bad thing. It makes us really appreciate the highs when they come.)

If your work has been accepted and hung, is for sale and not bought, this can also bring a feeling of letdown. Again, try to aim for the best venue for your work - where it fits in best. And don't let it get you down for long!

To be shown in a gallery, we also usually have to show our slides, or our original work. You can also shop for a gallery; visit all the galleries in your area, hopefully more than once, to get an idea of where your work would fit in best. Then call the gallery you choose, to ask them what their slide review process is; if possible, make an appointment to show them your work. Some galleries request that you mail slides to them for review; this may take awhile to hear back from them. Make sure your slides are professionally done, either with a good camera yourself, or have a professional photographer take the slides. Usually a slow-speed film is good for this purpose; I think 64 ASA is the slowest color film now. It comes in indoor and outdoor; make sure you choose the right film for taking indoor or outdoor pictures. Number and label the slides, with your name, title of work, medium and date; try to include work done mainly in the last three years. Make a list of your slides, corresponding to your labeled slides, with the same information. If you are showing sculptures, you can include more than one view of each piece. A resume may also be requested; make sure you have a resume typed in a professional manner. A resume can include your education and specialized art training, your teaching or professional experience, relevant groups of which you are a member, and a list of exhibitions in chronological order, listing name of the organization or exhibition, location and year held.

Galleries tend to accept your work on commission, meaning they will hang it, and if it sells, you will receive payment. Galleries take a sales commission, usually between 35% and 90% - the average is about 50%, so set your prices accordingly. Some galleries have rotating exhibitions, usually on an invitational basis. A gallery can decide not to show your work; again, this may be due to a stylistic preference on the part of the gallery. Many galleries also are more concerned with profit margin than with quality; they may reject your work because they feel their clientele would not be interested in buying it. Don't assume that the gallery personnel are knowledgeable in art; they may be, they may not be. Don't take it personally if they decline to show your work; like a blind date, it may just not be meant to be! Try another gallery - don't give up! (Don't EVER give up, if you really believe in what you are doing.)

In summary, the best of us have been rejected: Cezanne, Monet, Manet, Van Gogh, de Kooning, and on and on! Don't let it get to you - it's OK if it slows you down for a little while, but don't let it stop you, if you really, really want to be making art. See The Solution, below. [NOTE: "The Solution" will be available in Part IV]

To read this article in its entirety without having to wait
for me to post the other 3 segments:

http://www.ndoylefineart.com/discouraged.html

.

To learn more about Nancy Doyle and to view her art:

http://www.ndoylefineart.com/

All About: TEXTILES

Following are resources that will provide you with information about anything you ever wanted to know about textiles, and then some...

Alphabetical Trademark & Brand Name Index
http://www.fabriclink.com/search/trademark-search.cfm

Dictionary of Fabric Terms - Whaleys-Bradford – glossary of fabric terminology
http://www.whaleys-bradford.ltd.uk/glossary.cfm

Fabric-Isms - sayings, phrases, movies, song titles and quotations containing fabric, apparel or textile terms
http://www.fabriclink.com/Dictionaries/cism.cfm#top

Fabric Identification – Fabrics.net
http://www.fabrics.net/fabricsr.asp

Fabric Identification Table Using the Burn Test – extensive information including characteristics by fiber type, reaction to flame, beading, after-flame, ash, odor, and smoke/fumes
http://www.fabrics-manufacturers.com/fabric-identification-table.html

Fabric Information and Facts – detailed information about every fabric imaginable
http://www.fabrics.net/fabricinfo.asp

Fabric Marketplace – This site provides in-depth information about natural and man-made fabrics including characteristics, quality, uses, weaves, finishes, textures, and designs. It has a glossary, buyer’s guide, fabric comparison chart, along with definitions and information about identification, care, storage and the manufacturing process for various fabrics.
http://www.fabrics-manufacturers.com/

Fiber Characteristics
http://www.fabriclink.com/University/Char.cfm

Fiber History
http://www.fabriclink.com/University/history.cfm

Glossary of Fabric Performance Terms
http://www.thetechnicalcenter.com/Dictionaries/PerformanceGlossary.cfm

Identifying Fabrics - Burning Test – How to identify fabrics based on how they burn
http://www.fabriclink.com/University/BurnTest.cfm

Performance Term Glossary
http://www.fabriclink.com/Dictionaries/PerformanceGlossary.cfm

Stain Guide for Washable Fabrics
http://www.thetechnicalcenter.com/Stains/Washable.cfm

Stain Guide - Washable Fabrics
http://www.fabriclink.com/Stains/Washable.cfm

Stain Guide - Carpets
http://www.fabriclink.com/Stains/Carpet.cfm

Stain Guide - Upholstery
http://www.fabriclink.com/Stains/Upholstery.cfm

Stain Removal Guide
http://www.chemistry.co.nz/stain_frame.htm

Textile Dictionary
http://www.ntgi.net/ICCF&D/textile.htm

Textile Dictionary
http://www.thetechnicalcenter.com/Dictionaries/Textile.cfm

Textile Dictionary
http://www.fabriclink.com/Dictionaries/Textile.cfm

Update: Need Translation Help

Both Pam Rubert and Beth Burke came to my rescue with translations from software programs.
Both trabslations were similar and seemed innocuous enough and I was going to just leave it, but then decided to plop the URL into a website translator - turns out, the site is total spam about some money-making proposition - sigh. The comment has been deleted.

Need Translation Help

Hi Everyone,

A foreign language comment has just been added to my last post (about SWAN Day) - I think that it is in Portuguese. Would someone please translate it and let me know if it is a valid entry that should remain, or if it is spam and needs to be deleted. My intuition tells me that if someone can read the blog in English, he or she would make a comment in English.

SWAN Day (Support Women Artists Now!)

Support Women Artists Now Day is a new international holiday celebrating women artists. Saturday, March 29, 2008 has been designated for the first SWAN DAY which thereafter will take place annually during Women's History Month on the last Saturday in March.

"As a symbol of international solidarity, there will be
events all over the world featuring women artists on
SWAN Day. The public will be encouraged to attend
these events and to make donations to their favorite
women artists.

By focusing attention on the work of women artists,
SWAN Day will help people imagine what the world
might be like if women’s art and perspectives were
fully integrated into all of our lives. The long term
goal of SWAN Day is to inspire communities
around the world to find new ways to recognize and
support women artists as a basic element of civic
planning."

For full information, please visit the web site:
http://www.womenarts.org/swan/

SYMBOLS

Symbols pack a lot of power. Following is a list of resources:

.

Adinkra Symbols of West Africa - This site's mission is to make available high-quality renditions of these African symbols at no cost for personal and non-profit uses – you also can sign up to be notified whenever new Adinkra symbols are added to the index.
http://www.welltempered.net/adinkra/htmls/adinkra_index.htm

American Indian Symbol Dictionary
http://www.kivatrading.com/symbol1.htm

Ancient Symbols
http://www.ancient-symbols.com/

Animal Symbolism – An alphabetized list of animals along with the meanings commonly associated with each.
http://www.writedesignonline.com/assignments/masks/animalsymbolism.htm

Animal Symbolism – Another alphabetized list of animals along with the meanings commonly associated with each
http://www.princetonol.com/groups/iad/lessons/middle/animals2.htm

Buddhist Symbols and Iconography
http://www.buddhanet.net/e-learning/history/symbols.htm

Dictionary of Symbolism – “This symbolism dictionary endeavors to provide some possible cultural significances of various symbols, and suggest ways in which those symbols may have been used in context. Most symbols are not code signals, like traffic lights, where red means stop and green means go, but part of a complex language in which green can mean jealousy or fertility or even both, depending on context. It is up to each of us to explore works of art sensitively, and decide for ourselves how the symbols in each work function.” http://www.umich.edu/~umfandsf/symbolismproject/symbolism.html/

Gallery of Religious Symbols
http://www.religionfacts.com/symbols/big_gallery_of_symbols.htm

Native American Symbols
http://wolfs_moon.tripod.com/NativeSymbols.html

Northern Native American Symbols\
http://www.geocities.com/ctesibos/symbols/native-american.html

Symbolism of Color: Using Color for Meaning
http://www.princetonol.com/groups/iad/lessons/middle/color2.htm

Symbols.com – explore the world of symbols by using a graphic index, a word index, or by using either a text or random search
http://www.symbols.com

Symbols.net – This is a directory to the world of symbolism.
http://www.symbols.net

Symbols in Christian Art and Architecture
http://home.att.net/~wegast/symbols/symbols.htm

The Blues – July 25, 2007 – March 2, 2008 exhibit at the Textile Museum of Canada – “The mystique of the colour blue - beautiful, elusive, reflecting the sky and the sea - pervades human life and culture around the world. The Blues examines the powerful symbolism associated with the colour blue.”
http://www.textilemuseum.ca/exhibitions_blues.html#

Curatorial Essay – Patricia Bentley
http://www.textilemuseum.ca/exhibitions_blues.html#

The Mind of the Artist: Thoughts and Sayings of Painters and Sculptors on their Art

This is a book edited by Cicely Margarte Powell Binyon that was published in 1909.

“It is always interesting and profitable to get the views
of workmen on their work, and on the principles which
guide them in it; and in bringing together these sayings
of artists Mrs. Binyon has done a very useful thing. A
great number of opinions are presented, which, in
their points of agreement and disagreement, bring
before us in the most charming way the wide range of
the artist's thought, and enable us to realise that the
work of the great ones is not founded on vague
caprice or so-called inspiration, but on sure intuitions
which lead to definite knowledge…”

Now out of copyright, it is available as a free e-book from different sites - some of them provide you with the option to download it in several different formats including PDF, HTML, TXT, RTF, and IPhone (among others):
http://www.gutenberg.org/files/18653/18653-h/18653-h.htm
http://infomotions.com/etexts/gutenberg/dirs/1/8/6/5/18653/18653.htm
http://manybooks.net/titles/various1865318653.html#
http://www.archive.org/details/mindofartistthou00binyuoft

2008 International Fiber Symposium

Materiality + Meaning: A New Understanding of Fiber & Textiles in Contemporary Art and Culture – University of the Arts, Pennsylvania, PA – March 6-8, 2008
http://www.uarts.edu/fiber_symposium/index.html

The symposium will “…address issues about the state
of contemporary Fiber, Textiles and material studies,
and interrogate, debate and consider the place of Fiber
and Textiles as an expressive force at this time.”

Symposium description:
http://www.uarts.edu/fiber_symposium/symposium.html

A Contemporary Korean Fiber Exhibit also will be on display during the symposium at the Rosenwald-Wolf Gallery of the University of the Arts (exhibit dates: March 7 - April 5, 2008)

Studio & Ventilation Ideas – Susan Louise Moyer

The information provided by Susan Moyer is detailed and accompanied by pictures. Topics covered include: Dyes and Pigments; Storing Dye; Natural & Synthetic Fibers; Melted Wax; Ventilation; Fire Prevention; Storing Flammable Products; Lighting & Color; Basic Studio Worktable; Basic Storage; Sink & Storage; and How to Make a Mixing Box.
http://www.moyerdesign.com/STUDIO%20Safety.html

Originally presented by Susan at the 2005 World Batik Conference in Boston, it was again presented at the 2007 Surface Design Conference in Kansas City. She states:

“This information, gleaned from many years
as a batik artist and silk painter, is intended
to suggest some options artists need to consider
when creating studio space for working with
various dyes, chemicals and melted wax. The
information will include recommendations on
how to construct inexpensive ventilation,
lighting options, basic safety precautions, and
storage for studio supplies such as dyes, fibers
and flammable material.”

Additional tips and techniques can be found at:
http://www.moyerdesign.com/tips.htm

Talking Prices: Symbolic Meanings of Prices on the Market for Contemporary Art - Olav Velthuis

FROM THE PUBLISHER:

"How do dealers price contemporary art in a world
where objective criteria seem absent? Talking Prices
is the first book to examine this question from a
sociological perspective. On the basis of a wide range
of qualitative and quantitative data, including
interviews with art dealers in New York and
Amsterdam, Olav Velthuis shows how contemporary
art galleries juggle the contradictory logics of art and
economics. In doing so, they rely on a highly
ritualized business repertoire. For instance, a sharp
distinction between a gallery's museumlike front space
and its businesslike back space safeguards the
separation of art from commerce.

Velthuis shows that prices, far from being abstract
numbers, convey rich meanings to trading partners
that extend well beyond the works of art. A high price
may indicate not only the quality of a work but also
the identity of collectors who bought it before the
artist's reputation was established. Such meanings
are far from unequivocal. For some, a high price
may be a symbol of status; for others, it is a symbol
of fraud."

Reviews:

"The book is an excellent, readable and thorough
analysis of how prices are set in the contemporary
art market." The Art Newspaper

"[Talking Prices] provides an excellent analysis of
the tension between art and commerce that
characterizes the art world."Stuart Plattner,
American Anthropologist

Sample Chapter - http://press.princeton.edu/chapters/i8035.html
PDF Format - http://press.princeton.edu/chapters/i8035.pdf

To view the Table of Contents and/or to order:
http://press.princeton.edu/titles/8035.html

On-Line Digital Archive of Documents on Weaving, Lace and Related Topics

Maintained by the University of Arizona, this archive contains an extraordinary amount of materials about weaving, basketry, lace, and related subjects. Free access is provided to thousands of items, all out of copyright or published with the author’s permission. These include 4,222 articles, 437 books, 1,310 periodicals, for example.
http://www.cs.arizona.edu/patterns/weaving/index.html

The main categories include:

Full texts of books about Weaving, Textiles, and Related Topics – links also are provided to tables of contents and sample pages you can review before downloading the entire book
http://www.cs.arizona.edu/patterns/weaving/books.html

A digital archive of articles about weaving and related topics
http://www.cs.arizona.edu/patterns/weaving/articles.html

Digital archive of periodicals related to weaving
http://www.cs.arizona.edu/patterns/weaving/periodicals.html

Manuscripts related to weaving
http://www.cs.arizona.edu/patterns/weaving/manuscripts.html

Monographs and Book Sections About Weaving, Textiles, and Related Topics
http://www.cs.arizona.edu/patterns/weaving/monographs.html

Illustrations About Weaving, Textiles, and Related Topics
http://www.cs.arizona.edu/patterns/weaving/illustrations.html

Miscellaneous Material Associated with Weaving, Textiles, and Related Subjects
http://www.cs.arizona.edu/patterns/weaving/other09.html

Patents on Weaving, Textiles, and Related Topics
http://www.cs.arizona.edu/patterns/weaving/patents.html

Documents on Weaving, Textiles, and Related Topics Created for On-Line Publication
http://www.cs.arizona.edu/patterns/weaving/webdocs.html

Online Periodicals about Weaving, Textiles, and Related Topics
http://www.cs.arizona.edu/patterns/weaving/webside

Digital Archive of Documents Related to Lace
http://www.cs.arizona.edu/patterns/weaving/lace.html

NOTE: You also can purchase CDs containing documents in this archive.
http://www.handweaving.net/Store.aspx

See http://www.handweaving.net/AboutStore.aspx for why you may want to purchase CDs when the information is available for free.

Just for Fun: Textile Related Oddities & Absurdities

Some of this stuff is interesting; some is just butt ugly; a lot of it lets you know that without a doubt, there are a whole lot of people out there with much too much time on their hands.

Quilt Squares created from the London Times cartoons
http://3drose.com/Quilt-Square/Londons-Times-Cartoons-Quilt-Square-tn.html

Exploding Knitting Needles
http://www.ptleader.com/print.asp?ArticleID=10138&SectionID=36&SubSectionID=55

World's Longest Batik - This made the Guiness Book of Records - it measures 12,916 ft (1,200 m) and was created by 1,000 participants in Pekalongan City, Indonesia on September 16, 2005. It was completed in less than 24 hours. Several links:
http://theworldbatikcity.blogspot.com/2007/04/guinnes-world-records-4-pekalongan.html
http://www.indonesialogue.com/about-indonesia/world-batik-record-pekalongan-central-java.html
http://festivalbatik.com/gallery.php

Transportation:

Knitted Ferrari (Full Sized)
http://blog.makezine.com/archive/2006/06/knitted_ferrari.html?CMP=OTC-0D6B48984890

Motorcycle
http://youknitwhattwo.blogspot.com/2006/11/when-granny-rides.html

Animal Inspired:

Turkey – in case you need one for your holiday dinner
http://www.flickr.com/photos/ljc_pics/2052964875/

Turkey Hat - knitted
http://whatnottoknit.wordpress.com/2006/09/30/turkey-anything/

Squid Hat
http://youknitwhattwo.blogspot.com/2006/10/squid-hat.html

Turkey Hat - crocheted
http://whatnottocrochet.wordpress.com/2007/11/22/happy-sexy-turkey-hat-day/

Turkey Tote Bag
http://monstercrochet.blogspot.com/2005/10/back-tack-ii-turkeyzilla-tote-bag.html

Fish
http://mingyisung.com/galleries/fishout/large-8.html

Knitted Dino Skull
http://youknitwhattwo.blogspot.com/2007/05/knitted-dino-skull.html

Their Pets Should Bite Them:

Bulldog Sweater
http://youknitwhattwo.blogspot.com/2007/04/im-back.html

Lion Dog Sweater
http://whatnottoknit.wordpress.com/2007/05/22/lion-dog-sweater/

Purple Nightmare
http://youknitwhattwo.blogspot.com/2007/03/purple-nightmare.html

The Pupoose
http://youknitwhattwo.blogspot.com/2007/10/pupoose.html

You Wear this Where?:

Bunny Suit
http://whatnottocrochet.wordpress.com/2006/01/03/freaky-bunny-suits/

Bank Holdup Ski Masks for the Entire Family
http://poppalina.typepad.com/my_weblog/2006/09/armed_robbery_f.html

What the Hell???
http://youknitwhattwo.blogspot.com/2006/10/happy-halloween.html

Nobody has Ears this Big
http://youknitwhattwo.blogspot.com/2007/01/queen-katamari-ear-muffs.html

When Your Head Needs to Be REALLY Warm
http://youknitwhattwo.blogspot.com/2007/10/is-there-really-garden-hose-gauge-yarn.html

Huh???
http://youknitwhattwo.blogspot.com/2007/07/wtf.html

Mohair Catsuit
http://whatnottoknit.wordpress.com/2006/08/30/hairy-mohair-catsuit/

Gotta Be Road Kill
http://youknitwhattwo.blogspot.com/2006/08/roadkill.html

Even Sara Jessica Parker Wouldn’t Wear These
http://youknitwhattwo.blogspot.com/2007/06/new-in-ho-wear.html

A Plethora of God-Awful Purses
http://youknitwhat.blogspot.com/2006/01/dont-say-i-didnt-warn-you.html
http://youknitwhat.blogspot.com/2006/03/worst-felted-bag-ever.html
http://youknitwhat.blogspot.com/2006/03/ssuckiful.html
http://youknitwhat.blogspot.com/2006/05/ykws-laws-of-knitting.html

Body Parts:

Museum of Scientifically Accurate Fabric Brain Art
- Techniques used include quilting, appliqué,
embroidery, beadwork, knitting, and crocheting.
Materials include fabric, yarn, metallic threads,
electronic components such as magnetic
core memory, and wire, zippers, and beads.
http://harbaugh.uoregon.edu/Brain/index.htm

Knitted Digestive System
http://www.corporeality.net/museion/2005/10/29/reproducing-human-anatomy-in-knitting/
Crocheted Skull
http://doknitter.blogspot.com/2007/09/crochet.html

Crocheted Lungs
http://pencil-roving.blogspot.com/2007/02/crocheted-lungs.html

Anatomically Correct Crocheted Childbirth
Education Doll
http://www.etsy.com/view_listing.php?listing_id=8222940

Crocheted Womb
http://www.madamefabulous.com/random_crafts/crocheted_womb_04_09_05.html

Knitted Uterus
http://knitty.com/ISSUEwinter04/PATTwomb.html

Knitted Boobs – British hospital using them to
teach new mothers how to breast feed
http://news.bbc.co.uk/1/hi/england/merseyside/6338819.stm

Eyeballs with Nerve Endings
http://monstercrochet.blogspot.com/2005/09/crochet-opthalmologists-wanted.html

GENITALIA
– I kid you not…

Penis Cushions
http://youknitwhattwo.blogspot.com/2007/05/prickly-couch.html

Penis
http://www.theanticraft.com/archive/imbolc07/beanis.htm

Crocheted Vaginas
http://www.crochetmycrotch.com/

Anatomically Correct Sock Monkey
http://www.verkstad.com/monkey.html

Not Your Grandmama's Embroidery:

Nava Lubelski – “My embroidery work explores
the contradictory activities of spoiling and mending,
using a process of hand-stitching over stains, spills
and rips. The marks are either found on ruined
linens and canvas or are approached after a
process of first giving vent to the impulse to
destroy, tearing holes and spilling inks onto a pristine
canvas.”
http://www.navalubelski.com/

Orly Cogan – WARNING: Very Strong Sexual
Content – from the Artist Statement: “The
tableaux I create are inspired by relationships. They
evolve from the personal mythologies of my
memories…I am drawn to the space between
dichotomies, such as soft and tough, dirty and
clean, fantasy and reality, especially as they relate
to gender. My work explores common feminine
archetypes and stereotypes…In the process, I
aim to provoke certain questions…I hope to ask
all this within the context of constantly
shifting boundaries that define our relationships
and our identities.
http://www.orlycogan.com/

GENERAL - Some of the above were found on the following sites - you need to go through all of the postings - there are so-o-o-o many others I could have/should have cited:

What Not to Knit
http://whatnottoknit.wordpress.com/

What Not to Crochet
http://whatnottocrochet.wordpress.com/

Museum of Kitschy Knits?
http://www.stitchymcyarnpants.com/moks06/

Overview of Feminist Legal Theory [Textile Related] - Ann Bartow

There have been three highly publicized quilt-related lawsuits over copyright issues of which I am aware, Brown vs McCormick (about the quilt used in the film "How to Make an American Quilt"); Ringgold vs Black Entertainment Television, Inc. (about the use of a poster with her quilt image on the set of Roc - see http://www.ncac.org/art-law/op-ring.cfm to read the full court opinion); and the recent lawsuit filed by Paula Nadelstern against a hotel that used her Kaleidoscope designs for their carpet (Ami Simms has a good post about this on her blog). - Gwen Magee

My scholarly specialty is intellectual property law, which is comprised of three discreet areas: Copyright law, patent law, and trademark law. Cyberspace law sometimes gets thrown in for good measure as well, since so many legal issues on the Internet involve some facet of intellectual property law. Using the personal narrative format, I will try to illustrate the categories of feminist legal theory I set out above, and I will do this by talking about quilts.

Quilting is a largely female identified art form that does not mesh well with copyright law because quilts are functional, rather than being merely decorative; because quilters use a lot of repetition, such as a particular pattern to represent a wedding, or to symbolize the birth of a child, and these features are intentionally echoed (indeed “copied”) in many later quilts; and because quilts are often designed and executed by amorphous groups (e.g. during “quilting bees”) rather than by a single heroic author. Congress has never attempted to write a provision of the Copyright Act that was specifically applicable to quilts, even though it has done so for many other discreet art forms, categories of writings, and specific technologies. Is this because quilting is viewed as unimportant? And if so, is quilting viewed as unimportant because it is perceived to be the provenance of women? These are the sorts of queries feminist legal theory raises.

The equality approach might ask whether there were “male identified” art forms that are similarly ignored by copyright law. The difference approach might ask whether women are better served by keeping copyright laws away from quilting. The dominance approach might ask why women were quilting at all, instead of using their time and talents to pursue more lucrative and culturally respected art forms. The intersectionality approach might ask whether women of particular races or economic classes quilted more than others, and if this could be part of the explanation for why copyright law ignored quilts. I would initially try to use all these approaches to analyze the interplay (or lack thereof) of quilting and copyright law. However, if I wanted to do more than describe the situation, I’d have to recommend either a change in the law, or a change in the way courts apply and interpret current law. This would require me to favor one theoretical approach over the others, based on what I though the superior normative solution was.

Because I believe that a “low barriers” approach to copyright law is best, I’d be reluctant to recommend adding a specific quilting provision to the Copyright Act if it meant that quilters could more easily assert copyright claims against each other. This would degrade the quilting culture of copying and group authorship that strikes me as socially valuable, so I would reject an “equality” approach that made quilting “equal” to drawings and sculptures. In doing so I would be embracing the “difference” approach, because my views clearly reflect a belief that quilting is different in part because it is women identified, and these differences are beneficial, so the law should preserve them. However, by reifying difference in this manner, I might also be condemning quilting to second class status. It is certainly possible that if the copyright laws treated a quilt more like an oil painting, society might follow suit, and this would elevate the social and economic status of quilters. Valuing “difference” too greatly might preclude this. Applying dominance theory would require me to recognize that women may turn to quilting because they are subordinated by men who deny them access to other creative outlets. It would therefore make more sense to devote resources to reducing impediments to women’s full participation in the fine arts, rather than simply attempting to amend the Copyright Act on behalf of quilting.

One problem with this approach is that quilters may be deeply offended, and wonder why what they do is not being valued. Some will question whether the merits of quilting are being disregarded because quilting is so closely aligned with women: Is quilting getting short shrift because it has “girl cooties”? Others will ask whether, because they prefer quilting to oil painting, they are being accused of “false consciousness,” meaning they are assumed not to recognize that by quilting rather than pursuing other artistic endeavors, they are complicit in their own oppression. I struggle with all this, because while I recognize that framing the world in terms of dominance and subordination tends to abrade the sensitivities of many women, it also seems intuitively correct to me. When I visit a major museum and notice that only a tiny fraction of the exhibited works have been created by women, I don’t blame quilting. I love well made handmade quilts, and I know that producing them requires a lot of specialized effort and skill. But I also recognize that the artistry responsible for them might have been channeled into more “museum worthy” forms of artistic expression if the talents and skills of women had been nurtured and developed for centuries along with those of men.

It is very difficult to reassure quilters that you value and appreciate their work, while simultaneously asserting that quilting is a symptom of subordination. How can upsetting and offending quilters possibly forward the goals of feminism? It’s a very hard question, and one that reappears in some form or another every time dominance theory is applied to social phenomenon.

The intersectionality approach requires me to consciously stop thinking about quilting from a white, middle class perspective and do some research about the role of quilting in the artistic, social and economic lives of women of difference races and in different economic groups than my own. If I specifically determine that the importance of quilting to (for example) poor women is greater than it is to more affluent women, I need to make sure my analysis, and any recommendations I make, take this into consideration. Maybe this means that I will recommend legal changes that would privilege quilt makers (who are mostly women) over quilt sellers (who may be mostly women), and also over quilt buyers (who may also be mostly women). Thinking about the relationships and conflicts between various groups of women can be difficult, but it is also both worthwhile and necessary. While it is certainly possible that if we took over the world, women would start acting just like men, I hold out hope (quite possibly “essentialist” hope, if truth be told) that we could do a bit better, and intersectionality theorists remind feminists that our true project is to build a better world for all women, not just ourselves.

The entire article is accessible at:

http://feministlawprofs.law.sc.edu/?p=1227

.

Ann Bartow is an active contributor
to the Feminist Law Professors Blog.
Please visit it for an eyeful of some very interesting
(though non-textile related) postings

http://feministlawprofs.law.sc.edu/

.

Ann Bartow is an Associate Professor at the University of South Carolina School of Law teaching "...Intellectual Property Survey Law, Copyright Law, Trademarks and Unfair Competition Law, Cyberspace Law, and Constitutional Law II — Individual Liberties. She has also taught Patent Law and Property, and in practice specialized in patent litigation. Her scholarship primarily focuses on the intersection between intellectual property laws and public policy concerns."