Halliday’s Fiberly Art News 6 (Linnea Glatt)

In 2010 I headed to Johnson Vermont for my exhilarating, challenging, and terrifying artist residency at the Vermont Studio.  The terror  came from traveling a year after having  broken two wrists, with two fifty pound suitcases,  and from the scariness of being thrown together with 50 “real” artists,  and from a psychic telling me it would be a terrible place for me, and from thinking I could get there and be too frozen in fear to create.  But I strapped on my wrist splints, managed the 100 pounds of art supplies, and ironically ended up being the  person who helped a co-resident wrangle her 75 pound chest of books into the airport shuttle van.  She was coming as a writer resident, and had contracted a degenerative, debilitating disease that destroyed her muscles.

The art residency experience there was amazing.  I woke up each morning wondering how I could possibly be so lucky as to have this experience that mandated one to do nothing but make art all day long.  I continued to be scared silly when I had to share my art, but I faithfully kept my commitment to myself to take advantage of every risk to share and connect around art.  Consequently, I met a number of amazing people, including Nari Ward who was the 3D visiting artist. (http://www.nariwardstudio.com/)

One of the interesting characters I met is the cartoonist turned abstract artist Howard Sherman.  And it is via him that I got to the art of Linnea Glatt.  In a recent art mailing of Howard’s, his art features on the cover of  a newly released book of abstract artists who live in Texas.  In my curiosity of who else was in the book, I discovered Linnea Glatt, an artist who draws by stitching on mulberry paper with a sewing machine.


What I love about this discovery is that Linnea Glatt is tucked in with the abstract painters, with no fan fare announcing unique materials or fiber artist connection.  She is simply an an abstract artist who uses fiberly materials and technique and is in mainstream art culture.


She previously made large iron sculptures with her husband, such as  Harrow, shown below.



She works in her studio at a long table, sewing.

linnea glatt in studio

More workArt, Linnea Glatt. Photo, Dinah Jean Gordy.

and detail of French knots.


linnea glot detail

In situ shot.

linnea glatt in situ

I never tire of discovering new work, especially when it effectively utilizes tactile materials with textile reference, in a marvelous rendition of line and form.  Thanks Howard for indirectly introducing me to Linnea.

Halliday’s Fiberly Art News 5 (Sonya Clark Rocks Art Prize)

In 2009, I packed up a borrowed van with My Father’s Religion and headed to Grand Rapids Michigan to participate the the first year of Art Prize, an event designed to open the world of art to any artist and to bring this world to the populus, by having viewers vote for their favorite art work.  Highly controversial in concept and noted for awarding enormous amounts of money in prizes,it has grown in popularity and respect. The year I participated, I selected my venue by on line descriptions, thus not seeing the space until arriving.  It ended up being difficult to access via a back of the building freight elevator, and otherwise off the beaten track, so I wondered if anyone even saw it, let alone voted for me.  I was however very pleasantly surprised when buying a vest on the way home in Saugatuck, MI, to discover  that the clerk in the snappy boutique had gone to Art Prize and had actually both seen and liked my work.

Below is a photo of me installing the work.  (If you look very closely at my left arm you can see the hardware of the “external fixator” holding my broken wrist in place. I removed the splint from my right arm because it kept catching on the wire.  I had broken both of my wrists two and a half months earlier, and my beloved Jessica knit many of the trees for me to complete the installation.  Thayer helped extensively too, specializing in branches.)

me install crop P1050827

Since that first year, Art Prize has garnered much attention and has grown in attendance, and has become increasingly competitive.  Last week the very prestigious Juried Grand Prize, awarded not by votes but selected by distinguished jurors, was won by Sonya Clark.  The $200,000 purse was split with her co-winner, Anila Quayyum Agha, who had the extraordinary experience of not only tying with Sonya Clark, but also winning the popular vote, leaving her with $300,000.  Her piece Intersections, looks stunning and likely creates a transformative experience.  Kudos to them both.

But I am so very excited that Sonya Clark, chair of Department of Craft/Material Studies at Virginia Commonwealth University in Richmond, Virginia, won this award for her Hair Project, which examines gender, race,culture, and society.


She has been a favorite artist of mine, and a stunning example of what’s happening and being taught in the field of contemporary fiber arts.


In 2012, she was part of a show at Carlton College, A Complex Weave.  That show was an exciting collection of artists exploring feminist issues via fiber and materiality.

Check out more about Sonya Clark here: http://sonyaclark.com/bio/biography/

and ArtPrize here: http://www.artprize.org/

Halliday’s Fiberly Art News 4 (WARM Mentor Exhibition)

My first cycle as a WARM Mentor is coming to a close with the culminating opus, The Warm Mentor Exhibition, running from Oct 3-31 at the Grain Belt Bottling Bldg.

79 13th Avenue NE  Minneapolis, MN 55413

Opening reception is Saturday Oct 18 from 6-9.  I will also be gallery sitting that day, from noon-2.

more info at:  http://www.thewarm.org

I’m delighted with the work by my protege Mary Laurel True.  She made the decision a number of years ago to only wear used clothing, and to create a daily garment for herself that reflected her day.  Much of her work for the program was planning documentation of the daily clothing.  She made a video of that, as well as of a “30 Minute Challenge” to dress two models at a favorite used clothing store.  The projector screen is surrounded by some of her daily wardrobe choices. Additionally, she created a little shop for the opening of “True Finds”.  A garment made from her checks to the used clothing stores “Check It Out” is on the mannequin.  Mary LauelThis is Mary Laurel True speaking at last night’s artist talk.  Go Mary Laurel!


Halliday’s Fiberly Art News 3 (Barnes & Thornburg Gallery)

I’m excited to have two pieces hanging at the Barnes & Thornburg Law office building in downtown Minneapolis.  The wonderful Lars Mason negotiated this MCAD affiliated gallery and curates the collection.



This is Lars with “A Kind of Diary of 2011”.  He told me that several of the law office staff paged through the book (the embroidered  used dryer sheet book next to Lars) to match up each item and had several questions for me!

law off kimono_edited-1Kimono for Amaratsu (Sun Goddess Kimono) was the other piece selected.

Thank you Lars and if you get a chance to visit this law office on the top floor of the Capella Building , check it out.  Rad design and great artwork.

Halliday’s Fiberly Art News 2 (JA Felt)

NYT PhotoThink this is gorgeous?  I do too! This is  Janice Arnold’s  felt “yurt” that she installed in 2009 at the Smithsonian Cooper-Hewitt National Design Museum, New York City.  You have a chance to hear Janice Arnold give a workshop on Saturday and a free lecture at the Red Wing Anderson Art Center this Sunday, October 12th at 1pm . “How Visions become Reality: FELT as aFunctional and Decorative Art .”  Followed by a reception for Janice at 2:30pm.

Halliday’s Fiberly Art News 1

Sept 2, 2014  I begin my blog.

I have been frustrated that there isn’t a coordinating place where one can find news about art happenings that in my mind, are dealing with the concerns and materiality of fiber art.  We have had many exciting exhibits this past year that fit the bill.  The Mn Museum of American Art is doing a bang up job of featuring fiber art.  The Walker had the astounding embroidery of Jim Hodges as well as the plastic flower drapery that he created at Philadelphia’s Fabric Workshop. And the Textile Center currently has a wonderful show Jess Larson’s Women Troubles  of embroidered menstruation themed tarot cards as well as Bonnie Peterson’s  beautifully dense, After the Glaciers:  Geoscience Embroideries.   So I have taken it upon myself to begin a blog with art that interests me, as well as documents some of my doings.  I don’t know who’s out there to read it, but if you do, let me know your thoughts.

I just discovered that one of my all time favorite artists, Do Ho Suh is giving  a lecture at MCAD on Wednesday Sept 17, 1pm.  This news would leave me jubilant were it not happening during a rare vacation when I’ll be out of town.  This is an extraordinary artist whose work I first saw at the Venice Biennale, representing Korea in 2001.  He was showing an early example of the warrior robe he created from soldier dog tags that he manufactured,Some/One, a version of which was acquired by the MIA in 2013.  (Imagine my thrill when I happened upon it in the MIA’s Sacred  exhibition)

Coatofdogtags-300x224Since that first exposure, his work has wowed me over and over.  While exploring identity and notions of home, he created a number of pieces from organza, sewn of traditional pojabi by his Korean mothers and friends.  These translucent pieces of architecture are stunning.  Don’t miss him!


I was busy over labor day weekend working on another “Private Public Art Experiment”.  This spring, in April, I happened upon a little clearing with fabulous huge vines.  Of course I wanted to turn them into something akin to a knit stitch.  I began to try to move them and created a base for adding wire.

blog 1 pub 4 day 1 _edited-2


blog 4 spool P1140533_edited-1

Finally on Labor Day weekend, I made my way back to the magical space, and found everything had been broken by the storms, and the knit wire was all collapsed on the ground .

I had no tools or materials with me blog 2 after storm expand planned to return another time.

But  I began lifting the fallen and broken vines into a form and found myself undoing the yarn so I could just see how it might all work.


Day 2_edited-1This took way too many hours but I did make progress and began to knit.   I found some sticks to use for holding the stitches.

pub 4


A yellow lab lunged and in got briefly tangled in the wire,  a little girl wandered by then yelled “there’s a lady doing art project”, and a hipster in dreads declared it “Cool!”   I kept meaning to leave as the mosquitoes bit, but couldn’t resist doing a just a little  more.

blog 4 my hand photo 3


visitor 1 As I was done for the day, a woman out walking (who turned out to be an MCAD alum) wanted to take my picture, exclaimed approval, and let me take her picture by it.


me pub 4Today, Sept 2, I returned with a knit cable wire section and formed a three sided structure.  The dimensionality is nigh onto impossible to capture but here’s glimpse of it.blog 6 whole photo 4_2_edited-1

My “Public Private Art Experiment #2 ” is still up, and here is a picture from the flooded spring.

big blog trees flood_edited-2

Meanwhile “Public Private Art Experiment #4 was removed.  I inserted a knit birch bark tree section into an elm tree trunk that had died.

blog birch pub 2

Someone came along after a couple of weeks, pulled it out and left it neatly at the trunk, so I brought it back home.removed irch