In 2010, the San Jose Museum of Quilts & Textiles launched its signature event—the International TECHstyle Art Biennial (ITAB). Returning now for its third incarnation, ITAB III is a juried exhibition of work by artists merging fiber medi­ awith new information and communication technologies in their artistic processes, as a medium of artistic expression,and/ or in the content of their work. Leveraging its location in Silicon Valley, ITAB serves as the premiere platform for intro­ ducing the work of artists exploring the intersection of fiber and technology to a global community that assembles—virtual­ ly and in the real world—at San Jose’s Biennial Zero1 Festival.

As fibers, textiles, and the language of textile patterning have achieved wide attention in contemporary art practice— often as a means of evoking an experience that is both historical and contemporary—ITAB seeks to expose and explore the tensions between and among works by artists using fiber media whose work employs diverse artistic disciplines. We welcome submissions from artists in the fields of architecture, fashion, fiber art, installation art, interior design, new media, painting, sculpture, etc. Artwork demonstrating a keen understanding and mastery of the aesthetic, structural/technical, and semiotic possibilities of fiber and of digital, computerized, or networked information and communication technologies are the hallmark of the San Jose Museum of Quilts & Textiles’ International TECHstyle Art Biennial.

ITAB 2014 JURORS

MICHAEL F. JAMES serves as the department chair and Ardis James Professor in Textiles, Merchandising & Fash­ ion Design in the College of Education and Human Sciences at the University of Nebraska–Lincoln. He also serves as
a Faculty Fellow of the International Quilt Study Center at UNL and as co-chair of its 2003 and 2007 symposia, “Wild by Design” and “Traditions and Trajectories: Education and the Quiltmaker.” The artist’s first two books, The Quiltmaker’s Handbook (1978) and The Second Quiltmaker’s Handbook (1981), are considered classic guidebooks for the novice quiltmaker. Mr. James exhibits his work widely in solo and group exhibitions both at home and abroad. In 1999 he was honored with a 25­year retrospective at the Museum of the American Quilter’s Society in Kentucky, and his work has been included in six Quilt National competitions as well as in invitational shows at the Museum of Arts and Design (formerly the American Craft Museum) in New York City. His work is included in numerous museum collections. His alma mater, the University of Massachusetts–Dartmouth, awarded him an honorary doctor of fine arts degree in May 1992, and in 1993 he was inducted into the Quilter’s Hall of Fame. Since 2002 he has focused his creative efforts on digital textile printing and its interface with the quilt as mixed media platform. His work explores the liminal and fluid borderland between the physi­ cal and metaphysical worlds. His studio is located in Lincoln, Nebraska.

LOUISE LEMIEUX BÉRUBÉ is a Montreal­born textile artist and founding director of the Montreal Centre for Con­ temporary Textiles since its opening in 1989 until 2012. Ms. Lemieux Bérubé received a B.A. at the Université du Québec à Montréal and has studied Jacquard weaving at Rhode Island School of Design. Her woven Jacquards have received numerous honors and have been exhibited and sold throughout Canada and in many other countries. A finalist for the Saidye Bronfman Award in 2005, one of the most prestigious awards in visual arts, she is internationally recognized for her knowledge and her work in Jacquard weaving and computerized embroidery. Ms. Lemieux Bérubé has served as President of the Quebec Craft Council and member of Conseil des arts textiles du Québec from 1990 to 2000. She has also served on the board and advisory committee of Société de développement des enterprises culturelles du Québec (SODEC), and as president of the Craft Commission from 1995 to 2009. Since 2009 she has served on the board of the Conseil des arts et des lettres du Québec. She inaugurated the gallery at MCCT and has curated numerous exhibitions on local and international artists’ works. She is the author of Le tissage créateur, a comprehensive text book on weaving, and the co­author, along with Carole Greene, of Louise Lemieux Berube, Unwinding the Threads, published in 2012.

PATRICIA MAlARCHER is a studio artist and independent writer. She makes pieced constructions using fabric, thread, plastic, and whatever else a sewing machine will accept. Her work has been exhibited in Europe, Asia, and Africa as well as throughout the United States. She has received three artist fellowships from the New Jersey State Council on the Arts and has had 20 solo exhibitions. Her work is in many corporate collections and in the collections of the Museum of Arts and Design, the Cleveland Art Museum, the Museum of Fine Arts (Boston), and the Racine Museum. She is a former editor of the Surface Design Journal (1993­2012) and the SDA Newsletter. As a freelance writer she contributed to publications that include the New York Times, American Craft, Fiberarts, and Metalsmith. She has written numerous essays for exhibition catalogs as well as chapters for books including Michael James: Art & Inspirations, Objects and Meaning, and Helena Hernmarck: Tapestry Artist. As a Renwick Fellow at the Smithsonian Institution, she did research in craft criticism. Patricia Malarcher has served on juries for national exhibitions including Quilt Visions, and has co­curated exhibitions including New Ends at the Snug Harbor Cultural Center, Staten Island, New York, and Squares at the Leonard Hanson Gallery, Englewood, New Jersey.

Application

1. Artists may submit up to three (3) works.

2. Work will be submitted digitally to an online server, directions below.

3. Online submissions are open January 1–March 14, 2014.

4. There is a $35 entry fee per artist (includes 1–3 submissions).

5. Each entry must be represented by two images: One (1) full view and one (1) detail. NOTE: For installation pieces,

   provide TWO (2) different views and details.

6. Work that will be exhibited in a frame should be represented as such.

7. Work framed under glass should be photographed without glass, but noted that it will be displayed with glass.

Notification

Notification of the jurors’ decision will be sent via e-mail by April 21, 2014.

Requirements

1. Entries must be original work completed after January 1, 2011.

2. Artists must be 18 years of age or older.

3. Collaborative work will be considered as a single entry. Artists submitting both collaborative and individual works must

   apply separately.

4. Work must not exceed 10 feet in any single dimension.

5. Installation pieces must state total space requirement on entry form.

6. Work must be original in concept and design and not be the result of a class or workshop. Student work is accepted if

   it meets the previous statement.

7. All work must be either fiber in content or executed in a fiber technique.

8. Work included in previous ITABs will not be considered.

Conditions

Submission to ITAB implies the acceptance of the following conditions:

1. Accepted work must be completely ready for installation including any essential display hardware, rods, or stands.

2. Accepted artwork must be available for the entire duration of the exhibition.

3. If accepted work is sold prior to the exhibition, the artist must notify ITAB and make arrangements with the new owner

   to have the work available for the duration of the exhibition.

4. Work other than that submitted and chosen by the jury may not be substituted.

5. The San Jose Museum of Quilts & Textiles retains the right to reproducde and distribute the images to print and elec­

   tronic media for publicity, documentation, and educational purposes.

6. Work will be insured while at the San Jose Museum of Quilts & Textiles for 50% of the retail sales price or for objects

   not for sale, the insurance value.

7. For works available for sale, a 50% commission on retail sale will be retained.

Calendar

Online submissions open January 1–March 14, 2014

Submission deadline March 14, 2014

Notification April 21, 2014

Accepted work due June 16–July 3, 2014 (Hand delivered work accepted by appointment)

Exhibition dates July 30–October 26, 2014

Opening reception August 10, 2014

Zero1 (O1SJ) Festival
Mid September, 2014 (Dates TBA)

Selection

1. Work will be judged from DIGITAL images.

2. Selection will be based on the overall quality of the work and its relevancy to the standards stated in REQUIRE­

   MENTS.

3. Accepted work will be subject to final approval by the jurors’ representative. Work that differs significantly from the image representing it will be rejected and returned to the artist.

Photographing Your Work

1. It is ESSENTIAL that the images of your artwork are of the highest professional quality. Use a professional pho­ tographer if possible.

2. Digital cameras should be 6 megapixel or better with a good quality lens to prevent distortion of the image (bar­ reling, pincushion, or keystoning).

3. Each image should be clearly focused on a neutral background and accurately reflect the work submitted. COL­ ORS MUST REPRESENT THE PIECE ACCURATELY.

4. Proper lighting is essential. DO NOT USE A CAMERA FLASH. It will cause a “hot spot” on the work.

Digital Image Submission

1. Original digital photography should be submitted in high­resolution JPG format. The narrowest uncropped dimension should be approximately 2700 pixels. Images should be 300 dpi.

2. Filenames should NOT contain special characters such as periods, commas, slashes, pound signs, asterisks, etc

3. Use “baseline standards” when saving JPG files.