Morning Star Tapestry

Classes and workshops

2010-09-21T22:43:00.000-07:00

WORKSHOPS FOR SPECIFic TECHNIQUES--

Small Scale/Small Format Tapestry Weaving

(1-2-3-5 days)

Small-scale tapestry creates an intimacy that is not often felt in large-scale tapestry. The student will learn the importance of proportion and scale in both materials and design. Participants will be encouraged to weave a small sampler at 20 wpi--6 inches by 6 inches in the class using sewing thread for the weft and craft/upholstery thread for the warp. Instruction will include slide presentations, hand¬outs, group demonstrations, personnel instruction, and a section on creating and adapting looms for small-scale weavings. (Directions for making a pipe loom that is easy to trans¬port will be supplied to the student prior to the class. If the class is a 2-3 day class, looms will be warped prior to the workshop with directions and warp supplied by the instructor. Five days and the loom can be warped the morning of the first day. ($25.00 materials fee all weft and warp supplied by instructor) advanced or intermediate level) In 2-3-day workshop the looms may be built and warped the first day of instruction for shorter classes I prefer the looms to be warped before class. If the instructor supplies the looms there will be an additional; 5.00 per student added to the materials fee for shipping and handling the looms. Beginners- basic weaving tools.
Instructor supplies warp and weft.
Student supplies basic weaving and design tools, advanced

Soumack-Something Old-something new

(2 hours, .5 days, 1-2-3-5 days)
Soumack-no matter how you spell it is a technique that can be used to create whole cloth or be mixed with tapestry to create lines that travel in any direction and any angle. Soumack can be used to outline, lock shapes into place, smooth edges or produce a unique surface. Traditionally, it was used throughout the middle east to produce containers and household items. Mixed with tapestry it becomes an all purpose technique for creating lines, texture and problem solving.

( Directions for making a pipe loom that is easy to trans¬port will be supplied to the student prior to the class the instructor will also have looms available for use in class by students. If the class is a three-day class, looms will be warped prior to the workshop with directions and warp supplied by the instructor. 2-3 workshops and the loom can be warped the morning of the first day. advanced or intermediate level) ($25.00 material fee) In 2-3-day workshop the looms may be built and warped the first day of instruction for shorter classes I prefer the looms to be warped before class. If the instructor supplies the looms there will be an additional; 5.00 per student added to the materials fee for shipping and handling the looms. Beginners- basic weaving tools. Instructor supplies warp and weft.
Student supplies basic weaving and design tools, advanced

FLOWERS et al

(1-2-3 days)

The student will learn techniques for creating both stylized and photo-realistic flower cartoons for tapestry weaving. Students who feel they cannot draw will be taught to work with photographs, digital images, slides, photocopies, historical paintings, and old tapestries to produce images for their tapestries and cartoons. Through a series of exercises the workshop participants will be encouraged to create floral cartoons that will help them discover and invent their personal style and weaving level. Students will be taught by viewing slides, practical demonstrations, handouts, and personal instruction within the workshop and weaving.. (The 2-3-day class will design, discuss, and begin to weave their cartoons, or they may weave one of a se¬ries of cartoons that will have been prepared for the class. When looms are required in 3-5 day workshops (3 day workshop participants will be required to warp loom prior to the class), the students will be supplied in advance with the directions for building a small loom that is transportable in a suitcase, also the warp for the loom, and a supply list. The emphasis on what the students produce will change according to the length of the class. Requires basic knowledge of tapestry technique. ($20.00 materials fee)) In 2-3-day workshop the looms may be built and warped the first day of instruction for shorter classes I prefer the looms to be warped before class. If the instructor supplies the looms there will be an additional; 5.00 per student added to the materials fee for shipping and handling the looms. Beginners- basic weaving tools. Instructor supplies warp and weft.
student supplies basic weaving and design tools, advanced

Hachures, Hatching and Pick and Pick

(1-2-3 days)

The techniques of hachures and hatching are related in the way that they produce weft directional bars and shapes of colour and then can be used progressively for contouring and blending colours. Pick and pick is a technique that can be used for shading and producing grids, dots, and lines of colour that travel the direction of the warp. All of these techniques can be combined with other techniques such as colour blends and fades to produce contouring, layering, and transparencies. The workshop participants will produce a sampler of these techniques and their variations. Demonstrations, sampler weaving, handouts and slide lectures will be used to teach these techniques. (Directions for building a small portable looms, warping directions, and warp will be supplied prior to the workshop. ($15.00 materials fee) intermediate to advanced. ) orIn 2-3-day workshop the looms may be built and warped the first day of instruction for shorter classes I prefer the looms to be warped before class. If the instructor supplies the looms there will be an additional; 5.00 per student added to the materials fee for shipping and handling the looms. Beginners- basic weaving tools. Instructor supplies warp and weft.
student supplies basic weaving and design tools, beyond beginning level

Hachures, Hatching, and Crenulated weave structures

(1-2-3 days)

Crenulated weave structures are related to hachures and hatchings which are used for the interlacement of colour areas in tapestry weaving. These structures are called crenulated because they look very much like the top of castles or forts. Historically they are found in Middle Eastern and Scandinavian tapestry weaving. Design wise and technically they can be used as single sided, double sided or can be grouped in multiples for shading, frames or used architecturally.

The definition of a hachure is the creation of woven tri¬angular areas or lines that penetrate into an adjacent weft shape and produce an intermingling of the two colours to produce a third colour or colour mixture. This class will teach the participant how to use hachures, hatching, and eccentric hachures to blend colours, Crenulated weave structures produce changes in perspective, and in shading.

Students will bring warped looms to the class and a small sampler of the techniques and their variations will be woven in the class (the size of the sampler produced will vary according to the choice of loom and warp sett chosen by the student). Demonstrations, handouts, and slide lectures will also be used in the class. Directions for building a small loom to weave the sample on will be supplied prior to the class along with warp and weft choices for the sampler. ($15.00 materials fee) ($25.00 material fee) In 2-3-day workshop the looms may be built and warped the first day of instruction for shorter classes I prefer the looms to be warped before class. If the instructor supplies the looms there will be an additional; 5.00 per student added to the materials fee for shipping and handling the looms. Beginners- basic weaving tools. Instructor supplies warp and weft.
student supplies basic weaving and design tools, –skill level—beyond a beginning level tapestry weaver, basic weaving tools)

Lines and All that Stuff

(seminar.5-1-2-3-5 days)

Have you ever wondered if there was something beyond the basics in tapestry? Well, there is. This is an exploration and demonstrations of a few of the advanced techniques—vertical lines, loosing stair steps on angles, wavy and non wavy straight lines, soumack, eccentric weaving, wedge weave and shaping, blisters, texture, metallic, switching warp setts, outlining, arras, interflection, reflection, transparencies, etc. Slides, handouts and demonstration support teaching. (more then a beginner) student will provide small frame looms that are warped. Directions for building loom can be suggested by the instructor prior to the class) or ($25.00 material fee) In 2-3-day workshop the looms may be built and warped the first day of instruction for shorter classes I prefer the looms to be warped before class. If the instructor supplies the looms there will be an additional; 5.00 per student added to the materials fee for shipping and handling the looms. Beginners- basic weaving tools. Instructor supplies warp and weft.
student supplies basic weaving and design tools, advanced

Slits--To be or not to be!-not

(.5 1-2-3-5 days)

Slits are produced when two areas of weaving are woven side by side without overlapping each other. The workshop will teach the specifics of slits and the various ways to get rid of the holes in your tapestry that are created by slits. The class will include instruction in the basic-dovetails, interlocks, double weft interlocks (both from the front and back), clasped, toothed, etc. Several different techniques for sewing slits will also be introduced. But, suppose you wish to make the slit work for you? Techniques for fine lines and shadows will also be presented using the slit. A multi-cultural approach will be taken (Navajo, Scandinavian, French, Middle Eastern, Chinese), borrowing from whatever works. The students will be taught by demonstration, slides, handouts of each of the techniques, and student participation. Students will produce a sampler of the various techniques. Directions for building and warping a small portable loom will be supplied prior to the class. Warp and weft is also included. ($12.00 materials fee) intermediate to advanced.

To be-Pulled slits and Imbricated slits(Bunnmonstre)

(seminar-.5-1-2-3 days)

Historically pulled slits were used as design elements. They created lines, designs, shading, and delineation in same colour weaving. They could be woven through to create outline and texture. An old technique based on the weavings of the Hunt of the Unicorn, Lady and the Unicorn and other tapestries of 14th, 15th and 16th century. An imbricated slit is the opposite of a pulled slit which leaves one side of a slit over the edge of the other side like the overlay of feathers. This class is meant as an introduction to the technical usage of the slit and designing with the slit and pulled slit. The students will be taught by demonstration, slides, handouts of each of the techniques, and student participation. Students will produce a sampler of the various techniques. Directions for building and warping a small portable loom will be supplied prior to the class. Warp and weft is also included. ($12.00 materials fee) intermediate to advanced.

Shaped Tapestry

(1-2-3 days)

Shaped tapestries are showing up everywhere. They are being used for jewelry containers, medicine bags, small purses, small art works, and are being woven into already finished fabrics. They look difficult to weave, but they are not, once you understand a few basic principles.

Loom controlled shaping. Workshop Participants will learn to shape and do 3-d tapestries constructed on looms, create patterns for shaping, weaving shaped tapestries, tubes, darting, voided areas, and scaffolded tapestry weaving and other construction techniques for 3-d and shaped tapestry.

( Directions for making a pipe loom that is easy to trans¬port will be supplied to the student prior to the class. If the class is a three-day class, looms will be warped prior to the workshop with directions and warp supplied by the instructor. Five days and the loom can be warped the morning of the first day. ($15.00 materials fee) advanced or intermediate level)

Out side the box-needlefelting and on tapestry(.5)

Tapestry is, of course, a plain woven structure with a discontinuous weft usually covering all of the warps. Needle felting is the art of applying fiber, yarn or an image to another surface with the use of a felting needle. Needle felting can be used to do images in which you don’t want stair steps, add images and small details after the tapestry is woven or even as it is being woven, optical blending, ghost images, transparencies, corrections to a woven image, outlining, hide the rib structure of the tapestry and change the surface of a tapestry. Any level(Materials fee 10.00-includes handouts, sampler pack of needles, foam and wool, but not the tapestry)

And now the idea-Creating Tapestry Cartoons (1-2-3 days)

Students will be taught different methods of creating tapestry cartoons or for adapting their drawings, paintings, or photographs to cartoons. The class is also presented in such away that those students who say they cannot draw or design will be able to produce designs that are uniquely theirs. Skills and exercises can be used to produce tapestry designs from other sources--paintings, photocopies, historical tapestries, and collage. The emphasis will be on producing weavable cartoons. Scale, size, materials, warp and weft choices, and materials will be discussed. Supporting handouts and slide presentations will also be used in the instructional time. ($7.50 materials fee) Student supplies basic design tools. Any level

Colour and Tapestry

( seminar-.5-1-2-3 days)

In order for a weaver to use a limited palette, techniques were developed such as hachures, hatches, melange, chines, colour fades, and multiple wefts, the use of silks, rayon, metallics and mohair to change reflective quality. The participant will produce a sampler of the various techniques used in tapestry that emphasis colour and value and colour theory. The class will explore colour usage in tapestry through slide presentations, samples, weaving a sampler. Each student will leave with a woven sampler and supporting handouts of the various techniques. Directions for building a small portable loom and warp will be supplied upon request to the student prior to the workshop. ($12.00 materials fee) students supply small portable warped loom. Teacher supplies weft, handouts and supplies used in class.

Colour Movement in Tapestry-

or All Together now.

(1.5 hours .5-1-2-3 days)

This workshop is for more then the beginner. It combines all of the colour and shading techniques both warp direction and weft direction. Warp direction techniques –hachure hatching, crenellation. Weft direction-chené, mélange, colour fade pick and pick and then blends them together to work together. This workshop blends the notes into a sybaritic symphony of bacchanalian splendor. (Advanced) ( Directions for making a pipe loom that is easy to trans¬port will be supplied to the student prior to the class. If the class is a three-day class, looms will be warped prior to the workshop with directions and warp supplied by the instructor. Five days and the loom can be warped the morning of the first day. ($15.00 materials fee) ( advanced or intermediate level)

Floating through-Brocading Techniques for tapestry

(1-2-3 days)

A class for the more then beginning tapestry weaver who wants to add brocading techniques such as crappaud, Hopi embroidery, zilli, coal miner’s edge, cicim, and soumak to their bag of tricks for creating surface texture to tapestries.

( Directions for making a pipe loom that is easy to trans¬port will be supplied to the student prior to the class. If the class is a three-day class, looms will be warped prior to the workshop with directions and warp supplied by the instructor. Five days and the loom can be warped the morning of the first day. ($15.00 materials fee) advanced or intermediate level)

Soumack

(1.5 hours .5-1-2-3)

Soumack-no matter how you spell it and there are dozens of ways to spell it- is a technique that can be used to create whole cloth or be mixed with tapestry to create lines that go horizontally or vertically. The technique can be used to outline, lock shapes into place, smooth edges or produce a unique looking surface. Traditionally it was used throughout the middle east to produce containers and household items. Mixed withtapstry it becomes an all purpose technique for creating lines, texture and problem solving.

( Directions for making a pipe loom that is easy to trans¬port will be supplied to the student prior to the class. If the class is a three-day class, looms will be warped prior to the workshop with directions and warp supplied by the instructor. Five days and the loom can be warped the morning of the first day. ($15.00 materials fee) advanced or intermediate level)

Tapestry 101 or Beginning Level Tapestry

(2 hours, .5 , 1-2-3 days)

Students are taught the basics of warping a tapestry loom, choosing materials, choosing a loom, tools, tapestry weave structure, weaving basic shapes, basic colour blending, slits and simple joins. At the end of the class the student will have knowledge of warping simple looms, the beginnings of a sampler or a sampler (this is dependent on the speed and the knowledge the weaver began with and varies for every student), handouts of each of the techniques, and will have seen each of the techniques demonstrated several times. (Prior to the workshop the students may request the directions for building a simple portable tapestry loom or very small portable ones can be purchased from the instructor and built by the student(separate charge))($25.00 materials fee. 10.00 material fee for .5 days and seminars. Students will be sent directions for warping the looms. In the shorter classes a day or less warping is done in the workshop. If the instructor supplies the looms there will be an additional; 5.00 per student added to the materials fee. Beginners- basic weaving tools. Instructor supplies warp and weft.

Beyond 101 or Beginning Tapestry 2

(2-3 days)

Students are taught more sophisticated joins and interlocks, introduced to hachures and hatching, geometric shapes, the use of soumack, weft splitting, pick and pick techniques, cartoon design and use. The students will produce a sampler of the various techniques and be given supporting handouts of the techniques attempted and discussed in class. Slide presentations will introduce new technique and be used to give a historical and cultural overview of tapestry. Dependant on length of workshop what all is covered in workshops at this level. Students are asked, if possible, to bring a warped loom to class. Directions for building a small portable loom are supplied prior to the class along with warp and weft samples. ($25.00 material fee) If the instructor supplies the looms there will be an additional; 5.00 per student added to the materials fee for shipping and handling the looms. Beginners- basic weaving tools. Instructor supplies warp and weft.

Further beyond

(3 days)

The subject presented in this class is supplied by both the teacher and the student. A questionnaire is sent to each student prior to class to find the student's interest and what he/she would like to learn. The perimeters of the class are set by the questionnaire. What the students want to learn is then taught by slide lecture, handout, demonstration, and practical application. Prior to the class, directions for building a small portable loom, a questionnaire, warp, and weft samples are supplied. ($25.00 material fee) In 2-3-day workshop the looms may be built and warped the first day of instruction for shorter classes I prefer the looms to be warped before class. If the instructor supplies the looms there will be an additional; 5.00 per student added to the materials fee for shipping and handling the looms. Beginners- basic weaving tools. Instructor supplies warp and weft.

student supplies basic weaving and design tools, advanced

OTHER THINGS-

Russian Old BelieverTassels

(.5 1-2-3 days)

Russian Old Believers always have tassels on their belts signifying the unwoven ends that were proscribed Mosaic Law in the Old Testament. There are many ways to end a belt. This class is an exploration into endings and beginnings.

($10.00 materials fee) (any level) students supply basic weaving tools plus a liter pop bottle shaped like the old 7-up bottles or a wine bottle

Journal and Goal setting!

(1-2-3 days)

The workshop is meant to emphasis the use of journals, a way to adapt from the various journalers a method of writing and recording that is useful to the participant. Questions are presented that you might want to ask yourself to get started. No specific technique is taught. No dogma. This class can suggest through a series of exercises that are drawn from various journal techniques' ways of tapping into the images in the conscious, dreams, and daydreams. Different ideas from other journalists will be given to the students on ways to organize and use the journal. Emphasis will be on learning techniques and organizational methods that will allow an artist to tap into his/her mages and symbols--or just to record various ideas or what the participant is doing at a specific time or period in his/her life. ( 2.00 fee, no level, student supplies writing utensil, paper or journal)

Russian Punch Embroidery

(.5 day-1-2 day)

Learn to embroider in pile. The class will discuss the use of Ignolochii as used by the Russian Old Believers in clothing hangings and beautiful corners.

(20.00-lab fee includes special needle, threader, beginning amounts of thread and sample cloth. Student supplies, hoop and basic embroidery supplies, any level)

resume-2010

2010-02-18T13:13:00.000-08:00

Kathe Todd-Hooker

Resume of a Tapestry Weaver

2010

HONOURS AND AWARDS
2009 American Tapestry Alliance award; Fibers Celebrated 2009; Durango, CO
2008 Blue Ridge Hand weaving Show; John M. Crawford Gallery Asheville School, Asheville, NC. Best of show and Best of Category.
2004 All Oregon Art Annual; award winner, Salem, OR
2003 All Oregon Art Annual; award winner, Salem, OR
2002 Small Expressions; 3rd Place; Vancouver B.C. Canada; Convergence.
2001 Tomorrow Heirlooms, ANWG Conference, Eugene, OR, Handweaver's Guild of America Award of Excellence and Best of Show• Brave New Worlds, New Visions: Most Provocative Concept; ANWG Conference, Eugene, Or
1999 Manning's National Hand weaving Show, 2nd place
1998 Manning’s National Handweaving Show; 3rd place
1997 Small Expressions; Second Place; Canton OH; Midwest Weavers Conference.• All Oregon Art Annual; 1st place & National Fine Crafts Award
1996 The Manning’s National Handweaving Show
1995 Fiber Celebrated ‘95; Schacht Award of Excellence• Celebration of Creativity, Fiber Exhibit, Handweaver’s Guild of America Award and a Certificate of Merit• The Manning’s National Fiber Show, First Place and Second place (wall pieces), Handweaver’s Guild of America Award & Best of Show
• Fiber Celebration 95; Northern Colorado Weaver’s Guild; Honorable Mention for 2-dimensional
1994 WeGo Best of Oregon Exhibit, Judge's Choice Award• The Manning's National Fiber Show, First Place and second Place• Celebration of Creativity, Fiber Exhibit, HGA Award (Handweaver's Guild of America)• All Oregon Art Annual, Second Place
1993 Fiber FanFare Juried Show, Seattle, WN ANWG Conference, Technical Excellence, Best Use of Small Threads and American Tapestry Alliance Award
1991 My Tales, Weaving Tales ANWG Conference, Eugene, OR, Best Colour, Judges Award, and Handweaver’s Guild of America Award
1990 All Oregon Art Annual, First Place
1988 All Oregon Juried Fiber Art Show, Third Place
1984 All Oregon Art Annual, Honorable Mention
1980 Patrick Foundation Scholarship, Marylhurst College
1979 National Deans List and Patrick Foundation Scholarship, Marylhurst College
SELECTED SOLO, SMALL GROUP EXHIBITIONS; INVITATIONAL
2010 Ruth and Jim Howland Community open Annual; Corvallis Art Center; Feb. 1-March 2, 2010
2009 Connections, Small Format Show, San Jose Museum of Quilts and Textiles. San Jose Ca and Earlham College, Indiana
2008 Blue Ridge Hand weaving Show; Weaverville, NC.
2008 Salsa y Salsa, Convergence; St Petersburg, Florida
2008 Woven Gems; St Petersburg, FL, ATA small format show
2007 Oregon Crafted at the Eugene Library July and August 07
2007 Corvallis Handweaver’s exhibit; Corvallis Library July
2006 Tapestry on the Edge; Nordic Heritage Museum; November.
2006 Oregon Crafted Exhibit; Albany City Hall (group show)
2006 Small Expressions; Convergence 2006, Gerald Ford Presidential Museum, Grand Rapids, MI
2006 American Tapestry Alliance Biennial 6, Grand Rapids Michigan, Bellevue Art Museum
2005-06 Threads a Fiber Show, Eugene Airport Gallery, invitational group; Dec and Jan.
2005 Message makers; Craft Museum; Canton, Ohio November 9 5-December 13
2005 Variations on a Theme: Fine fiber Studio, Albany Oregon, October 17-Nov. 17
2005 Association of Northwest Weavers Guilds Conference, Instructors Show; Color Me; Tacoma, WN.
2005 Salem Salon, Bush Barn, Salem, Oregon
2004 2 person show-Pat Spark and Kathe Todd-Hooker; Albany City Hall; Albany, OR; October 2004
2004 Oregon Art Annual, Oregon state Fair, Salem, Oregon
2004 Globalization- Campbell Hall Art Gallery, W O U, Monmouth, OR; April 1st-May 12th, 2004
2004 Six of One; Assembly Art Gallery, Denver Gallery, Denver, CO, June 29-July 4, 2004
2004 Frontiers-(small format), Denver Art Museum, Denver, CO
2003 -2006 911 Memorial Tapestry, group; Over and Over; International traveling exhibit; Kansas City Art Institute, Surface Design Conference; Je. 2003; Soundscape Gallery, Santa Rosa, CA; July 2003; Pasadena City Hall, California official ceremony, 9-11-03; Palm Desert LibraryOctober,2003; Burbank Municipal Gallery, Nov. 2003;Fort Ezza da Basso Bienniale Internazionale dell’arte Contemporane, Florence, Italy, Dec, 2004;Gallery Aula , Fine Arts Academy, Warsaw Poland, January 2004; Art New Media, Warsaw Poland, June ,2004; Central Textile Museum, Lodz, September, 2004: Art Centric; Corvallis, OR, September 2005, etc. etc.
2003 All Oregon Art Annual; award winner, Salem, OR
2003 Guild Show, Corvallis Art Center, Corvallis, Oregon
2003 Guest Artist, Desert Fiber Arts, Allied Arts Center, Richland, Washington
2001 Half Past 12: Moments in Tapestry: Fine Line Creative Arts Center, St Charles, Ill.
2001 The Instructors View; Midwest Weavers Conference; Southern Ill. University-Edwardsville, Ill.
2001 Public Hanging, Salem Art Association, Bush Barn, Salem, OR
2000 Butterfly 2000; Northern Kentucky University; Highland Heights, Kentucky
2000 Instructors Show; Convergence 2000; Cincinnati, Ohio
2000 Tapestry Forum Show of Selected Members; Buckley Center Gallery, U of P, Portland, OR
1998 Resonance; Convergence 98; Atlanta, GA
1997 In Touch With Fibers; Canton Museum of Art; Canton, Ohio (instructors show)
1997 Unnamed, Keizer Art Association, Keizer City Hall Keizer, Or.(2 person)
1996 Connected; Memorial Union Gallery; OSU; Corvallis, Or. (2 person)
1995 Collaborations; Umpqua Valley Art Center; Roseburg, Or. (3 person)
1994 Veiled; Buckley Center Gallery; University of Portland; Portland, Or (2 person)
1994 Veiled Collaborations; Sinclair Community College, LRC Gallery, Dayton Ohio, 2 person
1991 Four Weavers, Ten Years Later; Memorial Union Gallery, OSU, Corvallis, OR, 4 per. exhibit.
1990 Something Small, Unitarian Church, Corvallis, Oregon
1989 Historic Techniques--New Applications; Linn-Benton Comm. College, Albany, OR, 3 per. ex.
1989 Homecoming; Clyde and Mary Harris Art Gallery, Walla Walla College, College Place, WN
1987 Gender and Race Conference; La Sells Stewart Center, OSU, Corvallis, OR, 2 person exhibit
1987 Corvallis Art Center (Guild Gallery) Corvallis, Oregon (solo)
1984 Oregon State Capital Building Cafeteria, Salem, Oregon (solo)
1984 State Farm Insurance, Regional offices, Salem, Oregon (solo)
1983 Mayor's Invitational; Salem Public Library, Salem, Or, 3 person exhibit
1983 Keizer Art Association, Keizer, Oregon (solo)
1983 Fairbanks Gallery, Oregon State University, Corvallis Oregon (solo)
SELECTED INTERNATIONAL, NATIONAL, JURIED, AND INVITATIONAL EXHIBITIONS
2010 ATB8; Elder Gallery, Lincoln, NE (9-20-10 to 11-15-10)and Am. Tex. History Museum, Lowell MA.
2009 Small Expressions, Mississippi Craft Center, Ridgefield MI and Hartnell University. Hartnell Indiana
2009 Connections, Small Format Show, San Jose Museum of Quilts and Textiles. San Jose Ca and Earlham College, Indiana
2008 American Tapestry Biennial 7; American Tapestry Alliance; Scaraphone Hartley Gallery, University of Tampa , Tampa, FL
2006-07 Wood and Fiber; Umpqua’s Valley Art Association; Roseburg, OR
2007 All Oregon Art Annual; State Fairs Ground, Salem, OR
2007 Small Expressions, Robert Hillstead’s Textile Gallery; Lincoln, NE & IAC, Indianapolis, IN
2006 Tapestry on the Edge, Nov. 29, 2006; Nordic Heritage Museum, Seattle, WN.
2006 Oregon Crafted, Albany City Hall, Albany, OR.
2006 American Tapestry alliance Biennial 6; Grand Rapids MI(“touring”)
2006 Grand Ideas; Small Format Tapestries; Kendall School of Art and Design; Grand Rapids, MI
2005 Message Makers; Canton Ohio Dec. 05
2005 Gallery 2; Art Centric, Corvallis, OR August 15-Sept 15 2005
2005 Gordon House; Oregon Gardens; Fiber Show, Silverton, Oregon; Je. 18-Aug 18.
2004 Mountain Majesty, Convergence 2004; Denver, CO June 15-July 6, 2004
2004 Fiber Celebrated; Intermountain Weavers Con.; Yavapai College art Gallery, Prescott AZ
2003 Guest Artist, Desert Fiber Arts, Allied Arts Center, Richland, Washington
2002 Small Expressions; Vancouver B. C, Canada
2002 The interwoven Community; Small format Tapestry
2002 Bainbridge Art Museum; Bain Bridge Island, WA“ Tapestry is Art”
2002 Morris Graves Museum of art ; Humboldt County; CA; Tapestry is Art”
2002 Grants Museum of Art; Grants Pass, OR; "Tapestry is Art”
2001 Onda Gallery National Tapestry Show; juried, Portland, OR
2001 Instructors Show; ANWG Regional Conference, Eugene, OR
2001 Tomorrows Heirlooms; ANWG Regional Conference, Eugene, OR
2001 Brave New Worlds; ANWG Regional Conference, Eugene, OR
2001 All Oregon Art Annual; Salem Fairgrounds; Salem Oregon
2001 American Tapestry Biennial lll-2000; Northern Kentucky University; Highland Heights, Kentucky and Bayeux Gallery, Denver
2000 Contemporary West Coast Tapestry; Seattle Convention Center; Seattle, WN
2000 OFFF Invitational: Canby, OR
2000 All Oregon Annual, Oregon State Fair Grounds, Salem, OR
1999-2000 Pacific Edge, Mendocino Art Center, Mendocino, CA; (Sept.-Oct., 99) Coos Bay Museum, Coos Bay, OR( Oct.-Nov., 99)
2000 Manning’s National Handweaving Show; East Berlin, PA
1999-2001 Best of Oregon Traveling Fiber Art Show, will travel though out NW region final destination 2001 ANWG Conference
1999 All Oregon Art Annual; State Fair Exposition Grounds; Salem, OR
1999 Manning’s National Handweaving Show; East Berlin, PA
1999 ITNET 2000: Tapestries at the Millennium; International juried tapestry show on the Internet
1998 Muse of the Millennium; Nordic Heritage Museum; Seattle, WN
1998 Encore; Fernbank Museum of Natural History; Atlanta, GA
1998 Harmony Interpretations of Nature in Contemporary Tapestry; American Tapestry Biennial 2; Fernbank Museum of Natural History; American Tapestry Biennial; Atlanta, GA
1998 Resonance; Instructors show Invitational, Convergence 98; Atlanta, GA.
1998 ITNET 3; International Tapestry Network Small Format Exhibit; Internet; fibercom@alaska.net/~Itnet
1997 Small Expressions; Handweaver’s Guild of America; Canton Museum of Art; Canton OH
1997 Public Hanging; Salem Art Association Bush Barn; Salem OR.(group)
1997 All Oregon Art Annual-professional; State Fair; Salem, Oregon.
1996 Miniatures; Corvallis Art Center, Corvallis, Oregon, October
1996 Small Expressions; International Handweaver’s Guild of America; Gango Gallery; Ptld., Or.
1996 Exquisite Miniatures; Lake Oswego Library; Lake Oswego, OR;
1996 It’s About Time!; Wentz Gallery, Portland Art Museum;
1996 Central and Southern Willamette Valley Invitational; Linn-Benton Historical Society.
1996 Take Time; Oregon Convention Center; Portland, Oregon; Convergence 96; (Instr.-group)
1996 “I felt it was Time!” Oregon Convention Center; Portland, Or.; Convergence 96;
1996 11th International Miniature Textiles Bienale; Sombathely Keptar; Kuntsthalle Sombathely; Sombathely, Hungary (International)
1996 Manning’s National Handweaving Show; East Berlin, Pennsylvania (National)
1996 Fantastic Fibers; Yeisir Art Center; Paducah, Kentucky (International)
1996 Greater Midwest International Exhibit; Art Ctr. Gallery; CMSU; Warrenburg, MO. (Interna.)
1995 Showcase 95; Beaverton Art Commission; Beaverton Mall; Beaverton, Oregon (regional)
1995 First Annual Mini Show; Corvallis Art Center; Corvallis, Oregon (regional)
1995 Celebration of the Arts ’95; eleventh annual; Oregon State Capital; Salem, Oregon (state wide)
1995 All Oregon Art Annual; Oregon State Fair; Salem, Oregon (state wide)
1995 Oregon Biennial; Portland Art Museum; Portland, Oregon (state wide)
1995 The Manning’s National Fiber Art Show; East Berlin, Pennsylvania (national)
1995 Crafts National 29; Zoller Gallery, University Park, Pennsylvania (International)
1995 Fiber Celebrated 95; Tucson Museum of Art, Tucson, Arizona (national)
1995 Fiber Celebration 95; One West Art Center, Fort Collins, Colorado (national)
1995 Celebration of Creativity-Fiber and Textile Exhibit; Crossman Gallery, Troy, WI. (National)
1994 WeGo Oregon's Best in Fiber Arts; Juried Exhibit, traveled through Or.; 1994 -1995 (Regional)
1994 Encuentro Internationale de Arte, Textil Minitura; International Juried Traveling Exhibit, venues:
• Museum of Modern Art; Mexico City, Mexico (July '94) • University of Vera Cruz, Mexico, • Instituto de Artists Plasticas; Xalapa, Mexico (Sept. '93)
1994 Northern Stars, Instructors Show, Convergence '94, HGA; Minneapolis, Mi. (International)
1994 The Manning's National Fiber Art Show; East Berlin, Pennsylvania. (National)
1994 Small Expressions; International Exhibit of Handweaver’s Guild of America, Minneapolis College of Art and Design, Minneapolis, MN. (International)
1994 Small Expression's art work chosen to travel to Textile Museum in Taipei, Taiwan
1994 Portraits, Umpqua Valley Art Association, Roseburg, OR, (national)
1994 Celebration of Creativity Fiber Exhibit; Crossman Gallery, Whitewater, WI (national)
1994 All Oregon Art Annual; Oregon State Fair; Salem, OR, (Regional)
1994 Ghosts: Dreaded Demons and Ancestors; Student Union Art Gallery, San Francisco State University, CA (International)
1993 Northwest Tapestry Artists; International Traveling Exhibit, venues:• Nordic Heritage Museum, Seattle, Washington, USA• Contemporary Crafts Gallery, Portland, Oregon, USA• Richmond Gallery, Richmond, British Columbia, Canada
1993 Small Work; National Juried Exhibit; The Armory Center; West Palm Beach, FL
1993 Faber Birren Colour Award Show; National Juried Exhibit; Stamford Art Ass., CT (national)
1993 Fiber FanFare Juried Exhibit; Association of NW Weavers' Guilds Conference; University of Washington, Seattle, WN; Juried Exhibit (International)
1993 Instructors' Exhibit; Association of NW Weavers' Guilds Conference; University of Washington, Seattle, WN (international)
1993 Mixed Media Miniature Show; International Juried Exhibit; Willow Tree Gallery; Id. Falls, ID (national)
1993 Small Expressions; International Exhibit of HGA, two venues:• James and Meryl Hearst Center for the Arts• Bucknell University, Iowa (International)
1992 Small Expressions; International Exhibit of HGA; Farrell Collection Gallery; WA. DC (inter.)
1992 Those Who Teach Also Do; Convergence '92; Sheraton Wash. Hotel; WA. DC (international)
1992Tapestry Artists; Corvallis Art Center, Corvallis, Oregon, Invitational (statewide)
1991 Small Expressions;, Handweaver’s' Guild of America, Lane CC, Eugene, OR (international)
1991 Florals on the Wall; Corvallis Art Center, Corvallis, Oregon (regional)
1991 Tapestry; Invitational Exhibit; Kern Art Center, Eugene, Oregon (regional)
1991 My Tales; Juried Art Exhibit of Conf. '91, Ass. OF NW Weavers' Guilds, Conf. Ctr, Eugene, OR
1991 Instructors Exhibit; Association of NW Weavers' Guilds, Conf. 91, Conf. Center, Eugene, OR
1991 Mixed Media Invitational; Umpqua Valley Arts Association, Roseburg, Oregon
1990 All Oregon Arts Annual, Oregon State Fair, Salem, Oregon
1990 The Human Weft; American Renaissance Gallery, Portland, Oregon
1990 Fine Line Exhibit; Oregon School of Arts and Crafts, Portland, Oregon
1990 The Fine Line Touring Exhibit; The Center for Tapestry Arts, New York, New York
1990 Small Expressions; International Exhibit, Handweaver’s' Guild of America, San Jose, California
1990 Something Old-Something New; Linn-Benton Historical Museum, Philomath, Oregon
1989 Personnel Expressions, Boise State University, Boise, Idaho
1989 WeGo Group Show; Rain Dance Gallery, Portland, Oregon
1989-88 "Oregon's Best" Touring Fiber Arts Collection; Traveled through Oregon and Idaho
1988 All Oregon Juried Fiber Show; Oregon State Fair, Salem, Oregon
1986 All Oregon Art Annual; Oregon State Fair, Salem, Oregon
1986Oregon Made for Interiors; Maude Kern Art Center, Eugene, Oregon
1985 Marylhurst Alumnae Invitational; The Art Gym, Marylhurst, Oregon
1984 NW Textiles Invitational Fashion Show; Salem, Oregon
1984 All Oregon Art Annual; Oregon State Fair, Salem, Oregon
1984 Woodburn Art League, Annual Glatt House Art Show, Woodburn, Oregon
1984 Oregon Invitational Tapestry Exhibit; Lane Community College, Eugene, Oregon
1983 All Oregon Art Annual; Oregon State Fair, Salem, Oregon
1983 Personnel Expressions; Fiber Flair '83 Conference, Bozeman, Montana
1981 AUW Women's Festival: Reed Opera House, Salem, Oregon
1981 Celebration '81; Waterfront Gallery, Spokane, Washington
WORK REPRODUCED AND REVIEWED
2010 “ATA Award of Excellence: Kathe Todd-Hooker” and “ KUDOS”; By Merna Stauch; Tapestry Topics; wtr,2009
2009 Salsa y Salsa, Multimedia Fiber Arts exhibit, Shuttle Spindle and Dyepot, HGA, Volumr XL, NO.2, issue 158, Spring 2009
2009 Connections: Small Tapestry International 2009, American Tapestry Alliance
2008 ATB7 Exhibition: From the Heart of the Weave, Linda Weghorst, Tapestry Topics; wtr, 2008; vol. 34 no 4
2008 Socolofsky Commission; Tapestry Topics; wtr, 2008; vol. 34 no 4
2008 American Tapestry Biennial Catalogue, American Tapestry Alliance
2008 Woven Gems Catalogue
2008 Gallery Guide for Convergence 2008; page 34
2008 Promotional materials for Oregon Crafted Auction, Eugene, OR
2008 Handwoven Review; Tapestry 101; Tommye Scanlin; Jan-Feb 20082007 Oregon Crafted Tour Book 2007 New Edition : Eugene, OR
2007 Inside cover; Fiber Focus Magazine; Winter; 2007
2007 Small Expressions; Monique Lehman; winter; Fiber Focus Magazine
2007 “The Tapestry List” by Lany Eila; Tapestry Topics; fall 2007
2007 Tapestry books by Louis Abbott; Tapestry Topics; fall 2007
2007 HGA’s Small Expressions, Brochure
2007 CTN Newsletter, Gallery section; Summer 2007
2007 Review: Tapestry 101; Shuttle Spindle and Dyepot; Tommye Scanlin; fall 2007
2007 Review: Tapestry 101; Tapestry Topics; Pat Williams; Fall; 2007
2007 Review: Tapestry 101; CTN newsletter; Barbara Heller; Fall; 2007
2006 Review: Line in Tapestry; Karen Crislip; Handwoven Magazine May/June of 06 pg 21-22
2006 Review: Line in Tapestry; Patricia Williams; Shuttle Spindle and Dyepot, Fall issue, Small Expressions
2006 Review: Line in Tapestry; CTN newsletter; Barbara Heller; Winter 2006
2006; Review: Line in Tapestry; Tapestry Topics; Lilia Kuchma; Spring issue
2006 Australian Homespun; Memories from Russia-Project-page 31-35; vol. 7.9, number 41
2006 ATA journal/Tapestry Topics “Grand Ideas” Small Format Tapestries are grand; by Deborah Corsini; fall 2006; vol. 32, # 3.
2006 American Tapestry Alliance Biennial 6; Catalogue
2006 Grand Ideas; Small Format Tapestries; Kendall School of Art and Design; Grand Rapids, MI
2005 Message Makers; Catalogue; Dec 2-through Jan. 14; Art space, Lima, OH
2005 Corvallis Gazette Times and Democrat Herald Entertainer; Dec 2-9; “Artists open Their doors” by Pat Amarcher
2005 Fibre Focus, Review of book Shaped Tapestry; by Gayle Wheeler, autumn 2005
2005 Fiber Arts Magazine; photo credit; Portrait Shelley Socolofsky Summer issue
2005 People section; Fine Fiber Artist, May 14,2005, Democrat Herald, Albany, OR
2005 Entertainment section, Democrat Herald, 911 Tapestry, Albany, OR
2005 ANWG Catalogue
2005 Oregon Crafted Guide Book; page 52
2005 Message makers; Craft Museum; Canton, Catalogue
2004/05 Review: Shaped Tapestry; Shuttle Spindle and Dyepot; Tommye Scanlin; Winter
2004 Review: Shaped Tapestry; Handwoven; Book Review; Shaped Tapestry by Sara Swett; November/December
2004/05 Shuttle Spindle and Dye Pot; HGA; Mountain Majesty Exhibit; Waterdog; Winter
2004 ATA Fall Newsletter; Tidbits from Linda Rees, and gallery photos of 4 pieces.
2004 Book Review; Shaped Tapestry; ATA Newsletter, Sharon Marcus; Winter 2004
2004 New Yorkers, New, New Yorkers and their Friends, 911 Memorial Tapestry; Warsaw, Poland
2003 911 Memorial Tapestry Catalogue; “Over and Over” in the future
2003 911 Memorial Tapestry(Group); Artichoke, fall 03, Fiber Focus, Focus on Fibre, At Home in Memphis, ETN Journal; Fiber Focus; winter issue; 911 memorial; back cover;” Over and Over”
2003 ATA Newsletter; Winter issue-“Of Note”
2003 Shuttle Spindle and Dye Pot; HGA; Fall; Small Expressions
2002 ATA Newsletter; Fall issue
2001 Half Past 12:Moments in Tapestry: Fine Line Creative Arts Ctr., St Charles, Ill. CD Catalogue
2001 International Tapestry Journal; Gallery; Vol. 4 May
2000 International Tapestry Journal ; Fragments; Vol. 3 December 2000
2000Art Spirit; News letter of the Corvallis Art Center; April 2000 issue, Corvallis, OR
2000 Butterfly Effect ; Catalogue; small format tapestry
2000 International Tapestry Journal; "Really I didn't mean to start anything…" by Larry Knowles: Vol. 3. No. 1, April 2000
2000" Are you ready to Show?"; By Kate Halcrow; Tapestry Weavers West Newsletter; vol. 15, No 2 March 2000
2000 Thread By Thread; American Tapestry Alliance Biennial lll-2000 Catalogue
2000 "A Personal Look at ATB 11"' Pat Poggi, ATA Newsletter; Fall, Vol. XVI, issue 3
1998 Harmony Interpretations of Nature in Contemporary Tapestry; American Tapestry Biennial 2; Fernbank Museum of Natural History; American Tapestry Biennial; Atlanta, GA
1998 Canadian Tapestry Network; artist section; March 1998.
1998 Catalogue Muse of the Millennium; Nordic Heritage Museum and Seattle Handweaver’s Guild
1998 Encore! Catalogue; South East Tapestry organization and Convergence 98
1998 “Something Old Something New”; NAFN Newsletter; Issue 23; Jan.-Feb. 1998
1997 Small Expressions; SS&D; Fall, 1997
1996 “Convergence in Portland or What I Did on My Summer Vacation”; Odette Brabec; ATA Newsletter; fall; Vol. X11, issue 3
1996 “Review of the It’s About Time Exhibit!” Lisa O’Brien; Tapestry Journal; winter; Vol. 2, #4.
1996 “Letter from the Editor”; Pat Spark; NAFN Newsletter; quarterly publication; issue 17; sm. 96
1996 It’s About Time! Tapestry Forum; Convergence 96; Catalog; Portland, Oregon
1996 Portrait Catalogue; Tapestry Forum; Portland, Oregon
1996 “Fantastic Fibers”; Leigh Landini; Sunday style section; The Paducah Sun; April 14, 1996
1996 Fantastic Fiber 1966; Video; Quilt Channel; Paducah, Kentucky
1996 “1995 HGA Award Recipients”; by staff; Shuttle Spindle and Dyepot; spring; 1996
1996 Fantastic Fibers Invitational Show Catalog; Yeisier Art Center; Paducah, Kentucky.
1996 Greater Mid-West International Catalog; CMSU; Warrenburg, MO.
1995 Small Expressions Catalog; Chinese Edition; Textile Museum; Taipei, Taiwan
1995 Beaverton Show Case ‘95; catalogue; Presented by the Beaverton Arts Commission
1995 Cover; Shuttle, Spindle and Dyepot; issue 104; Vol. XXVI, No. 4, fall, 1995 (Tapestry Forum group project).
1995 “Gallery”, Shuttle, Spindle and Dyepot; issue 104; Vol. XXVI, No. 4, fall, 1995
1995 “Portland Art Museum: Bread and Circuses”; by Laura Lee Bennett; Reflex; Vol. 9, N0. 9; Oct.-Nov. 95.
1995 “Gallery”; American Craft; American Craft Council; Oct./Nov. 1995
1995 “It’s A Love Hate Thing,” by Ron Cowan; Life Section, Statesmen Journal; Aug. 16, 1995.
1995 Fiber Celebration 95--Seventh Biennial Exhibition; Catalog; Tucson Art Museum.
1995 “Other Recent Exhibits; International Tapestry Journal, summer, Vol. 1, #2, 1995.
1995 “From the Editor:” by Pat Spark, North American Felters Network, winter, 1995.
1995 “1994 HGA Award Recipients”, by staff, Shuttle Spindle and Dyepot, spring, 1995.
1995 “Crafts National 29”, Catalog, Zoller Gallery, Penn State University; May 30.
1994 “Weaving Its Way Into LRC”; by Jennifer Hull, The Clarion, Dayton, OH; September 27, 1994
1994 "The Group Tapestry Project at OSAC" By Sharon Marcus, Shuttle Spindle and Dyepot Magazine; summer, 1994. Also Inside Front cover, Convergence '96
1994 “Poster Convergence 96” (group--Tapestry Forum)
1994 "Oregon's Best of Fiber Arts"; Entertainment and Art Section; News-Time; Newport/Lincoln City newspaper: February 4, 1994
1993-94 "Tapestry Forum's Convergence Tapestry Portrait Project," Woven Portrait of John Shannock, International Tapestry Network Publication; Winter Issue '93-'94
1993 Encuentro Internationale de Arte, Textile Minitura; Catalog; Instituto de Artists Plasticas, Mexico, August. 1993
1993 OSAC Fall Catalogue; “Portrait Tapestry”; (group--Tapestry Forum)
1993 "Gallery, "Shuttle, Spindle and Dyepot Magazine; (Spring of '93)
1993 "Review: Northwest Tapestry Exhibit,” By Doloris Tarzen Ament for the Seattle Post Intelligencer, republished in ITNET (International Tapestry Network) spring, 1993
1993 "Gallery, Fiber," American Craft Magazine (April/May 1993)
1993 "Northwest Tapestry '93," catalog/brochure for Tapestry Artists of Puget Sound Exhibit, Nordic Heritage Museum
1993 "Small Expressions '93," catalog/brochure, Mid-West Weavers Association and Mid-Atlantic Fiber Association, Hearst Center for the Arts and Bucknell University
1993 "Tapestry Exhibit Shows off North west Artistry," Sunset Magazine (Sept. 1993)
1993 "Arts and Entertainment" Photo accompanying review of Northwest Tapestry "93. Oregonian (July 30, 1993)
1992 Ten Weaver's, Ten Years Later Review," Fiberarts Magazine (Jan/Feb)
1991 "Four Weavers," Mid-Valley Arts Council Magazine, Salem (July)
1990 "Fine Line Exhibition Review," Fiberarts Magazine (Sept./Oct.)
1989 Walla Walla College, Homecoming Calendar of Events Cover
1989"Gallery Features Hand-woven Tapestries," The Collegian, (April 30, 1989)
1988 "Oregon's Best Touring Fiber Arts Collection," WeGo Catalog Cover
PUBLICATION
2009 Review-Linda Rees, ATA newsletter Tapestry Topics ,winter, 2009
2008 “Old Believer Tassels and endings”; Strands-The Braid Society, Issue 15; amr-2008
2008 Tapestry Topics; American Tapestry Alliance Quarterly; Fall 2008, Thoughts on weaving Small Format Tapestry.
2007 “Old Believers in Oregon” ; Strands- The Braid Society, Issue 14; October; 2007
2006 "Transitions and Joins”; Tapestry Topics; American Tapestry alliance; winter 2206.
2006 Tapestry 101, (a book), by Kathe Todd-Hooker; Smr, 2006, Fine Fiber Press, Albany, OR
2005 "911 Tapestry" a review; ATA News Letter; Winter
2005 Lines in Tapestry: by Kathe Todd-Hooker (a book), published by Fine Fiber Press; Albany, OR
2005 Book Review; Echoes; European Felters Newsletter; Winter
2005 Book Review: NAFN; newsletter Fall
2004 ATA newsletter article on Shaped tapestry weaver -Marika Szaraz; Winter
2004 Book Review: NAFN; newsletter Fall
2004 Shaped Tapestry: by Kathe Todd-Hooker (a book), published by Fine Fiber Press; Albany, Or.
2004 Echoes-International Journal of Felting, Fall Issue, Review of Pat Spark’s work .
2004 Book Review : “Ewa Kunizak; Felt out of the Kitchen-21st Century Perspective": NAFN Newsletter; spring.
2003 911 Memorial Tapestry Catalogue; Technical section preface
2003 Book Review : “Sheila Smith Books 1-3”; NAFN Newsletter; fall.
2002 “Entering Shows a Logical Approach,” CTN Newsletter, spring.
2002 “Felting Rocks a Summer Time Children’s Project”; NAFN Newsletter; spring issue 2002
2002 “Revisiting Silk Paper Making”; NAFN Newsletter; spring issue 2002
2001 "Exhibit Review of Summer Time Show;” NAFN Newsletter; winter issue 2001
2001"Bye-Bye Baby Won't you Please Come Back!" NAFN Newsletter; fall issue 2001
2001"The Embroidery of the Russian Old Believer” Piecework Magazine; May/ JE, 2001.
2000 “Memorandum to the Tapestry World at Large”; International Tapestry Journal Volume 2&3, Dec., 1999.
2000 "Defining Tapestry"; the Canadian Tapestry Network; Winter, 2000
2000 "Letter to the Editor"; International Tapestry Journal; Vol. 3, No 2, August
2000 “Shipping Art Work” NAFN Newsletter; winter issue, 2000.
2000 “Shipping Art Work” CTN; winter issue, 2000.
2000 “Left Out in the Cold a Review of Felt Works by Kazuhito Kobayashi;” NAFN Newsletter; winter issue, 2000.
2000 Tapestry@ncn.com; ATA quarterly column; beginning winter issue 1998
2000 "Silk Vessels" NAFN; Spring issue 2000
2000 Forward to the Catalogue Butterfly Effect 2000
1999 “Survey of American Tap. As seen from the Internet”; ATA Newsletter; fall issue.
1999 “The History and Legend of Purple Dye”; York Yarns 99-Dist. Guild Newsletter; Murton, York, England.
1999 “Inking Tapestries”; Canadian Tapestry Network; JE 99 Issue
1999 “8 Strand Braids”; NAFN Newsletter; Spring Issue, 1999
1998 Tapestry@ncn.com; ATA quarterly column; beginning winter issue 1998
1998 “Who says you can’t take it with you?”; NAFN Newsletter; winter issue; 1998
1998 Tapestry@ncn.com ; ATA quarterly column; beginning winter issue 1998
1998 "Sharon Marcus Studio/Seminar Review”; ATA Newsletter; fall issue; 1998
1998 Encore!; catalogue introduction
1998 "Something Old Something New”; NAFN Newsletter; Issue 23; Jan.-Feb. 1998
1998 “What kind of limitations do Tapestry Weavers Impose on Themselves?” & “An Artists Statement”;CTN; March, 98.
1997 “Small Format Tapestry—Finishing” ; –ATA Newsletter fall; republished in Twine, TWW & CTN
1997 “Using a Journal Creatively” NAFN Issue 20; 1997; repub. Victorian Weavers Newsletter; Aus.
1997 “Photographing Work” ATA-Newsletter; summer; vol. 13, #2
1997 “Entering Shows a Logical Approach,” Tapestry Topic; ATA Newsletter, Spr.; 1997; Vol. 13, #1.
1997 “The Internet Column 2”; Tapestry Journal; Sm.; Vol. 3, #1.
1997 Book Review: “New Crafts Feltwork; by Victoria Brown”; NAFN; Quarterly Pub. ; # 16; Spr. 97.
1996 “The Russian Old Believer”, Shuttle Spindle and Dyepot; Wtr, 1996, Wtr., #4.
1996 Review, Passages: Tapestries of the Northwest; Tapestry Journal; Wtr.; 1996; Vol. 2, #4.
1996 “The Internet” Tapestry Journal; Wtr.; 1996; Vol. 2, #4.
1996 Introduction, It’s About Time; Catalogue; 1996
1996 “Journaling Your Way to Creativity”; Tapestry Topics; ATA; Sm., 1996; Vol. XII, issue 2.
1996 Book Review: “ Felt Making--The Why and Wherefore by Sheila Smith and Freda Walker”; NAFN, Quart. Publication; Issue 15, winter 96
1996 Exhibit Review: “Lisa Brinkman”; Shown at the Littman Gallery”; NAFN, Quarterly Publication, Issue 15, winter 96.
1995 “Commentary”; International Tapestry Journal; Quarterly Publication; fall, Volume 3, 1995.
1995 Book Review: “Fire in the Sink”; NAFN; Quarterly Publication; Issue 14, fall, 1995.
1995 Book Review: “Nineteenth Century Hat Maker’s and Felter’s Manual”; North American Felters’ Network, Quarterly Publication. Issue 13, summer, 1995.
1994 Exhibit Review: "Joan Livingstone, Felt maker"; Shown at OSAC; North American Felters' Network, Quarterly Pub., Issue 8; spr. 1994
1993 Exhibit Review: "Anne Nixon, Australian Felt maker"; NAFN, quarterly publication, Issue 5 summer '93. Reprinted in "Echoes" (Quarterly publication of the International Felt makers Association, published in the UK) summer '93.
1992 Video Review: "Felt making by Hand; The Basic Process" and "Feltmaking: Garments and Surface Design Techniques”; NAFN, Issue 1, summer 1992
1992 Video Review: "Felt making, From Noah to the '90’s”; NAFN, Issue 2, fall 1992
ON-Line Articles
2009 Thoughts on Blogging; http://www.americantapestryalliance.org/Education/Ed_Ar/BlogTech/BTToddHooker.pdf
2008 http://www.kathetoddhooker.blogspot.com/ to present
1997 (R)E-view; Tapestries in Belgium by Elsie Janssen; Fri, 5-16, 1997; Christine Laffer’s Web page
EDUCATION
1981-84 MAIS, Oregon State University, Corvallis, OR (Craft Design, CTRA, History)
1978-81 BA, Oregon School of Arts and Crafts through Marylhurst College, Beaverton, OR
1975-77 Portland Community College, Portland, OR, History and Economics (pre-law)
1968-69 Bakersfield College, Bakersfield, CA, Eastern History and Archeology
1966-68 Walla Walla College, College Place, WA, Art and English Literature
FUTURE PUBLICATIONS: So Warped with Pat SParkSmall Format Tapestry and Tapestry Lexicon, Colour Movement in Tapestry
BUSINESS EXPERIENCE
OWNER: Internet list administrator and owner-tapestry2005@yahoogroups.com since 1996
Morningstar Studio ( kathetoddhooker@comcast.net)
CO-OWNER: Fine Fiber Press and Studio with Pat Spark

Future Events in 2010- 2010 ATB8; Elder Gallery, Lincoln, NE (9-20-10 to 11-15-10) and Am. Tex. History Museum, Lowell MA.; Enchanted Path Ways, Albuquerque, NM; Issue of So warped by Kathe Todd-Hooker and Patricia Spark; Monograph Soumack-Something New Something Old; Tapestry Topics ATA Newsletter SPR Canon of Proportions, and excerpt of So Warped.

Contact Information:

Kathe Todd-Hooker,
604 1st Avenue East,
Albany, Oregon 97321
Electronic mail address
kathetodhooker@comcast.net
Office
1-541-917-3251