Beyond Rugs! catalogue websize

Beyond Rugs!
Rockland, Maine
Beyond Rugs!
with introductory essays by
Mildred Cole Péladeau
and Jane Bianco
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CONTENTS
Introductory essay by Mildred Cole Péladeau
Exhibition essay by Jane Bianco
Plates
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Left: Constance Old, sea of blue: plastic floats forever (detail), 2009–10;
mixed plastic (including New York Times delivery bags) and
ribbon hooked on linen; private collection
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INTRODUCTION
A groundbreaking show of hooked textiles
Mildred Cole Péladeau
Guest Curator
Contemporary hookers are revolutionizing the hooked-rug craft with
an impact rivaling that of the invention of the punch needle in 1881.
The Farnsworth Art Museum in Rockland, Maine is initiating what,
as far as can be determined, is the first show of contemporary hooking
artists ever to be featured in a major art museum. As the location for this
exhibition, Beyond Rugs!, the Farnsworth is doubly appropriate, since
hooking may well have had its origins in Maine, a history which was
explored last year at the museum in Rug Hooking in Maine and Beyond.
The struggle for acceptance of textile hooking as a genuine art form
has been of long duration. Despite earlier attempts to artistically
legitimize the craft, hooked works have traditionally been seen in
craft venues since the onset of the Arts and Crafts Movement. At
the turn of the twentieth century, trained designers developed and
worked through cottage industries to change the “folk art/craft”
designation of hooking through the merging of technique with
more professionally acceptable design patterns. The movement failed
to endure.
Convinced that hooking was a suitable fine arts medium, Marguerite
Zorach, noted modernist artist, is credited with a determined attempt
to alter the “utilitarian craft” designation to that of a “fine art” as long ago
as 1917 when she entered her hooked rug, Eden, in the first exhibition
of the Society of Independent Artists in New York City. While,
undeniably, the piece she hand-hooked is a true work of art, critiques
of the time refused to look at hooking as a fine art, acknowledging it,
rather, as “women’s work.”
The exhibition at the Farnsworth marks another new beginning for
the use of textiles by featuring a show of hooking as an art form,
challenging the limitations of hooking for use as floor coverings. Textile
artists today are no longer bound by convention. They are free to
explore all realms and issues from science to politics and all subjects in
between, and they use that freedom in remarkable and unusual ways.
In this exhibition the “green” philosophy is a major trait of many pieces;
fauvism is explored; well-known works of art by Vincent van Gogh
and Marsden Hartley are reinterpreted, using hooking as the primary
medium; spatter painting is reintroduced through a punch needle
technique; nature is a major focus of several pieces; even DNA’s
scientific beauty is artistically portrayed with a hook and wool strips.
Beyond Rugs! includes three-dimensional sculpture and even furniture,
all designed and hooked by artists from across the country. These works
of art are part of a larger explosion of creativity that has unified a diverse
field of hooking across new dimensions, including ideas that often grapple
with contemporary global, social, philosophical, and political issues.
In speaking of the future of hooking, William Winthrop Kent, Maine
author of The Hooked Rug, projected as long ago as 1937 that “no so-called
school [of hooking] yet limits the range of experimentation in any
direction.” Today’s artists are proving his point.
Another attempt, this one affiliated with the Modernist Movement in
the 1920s and 30s, was taken more seriously, and survives today, with
rare exceptions, only as recorded design concepts. Like most such
successful attempts, the artist, to be taken seriously in the craft of
hooking, first had to be rightfully recognized as a “fine artist.”
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BEYOND RUGS!
Hooked on a nontraditional art form
Jane Bianco
Assistant Curator, Farnsworth Art Museum
Beyond Rugs! is the second textile exhibition curated by Mildred Cole
Péladeau to feature a technique employed in making hooked rugs.
She has brought together a group of contemporary hooking artists
whose work illustrates the emergence of hooking as a nontraditional
art form not often seen in a major fine arts museum. These makers of
hooked art pair commentary with the imaginative use of materials to
yield sculpted, sometimes provocative pieces that defy parameters
traditionally associated with rugs hooked with recycled clothing and
wool. Following last year’s Rug Hooking in Maine and Beyond, which
brought together outstanding examples representing Maine’s prominent
role throughout the first century of the art, and capped by work of
twentieth-century Maine modernist Marguerite Zorach, Beyond Rugs!
presents the art of hooking in our own time.
Marguerite Zorach’s work represents both innovation and continuum
that connects the early development of rug-making in Maine to today’s
work, some seven decades before and after her own. Appropriately for
this exhibition, Zorach’s early masterpiece, The Snake and Bird (1937)
shepherds in a diverse selection of some forty twentieth- and twentyfirst-century fiber works hooked in New England and beyond. In
keeping with the spirit established by her work that helped elevate
hooked rugs from floor to wall display, Beyond Rugs! takes hooking to
a new level.
Among the participants are Connecticut textile artist Liz Alpert Fay
whose abstract wall hanging hooked with twisted strips of colored paper
torn from New York Times Magazine conjoins images and materials of
friendly nations bound by global, environmental, economic and
political issues. Fay received a degree in Textile Design from the Program
in Artisanry at Boston University and has exhibited nationally and in
Japan, with one of her works being selected for inclusion in The White
House Collection in Washington, DC. Since 1998 when she became
intrigued with the technique of traditional rug hooking she has referenced
current issues through hooked art pieces and mixed media sculpture.
In a splendidly ironic piece Constance Old, another Connecticut artist,
has hooked plastic strips, cut from the New York Times wrapper, that
simultaneously display wave forms and warn of imminent danger to
marine health from oceanic disposal in sea of blue: plastic floats forever.
A graduate of Yale University, she was an art director for Martha Stewart
Living magazine and a freelance book designer before committing full
time to creating her own works of art which have been exhibited and
collected throughout the United States and in Australia. Lara Magruder
of California, is a fiber artist who studied painting and sculpture at the
San Francisco Art Institute and the California College of Arts and Crafts
and is a member of the Surface Design Association. Her mixed fiber
works offer observations on technology and culture or the abstract
beauty of patterns seen in natural phenomena that are more often
interpreted from a scientific viewpoint. Her mixed media piece, Garden
of Electronic Delights, makes note of our increasing use of electronics
which tend to filter our impressions of the real world.
The Michael Rosenfeld Gallery of New York City has lent one example
of an early twentieth-century modernist rug designed by Blanche
Lazzell and hooked by Maine’s Priscilla Turner Rug Guild; and Maine
collector Joseph Caputo has lent his mid-twentieth-century rug
hooked with corn husks, showing that innovative use of materials is
not necessarily a twenty-first-century phenomenon in hooking.
Participants such as Vermont’s Anne-Marie Littenberg in her Spectrum,
or New York artist Tracy Jamar in her Land Parcels Quad, have addressed
abstraction’s formal concerns with a colorist’s palette in fiber. Their
work corroborates Zorach’s pronouncement that paint pigments
could never reach the vibrancy and range of fabric’s threads of color.
New York City artist Alice Rudell has employed the early rug-making
technique of shirring seen from an historical perspective in Péladeau’s
2010 exhibition at the Farnsworth. Rudell’s work is composed of a
swirl of floral motifs centered within a subtle palette and sophisticated
design of squares within squares. Others such as Paul Richard and
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Rachael Conner render hooked paintings that quote vivid compositions
by Marsden Hartley and Vincent van Gogh; and June Myles has
created a fauvist version of a Frenchman with overt reference to
Henri Matisse.
Other artists offer a distinctly feminine and feminist perspective. West
Virginia artist Susan Feller’s Iconic Liberty is a hooked, dimensional
rendition of a 1920 silver half dollar featuring a walking Liberty, in this
case transposed with references to women’s equality in the workplace.
Textile artist Linda Rae Coughlin of New Jersey has two mixed media
pieces in the exhibition that present an amused yet pointed view of
wifely duties and feminine aging. She was awarded a 2009 Mid-Atlantic
Council on the Arts Fellowship for her series of fiber art relating to
women’s issues. Maine artist Karen Foley presents a mother’s affectionate view of life-size offspring in a folding screen that recalls a triptych
of saints with their material attributes. New York artist Molly
Colegrove’s rendition of a ghostly woman, anxious but silent, rising
upon the façade of a tombstone is further contained within fencing;
Nancy Himmelsbach of New York has portrayed a cheerless woman as
the Queen of Hearts; and Sharon Townsend of Iowa offers a literal sense
of mental collapse through her portrait of a woman loosely configured
by jigsaw puzzle pieces.
Works that take on a sculptural form combine materials from natural
and manufactured sources. These include Lara Magruder’s Dune Grass,
hooked with mixed fibers and grasses from Point Reyes National
Seashore, north of San Francisco; Connecticut artist Beth Kempf ’s
display of imaginary flowers hooked in wool; and New York artist
Marilyn Bottjer’s fiber views of the North Fork region of Long Island
shown unfolding, accordion style, in the form of a vintage tourism
postcard. Rhode Island artist Mary Jane Andreozzi’s wall relief of a
tree is accentuated by a fabricated climbing vine and appears almost
monumental in scale; Molly Colegrove has hooked a mixed speckled
fiber black bird, its favorite pecked mementoes contained within;
Connecticut artist Leslie Giuliani has hooked the upholstery for a figurative chair specially designed by Shiela Hale; West Virginia artist
Melinda Russell suggests a cityscape by moonlight through her use of
steel to contrast with midnight tones of wool; Vermont artist Kris
McDermet combines hooking and braiding in her koi pond surrounded with individual braid-edged attachments of insects and birds
in a Peaceful and Quiet Offerings; and Susan Feller uses credit cards to
interpret the theme, Riches to Rags.
It has been a distinct pleasure to work with exhibition participants,
and with our guest curator, Mildred Cole Péladeau. Over a two-year
period Millie has generously shared with the museum and its visitors
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her profound understanding of techniques and history of hooking, as
well as her sensitivity to the aesthetic realms of this art and its makers.
The Farnsworth curatorial team of Chief Curator Michael K. Komanecky,
Preparator Leith MacDonald, Registrar Angela Waldron and Assistant
Registrar Lorraine DeLaney, and Research Assistant Gordon Wilkins
have worked energetically and imaginatively with Millie and myself to
implement all details of planning and design of this exhibition. The
design, marketing and editorial team of Art Director Mary Margaret
Sesak, Communications Officer David Troup, and Publications Editor
Joyce Houston have worked together to promote this exhibition
nationally and to make this catalogue available to visitors to the
Farnsworth website, and Grants Officer Kit Stone has worked in
concert with Development Officer Deborah Tobey and Membership
Director Marney Pelletier in securing financial support for this show.
The exhibition Beyond Rugs! is made possible by a grant from
The Coby Foundation, Ltd. We are also grateful for support on
behalf of the show from Ms. Francine R. Even and Mr. Roger H.
Brouard, and from Mr. and Mrs. Edwin M. Boone, Mr. and Mrs.
Adolfo M. Carmona, Mr. Roger Cole, Mr. and Mrs. Peter W. Devine,
Mr. and Mrs. David Epstein, Mr. and Mrs. John C. Kronholm,
Mr. and Mrs. Patrick M. Le Breton, Mr. Jacques M. Ouziel and
Ms. Sandra L. Tom-Ouziel, Mr. and Mrs. John M. Rolleri,
Mr. and Mrs. Malcolm Salter, Ms. April Scholz, Dr. and Mrs. Martin
J. Serrins, Mr. Steven Signorelli, Ms. Ann O. Squire, Mr. and Mrs. P.
Jeremy Stewart, The Wallace Foundation, and Mr. and Mrs. Mike B.
Turner, Mr. and Mrs. Edgar Wainwright, and Mr. Robert B. Wolter
and Ms. Jennifer Lambe.
The primary media sponsor of this exhibition is Maine Home + Design.
Unless otherwise noted, catalogue entries are the words of the artists.
Lara Magruder, Garden of Electronic Delights (detail), 2010; hooked
wool, silk and yarns on monks cloth, with stuffing on painted
wood, plastic and electronic discards; collection of the artist
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PLATES
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Marguerite Zorach (1887–1968)
The Snake and Bird, 1937
Wool on linen
34 ¼ x 59 ½ inches
Private collection
Today’s appreciation of rug hooking as an art form can be traced as
far back as the early twentieth century. It was 1917 when Marguerite
Zorach, the pioneering American modernist, exhibited a hooked rug
in the first exhibition of the Society of Independent Artists in New
York City. Artists were free to exhibit any work of their choice in this
non-juried show, regardless of style or subject matter, and the installation
was arranged alphabetically so that each participant was on an equal
footing. Zorach took advantage of the situation, exhibiting her first hooked
rug, Eden, together with a painting, Maternity. She extolled the brilliant
colors available in textiles, colors that could not be duplicated in paints,
as her fascination with hooking continued through the years. The Snake
and Bird, completed in 1937, recalls the subject of a collaborative Garden
of Eden mural done early in her marriage on the wall of their Brooklyn
apartment by Marguerite Zorach and her husband, the sculptor
William Zorach.
When Marguerite Zorach studied art in Paris (1908–1911) and traveled
throughout Europe she was captivated by the Fauves, painters whose
style she incorporated with her own decorative and colorist sensitivity
to design. She continued to develop her avant-garde work in various
forms of textiles, printmaking and painting between homes in New
York and in Maine, where she and her husband divided their time
beginning in the 1920s. Her “embroidered tapestries” and hooked rugs
were highly sought after and were exhibited early in her career as a
teacher and artist. Zorach’s paintings, prints and textiles are collected by
major American art museums.
—Mildred Cole Péladeau and Jane Bianco
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Blanche Lazzell (1878–1956)
Untitled (Abstract and Flowers), c. 1928
Hand-hooked wool on jute
32 x 53 inches
Courtesy of Michael Rosenfeld Gallery, New York, N.Y.
A decade after Marguerite Zorach’s initial exhibition of her hooked rug,
Eden, Blanche Lazzell was recognized among a group of artists whose
modern designs for rugs helped bridge the divide between the fine and
decorative arts. Ralph M. Pearson, artist and author of articles on
design, believed in incorporating good design into all aspects of life,
especially into the home interior. He organized a group of artists that
included Lazzell to design modern rugs to be hooked by Maine artisans. Although it was claimed that they were hand hooked, these rugs
were actually punch-needled by the Pricilla Turner Rag Guild in Turner,
Maine. This cottage industry was founded in the early 1920s by Harvey
DeForest, who had patented a design for an electric punch needle.
In his 1929 article, “Rugs in the Modern Manner,” Pearson outlined
his reasoning for appreciating these rugs as an art form:
There are surprises in them. And surprises in a work of art mean
the artist is leading us into new pastures, which distinctly is the
artist’s job. They are creations. And creations mean differences—
that can be studied and valued as differences.
Although Pearson’s project received widespread publicity and the tangible
support of more than two hundred individual rug buyers, it could neither
grow nor survive the Great Depression.
Nettie Blanche Lazzell was born on a farm in West Virginia, the ninth
of ten children. By 1905 Lazzell had earned degrees in literature and
fine arts before moving to New York City and enrolling at the Art
Students League. In 1908, she studied with painter William Merritt
Chase in a class that included Georgia O’Keeffe. In 1912, and again in
1923, Lazzell traveled to live and work in Paris, studying at the more
traditional academies as well as with progressive French painters such as
Fernand Léger. During her career Lazell taught art, painted and made
color woodcuts, concentrating on abstract design. Like Marguerite
Zorach, her art ranged across media: several of her cubist designs were
translated into rugs, including this one, which suggests the dimensionality of a floral arrangement broken into colors and shapes viewed from
multiple perspectives. She said of her work, “I am working for color
values, form relationships, rhythm of movement, interplay of space,
and sincere expression.”
—Mildred Cole Péladeau and Jane Bianco
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Maker Unknown
Corn Husk Rug, 1850
Corn husks and dye on burlap
20 ½ x 31 ½ inches
Collection of Joe Caputo and Karen Grindle
Innovation in hooking materials is not a novel inspiration of the twentyfirst century. Probably born of necessity, rugs were being fashioned of
corn husks as early as the mid-nineteenth century. A rug in the New
Brunswick Museum, Canada, hooked entirely of corn husks, was made
by Mary Ann Toole of Kars, King’s County, in 1841. It was a difficult
process. The husks were first steamed over boiling water and worked
while the husks were still hot and included dyeing any husks needed to
create a design. Probably of Canadian origin, this rug has a sophisticated
design with an urn of flowers with what appears to be a tulip at each corner.
—Mildred Cole Péladeau and Jane Bianco
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Mary Jane Andreozzi
Possession, 2008
Wool on board
67 x 27 inches
Collection of the artist
My work is inspired by the grace, strength and beauty of the natural
world. I search for the same sense of balance and harmony in my
images that I observe in nature. I am interested in expressing an inner
energy that leans toward symbolism; the idea for Possession was inspired
by vines that envelop trees and constrict them over time. There is a
subtle connection to male/female relationships in this piece.
I find great satisfaction in giving old material new life using a technique
passed down from generations of women. Originally trained as a fine
artist using the standard materials of paint and pastel, when my choice
of medium changed a few years ago, I found myself attracted to the
rich textural quality of fiber. I experimented with a traditional textile
technique used to make rugs from rags and realized that the process
had potential as an art medium using a variety of textiles, such as
recycled clothing and upholstery fabric to create unique effects that
could not be achieved in paint or pastel. Look closely at my work and
you will see that every change in color is a change in fabric.
I am currently the Art Department Chairperson at St. Mary Academy
Bay View in Riverside, Rhode Island, as well as a practicing artist. I
received my MA in Teaching from Rhode Island School of Design
and my BA from Rhode Island College. My work has been exhibited
throughout New England and is in several corporate and private
collections.
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Marilyn Bottjer
Four Seasons on the North Fork, 2008
Scottish burlap backing, hand-dyed wool fabric, hand-dyed roving,
merino wool yarn, silk and viscose yarn, felt, wood base and
support
21 x 8 x 6 inches, open
Collection of the artist
We have a second home on the North Fork of Long Island and the land
and seascapes there change endlessly. The colors of the wetlands just
beg to be recreated so I chose to make a hooked box from which four
postcard-sized hookings unfold to portray the colorations of spring,
summer, autumn and winter. When not on display, these hooked landscapes fold down to be stored within the attached 2 ¼ x 8 x 6 inch box.
Hooking has enriched my life beyond measure for more than forty
years. Fiber in all its varieties is part of my being: I love the feel of it,
the look of it, its color, processes and the histories of all the women
who have created with fiber.
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Molly Colegrove
Lady in Gray, 2009
Hooked on armature wire with yarn and wool strips and placed
within a found wood fence
17 x 14 ½ x 15 inches
Collection of the artist
The lady in the tombstone is a piece that I created after my piece,
Ghosts in My House. I had been thinking (a bit morbidly) about spirits
that aren’t restful, and wondered what they would say. I hooked the
lady on the armature wire, and then shaped it all into a tombstone
shape. Around the outside of the headstone form, and continuing on
the back, I hooked this verse into the background:
Do not stand at my grave and weep, I am not there,
I do not sleep.
I spin for relaxation and made this piece from handspun wools dyed to
work for the piece. The base is an antique Christmas feather tree fence
that I found at a local shop.
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Molly Colegrove
The Sandman, 2003
Felting, trapunto, hooking and beading with hand-dyed wool and
found objects
18 x 22 inches
Collection of the artist
I usually draw my inspiration from recurrent nighttime dreams or songs
that sometimes get stuck in my head, and often discover meanings I
wasn’t consciously aware of as I work through the creative process. As
a child I was convinced that the Sandman was a real and important
figure, and I often imagined what he was like. My Sandman is made in
a mix of fiber techniques, including felting, trapunto, rug hooking and
beading with hand-dyed woolens and found objects that include sticks
and shells.
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Molly Colegrove
Belly of a Black Winged Bird, 2010
Hand-spun wool, glass beads, wire, polymer clay and driftwood
19 x 18 x 13 inches
Collection of the artist
This piece was inspired by the song “Rain King” by Counting Crows.
It speaks of heaven as found in the belly of a black-winged bird. My
bird’s belly opens and closes to reveal its inner nest. I thought of what I
might find there, and I decided that this bird carries its nest on the
inside, along with the favorite mementos it has accumulated along the
way—and these are the treasures from my childhood.
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Rachael Conner
Vincent, 2007
Hand-dyed recycled woolens, scissor-cut
20 x 24 inches
Collection of the artist
Rachael Conner has interpreted Vincent van Gogh’s Starry Night, an
iconic 1889 Post-Impressionist painting now at the Museum of
Modern Art in New York. Born in Portland, Maine, nearly a century
after this work was made, Conner is an artist whose work has been
influenced by travels to Europe and throughout the Americas. Since
receiving her BA in Visual Arts from Pine Manor College she has
instructed art classes for fundraising and local Maine artist events and
has worked as an artist and designer for Janet Conner Hooked Rugs
based in Hiram, Maine. She has exhibited her watercolors at the Hess
Gallery in Chestnut Hill, Massachusetts. As she raises a young family,
Conner hooks rugs, paints, makes jewelry and continues her art
education and interest in art history.
—Mildred Cole Péladeau and Jane Bianco
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Linda Rae Coughlin
Evolution of a Woman, 2005
New and recycled fabric strips on linen, embellished with appliqué
felting, metal tags and beads
10 x 48 x 10 inches
Private collection
In my women’s series, you will usually find a woman and/or a symbol
that expresses a feeling about a particular experience, symbolic of my
desire for women to always have their own voice. Private diary pages,
these visual fragments represent ideas that look to genre, strength,
mystery, and social philosophy for what it means to be a woman today.
A fiber artist, author, curator, lecturer, juror, workshop leader,
photographer and rug restorer, I travel the world promoting fiber art,
creativity and the art of rug hooking.
I was awarded a 2009 Mid-Atlantic Council on the Arts Fellowship for
my series of fiber art relating to women’s issues. I have a BFA in textile
art and have authored two books, Contemporary Hooked Rugs: Themes
and Memories and Modern Hooked Rugs: Inspirational Series. I exhibit
my fiber art in juried and invitational shows both nationally and
internationally and have lectured and taught workshops on creativity
in the United States, Fiji, Canada, Japan and Wales. My work has been
published in books, catalogs and magazines, and is included in private
and public collections.
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Linda Rae Coughlin
Wifely Duties, 2010
Hand-dyed recycled fabric on linen with machine-embroidered
fabric in found laundry basket
21 x 28 x 12 inches
Courtesy of the artist
When one thinks of fiber art what often comes to mind is “women’s
work.” Rooted in feminism, my pieces look at women and the issues
and events that challenge their lives.
My work is created from cast-off items and discarded clothing
donated to me from family and friends, then washed, dismantled and
hand-dyed. I have used the early American technique of traditional
rug hooking to create pieces into which I have incorporated sewing,
felting, appliqué, both hand and machine embroidery and recycled
embellishments, all the while being fascinated by the challenge to fill
this medium with contemporary meaning.
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Liz Alpert Fay
Spontaneous Stripe, 2008
Hooked New York Times Sunday Magazine pages and
rice paper on linen
26 x 18 inches
Collection of Len Charlap
I am interested in using traditional textile techniques in unusual and
contemporary ways.
Paper is an unlikely material to be used in traditional rug hooking, and
it took some experimenting to create the desired effect. My process was
to first tear the paper into thin strips, and then to twist it to add
enough strength for hooking.
This piece was created for a Japanese-American exhibit where the work
would be shown in both countries. I chose to use materials that I felt
represented both participating countries. Pages of the New York Times
Magazine section were used to represent the United States and rice
paper to represent Japan.
I received a BAA in Textile Design from the Program in Artisanry at
Boston University in 1981. For seventeen years I created art quilts,
exhibiting nationally and in Japan in such shows as “Quilt National”
and at the American Craft Museum in New York.
My hooked rugs have been featured in Country Living magazine,
and in books that include Fiberarts Book 7 and The Complete Guide to
Collecting Hooked Rugs, both by Jessie Turbayne. I have appeared on
HGTV’s The Carol Duvall Show where I displayed my work and spoke
about my creative process.
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Liz Alpert Fay
Ring of Fire, 2009
Hand-dyed wool hooked on linen
32 x 46 inches
Collection of the artist
This piece was inspired by a photograph that I took of a weathered
fence post on the beach in Michigan. I loved seeing that the growth
of the tree was still visible, and even enhanced by both time and the
elements. While the work was still in the designing stages, forest fires
were rampant in California. I happened to see a television news
program where the commentator described how burning a ring of fire
around an undisturbed area of vegetation is a system used to bring raging
fires under control. Symbolically this piece is about hope: even in the
midst of massive destruction there is beauty to be found, and incentive
to rebuild.
In 2001 I became a Master Teaching Artist through the State of
Connecticut and began giving classes in the textile arts. Present workshops take students on nature walks to discover inspiration for their
own work. Also since 2001, I have been co-chair and artistic director of
the Newtown Hooked Art Shows, where I promote innovation in the
hooked art of contemporary artists and produce annual juried shows.
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Susan Feller
Riches to Rags, 2009
Plastic credit cards and wool
21 x 27 inches
Collection of the artist
I have always saved the solicitation credit cards and the stack finally seemed
to speak. Using the American Express Gold Card coloring and font,
then a subtle change to the Discover Card color as the frame, I worked
common phrases found in solicitations into a border. The center includes
a composition of competing companies’ fake cards: AMERICANS
TAKE A CARD, DISCOVER YOU’RE PRE-APPROVED.
As a self-taught textile artist, I experienced early on the rewards of
working with my hands. My mother and grandmother taught me skills
in knitting, crochet and hand sewing. During the 1960s I acquired a
make-do attitude through Girl Scouting and rural living in north-western
New Jersey. Working with fibers connects me with generations of artisans’
spirits. Due to the slow, repetitive process, there is time to dwell on natural
subjects within my art. Now living in West Virginia, I have come full
circle, back to the farm and rural lifestyle of my youth.
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Susan Feller
Iconic Liberty, 2006
Wool fabric and yarn
18 x 26 inches
Collection of the artist
The artful aspect of manipulating fibers using the rug-hooking technique,
needle felting, and many other learned hand skills earned me a Merit
Award in the West Virginia Juried Exhibition 2007, an invitation to
participate in the Japan/America Stripes collection shown in both
countries in 2009, and inclusion of my work in Inspire: WV Exhibitions
Historic Buildings 2011.
After college and degrees in Art and History, I opened the Church
Door Gallery in Califon, New Jersey, representing regional artists.
Not until my early forties did the medium of rug hooking awaken a
visual interpretation for me with wool, hooking one strip at a time
through canvas. Since 1994, I have developed my own company, Susan
Feller’s Designs at Ruckman Mill Farm in West Virginia, a full line of
hooked-rug patterns, hand-dyed wools and supplies for rug makers. I
teach creative designing for fiber artists, and I am the author of Design
Basics for Rug Hookers to be published by Stackpole Books in
December 2011.
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Karen Foley
Three Good Eggs, 2002–2004
Recycled wool on antique wood screen
67 x 69 inches
Collection of the artist
My hooking began in 1998. The medium is amazing: so many styles,
colors, patterns and ideas. When I realized that early rugs were hand
drawn and made at home using left over fabrics and clothes, I knew
this was me, always saving bits and pieces. I found the antique screen
in this piece at a yard sale, and was having the usual debate with
myself—I don’t need this, but it’s great—before it dawned on me:
three panels, and I have three kids. It took me two years to complete
the work. I wanted to incorporate something belonging to each of my
children into each panel portrait: Kelly with her MP3 player and her
first car keys; Shannon, a horse lover with one of her blue ribbons; and
Tommy with his game controller and in jeans hooked from a part of
the sneakers he was wearing at the time.
I live in Westbrook, Maine, and have been hooking now for twelve
years. Although I have studied privately with some local artists, I prefer
to follow the earlier traditions of rug hooking design in my own work
with reclaimed wool.
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Leslie Giuliani
Chair, 2007
Wool and paint on wood chair; chair designed by Shiela Hale
48 x 15 x 15 inches
Collection of Carol Perry, Weston, CT
The chair design by artist Shiela Hale provided me with a long rectangle
and a square at right angles to each other with which to work. I wanted
the colors of the panels to relate but not repeat in the same proportion,
and have used outlining in my work to separate areas of the same color
value. Needless to say, a lot of unhooking had to be done to achieve the
right balance and contrast between the chair images.
I graduated with a BFA in drawing and painting, and have continued
my studies in fresco painting, Byzantine icon painting, gold leaf
conservation, non-silver photographic processes, primitive rug hooking
and encaustic painting. I received a 2008 Artist Fellowship Grant for
Craft for hooking from the Connecticut Commission on Culture and
Tourism. My work is in the collections of the State of Connecticut and
the Hall-Brooke Institute for Behavorial Studies and has been featured
in two international encaustic biennial exhibitions.
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Leslie Giuliani
Submit, 2007
Hooked wool strips
36 x 26 inches
Collection of Debra Fram
My primitive iconic imagery lends itself naturally to pictorial hooked
textiles. Fine details are pared away. The single or simple images can be
representative of many ideas. Simple forms, random color variations in
the hand-dyed and plaid woolens, and capricious color changes allow
the nuances of the hooking craft to stand out. Varied strip widths along
with abrupt and subtle changes in hooking direction make the surface
visually exciting, like expressionistic brushstrokes.
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Nancy Himmelsbach
Queen of Hearts, 2003
Hand-dyed wool, yarn, velvet and crystal beads
26 x 18 inches
Collection of the artist
Hooked for the international rug hooking exhibit, The “Art” of
Playing Cards
I chose to hook the Queen of Hearts playing card because she symbolizes
the strong and creative women in my family. Fiber has always been in
the hands of my great grandmother, my grandmother and my mother
who was a rug hooker.
My objective for Queen of Hearts was to hook only her face and crown
so that her expression would be bold. I drew her face and developed
it with my stash of hand-dyed wools, yarn and other materials. I
embellished her crown with crystal beads to reflect her light and to
enhance her power.
I have been hooking for fifteen years and love the challenge of the
creative process. I am a self-taught artist in fiber and mixed media. I
gained experience as a jewelry designer through a degree at the Fashion
Institute of Technology and a career as a designer in New York City.
My relocation to Eastern Long Island presented opportunities to
explore creativity through a multitude of outlets. I have most recently
been honored with recognition by the American Folk Art Museum in
New York City.
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Tracy Jamar
Land Parcels Quad, 2009
#3 in the Fly Over Land Series
Hand-hooked, appliquéd, machine stitched on monks cloth, wool
and cotton fabric and yarns, silk and fibers of unknown origin
37 x 37 inches
Collection of the artist
As a former antiques dealer I am fascinated with the craft and history
of items made by hand, especially textiles. This interest led me to focus
on the restoration of antique quilts and hooked rugs. While caring for
these textiles I became intrigued with how these common and everyday
items reveal aspects of the lives, times and creative expressions of the
often anonymous person who made them. These objects, usually made
by women who have been traditionally marginalized, expose a personal
view into female society. Eventually, I, too, wanted to be an active and
creative participant in this heritage of handmade textile chronicles.
Many of my pieces use repurposed personal items, those things, which
on one level, have no worth: worn out socks, torn and faded T-shirts and
discarded clothing are transformed into something with a newly found
value and intention. Using the fabrics of everyday life to document an
event, memory or image makes that which is personal public while
retaining privacy and nurtures a connection to the lives of those
distanced by time.
Land Parcels Quad, the latest in my Fly Over Land Series, was inspired by
my experience on the many flights I take between New York City and
Minnesota to visit my family. The markings and layout of the roads,
farm fields, pastures, crop lines, lakes, rivers and wooded areas below
make me wonder about the incongruity between the beauty of the
patterns I see from up high and modern life’s intrusive presence in the
landscape, some of which may not be so beautiful from down below.
The Fly Over Land Series was named for the expression often given by
those who consider the center of the country only good for flying over.
It is their loss.
Working with textiles, horses and American antiques have always been my
interests. I combined both antique and textile interests as the textile
restorer for America Hurrah Antiques in New York City, eventually
opening my own restoration studio. I began creative hooking after making
a memorial for a beloved horse. Returning to school and completing a
degree at Goddard College in Vermont in 2009 encouraged me to
pursue creative aspects more fully. I am self-taught and use all manner of
materials in my work. I have participated in numerous national and
international exhibits and been awarded the Jurors Choice and Surface
Design Award in the Newtown Rug Show.
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Beth Kempf
Flowers Galore, 2008
Wool, yarn, wire, plastic jar, wood bowl, board, glue, wood dowels
and linen backing material
33 x 16 inches
Collection of the artist
My work tends to be traditional in style. At first I was at a loss when I
thought about making a sculptural piece for the 2007–2008 exhibition,
Pushing the Limits: New Concepts in Rug Hooking. My resulting sculpture
has traditional roots but derives from a more unusual use of rug hooking
techniques. As the piece progressed, I realized that it would work best as an
upright floral arrangement. The most challenging part was incorporating
hooking with the wire armature frames for different kinds of flowers
and leaves.
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Beth Kempf
Why Not?, 2009
Wool, glue, sewing thread, cotton batting and linen backing
48 1/2 x 25 x 4 inches
Collection of the artist
Each unit in this piece was made separately and then arranged with
the others. The units were hooked and then coated with fabric stiffener
and draped over different shapes like tin cans, balls, etc. to give them
individual volume. The units were sewn to each other and then sewn or
glued to the linen backing which had been stretched over a wooden
frame for shape and stability.
I see this work more as a painting than as a sculpture. It can be hung
any way the viewer would like and yet hold its own as a new expression
of rug hooking as an art.
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Anne-Marie Littenberg
How Do I Get From Here to the Rest of the World?, 2009
Punch-needled with various plied threads (silk, wool, cotton, rayon,
polyester, etc.) on woven cotton
38 x 74 inches
Collection of the artist
I have created a number of landscapes where small figures are set in the
midst of big-sky drama. When it was time to reexamine this theme, I
made a larger-than-life figure in this piece. I am intrigued by qualities,
other than a subject’s face, that help to identify a particular person.
This is a view of my husband from the back. Anyone who knows him
easily recognizes him from the blue jeans, slope of the shoulder, and
the way he rolls his shirt sleeves.
I take dozens and dozens of spools and cones of thread and ply them
together. This allows me a range in creating subtle shifts in color and
value. It is very much like mixing paint pigment: If I want to dull
down a bright peach color, I may remove five strands of peach from
the mix and replace it with grey or blue or green. This is an insane
technique. It takes forever, creates enormous waste (all I have to do is
tip over some thread cones and I have a gorgeous but unfixable knot)
and results in rugs that are very dense, although fragile.
I am a self-taught fiber artist whose work is based on traditional and
punch-needle rug hooking where fibers are looped through a foundation.
I attempt to apply concepts of color, contrast, and composition from
the fine art world of painting into my fiber art. In addition, I experiment
with fibers not usually associated with rug hooking.
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Ann-Marie Littenberg
Spectrum, 2003
Punch-needled with various plied threads on woven cotton
19 x 18 inches
Collection of the artist
I grew up in New York City in a tiny house with many siblings and a
mom who worked two jobs, who encouraged us to be independent
and to take advantage of all New York had to offer in the 1960s and
early 1970s. One dollar got you subway fare in and out of Manhattan,
plus a slice of pizza and an orange drink for lunch. From grade four
on, I was allowed to use the subway on my own. Museums let you in
for free, and I spent a lot of time looking at paintings (and a couple of
times was tossed out with my friends for playing hide-and-seek).
I feel as if the paintings in all of those wondrous places are sort of
mine, as though I own a share of them.
The work of Jackson Pollock at the Museum of Modern Art in New
York City and 1950s film footage of Pollock doing his splatter painting
(shown in the 2000 movie with Ed Harris) made me think about all
the time I had spent among the paintings, and made me wonder how
I might use the splatter technique in my rug hooking. I wanted to achieve
the effect of colors dripping and oozing, as if a number of pots of paint
had been knocked over and the colors were beginning to bleed and
mix. I found the only way I could achieve this effect was by literally
splashing my unhooked backing with dye and then using dye splash
and dribble marks as my “pattern.” (I am now hooking a large floor
rug inspired by this design using cut wool strips.) The splashes provide
the background for my hand-drawn spots of color.
I am the author of Hooked Rug Portraits and Hooked Rug Landscapes,
and a regular contributor to Rug Hooking Magazine. I have taught
workshops throughout the United States, and have exhibited in the
Warren Kimball Gallery in Vermont, and the Mikimoto Ginza Gallery
in Tokyo, Japan.
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Lara Magruder
Dune Grass, 2009
Hooked wool, silk and grass with handmade merino felt, all
hand-dyed, with stitching on monks cloth, batting, armature
and stand
52 x 13 x 13 inches
Collection of the artist
This dimensional hooked landscape is created from the grasses at
Point Reyes National Seashore along the northern California coast, on a
grey April day.
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Lara Magruder
DNA Chroma, 2004
Hand dyed wool on monks cloth, mixed cuts and hand torn with
shaped and trimmed proddy wool and wool yarn binding
47 x 19 x 2 inches
Collection of the artist
I’m fascinated by the images of science and technology and how such
imagery percolates into the consciousness and lexicon of our popular
culture. Everyone recognizes the twisted pair image of DNA. As a
stunning design element as well as a code and pattern it becomes
designer and design.
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Lara Magruder
Fire Season, 2008
Hooked wool (shibori-dyed) on handmade wool felt with silk, quilted
and hand-stitched with batting and backing
62 x 21 inches
Collection of the artist
In California the landscape burns certain times of the year, usually from
June to October until the rain starts. The image of flames off in the
distance at night has existed all of my life as a native Californian. It’s
not a frightening image to me; the fires have their own beauty—we
have environments that only seed after fires. I’ve hiked some of these
areas after the fires and watched them come back, but have also rushed
home to pack up pets and anything that would fit in the car to evacuate
in case the fire crossed the road.
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Lara Magruder
Garden of Electronic Delights, 2010
Hooked wool, silk and yarns on monks cloth, stuffing, on
painted wood, plastic and electronic discards
30 x 18 x18 inches
Collection of the artist
Our interaction with the natural world is increasingly modulated by
electronics. When I am out in the regional parks with my dogs, more
and more of the other hikers I encounter are using either iPods,
iPhones and even iPads as they walk. These voluntary electronic tethers
are strange since they are causing disconnection rather than connection.
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Lara Magruder
Tic Tac Dough, 2004
Hooked wool, U.S. currency, yarn and metallic on linen, with
stitched U.S. currency border
13 x 13 x 1 inches
Collection of the artist
I wanted to make a small quilt-like piece referencing conflicted images
of our culture and values by using symbols like shiny computer icons.
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Lara Magruder
Fractal Pond, 2007
Hand-dyed wool on linen, honored with proddy, various cuts
30 x 29 inches.
Collection of the artist
This work reflects my fascination with the images generated by the
mathematical and scientific worlds and the spectacular patterns of
nature and number.
My work uses rug hooking with nontraditional materials, images and
technique to explore pattern, shape and texture. Much of my work
consists of what I think of as landscapes—the landscapes of color,
pattern, the natural world, science or memory.
The richness of the hooked surface has been underutilized by
contemporary textile artists. The ability to dye, cut, mix and layer with
rug hooking provides a surface not available with other techniques.
The introduction of a variety of fiber materials in addition to traditional
woolens allows the development of dense color and rich surface patterns.
Hooked wool is combined with felt and stitched to transform the
surface of the rug into a visually rich, painterly surface loaded with
color, texture and pattern.
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Kris McDermet
Peaceful and Quiet Offerings, 2006
Hooked and braided wool padded with wool batting and lined with
suiting wool
39 x 34 inches
Collection of the artist
Fish swim in a koi pond with two water lilies afloat upon a rippling
surface. The pond is contained within a braided edge with attached
Chinese lantern-like segments bearing birds and insects of the Vermont
evenings, alternating with floral specimens. The Chinese characters
translate to “Peaceful and Quiet Offerings.” Most of the small designs
by artists Pauline Cherrett, Joseph Lo and Sheena Davis were adapted,
with permission, from the book, The Chinese Painting Studio by
Pauline Cherrett.
I began braiding and hooking in the late 1970s and made my first
combination rug in 1980. The colors, designs, and textures of hand-dyed
and as-is wool complement both mediums. I’ve developed a joining
technique to create endless design and textural possibilities, so that the
delicacy of the hooking is offset by the boldness of the braiding. My
work may tell a story, or show diverse themes in nature, native cultures,
or the arts. I often incorporate open spaces and fancy embellishments
and borders in my pieces to create added interest. I’ve taught courses in
both braiding and hooking in Vermont for the past twenty-eight years.
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June Myles
Matisseman, 2006
Wool
17 x 17 inches
Collection of the artist
I grew up in West Virginia, and graduated from Hollins University
with a degree in physics. While at Hollins, I spent my junior year at the
Sorbonne including a three-month tour of Europe. My second choice of
a degree would have been art-related but, in retrospect, physics has served
me well—to get a job, make my way in New York City as a computer
programmer and ultimately, to design software applications and to work
managing computer systems for an airline.
Today, I still have one foot in the sciences and the other in the arts.
I’ve been a docent at the American Museum of Natural History in
New York and I have conducted children’s workshops that taught
natural science by combining the facts with an art/craft project.
Hooking is pure delight. It's a creative outlet for telling stories and
expressing one's ideas, while enjoying color and textures. My influences
are a co-mingling of Appalachia, France, New York and Connecticut. I
tend toward serial hooking and have several themes, among them animals,
proverbs and men. Matisseman is one of my stable of men now numbering
a dozen or more of all sizes. They amuse me! And as I like to sign my
book, If Wool Could Talk, “hook what you love.”
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Constance Old
sea of blue: plastic floats forever, 2009–2010
Mixed plastic (including New York Times delivery bags) and ribbon
hooked on linen
55 x 3 1/2 x 3 1/2 inches
Private collection
Paper and plastic interest me as abundantly available fibers that, with
imagination and coaxing, can be made into wall pieces and rugs. Living
in a time of material excess, it intrigues me to work in a medium that
originated from need and a scarcity of materials.
I attempt to capture the spirit of the twenty-first century in my work
by taking advantage of the excesses of the consumer economy using the
traditional craft of rug hooking to make three-dimensional wall pieces.
Combining printmaking and rug hooking with contemporary materials,
my work is both timeless and an index of our time. I use everyday materials
and focus on trying to make fleeting aspects of human experience
“concrete.” I have marked the end of each day of hooking with a specific
strip of color: for example, Monday equals pink. Although my pieces
appear serious in nature, the viewer may notice a subtle sense of humor
in my work.
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Paul Richard
A Black Horse, Painting #4, 2008
After Painting No. 4 (A Black Horse), 1915, from the Amerika series
by Marsden Hartley (1877–1943)
Recycled wool on monks cloth, No. 8 cut
29 x 22 inches
Collection of Richard Kapral
Steuben, Maine, artist Richard Kapral, whose work is influenced by
that of Marsden Hartley, commissioned the piece in this show. It is an
adaptation of a Hartley painting drawn and hooked by Paul Richard. A
number of original patterns for other textile pieces have been worked in
fabric by Richard from designs by Kapral.
Richard began rug-hooking during the summer of 2007 while escaping
the oppressive heat of Arizona for the cool climate of his summer home
in Maine. Having collected antique hooked rugs over the years he was
inspired to take up the art after admiring the work of accomplished
hooking artist Rosemary Levin of Chapter Two Gallery in Corea,
Maine. Richard’s hooking style is influenced by both Hartley and
Kapral and their spirited use of color, broad brush strokes and dynamic
composition.
—Mildred Cole Péladeau and Jane Bianco
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Alice Rudell
Homage to Hooking and Shirring, 2010
Wool and silk on linen
32 x 30 inches
Collection of the artist
For someone whose world is visual, who loves color and texture and
designing, and can’t bear to throw away anything, what could be more
rewarding than to cut up and reuse all those stashed snippets that have a
past history and reconfigure them in some new dramatic form? That
intimate relationship between the hand, the heart, the mind and the
textile is compelling; it is what drew me to rug hooking, rivets me to my
work, and keeps the air in my home full of fiber.
The pleasure of the hooking process begins long before hook touches
linen. My workroom of fabric is my library where I can spend hours
fingering and rearranging the stacks of cloth. No other medium has
given me such pleasure. What results from my hooking process is always
a surprise. Beginning from a general idea, I place the first row of loops
on the linen and let the piece grow—loop by loop and color by color.
By not making a sketch first I can change my ideas and fit the elements
together like a puzzle.
In Homage to Hooking and Shirring, I limited my palette and concentrated
on two old rug-making techniques, hooking and shirring. Several examples
of the early shirring technique were seen in the show Rug Hooking in
Maine and Beyond at the Farnsworth in 2010. I wanted to contrast the
textural differences by juxtaposing the two methods in a simple display
of concentric rectangles and floral design. In the hooked portion, I randomly
varied the number of lines of each color to make the eye try to seek out
the pattern. In the center shirred rectangle, I created a garden insert.
Using mostly the same fabrics in each area, it was interesting to me to
see how different they appear. The end result reminds me of the varied
textures of my garden in the moonlight.
I received a BA in Fine Arts from Brandeis University, and an MLS in
Library Science from Pratt Institute, and was awarded a grant to study
painting for two years at the Brooklyn Museum. I am a textile designer
for apparel and home furnishings. My works have been shown in group
exhibitions and have appeared in a number of publications.
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Melinda Russell
Moon Over Skyscrapers, 2010
Hand-dyed and as-is wool on linen in steel frame
22 5/8 x 16 1/2 inches
Collection of the artist
I found a painstakingly disassembled garment in my stash of wools but
could only guess at the identity of my benefactor. Admiring the tiny
flecks of blue woven into the black field, I knew that I had to hook this
piece into a nighttime sky. Adding a large foreground moon established
the great distance between the tiny blue “stars” and the viewer.
I then needed an earth line to confirm that the viewer was looking at the
moon in the sky, so small skyscrapers were added as another way to play
with scale. I used a black and white wool check to suggest both the
substance of the buildings and the fluorescent lights inside. With
thoughts of skyscrapers in my head, the frame needed to be made of
stone or concrete or steel. The steel frame was both compatible with the
palette of the hooked piece and, thanks to a local machine shop,
achievable.
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Sharon Townsend
Balance In and Out, 2009
Wool on linen backing, wood dowels, metal stands and wood discs
covered with hooking
54 x 18 inches diameter
Collection of the artist
In my sketchbook I had drawn a rough picture of two shapes, one above
the other, with a platform between, and slightly out of balance. I had been
thinking of women’s lives and how we try so hard throughout our lives to
balance our inner needs with our outer responsibilities. In Balance In and
Out, the inner doll is hooked in patterned red, standing on her head over
a hooked circle of choices above a broken spiral. Above her, the outer
doll, dressed in a red striped dress, stands on a color wheel spiral.
Dean Evans constructed the frame for me that these dolls stand upon,
allowing the outer doll to balance on the edge. Between us I think we
got the point across.
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Sharon Townsend
Going to Pieces, Getting It Together, 2004
Hand-dyed wool on linen
Collection of the artist
I have been working with fiber since I was a small child when my
grandmother taught me to knit at age ten. At age fifty I took up the fiber
art of hooking and realized that this was an opportunity to present life
challenges in my art. My work is very personal and each piece presents a
new chance to stretch the bounds of traditional rug hooking. Now at
seventy-five I really don't care what anyone else thinks of my work; for
me, the need to create a piece speaks to my heart and life.
When I decided to hook a puzzle I could not think of how puzzle pieces
went together, so I went to a gift shop and looked at a puzzle. Seems silly
but that was the process.
Back at my work table I drew a portrait and then divided individual
sections of the face into puzzle pieces, with circles on the eye pieces,
checks on the cheeks, and paisley on the mouth. I bound each piece
separately and then basted them together and steamed the whole piece.
After showing it a couple of times I took out the basting, and now my
grandchildren play with the big puzzle. This was a perfect piece for a
time in my life when I was often on the edge of falling to pieces but kept
it together.
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Beyond Rugs!
September 24, 2011–February 2012
Farnsworth Art Museum
16 Museum Street
Rockland, Maine
farnsworthmuseum.org
207-596-6457
Front and back cover images and page 15: Liz Alpert Fay, Ring of Fire (detail), 2009; hand-dyed wool hooked on linen; collection of the artist
Copyright ©2011 by Farnsworth Art Museum
All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying,
recording, or any information storage and retrieval system, without permission from the publisher.
Designer: Mary Margaret Sesak
Fonts: Futura Light, Adobe Garamond
The exhibition Beyond Rugs! is made possible by a grant from The Coby Foundation, Ltd., and by Ms. Francine R. Even and Mr. Roger H. Brouard, with
support from Mr. and Mrs. Edwin M. Boone, Mr. and Mrs. Adolfo M. Carmona, Mr. Roger Cole, Mr. and Mrs. Peter W. Devine, Mr. and Mrs. David
Epstein, Mr. and Mrs. John C. Kronholm, Mr. and Mrs. Patrick M. Le Breton, Mr. Jacques M. Ouziel and Ms. Sandra L. Tom-Ouziel, Mr. and Mrs. John M.
Rolleri, Mr. and Mrs. Malcolm Salter, Ms. April Scholz, Dr. and Mrs. Martin J. Serrins, Mr. Steven Signorelli, Ms. Ann O. Squire, Mr. and Mrs. P. Jeremy
Stewart, The Wallace Foundation, and Mr. and Mrs. Mike B. Turner, Mr. and Mrs. Edgar Wainwright, Mr. Robert B. Wolter, and Ms. Jennifer Lambe.
The primary media sponsor of this exhibition is Maine Home + Design.
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