FANfare Blog

“Ahead of her time.” This was one of the first things that Nancy Hemenway Barton’s son, Bill Barton, said about his mother during a lecture last month withJill D’Alessandro, curator of the Denver ArtMuseum’s Avenir Institute of Textile Arts & Fashion.
Through fiber, metal, and process, Beatrice Atencah transforms history into form, weaving together stories of resilience, migration, and cultural continuity. Her sculptures invite us to see textiles not just as fabric, but as vessels of memory and transformation—where tradition and identity shift and evolve.
“At its core, this initiative is about taking action—if we want change, we must create the opportunities to make it happen.”
The Craft Emergency Relief Fund has dedicated itself to supporting artists by providing critical assistance for both preparing for and recovering from disasters and emergencies.
California-based artist Andrée Carter invites us to see cities through the eyes of an artist, where texture, color, and needlepoint come together to tell layered and evocative stories.
As the founder of the Fiber Art Network, former publisher, editor-in-chief of Fiber Art Now magazine, and author, Marcia Young has tirelessly championed the visibility and value of fiber arts. Now, as the executive director of the Society of Arts and Crafts, she brings her passion and vision to a broader creative community.
As we look ahead to 2025, we know you will continue to express yourself in myriad ways, and we hope you will share your amazing artwork with Fiber Art Now. It’s the perfect time to think about entering your work and we encourage you to do so. Plan ahead and get ready to shine!
In the creative journeys of Alice Fox, Leslie Rottner, and Bonni Brooks, tools are far more than functional items; they’re as expressive and essential as the art itself. Each artist repurposes or crafts their tools from everyday and natural materials, transforming them into something personal and powerful.
Experimentation is also key for me. I improvise during the printing process, allowing my inspiration to guide me, resulting in a unique piece each time. I have never used printmaking in a very classical way, except when I studied it. I use printmaking more like a painter who works on a canvas.
When I first started working in sketchbooks, I often felt pressure to follow a theme or stick to a structure. But it wasn’t until I embraced a more free-flowing approach that I truly started enjoying the process.
To commemorate 100 years of climate data collection, an inspiring partnership between park scientist Pam Sousanes and artist Ree Nancarrow was born. This collaboration led to a powerful piece of artwork that both celebrates Denali's climate history and communicates the pressing issue of climate change in a way that resonates with viewers on an emotional level.
Perez’s sketchbooks are where her creative magic begins—a space for experimenting with dyes, acrylic inks, and intricate textile techniques like shibori and monoprinting. These pages are the foundation of her richly textured fabrics and complex patterns, offering us a glimpse into the alchemical process that transforms her ideas into art.

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