 
The Judson Gallery of Contemporary and Traditional Art
The Main and Hall Galleries
DAVID JUDSON, DIRECTOR
TAPESTRIES DESIGNED BY CONTEMPORARY ARTISTS
Squeak Carnwath, Guy Diehl, Donald & Era Farnsworth, Rupert Garcia, Robert Kushner, Hung Liu, Alan Magee, Dan McCleary, John Nava, Mel Ramos, & William Wiley
Curated by Prof. Ronald E. Steen, Art Historian and Art Educato
OPENING RECEPTION: SATURDAY, SEPTEMBER 17, 2005, 4 – 6 P.M.
Exhibition Continues: Monday, September 19, 2005 through Friday, January 6, 2006
Gallery hours: Mon.- Fri. 10 to 3
ABOUT THE “TAPESTRIES DESIGNED BY CONTEMPORARY ARTISTS” EXHIBITION IN THE MAIN GALLERY
These unique tapestries were designed by contemporary artists working with Magnolia Editions and subsequently woven at Flanders Tapestries in Belgium by the new computerized method that captures minute details of the artist’s design and allows the design to be woven directly with no alteration from the weaver. As such, the artist maintains complete control over the final work and ensures that the result is an authentic expression of the artist’s intentions. These unique works of art are not recreations of works of past masters, but produced, approved and signed in small limited editions by the artist, the creator of the image. This unconventional and direct method to create and weave Jaquard tapestries by contemporary artists was a result of the collaborative efforts of John Nava and Donald Farnsworth for the tapestries commissioned in 1999 by the Cathedral of Our Lady of the Angels. These tapestries are produced in a similar spirit of creative vigor and fresh energy that William Morris brought to tapestry design during the Arts and Crafts Movement in England.
Since the initial tapestry project for the Cathedral of Our Lady of the Angels, over 30 different tapestry editions have been produced. For each tapestry, the digital work required to transform the artist's image to its tapestry form is done by Magnolia Editions or by the artist who created the image. The custom palettes (colors and shades) employed in the weaving of the tapestries have been created especially for the tapestries by Magnolia Editions, ensuring the greatest range and fidelity to the artist's original design. The tapestries are woven at a small, family-owned mill in Belgium with a long history and tradition of weaving. They are woven in cotton with some viscose, which is a cellulose/cotton product, or wool and viscose. The utmost care is taken in every step of creation and production. These tapestries are a unique technique that blends both old-world weaving processes with the newest digital possibilities. These tapestries have, exactness of detail, the distinctive look, and the authentic mark made by the hand of the artist within these thoroughly contemporary tapestries.
ABOUT “CONTEMPORARY TAPESTRIES” IN THE HALL GALLERY
Tapestries reproduced from pre-existing imagery but produced by the new technology describe above and in unlimited numbered editions will be on display in the hall gallery. Works such as “Antiquarian Bookshelf”, by Donald Farnsworth and “Cranes in Mist” and “Carp and Net” after designs by Takamichi are included in this small but exciting exhibition.
WHAT IS A TAPESTRY?
Tapestry is defined as a thick textile fabric in which colored weft threads are woven into fixed warp threads to form an image. As in most traditional weaving, the weft threads are the horizontal threads or yarns which the weaver or loom weaves back and forth, and the warp threads are the long, fixed vertical threads.
A BIT OF TAPESTRY HISTORY
For thousands of years, predating classical antiquity, humankind has used the medium of tapestry art to express itself and record its history. Ancient Egyptians and Incas buried their dead in tapestries. Early Greeks and Romans used tapestries in the decoration of affluent homes and important buildings. Archaeologists believe that tapestries covered the walls of the Parthenon.
After the collapse of the Roman Empire, tapestry, like so many of the arts and sciences, was re-introduced to Europe by the Moors by way of Spain. During the Middle Ages tapestries were status symbols amongst the aristocracy. Tapestries decorated the stone walls of castles and provided insulation and privacy. Touring kings and nobles transported their tapestry art from castle to castle. In medieval times France, and more specifically Paris, was the center of tapestry production in Western Europe. During the Hundred Years War many important tapestries were lost or burned for their precious metal content. Escaping the chaos, numerous tapestry artists and craftsmen moved to Flanders (present-day Belgium, Northern France and the Netherlands). Flanders became probably the most recognized center of tapestry weaving for three centuries, although important works continued to be produced in France, Italy, Germany and throughout Europe. In the 16th century wars between France and Spain caused Flemish weavers to emigrate to Britain, France and Italy.
Medieval weavers used working sketches, from which they freely adapted, to produce their tapestries. By the Renaissance, weavers were more rigidly copying from full-sized, fully-realized drawings or paintings. Tapestries became more copies of paintings rather than independent works of art. Depending on the skill of the craftsperson, these copies could be clumsily or effectively adapted.
In 1804, the Jacquard loom was invented by Joseph Marie Jacquard. He most likely borrowed from and built upon the ancient technique of card weaving. Using this method weavers could "program" a pattern of weaving by threading different colors of yarn through holes in cards and then twisting the cards as they wove the weft back and forth to form the pattern. Jacquard's method of weaving involved processing perforated cards, like those later used in player pianos or early computers, which chose the colored threads to be used in the tapestry image. The preparation of the Jacquard card was a difficult and lengthy process, involving several months of work and various color tests. However, once the punch cards were made, the tapestry could then be woven more than once. Apart from a small number of hand-woven tapestries, Jacquard looms are still used today in the production of most tapestries.
In a modern two-meter-wide Jacquard loom, the 18,000 or so warp threads or yarns, which can be miles in length, are wound on gigantic spools with each warp string threaded through the loom heddles. In the older Jacquard looms a series of up to 36,000 perforated cards were prepared for each tapestry. Each perforation represented a single stitch, a single instruction to the loom to pull up or stay each warp yarn, which intertwined with the weft yarns. In modern Jacquard looms computers give the instructions, which are basically the same as the earlier non-computerized looms. Each thread is told to move up or stay put to create the image.
Illustrations on page one:
La Xochitl IV, 2003 Portrait of R.E. I, 2005
by Rupert Garcia by John Nava
Tapestry & fabric paint Tapestry
82 x 82” 83 x 78”
Edition of 5
Portrait of R.E. I, 2005
by John Nava
Tapestry
83 x 78"
Edition of 10
All rights reserved by the artist
ART EDUCATION PROGRAMS
Tour: Saturday, November 19, 2005, 4 to 6 p.m.
The Exhibition: Tapestries Designed by Contemporary Artists
with the Curator Ronald Steen
Free. Reservations are required. Call (800) 445-8376
Group Tours: Judson Studios Workshops & The Tapestry Exhibition
Wednesdays, 10 a.m. and at 2 p.m. Tour format approx. 1 ½ hr.
$10.00 per person. Group minimum 20.
Call (800) 445-8376 Tour reservations and events coordinator
Hold your event or meeting in the creative environment of Judson Studios & Art Gallery
Call (800) 445-8376
ABOUT THE JUDSON GALLERY
Judson Studios was originally the School of Fine Art and Architecture of U.S.C. William Lees Judson was the founder and first Dean of the School. The spacious, high ceiling, northern-lit studio, which today is The Judson Gallery of Contemporary and Traditional Art, was used for large drawing and painting classes. The rest of the building contained studio space for the students and dorms. In 1920 when USC centralized its campus the Judson Studios moved into the building. Founded in 1897, the Studios has continued to manufacturer stained glass, or what it is more commonly referred to in contemporary terms as, architectural glass. Judson Studios is still family run, and is currently owned by Karen Judson, and directed by David Judson, fourth and fifth generation respectively. Today the Studios bring a 21 st century aesthetic and technology sensibility to the facility and the craft, with over 100 years of tradition and experience. The philosophy of the gallery is to showcase all forms of contemporary and traditional art which is well crafted.
CHECK LIST OF WORKS IN THE EXHIBITION
Digital images are available on request
by contacting THuang@judsonstudios.com
Or by calling A. Leach, M-F 9-2, (800) 445-8376
THE MAIN GALLERY:
#1
Brush Tapestry, 2005
by Alan Magee
Tapestry
75 x 61”
Edition of 16
#2
Happy Again, 2003
by Squeak Carnwath
Tapestry
82 x 81”
Edition of 8
#3
White Carnations, 2005
by Dan McCleary
Tapestry
76 x 56”
Edition of 10
#4
Dark River , 2004
by Robert Kushner
Tapestry
41 x 82”
Edition of 10
#5
Still Life with Charles Demuth, 2004
by Guy Diehl
Tapestry
49 x 84”
Edition of 8
#6
Presidio Cypress, 2003
by Donald & Era Farnsworth
Tapestry
76 x 57”
Edition of 24
#7
Portrait of R.E. I, 2005
by John Nava
Tapestry
83 x 78”
Edition of 10
#8
River Reflection, 2005
by Donald & Era Farnsworth
Tapestry
72 x 52”
Edition of 36
#9
Profile II, 2005
by Hung Liu
Tapestry
72 x 82.5”
Edition of 8
#10
Canister Under the Banister, 2003
by William Wiley
Tapestry
68 x 83”
Edition of 6
#11
La Xochitl IV, 2003
by Rupert Garcia
Tapestry, fabric paint
82 x 82”
Edition of 5
#12
St. Monica, 2003
by John Nava
Tapestry
40 x 39”
Edition of 1
#00
Chiquita, 2004
by Mel Ramos
Tapestry
70 x 83”
Edition of 24
THE HALL GALLERY:
#13
Carp & Net, 2005
by a Japanese master of the Meiji period
Tapestry
78” x 37”
Unlimited numbered edition
#14
Antiquarian Bookshelf, 2005
by Donald Farnsworth
Tapestry
62 x 44.5”
Unlimited numbered edition
#15
Cranes in Mist, 2005
by a Japanese master of the Meiji period
Tapestry
51 x 82”
Unlimited numbered edition
#16
Woodland
Tapestry
64 x 214 cm
#17
Our Lady of Guadalupe
Tapestry
55 x 86 cm.
#18
Dame La Licorne
Tapestry
118 x 168 cm.
#19
Vase of Flowers
Tapestry
108 x 81 cm.
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