FELTING an Exhibition of Traditional and Contemporary Work

FELTING An exhibition of traditional and contemporary work

June 6-September 28, 1980 Following the New York showing the exhibition will tour nationally Introduction This exhibition continues the American Craft Museum's role in reporting on new activities and trends in the craft field. Felting , one of the oldest fiber techniques in the world , is still practiced in the traditional manner in the Mideast and Asia. Like all such traditions, with the influence of technology, the tradition of felting is disap pearing. However, there has been a revival of hand feltmaking among American fiber artists in the past ten years. The work of the eleven women represented in the exhibition shows the broad range of their exciting ap proaches to this ancient medium. Also presented are several examples of traditional work along with photo graphic explanation to illustrate the origins and process of this specialized medium. We have been especially fortunate to have Sande Percival , one of the artists in the exhibition, work with us during the last six months researching and coordinat ing the exhibition. We are also grateful to her for the preparation of the technique section of the catalog. We appreciate the assistance of Michael Gervers in assembling the traditional references and preparing the text for the catalog. We thank the artists for the loan of their work, also the Royal Ontario Museum, Toronto, . the Metropolitan Museum of Art and O'Bannon Oriental Carpets for giving us permission to exhibit pieces from their collections. We further extend our thanks to Linda Lowe Oren , Marleah Drexler Macdougal and Beverley Gordon, all of whom aided in researching visual ma terials. Our sincere thanks to our Museum staff for its devotion and efficiency.

Paul J. Smith Director

Copyright © 1980 by American Craft Council. All rights reserved . No part of this work may be reproduced or transmitted in any form by any means. electronic or mechanical. including photocopying and recording. or by any information storage or retrieval system, without permission in writing from the Felt hat of the Janissaries with plume mount. pubtisher. tSBN: 0-88321 -041 -X Ottoman, 17th century. Photo: courtesy of library of Congress Catalog Card No: Badisches Landesmuseum, Karlsruhe 80-66871 and loaned by Michael Gervers. Toronto Technique Series The soft layers of wool . stil l some what loose, begin to be a cohe Sande Percival sive structure. The wool is then carefully rolled into a reed mat (5) and tied together. With pressure exerted on the roll , the mat is rolled back and forth over a hard surface. (6) The piece continues to be rolled and rerolled from all directions so that pressure and shrinkage are applied evenly. Further "hardening" and "fulling" Felting is a primitive method of of the felt is achieved by the textile production involving human continued rolling and pressure exertion and minimal equipment. which cause it to thicken, shrink The overlapping scales in the in size and become a durable' structure of a wool fiber give wool fabric. The felt is then rinsed the ability to felt. When wool is and hung in the air to dry. (7) subjected to the elements of heat, The finished felt is complete, or moisture, friction and lubrication ready for manipulation in varied (soap), the fibers travel, extending forms . (8). and interlocking with other fibers, There are numerous improvisa and lock into place when these tions used to create felt. The elements are withdrawn. Other technology of the 20th century properties of the wool fiber that provides us with the mechanical effect its ability to felt are the means of applying the necessary length, crimp and plasticity. elements to wool for it to felt . A number of artists in the exhibition use a "machine" felting technique. Their individual nature reflects the The process described illustrates extensive possibilities; for exam one approach to felt making by ple washing machines, cement hand, of which variations are used mixer and self-invented "felting by artists in the exhibition, and is machine" have been used. The similar to traditional methods. possibilities for decoration, execu The wool fleece is prepared either tion and use of felt are expansive, washed or unwashed by teasing and as exhibited in the show, the wool to loosen the fibers and realizing some of their potential. eliminate dirt. (1) The feltmaker then cards the wool by hand or drum carder into batts (layers) of wool. (2) The batts are laid perpendicular to the previous batt in the shape and density desired. (3) Hot water is added to soften the fibers and open the scales, and soap to facilitate the traveling of the fibers. "Hardening" the wool begins to take place by applying pressure with one's hands rhyth mically over the surface of the 4. Applying soap, water and pressure 8. Felt detail wool. (4) The land of felt It is difficult for the North weaving however, and for range of decorative motifs. American to appreciate the many purposes the product Mosaic work invariably leads importance of a material more satisfactory than woven to negative pattern designs of which is today practically ab goods. Simple felt can be intriguing variety but because sent from our experience and produced without tools or the coloured sections must be which yesterday enjoyed only equipment of any kind, merely stitched together, the resultant a small role in it. If we did not by kneading moist wool in a felt is less durable than the have felt for hats, undercovers warm atmosphere. Well-fulled inlaid type. Also stitched , of for table cloths, covers for felt is virtually impervious to course, is applique work, billiard tables, and as insula the elements, hence its popu which can be affixed not only tion in winter boots, we would larity today among steppe to another piece of felt, but hardly be at a loss to find a peoples for tent coverings, also to woven textiles. Many substitute. On the other hand, shepherds' coats, boots and nomadic woven patterns de should we be deprived of even yoghurt containers. rive from felt antecedents, but wood or petroleum products Most felt hand made today in because of the repetitive na (especially plastics and syn the countries of its origin is ture of the weaving technique, thetic fibers), we would face produced in response to util the woven patterns in any some very drastic changes itarian needs and, if deco single piece tend to be less indeed in life style. So it would rated, belongs to the realm of variable and more geometric. be for millions of people living "folk " art. In the past, however, in a thousand-mile-wide band An interesting ethnographical artists working under the stretching the entire length of aspect of felt-making is that highest patronage gave as Asia, from the Pacific to the among the nomads the labour much attention to the decora Bosphorus and on to the Bal is largely carried out by tion of felt as they did to other, kans in Europe, if felt were no women as a household task. more intrinsically valuable longer available to them. In As a craft in the oriental ba objects. Evidence of early many parts of Western and zaar, however, the production decorated felts can be traced lies entirely in the hands of Central Asia, felt was (and in to the Neolithic people of many cases still is) used for men. In North America, where Catal Huyuk in Anatolia ca. everything from tent coverings felt-making has only recently 4000 B.C. Nothing can be to clothing, household uten been introduced as an artistic said to be more beautiful than sils and cult objects. It is said medium, the lead has once the designs and colour com that in Mongolia more people again been taken by women. binations of the royal felt ob live in felt tents than in any Because of its malleability, it jects discovered at Pazyryk, other form of accommodation. has incredible potential in the in the Altai mountains of ever-expanding arena of con The origins of felt-making Western Siberia, and dating temporary crafts. were undoubtedly accidental to the fifth or fourth century B.C. when sheep were first domes ticated in the Neolithic period There are three different Michael Gervers, The technique probably arose means of decorating with felt: Research Associate before spinning and weaving, mosaic work, applique, and Department of Textiles although since both felting inlay. Inlay is the most com Royal Ontario Museum and twisted mats of hair can monly produced form in Asia occur naturally on a moulting today, as the decoration can sheep's back, it is possible be incorporated in the early that both types of fabric were stages of production and is developed simultaneously. consequently the least time The process of felting is far consuming and least expen simpler and quicker than sive. It also permits an infinite Mongolian family in front of their felt tent. Eastern Mongolia, 1938. Photo: K. Gr0nbech, Courtesy of Danish National Museum, Copenhagen and loaned by Michael Gervers, Toronto

Felt coat with nonfunctional sleeves and stitched decoration. Worn by Nuri, a Kurdish villager from Zardeh, Iran, Yazdigird Expedition, 1978. Photo: William Pratt, Courtesy of Royal Ontario Museum and loaned by Michael Gervers, Toronto Catalog 9 "Feathering the Nest" Hand fe lted, inlaid wool, dyed 28 "En si gn" 37 "Hegira" Wool, feathers 59" x 35" x W' Wool, wood Wool, wood, wire Hand felted All dimensions are given in Hand felted , dyed Hand felted , dyed 8W' x 9W' x 11 " 77W' x 57" 73W' x 62" x 11 " inches, and unless otherwise Lois Lancaster 10 "N'est Pas" Courtesy of Hadler/Rodriguez "Experimental Dance" noted, are listed in order of Berkeley, California 38 Wool Gallery Wool, wood height, width and depth. 21 "Cut Ball" Hand and machine felted New York, New York Hand felted Wool 3W' x 7W' x 5" 29 "Standard" 72" x 59" x 43" Machine felted 11 "Nest Eggs" Wool, wood 9" x 9" d iam. Wool, feathers Hand felted , dyed Collection of Ed and Katherine Karen Van Derpool Machine felted 81" x 37" Rossbach Seattle, Washington 9" x 9W' x 10" Collection of Dina Barzel 22 "Shell Pod s" 39 "Life System II : Freeing 12 "Changing" R. M. N. McAusland, Bellevue, Washington Wool, shells of the 30th Year" Wool, industrial goat's hair felt Connecticut 1 "Egg" Formed, mac hine felted Wool, wire Machine felted Cast felt, hand and machine Wool, mohair 16 pieces; eac h approx. Gayle Luchessa 60" x 16" x 16" felted, dyed Hand and machine felted, 2W' x 3" x 2W' San Anselmo, California stitched 11 " x 11 W' x 3:V," Layne Goldsmith 23 "Clouds" 30 "Kami Series #4" 11 " x 18" x 14" 40 ':Aura Bundle: Ron " Portland, Oregon Wool Wool, plum bark 2 "Bowl and Little Bowls" Hand felted , screen printed Wool, human hair, wire 13 "Untitled Garment I" Hand fe lted Wool 69" x 49" x 'Ie" Cast felt, hand and Wool , cotton cord, silk, 32" x 44W' x 4W' Hand and machine felted , machine felted wool yarn 31 "Square Progression #4" stitched 1OW' x 11" x 3W' Hand felted, dyed Joan Livingstone Wool 10" x 23" x 18" 41 "Triptych: Life System I" 18" x 25'/2" x 6" Bloomfield Hills, Michigan Hand felted 5 small bowls each approx. Wool 14 "Untitled Garment II " 24 "Lamia Lemures II " 34" x33" x W' 6" x 13" x 7" Cast felt, hand and machine Wool, cotton cord, wool yarn Wool, steel 32 "Square Progression #5" 3 "Carried by Black Butterflies" felted, dyed Hand felted, dyed Hand felted , imbedded fibers, Wool Wool each module: 1OW' x 1OW' x 3" 14 W' x 28" x 9" dyed, welded Hand felted Hand and machine felted , 42 "Life System II : 95" x 50" x 32" 34" x33" x W' 15 "Untitled Garment III " Separation of stitched, dyed Collection of Hadler/ Rodriguez Wool 33 "X'ed Out" the 24th Year" 24" x 41 " x 20" Gallery, New York, New York Hand felted Wool Wool, horsehair, wire 25" 25W' 14" 25 "Lamia Lemures III " Hand felted Beth Beede x x Cast felt, hand and Wool , steel 1. 25W' x 25" 2" Mansfield Depot, Connecticut 16 "Untitled Garment IV" x machine felted Hand fe lted, imbedded fibers, 2. 25W' x 24W' x 2W' 4 "Mouth" Wool 11 " x 11 " x 2:V," Hand felted, dyed dyed, welded 3. 28" x 25" x 3" Wool, plastic , bone, horsehair, 21 " x 17W' x 14" 98" x 49" x 42" 4. 25W' x 24" x 2" shark's mouth Courtesy of Hadler/ Rodriguez Wanda Ziemba Machine felted Gallery Ellen Mears Berkeley, California 10"x 8"x 13" Deborah Kaufman New York, New York Tallahassee, Florida 43 "Looking at an Unknown 5 "Dino" Mt. Morris, New York 26 "Lamia Lemures IV" 34 "White Weave Cluster" with a Friend" 17 "Pink Blouse" Wool Wool , steel Wool , canvas Wool, cotton fabric, thread Hand and machine felted Wool Machine felted, dyed, stitched Hand felted, imbedded fibers, Machine fe lted Hand felted , inlaid wool, dyed 19"x 8" x22" dyed, welded 73W' x 57" x 3" 87" x 82W' x W' 34" x 31 " x y." 44 "Wanda's Fault: First in 6 "Loki" 98" x 31 " x 49" 35 "Crossfields" Wool Private Collection a Series of Personal Courtesy of Hadler/Rodriguez Wool, canvas 18 "Red Blouse" Earthquakes" Hand and machine fe lted Gallery Machine felted, dyed Wool 18" x 11 " x 13" New York, New York . 52" x 54" x 2W' Wool, cotton fabric , thread Hand felted, inlaid wool, dyed 7 "Nested" 27 "Lamia Lemures V" Machine felted, dyed, stitched 36" x 33" x W' Wool Wool, steel Sande Percival 66" x 110W' x 1" Hand fe lted 19 "Plaid Shirt" Hand felted, imbedded fibers New York, New York 10" x 12 W' x 12" Wool dyed, welded ' 36 "Still Danc er" Listing of Traditional Pieces 8 "Commonest" Hand felted, inlaid wool, dyed 97" x 31 " x 49" Wool, wood, silk for Catalog Wool, nails, egg 38"x 26" x W' Courtesy of Hadler/Rodriguez Hand fe lted, imbedded sil k 45 Felt storage bag Machine felted 20 "Kimono" Gallery threads TLirkmen , Afghanistan 5W' x 8" x 9" Wool New York, New York 73W' x 57" x 13" 39" x 11 W' x 1" 46 Felt rug Mashhad, Iran, 1975 65 W' x 30:\'4" Collection of Royal Ontario Museum, Toronto, 976.130 47 Felt rug Shiraz, Iran, 1973 68¥," x 44" Collection of Royal Ontario Museum, Toronto, 973.336.82 48 Felt coat Iran, 1973 46W' Collection of Royal Ontario Museum, Toronto, 974.151 Gift of Dr. l. D. Levine 49 Numdah rug India 25" x 37W' x W' 50 Felt rug Afghanistan c . 1950-1960 138" x 61 W' Courtesy of O'Bannon Oriental Carpets Pittsburgh, Pennsylvania 51 Felt coat, kepenek Turkey 67" x 36" x 1" Courtesy of Beth Beede Mansfield Depot, Connecticut 52 Felt coat . Afghanistan 51" Lent by Metropolitan Museum of Art, Costume Institute, New York , New York; Gift of Lorle E. Kent, 1976. 1976.165.1 53 Felt hat Iran 8" Courtesy of Joan Livingstone Bloomfield Hills, Michigan 54 Felt hat Iran 6" Courtesy of Joan Livingstone Bloomfield Hills, Michigan

Felt rug from Mashhad, Iran. Decorated with inlaid colored wool and felt bands. Contemporary work, maker unknown. Collection of the Royal Ontario Museum, 976.130. Photo: Courtesy of the Royal Ontario Museum, Toronto American Craft Council Officers Honorary Trustees Robert 0. Peterson Alfred Auerbach Chairman of the Board John L. Baringer Adele S. Greene August Heckscher Vice Chairman DeWitt Peterkin, Jr. Jack Lenor Larsen Dr. Frank Stanton May E. Walter Vice Chairman R. Leigh Glover Museum Staff Treasurer Paul J. Smith Sidney D. Rosoff Director Secretary Diana Penzner Board of Trustees Doris Stowens Ann Loeb Glenda Arentzen Wendy Berman Sandra Blain Joseph Brew Judith Dows Tom Poitier Dorothy Garwood Warren Wesley Bernard S. Glassman R. Leigh Glover Museum Committee of Georgia Gough The American Craft Adele S. Greene Council Board Drewry Hanes Drewry Hanes John Hauberg Samuel C. Johnson Chairman L. Brent Kington Dorothy Garwood Jack Lenor Larsen R. Leigh Glover Sam Maloof John Hauberg Nancy Marks Samuel C. Johnson Bridget McCarthy Jack Lenor Larsen Nancy McNeil Nancy McNeil Francis S. Merritt Mary Nyburg Ted Nierenberg Carol Sinton Mary Nyburg Robert O. Peterson Barbara Rockefeller Sidney Rosoff Carol Sinton W. Osborn Webb Lois Moran Executive Director American Craft Council Cover Design by Infield/ D'Astolfo Assoc. Catalog layout by Infield/ D'Astolfo Assoc. Typography by American Craft Museum Frost Brothers 44 West 53rd Street Printed by Consolidated New York , New York 10019 Drake Press