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Spring 2011 Textile Society of America Newsletter 23:2 — Spring/Summer 2011 Textile Society of America

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This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Newsletters by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Textile Volume 23 n Number 2 n Spring/Summer, 2011 Society of America

Tinkuy de Tejedores

by Marilyn Murphy contents accompanied with translations in English, Quechua, and Spanish. 1 Tinkuy de Tejedores Topics covering and natu- 2 TSA News ral dyes, ancient and traditional 3 From the President , and the recovery and commercialization of 4 TSA Study Tours were crammed into two days. 5 TSA Member News Representatives from the commu- 8 Tinkuy de Tejedores, cont’d. nities spoke alongside the scholars and other invited guests. Q&A 9 Conference Reviews time followed each presentation. 10 Symposium 2010: Reports by For most of the first day, the TSA Award Recipients questions came from the English- 11 Textile Community News speaking participants. But slowly, 13 Book Reviews the indigenous women’s voices emerged. 14 Publication News Gathering of Weavers The Welcome Ceremony The richness of Tinkuy went 15 Featured Collection: American took place in the Sacred was led by an Andean priest, far beyond the speakers and their Swedish Institute AValley of Peru Nov. 5-8, two members of the Qero com- presentations. Textiles swathed 16 Call for Papers 2010. Tinkuy was organized munity, and D.Y. Begay of the the columns. Babies enveloped 17 Member News, cont’d. by the Center for Traditional Navajo Nation. Earlier, the priest in mantas cried softly. The indig- Calendar Textiles of Cusco (CTTC) under had prepared and blessed the enous dress worn by each of 20 TSA Symposium 2012 Call For the leadership of the founder coca leaves that were then dis- the communities blanketed the Participation and director, Nilda Callañaupa. tributed to the attendees with room. The blowing of the conch Her vision of bringing together these words from Nilda: “I hope shell by Chahuaytire men began weavers from the Americas was you took your three leaves of and ended each session. The depth The Textile Society of America, achieved—Canada, United States, coca with an offering from your of activity during breaks and meals, Inc. provides an international Mexico, Ecuador, Argentina, heart … Inside of each coca leaf as well as the evenings’ festivities of forum for the exchange Bolivia, Peru, Chile, and goes our happiness and satisfac- music, dancing, singing, and spin- and dissemination of Guatemala were all represented. tion for this Tinkuy. We go with ning races, eclipsed the event itself. information about Her desire to have weavers from them through the coca leaves.” One of the primary goals textiles worldwide, the nine CTTC communities Formal panel and individual of the gathering was for the from artistic, cultural, together, and for them to experi- PowerPoint presentations--some weavers to relate what their com- economic, historic, ence a wider world of what’s pos- given by those who had never munity had experienced since political, social, and sible, was certainly accomplished spoken into a microphone, much joining CTTC. And so the stories technical perspectives. as well. less used a computer—were unfolded … to p. 8 The Reed Foundation has TSA Receives 2010 tsa board of directors OFFICERS generously supported TSA ini- Outstanding Event tiatives. Most recently, for the President 2010 Biennial Symposium in Award from Lincoln Ruth Scheuing TSA tel 604/254-6322 Lincoln, NE, a grant from The Mayor [email protected] Reed Foundation enabled TSA News Vice President to organize the Pre-Conference he Outstanding Event Award Elena Phipps workshop on natural dyes, led T was presented by the tel 212/349-4485 by Dominique Cardon and Mayor of Lincoln, NE, to the [email protected]

Elena Phipps; and the interna- Textile Society of America‘s 12th Recording Secretary TSA Awards Seven tional two-session conference Biennial Symposium, Textiles and Roxane Shaughnessy panel, “Natural Dyes and Color.” Settlement: From Plains Space to tel 416/599-5321 ext. 2226 [email protected] Travel Grants for For the conference panel, dyers, Cyber Space. This award recog- Treasurer ISEND 2011 scholars, and artists from Japan, nizes a performance, exhibition, Mary Littrell China, India, Mexico, Europe event, or project that took place tel 970/491-5811 he Textile Society of and the UK, and the USA were in Lincoln during the previ- [email protected] America is pleased to con- T invited to present a wide range ous year that will be notable in Director of Internal Relations gratulate the awardees of a spe- Mary Anne Jordan of papers on the subject of natu- community memory for years cial travel grant program spon- tel 785/864-3919 ral dyes, and their meaning in to come. The award is spon- [email protected] sored by The Reed Foundation, cultures around the world. sored by Joe and Judye Ruffo of Inc. The award, a total of Director of External Relations The ISEND 2011 confer- Lincoln, NE. Michele A. Hardy $12,000, combines (in part) two ence is a fitting continuation of The Mayor’s Arts Awards, a tel 403/220-4137 years of grant funds from The [email protected] the subject of natural dyes. TSA gala event celebrating the arts, Reed Foundation, in order to is especially pleased that The was held on Jun. 8 at the Lied Past President assist selected TSA members to Patricia Hickman Reed Foundation has provided Center for Performing Arts to attend the international confer- tel 845/947-8735 a grant that will allow the orga- formally honor contributions [email protected] ence on natural dyes (ISEND nization to continue to support and achievements in the Lincoln 2011), in La Rochelle, France DIRECTORS AT-LARGE scholarship and participation, not community. Apr. 24-30, by covering some Gerry Craig only in TSA-sponsored events, of the costs for travel and tel 785/532-6605 but in events of international [email protected] registration. Seven TSA/Reed scope. This action is firmly Symposium Joanne B. Eicher Foundation ISEND 2011 Travel established within the mission tel 651/645-2914 Grants were awarded to: Proceedings Posted [email protected] of our organization that seeks Ivy Haliimaile Andrade (HI), Sarah Fee to provide opportunities for our SA Symposium 2010 Carissa Carman (Montreal, tel 647/347-9246 members to expand their knowl- Proceedings can now be [email protected] QC, Canada) T edge about textiles and “provide found online at the University Frances Waller Dorsey Matilda McQuaid an international forum for the of Nebraska-Lincoln Digital tel 212/849-8451 (Halifax, NS Canada), exchange and dissemination of Commons website. Download [email protected] Mary Dusenbury (KS) information about textiles world- your copy from: Barbara Shapiro Linda La Belle (NY) tel 415/882-7401 wide, from artistic, cultural, eco- http://digitalcommons.unl.edu/ Elaine Lipson (CO) [email protected] nomic, historic, political, social, tsaconf Wendy Ruth Weiss (NE) Ann Svenson and technical perspectives.” This free, open-access digital [email protected] The Textile Society of repository is a collaborative TASK REPRESENTATIVES America extends its sincere service of the University of Nebraska-Lincoln libraries. TSA Website Coordinator TSA Headquarters gratitude to The Reed Susan Powers Foundation for its generous Organized by Departments, [email protected] Charlotte Cosby, Manager Centers, and Research Groups, support. TSA Listserv Manager TSA National Office the site contains more than Lydia Fraser – Elena Phipps TSA Member Services 36,500 articles, papers, ebooks, [email protected] PO Box 193 documents, presentations, cre- TSA Newsletter Editor Middletown, DE 19709 ative activities, master’s theses, Karen Searle [email protected] tel 302/378-9636 and dissertations. TSA Bibliography Editor fax 302/378-9637 TSA plans to post the Marlys McGuire [email protected] Proceedings of the two previous [email protected] TSA Website: Symposia on the UNL Digital 2009 Shep Award Chair http://www.textilesociety.org Commons in the near future. Jill D’Alessandro [email protected] Your source for membership Plans to post past issues of the Newsletter are also in the works. TSA Symposium 2012 Co-Chairs forms, study tour information, Sumru Belger Krody and the latest news. [email protected] Cecilia Gunzberger Anderson [email protected] 2 tsa newsletter tions that will take place during our Symposium. We discussed the From The International Study Tours to Korea (September, 2011) and President India (October, 2011). The board approved a scholarship of $1000 for each of the tours. In addition, the scholarship recipient will have waived the $500 tax- inally, spring flowers are deductible contribution to TSA Fblooming here in Vancouver that is part of the tour fees. and I try to take a few moments We also discussed Regional away from end-of-term teaching to Tours and encourage each of Exhibition view of “Riotous Colour, Daring Patterns” at the Royal Ontario communicate what has happened you to think of ideas that would Museum, Toronto. at TSA over the last few months. be of interest to a regional or now published at University As at previous board meet- Many of us are concerned national audience. Elena Phipps of Nebraska-Lincoln Digital ings, we met with local members about recent events in Japan, and organized a one-day tour in Commons, accessible at: from the Toronto area for an specifically we are concerned Philadelphia to visit “Secrets of http://digitalcommons.unl.edu/ evening reception and got a guid- about our many friends and the Silk Road” at the University tsaconf ed tour of Kai Chan’s 35-year ret- colleagues. From some email of Pennsylvania Museum of We are all quite excited that rospective exhibition at the Textile exchanges with TSA members Archeology and Anthropology, all the presentations are now avail- Museum of Canada (TMC), living there, we are being encour- and “: 50 Years” at able and searchable to everyone. “Kai Chan: A Spider Logic,” by aged to donate, and many of you the Institute of Contemporary The submitted manuscripts will Curator Sarah Quinton and Kai will be aware of situations that Art, on Mar. 26. In addition to now have a much wider reach, Chan. We were then treated to a need our special support. visiting these significant exhibi- which we hope will encourage preview of upcoming exhibitions The TSA board met Mar. 4-6 tions, the 13 people who attend- scholarship at many different by Curators Patricia Bentley and in Toronto, hosted at the Textile ed had a chance to meet with levels. Proceedings from 2008 and Natalia Nekrassova. We were Museum of Canada. The meet- Sheila Hicks over lunch. 2006 will be uploaded to the also given a special tour of exhib- ing was organized by Roxane Discussion about the TSA UNL Digital Commons soon. its and behind-the-scene views Shaughnessy and Sarah Fee, and website was animated, and I am happy to announce that of the Royal Ontario Museum we had a very productive time. with Ann Svenson Perlman’s we were able to apply an unused (ROM) by Alexander Palmer and Cecilia Gunzburger Anderson, enthusiastic leadership of the portion of a grant from The Sarah Fee. Co-Chair of Symposium 2012, in Publications/Website Committee, Reed Foundation towards travel The Fall 2011 board meeting Washington, DC, presented plans we hope to improve it within grants for some of our mem- will be in Washington, DC, and for what will certainly be another our financial ability. We have bers to attend the International the Spring 2012 board meeting fantastic Symposium with many started a Facebook page that Symposium and Exhibition on has been tentatively scheduled institutions participating. The Call we hope will create a new and Natural Dyes (ISEND) in La for Los Angeles. As always, I wel- for Papers will come out shortly, dynamic interface for communi- Rochelle, France. The Reed come your feedback on how to as will details on tours and exhibi- cation among members between Foundation also added $6,000 improve what we do for TSA. Symposia. At the same time we towards these travel awards. will continue to use the TSA The Awards jury selected six – Ruth Scheuing listserv as a parallel forum for TSA members from 14 qualified TSA President posting and sharing information. applicants to receive supports of [email protected] We encourage you to subscribe $1,000 or $2,000. to the communication channel of your choice: http://www.facebook.com/home. php#!/pages/Textile-Society-of- America/371056513778 http://www.textilesociety.org/ resources_listserve.htm) The Proceedings of the 2010 Symposium in Lincoln, NE, are

Above, Sheila Hicks visits with TSA members on a recent Regional Study Tour to Philadelphia. Right, TSA Board members in front of ”Straying Continents” by El Anatsui at the Royal Ontario Museum. L to R: Mary Littrell, Elena Phipps, Geri Craig, Ruth Scheuing, Pat Hickman, Roxane Shaughnessy, Barbara Shapiro, Michele Hardy, Cecelia Gunzberger Anderson, Sarah Fee, Ann Svenson Perlman. Winter 2011 3 the past 14 years. She has partici- Tour information, costs, and pated in international textile art registration materials are posted TSA exhibitions held in Daegu as both on the TSA website. an invited artist and an exhibi- http://www.textilesociety.org./ Study tion juror. She exhibited work in tours the First Cheongju International Tours Craft Biennale in 1999. She has visited Korean universities, muse- TSA 13th Biennial ums, fiber artists’ studios, and Symposium: observed textile production on Textiles & Politics Scholarships offered all levels, from cottage industry Washington, DC for TSA Study Tours to industrial production. She will be joined by some Korean artists Sept. 19-22, 2012 s part of its educational on parts of the tour. Amission, TSA is offering a [email protected] extiles & Politics, TSA’s 13th $1,000 travel scholarship to one http://www.textilesociety.org./ TBiennial Symposium, will Korea Study Tour participant and tours take place in Washington, DC one India Study Tour participant in September 2012. As always, in 2011. If you are interested in Rescheduled Study the Symposium will include an applying for a tour scholarship, inspiring and informative mix of please see the Awards section of Tour to South India scholarly and artistic presenta- the TSA website for details and departs in October tions, site seminars at local muse- application information. ums and textile collections, art Queen’s formal coat, Chosun http://www.textilesociety.org/ he TSA Study Tour to India and historic textile exhibitions, Dynasty, Korea, from the exhibition awards T will take place Oct. 23-Nov. and tours to area sights. See the “Traditional Korean Costume” 6. Since the days of the Roman Call for Participation on page 20. curated by Dr. Songhee Joo. Empire, South Indian textile arti- Washington, DC, and its TSA Study Tour to sans have been weaving, paint- metro area offer a wealth of hat making, papermaking, ramie South Korea ing, , and embellishing world-class textile resources. processing, and chogagkbo, the sumptuous textiles for the courts The Textile Museum, as institu- traditional used for his year’s Study Tour to of kings and the markets of the tional sponsor of the Symposium, wrapping cloths (bojagi). Visits TSouth Korea offers a rich world. Today, the Indian textile will present an exhibition on are also planned to the studios of mix of traditional textiles and industry is one of the largest in Ottoman court textiles and host several Korean fiber artists and contemporary textile art along the world, based in part on the a reception for Symposium to Heyri Artists Village, a unique with a unique cultural experi- quality of Indian cotton grown attendees. Tours or site seminars studio/residence settlement of ence. Registration is closing on the Deccan lava plateau. are planned for the Daughters artists, craftspeople, and archi- soon (June 1). Download the Indian textile sectors include of the American Revolution tects. Dongdaemun, a large mar- tour and registration information cotton, silk, and woolen textiles, Museum, Dumbarton Oaks, ket district in Seoul with a huge on the TSA website and send in ready-made garments, and jute Tudor Place, the National Gallery fabric and notions market offers a your deposit to the TSA office to and coir. Hand-crafted textiles of Art, the Baltimore Museum of unique shopping experience. secure your place on this unique continue to play an important Art, the US Botanical Garden, the We will also attend the open- travel experience. role in daily life and are often National Museum of American ing of the Cheongju International http://www.textilesociety.org./ associated with specific villages, History, Mount Vernon, private Craft Biennale exhibition and tours where family life and the vil- collections of and historic its symposium. A home-stay The tour highlights the lage economy is centered on textiles, and many other exciting experience will be provided for contrasts between ancient and traditional textile production. institutions and venues. the TSA group by the Biennale contemporary as seen in the arts The focus of this tour is on these The main Symposium events organizers. and architecture and in the ways textile traditions and the textile will take place at the Washington For those who wish to in which Korean artists look to villages where these fabrics are Court Hotel, centrally located in stay longer, a tour extension is tradition for contemporary inspi- still produced by hand. downtown DC near the National ration. The tour will be based in planned with additional activities Tour leader. Sandra Mall, Union Station, and Penn Seoul with visits to Cheongju, in Seoul and a visit to a Buddhist Evenson, Professor of Clothing Quarter. This charming hotel Seochon, and Damyang. monastery, the and Textiles at the University is easily accessible to galleries, Visits are planned to the center, Daegu, and museums of Idaho, has done extensive museums, and historic monu- National Folk Art Museum and for natural dyes and silk flower- research on Indian Madras plaids ments, as well as to superb din- to specialized museums in Seoul making. in South India. Sandra will be ing and public transportation. Bus and environs dedicated to pre- Tour Leader. Fiber artist and joined by Jasleen Damija, an transportation will be provided serving aspects of the country’s author Karen Searle has trav- expert on the handcrafts of India. for conference attendees to local textile heritage, such as , eled frequently to Korea over [email protected] institutions hosting Symposium straw sandal making, horsehair events such as receptions, open

4 tsa newsletter galleries and studios, site semi- Ann Lane Hedlund was joined SDA’s web presence into a user- nars, and tours. In addition, TSA by Scottish weaver Archie friendly experience that supports has been granted an excellent Brennan and New York Times members’ creativity, promotes room rate for Symposium attend- arts writer Grace Glueck in a their accomplishments, and pro- ees, valid for three days prior to discussion of Ann’s book, Gloria vides high-quality resources that and following the Symposium. F. Ross and Modern , educate and build community Make plans now to join your on Apr. 15 in . around the . She suc- TSA colleagues in Washington, She also led a discussion on cessfully advocated for lively lan- DC, for the 13th Biennial tapestry and modern art at the guage, visuals and news on the Symposium, Sept. 19-22, 2012! SOFA New York expo. An illus- site, which launched in March at: trated 2011 catalogue containing http://www.surfacedesign.org her article, “From Collage To [email protected] Tapestry: Louise Nevelson, Gloria Ross & The Dovecot Studios of Jorie Johnson, Kyoto, Japan, was TSA Edinburgh,” is available from SOFA. named the 2010 Grand Prize http://www.tapestrystudies. recipient for her hand-felted car- “Spectrum,” a felted work by Jorie wordpress.com pet/tapestry, “Spectrum,” from Member Johnson, received the Grand Prize http://www.sofaexpo.com “View From Train Window” at the 24th Kyoto Art Festival. News Series, at the 24th Kyoto Art Leesa Hubbell became editor Festival International Exhibition The work of Virginia Davis is of Surface Design Association of Art and Design Competition currently featured on the website: Digital News Publications—a new installed at the Kyoto Municipal http://www. position—in January of 2010. She Museum of Art Annex. In 2009, Member News americantapestryalliance.org. was hired to re-imagine the for- Johnson received the Kyoto In February, Andrea Aranow Exhibitions/ikat/ikat_welcome.html merly printed SDA Newsletter as a Prefectural International Center mounted a survey of her exten- paperless digital publication. The Prize for Outstanding Work at the sive Andean textile collection, “Tents, Camels, Textiles of Saudi SDA Board approved the cre- 23rd Kyoto Art Festival. showing both everyday mantas Arabia and More,” textiles from ation of her innovative blog-based http://www.art-festival.jp/pp32. and backstrap-woven carrying the collection of Robert and solution and the SDA NewsBlog html cloths, as well as exuberant fiesta Joy Hilden, curated by Margo went live in June, 2010 at: that she collected Blum Schevill, is on view at www.surfacedesign.org/newsblog Margo Blum Schevill has during the 1970s. The collection the Mills Building, San Francisco, She also creates a monthly joined the board of the Amigos spans from the beginning of the CA, through Jul. 29. The textiles eNews email for the organization del Museo Ixchel, Friends of 20th century to the 1960s and were acquired by the Hildens in and pinch-hits as the marketing the Ixchel textile museum in offers a fascinating glimpse of and nearby coun- department. Hubbell served on Guatemala City. Amigos is a non- the contrasts between the subtle tries 1982-1994. Many of the the SDA Website Redesign profit American organization that colors and geometries of daily textiles are featured in Joy’s book committee. She nominated the raises money for projects at the wear and the explosion of imag- Bedouin Weaving of Saudi Arabia NYC-based interactive design Museo Ixchel. She attended a ery and color (and sequins and and Its Neighbors, published in firm, More Than Us, that won board meeting in March. mirrors) which mark the festival 2010. the project, and worked with http://www.museoixchel.org dance costumes. The collection http://www.beduinweaving.com them and a team of SDA board, includes field photos of makers staff and members to transform and wearers, as well as full docu- Member Exhibitions Jane Hoffman has completed mentation. To see images or for and Workshops- “Return to Sky Islands” (©2010), more information, email Andrea: Coming Up a woven tapestry that represents [email protected] Rebecca Cross is exhibiting the idea of reconnecting a frac- work in two venues this spring. tured landscape. Sky Islands of Andrea Heckman recently “Superlatives: Contemporary the desert southwestern US are won a New Mexico State New Ohio ,” May 14-Jul. 14, separate mountain ranges that Visions Film Award/Contract at the Zanesville Museum of rise above the desert floor. The offered through the New Mexico Art, Zanesville, OH, features work consists of twelve 8-inch Film Office to make a documen- works by seven Ohio art- x 8-inch that depict a tary film about weaving traditions ists. In “Liaisons: A Conversation vista from the top of one Sky in Northern New Mexico. The between Fiber and Painting,” tex- Island across the desert floor to film is in production now and tile sculptures by Cross are shown another neighboring Sky Island. will be released in September. with paintings by Annette Poitau Each of the twelve tapestries For more information: at Firelands Association for the is like a piece of a puzzle and, [email protected] Visual Arts (FAVA), Oberlin, OH, when hung together, they form “Untitled #134,” award-winning May 15- Jul. 15. the landscape. Superimposed tapestry by Mary Lane, in “Small over each segment of the Tapestry International 2: Passages.” http://www.rebeccacross.com

Spring/Summer 2011 5 “Wrapping Traditions: Korean Alice Zrebiec has curated an Textiles Now” at the Museum exhibition of contemporary textile of Craft and Folk Art in San art for the Denver Art Museum. Francisco, Jun.16-Sept. 18. In “Sleight of Hand,” Apr. 8-Dec. July, she will teach a two-day 31, presents 14 contemporary indigo workshop through Walnut artists who use embroidery, quilt- Creek Civic Arts Education pro- ing, weaving, netting, , gram. In July and August Shapiro coiling, and ikat, pushed to will teach a 4-week “Greener unexpected extremes, or invent Indigo” studio class for Osher new methods to achieve their Lifelong Learning Institute at San creative vision. Works in the Francisco State University. DAM collection by Magdalena http://www.walnut-creek.org/cae Abakanowicz, Olga de Amaral, http://www.creativearts.sfsu.edu/ Arlette Gosiewski, Tracy Krumm, olli Jane Mathews, Rebecca Medel, and Norma Minkowitz join recent Work by Adrienne Sloane acquisitions from Cindy Hickok, “Water” by Michael F. Rohde, on view in“Green” at The Textile Museum, is included in the “Rijswijk Gugger Petter, and Carol Shinn, Washington, DC until Sept. 11. Textile Biennial 2011,” in the and works by Polly Barton, Lia landscape is an animal track Karen Searle has artwork , Jun. 7-Sept 11. Cook, Carol Eckert and Kay representing an animal whose included in “Material Matters,” She will teach a workshop on Khan. very existence is threatened by a juried fiber art exhibition at sculptural at Arrowmont http://www.denverartmuseum.org encroaching development that Minneapolis College of Art & School of Arts and Crafts, blocks access to critical habitat. Design, Jun. 4-26. Searle is one Gatlinburg, TN, Jun.19-25. Her Member Exhibitions- You can view her art at: of seven fiber artists featured in piece, “Uprooted,” received the Recent http://www.artistsregister.com/ “Skimming the Surface: Pattern Surface Design Association’s Regina Benson exhibited her artists/AZ104 and Narrative” at O’Shaughnessy Award of Excellence at “One work in the solo exhibition Educational Center, University of Passion, Many Voices,” the SDA “Personal Landscapes: Fiber in An exhibition of selections from St. Thomas, St. Paul, MN, Jun.10- Regional Exhibit at Artworks!, Concert with Nature,” at the Donald Clay Johnson’s Paritosh Aug. 22. Her work is also New Bedford, MA, Feb. 5-Apr. 3. Delaplaine Visual Arts Education Collection of South Asian included in “Land,” a touring Sloane’s work was included in Center, Frederick, MD, Apr. Textiles will be on view at the exhibition of work by nine the “Northeast Regional Juried 2-May 22. The works reflect on Goldstein Museum of Design, Minnesota fiber artists organized Contemporary Fiber Exhibition,” her love of nature, both in subject University of Minnesota, Jun. 9- by the Textile Center for ven- Rochester (NY) Contemporary and process. Found metals, rust Sept. 25. “Beyond Peacocks and ues throughout the state from Art Center, Apr. 1-May 9. granules, twigs, soy wax, starch Paisleys: Hand Crafted Textiles Jun. 2011-Mar. 2012. Searle pastes, natural dyes and hot of India and Its Neighbors” is will teach a workshop on sculp- Susan Ward is a co-curator for liquids–all come together as her curated by Hazel Lutz and tural knit and crochet at the the exhibition “Knoll Textiles, medium, applied to a variety of Anna Carlson. The exhibition Mid-Atlantic Fiber Association, 1945-2010” at the Bard textile surfaces. highlights the broad variety of Gettysburg, PA, Jul. 9-11. Her Graduate Center, New York, http://www.reginabenson.com surface design and weaving tech- annual textile tour to Guatemala NY, May 18–Jul. 31. The exhibi- niques employed in South Asia. for Art Workshops in Guatemala tion includes pioneering work for Pat Hickman showed her work http://goldstein.design.umn.edu will take place Jul. 21-30. Knoll by designers including Anni with Joan Harmon in “River http://karensearle.com Albers, Evelyn Hill Anselevicius, That Runs Both Ways” at Phoenix Mary Lane and Deborah http://www.artguat.org Jhane Barnes, Sheila Hicks, Astrid Corsini have work included in Sampe, and Gallery, New York, NY, Mar. 2-26. http://www.phoenix-gallery.com “Small Tapestry International 2: Barbara Shapiro will have Suzanne Tick. http://www.pathickman.com Passages,” a traveling exhibition. woven work and indigo-dyed http://www.bgc.bard.edu Lane’s work received the First wrapped baskets in the exhibit Place honor. See page 12 for In February, Jane Hoffman gave exhibition details. a presentation to Arizona State University’s advanced weav- The tapestry “Water” by Michael ing class taught by Assistant F. Rohde is included in the exhi- Professor Margaret Leininger. In bition “Green: the Color and the “Cultivating Color: Expanding Cause” at The Textile Museum, the Palette with Natural Dyes,” Washington, DC, Apr. 16-Sept. 11. Hoffman covered color theory He will give a lecture on his work and techniques for producing at the TM on Jul. 7. Embroidered map by http://www.michaelrohde.com Bettina Matzkuhn.

6 tsa newsletter She has organized community projects to engage schoolchil- dren in Uganda and the US in an exchange of artistic ideas. A mural created by the schoolchil- dren was also on display. http://www.leslirobertson.com/ bark-cloth

Ruth Scheuing’s GPS-based art work was included in “Counter mapping”, a group exhibition Phaa hom - Blankets of Various tai GrouPs mheldarch 5th /during may 1st the Push Festival at

PtheroJeC tRoundhouse sPaCe • luanG PraB anCommunityG Open from Tuesday till Sunday from 10am till 7pm KitsalatCenter, Road 6 (opposite Vancouver, DaraMarket), Tel + 856-71-213091BC, Jan.18-28. www.projectspace-luangprabang.com http://pushfestival.ca/shows/ Tai ceremonial blanket from the counter-mapping “Return to Sky Islands” by Janet Hoffman, twelve tapestries, 8” x 8”. collection of Tilleke & Gibbins, Bangkok, on exhibit in Laos. Member Lectures International Quilt Study Center received the Dartmouth Medal at many shades from one dye. Dr. Linda S. McIntosh, and Museum, Jun. 27-Jul. 1: the American Library Association Works by Bethanne Knudsen Consulting Curator, will give “Printing and Dyeing Techniques meeting in San Diego, CA, in and Michael Radyk were two lectures at Tilleke & Gibbins, in the 18th and 19th Centuries.” January. See the press release at featured in “N[e]W[e]ave: Five Bangkok, Thailand. On May 19, For details, see: http://www.einpresswire.com/ Contemporary Weavers” at the she presents a new addition to http://www.quiltstudy.org/ article/280522-2011-dartmouth- Common Wealth Gallery, Apr. the collection in “Shwe Chi Doe education_research/graduate_ medal-winner-honor-title-selection 5-27, University of Wisconsin- Hanging Talk and Viewing.” programs/courses_workshops.html Madison, along with works by On Jun. 16, she speaks on Tai The text of Jane Rehl’s 2003 Christy Matsen, Katie Glusica, shamanic textiles and their cer- Member Publications dissertation on ancient Peruvian and Claudia Herbst-Tait. emonial functions. Members of textiles created with discontinuous Jenny Balfour Paul informs us http://www.designgallery.wisc.edu various Tai ethnic groups use warps and wefts is now available that her book, Indigo, is being intricately woven textiles in such from amazon.com, published re-launched in paperback by “Mappa,” Bettina Matzkuhn’s ceremonies as spirit appease- by LAP Lambert Academic the British Museum Press. The exhibit of fourteen embroi- ment and funerals. The lecture is Publishing GmbH & Co. KG, new edition is titled ‘Indigo: from dered maps, was shown at the illustrated with images from field Saarbrücken, Germany. The title Egyptian Mummies to Blue Jeans. Evergreen Cultural Centre, research and a display of tex- is Weaving Metaphors, Weaving It coincides with the launch of Coquitlam, BC, Apr. 3-Mar. 31. tiles from The Tilleke & Gibbins Cosmos: Reflections of a Shamanic the first feature-length docu- The show incorporated cartogra- Textile Collection. McIntosh Worldview in Discontinuous Warp mentary film on Indigo by New phy and textiles, some interactive recently curated an exhibition of and Weft Textiles of Ancient Peru, Deal Films Inc., to be called Blue maps, and assorted pieces that blankets from Tilleke & Gibbins. 300 BCE-1540 CE. Over 100 Alchemy: Stories of Indigo. Paul is present imaginary geographies. “Phaa Hom: Blankets from Various textiles are illustrated in black- an Honorary Research Fellow at http://www.myevergreen.org Tai Groups” was shown in Luang and-white (over 200 appeared the Institute of Arab and Islamic Prabang, Laos Mar. 5-May 1. in her dissertation, examined in Studies, Exeter University. “Material Evolution: Ugandan http://www.tillekeandgibbins.com North and South America and http://www.huss.ex.ac.uk/iais Bark Cloth,” curated by Lesli [email protected] Europe). Captions include infor- Robertson, was on view at the mation from the catalog of her Joanne Eicher, Editor of Berg University of North Texas, Mar. This summer Dr. Margaret dissertation. Publications’ Encyclopedia of World 1-26. The exhibition showed Ordonez will conduct a http://www.scad.edu Dress and Fashion is pleased to how bark cloth made from the Textile History Seminar at the announce that the Encyclopedia Ugandan mutuba trees is used Cocktail Culture is a lavishly to create items such as men’s illustrated exhibition catalog shoes, a jacket, and a bark cloth- published by the Rhode Island wrapped steering wheel. Other School of Design and available featured items include wall for purchase at the Museum’s coverings and a bark-cloth dress Member News to p. 18 used in contemporary Ugandan wedding ceremonies. Robertson “Wrapping Memory,” baskets by has traveled to Uganda several Barbara Shapiro in “Wrapping Traditions: Korean Textiles Now” times to study bark cloth making. at Craft and Folk Art Museum, San Francisco, CA.

Spring/Summer 2011 7 prices for the next two years. llama, and sheep, are finding that Monthly production schedules the children are not interested are set and sanctions given to in learning about the animals. those who don’t make deadlines. Presently, the community is Much effort is spent on maintain- discussing ways to mitigate this, ing high quality. They outlined as the alpacas’ fiber is used for the advantages to being part of weaving, making , and for the community—training and potato sacks. capacity-building workshops, When the Sallac community support for the construction of joined, only one person knew the center, an avenue for selling how to weave the watay (tie-dye textiles monthly to CTTC. The technique). Now, many have disadvantages: they must respect learned the skill. Their philoso- decisions made by the commu- phy is “working and benefitting nity; work is planned for them all.” They feel they are now on and governed by sanctions that par with the groups that have they set themselves. been together for a longer period. Tinkuy from p. 1 In the past, the young people Other Communities Page 1, Tinkuy attendees. in the Patambamba commu- Left, Andean spinners demonstrate CTTC Origins in Pitumarca joined CTTC in 1996, nity wove narrow ribbons. Single their technique. Chinchero followed by Chahuaytire in women carried their bundles to Below left, a Chinchero elder spins. Right, a Santo Tomas weaver manip- In Chinchero, Nilda’s home 1997. At the start, only a few show they were good weavers, men wove. The group who dedi- especially around grazing time. ulating pattern threads. village, weaving activity began Below, Chinchero Weavers group. informally in the 1980s with a cated themselves to learning and They depended primarily on their Some of the 14 young participants small group of weavers using built the shelter are still the ones agricultural work, but. with the who will carry on the weaving tradi- synthetic for daily use who are part of the cooperative. support of the Center they recov- tion hold their new weaving tools. Page 9, Break time at Tinkuy. and selling product at the local In 2002, a donation of a plot of ered their traditional textiles and Photos: Joe Coca. market. Little by little, the group land was made and they began now weave better and live better. strengthened without a governing the building. Weaving there is a board. They demonstrated weav- shared division of labor between ing for tourists to illustrate the men and women; both need production process. The experi- each other for the and ences of this group inspired the the weaving. The ley pallay design creation of CTTC. They were the is only practical for the men to first to reintroduce natural dyes weave because of the weight and have rescued more than 50 of the cloth and the size of the designs from the community. piece. Women are responsible for Now with governance in the thread preparation. They also place, the Chinchero group weave the skirt borders (golons), elects a board every two years. belts, mantas, and do the finishing Work commissions are decided of textiles and decoration of dress. by four officials who determine Governance is mainly comprised of men in positions of highest responsibility and with minimal participation by women. Here, the governance has to do with the community, public works, and daily activities. When CTTC started working with the Mahuaypampa commu- nity, one generation had stopped weaving. But, little by little, the elders taught the younger. It was difficult to start because many weavers thought they would have immediate income; some left the group. Many years were spent improving the quality of their work. The Accha Alta community, dedicated to breeding alpaca,

8 tsa newsletter Santo Tomas Chumbivilcas We recognize the importance of must be fed around the clock, was incorporated into CTTC the leaders in each community and they only thrive on the in 2005. They now have their that conserve the tradition of Conference youngest mulberry leaves, so it own weaving shelter and have the weaving … The niños receive proved impossible for travellers access to the support and train- the tools for textiles, to protect, to successfully make off with ing that CTTC provides. This is to continue, to show history, Reviews them. Finally, Central Asian rul- very important, as they live the to show our customs … The ers imported whole colonies farthest distance from Cusco, a recognition to our elders, as it is of silk workers, demonstrating journey of seven hours. thanks to them for the revival, that the industry could only be Acopia was the last group and we will continue.” started as a viable unit. to join CTTC in 2006, and had Not all the elders could Silk in December: Implanting sericulture has to manage responsibilities very attend the event, therefore, two The Max Planck been a major theme in the long quickly. They were able to con- representatives from each com- Institute Workshop in textiles. Japan and struct and implement their weav- munity received the gifts of large Vietnam were among the first ing center immediately because sacks of grain and other essential Berlin to compete with their own silk CTTC had set aside funds for food-related items. Special rec- manufactures. India followed, them. They participated in work- ognitions were given to Anne an you imagine going to along with the Ottoman empire. shops on costing, budgeting and Rowe and Mary Frame for their CBerlin in mid-December Of the European countries, Italy governance, and made field trips years of research; to the ASUR from Italy, China, Japan, Vietnam, managed to start a silk industry, to other communities to learn Foundation, Chris Franquemont, India, England, Canada, and the then France naturalized silk- dyeing techniques. At the time the villages, Nilda’s mother, Betty US to talk about silk? The event worms and silk manufacture. of joining, only the elders knew Doerr, Linda Ligon, all the volun- was a two-day workshop spon- Even colonial North America how to weave. Now, they have teers, and others. sored by the Max Planck Institute tried to have sericulture: Mrs. rescued their traditional textiles And, all through the presen- for the History of Science. Pinckney, the woman who for daily use and festivals. tations, the 14 children who are Organized by Dagmar Schafer introduced indigo into American carrying on the weaving tradition and Luca Mola, the discussion manufacture, started a rather Closing Celebration stood to the side of the stage, arms aimed at exploring the ways that successful attempt. And, going With each community story, the wrapped around their weaving silk became one of the “histori- in the opposite direction, the importance of the elders and the tools. Gradually, many crumpled cal systems of innovation.” The British tried to implant sericulture children was a common thread. to the floor, but, never once did workshop was officially entitled in Western India as a means It was fitting that the closing cel- the tools leave their embrace. “The Culture of Silk in the of providing employment to ebration started with recognition Early Modern World (14th-18th indigenous people and gaining Marilyn Murphy has combined a of the elders and the children Century).” Our mission was to another source of the precious passion for, and knowledge of, the and ended with special fiesta present a broad array of silk cul- commodity. textile arts for her entire career. She dances by the children and a tures in order to reveal how the Strong rulers were responsi- is the former President of Interweave dramatic poem performed by the manufacture and trade of this ble for attracting silk manufacture Press. Presently “retired,” Marilyn is visiting Guatemalan women. luxury product affected its work- and they profited from it. For spearheading Cloth Roads, an online Nilda opened the evening ers and merchants. As the bro- centuries, China had collected retail business focused on support- with these words: “Our pleasure chure explained, “This workshop taxes in the form of woven silk ing artisans around the world who in the naming of this night is spe- scrutinizes the integration of silk from women’s looms. With their want to preserve their cultural cloth- cial for the elders, the children, production into various cultures new industry, Ottoman sultans making heritage while adapting it to our aunts and sisters, for our and asks how technological were able to tax their own work- the modern global marketplace. ancestors, to continue our rich innovation and change in the ers’ output as well as merchants’ A special thanks to Joe Coca for patrimony of our textile culture. production and use of silk relates trade. Chance also helped: providing photography. to scientific inquiry, and how it Vietnam started a vigorous silk promoted, hindered, or shaped works when a change in wind people’s approaches to nature patterns warmed the peninsula and material inventiveness.” enough to grow several crops of As we sat around a large tender mulberry buds year-round. table in the comfortable library As the most expensive of the Max Planck Institute, the textile, silk was closely linked to falling snow made a counterpoint the well-being of monarchies; to the range of far-off countries Ottoman rulers gave gifts of pre- discussed. Scholars analyzed the cious garments as signs of favor origins of sericulture in China, to generals and bureaucrats. and the attempts by other Central Asian potentates actually countries to steal this secret and imported a colony of Armenian import the lucrative trade for traders to manage the silk com- their own gain. But, silkworms merce, promising them their own

Spring/Summer 2011 9 churches. Many counter-histories also emerged in the discussion. At the same time that superb, imaginative brocades came from Chinese looms, India was pro- ducing cheaper silk aimed at a popular market. Silk merchants marvels of objects even as it indigo, a low-tech process that everywhere could identify the Symposium Reports from records the repetition essential to takes a full year to complete. products of various centers, even Award Winners, Part 2 their recontextualization. Ricketts honors his farmer-dyer in some cases the very workshop Lessman-Moss (MFA, predecessors as he plants, tends, where the cloth was woven. Session Review University of Michigan, Head harvests, dries and—after build- Throughout the business, var- of Textiles, School of Art, Kent ing a special floor for the com- ious strategies for profit existed. Textiles and Slow Art State University, Kent, Ohio), post heap—composts the indigo Traders skillfully accommodated by Rebecca Cross uses a complex dyeing and leaves, from which he extracts all ranges of taste, furnishing weaving process to enact a dia- the dye in which he immerses bright hangings and pillow cov- n “Slow Art and Textile lectic of logic and imagination. resisted, handwoven fabrics and ers to Turkey and garment-cloth Practice,” artists Kyoung-Ae I While she weaves along the felted objects. Ricketts’s stun- to the Middle East. Researchers Cho, Janice Lessman-Moss, warp to reflect linear chronology, ning art, which tends to be large, in Berlin attested that much and Rowland Ricketts explored Lessman-Moss uses computer- serial and minimalist, retains a silk now in museums fell short the time-intensive poetics of assisted design to map a faster, direct and profound connection of the legal specifications, so it facture. In the context of textile more layered sense of time— to the very essence of indigo, a could be sold at lower prices. art, notes Lessman-Moss, “slow- what she describes as “circular single dye that reveals a wide Or, fraud might result in more ness” consists of “methods of time.” With the circle as a cen- range of hues and values. Indeed, profit to weaver and merchant. construction [that] depend on tral design motif, using intense by almost exclusively using this The most remarkable finding in disciplined and exacting crafts- colors, Lessman-Moss creates extraordinary plant in his art the workshop was one scholar’s manship obtained through a elegant, reverberant patterns (one recent work included an tracing of silk made in colonial concentrated engagement that that not only require time and array of fresh indigo plants that South America, shipped to the both embraces and suspends technical prowess to construct slowly dried on the wall over the Philippines, and then shipped to time.” Cho’s close observation, but also demand sophisticated length of the exhibit), Ricketts Spain and sold as Chinese goods. Lessman-Moss’s virtuosic inter- (slow) apprehension from the harnesses the subtle, transforma- A scholar from the Victoria play of hand and technology, viewer, whose careful attention tive nature of indigo. As both and Albert Museum detailed and Ricketts’ direct engagement is rewarded by richly stratified farmer and artist, he maintains a the work of designers in 17th- in the production of his raw that are, at once, lumi- transcendent relation to the past. and 18th-century Lyon, and an materials all embody meditative nous and revelatory. However, his practice expresses American scholar showed the commitment. Ricketts (MFA, Cranbrook, something relevant now—about high degree of skill required by An artist in perpetual con- Assistant Professor of Textiles at our collective need to slow silk workers and merchants at versation with nature, Cho Indiana University, Bloomington) down, and to localize our efforts the same period and place. (MFA, Cranbrook; Professor is an indigo farmer and dyer, in order to become a more The research discussed in this of at the University of equally interested in creating the ecologically sustainable world workshop is intended to form Wisconsin-Milwaukee), preserves materials for his dye-work and culture. a volume that synthesizes infor- the merest objects’ evanescent in the dyeing itself. He has dedi- mation about silk manufacture, beauty by incorporating them cated himself to the traditional Symposium 2010 reviews, the final commerce, and custom from into her work—spare, beautiful Japanese practice of growing chapter, will continue in the Fall East to West in the Early Modern pieces made from elements like issue. Period. multiple corn leaves (floating in – Daryl M. Hafter layers of translucent organza, surrounded by echoes of hand stitching), or cross-sections of pine that preserve the memory of long growth in each of what the artist calls “rings of wisdom.” Cho’s work reveals the unique

Janice Lessman-Moss discusses her work with Louise Mackie in the Symposium exhibition, “Binary Fiction: Digital Weaving.” Photo: Rebecca Cross.

10 tsa newsletter Other grants in 2010 went to the Museum of the City of Textile New York for a second year of support for its efforts to create Community a website comparing gowns by Worth and Mainbocher; to the News Samuel Dorsky Museum of Art at SUNY-New Paltz for an exhi- bition of 19th-century woven coverlets organized in collabora- Coby Foundation tion with Historic Huguenot Street; and to the Fenimore Art Grants Awarded Museum in Cooperstown, NY,

he Coby Foundation for “Connecting Threads: A Tdistributed grants to an Century of Upstate Fashion.” impressive group of projects in Founded by Irene Zambelli 2010. The Coby Foundation Silverman in 1994, The Coby Foundation received its major is the nation’s only foundation “Big Boss” by Orly Geneger was installed at Mass MoCA during “Material to focus solely on grants to World: Sculpture to Environment,” with help from Coby Foundation funding. assets after Mrs. Silverman’s the fashion and textile field. It death in 1998. The Foundation awarded $354,000 in 2010 to Two grants will support of French artist Sonia Delaunay is interested in projects that com- 15 organizations, all located in projects for the commemora- is highlighted by the Cooper- bine excellent scholarship and the Northeast and Mid-Atlantic tion of the 150th anniversary of Hewitt National Design Museum effective interpretation. Projects states. Grants ranged from the start of the Civil War. The this spring. “Color Moves: Art may be in the arts or humanities, $8,000 to $70,000. Of particular year’s largest Coby grant went & Fashion by Sonia Delaunay,” contemporary or historical, but note in 2010 were exhibitions to the American Textile History focuses on fashion designs from all must have a public benefit. exploring historical themes from Museum, Lowell, MA, for a Delaunay’s own atelier in Paris The Executive Director of The the 15th-20th centuries. 2012 exhibition that will use during the 1920s, as well as tex- Coby Foundation is Ward L.E. “Illuminating Fashion: Dress quilts, clothing, and other materi- tiles Delaunay designed for the Mintz. The Foundation accepts in the Art of Medieval France als to tell about the events that Metz & Co. department store in unsolicited proposals, and inqui- and the Netherlands,” an exhibi- led to the Civil War, the stories Amsterdam in the 1930s. ries should be directed to Mr. tion of 15th- and 16th-century of men and women affected The Shelburne Museum, VT, Mintz at the following address: costume at the Morgan Library by it, and the opportunities received funds for “Paris to Park The Coby Foundation, Ltd. and Museum in New York City, and challenges that followed. Avenue: Fashion and Society,” an 511 Avenue of the Americas #387 explores the evolution of clothing This exhibition will travel to at exhibition debuting this summer New York, NY 10011 in Northern Europe. In addition least two venues in the South. of about 200 items ranging from http://www.cobyfoundation.org to miniature paintings from the The New York State Battle Flag 19th-century Parisian gowns to Morgan’s collection, exact replicas Preservation Project, adminis- poodle skirts. GHHN Conservation of four garments illustrated in the tered by the Natural Heritage Fashion and textiles specific Grants miniatures are displayed. Trust, received support for the to the Ukrainian wedding tradi- Two exhibitions explore first of a series of exhibitions tion were displayed in a major he Greater Hudson Heritage textile traditions using extremely drawn from the State’s extraordi- exhibition at the Ukrainian T Network has been awarded rare materials, many dating to nary collection of 850 Civil War Museum in New York City that a grant from the New York State the 17th and 18th centuries. The flags, the largest such collection received implementation fund- Council on the Arts (NYSCA) to Connecticut Historical Society exhi- in the nation. The exhibition will ing. The exhibition compared administer the 2011 Conservation bition, “Connecticut : open in the Capitol in Albany in customs that were typical in the Treatment Grant Program, which Women, Art, and Family, 1740- April, 2012. Ukraine into the early 20th cen- provides support for treatment 1840,” which received the third The history of 20th-century tury to the new traditions that procedures to aid in stabilizing portion of a grant, highlights beauti- fashion is also supported by have evolved in present-day in and preserving objects in collec- fully decorated clothing, bedding, Coby Foundation grants. The Ukraine and in Ukrainian com- tions of museums, historical, and and accessories, school work by Museum of Art of the Rhode munities in the US and Canada. cultural organizations in New children as young as six years old, Island School of Design (RISD) Coby funds allowed for the York State. The work must be and masterpieces of needlework received funding to plan installation by artist Orly Genger performed by, or under direct art. At the Museum of Fine Arts, “Cocktail Culture, Ritual and of “Big Boss,” which she cre- supervision of, a professional Boston, “Embroideries of Colonial Invention in American Fashion, ated with 100 miles of knotted conservator. Grants of up to Boston: Samplers” demonstrates 1920-1980,” the first multidis- as part of the exhibition $7,500 are available. For more the role these schoolgirl exercises ciplinary exhibition to explore “Material World: Sculpture to information visit: played in educating Boston’s gen- the social ritual of drinking and Environment,” on view ear- http://www.greaterhudson.org teel young women. entertainment through the lens lier this year at Mass MoCA in of fashion and design. The genius North Adams, MA. Spring/Summer 2011 11 Guizhou Textiles the Oriole Mill, located less than Small Tapestry templates. The technique was three miles away. practiced in the British Isles as website The addition of Kelly Hopkin International 2: early as the 1700s; it became Tony Chen announces his web- to the Jacquard Center teach- Passages popular in other parts of Europe site for tribal Chinese textiles ing staff means that there will as well as in British colonies, uror Kay Lawrence of be more opportunities for those including America, by the early from Guizhou, a lesser known Australia selected 47 tapestries who want to weave, including J 1800s. For more information on province in southwest China from 42 artists from among on-site as well as remote access the IQSC fellowships and appli- where one can find excellent 80 artists and 127 entries for to weaving. Kelly comes to the cation guidelines, see: textiles and embroidery stitches. “Small Tapestry International center with nearly 20 years of http://www.quiltstudy.org- His website, 2: Passages,” a traveling exhibi- experience in the jacquard textile education_research/research_ http://www.alongdiscovery.com tion of the American Tapestry industry. She works closely with fellowships shows Miao costumes and Alliance. Thanks to the generos- the Jacquard Center and the “Nebraska Quilts and embroidery stitches, along with ity of the Teitelbaum Legacy Gift, Oriole Mill. Quiltmakers,”Apr. 8-Oct. 2, cel- Chen’s articles, and information ATA offers two monetary awards. ebrates the work of the Nebraska on tours. The First Place Teitelbaum Award Western Carolina Quilt Project team–pioneering [email protected] Winner is Mary Lane, for her Company-A new approach individuals who preserved an tapestry “Untitled #134.” The to the workroom. Founded by invaluable record of Nebraska Second Place Teitelbaum Award New Address for the Libby O’Bryan, Western Carolina life, told through the history of Winner is Joyce Hayes, for her Brandford/Elliott Sewing Company (Sew Co.) has cherished quilts. tapestry “Conciliation Fall.” now been established within the Twenty-five years ago, a Award The exhibition is being walls of the Oriole Mill to service dedicated group of 21 volunteers hosted by the following venues: he primary award program the sewing needs of the Oriole set out to document Nebraska Weaving Southwest, Taos, NM, supporting excellence in the Mill, the mill’s clients, and clients quilts in private hands, fearful T Apr. 2-May 2; Handforth Gallery, field of contemporary fiber art, that source their fabric else- that the rich heritage inherent in Tacoma, WA, Jun. 1-Jul. 2; The formerly known as the Lillian where. Libby’s extensive experi- the family quilts would be lost Cultural Center at Glen Allen, Elliott Award, not only has a new ence allow her to offer a vast forever if not documented. The Glen Allen, VA, Sept.15-Oct. 30. name, but also a new address. assortment of services, including Nebraska Quilt Project team The name change honors the product development and design, collected information on 1,557 contributions to the fiber art field resourcing, cutting and sewing, IQSC News quiltmakers who made 3,216 of both Joanne Siegel Brandford as well as packing and shipping quilts between 1870 and 1989. he IQSC exhibition of and Lillian Elliot. This award is directly to customers. Sew Co. The results of this survey were mosaic quilts, “Elegant presented in alternate years at is full-service, expediting the pro- T published in Nebraska Quilts and Geometry: American and British the Textile Society of America’s duction process and putting the Quiltmakers. The documenta- Mosaic Patchwork,” May 28-Jan. Symposium Banquet. Donations client at ease. tion and research begun by the 8, 2012, was organized by Guest for the award may be sent to: Nebraska Quilt Project team The Jacquard Center/Sew Curator Bridget Long, noted The Brandford/Elliott Award paved the way for the establish- Co./The Oriole Mill: British quilt historian. Long was a for Excellence in Fiber Art ment of the International Quilt Vertically Integrated recipient of the IQSCM Scholar’s P.O. Box 470735 Study Center & Museum. Manufacturing. The design Fellowship, which allowed her Brookline, MA 02447 http://www.iqsc.org support services of the Jacquard to visit and research the quilts Center, in combination with the in person. Mosaic quilts are Virginia Gunn and Bridget Long The Jacquard Center custom production weaving of eye-dazzling textiles made from examine the Ruggles Quilt at IQSC the Oriole Mill, and the custom - A Training Retreat thousands of precisely shaped during Long’s research for the production services of Sew fabrics formed with the use of exhibition “Mosaic Patchwork.” he Jacquard Center is Co., means that one can have Tpleased to announce a custom yardage cut and sewn new instructor, Kelly Hopkin, and shipped to the customer, all as well as a new partnership from one address. This is vertical with Western Carolina Sewing manufacturing at its best. Company. Founded in 2000 Please visit our website, by Bethanne Knudson, The http://www.thejacquardcenter. Jacquard Center is a training com retreat for Jacquard Studies. The for more information, includ- most popular classes have been ing our 2011 Class Calendar, the Mill Access Classes, which detailed descriptions of all the provide individuals with the classes offered, accommodations, opportunity to watch as their and pricing. We encourage any designs weave on high-speed, questions to be submitted at any industrial weaving machines at time to: [email protected] 12 tsa newsletter Over the course of her make Gloria F. Ross and Modern data on peripheral Islamic areas career Ross worked with 28 Tapestry an important historical such as the Caucasus and China, mid- and late- 20th-Century document, as well as a fascinat- he strangely omitted discussing Book American artists, including ing read. Bahrain, Qatar, and the United Helen Frankenthaler, Robert – Mary Lane Arab Emirates countries in the Reviews Motherwell, Kenneth Noland, very center of the Islamic world. Louise Nevelson, Romare Thanks to the book’s wonderful Bearden, and Frank Stella. She Textiles of the Islamic World illustrations, although the size of facilitated the production of over each textile and where it reposes John Gillow 240 tapestries and rugs from 96 are unfortunately lacking, we London: Thames & Hudson, Gloria F. Ross and Modern designs (many were woven in do have a wonderful survey of 2010 Tapestry editions), working with weav- an important textile area badly ers and tapestry workshops in needing further attention. Ann Lane Hedlund Embroidery from the Arab Scotland, France and the US. In contrast to Gillow’s University of Arizona Press, world 2010 Hedlund met Gloria Ross approach, Vogelsang-Eastwood, in 1979, and, because of her Gillian Vogelsang-Eastwood who heads the recently formed Leiden: Primavera Press in rom the mid-1960s until work and connections in the US Textile Research Centre in the cooperation with Textile 1994, Gloria F. Ross promot- Southwest, soon became a vital Netherlands, takes one textile F Research Centre, 2010 ed, facilitated the production of, resource and friend of Ross. The technique, embroidery, and and marketed hand-woven tap- two traveled together throughout focuses upon one portion of extiles from the Islamic estry. Gloria F. Ross and Modern Navajo country and Ann intro- the Islamic world, namely the world have not received the Tapestry chronicles Ross’s unique duced Gloria to Native weavers. T Arab portion. In fact, she focuses attention they so richly merit. and ambitious career. Written Ross selected the geometric upon a limited number of places Thus the appearance of these by Ann Lane Hedlund, PhD., paintings of Kenneth Noland within the Arabic world so that two titles helps to not only fill Professor of Anthropology at the to commission into weavings she can concentrate in greater this lacuna, but also points the University of Arizona, Tucson, produced by weavers from the depth. After two initial chapters way for additional work for pos- Curator of Ethnology at Arizona Southwest. Ross also began col- on “embroidery in the Arab sible future publications. Gillow State Museum, and Director of lecting Navajo rugs and eventu- world” and “historical embroi- surveys textiles in a vast arc of ASU’s Gloria F. Ross Tapestry ally donated a collection to the dery,” which actually predates Muslim countries from Morocco Program, the handsome book Denver Art Museum. In 1997, the rise of , the chapters in the west to Indonesia and the offers a detailed and richly illus- Ross founded the Gloria F. Ross deal with (3) international influ- Philippines in the east. With such trated account of Ross’s work. Center for Tapestry Studies, a ence, (4) uses, (5) iconography, a vast and diverse number of Gloria Ross was born in nonprofit research and educa- (6) equipment, textiles, threads peoples and cultures within the New York City and, because of tional foundation. Hedlund was and applied objects, and, (7) Islamic world, his superbly illus- her grandmother, became inter- appointed Executive Director. hand embroidery techniques. trated volume simply provides a ested in textiles. She pursued The source material for The international influences glimpse of the textile riches that needlepoint and , Hedlund’s book are the detailed give insights into textile trade await further exploration. often working from the paintings records that Ross kept and also- in the Islamic world, both of An appendix of museums of other artists. Her sister, Helen Hedlund’s own relationship with textiles themselves and tech- with notable Islamic textile hold- Frankenthaler, and brother-in- Ross. Excerpts from handwrit- niques for producing textiles. ings, including websites when law, Robert Motherwell, intro- ten letters, financial details from As with Gillow, the number of known, further broadens the duced her to fellow artists who invoices, original sketches, and topics raised in the volume is potential for learning more. The would eventually partner with documentary photographs, along vast, space is at a premium, and approach is usually country by Ross in the production of woven with Hedlund’s clear writing and further research and publication country. but occasionally by area, and knotted wall hangings. systematic approach to her sub- needs to be undertaken. Until with discussion typically focused Ross described herself as an ject, provide a fascinating portrait such works appear at some point on costumes, the fibers used to éditeur, a role more common in of a determined woman and her in the future, however, we have make textiles, and production commercial European tapestry unusual role in the production of two titles which provide intro- techniques. A concluding section, studios. She was, essentially, an hand-woven tapestry. The text is ductions to textile traditions in an “the present,” sadly, more often agent, or middle person, who further enriched by supplemental important part of the world. than not, highlights what little connected artists, weavers, gal- information on artists, weavers remains of noteworthy textile – Donald Clay Johnson leries and collectors. According and workshops, including Archie traditions. to Hedlund, “Throughout her Brennan, the Dovecot Studios, Given the large number of career, Gloria attempted to Pinton Frères, Navajo weavers countries/areas included in the remain true to her original, albeit such as Martha Terry and Sadie volume, Gillow only provides contradictory, goals – to follow Curtis, and Hopi weaver Ramona the most broad generalizations the artists’ aesthetic intent and Sakiestewa. Hedlund’s combina- of the aspects of the textiles he yet create unique objects in a tion of a scholarly and personal surveys. Though he ferreted out vital tactile medium.” approach to her subject matter

Spring/Summer 2011 13 With essays by Valerie Steele Medieval Garments Should the reproduction rep- (“Is Japan Still the Future?”), Reconstructed resent the way an item looked when excavated? How it looked Patricia Mears (“Formalism and Else Ostergard, Anna Norgard, at burial? How it looked when Publication Revolution”), Hiroshi Narumi Lilli Fransen new? Will the patching and (“Japanese Street Style”), and Translation: Shelly Nordrorp- mending in the found garments Yuniya Kawamura (“Japanese Madson News be part of the reconstruction? Fashion Subcultures”), Japan 2011: Aarhus University Press Will the fabric be reproduced Fashion Now explores how Dist. David Brown Book Co. by means of handspinning and the world of fashion has been ISBN 9788779342989 handweaving? Will commercial transformed by contemporary Hardcover, $40 yarns and treadle-loom weaving Coptic Textiles from in Japanese visual culture. be employed? Will a facsimile be Ancient Times, Exhibition cata- Valerie Steele is Chief his book follows up on made from purchased fabric? log published by the National Curator and Director of the information presented in T Norgard also provides Maritime Museum, Haifa, Israel. Museum at the Fashion Institute the 2004 publication Woven detailed information on seaming Curator: Avshalom Zemer of Technology. Patricia Mears is Into the Earth: Textiles from Norse stitches and stitches that were http://www.nmm.org.il/Museum Deputy Director of the Museum Greenland, which introduced used for surface decoration, at FIT. Yuniya Kawamura is the everyday clothing and along with information on cords, Shuttle in Her Hand: A Swedish Associate Professor of Sociology textiles unearthed in burials at braids, tablet-woven trims, but- Immigrant Weaver in America, by at FIT. Hiroshi Narumi is Herjollfsnes, Greenland, in 1921. tons, and buttonholes. Marion Marzolf, published by Associate Professor at the Kyoto The current volume fills in the The garments are fitted to the Swedish-American Historical University of Art and Design. gaps in the earlier publication the upper body and full at the Society, Chicago, $15.95. This http://yalepress.yale.edu/yupbooks/ and provides further analysis of bottom, and have set-in sleeves. novel tells the story of Lisa book.asp?isbn=9780300167276 the 800-900 year-old garments Franzen’s meticulous pattern Lindholm, a young weaver who along with instructions for repro- diagrams are drawn to scale leaves her native Sweden alone ducing nine garments, two caps, and sized, and shown alongside in 1931 for the US. Her profes- six hoods, and two stockings. color images of the reproduced sional journey takes her from the The authors combine exper- garments. Areas of patching or mountains of North Carolina to TSA Listserv tise from three fields for this extensive mending are indicated Michigan and Chicago, IL, during endeavor: Fransen specializes in he mission of the TSA with shading on the pattern which she becomes part of the pattern construction, Norgard listserv is to provide an pieces. Cutting layouts and the significant Swedish contribution T is a spinner and weaver, and effective venue for ongoing overall measurements for each to developments in 20th-century Osterlund is a textile conserva- dialogue among our diverse item are also provided. American handweaving. tor. Each author contributed a and globally dispersed tex- The authors have provided http://www.swedishamericanhist. chapter. Osterlund introduces tile community. It is a place a very useful guide to produc- org/publications the textiles and reports that new to: engage in conversation ing handmade reconstructions about research; share infor- data from technological advances Japan Fashion Now, exhibition of medieval Norse clothing. An mation about particular in fabric analysis has revealed catalog from the Fashion Institute extensive annotated Bibliography textiles, techniques, people, the subtleties of the construc- of Technology, published by is included for those interested in and regions throughout the tion methods used, and indicates Yale University Press, $39.95. further research. world; announce publications that the Norse peoples had Scholars have long acknowl- –Karen Searle and exhibitions; and share developed a sophisticated textile edged the significance of the research in progress. tradition. Japanese “fashion revolution” of The new listserv platform Norgard provides details on the 1980s, when avant-garde requires that all members of the spinning and weaving. The designers Issey Miyake, Yohji the previous listserv resub- garments are woven in narrow Yamamoto, and Rei Kawakubo Promote TSA scribe using the form on the panels of handspun linen or of Comme des Garçons intro- TSA website. single-ply wool in natural sheep to your Group or duced a radically new conception If you have not previously colors or colored with natural Conference! of fashion. This lavishly illustrated been a member of the dyes. Dyes identified include book explores how Japanese listserv, we invite you to sign tannin-rich brown dyes and reds fashion has evolved in recent Request our new TSA on. We hope that all of you from madder and lichens. Most years. During this time, Japanese Membership brochures will choose to join in the of the garments are fully lined, pop culture has swept the world, conversation! and different types of stitches from Char in the TSA as young people everywhere are used for the inner and outer Office to hand out at your read manga, watch anime, and Subscribe at: seams. She poses question to next meeting or textile- play video games. Japan has had http://www.textilesociety.org/ consider for those who wish related event. a profound impact on global resources_listserv.htm to reproduce early garments: [email protected] culture, often via new media. – Lydia Fraser, Listserv Coordinator

14 tsa newsletter The majority of the col- A specially prized lection traveled to America in addition to the ASI trunks tightly packed with items textile collection is the Featured needed for life in a new country. 1952 Varmland Gift, a Most of the textiles and tools collection of 450 origi- date from the period of greatest nal objects and textiles, Collection Swedish immigration to MN, including reproductions 1850-1930. They include trous- of prized textiles that seau items such as handwoven are on public display in linen sheets, runners, tablecloths, each Parish in Varmland. Textiles at the wool coverlets, rugs, tapestries, This collection was given American Swedish and other textiles, along with to ASI in honor of the some elaborately carved weaving, sizeable immigration to Institute spinning, and lacemaking tools America from that region. that traditionally were given as Textiles in the gift include he American Swedish TInstitute, Minneapolis, MN, gifts to the bride from her new costumes, home furnish- was founded in 1929 when husband. ings, bed linens and cov- Swan J. Turnblad, owner of a The ASI also holds the col- erlets, knitted stockings Swedish-language newspaper, lections of weavings, swatch and wristlets, and baskets. donated his palatial Minneapolis books, looms, teaching manuals, There are also tools— mansion to establish an institute and journals of Hilma Bergland, including spinning wheels for Swedish culture. In addition who studied weaving in Sweden, and weaving tools— to preserving and sharing the taught weaving in the art furniture, silver, glass, 1908 Turnblad mansion and education department of the ceramic, and jewelry all of its contents, the Institute University of Minnesota, was a items typical of the and textiles as they prepare to serves as a gathering place to co-founder of the Weavers Guild region. The Varmland Gift was move the items to temporary celebrate Swedish tradition, of Minnesota in 1940, served as accompanied by a handmade storage while a second building migration, craft and the arts. its President twice, and was an leather-bound book featuring is built in the back yard of the Visitors may tour the mansion honorary member until her death a watercolor rendering of each mansion connecting to the man- where many historic artifacts are in 1972. Bergland was a catalyst parish church in Varmland. sion by a skyway—unfortunately, on display, visit the library, the for textile education and activ- Occasionally, the ASI mounts entering through the current bookstore, or the tea room, or ity in the Twin Cities during her special textile exhibitions from its textile storage area. The new attend meetings and programs lifetime. collections or is host to traveling building will add display space in the lecture hall. exhibitions from Scandinavia. Recently, an exhibition of Bohus and storage for the collections. Knitting brought designers and The ASI will be closed May-Oct. artisans from Sweden for a series 2011 for the renovation. During of lectures and workshops. this time, its website will be Presently, Curator Curt updated with a new section dedi- Pedersen and Registrar Frances cated to the collections. Lloyd-Baynes are engaged in an The American Swedish Institute inventory of all of the objects 2600 Park Avenue Minneapolis, MN 55407 http://www.americanswedishinst. org – Karen Searle

Some of the textiles in the Varmland Gift. Above, “Skoog Hall, HV tap- estry interpretation of Hammarö Province, woven by Varmland weav- er/textile designer Ethel Halvarsson. Upper left, Linen Damask-weave tablecloth typical of the region. Lower left, Finnweave wall hanging in linen, a representation of the Sodra Rada Parish in Varmland. Right, Rag Rug, 14 meters long, inlay weaving in a wedge design. Photos: Lars Hanson.

Spring/Summer 2011 15 Series Editor: Linda Welters • Color in the fashion and beauty American Tapestry Department of Textiles, Fashion industries; Merchandising, and Design • The impact of new technolo- Alliance American Calls for University of Rhode Island gies (e.g., colorimetry or digita- Tapestry Biennial 9

[email protected] lization) on color in the design Due Oct. 1: ATB 9 is open to professions and the fashion papers all artists who design and weave industry; Color: Special Issue their own tapestries (defined as • Color, patriotism, and national “handwoven weft-faced fabric Journal of Design identity; with discontinuous wefts”), either History • Color in architecture, at trade individually or collaboratively (all Proposals Wanted: fairs and world’s fairs; olor is a major aspect assistants shall be named). Entries Dec. 1: C • The communicative aspects of must be one-of-a-kind and have Textiles that Changed of design practice that has a long, color in local, regional, national, been completed after January, the World Series from tumultuous history. It has been and global discourses. the subject of countless publica- 2008. Entries may not have been Berg Publishers tions and exhibitions about visual Papers for special issues will be shown previously in any ATA subject to the usual double-blind Ongoing. Textiles have had a culture, symbolism, science, exhibition, including the unjuried refereeing and selection proce- profound impact on the world fashion, and aesthetic meaning. “Small Format” show. Artists may dures of the Journal of Design in a multitude of ways–from the By contrast, this special issue submit up to three pieces, but a History. Please forward inquiries to: global economy to the practi- of the Journal of Design History maximum of one piece per art- [email protected] cal and aesthetic properties that focuses on the work of color ist will be accepted. Lee Talbot, Submissions should be in the subtly shape our everyday lives. practitioners, rather than on the Associate Curator, Eastern form of full papers of up to This exciting series chronicles colors themselves. This special Hemisphere Collection, The 8,500 words that adhere to the the cultural life of individual issue seeks papers on the histori- Textile Museum, is the juror for guidelines of the Journal of Design textiles through sustained, book- cal aspects of color and design this exhibition. Prospectus and History, along with an abstract of length examinations. Pioneering practice that are based on origi- Entry Form are available at: 300-400 words and a brief in approach, the series focuses nal research in designers’ archives http://www. biography of up to 250 words. on historical, social and cultural and other historical records, americantapestryalliance.org. Submit online via the Journal’s issues and the myriad ways in artifact collections, and oral his- website by Dec. 1: which textiles ramify meaning. tories. Topics include but are not http://www.jdh.oxfordjournals.org Each book is devoted to an indi- limited to the following themes: vidual textile, fiber or dye that • Histories of color in retailing, characterizes a particular type advertising, graphic design, and American Batik of cloth. Books are handsomely branding; Design Competition illustrated with color as well as • The relationships and tensions black-and-white photographs. among color science, color tech- Due May 31. Celebrating closer Titles published and forth- nologies, and color as a design relations between Indonesia coming in this series are: practice; and the US, the Indonesian Jonathan Faiers, Tartan (2008) • Critical biographies or case Embassy in Washington, DC and Willow G. Mullins, (2009) studies of key practitioners, Indonesian Consulates General Beverly Lemire, Cotton (2011) corporations, industrial design- in New York, San Francisco, Los Fiona Anderson, Tweed (forth- ers, fashion designers, consulting Angeles, Chicago, and Houston coming) firms, or professional associations have launched a competition for TSA Newsletter involved in color theory, color Proposals are invited for “American Batik Design” with Deadlines additions to this series. Single- styling, color forecasting, or color the theme “The Spirit of America authored books rather than edit- management; in the Heritage of Batik.” The • March 30 • July 30 ed works are preferred. Please • The role of consumers in competition is an open competi- • November 30 usurping corporate definitions of tion for batik design (design only, contact the Series Editor for fur- Please send news, exhibition ther information or submit: color practice and offering new not the whole process of batik) reviews, book reviews, • A short (500-word) summary uses or interpretations; for American citizens to portray conference reviews, event of the proposed book • The practice of color forecast- American values in the tradition- listings, and articles to: • A table of contents and ing as it evolved in different al Indonesian batik. Best creative Karen Searle, Editor detailed chapter summaries locales, cultures, and historical American batik designers will • An overview of any competing moments, and its relationship to win a tour to Indonesia and prize [email protected] or complementary books design futures; money. For details, visit: TSA Newsletter Staff • Biographical details/short CV • The transnational transfer and www.embassyofindonesia.org Karen Searle, Editing, Layout Send proposals to global circulation of color theo- [email protected] ries and practices; Susan Ward, Copy Editing Charlotte Cosby, Proofreading

16 tsa newsletter Member News from p. 7 shop, risd|works. Five essays explore the various ways in which Hollywood, Harlem, suburbia, and Paris all helped Calendar to shape the visual culture of the cocktail party. Contributing scholars include: Joanne Dolan Ingersoll, Curator of Costumes and Textiles, Museum of Art, Rhode Island School of Design; Conferences & Clare Sauro, Curator and Director of Historical Collections, Symposia “Abstract,” ca. 1954, textile design by Henry Moore (1898-1986), Screen- printed cotton manufactured by David Whitehead Ltd., at Ruth Funk Center Drexel University; Kristina for Textile Arts, Melbourne, FL. Wilson, Assistant Professor of Art Below is a brief selection of History, Clark University; Susan upcoming Textile-related events. companies to present and discuss hours re-creating a 17th-century Hannel, Associate Professor of See TSA Member News, Textile the latest developments in the embroidered jacket. This project, Textiles, Fashion Merchandising, Community News, and the general field of textile materials, known as the Plimoth Jacket, and Design, University of Rhode calendar on the TSA website for technologies, fashion and market- provides the thematic touchstone Island; and Gretchen Fenston, more exhibition and other news. ing. Registration, transportation, for our conference, which will milliner and registrar, Condé exhibition, and other details: focus on embroidery design, Nast Archive. May 14-15: Weaving History http://www.kfs.edu.eg/smartex materials and techniques, mak- http://www.risdmuseum.org Conference at the Handweaving Dr. Elsayed A. Elnashar ers, and a variety of objects they Museum, Clayton, NY, located in tel (+2)016/92.88.940 embroidered from the 17th cen- Susan Ward has contrib- the Thousand Islands Art Center. [email protected] tury to today. Please join us for uted two essays—“The Design, Information: [email protected] this unique offering of lectures, Promotion, and Production of http://www.tiartscenter.org hands-on workshops, and tours. Modern Textiles in the USA, Jun. 9-12: Confluence, Registration deadline is Sept. 23. 1940–1956,” and “Making May 20-21: Material Culture, Minneapolis, MN, International http://www.winterthur.org Knoll Textiles: Integrated Fabrics Craft & Community: Negotiating textile conference of the Surface for Modern Interiors”—to the Objects Across Time & Place, Design Association and the Oct. 24-26: The ITB (Indonesia), forthcoming exhibition catalog University of Alberta Material Textile Center. Pre-and post- CCA (Korea) and Ars Textrina Knoll Textiles, 1945-2010 (Bard Culture Institute. Keynote conference workshops, exhibits, (UK) International Textiles and Graduate Center and Yale Speaker: Laurel Thatcher Ulrich, tours. Information: Costume Congress, ‘Heritage University Press, 2011), edited by Harvard University. Organizer: http://www.surfacedesign.org Textiles and Costume,’ Bandung, Earl Martin. Other contributors Beverly Lemire, Department http://www.textilecentermn.org Indonesia. The multi-disciplinary to this book, the first comprehen- of History & Classics and conference focuses on forms sive study devoted to a leading Department of Human Ecology, Oct. 14-15: Costumes as of textiles and dress regarded contributor to modern textile University of Alberta. Performance and Activism, as “traditional” in all societies design, include Paul Makovsky, http://www.wornthrough.com Costume Society of America- worldwide. Largely, such items of Bobbye Tigerman, and Angela Midwest Region Annual culture are hand-crafted, though Völker. May 21: Study Day, Sacred Symposium and Meeting, industrially produced items are http://www.bgc.bard.edu Dressed Images at Lisio Waterloo, IA. The sympo- included also. The congress will Foundation, Florence, Italy. sium will be at the University take place in the main campus of http://fondazionelisio.org of Northern Iowa in Cedar Institut Teknologi Bandung (ITB), Falls, hosted by the UNI Arts to the north of Bandung city May 23-25: smartex-2011 Consortium. For more informa- centre. Information: Conference, Egypt. The Textile tion about the symposium: http://ulita.leeds.ac.uk/wiki/ and Apparel Branch of the Dr. Carol Colburn mediawiki-1.10.1/index.php/ Home Economics Department, tel 319/273 2390 Research Faculty of Specific Education, [email protected] Kafrelsheikh University, Egypt, has organized the first World Oct. 21-22: With Cunning Textiles Conference. The Needle: Four Centuries of SMARTEX-2011 conference Embroidery, Winterthur is multidisciplinary and brings Needlework Conference 2011. together international scientists From 2006 to 2009, over 300 from textile teaching, research people spent more than 3,700 and development institutions and

Spring/Summer 2011 17 Exhibitions Florida Threads,” fiber art wearables mixed media, by Erica Spitzer Ruth Funk Center for from recycled materials. Jun. Rasmussen. United States Textile Arts, Florida Institute of 6-Jul. 16: “Transformation,” http://www.csp.edu Technology, Melbourne. To Aug. machine embroidery by California 27: “British Bolts: Artists’ Fabrics Jane Kenyon.” “Atmospheric Goldstein Museum of Design, de Young Museum, San of the Mid-Century” examines the Measures,” screen-printed works University of Minnesota-St. Paul. Francisco. To Jul. 24: “Balenciaga aesthetic influences and approaches by Claire Verstegen. “Watershed,” Jun. 9-Sept. 25: “Beyond Paisley and Spain.” of textile designers of the period. members of SDA and the Textile and Peacocks: Handcrafted http://www.deyoung.famsf.org http://textiles.fit.edu Center. Textiles of India and Its Neighbors.” http://www.textilecentermn.org Textiles from India. Pakistan and Museum of Craft and Folk Massachusetts Bangladesh from the collection Art, San Francisco. Jun. 16-Sept. Katherine Nash Gallery, of Donald Clay Johnson. 18: “Wrapping Traditions: Museum of Fine Arts, Boston. University of Minnesota- http://www.goldstein.umn.edu Korean Textiles Now.” To Jun. 19: “Scaasi: American Minneapolis. Jun. 9-30: “India Traditional and contemporary Couturier,” Scaasi’s custom- Flint: The Windfall Maps.” Gordon Parks Gallery, interpretations of wrapping cloth made clothing since the 1950s. “Tim Harding: Apparitions.” Metropolitan State University, St. by Korean and Western artists. To Mar. 13: “Colonial Boston “Reflections on Water: Recent Paul. Jun. 3-Jul. 1: “Esperanza,” Curated by Chunghie Lee. Samplers.” Apr. 13-Jan. 17, Works by Mary Edna Fraser, works by Carolyn Kallenborn. http://www.mocfa.org 2012: “Global Patterns: Dress Linda Gass, and Barbara Lee http://www.metrostate.edu and Textiles in Africa.” San Jose Museum of Quilts Smith.” “Merge and Flow: SDA http://www.mfa.org & Textiles. May 17-Aug. 7: Member Show.” Minnesota History Center, http://www.nash.umn.edu St. Paul. May 7-Sept. 11: “Primary Structures” featur- Fuller Craft Museum, Brockton. ing works by Mary Walker “Underwear: A Brief History.” To Sept. 15: “Loom and Lathe: Augsburg College Galleries, http//www. Phillips, Arline Fisch, Xenobia The Art of . Bailey, Valerie Molnar, Tatyana Minneapolis. May 20-Jul. 29: minnesotahistorycenter.org and Bob Stockdale.” “Sentinels,” works by Jason Yanishevsky, Tracey Krumm, http://www.fullercraft.org Yvette Kaiser Smith, Sheila Pepe, Pollen. “New Tools and Ancient O’Shaughnessy Education Techniques,” digital prints with Center, University of St. Helen Pynor, Sheila Klein, and American Textile History handwork by Teresa Paschke. Thomas, St. Paul. Jun. 9-Aug. Susie Freeman. Museum, Lowell. May 21-Oct. http://www.augsburg.edu/ 22: “Skimming the Surface: http://www.sjquiltmuseum.org 16: “Glamour and Grace: galleries Pattern and Narrative in a New Fashions of the 1930s.” Elegant Light.” Work by Beth Barron, Colorado styles and newly invented fibers Minnesota Center for Book Charlene Burningham, Nancy Denver Art Museum. Apr. of a hopeful modernism. May Arts, Minneapolis. May 6-Jun. Eha, Bernadette Mahfood, 8-Dec. 31: “Sleight of Hand: 14 21-Sept. 25: “Marking Time: 24: “Whisper: JiYoung Chung’s Barbara Otto, Christine Pradel- Contemporary Textile Artists.” Voyage to Vietnam”. Poignant Joomchi.” Handmade paper works. Lien, Karen Searle, and Marria Sept. 2-Dec. 2, 2012: “El and dramatic stories, told http://www.mnbookarts.org Thompson. Anatsui: When I Last Wrote To through graffiti left on a troop- http://www.stthomas.edu/ You About Africa.” ship’s bunk canvasses. Traffic Zone Center for Visual arthistory/exhibitions http://www.denverartmuseum.org http://www.athm.org Art, Minneapolis. Jun. 1-24: For a complete listing of the 33+ “Checks, Nets and Woven Grids, Delaware exhibits concurrent with the Surface Minnesota weavings by Morgan Clifford.” Design Association Conference in Winterthur Museum, Textile Center, Minneapolis. http://www.trafficzoneart.com Wilmington. Mar. 1-Oct: “Made Apr. 29-May 28: “Re-tread the Twin Cities this summer, visit: http://www.surfacedesign.org for the Trade: Native American College of Visual Arts, St. Paul. http://www.textilecentermn.org Craft Works.” Jun. 9-25: “Over and Under,” http://www.winterthur.org work by Kelly Marshall, Mary Nebraska Giles, and Nancy Mackenzie. District of Columbia http://www.cva.edu/gallery International Quilt Study The Textile Museum. To Center & Museum, Lincoln. Jan. 8, 2012: “Second Lives: Concordia University Galleries, May 28-Jan. 8, 2012: “Elegant The Age-Old Art of Recycling St. Paul. Jun. 3-Jul. 1: “Repetition Geometry: American & British Textiles.” To Sept. 11: “Green: Meditation Revelation,” Ann Mosaic Patchwork” traces the the Color and the Cause,” works Hall Richards. “Flotsam and development of the mosaic quilt by 32 international fiber artists Jetsam,” handmade paper and style. To Oct 2: “Nebraska Quilts and 16 works from the TM col- and Quiltmakers,” a selection of lection. Virtual catalog. Graffiti left on a troop ship’s bunk quilts from the award-winning http://www.textilemuseum.org canvases reveals personal stories book, Nebraska Quilts and of those who served in the Vietnam Quiltmakers. war in an exhibit at the American Textile History Museum. htp://www.quiltstudy.org

18 tsa newsletter Metropolitan Museum of Art. and embroidered silks narrate =Lectures, To Sept. 18: “The Andean Tunic, the Bukhara region’s rich textile 400 B.C.E.-1800 C.E.” history. Workshops http://www.metmuseum.org http://www.textilemuseum.ca Baltimore Museum of Art. Oregon Museum du Costume et May 14: Textile Day. Museum of Contemporary du Textile du Québec. To http://www.artbma.org Craft, Portland. To Jul. 30: May 29: “Fashion Makes the “Laurie Herrick: Weaving Century.” Landmark trends in The Textile Museum, Yesterday, Today and Tomorrow.” women’s fashion. Washington, DC. Lectures: May http:/ http://mctq.org 26: “Geometric Disturbances,” MuseumofContemporaryCraft.org Gyongy Laky. Jun. 16: “Life is in Crazy Quilt made by the Nebraska England the Details,” Natalie Chanin. Quilt Project Committee, 1990-2000, Rhode Island University of Leeds http://www.textilemuseum.org on view at !QSC, Lincoln, NE. RISD Museum, Providence. International Textiles To Jul. 31: “Cocktail Culture: Archive. To May 27: “A IQSC, Lincoln, NE. Lecture: Jun. Robert Hillestad Textiles Ritual and Invention in American Catalogue of World Textiles: 26: Bridget Long, British quilt Gallery, Lincoln. Jun. 6-Sept. Fashion, 1920-1980.” Catalog. Celebrating the culmination of a historian and Guest Curator of 9: “Beili Liu: Fiber Installations.” httpa;//www.risdmuseum.org Major documentation Project.” “Elegant Geometry: American Site-specific works. http://www.leeds.ac.uk/ulita and British Mosaic Patchwork.” http://textilegallery.unl.edu Workshop: Jun. 27-Jul. 1: Vermont Textile Society of London. “Printing and Dyeing Techniques Shelburne Museum. May New Mexico Oct. 2: Antique Fair. Chelsea in the 18th and 19th Centuries.” 15-Oct. 30: “A Passion for Quilts: Museum of International Folk Old Town Hall. http://www.quiltstudy.org/ Joan Lintault Collects.” To Oct. Art, Santa Fe. To Oct. 7, 2012: education_research/graduate_ 30: “In Fashion: High Style, 1690- “Folk Art of the Andes.” Over Korea programs/courses_workshops.html 2011.” 850 works of art from the 19th http://www.shelburnemuseum.org Cheongju International Craft and 20th centuries. Oct.11-Jan. 6: Biennale. Sept. 21-Oct.30. Lisio Foundation, Florence, “Young Brides, Old Treasures: Juried and invitational exhibi- Italy. Workshops: Jul. 4-8: Washington Macedonian Embroidered Dress.” tions, Guest Country exhibition: Figured Textile Design. Jul. Bellevue Art Museum. To Jun. Traditional clothing and jewelry Crafts of Finland. 11-22: Silk Damask. Information: 26: “The Mysterious Content of of Macedonian village women http://www.okcj.org http://www:fondazionelisio.org 1890-1950 that indicated to a Softness.” Sculptural works that knowing eye the wearer’s age explore the psychological, physical, Siam Society, Bangkok, and social status. and cultural associations of fiber in Virtual Thailand. Lecture: Aug. 20: http://www.moifa.org relation to the human body. Bernhard Bart of Studio Songket http://www.bellvuearts.org Textile Museum online Erika Rianti, “Revitalizing New York exhibition. ”Green” interactive the songket weaving of the catalog. Learn more about Bard Graduate Center. May Minangkabau people in Western International the art in the exhibition and 18-Jul. 31: “Knoll Textiles, 1945- Sumatra.” Sponsored by the Thai participate in the ongoing “green” Textile Society. 2010.” Catalog. anada C conversation, including posting http://www.bgc.bard.edu/gallery http://www.thaitextilesociety.org Royal Ontario Museum, your own green artwork in Toronto. Through May: “Riotous a continuous FlickrTM photo Cooper Hewitt National Colour, Daring Patterns: gallery. Tours Design Museum. To Jun. 5: Fashions & Textiles 18th to 21st www.textilemuseum.org/green “Color Moves: Art and Fashion Centuries.” Featuring printed tex- Jul. 2-17: “Weaving cultures by Sonia Delaunay” surveys the tiles and costumes from Europe, IQSC Online Exhibitions: of Bali and Timor” with Jean artist’s designs for fashion and North America, Africa, and Asia “Grace Snyder: A Life in Howe and William Ingram of textiles in the 1920s and 1930s. in the ROM collection. Extraordinary Stitches,” “Quilts Threads of Life, sponsored by Catalog. http://www.rom.on.ca in Common,” “South Asian The Textile Arts Council, Fine http://www.cooperhewitt.org Seams,” “Marseilles: White Arts Museums of San Francisco. Textile Museum of Canada, Corded .” http://www.textileartscouncil.org/ The Museum at FIT. May Toronto. May18-Nov 15: http://www.quiltstudy.org/ trips.html 25-Nov. 12: “Sporting Life” “Magic Squares: The Patterned exhibitions explores the relationship Imagination of Muslim Africa in between active sportswear and Contemporary Culture.” To Sept. fashion over the past 150 years. 25: “Silk Oasis on the Silk Road: http://www.fitnyc.edu/museum Bukhara.” Central Asian ikats

Spring/Summer 2011 19 The Textile Society of America’s 13th Biennial Symposium Textile Washington Court Hotel, Washington, DC September 20-22, 2012 Society of America Textiles & Politics CALL FOR PARTICIPATION Deadline: October 1, 2011

The 13th Biennial Symposium of the Textile Society of America will take place in Washington, DC September 20-22, 2012. For a symposium set in the U.S. center of government, Textiles & Politics is a fitting theme and promises to provide many avenues for lively discussion and debate about the myriad ways in which textiles pervade our lives.

Political influences on textiles range from complex international trade agreements to the simple yet powerful act of banners carried in street parades and protests. Throughout human history and around the globe, whether as intimate artifacts of interpersonal relations or state-level monumental works, textiles have been imbued with political importance. Textiles can communicate and construct status, ethnicity, gender, taste, and wealth, and have functioned at the nexus of artistic, economic, and political achievement in human culture. They are trade goods, social artifacts, and creative medium for social or gender commentary. Textiles are shaped by laws and regulations, and by the politics of museum displays, and as such they have been instrumental in generating, supporting, and challenging political power.

We seek presentations from all textile-related disciplines and interdisciplinary areas, including but not limited to anthropology, art, art history, conservation, cultural geography, design, economics, ethnic studies, history, linguistics, marketing, mathematics, political science, and theater. TSA encourages both organized sessions and individual papers from international and U.S. scholars, researchers, artists, gallery and museum professionals, and aficionados. TSA’s 13th Biennial Symposium, Textiles & Politics, will explore the ways in which politics influences the aesthetics, production, materials, uses, and countless other aspects of textiles (and vice versa).

Symposium Co-Chairs: Sumru Belger Krody, The Textile Museum, and Cecilia Anderson, The Smithsonian Institution Program Committee Chair: Christina Lindholm, School of the Arts, Virginia Commonwealth University DEADLINES AND PROCEDURES October 1, 2011: abstract submission deadline December 1, 2011: notifications of acceptance February 1, 2012: deadline for presenters to confirm participation May 1, 2012: deadline for presenters to register for Symposium CATEGORIES OF PRESENTATION Individual papers are expected to be 20 minutes in length. Individual papers will be organized by the Program Committee into sessions of 3 or 4 papers with a 5-minute discussion period per paper. Organized sessions may include 3 or 4 individual papers of 15-20 minutes each, organized around a theme with a designated chair, and with a 5-minute discussion period per paper. Panel discussions may involve 3 or 4 individuals and a moderator who poses questions to which panelists respond, but generally does not require prepared papers. Speakers’ times are flexible, but the panel discussion should total 1 1/2 hours, including audience discussion time. Film/digital media may be of any length. Screening time for videos and film will be structured around the proposals that are submitted and accepted, and will include discussion time with the producer or presenter. SUBMISSION GUIDELINES All submissions should be based on original research, reflecting material not previously published. In submitting an abstract, the author explicitly authorizes its use on the TSA website and in the published Symposium Program and Proceedings.

All submissions must be made online through the Textile Society of America website; faxes and hard copies will not be accepted. Results of the selection process will be sent electronically.

Individual proposals must contain: 1) a title page that includes the title of the proposed paper along with the speaker’s name, address, telephone and fax numbers, and email address; 2) a one-page résumé and a 125-word biography; 3) a 250-word abstract, including the title of the paper. The speaker’s name may not appear on the abstract.

Organized session proposals submitted by the prospective chair, must contain: 1) a title page including the title of the proposed session, individual paper titles identifying their authors, and name of any discussant if different than session chair, along with the chair’s name, address,

20 tsa newsletter telephone and fax numbers and email address; 2) a one-page résumé and a 125-word biography for each session participant and the chair; 3) a 250-word session abstract that discusses the session theme and the papers’ inter-relatedness, including the session title; and 4) a 250-word abstract for each paper, including the title of the paper and the session title. Participants’ names may not appear on either of the abstracts. Speakers in organized sessions must submit their materials to the session chair, who will submit them to the Program Committee as part of the session package.

Panel discussion proposals, submitted by the prospective moderator, must contain: 1) a title page including the title of the proposed panel, the names of the participants, and the moderator’s name, address, telephone and fax numbers, and e-mail address; 2) a one-page résumé and a 125-word biography for each panel participant and the moderator; 3) a 250-word panel abstract that identifies the panel theme and the issues to be discussed, including the panel title; and 4) a 250-word abstract for each participant identifying their position on the panel topic and related qualifications, including the panel title. Participants’ names may not appear on either of the abstracts. Panelists must submit their materials to the panel moderator, who will submit them to the Program Committee as part of the panel package.

Film/digital media proposals, submitted by a member of the production team or other presenter, must contain: 1) a title page including the title of the work, the names of the relevant production team members, and the presenter’s name, address, telephone and fax numbers, and email address; 2) a one-page résumé and a 125-word biography for each relevant production team member, and the presenter, if different; 3) a 250-word abstract of the film/digital contents, including the title of the work, format, and running time (if appropriate). Presenters’ names may not appear on the abstract.

To submit title page, résumé(s), and abstract(s) -be sure the abstracts contain only the title- go to: http://www.textilesociety.org/symposia_about.htm and follow the onscreen instructions. Submissions will be accepted from June 1 through October 1, 2011.

TSA Membership Requirement. All persons submitting proposals for participation in the 2012 Symposium must be TSA members in good standing for 2011 at the time of submission. Non-member applicants may join TSA at the time of proposal submission. If extenuating circumstances exist, please write to the Symposium Program Coordinator at [email protected] PROGRAM SELECTION TSA follows a policy of peer review and merit consideration for acceptance into the symposium program. Initial review of proposals and abstracts by the jury will be done without author identification. Abstracts for papers outside of the jurors’ expertise will be sent to specialists. Final selections will be made by the Program Committee, composed of representatives from the Symposium Organizing Committee and the TSA Board, based on jurors’ ranking and comments; relatedness to the Symposium theme and the expressed interests of Textile Society of America members; originality of the research; and clarity. The final program will be organized to assure a diversity of geographic regions, subject matter, and scholarly approaches. The Program Committee will inform all those submitting proposals of its decisions by December 1, 2011.

Acceptance by TSA implies the presenter’s commitment to register for and attend the 13th TSA Biennial Symposium in Washington, DC, September 20-22, 2012, and intent to participate in the capacity proposed. Following acceptance, all speakers, session organizers, and panel presenters must submit electronically their commitment to present at and attend the Symposium by February 1, 2012; no exceptions. All thus-confirmed speakers, session organizers, and panel presenters must then register for the Symposium by May 1, 2012; participants not registered by this deadline will be removed from the program without exception. All accepted abstracts and presenters’ biographies will be published on the TSA website and in the Symposium Program and Proceedings.

Publication of Symposium Proceedings. Manuscripts (text and images) for publication in the TSA 2012 Symposium Proceedings must be received no later than December 1, 2012, and are limited to 10 pages. Otherwise, the 250-word abstract will be published. Guidelines for preparing manuscripts for publication will be sent with acceptance.

Registration Waivers. A limited amount of financial aid in the form of registration waivers is available for presenters. Applicants must submit a brief letter of request outlining financial need and professional importance of participation at the time of proposal submission.

AWARDS AND AID Student and New Professional Scholarship. Five Student and New Professional Scholarship Awards (SNPS) will be given. Each award consists of a registration fee waiver. Individuals who apply for this award are not required to present papers, but applicants who submit propos- als should indicate at that time their intent to apply for a SNPS. This scholarship is based on criteria of excellence. Please refer to the TSA web- site for further information and application procedures.

Founding Presidents Award. The Founding Presidents Award (FPA) will be selected by the FPA Committee from all accepted papers. There is no application process for this award, which recognizes excellence in the field of textile studies and ensures that the finest new work is represented at the symposium. Five papers will be nominated for the award; their authors will receive a registration fee waiver and will be asked to send finished papers by July 31, 2012. The final selection will be made from the full papers, and the winning author will be announced at the Symposium and will receive a monetary award.

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