Learn about upcoming shows with calls-for-entries, continue your education,get help with marketing your skills, and learn how other DAFA members have advanced their art and careers.
Entries open: Feb 1 - Apr 30
Texas craft artists, take note: the Houston Center for Contemporary Craft (HCCC) has announced an open call for CraftTexas 2025, its long-running juried exhibition periodically surveying the state of contemporary craft.
Craft artists residing in Texas are eligible to apply with an artist statement and three recent works. Stipulations include that the works must fit through a 4-foot-by-8-foot doorway, not exceed 200 pounds, be available for the duration of the exhibition, and have not been previously exhibited at HCCC.
Three (3) Award of Merit prizes of $1000 each will be selected by the juror.
Entries Due: Feb 22 at 11:59pm
Exhibition: March 9 – April 26, 2025
Curated by Junanne Peck and Ariel Esquivel
RSVP with your images to one of the two emails below:
junannepeck AT mac.com
arielmicheleesquivel AT gmail.com
Enter your innovative contemporary art created from fiber and recycled and repurposed mixed media. All submissions must include a fiber material or textile technique.
For contemporary fiber artists, materials include woven fabric, yarn, string, thread, synthetic fiber, and leather. Technical processes can range from conventional skills such as knitting, sewing, or embroidery to more alternative means such as gluing, stapling, or direct application of paint.
The content must be of a nature that a public entity can display for the enjoyment of a diverse, family-type audience.
Entry Fee: $5.00 for 3 pieces - exact cash only we don’t make change
Hand delivery only: Saturday March 1, 2025, 2-4pm. Location: 1975 Puritan Dr. Irving, TX. All work must be wired and ready to hang - no exceptions.
Reception: March 9, 2025 2-4pm
Pick up Work: April 26, 2025, 2 – 4 pm. Make arrangements if you are unable to pick up your work, we do not have storage.
Entries Closed
This immersive installation, held in collaboration with the Desert Botanical Garden of Phoenix, is a public engagement art project to rally for climate change action. It is seeking entries from fiber artists. Makers are called to create environmentally themed, folded textile panels in the style of prayer flags. The goal is to collect at least 2600 double sided flags, (5200 panels), to define
the pathways of ​this interactive labyrinth experience.
For more info, please visit the link below or contact Lu Peters.
The Arts Council of Wichita Falls (ACWF) has multiple galleries open for art exhibitions and actively solicits applications from regional and national artists.
For information about how to apply for consideration, please see the attached document.
Textile Talks features weekly presentations and panel discussions from the International Quilt Museum, the Modern Quilt Guild, Quilt Alliance, San Jose Museum of Quilts & Textiles, Studio Art Quilt Associates, and Surface Design Association.
The programs are held online at 1pm Central time each Wednesday.
Preregistration is required and recordings are available to everyone a few days later on YouTube. Carolyn Skei’s segment is found on the SAQA recording June 10 Conversations With the Artists: MUSICA!
Go to link below to sign up for future talks and view past videos.
Botanical Colors believe the way that conventional color is applied to clothes is broken. “Wet processing” as industrial dyeing is called, is one of the top polluters in the world, consuming enormous amounts of energy, water and petrochemical based colorants.
They’re here to offer a solution. Botanical Colors supplies artisans and industry with the materials, know-how and videos to dye textiles in a way that uses less water, is non-toxic and biodegradeable and draws its incomparable color palette from humble plants and natural sources. All colors are sustainably derived, many from agricultural and food waste products.
An opportunity for Artists and other creatives
Dallas Public Library is starting a Zine called DalLibZine. They will highlighting artists, writers from different mediums. Each month we are doing them.
Artists can submit their work and find more information at the link below.
The Craft Council of Newfoundland and Labrador, through the provincial Year of the Arts initiative, has the pleasure to announce the Made in Canada: Sustainable Fibre Arts Conference 2024.
The Conference is taking place from September 19 to 23, 2024, in Gros Morne National Park, a UNESCO World Heritage Site. It will feature workshops by Canadian artists and offer panels and workshops on sustainable harvesting and crafting practices.
For 50 years, Anderson Ranch provides opportunities for those interested in pursuing the visual arts. We offer workshops in the summer and winter as well as through the Artists-in-Residence Program in spring and fall.
Arrowmont is an internationally recognized visual art education center, providing creative experiences year-round with weekend, one- and two-week workshops from March through November.
For more than 90 years, the Folk School has encouraged all students and guests to become a part of the community through all-school activities such as concerts, dances, presentations and meals. People with varying interests are given a chance to come together through song, art, nature, gardening, cooking, storytelling and writing.
Maiwa School of Textiles, located in Vancouver, British Columbia, offers an international roster of instructors. Learn from some of the most skilled hands working in textiles today.
Penland is an international center for craft education dedicated to helping people live creative lives. Located in the Blue Ridge Mountains of North Carolina, Penland offers workshops in books, paper, clay, drawing, glass, iron, metals, photography, printmaking, letterpress, textiles, and wood. The school also offers artists’ residencies, local programs, and a gallery and information center.
The RSN Stitch Bank is an ongoing project of the RSN that catalogues more than 200 officially documented stitches from many diverse traditions.
UTSA offers a huge array of fiber and weaving courses as part of its professional and continuing education (PACE) division.
Located on the two floors of the Priest's House on the Ursuline Campus, UTSA's fiber department has 50 floor looms that are considered the largest teaching collection in the U.S., and are enjoyed by an active community of adult student weavers.
This list is by no means exhaustive! There are many outstanding fiber arts programs at accredited institutions. Please feel free to send us new additions at website@dallasfiberartists.org.
Buffalo State University now offers a Fiber Arts Certificate intended to serve as a foundation for artists, designers, and other professionals in fiber manufacturing and business. The courses include hands-on studio experiences with an emphasis on technical skills, aesthetics and conceptual aspects in various weaving, surface design, and mixed media techniques.
The fibers program at Massachussetts College of Art & Design (MassArt) offers students an intensive grounding in traditional fiber techniques to support experimental work across all areas of art, artisanry, and design.
The BFA Fibers program offers courses in weaving, surface design, knitting, felt-making, basketry, hand papermaking, interlacing, dyeing, and fabric construction.
There is also a two-year MFA: 3D Fine Arts program.
The Department of Fiber and Material Studies at the School of the Art Institute of Chicago (SAIC) is internationally renowned as a visionary program and one of the leading contemporary fiber arts education programs in the world.
The School at the Art Institute of Chicago (SAIC) offers both undergraduate and graduate programs.
MEMBER SPOTLIGHT
Reid Barnhart
Reid is a storyteller by heart, and has a steel clad memory, which is always on display in her conversations with friends or strangers. In fact, I don’t believe Reid Barnhart has ever met a stranger! Her natural interest in people, places, and things provides the only entry point she needs to spin a tale or make new lifelong friends.
Reid moved to Dallas in 1972 and soon started weaving lessons through the Craft Guild with Margaret Dempster. She joined the Dallas Handweavers & Spinners Guild in 1973 and began her interest in weaving. Reid began working full time at Timberlawn in 1975 and continued in that position as she and her husband David raised their family of three. Her interest shifted from weaving into constructing clothing around 1985 when she attended a lecture by Helen Richards on pieced clothing. Looking back over her incredibly prolific, creative path, this was a turning point for Reid.
Her interest in old vintage fabrics began and she saw a hat in a shop on Knox Henderson in Dallas that would begin her own hat making. She modified a hat pattern she found and through 1985-1990 began creating pieced clothing and hats. In fact, Audrey Legatowicz bought her first hat! And Chris Miller saw one of her first jackets in her attic and asked her to make more for the fiber gallery that she, Audrey, and Hinke Schroen had at Olla Podrida, ‘Fiber Options.”
For over 25 years now, Reid has been a wandering artist and textile collector. She had a trunk show of her work at Luke’s Locker, exhibited at Round Top twice a year for seven years, and had a booth in the Williamsburg Mid-Atlantic Quilt Show for 18 years, from 1998 until her last show in 2016.
Reid’s work is truly cherished by people across this country. Each piece is unique and beautiful, and has a story that only Reid Barnhart can tell. When you wear one of her hats or jackets, you can feel the story you are wearing, and know that you are now woven into the story as well of textile and creator.
Once a year, prior to our annual juried show, we hold an Entry Skills Mini-Workshop subject to member demand.
Whether you are a first-timer or an experienced veteran of entering competitions, this workshop is designed to help you prepare your submissions to any show, including our own annual juried show and members' challenge.
The 2024 edition will take place on March 9, 2024, at 10 a.m. sharp, and will be hosted by seasoned show entrants (and winners!) Carolyn Skei and Kathi Jahnke.
For artists seeking recognition in the competitive world of art exhibitions, juried shows, galleries, and museums, a well-crafted artist statement and biography are essential tools to establish themselves as art professionals. These documents serve as windows into an artist's creative world, providing insight into their motivations, vision, and artistic journey. A carefully composed artist statement and biography can help artists distinguish themselves from hobbyists and amateurs, presenting their work in a compelling, professional light.
An artist statement is a concise, eloquent description of an artist's work, providing viewers with an understanding of the underlying concepts, inspirations, and artistic processes. When writing an artist statement, consider the following tips:
An artist biography offers a more comprehensive look at your artistic evolution, providing context to your work and personal background. Consider these points while crafting your biography:
To create a cohesive narrative between your artist statement and biography, follow these steps:
Typically, juried shows request a short biography and statement. However, for some professional endeavors, you may wish to create a more detailed résumé of your accomplishments. The artist Curriculum Vitae (CV) provides a comprehensive overview of your artistic journey, achievements, and qualifications. To create a professional artist CV, please consider the following:
Crafting a professional-level artist documentation requires thoughtful introspection, clear communication, and the ability to contextualize your work within the broader art landscape. These documents serve as bridges between your artistic creations and your audience, allowing them to engage deeply with your art and understand your journey as a dedicated and accomplished artist. By following the guidelines outlined above, emerging and established artists can position themselves as true professionals in the art world, standing out amidst the sea of creatives and capturing the attention they rightfully deserve.
Content used with permission of
lupeters.com.
Fiber art is a versatile and expressive form of contemporary art that defies traditional boundaries. As you prepare your submissions for juried shows and exhibitions, mastering the art of effectively photographing fiber art pieces is paramount. The photograph becomes the bridge between the artist's creation and the viewer's perception, and it plays a pivotal role in conveying the nuances and textures inherent in fiber art. In this brief guide, you will learn how to capture your fiber art's essence through photography.
Fiber art, which encompasses such a wide range of techniques and materials, presents distinct challenges when it comes to photography. The interplay of textures, colors, and dimensions can be complex to convey accurately. Here's how artists can effectively navigate these challenges:
Once you've captured your fiber art pieces through the lens, post-processing can enhance the images while maintaining their authenticity:
Effectively photographing fiber art for juried shows and exhibitions is a skill that enhances the communication between artist and audience. The photograph becomes a visual ambassador, inviting viewers to engage with the artwork's textures, colors, and intricate details. By understanding the unique challenges of photographing fiber art, mastering lighting, composition, and post-processing techniques, artists can ensure that their submissions accurately and compellingly represent their artistic visions. In the realm of exhibitions and juried shows, a well-photographed fiber art piece not only reflects the artist's proficiency but also enhances the overall impact of the artwork on the discerning eyes of curators, jurors, and fellow artists.
Content used with permission of
lupeters.com.
In the realm of art exhibitions and juried shows, the artist's headshot is a critical component of the submission package. (It's also a key component of any websites and marketing materials you wish to distribute.)
This seemingly small yet impactful photograph serves as the initial introduction of the artist to curators, jurors, and the public. It's not just a portrait; it's a glimpse into the artist's personality, creativity, and professionalism. Whether you're a new artist embarking on your journey or a seasoned professional, mastering the art of capturing an effective artist's headshot can significantly enhance your submission. Here are key strategies to create headshots that will make a lasting impression.
The artist's headshot should reflect your unique artistic identity. Consider the following elements:
Lighting and background play pivotal roles in headshot photography:
The composition of the headshot should be engaging and balanced:
While professional equipment can yield superior results, you can achieve impressive headshots even with basic tools:
Experimenting with different angles and perspectives can produce captivating results:
Post-processing can enhance the headshot's visual appeal:
The goal is to strike a balance between professionalism and authenticity:
Capture a variety of poses, expressions, and angles. Consider switching outfits as well. This will give you a range of choices to select the most compelling headshot--not just for your next project, but for future projects as well.
An artist's headshot is more than just a photograph; it's a window into your artistry, professionalism, and personality. When carefully crafted, it can captivate the attention of curators and jurors, offering them a glimpse of the artist behind the creations.
Remember, your headshot isn't just a part of your submission; it's a representation of your commitment to your craft and your readiness to engage with the art world.
Content used with permission of
lupeters.com.
