NYGH Meetings

Overview | 2018-2019 Calendar | Newsletter Info

Most Guild meetings begin at noon with a social hour. Show and tell is at 12:30pm. The program begins at 1:00pm. For exceptions to this schedule see the listing below. For more, see About the Guild. Check meeting notice changes on our Facebook page.

The Guild meets at:
The School of Visual Arts
Room 602C
133 West 21st St. (bet. 6th & 7th Ave)
New York, NY

Non-members are welcome for $8.00 per lecture.

2018 – 2019 Calendar

We have a wonderful lineup of lectures, workshops and events for the 2017–2018 season. Come join us!!

DATE PROGRAM Presenter
September 29, 2018 Mayan Hands, the Journey Brenda Rosenbaum
October 27, 2018 Rep, Rips, Reps: My Personal Journey into Rep Weave Lucienne Coifman
December 1, 2018 Make It and Take It Fiber Crafts  
January 26, 2019 Ukrainian Weaving Halyna Shepko
February 23, 2019 Saori Weaver to 7 year old boy: what do you want to weave today?

Answer. A hotdog
Ria Hawks
March 30, 2019

What Knots

Ed Bing Lee
April 27, 2019 Tapestry as Story from Antiquity to Today Carol Chave

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Newsletter Closing Dates

Members are invited to submit items of interest for consideration to be published in our newsletter, New York Threads. Items can be sent to editor@nyhandweavers.org. Below are the closing dates for next season’s newsletters.

Sept. 14, 2018 Newsletter closes For September issue
Oct. 12, 2018 Newsletter closes For October issue
Nov. 16, 2018 Newsletter closes For November/December issue
Jan. 11, 2019 Newsletter closes For January issue
Feb. 8, 2019 Newsletter closes For February issue
Mar. 15, 2019 Newsletter closes For March issue
Apr. 12, 2019 Newsletter closes For April issue

Saturday, September 29, 2018

Brenda Rosenbaum — “Mayan Hands, the Journey”

Mayan Hands weaving samplesDescription: Through the story of Mayan Hands, we explore the lives of Mayan women and their textile creations. We look at these in the context of the history of Guatemala, trying to understand why Mayan weavers, though famous around the world as talented weavers, live most frequently in extreme poverty. We analyze the contemporary situation, at a time when national and international businesses are appropriating designs from Mayan traditional weavings as well as the actual textiles to produce high end items, while the weavers receive only pennies for them. This not only keeps the weavers trapped in the cycle of poverty but endangers the survival of their ancient art, a veritable cultural treasure. We talk about the emergence of the National Weavers Movement and its struggle to counter appropriation and exploitation. Finally, we examine the impact of fair trade on the lives of weavers and its potential for poverty reduction and as a positive force in the survival of traditional Mayan weaving.

Brenda RosenbaumBrenda Rosenbaum is an anthropologist who has worked with Mayan women in Chiapas (Mexico) and Guatemala for more than 40 years. For many years she conducted research in Mayan communities on Mayan culture and gender, myths and rituals, role of women in history, etc. In 1993, she published the book With Our Heads Bowed: the Dynamics of Gender in a Maya Community, and has published several articles on these topics as well.

In 1990, Brenda and her husband Fredy founded Mayan Hands, a fair trade organization with the mission of finding markets for very poor and talented Mayan weavers. She has been working with Mayan Hands ever since (and loved every minute of it!)

www.mayanhands.org

https://www.facebook.com/MayanHands/

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Saturday, October 27, 2019

Lucienne Coifman — “Rep, Rips, Reps: My Personal Journey into Rep Weave”

rep weaveDescription: Lucienne will trace her progression from her first simple rep weave placemat, woven 30 years ago, to her recent three-dimensional pieces and installations. Throughout her years of exploration, she has discovered various ways to refine weave structure, add colors, add blocks, and experiment with pick-up designs. She will also discuss the complex, nontraditional rep weave techniques she is experimenting with now.

The material in this presentation formed the basis for her book, Rep, Rips, Reps: Projects, Instruction, and Inspiration, the culmination of her many years of research into rep weave technique and design.

Lucienne CoifmanLucienne Coifman has taught weaving for almost 40 years at the Guilford Art Center and Creative Arts Workshop and in her own Connecticut studio. She has also conducted workshops throughout the Northeast and Midwest. Her work has appeared in many juried exhibits and in Shuttle Spindle & Dyepot and Handwoven magazines.

For the past three decades, Lucienne has been studying variations on traditional rep weaving techniques. Working with as many as eight harnesses, she experiments with different fibers, colors, and patterns, using pick-up techniques when needed. Her rep weave designs offer innovative variations on traditional forms and familiar patterns. Lucienne’s recent book, Rep, Rips, Reps: Projects, Instruction, and Inspiration, is a complete rep weaving workshop for both beginning and advanced weavers.

www.lucienne-repweave.com

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Saturday, December 1, 2018
Make It and Take It Fiber Crafts

Join us for an afternoon of fun fiber-related crafts along with delicious holiday munchies.


Saturday, January 26, 2019

Halyna Shepko — “Ukrainian Weaving”


Saturday, February 23, 2019

Ria Hawks — “Saori Weaver to 7 year old boy: what do you want to weave today?

Answer. A hotdog

Saori weaving samplesIn her presentation Ria will describe the art of SAORI weaving, and demonstrate how SAROI Arts NYC provides the opportunity for people of all ages, who experience developmental, physical or emotional challenges, to discover the joy and creative benefits of free-style weaving. Stories and work of these SAORI weavers will be shared as examples of the ways SAORI is able to decrease stress and anxiety, while enhancing self expression and coping skills, all while creating woven art.

Saori weaving samplesRia Hawks was a Pediatric Nurse Practitioner at Morgan Stanley Children’s Hospital of Columbia University Medical Center. Her focus was to provide children with palliative and curative care for cancer and life threatening hematological diseases. Throughout her career, she has been an advocate for integrative therapies, which included interventions that promoted healing.

From this perspective, Ria is a founding member SAROI Arts NYC, a nonprofit organization, which provides the opportunity to people of all ages who experience developmental, physical or emotional challenges, to discover the joy and creative benefits of free-style weaving. SAORI ARTS NYC is a full circle for Ria. As a child, Ria enjoyed embroidery and needlepoint with her mother, as an adult she was drawn to nursing people, and now she embraces SAORI weaving to combine her passion for healing with the joy of creating pieces of art.

www.saoriartsnyc.org

https://www.facebook.com/saoriartsnyc/

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Saturday, March 30, 2019

Ed Bing Lee — What Knots

Ice Cream cone in fiberArtist Statement:

The Picnic series marked my first foray into the world of fiber art. The series dating from the mid 1980's, juxtaposed selected passages from two of George Seurat's monumental paintings, namely Sunday on the Grande Jatte and Bathers at Asnieres, with contemporary food images selected from advertising art. Some 10 years later, I turned again to the food images, visualizing them three dimensionally. However, the transition from earlier pieces to sculptural forms was not an immediate one, I moved gradually through several series, including framed pieces of historical miniatures, bas-relief of Orchids, the Earthcrust series and the current series, titled Meditations on the Chawan.

My initial attraction to the process of knotting was its immediacy and the fact that little specialized equipment is required, which allows for great latitude in approach as to design, concept and technique. In the Picnic series the work is akin to making a tapestry. The image is created by a vertical clove hitch over a fixed "warp", guided by a cartoon. I thought the process of creating an image of multicolor knots is not unlike Seurat's pointillism. In three dimensional or sculptural work, the knotting process is most forgiving and the work can progress in many directions simultaneously. The distinction of warp and filling is interchangeable.

In the end, I continually return to art history for visual and conceptual stimulation. For me it is the perfect jumping off point for work in a technique that knows no boundaries.

Ed Bing Lee has been perfecting his knotting artistry for over 40 years. He started as a commercial fabric designer in New York and Philadelphia and then became an instructor, teaching at Moore College of Art and Design, The University of the Arts, and the Art Institute of Philadelphia. Working with colored thread and thousands upon thousands of knots, Lee transforms a simple material and a common technique into a unique form of contemporary fiber art.

Ed Bing LeeLee is the recipient of several Pennsylvania Council on the Arts fellowships, and has twice received the Farelli Award for Excellence in Fiber at the Philadelphia Museum of Art Craft Show. His work is included in the collections of the Boston Museum of Fine Arts, the Daphne Farago Fiber Arts Collection, and the Franklin Mint in Los Angeles, CA. His work has been exhibited at the Sculptural Objects and Functional Art show in both Chicago and New York, and Men of Cloth at the Loveland Museum, CO. A solo exhibition of Lee’s work, AT 70, was mounted at the Snyderman/Works Gallery in 2003.

www.edbinglee.com

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Saturday, April 27, 2019

Carol Chave — “Tapestry as Story from Antiquity to Today”

info to come

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