CRITERIA FOR SELECTION

The vision of Quilt Visions 2006 is that art quilting is and should be treated as a fine art, just as painting and sculpture. Artistic expression is universal, and the criteria for judging it should vary only as techniques of execution and inherent aesthetics of medium necessarily vary with the materials of the art. Specific goals for our jurors, as scholarly art critics, are to select work for this show that reflects the universality of artistic expression and to report in their comments on how this show displays art quilting in the broader contemporary art context.

JURORS

Jane Dunnewold
Jane Dunnewold, the author of three books, Complex Cloth: A Comprehensive Guide to Surface Design, 15 Beads: A Guide to Creating One-Of-A-Kind Beads, and Improvisational Screen Printing, specializes in the creation of art cloth, one-of-a-kind lengths of printed fabric. She chaired the Surface Design Studio at the Southwest School of Art and Craft for eleven years and opened a private teaching space, Art Cloth Studios, in 2000. In 2000, a length of her art cloth won the Gold prize at the Taegu, Korea International Textile Exhibition. Her work has been exhibited in numerous invitational and juried exhibitions, including Quilt National (2000, 1997, 1995, and 1993), and Quilt Visions San Diego (2002, 1997, 1995) where her quilt, Two Sides to Every Story won the Quilt Japan Prize. Dunnewold produces more than 100 one-of-a-kind lengths of fabric every year.

Jane Dunnewold maintains an extensive teaching schedule at Art Cloth Studios in San Antonio, Texas where she lives with her daughter, Zenna, and numerous cats and dogs.


Lloyd E. Herman
Lloyd Herman has been a recognized observer of America's contemporary craft movement for thirty-five years. He was founding Director of the Renwick Gallery of the Smithsonian Institution from 1971 until 1986. Later he directed the Cartwright Gallery in Vancouver, British Columbia and supervised its evolution into the Canadian Craft Museum.

Mr. Herman has lectured on American crafts throughout the United States and abroad. He has juried numerous art competitions and curated such traveling exhibitions as "Trashformations: Recycled Materials in American Art and Design," and 'American Glass: Masters of the Art." He has written several books on American craft including Art That Works: The Decorative Arts of the Eighties, Crafted in America. He has hosted television programs on contemporary craft in Canada and has produced and narrated an award-winning video on five American glass artists.

He is a member of the international advisory boards of the International Tapestry Network (ITNET), Arango Design Foundation, Friends of Fiber Art International and The Crafts Center, Washington, D.C. He is an honorary Fellow of the American Craft Council. He serves on the board of the Arrowmont School of Arts and Crafts. He is a native of Oregon who lives and works in Seattle, Washington


Patricia Malarcher
Patricia Malarcher is a studio artist as well as the Editor of the Surface Design Journal and Surface Design Association Newsletter. She has contributed chapters to books including Objects and Meaning (Scarecrow Press), Helena Hernmarck: Tapestry Artist (Byggforlaget), and Michael James: Art fc Inspiration (C&T; Publishing). She has written essays for exhibition catalogs including Generations/Transformations (American Textile History Museum), Cultures Revealed: Appliques from Around the World (Visual Arts Center, North Carolina State University/Raleigh), and Threads: Fiber in the '90s (New Jersey Center for Visual Arts).

Ms. Malarcher was a recipient of a James Renwick Fellowship for research in craft criticism. Her pieced constructions have been shown internationally and are in many public and private collections. She lives and works in Englewood, New Jersey.


SPONSORS

The fiber artist of today owes much to the many wonderful people and companies that provided the tools and materials used to create the works of art presented in this exhibit. Without the efforts of fabric manufacturers, quilt shops, guilds, artists, galleries and collectors, fiber art as we know and enjoy it would not be possible. Quilt Visions acknowledges and commends our valued sponsors for their many contributions to the arts in general and this exhibition in particular.

ROSIE GONZALEZ
Rosie's Calico Cupboard
We acknowledge Rosie Gonzalez, owner of Rosie's Calico Cupboard Quilt Shop, as a benefactor and true friend to this exhibition. We are especially grateful for her unfailing support during the last twelve years.

Rowenta
Friends of Fiber Arts International Cozy Quilt Shop
La Jolla FiberArts Gallery
Margrette Carr
First National Bank
Glendale Quilt Guild
Michael Miller Fabrics E. E. Schenck Company
Friendship Quilt Guild
Beach Cities Quilters Guild
El Camino Quilters
Island Batik, Inc.
P&B; Fabrics
Red Rooster Fabrics
Starseed Foundation
C & T Publishing

SPONSORS

The fiber artist of today owes much to the many wonderful people and companies that provided the tools and materials used to create the works of art presented in this exhibit. Without the efforts of fabric manufacturers, quilt shops, guilds, artists, galleries and collectors, fiber art as we know and enjoy it would not be possible. Quilt Visions acknowledges and commends our valued sponsors for their many contributions to the arts in general and this exhibition in particular.

ROSIE GONZALEZ
Rosie's Calico Cupboard
We acknowledge Rosie Gonzalez, owner of Rosie's Calico Cupboard Quilt Shop, as a benefactor and true friend to this exhibition. We are especially grateful for her unfailing support during the last twelve years.

Rowenta
Friends of Fiber Arts International Cozy Quilt Shop
La Jolla FiberArts Gallery
Margrette Carr
First National Bank
Glendale Quilt Guild
Michael Miller Fabrics E. E. Schenck Company
Friendship Quilt Guild
Beach Cities Quilters Guild
El Camino Quilters
Island Batik, Inc.
P&B; Fabrics
Red Rooster Fabrics
Starseed Foundation
C & T Publishing