Posts tagged with "gender"

Hands Illustration via 360 MAGAZINE

LEORA LEVY

Independent Women’s Voice applauds U.S. Senate candidate Leora Levy (R-CT) for signing the Women’s Bill of Rights, which, if enacted into law, would legally define basic sex-based terms and protect the existence of certain single-sex spaces, such as rape crisis centers, domestic violence shelters, athletic teams, locker rooms, and sororities. The full text of the Women’s Bill of Rights can be read here.

Heather R. Higgins, CEO of Independent Women’s Voice, said, “Too often, radical activists attack and try to silence anyone who speaks the truth about biological sex-differences. By signing the Women’s Bill of Rights, Levy has demonstrated that she is willing to stand up for equal opportunity, for common sense, and for science. We are grateful for Leora Levy’s support.

Independent Women’s Law Center Director Jennifer C. Braceras added, “We can’t fight sex discrimination if we can’t define what it means to be a woman. And we cannot collect accurate data regarding public health, medicine, education, crime, and the economic status of women if we redefine sex to mean gender or gender identity.’”

Don’t let activists erase women.

Learn more about the Women’s Bill of Rights HERE.

What Others Are Saying:

“I’m signing the Women’s Bill of Rights because the rights that generations of women fought for must not be dismantled to appease anyone.”

– Abigail K. Shrier

“What is a woman? The answer should be obvious to all. Unfortunately, today it is not. That’s why I am proud to endorse the Women’s Bill of Rights. This common-sense document should bring together all women regardless of their politics or religion.”

– Ayaan Hirsi Ali

“I want my three daughters to know that they live in a country where women are recognized and respected.  We are not “bleeders,” “birthing persons,” or “chestfeeders;” we are women.”

– Carrie Lukas, President, Independent Women’s Forum

“The Women’s Bill of Rights would ensure that our laws continue to recognize that there are legitimate reasons to distinguish between the sexes with respect to athletics, prisons, domestic violence and rape crisis services, restrooms, and other areas where biology, safety, or privacy are implicated.”

– Lauren Adams, Legal Director, WoLF

“The U.S. chapter of Women’s Declaration International (WDI USA) is proud to support the Women’s Bill of Rights. We work to advance the radical feminist and nonpartisan Declaration on Women’s Sex-Based Rights at all levels of government, and this bill is consistent with that objective.”

– Kara Dansky, U.S. Chapter President, Women’s Declaration International

Pit Women Against Men in Supreme Court via Thread MB for use by 360 MAGAZINE

PIT WOMEN VS. MEN

I recently answered a cry by numerous young women on Tiktok calling for abstention from sex with men until a reversal of the Supreme Court’s recent decision on Roe Vs. Wade cometh.  Here is my response

The logic behind pitting women against all men over this decision is both unintelligent and destructive.  The Supreme Court’s reversal doesn’t make men the bad guys so why are we punishing them?  Doing so won’t change that decision in the least. 

What it will do is create yet another tragic, unnecessary divide which will only make matters worse for the entire nation, including women.  In strong-arming the court and men, the only thing women will be demonstrating is that the court was correct in its decision because “children shouldn’t be deciding the fate of other children.”  

I’m truly sick and tired of how our society continues to lump all men together and cast them in an extremely poor light when it’s convenient to do so.  That is truly unfair, especially when today’s men had nothing to do with what yesterday’s men did, said, or how they conducted themselves.  The sins of the father shouldn’t be bleeding onto their sons as men have evolved in ways we should all be proud of.  But in that, women need to recognize this as opposed to overlooking it.  Because, frankly, if we don’t, we will eliminate all reason and commitment to further growth from them.  To that same point, the tangent so many women are on to change men into beings who they were never meant to be is wrong, egotistical, and a poor reflection on those women and, ultimately, the rest of us women, too.  I resent it.  

Neither gender has the right to define what the other gender “should be.”  The sliding scale of ‘masculinity to femininity’ shouldn’t be actively coerced but a reflection of personal choice.  And as advocates of “pro-choice,” you, above any other woman, should understand the importance of this.

Be angry if you so choose, but don’t be the justification for the decision you don’t agree with.  And stop imploding on men.  Because you are shooting yourself in the foot while making yourself look backward in the face of men moving forward. 

"I Wanna Be A Boy" single cover art via Leigh Greaney for use by 360 MAGAZINE

Addison Grace – “I Wanna Be A Boy”

Musician and TikTok phenomenon Addison Grace released their single, “I Wanna Be A Boy,” that discusses their own intimate tour with gender. Throughout writing the song and exploring what gender truly meant to them, Addison was able to discover their pronouns – he/they – and come out as nonbinary. Addison sings, “I guess I wanna be a boy,” coming full terms with this sincere and profound message.

Listen to “I Wanna Be A BoyHERE.

Addison pondered with never releasing the song past his own social media, but after posting it online and observing the feedback, he knew that it deserved an appropriate debut. While speaking with B Drop, Addison states, “I initially started writing it when I was questioning a lot of things about myself. I’m very open with how I identify online and I’ve always openly been a queer creator, queer musician, and at that time I was really not understanding how I identified with my gender and how I felt about it, and so it started off as a song about gender roles and how I was jealous of guys and how they got to have certain things I couldn’t have. With time, I realized it was very much me explaining — in song form — that I wasn’t a girl and that I was nonbinary instead.

“A lot of people ended up relating to the song. I had trans men relating to it saying “I’ve always felt like that.” I’ve had trans women being like “I used to deny I was a woman and I wanted to be a boy; I wanted to be “normal” — quote, unquote. I even had my friends who were born female and identify as female feel that way because they felt they were a tomboy and never fit in with the “girlie girls” so to speak.” He continues, “Even though, for me, it’s a song about gender identity and finding myself in that way, I think really at the core — it becomes a song about not understanding yourself and wishing so desperately that you could and it’s a very vulnerable song for that reason.”

The cover art for the piece showcases several images of Addison while they were growing up, at different time periods. He talks about this, saying, “I feel like a lot of my work recently has been about growing up and about those awkward moments in your life, so for this song, I wanted it to be a collage of my face growing up. I didn’t want it to be something someone had drawn. I wanted it to be realistic so I searched through a bunch of scrapbooks and I found pictures of two-year old me, 10-year old me, 15-year old me and a picture of me from last year and we ended up crafting it all together because I’ve always loved the idea of putting photos together and it makes something else. I wanted to put stickers and all that because when you’re finding yourself, it feels like these weird puzzle that don’t fit quite right, so I wanted it to look slightly off… I really love it and it feels really nostalgic to me.”

The journey of coming out as non-binary for Addison was a difficult road and is something that he aims to inspire others with. They strive to empower individuals with the power to live their own lives as genuinely as possible. Through sharing his own journey, Addison nurtures the idea that gender identity is a voyage that they went on and hope that others can embark on as well.

More about Addison Grace

With an outstanding 3.8 million followers on TikTok, almost 400k followers on Instagram and close to 200k YouTube subscribers, Addison Grace become an online sensation through hard work and dedication. He began his journey online with an iPhone 6 and a dream, often encouraging his own audiences to follow their dreams despite their situations. Addison stands as waterproof that anyone can become an artist if they’re dedicated to the craft, stating, “You’re enough and what you’re doing is enough.”

As an activist for the LGBTQIA+ community, upcoming artists and mental health, Addison is known for disclosing his own individual experiences living with ADHD. He makes sure to communicate to his fanbases that “normal” is a made-up concept, and that the truth is very real. They transmit the importance of the truth with “I Wanna Be A Boy,” which you can stream everywhere now.

Euphoria.LGBT Unveils A New Campaign

Euphoria.LGBT unveils a new campaign inspired by the Pronouns for Transgender Awareness Week

Euphoria.LGBT, Inc. is launching a new tagline, “Become who you are,” intending to synthesize the message from the transgender community to the world. The quest of the transgender community to recognize, accept, and embrace their true identity is an inspiration for each of us to dare to become who we are. This message is intrinsic to the transgender community but touches a much wider audience, from LGBTQIA+ people to all others who walk this earth. Because of miseducation and external pressure, many are scared to express who they truly are and spend their life misaligned with their soul. “Become who you are” is an invitation for everyone to live with honesty, acceptance, and courage.

To endorse this inclusive brand message, Euphoria’s first campaign is inspired by the Pronouns. It features first names from different cultures. Inside each of these names is highlighted one Pronoun. Sometimes the pronoun appears to be aligned with the original gender of the name and sometimes misaligned with it. The campaign is an invitation to respect the transgender community and everyone’s unique ownership of identity. Gender transition often starts with a pronoun and be thought of as the opening words to a story of self-acceptance and becoming oneself.

Euphoria.LGBT is a tech ecosystem for the transgender community to alleviate the great pains associated with gender transition. Euphoria’s platform includes Solace, Bliss, Catharsis, Windfall, Clarity, and Devotion. Each app offers a pragmatic solution to a specific facet of the odyssey that is transition and provides critical support and nurtures the trans souls in their courageous journey.

The transgender community is estimated to be between 2 and 6 million souls across the United States, with the global population estimated to be close to 160 million. This community is often misunderstood and stigmatized because of a lack of education in our society.

Robbi Katherine, Euphoria.LGBT Founder: “Pronouns are foundational elements of communication for every human being. For the transgender community, pronouns offer an acknowledgment of one’s truest self. These words are often the first and perhaps the most enduring reflection of the transgender soul. Pronouns are more than just words; they are portraits.”  

illustration by Gabrielle Marchan for use by 360 Magazine

DEBATING THE ROLE OF WOMEN IN THE DRAFT

By: Clara Guthrie

Members of the Senate Armed Services Committee have proposed a revolutionary reconfiguration of the federal military draft that is aimed at including women in the Selective Service System, according to a release from POLITICO. As the law stands now, all American men must register for the service when they turn 18, although the draft has not actually been enacted in more than 40 years since the Vietnam War. Refusing or failing to register can lead to fines, being denied student financial aid or federal jobs, and even prison time.

In the new proposal – authored by Senate Armed Services Committee Chair Jack Reed of Rhode Island – the language regarding who must enlist at 18 would be expanded to include “all Americans,” not just men.

The conversation around including women in the draft has picked up speed and garnered national attention in the past few years. In June, the National Coalition for Men brought a case to the Supreme Court that challenged the male-only draft, calling it unconstitutional. While the Court declined to hear the case, three Justices—Sonia Sotomayor, Stephen Breyer and Brett Kavanaugh—did release a public statement on the topic. The statement argued that the exclusions of women from the draft made little sense when considering how much the military has changed in the past four decades since the Supreme Court first held up the original policy. The tone of the statement was unsure about whether the draft meets the standard of “exceedingly persuasive justification” to discriminate on the basis of gender. The Justices also noted the monumental 2015 decision from the Pentagon to open all military combat roles to women as further evidence.

This hot-topic issue most recently entered Capitol Hill in 2016. At the time, the Senate voted to have the decision become part of the annual defense policy bill; the House Armed Services Committee adopted a similar provision, but eventually scrapped it. As a compromise, an independent commission was formed to study the draft and the pressing question of what role gender plays in it. In March of 2020, the commission published its final report, which backed the idea of requiring women to register for Selective Service.

However, another distinctive school of thought advocates for the abolition of the draft altogether, as opposed to requiring all young people to register regardless of gender. As Boston Globe columnist Jeff Jacoby wrote in his recent piece, Women don’t register for the draft, and men shouldn’t either, “Selective Service has outlived its usefulness. It should be consigned to history. […] Congress shouldn’t just end male-only draft registration. It should end draft registration, period.” Jacoby goes on to argue that the draft is an outdated practice and that an all-volunteer army is far more effective: “Compared with draftees, [those who volunteer for service] work harder, serve longer, perform better, and are more likely to regard their service as a calling, not a compulsion. Their commitment and skill are reflected in the consistent No. 1 ranking of the military as the most trusted institution in America.” This final point is supported by a 2019 Gallup Poll that found that Americans trust the U.S. military more than any other public institution. 

But, of course, there are legitimate issues posed by relying on a solely volunteer force. The All-Volunteer Force Forum (AVF Forum) is a network of military personnel and citizens alike who support some sort of draft being reinstated in order to combat the civil-military gap (a disconnect in views between military and non-military individuals). The AVF Forum cites issues including unsustainable recruiting techniques, a lack of socioeconomic and geographic diversity in the armed forces, and an inability to draw from the largest pool of possible candidates as all being exacerbated by a reliance on volunteerism.

In April, The AVF Forum held a conference to discuss potential amendments to the draft which do not include the complete dissolution of the institution. One solution is as follows:

“The conscription of only 5 to 10 percent of the force from the top 10 percent income tax bracket, [presented] by Marine Corps veteran and author Elliot Ackerman. The logic being that those within reach of the levers of power would be more inclined to limit military involvement if their own children faced drafting and deployment.”

No clear solution was reached at The AVF Forum conference, as the complicated debate continues to rage.

While it is unclear where exactly President Biden stands on the matter, he did share a clarifying quote at the Military Officers Association of America candidate forum in September of 2020 before he assumed the presidency. “The United States does not need a larger military, and we don’t need a draft at this time. […] I would, however, ensure that women are also eligible to register for the Selective Service System so that men and women are treated equally in the event of future conflicts,” said Biden.

The original proposition by the Senate Armed Services Committee is expected to be considered during committee markup this week. However, there will be no official floor action on the bill until at least later this year. 

If the legislation eventually passes, the measure would only go into effect one year after approval.

Photo via Lucas Jones of Polity Press for use by 360 Magazine

Q&A WITH AUTHOR DAVID THEO GOLDBERG

A pervasive sense has taken hold that any and all of us are under suspicion and surveillance, walking on a tightrope, a step away from erasure of rights or security. Nothing new for many long-targeted populations, it is now surfacing as a broad social sensibility, ramped up by environmental crisis and pandemic wreckage. We have come to live in proliferating dread, even of dread itself.

In this brilliant analysis of the nature, origins, and implications of this gnawing feeling, author David Theo Goldberg exposes tracking capitalism as the operating system at the root of dread. In contrast to surveillance, which requires labor-intensive analysis of people’s actions and communications, tracking strips back to the fundamental mapping of our movements, networks, and all traces of our digitally mediated lives. A simultaneous tearing of the social fabric – festering culture wars, the erosion of truth, even “civil war” itself – frays the seams of the sociality and solidarity needed to counter this transformation of people into harvestable, expendable data.

This searing commentary offers a critical apparatus for interrogating the politics of our time, arguing that we need not just a politics of refusal and resistance, but a creative politics to counter the social life of dread.

David Theo Goldberg is Director of the University of California Humanities Research Institute.

Interview by: Heather Skovlund-Reibsamen

To begin, when did you realize that you first wanted to be a writer?

Quite young. I liked to write as a teenager, fifteen or sixteen, won a prize at high school for English writing. Looking back, I was not nearly as compelling as I fantasized. In training to be an academic I started attending closely to my technical writing. While at graduate school in New York I was involved in making independent films and music videos. I co-wrote the outline and voice-over text for an experimental film on apartheid South Africa which I also co-directed. The film won some international film festival awards. My early published academic writing was dense. I worked hard at getting myself to be clearer, cleaner, more concise. Like all art, writing requires endless attention to its detail, rhythm, flow.

What would you say is your interesting writing quirk?

I have a couple. I lap swim quite seriously early every morning. When I am struggling with an idea, or even to articulate a sentence, the quiet solitude of pulling through water on one’s own unbothered by anything around often leads one, or even a whole sentence or two. The challenge, of course, is to recall accurately   enough what I thought so great to be able to write it down at swim’s end. Until injuries caught up with me a few years ago I surfed extensively, and for many decades. I would travel to some surf spots further afield as much to be able, between surfs, to write uninterrupted by day-work at home as to enjoy the great surf and culture at hand.

When I have things pouring out of me and I am writing fast I tend to plug into fast jazz. The likes of the great Cuban jazz pianist Gonzalo Rubalcaba or Japanese pianist Hiromi. Or the big band Snarky Puppy, with Hammond organist Cory Henry, who are fun. Writing has rhythms and I hope some of the music has rubbed off in my writing. There are times, nevertheless, when I like to write in silence, completely alone with my own thoughts.

What kind of research do you do, and how long do you spend researching before beginning a book?

It depends on the book: I usually read extensively regarding the subject matter until I feel saturated and an argument thread for the book is mostly in place. Jacques Derrida, the great French philosopher, was once asked by the documentary filmmaker, Amy Ziering, if he had read all the books in his enormous personal library. “I have read only four,” Derrida responded. He then added, the crease of a smile at the corners of his mouth, “But I have read them very well.” The challenge is to read whatever one is engaging to find insights and ideas with which one can think.

I also find it thought-provoking to observe cultural, technological, political and economic trends and changes at work around us. My writing itself is as much an unfolding of the argument line, often enough surprising me in the writing, through where the writing takes me.

Edward Said, the great intellectual of the late twentieth century, wrote a book, Beginnings, which is about how challenging it can be to open a book, to write the first sentences. But also how to end, to bring it to a close in ways that will linger with the reader. Whether creative or analytic writing, not that it is always easy to distinguish the two. Said’s book has stuck with me through much of my writing career.

How many books have you written? Which is your favorite?

Ten sole or co-authored monographs; another ten edited or co-edited books. Naming a favorite, especially publicly, is like saying who among your children are your best ones. Tough to do. There are two books that stick out because they have both expressed key developments in my thinking and have been impactful in scholarly debates around these questions.

The first is The Racial State (2002), about how the modern state since the 17th century was founded on racial structures, structuring into its very formation the elevation of Europeans/those of European descent at the expense of all others. Obviously these structures transformed over time, and from one place to another,  but the driving principle has largely remained in place. The key argument is that modern states become modern by taking on the technologies of race as structuring mechanisms.

The second is The Threat of Race: Reflections on Racial Neoliberalism (2009). This book traces the ways the neoliberalizing of polities globally—the financialization of everything; the divorcing of contemporary social, economic, and political conditions from the historical forces that produced them; the complete personalizing of responsibility for one’s standing and experience in society, no matter the social structures and challenges one has faced–has sought to empty the concept of racism and its affiliated racial conceptions of any critical charge or meaning.  The conservative attacks we are currently witnessing on critical race theory have their foundations in this neoliberalizing turn starting in the 1980s. Conservatives of this stripe find discussions, analysis, and engagement of racial issues threatening precisely because they challenge their view of the world.

What inspired you to write Dread: Facing Futureless Futures?

In 2016 family, friends, and colleagues were waking up each day with a sense of anxiety, some calling it a sense of doom. The rise in authoritarianism here in the U.S. but also across a widening range of societies was in part fueling this sense. I was feeling it too. I started by trying to put my finger on what this feeling was, what it amounted to, to name it. “Dread” was the concept I came up with to best express this sense. When I mentioned it aloud, others would exclaim, “That’s it!” What followed was the urge to write a book exploring the underlying conditions prompting this generalized sense, and the implications.

What is the significance of the title?

Dread is a socially produced pervasive anxiety the basic cause(s) of which it is difficult fully to identify. Like Kierkegaard in the 19th century, I contrast dread with fear. Fear is a feeling the object of which one can usually identify, name concretely. The object of dread is a feeling of anxiety and unsettlement the sources of which I cannot concretely or precisely articulate.

“Facing Futureless Futures,” the subtitle, speaks to the ways in which we have created or collectively allowed to be created social conditions that threaten our very wellbeing, if not existence. That some are talking about “the sixth extinction” exactly expresses this heightening anxiety about the survival not just of lifestyle but of life, of the world that supports life itself.

Can you tell us about the book?

I wanted to account for the conditions prompting this pervasive sense of dread, of uncontainable anxiety. The authoritarianisms that seemed to be taking hold, the unhinged statements and expressions struck me as symptomatic of something deeper, structurally more pervasive and difficult to address. So I was concerned to string together an analysis of those conditions, to offer a language of analysis for what is happening to us, what we are doing to ourselves and over which we think we have little if any control.

These include the pervasive emergence of algorithmic culture, the ways algorithms are structured increasingly into and order our everyday activities, the overwhelmingly instrumentalist mode of thinking it insists upon, often in increasingly intrusive ways (the “internet of everything”). This pervades not just how we order consumer goods, how we invest, how we learn at school and college but how we run our homes and businesses, increasingly how cars drive, how and with whom we interact, how we relate to each other, indeed, the quickening pace of worker and work function replacement by robots. Everything we do when electronically connected is now being tracked—where we go, who we interact with, what we consume, how we vote, our medical conditions, our work habits, everything! And that in turn becomes the basis for shaping and reshaping our desires but also the (narrowing of) possibilities presented to each of us.

Increasingly, chips are being inserted into human beings, for a variety of purposes, from medical reasons to consumption accessibility (we are in the early process of being turned into walking credit cards), to tracking productivity, and government control. The digital is transforming the very nature of the human into the techno-human.

The anxiety all this is producing, consciously or not, includes the sense of lost privacy and transparency, depersonalized desire, and undermined self-control. This is readily exacerbated by events and even structures over which we take ourselves to have little or any control, like the pandemic and the impacts of climate change, the conditions for the production of both of which have been dramatically over-politicized. And all of this has laced through it structurally produced differentiations of class, race, and gender, further intensifying the concerns. The outcome of all of this, I suggest, is the ramping up of “civil war,” less conventionally understood than as more or less violent contestations over how we should all be living in the world.

Did you learn anything while writing the book?

One cannot address a dominant set of social concerns without first understanding it. The given is not indelibly cemented into place. What looks like natural conditions is often, at the very least, socially arranged. That means what we have made with debilitating effect we can unmake.

Above all, this invites a relational mode of analysis. It involves seeing—in the sense of looking at the world—in its deeply relational constitution. What we do in one place both affects and is affected by what others are doing elsewhere. Like the weather, environmental impacts and pandemics know no national boundaries or borders. Tracking is at once individually isolating and, less visibly, deeply relational. Racial ideas circulate globally, even if taken up and expressed differently in one place from another, just as racisms in one place are shored up and sustained by racisms elsewhere. For example, critical race theory was originally formulated and fashioned in American law schools but both its application and of late its facile condemnation have been taken up as far afield as Britain, France, and Australia.

And second, I found myself reaching a more hopeful conclusion, if not ending. I suggest that those societies that have taken seriously infrastructures of care for members of the society at large are far better able to address collective challenges such as pandemics and the impacts of climate change, or indeed racisms, at least in principle. Societies that fared better in quickly addressing the pandemic and saving their populations from rampant infection and death have been those that have invested more readily and enduringly in social infrastructures of care.

What is the purpose of the book?

To elaborate an analysis and vocabulary for understanding the debilitating social and ecological conditions we have created and face, and how we might address the challenges in creatively relational ways.

What are you wanting your readers to take away from the material?

Three insights: that we have created a world that in all it gives us is undermining the very conditions of possibility for sustaining those affordances; that the technological apparatuses so completely transforming our worlds and who we are in them,    especially tracking technologies, enable possibilities not previously available. But at the very same time they have proved debilitating, socially, ecologically, and increasingly politically; that a completely self-regarding disposition to the world, individually and nationally, is in stark contrast with one that recognizes our deeply relational condition socio-ecologically; the deeply relational ways in which socio-ecological worlds are constituted become key to addressing the challenges we are facing interactively.

What were the key challenges you faced when writing this book?

The conditions unfolding across the world were transforming remarkably quickly. The pandemic took hold in the middle of writing the book, shutting down much of what we had taken for granted. It revealed deep socio-economic  disparities, racially indexed, exacerbating the impacts.  These were further ramified by the George Floyd murder, among others, and the protests that followed. While I was already lacing racial analysis into the analytic contours of the book, the series of police killings and protests as well as the attacks on Asians, especially women, needed to be referenced. Nor could one write a book about dread without addressing the pandemic. So I added a chapter devoted to Covid and its social impacts and implications pretty much in situ.

What was the highlight of writing this book?

Being in sustained conversation with close intellectual friends and colleagues about the range of conditions I address in the book. This was especially productive and meaningful given our extended collective remoteness as a pandemic consequence. But also, because I was thinking and writing in the midst of an unfolding of the very conditions which I was addressing.

Is there anything that you would like to add for the readers?

The world we have inherited and from which we make ourselves today has furnished us with extraordinary possibility. But in being less mindful of the cumulative impacts of the many generations of this making we have just begun to understand that our world also is in advanced process of radically undermining the conditions making its enduring sustainability possible. The book is about our present circumstances with a view to understanding some of what it will take to have futures to which to look forward. I very much hope it is read in this spirit.

illustration by Samantha Miduri for use by 360 Magazine

Beau-Rivage Palace Celebrates 160th Anniversary

The Beau-Rivage Palace Hotel marks its 160th anniversary with a gender revolution.

When Lausanne’s iconic Beau-Rivage Palace Hotel opened its doors on the shores of Lake Geneva in 1861, it was financed by men, managed by men, promoted by men, and staffed almost entirely by men. Women were engaged to make beds and wash dishes. 

What a difference 160 years make. In 2021, the Beau-Rivage Palace’s general manager, its resident celebrity chef, and its chief concierge are all women. And today, it is largely men who clean the hotel’s guest rooms, schlepp the luggage and park the cars.

MAKING HISTORY

The site of many milestone moments in history, it was the Beau-Rivage Palace’s Jacques Tschumi who, in 1893, opened the Lausanne Hotel School in order to train his hotel staff. Now, 128 years later, the École Hôtelière de Lausanne continues to be regarded as the best hospitality school in the world, and many of its students still undergo on-the-job training at the Beau-Rivage Palace. The hotel’s Cinq Mondes spa was totally refurbished in 2020, ready to underscore the hotel’s growing devotion to wellness.

Host to celebrities from Charlie Chaplin and Coco Chanel to Matt Dillon and Christopher Walken, not to mention Prince Philip, Duke of Edinburgh, and U.S. presidents, the hotel was and is host to world-changing events as well. Highlights of its history include:

  • 1912 – Signing of the First Treaty of Lausanne (or Treaty of Ouchy) at the Beau-Rivage Palace, ending the Italian-Turkish War
  • 1923 – Hosting of the conference of the Treaty of Lausanne that draws the borders of present-day Turkey
  • 1945 – Coco Chanel lived at the Beau-Rivage Palace from 1945 to 1954 and is buried in Lausanne
  • 1968 – Albert Cohen publishes his novel Belle du Seigneur, inspired by the romantic atmosphere of the Beau-Rivage Palace
  • 2009 – Anne-Sophie Pic, the world’s most celebrated female chef, opens her eponymous restaurant at the Beau-Rivage Palace. In October, Michelin awards the restaurant two coveted stars 
  • 2015 – Nathalie Seiler-Hayez appointed general manager of the Beau-Rivage Palace
  • 2015 – The months’-long negotiations at the Beau-Rivage Palace conclude with the Iran Nuclear Treaty. 

IT’S ALL ABOUT 2021

The celebratory year will feature an array of special events and offerings focusing on wellness and healthy living, including:

On August 27, the now traditional Anne-Sophie Pic Market will offer the opportunity to discover local delights produced by the chef’s partners. A special highlight will be the signing of Michael Berthoud’s book on wild harvesting – Anne-Sophie Pic wrote the preface in homage to their friendship. An “eat and be fit” section will also be presented in collaboration with Jérémy Peltier to respond to the growing demand for health preservation through food, a subject dear to Anne-Sophie Pic’s heart. 

From September 1, the Absolute Infusion Menu will be featured at the Beau-Rivage Palace’s Anne-Sophie Pic restaurant. An exclusive alcohol-free food and drink pairing offers an unprecedented new culinary experience.  

Finally, on November 24th, Anne-Sophie Pic and team will present “1861,” an extraordinary three-course gala menu reinterpreting the dishes served at the Beau-Rivage Palace’s very first dinner, 160 years ago.

ABOUT THE BEAU-RIVAGE PALACE

The Beau-Rivage Palace is situated on ten acres of private gardens, adjacent to Lake Geneva with spectacular views of the Swiss Alps. The property’s two Michelin starred restaurant, Anne-Sophie Pic at the Beau-Rivage Palace, features France’s only female chef with three Michelin stars. Other amenities include two bars and terraces, two tennis courts and a special program for children.

Joel Peterson photo via Deseret News for use by 360 Magazine

Joel Peterson x My Road to Cancellation

Joel Peterson, Stanford Professor and former JetBlue Chairman, writes about his experience navigating the minefield of woke hostility in his piece My Road to Cancellation:

“Wokeism,” America’s new civil religion, draws on elements of neo-Marxism, critical race theory, social justice and identity politics. Its adherents believe it will lead to a more just society. Its detractors, on the other hand, believe its “cancel culture” will push civil society to the brink. And, for the “woke,” either will do.

The roots of my own unlikely cancelation go as far back as 1987, when Jesse Jackson marched Stanford students up Palm Drive to a rhythmic chant of “Hey, hey, ho, ho! Western Civ has got to go!” The next year, I joined the advisory council of its Graduate School of Business where I was soon invited to fill a one-year faculty vacancy. To everyone’s surprise (including my own), I returned every fall for the next three decades to teach four courses to a generation of exceptional MBA candidates.

Then, last year, before a student-politician boldly posted that “White people need to be eradicated,” I was summoned to respond to an equally disturbing complaint over having “triggered” woke students. Because I didn’t think I’d done anything worthy of the summons and because I had received the distinguished teaching award from students, a “Silver Apple Award” from alumni and been appointed to a faculty chair, I wasn’t worried. Alas, I’d misjudged my peril.

Years after Jackson’s campaign to eliminate Stanford’s requirement to study Western civilization, an Iowa-born, New York Times reporter, Nikole Hannah-Jones, developed what she titled “The 1619 Project.” In it, she presented America as founded on slavery and stained by perpetual bigotry.

With boosts from the Pulitzer Foundation and from George Floyd’s tragic death, her social justice message struck a nerve. However, when a number of historians debunked the pseudo-history, Hannah-Jones repositioned her essay as “a work of journalism that explicitly seeks to challenge the national narrative.” She followed up with a New York Times Magazine article headlined “What is Owed” making a case for reparations, consistent with her 1995 letter to the editor in Notre Dame’s “The Observer,” in which she likened Christopher Columbus to Hitler.

With police departments defunded, monuments vandalized and cities torched, Dr. Seuss was soon condemned as racist, Mr. Potato Head scheduled for gender reassignment, and free speech restricted by social media oligarchs. So, it wasn’t a surprise to see social justice warriors on the previously welcoming Graduate School of Business campus.

Content of character vs. color of skin

In a class I teach, students objected when guest CEOs claimed to have been “color blind.” When I volunteered that I, too, had resisted hiring based on skin color, gender or quotas, and had relied, instead, on character, competence and commitment, some students were offended. To understand why those “triggered” would object to standards of character and competence being added to the emergent holy grail of diversity, equity and inclusion (DEI), I turned to one of my own daughters.

Sensing my bafflement at the outrage, she immediately wrote back:

“I have known you my entire life, and I know by your words and deeds that you value all people of all races, ethnicities, and genders. I know you are constantly impressed and inspired by immigrants and their amazing stories of courage and perseverance. I’m proud of the work you’ve done. If this younger, ‘triggered’ generation pushes out of their lives all who seek to improve their understanding, teach them, and open their minds to broader ways of thinking, it will be to their detriment.”

I’d taught my kids – and, until now, my students — that talent, character, and competence are evenly distributed across every demographic. In response to my determination to be on the lookout for leaders without regard to identity, an offended gender-studies major wrote that she’d not known “whether to scream or throw up.” After all, it had been nearly 60 years since Martin Luther King had dreamt of the day when the content of one’s character mattered more than the color of one’s skin. But, by the time that day happily arrived, “wokeism” had hijacked his dream, re-elevating skin color over character.

As demands for skin-color diversity were broadened to include gender and sexual orientation, a student notified me that I’d called on more men than women in two (of four) classes. Knowing that I was no respecter of persons — whether by gender, race, sexual orientation, or anything else — I moved ahead with the course, suddenly aware that my interactions with students were being catalogued by identity.

Soon, a Black Lives Matter advocate asked, of all things, whether I would stand for the American flag. To provide context for my decision, I shared a story. As a toddler, I’d seen my mother take a call from the Department of Defense announcing that her fighter-pilot brother had been killed. Honoring her grief, I’d chosen to stand for the flag under which my only uncle had offered the ultimate sacrifice. The student’s response was presented as an irrefutable argument; my choice was “racist.”

Furthermore, in this woke new world, my professional experience was no longer relevant because of the race and gender I’d been assigned at birth. Despite having created tens of thousands of jobs, promoted women and minorities, and coached scores of entrepreneurs, I was deemed an “oppressor” in the catechism of “wokeism.” Furthermore, the penance for being raised in a “systemically racist” society — founded on millennia of Greek, Roman and Judeo-Christian antecedents, no less — was submission, and, if resisted, cancelation.

The reason behind such tyranny came into focus for me when Condolezza Rice, former secretary of state and current director of the Hoover Institution at Stanford, told me she’d shared with her students that the capture of Khalid Sheikh Mohammed (9/11’s architect) had felt like “having Erwin Rommel under lock and key.” The blank looks on the faces of her very bright students revealed that they had never heard of WWII’s famous Desert Fox.

Until then, I’d traced the enmity to activists like Jackson and Hannah-Jones. Now, I could see that it also stemmed from students having swapped an education for indoctrination. Those enlisted as social justice warriors had avoided the lessons of history, missed out on refining skills that might have allowed them to judge assertions, and denied themselves the insights required to make wise trade-offs.

Because such uninformed activism brought with it a minefield of woke hostility, I kept to myself any reservations I harbored about critical race theory, gender fluidity, and climate alarm. And, when Stanford’s math department proposed achieving “racial equity” by eliminating AP math (as racist, no less), I also kept quiet. Instead, I hoped my hardscrabble climb to CEO might inspire those who saw themselves as victims of inequity. Ironically, those who strained to label my uphill journey a product of “white supremacy” were often the very beneficiaries of woke preferences.

Oppressor-victim

To understand this recipe for canceling predecessor generations, I spoke next with Stanford military historian Victor Davis Hanson. Because Hanson had written the following, I wanted his help in gracefully handling the oppressor-victim theme:

“We should not… allow a current affluent, leisure, and pampered generation to hijack the past, and damn it to perdition. (They have) not earned the right to… cancel… those of the past who won Gettysburg, or built the Hoover Dam, or produced a Liberty ship every week.”

While Stanford had long nurtured a remarkably diverse and admirably inclusive community, it nonetheless rejected Hanson’s counsel in favor of a now fashionable “institutional racism.”

When Graduate School of Business faculty were further instructed to avoid “racist and xenophobic rhetoric and actions against the Asian American and Pacific Islander community,” I found myself wondering if the addendum were a virtue-signaling accusation, or if it were based on something I’d simply never encountered in all my years at Stanford. And, when the facts behind subsequent murders (of a Capitol police officer and 10 Colorado shoppers) contradicted de rigueur narratives, I wondered if the time had come to move beyond racial memes.

Apparently not. With free markets also labeled “racist,” those of us with responsibilities outside the ivory tower began to feel our “diversity of optic” (based on long experience) had been dismissed in favor of a “diversity of identity” (rooted in ideology). So, while I care deeply about Stanford University, and like and admire its president, provost, and business school dean, I was beginning to feel isolated.

Their deference to selective diversity led me to reflect upon a meeting I’d conducted in Berlin as chairman of JetBlue Airways. After the meeting, I’d taken a stroll down Unter den Linden to the Bebelplatz, 500 yards to the east of Berlin’s famous Brandenburg Gate. It was at that plaza, on May 10, 1933, that newly empowered Nazi officials had orchestrated the burning of “objectionable” books. Later dubbed “The Night of Shame,” the conflagration eventually contributed to Germany’s liberal democracy turning a blind eye to Kristallnacht, the Holocaust and an appalling rationale for war.

While loath to compare such a long-ago shame with how I was currently feeling in Palo Alto, of all places, I remembered being impressed that, in Berlin, the survivors of that era’s cancelation had later inserted “stumbling stones” between pavers to ensure that all who followed neither forget, nor repeat, that calamity.

As I traversed the once-riven capital city, the ground-level reminders had provoked in me a surge of optimism. Surely, the world would avoid the sort of conflict for which my own father had gone to war. Surely, everyone realized by now that banning books, restricting free speech and stoking fear would lead to tragedy. And, just as surely, America would eventually reject totalitarianism, even in its “wokest” form.

Yet, here I was, only three years later, 6,000 miles to the west of Berlin, sensing I was perilously connected to a prior generation’s intolerance. Adding to my anxiety was a discovery that my grandchildren’s generation were being scheduled to view an honorable heritage through a lens cleverly manufactured to provoke shame.

Forced to consider moving to a less hostile teaching environment, I heard from former students. One female “of color” offered that, of all her professors, I’d been the most supportive of women and minorities. Another confirmed that the majority of his classmates felt silenced by the threats of a racist label. One student even scolded me for having allowed “the slings and arrows” of the woke to achieve their hoped-for effect.

I smiled wanly to see that Prince Hamlet had somehow survived Jesse Jackson. I, on the other hand, had failed utterly to anticipate the distorting polemics of identity politics. The script advanced during America’s annus horribilis had pitted race against race, gender against gender, and generation against generation, all risking a degradation of spirit worse than any virus.

As a former CEO, it seemed to me that the narrative had gone well beyond gaining political or market advantage. It had even exceeded antifa’s hope for French-Revolution-style anarchy. In fact, by 2021, it looked like a bold attempt at a hostile takeover of mankind’s best hope for peace and prosperity.

This conclusion led me to contrast two Americans best known for their connections to societal breakdown — a mid-19th-century Abraham Lincoln and a mid-20th-century Saul Alinsky. I selected Lincoln because he’d guided America through a civil war, and Alinsky because his dream had been to provoke civil unrest by inciting those he called the “have-nots” against those whom he called the “haves.”

President Lincoln’s observation of America’s vulnerability mirrored community organizer Alinsky’s precondition for a successful revolution. Thus, the warning attributed to Lincoln that “America will never be destroyed from the outside; if we falter and lose our freedoms, it will be because we destroyed ourselves” was the basis for the race and class warfare Alinsky welcomed by rewriting history, inciting envy and “canceling” a large portion of the population.

Whereas Martin Luther King had called upon our “better angels” to subordinate our differences to shared values and, thus, to overcome what Condi Rice called our nation’s “birth defect,” Alinsky chose to repudiate King’s redemptive dream. If he could get people to ignore e pluribus unum (America’s motto since 1782), he might be able to overcome the spirit under which the nation had thrived.

By 2020, the pandemic had offered activists a unique opportunity to cleave the nation along identity and tribal lines, skirting the 238-year-old aspiration that had been Alinsky’s steepest obstacle. Using a fear of cancellation to silence half the population, SJWs dismissed the steady social progress that was the trademark of the world’s most successful multicultural society. Instead of celebrating the progress flowing from our commonalities, they fomented division by pointing to historical injustices.

Between a pandemic, racial tensions and the absence of a Lincolnesque figure to bind up our wounds and bring us together, America was, indeed, vulnerable. As its citizens awakened to the soft tyranny promoted during the pandemic, many felt betrayed by institutions they’d once admired and leaders they’d once trusted. And, for my part, I discovered that the experience I’d had with cancellation in the academy was being repeated all across the nation.

While I may well survive, America will not survive the rewriting of its history, the violation of its Constitution and the abandonment of the freedoms it has promised to citizens of all political persuasions, ethnicities, genders and orientations. No matter our differences, unless we preserve free speech, secure our Constitution and re-enthrone individual responsibility over victimhood, all the king’s horses and all the king’s men will be unable to put Humpty Dumpty back together again.

And Alinsky’s vision will have canceled Lincoln’s.

Joel Peterson Bio

Joel Peterson is the Robert L. Joss Professor of Management at Stanford University, the former managing partner of the Trammell Crow Company, the former chairman of the board of Overseers of the Hoover Institution, the former chairman of JetBlue Airways and the founder and chairman of Peterson Partners, a sponsor for a quarter century of more than a dozen funds covering private equity, venture and real estate investments in hundreds of companies and real estate projects across the nation and throughout the world.

Victoria Selbach for UNRAVELED Confronting The Fabric of Fiber Art. For use by 360 Magazine

UNRAVELED: Confronting The Fabric of Fiber Art

A Group Show Curated by Indira Cesarine

OPENING RECEPTION: April 17, 2021

VIP Preview 1pm – 3pm // Opening Reception 3pm – 8pm

EXHIBITION ON VIEW: April 17 – May 28, 2021

45 Lispenard Street, NYC 10013

The Untitled Space is pleased to present “UNRAVELED: Confronting The Fabric of Fiber Art” group show opening on April 17 and on view through May 28, 2021. Curated by Indira Cesarine, the exhibition will feature textile and fiber-based artworks by 40 contemporary women artists. “UNRAVELED: Confronting The Fabric of Fiber Art” explores in depth the themes and techniques of the medium through the works of female-identifying artists working with natural and synthetic fiber, fabric, and yarn. The exhibition presents figurative and abstract works that address our lived experience and history through the lens of women weaving, knotting, twining, plaiting, coiling, pleating, lashing, and interlacing. Narratives of self-identification, race, religion, gen­­der, sexuality, our shared experience, as well as protest and the patriarchy are literally “unraveled” through embroidery, felt, woven and hooked rugs, braided and sewn hair, sewn fabrics, discarded clothing, cross-stitching, repurposed materials and more.

Exhibiting Artists: Amber Doe, Carol Scavotto, Caroline Wayne, Christy O’Connor, Daniela Puliti, Delaney Conner, Dominique Vitali, Elise Drake, Elizabeth Miller, Hera Haesoo Kim, Indira Cesarine, Jamia Weir, Jody MacDonald, Julia Brandão, Kathy Sirico, Katie Cercone, Katie Commodore, Katrina Majkut, Katy Itter, Kelly Boehmer, Linda Friedman Schmidt, Lisa Federici, Marianne Fairbanks, Mary Tooley Parker, Melanie Fischer, Melissa Zexter, Mychaelyn Michalec, Mz Icar, Orly Cogan, Robin Kang, Rosemary Meza-DesPlas, Ruta Naujalyte, Sally Hewett, Sarah Blanchette, Sooo-z Mastopietro, Sophie Boggis-Rolfe, Stacy Isenbarger, Stephanie Eche, Victoria Selbach, and Winnie van der Rijn.

Curatorial Statement:

unravel [ uhn-rav-uhl ] to separate or disentangle the threads of (a woven or knitted fabric, a rope, etc.). to free from complication or difficulty; make plain or clear; solve: to unravel a situation; to unravel a mystery.

“UNRAVELED: Confronting the Fabric of Fiber Art” investigates the narratives of contemporary fiber artists. The exhibition brings together a diverse group of artists who each address through their own personal vision, materials, and methods, works that are deeply rooted in the history of feminism, in the intersection of art and craft, addressing our living experiences and personal languages. We live in a world of extremes – on one hand, the pandemic has brought forth an intensity on digital and online programming peaking with the emergence of NFT art, and on the opposite end of the spectrum we are seeing a return to the comforts of the home and along with it a renaissance of organic and handmade artworks that embody that spirit. The laborious and repetitive methods required to create one work of fiber art can take hundreds of hours, yet equally the creation process is often referred to as a mediative act of healing, allowing for an expressive personal and cultural interrogation.

Fibers have been an integral part of human civilization for thousands of years. Textile art is one of the oldest art forms, dating back to prehistoric times. Despite early works of textiles such as embroideries and tapestries having been made by both men and women, the tradition of textiles and needlework evolved into that of “women’s work” and was not only dismissed as not “important” but was literally banned from the high art world by the Royal Academy in the 18th century (circa 1769). With the rise of the women’s movement as well as technological advances, women reclaimed the medium, subverted its history as a lesser art form, and transformed it into a tool of expression, of protest, of personality. From early suffrage movement embroidered banners to the groundbreaking exhibitions and works of female pioneers such as Bauhaus weaver Anni Alber’s momentous solo show at the Museum of Modern Art in 1949, Lenore Tawney’s exhibition at the Staten Island Museum in 1961 to Judy Chicago’s groundbreaking 1979 work “The Dinner Party”, we have seen the medium evolve and inspire new generations of fiber artists.

“UNRAVELED: Confronting the Fabric of Fiber Art” explores this new wave of female-identifying artists who are using materials ranging from thread and yarn to human hair, fabrics, and discarded clothing, among a range of other components to unravel the “language of thread” with works that provoke and interrogate. Whether drawn from a deeply personal narrative, or rooted in political motivation, each artist weaves, spins, sews, and hooks the viewer with their detailed and intricate textures that communicate and empower. The exhibition presents two and three-dimensional pieces that explore with gravity and humor our contemporary culture, its beauty, flaws, and idiosyncrasies through murals, assemblages, fragile and gestural threads, meditative, and metaphorical fibers. “UNRAVELED: Confronting the Fabric of Fiber Art” pushes the boundaries, investigates ancient as well as new materials and techniques, and presents a contemporary universe of the language of women and their interwoven, progressive vocabulary.”– Curator Indira Cesarine

“To know the history of embroidery is to know the history of women.” – Rozsika Parker author of “The Subversive Stitch” (1984)

“I am a multimedia artist who uses sculpture and performance to bear witness to the experiences of black women even as American society aims to render us and our lives as invisible and meaningless. Despite the prevalent “urban black” narrative, my experience is tied to the natural world, and I use materials that reference my desert environment and my lived experience as a black woman with Indigenous roots.” – Artist Amber Doe

“I mix subversion with flirtation, humor with power, and intimacy with frivolity. My subject matter is frank and provocative, dealing with issues of fertility, sexuality, self-image, isolation, vulnerability, indulgence, and beauty in the mundane, which are designed to challenge social stereotypes embedded within childhood fairytales. My work explores the many flavors of feminism.” – Artist Orly Cogan

“I pull from my autobiography to illustrate stories of trauma, sexuality, intimacy, and growth. Detailed beading and cyclical patterning emphasize the consistent labor in the repetitive motion of handsewing, that which mirrors the emotional and psychic labor expended in order to manage the suffering a body can accumulate over time. My sculptures translate the life experience of a survivor of complex trauma through the lens of glittering beadwork in order to recount deeply traumatic stories for the same cultural collective that due to repression, denial, censorship and deliberate silencing…” –Artist Caroline Wayne

“This body of work scrutinizes the amalgamation of victim shaming tropes that men and women are taught throughout their lives, both passively and actively, through social norms, pop culture, our educational and legal systems, religious establishments, and familial influences and upbringing.” – Artist Christy O’Connor

“My work focuses on my personal experience living within the confines of a female body, exploring sexuality, religion, and body image. The shared narratives of childbirth, menstruation, dysmorphia, sexual violation, and societal scrutiny all come into play and find connections with the viewers in their shared commonality.” – Artist Dominique Vitali

“My textile works are hand-sewn, fabric based sculptural pieces made from recycled materials that have multiple uses as ritual talismans, wearables, ecstatic birth blankets, dreamcatchers and traveling altars”. – Artist Katie Cercone

“Discarded clothing is my paint. I give second chances to the worn, the damaged, the mistreated, the abandoned, the unwanted, and to myself. My emotional narrative portraits and figurative artworks examine the human condition through my own lived experience. The violence of cutting and deconstruction make way for the reconstruction and refashioning of a broken past.” – Artist Linda Friedman Schmidt

“We are drawn to the grand gesture, the loud assured voice, the bold move, the aggressive brush stroke. I celebrate the opposite: the small moments in our lives – the unremarkable… as Covid-19 took over, some of the things I was celebrating became even more pertinent; toilet paper, soap, hand sanitizer. These objects became signs of hope, of safety, of comfort.” – Artist Melanie Fischer

ABOUT THE UNTITLED SPACE

The Untitled Space is an art gallery located in Tribeca, New York in a landmark building on Lispenard Street. Founded in 2015 by artist Indira Cesarine, the gallery features an ongoing curation of exhibits of emerging and established contemporary artists exploring conceptual framework and boundary-pushing ideology through mediums of painting, sculpture, printmaking, photography, video and performance art. The gallery is committing to exploring new ideas vis-à-vis traditional and new mediums and highlights a program of women in art. Since launching The Untitled Space gallery, Cesarine has curated over 40 exhibitions and has exhibited artwork by more than 450 artists. Her curatorial for The Untitled Space includes solo shows for artists Sarah Maple, Rebecca Leveille, Alison Jackson, Fahren Feingold, Jessica Lichtenstein, Tom Smith, Loren Erdrich, Kat Toronto aka Miss Meatface, Katie Commodore, and Jeanette Hayes among many others. Notable group shows include “Art4Equality x Life, Liberty & The Pursuit of Happiness” public art exhibition and group show presented in collaboration with Save Art Space, “IRL: Investigating Reality,” “BODY BEAUTIFUL,” “SHE INSPIRES,” Special Projects “EDEN” and “(HOTEL) XX” at SPRING/BREAK Art Show, and internationally celebrated group shows “UPRISE/ANGRY WOMEN,” and “ONE YEAR OF RESISTANCE” responding to the political climate in America, as well as numerous other critically-acclaimed exhibitions. Recent press on Indira Cesarine & The Untitled Space includes Vogue (US), Vogue Italia, CNN, Forbes, Newsweek, W Magazine, Harper’s Bazaar, Teen Vogue, New York Magazine, i-D Magazine, Dazed and Confused, and The New York Times among many others.

*Featured image artwork by Victoria Selbach for UNRAVELED: Confronting The Fabric of Fiber Art. 

artwork by  Elise Drake, UNRAVELED Confronting The Fabric of Fiber Art. For use by 360 Magazine

Artwork by Elise Drake, UNRAVELED Confronting The Fabric of Fiber Art.

artwork by Indira Cesarine, for UNRAVELED Confronting The Fabric of Fiber Art. For use by 360 Magazine

Artwork by Mary Tooley Parker, UNRAVELED Confronting The Fabric of Fiber Art.