About the Collection

In loving memory of Elaine Dye.

This collection highlights the fiber and textile art of four generations of women in the Dye/Fischer/Arnold family. In addition to bringing a variety of pieces together in one place, the collection is intended to elevate the medium as fiber and textile work has not always been accorded the same levels of recognition or appreciation as that which has been deemed “fine” or “high” art. While not always inapplicable, terms such as “craft,” “hobby,” or “amateur” devalue the considerable labor that goes into fiber art, which has long been practiced by women and is largely comprised of functional items. The often gendered and utilitarian nature of textile work has contributed to its somewhat fringe relationship to the discipline of art history. Additionally, the canon was primarily formed in the absence of such works, as there are few extant examples of textile and fiber art from past civilizations. Typically made of organic materials that degrade easily, in comparison to materials such as marble or paint, these products, though undoubtedly present from the earliest years of humanity, are seldom preserved in good condition to this day. A very small act of remediation, this collection aims to celebrate the medium, satisfy curiosity, and inspire the textile and fiber art of others.

The featured image, included above this paragraph, showcases a small selection of unattributed and undated pieces, which precludes them from inclusion in the formal collection. Although the total body of textile and fiber art created across the generations is significantly larger than the collection itself suggests, many works are without any specific identifying information, so no metadata can be generated. The featured image, as well as the picture at the top of this page and the two below this paragraph, are intended to imply the much broader scope of work that exists beyond the collection.

As illustrated by the two pictures above, the textile and fiber pieces produced by the Dye/Fischer/Arnold family remain in daily use. However, some items are seasonal so they are not always on view, and the full body of work is so large that it is not possible to utilize every item, so some pieces such as table runners or doilies are kept in storage. This collection allows for the simultaneous exhibition of a body of work that exists both in and out of use by a range of relatives.

In addition to pieces such as placemats or pillows that serve practical purposes, many works have been created with special occasions in mind, which was especially helpful when it came to building out metadata. The fields “commemoration,” which applies to seven items in the collection, and “inscription,” which applies to four items, demonstrate the specific intentions behind such pieces. Events such as graduations, weddings, and births have been commemorated and memorialized in fiber form, and other pieces bear inscriptions that record the context of the work and its creator. Additionally, nine items, which can be found here or through a search for “gift” in the top search bar, were given as gifts for birthdays, holidays, or on the occasion of moving into a new space. This information was especially useful in the formation of metadata, but it also makes clear the deeply personal nature of the collection.

Despite the fact that it was ultimately completed during the process of the project, only the “work in progress” version of the above cross-stitch is included in the collection, in hope of demonstrating its dynamic and evolving nature. Although the body of work is still actively growing, this collection and the pieces it contains are a testament to the sore fingers and strained eyes of four generations of women in the Dye/Fischer/Arnold family, as well as a celebration of the labor of love that is fiber and textile art.

For information on Julia Arnold, who created this collection, please visit the Artists Page.