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Make using Kristin Nicholas' pattern in Interweave Knits, Winter 2006. Blogged at www.montessoribyhand.blogspot.com.
Pattern: Snowball Hat designed by Katie Himmelberg
Pattern Source: Interweave Knits Fall 2007
Yarn: YarnArt Dream in color #18, two skeins.
Needles: US 9 and 11 Denise Circulars
My first holiday knit of the year. I'm going to gift this to my sister for xmas. I hope she loves it! The yarn is super glitzy and totally not my style, but screams Diane. I want to make one for myself now in a solid color! The pom-pom turned out at a huge 5" in diameter. This would be a great last minute gift pattern. blogged
my afghan design included in the Interweave book "Crochet at Home" edited by Brett Bara. made with over 25 different colors of cascade 220 and with no seaming, this blanket was so fun to make. i loved making it and i still love it.
finally! I finished this chanson en crochet capelet. Finished in Bernat TLC Baby. Will rework this eventually in another yarn. pattern available at:
www.interweave.com/knit/books/Wrap_Style/chanson_crochet.asp
Pattern: Thrummed Mittens designed by Jennifer L. Appleby
Pattern Source: Interweave Knits, Winter 2006
Yarn: Patons Classic Wool Merino in Grey Mix, 1 skein; approximately 2 oz Merino Top roving (1 oz each color, pink and purple)
Needles: US6 and US7 double pointed needles
I love how puffy and bulky they are! I really can't do much with my hands while I'm wearing these, but they sure are warm. blogged
Pattern: Thrummed Mittens designed by Jennifer L. Appleby
Pattern Source: Interweave Knits, Winter 2006
Yarn: Patons Classic Wool Merino in Grey Mix, 1 skein; approximately 2 oz Merino Top roving (1 oz each color, pink and purple)
Needles: US6 and US7 double pointed needles
These super soft thrummed mittens are just what I needed to help me get through the cold Boston winters! They were fun and really simple to make! blogged
my afghan design included in the Interweave book "Crochet at Home" edited by Brett Bara. made with over 25 different colors of cascade 220 and with no seaming, this blanket was so fun to make. i loved making it and i still love it.
i finished it! yaaaay!! this is the lotus blossom tank from interweave knits summer 2006. i used rowan cotton glace in pier on size 5 and 6 needles. hooray for steamblocking! i was so worried about the neck rolling preblocking!
Pattern: Babette Blanket by Kathy Merrick
Yarn: Patons Diploma Gold DK
Hook: 3.5mm
Gift for a friend's baby.
Mowat Mukluks designed by Jennifer Appleby
Pattern from Interweave Knits Winter 2005 issue
Yarn: 6 skeins of Cascade 220 in #8834 Medium Rose; 4 skeins Jo-Ann Sensations Mink in #37 Camel
Mukluks after felting. I made the largest size which is a US woman's 9/10, and they're actually really comfortable with a double sole. Diane (the recipient) said that they are good for "big fat pregnant legs and feet." blogged
my afghan design included in the Interweave book "Crochet at Home" edited by Brett Bara. made with over 25 different colors of cascade 220 and with no seaming, this blanket was so fun to make. i loved making it and i still love it.
1. Not available, 2. Not available, 3. tangled yoke cardigan, 4. Not available, 5. TYC´s first sleeve, 6. Gjestal Nagano, 7. Not available, 8. Not available, 9. Not available, 10. TYC starting yoke, 11. Not available, 12. tangled yoke cardigan13. Not available14. Not available15. Not available16. Not available
Created with fd's Flickr Toys.
The facts:
~Café Bastille Cables Sweater from Interweave Knits Fall 2003 (awesome use of old magazine)
~9 skeins of Rowanspun DK in Goblin held double (awesome use of stashed yarn)
~size 10.5 needles
~ size 43″
~started- September 19, 2005
~finished- October 10, 2005
~wonderfully easy sweater project with great instructions and the charts and measurements all on one page so you can see everything when you prop it up to knit
the equinox yoke pullover is finished and awaiting a photo session as soon as it's cool enough to wear it. it may be soon - we're supposed to have our first frost in the morning.
designed for the book "crochet at home" by interweave. it's been over a year since i made these. it's nice to finally be able to upload the photos.
Pattern: Embossed Leaves from Winter 2005 Interweave Knits
Yarn: Cherry Tree Hill in "Emerald City"
Started 1/13 finished 1/21
Modifications, left off the last 8 row repeat on the foot and used the reverse shaping for the star toe as suggested on Mona's blog.
From Katie Pederson and Jacquie Gering's Quilting Modern!
We're giving a copy away to a lucky member at the June 21 PMQG meeting, thanks to Interweave. And I'll bring a copy to the all-day sew tomorrow for anyone to look through, too!
westcoastcrafty.wordpress.com/2012/06/01/quilting-modern/
portlandmodernquiltguild.blogspot.com/2012/06/quilting-mo...
The Victoria Yoke Pullover from the Winter, 2009 Interweave Knits pattern by Jennifer Lang.
Knit in about 850 yards of Sundara Fingering Silky Merino in "French Canals" on US 3s.
5 imported Italian buttons with inlaid enamel and glass over base metal.
my afghan design included in the Interweave book "Crochet at Home" edited by Brett Bara. made with over 25 different colors of cascade 220 and with no seaming, this blanket was so fun to make. i loved making it and i still love it.
in the Interweave Crochet Accessories, 2011 issue.
crochetme.com/blogs/specialissues/archive/2011/10/28/croc...
A birthday gift for my sister... finally off of the needles!
Pattern: Printed Silk Cardigan, Interweave Knits, Spring 2008
Yarn: Frog Tree Pima Silk
Needles: Size US 3 and 5
I am thrilled with how this turned out!
red broken montaneous labyrinth
HAEGUE YANG
IN THE CONE OF UNCERTAINTY
NOV 2,2019-APR 5,2020
In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.
The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.
Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.
Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.
Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.
A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.
Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.
Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.
Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).
Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).
this is my swatch for the Venezia pullover by Eunny Jang on Interweave magazine winter 2006 issue. I used the original colours and yarn by Jamieson's (2 ply) and knitted with 3.0 mm needles. I got 30 x 31 stiches for 10 cm.
from Interweave crochet
still in progress. . . but definitely coming along. An anti-crochet friend of mine lets me crochet this at her house because it's so beautiful!
Icarus Shawl from IK Summer 2006 by Miriam Felton. My first shawl project. Knit in Misti Alpace Lace on US size 3 needles.
I started this in June 2008, but a bout with carpal tunnel relegated it to the unfinished object drawer for a few years. I dug it out recently, sewed it up and added the buttons. It's not a maternity pattern, so it should fit much better when I'm NOT 37 weeks pregnant!
The pattern is Pam Allen's Flutter Sleeve Cardigan from the Spring 2008 issue of Interweave Knits. I like negative ease, so I made the smallest size (36" finished bust). I used 4.5 balls of Classic Elite Classic Silk Yarn (cotton/silk/nylon blend) with needles size 2.5, 4 and 5.
I sewed the maternity polka-dot top in this photo as well, but the skirt is just a $2 thrift find.
my afghan design included in the Interweave book "Crochet at Home" edited by Brett Bara. made with over 25 different colors of cascade 220 and with no seaming, this blanket was so fun to make. i loved making it and i still love it.