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DTSTART;VALUE=DATE:20250929
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DTSTAMP:20251015T113001
CREATED:20250917T200935Z
LAST-MODIFIED:20250918T144423Z
UID:10003234-1759104000-1761955199@www.bhc.edu
SUMMARY:ArtSpace Gallery exhibit - Weavings by Anne Heide
DESCRIPTION:The ArtSpace Gallery at the Quad-Cities Campus is exhibiting “overshot\, interlocking” – weavings by Anne Heide – from Monday\, Aug. 29 through Friday\, Oct. 31. \nEveryone is invited to a closing reception Thursday\, Oct. 30 from 4-5:15 p.m. with an artist talk at 4:15 p.m. Light refreshments will be provided. \nThe ArtSpace Gallery is located on the first floor of Building 4 at the Quad-Cities Campus\, 6600 34th Ave.\, Moline. \nFor more information about exhibits in the ArtSpace Gallery\, email ArtDesign@bhc.edu or visit 91�ԹϺ����� Art and Design. \nAbout the artist\nAnne Heide is a visiting assistant professor of art at Augustana College in Rock Island\, IL\, teaching weaving\, fabric design and sculpture courses. Heide received their MFA in fiber/textiles at the University of Kansas in Lawrence\, KS\, in May 2024. In May 2020\, they completed a graduate certificate concentrated in hand papermaking at University of Iowa Center for the Book in Iowa City\, IA. They graduated in Spring 2019 with a bachelor’s degree in studio art and gender\, women’s and sexuality studies from Grinnell College in Grinnell\, IA. \nIn their current work\, they consider the excess of usable clothing being produced due to global capitalism alongside the rigid gender and class norms that clothing embodies. They salvage donated secondhand clothes that are unlikely to find a new wearer\, whether because they are worn out\, defective or are simply an unpopular style. Drawing on the generally unremarkable forms of everyday clothes and garment racks\, they transform these unwanted clothes into artworks that create unexpected connections between different parts of the lifecycle of a garment\, and between different articles of clothing. To make these works\, they use traditional American craft practices used historically to repurpose old clothing such as quilting\, rag rug making and hand papermaking.  \n\nArtist Statement\nThis series of weavings exposes the generally hidden forms of retail clothing racks\, with the racks becoming the central motif rather than being hidden under rows of clothing for sale. Before fast fashion\, people had deep care and use relationships with each of their garments. My great-grandparents and grandparents all made many well-crafted home goods\, including clothing\, quilts and furniture\, but these practices were not carried on by their children (my parents\, aunts and uncles). Now\, clothing is considered disposable. With the rise of inexpensive readymade clothes produced by industrial textile equipment and underpaid mostly overseas labor came the rapid decline in common knowledge of textile construction techniques. \nIn these human-scale banners\, I reconfigure various traditional weaving patterns including overshot\, twills and waffle weave. Many of these patterns were used by early white settlers who colonized what is now the United States. They wove for subsistence before readymade cloth was available. Variations have also been used by weavers all over the world since shortly after the evolution of humans\, when weaving evolved too. The sculptural stands holding my weavings reference warp-weighted and vertical looms\, which have been used since prehistoric times. \nWith the invention of the Jacquard loom in the early 19th century\, weavers were suddenly able to incorporate complex organic shapes and combine patterns within their weavings in the course of a day or two in a way that was previously only possible with thousands of hours of work. At the same time\, other industrial textile equipment to produce all different types of fabric proliferated\, and the cottage textile industry in the early United States swiftly disappeared as factories took over cloth production. This disappearance followed the cultural erasure and land theft that the same white settlers acted out when they arrived in America and displaced and killed Indigenous people already living here. In much the same way\, the contemporary clothing industry continues to displace particularly the most marginalized people by polluting water\, creating unsafe and unsustainable working conditions\, and dumping unimaginable quantities of discarded clothing in landfills. \nI made these weavings using a very different type of Jacquard loom than the one invented in 1804\, which is also the kind that is still commonly used in industry today. The works in this exhibition were produced using a TC2\, or thread controller 2\, Jacquard loom\, invented by Vibeke Vestby in the late 1990s. Vestby’s objective was to return the power of increased thread control to handweavers: the TC2 is operated using a combination of digital image files (often created by hacking Photoshop) that the loom’s computer reads\, a vacuum pump fed in above the loom that individually raises specific threads to create the design\, and the physical movement of yarn through the path created by the loom’s raised threads that the artist operating the loom feeds in to make the cloth. Although Jacquard weaving was invented to eliminate the need for cooperative\, small-scale production\, weaving on the TC2 loom as I do to make these works recenters the Jacquard weaving process in the tradition of weaving as collaboration: maintaining the loom requires a team of people working together\, generally made up of artists and students who are also making weavings on the loom. \nThe collaborative nature of the TC2 inherently invites the sharing of knowledge and cooperative teaching. Although this exhibition cannot change the linear trajectory of clothing from factory to store to consumer to landfill\, and the cultural and environmental costs that comes with this cycle\, I do hope that it will inspire curiosity and criticality about how\, where\, why and for whom cloth is made.
URL:/event/artspace-gallery-exhibit-weavings-by-anne-heide/
LOCATION:91�ԹϺ����� Quad-Cities Campus\, 6600 34th Ave.\, Moline\, IL\, 61265\, United States
CATEGORIES:Art, Music & Theatre,Community (QC),Quad-Cities Events
ATTACH;FMTTYPE=image/jpeg:/wp-content/uploads/Anne-Heide-overshot-interlocking-1-400x600-1-e1758206442222.jpg
ORGANIZER;CN="Terrance Gray":MAILTO:grayt@bhc.edu
GEO:41.4774774;-90.4482304
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END:VEVENT
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DTSTART;TZID=America/Chicago:20251030T160000
DTEND;TZID=America/Chicago:20251030T171500
DTSTAMP:20251015T113001
CREATED:20250918T225940Z
LAST-MODIFIED:20250918T230023Z
UID:10003236-1761840000-1761844500@www.bhc.edu
SUMMARY:Artist reception for ArtSpace Gallery exhibit - Anne Heide
DESCRIPTION:The ArtSpace Gallery at the Quad-Cities Campus is exhibiting “overshot\, interlocking” – weavings by Anne Heide – from Monday\, Aug. 29 through Friday\, Oct. 31. \nEveryone is invited to a closing reception Thursday\, Oct. 30 from 4-5:15 p.m. with an artist talk at 4:15 p.m. Light refreshments will be provided. \nThe ArtSpace Gallery is located on the first floor of Building 4 at the Quad-Cities Campus\, 6600 34th Ave.\, Moline. \nFor more information about exhibits in the ArtSpace Gallery\, email ArtDesign@bhc.edu or visit 91�ԹϺ����� Art and Design. \nAbout the artist\nAnne Heide is a visiting assistant professor of art at Augustana College in Rock Island\, IL\, teaching weaving\, fabric design and sculpture courses. Heide received their MFA in fiber/textiles at the University of Kansas in Lawrence\, KS\, in May 2024. In May 2020\, they completed a graduate certificate concentrated in hand papermaking at University of Iowa Center for the Book in Iowa City\, IA. They graduated in Spring 2019 with a bachelor’s degree in studio art and gender\, women’s and sexuality studies from Grinnell College in Grinnell\, IA. \nIn their current work\, they consider the excess of usable clothing being produced due to global capitalism alongside the rigid gender and class norms that clothing embodies. They salvage donated secondhand clothes that are unlikely to find a new wearer\, whether because they are worn out\, defective or are simply an unpopular style. Drawing on the generally unremarkable forms of everyday clothes and garment racks\, they transform these unwanted clothes into artworks that create unexpected connections between different parts of the lifecycle of a garment\, and between different articles of clothing. To make these works\, they use traditional American craft practices used historically to repurpose old clothing such as quilting\, rag rug making and hand papermaking.  \n\nArtist Statement\nThis series of weavings exposes the generally hidden forms of retail clothing racks\, with the racks becoming the central motif rather than being hidden under rows of clothing for sale. Before fast fashion\, people had deep care and use relationships with each of their garments. My great-grandparents and grandparents all made many well-crafted home goods\, including clothing\, quilts and furniture\, but these practices were not carried on by their children (my parents\, aunts and uncles). Now\, clothing is considered disposable. With the rise of inexpensive readymade clothes produced by industrial textile equipment and underpaid mostly overseas labor came the rapid decline in common knowledge of textile construction techniques. \nIn these human-scale banners\, I reconfigure various traditional weaving patterns including overshot\, twills and waffle weave. Many of these patterns were used by early white settlers who colonized what is now the United States. They wove for subsistence before readymade cloth was available. Variations have also been used by weavers all over the world since shortly after the evolution of humans\, when weaving evolved too. The sculptural stands holding my weavings reference warp-weighted and vertical looms\, which have been used since prehistoric times. \nWith the invention of the Jacquard loom in the early 19th century\, weavers were suddenly able to incorporate complex organic shapes and combine patterns within their weavings in the course of a day or two in a way that was previously only possible with thousands of hours of work. At the same time\, other industrial textile equipment to produce all different types of fabric proliferated\, and the cottage textile industry in the early United States swiftly disappeared as factories took over cloth production. This disappearance followed the cultural erasure and land theft that the same white settlers acted out when they arrived in America and displaced and killed Indigenous people already living here. In much the same way\, the contemporary clothing industry continues to displace particularly the most marginalized people by polluting water\, creating unsafe and unsustainable working conditions\, and dumping unimaginable quantities of discarded clothing in landfills. \nI made these weavings using a very different type of Jacquard loom than the one invented in 1804\, which is also the kind that is still commonly used in industry today. The works in this exhibition were produced using a TC2\, or thread controller 2\, Jacquard loom\, invented by Vibeke Vestby in the late 1990s. Vestby’s objective was to return the power of increased thread control to handweavers: the TC2 is operated using a combination of digital image files (often created by hacking Photoshop) that the loom’s computer reads\, a vacuum pump fed in above the loom that individually raises specific threads to create the design\, and the physical movement of yarn through the path created by the loom’s raised threads that the artist operating the loom feeds in to make the cloth. Although Jacquard weaving was invented to eliminate the need for cooperative\, small-scale production\, weaving on the TC2 loom as I do to make these works recenters the Jacquard weaving process in the tradition of weaving as collaboration: maintaining the loom requires a team of people working together\, generally made up of artists and students who are also making weavings on the loom. \nThe collaborative nature of the TC2 inherently invites the sharing of knowledge and cooperative teaching. Although this exhibition cannot change the linear trajectory of clothing from factory to store to consumer to landfill\, and the cultural and environmental costs that comes with this cycle\, I do hope that it will inspire curiosity and criticality about how\, where\, why and for whom cloth is made.
URL:/event/artist-reception-for-artspace-gallery-exhibit-anne-heide/
LOCATION:91�ԹϺ����� Quad-Cities Campus\, 6600 34th Ave.\, Moline\, IL\, 61265\, United States
CATEGORIES:Art, Music & Theatre,Community (QC),Quad-Cities Events
ATTACH;FMTTYPE=image/jpeg:/wp-content/uploads/Anne-Heide-overshot-interlocking-1-400x600-1-e1758206442222.jpg
ORGANIZER;CN="Terrance Gray":MAILTO:grayt@bhc.edu
GEO:41.4774774;-90.4482304
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=91�ԹϺ����� Quad-Cities Campus 6600 34th Ave. Moline IL 61265 United States;X-APPLE-RADIUS=500;X-TITLE=6600 34th Ave.:geo:-90.4482304,41.4774774
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20251201T170000
DTEND;TZID=America/Chicago:20251201T170000
DTSTAMP:20251015T113001
CREATED:20251001T152730Z
LAST-MODIFIED:20251002T003806Z
UID:10003255-1764608400-1764608400@www.bhc.edu
SUMMARY:Deadline to enter the 91�ԹϺ����� Foundation Holiday Card Contest
DESCRIPTION:The 91�ԹϺ����� Quad-Cities Foundation is offering students the opportunity to get their artwork published on their annual holiday card. The 91�ԹϺ����� QC Foundation is looking for talented artists in a variety of artforms to design the front artwork for the 2025 season. Card submissions will be juried by the foundation and the art department. \nPictured is “The First Snowfall\,” the 2024 Holiday Card Contest artwork winning entry by Angela Naomi Cortes. \nREQUIREMENTS\nAll 2D media is accepted for consideration (including physical and digital works). \n\nWorks must be proportional to 5”x7” (larger works can be scaled down).\nLayout can be done vertical or horizontal.\nTheme should be based around winter and/or the holiday season.\nText may be incorporated but should not address one specific holiday (Christmas\, New Year’s\, etc.).\n\nELIGIBILITY\n\n91�ԹϺ����� Quad-Cities Campus student.\nCurrently enrolled in classes.\nAll programs/degrees accepted.\n\nDUE\nDeliver all entries to art instructor Terrance Gray by Monday\, Dec. 1 at 5 p.m. No late submissions will be accepted. \n\nPhysical works should be delivered in person to the Quad-Cities Campus\, Building 4\, Room 124\, and left on the back table. Please label works with the submission form (PDF).\nDigital submissions should be sent to grayt@bhc.edu with the heading “Foundation Holiday Card Contest” and sent from your 91�ԹϺ����� email account. Please send the digital file and include the information on the submission form (PDF).\n\nPRIZE\n\nThe artist of the winning card will receive a foundation scholarship for the Spring 2026 semester. This scholarship is worth $350 and can go toward tuition\, books\, supplies and fees.\nAdditionally\, your card will be printed\, published and distributed as the 91�ԹϺ����� QC Foundation’s official holiday card for the 2025 holiday season. The runner-up will receive a $150 scholarship.
URL:/event/deadline-to-enter-the-bhc-foundation-holiday-card-contest/
LOCATION:91�ԹϺ����� Quad-Cities Campus\, 6600 34th Ave.\, Moline\, IL\, 61265\, United States
CATEGORIES:Art, Music & Theatre,Quad-Cities Events,Student Life (QC)
ATTACH;FMTTYPE=image/jpeg:/wp-content/uploads/First-Snowfall-Angela-Cortes-scaled.jpeg
ORGANIZER;CN="Terrance Gray":MAILTO:grayt@bhc.edu
GEO:41.4774774;-90.4482304
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