Publications in Art


Publications in Art:

 

Woven Color: The Tapestry Art of James Koehler

by James Koehler and Carole Greene

Cover and layout by Bill Greene

© 2010

 

Loom at the Top

by Carole Greene

Photos and layout by Bill Greene

© 2010

 

Christine Laffer: Tapestry and Transformation

by Carole Greene with Christine Laffer

Cover and layout by Bill Greene

© 2008

1997 On Stage Then, Backstage Now.

Recollections of 32 dancers whose lives were colored by Brownee Brown, a dance master and teacher who was instrumental in imbuing multiple generations of dancers on the Mainland and Maui with a lifelong love for the art of the dance. Mainland narratives include recollections by Dianne Parr, Lynn Sheets, Rivon Garacochea, Michele and Linda Rivard, Louäna and Caprice Workman, Dick Oliver, Lynda Hunnicutt, Carol Arnell, Alice and Shirley Nishimura, Mary Benner, Ronnie Judge, Carole Sherman, and Ronnie Heald. Maui narratives include recollections by Joan Izumigawa, Claire and Ross Deloso, Ruth Ogasawara, Jocelyn and Camille Romero, Jim Nagamine, Karen Imada, Kathy Kozuki, Lee Cataluna, Denise Ledward, Adell Fullaway, Kela Murchison, Sue Ann Loudon, Francie Von Tempsky, and Tiffany MacIsaac. Visual components set forth recital photographs from the dancers' past, some of which have been turned into figurative interpretations of Hawai'ian quilt patterns that were given Hawai'ian names by kumu hula Napualei Amadeo. Cupertino, California: Cambridge Design.

1996 Raising the Curtain: Six Fiberworks Artists .

An innovative discourse on six internationally acclaimed artists in the Fiber Arts field and theatrical strains that permeate their work. Individual chapters focus on Lia Cook, Gyöngy Laky, Nance O'Banion, Ed Rossbach, Yoshiko Wada, and Katherine Westphal. Fiber - the element which clothes our bodies and our thoughts - is celebrated through a contrapuntal form of writing. The reader is given the option of reading the author's commentary, the artists' color-coded thoughts, or a compilation of both voices. The pace of reading is slower than the linear presentation found in a standard art historical monograph. As a woman, the author has chosen to take the reader down a more leisurely path where there is time to savor individual voices. Cupertino, California: Cambridge Design.

1996 Kimono Inspiration: Art and Art-to-Wear in America.

Collaborative writer and editor for Yoshiko Iwamoto Wada's narratives in Part Three: Toward an American Understanding of the Kimono. Collaborative segments include the chapter entitled The History of the Kimono - Japan's National Dress, pp. 131 - 160, and the chapter entitled Changing Attitudes Toward the Kimono: A Personal Reflection, pp. 163 - 179. Edited by Rebecca A.T.Stevens and Yoshiko Iwamoto Wada. Washington, D.C.: The Textile Museum and San Francisco: Pomegranate Artbooks.

1995 More Than Meets The Eye.

A narrative that documents the unraveling of conversations that are color-coded and interwoven with the artist's reflections on the making of artwork for a solo exhibition. The characters who weave in and out of the linear discourse are introduced by a color rather than a name. Only gradually, as the conversational elements unfold, is the identity of the speaker revealed. Some characters live in the present. Others come to the fore in words that live on in the memory of the writer which have remained intact beyond the span of their lives. Visual components include photographs of finished artworks, one of which is layered with embroidered text and images on a ground sheet that was woven from clothing worn by individual members of the author - artist's family. Cupertino, California: Cambridge Design.

1983 On the Road to Cambridge: a Sampler of Sights.

A book of counted threadwork patterns with supplementary text based on the history of major emblems and landmarks in Cambridge, England. They include the Cambridge coat-of-arms, the Cambridgeshire coat-of-arms, the Gate of Honour at Gonville and Caius College, King's College chapel and floor, the Trinity College chapel floor, the Mathematical Bridge at Queens' College, the Bridge of Sighs at St. John's College, Hobson's Conduit, the Round Church, the W.H. Smith Building - quayside, the Laura Ashley building, the Victorian post box at King's College, a Cambridge milestone, a thatched cottage at Oakington, stained glass windows by William Morris at the Church of St. Peter at Coton, the Seven Wives pub sign in St. Ives, the Royal Oak pub sign at Godmanchester, St. Catherine and St. Christopher images in the Royston Cave, brass rubbings of Margaret and Henry Paris at the parish church in Hildersham, a brass rubbing of Roger de Trumpington, and Rupert Brooke's poetic ruminations on the village of Grantchester. Minneapolis, Minnesota: Burgess Publishing Co.

1986 Lady Maude Foxley.

Graphic design components for a blackwork counted threadwork interpretation of the brass rubbing of Lady Maud Foxley. She is shown wearing a heraldic dress and the nebule headdress that covers the top part of her hair which, hanging to her shoulders, is then enveloped in a smaller net. The brass memorial is dated 1378. Lady Maud was the first wife of Sir John Foxley of Bray, Berkshire. The original brass memorial was embellished with colored enamels that have been transmuted to pearls and amber gemstones in the threadwork design. Palo Alto, California: Gault Designs.

1979 The Rug Book: How to Make All Kinds of Rugs.

Author of Chapter 3: "The Hooked Rag Rugs of Annie Bird Plumb." Dr. Lillian Mary Quirke. Englewood Cliffs, New Jersey: Prentice Hall, Inc.


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