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Fall 2010 Textile Society of America Newsletter 22:3 — Fall 2010 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 22 n Number 3 n Fall, 2010 Society of America

Reflections of A Symposium Co-Chair by Wendy Weiss c o n t e n t s ugust 2010 marks two show of weavings mediated by serve as on-site hosts whenever years since we started digital technology. You can get their work schedules allow. 1 Symposium: Reflections Aplanning this coming a sneak preview of “American The Book Fair Committee 2 Symposium: Dyes & Color Symposium in earnest. By this Tapestry Biennial Eight” (ATB8) at: has secured an excellent selec- 3 From the President time two years ago, Co-Chair http://americantapestryalliance.org/ tion of books representing TSA Diane Vigna and I had met Exhibitions/ATBs/ATB8/ATB8.html authors and more, available 4 TSA News with TSA Board members at Rebecca Stevens juried this exhi- for you to purchase and have 6 TSA Member News the Spring, 2008 meeting in bition and some of the artists shipped home. Market vendors In Memoriam: Elayne Zorn Berkeley, CA. We had already will be presenting papers at this will be located on the same level 8 Symposium: Binary Fiction selected our conference hotel, year’s Symposium. as the program sessions and will 9 Symposium: Lisio Workshop The Cornhusker Marriott, locat- Diane and I organized a local be easily accessible during the ed two blocks from Lincoln’s steering committee on the advice Symposium. You will want to 10 Symposium: 90 Great Reasons Bead Society Invitation glorious state Capitol building of Tom Klobe, co-chair of the have time to shop! The Nebraska Conference Reviews that was designed by Bertram 2008 Hawaii Symposium, and Bead Society is hosting its annual Goodhue and completed in 1932. we began working as a team in Bead Bazaar at the Cornhusker 11 Exhibition Reviews Foremost in my mind was to the Fall of 2009, meeting month- on Sat., Oct. 9, so you will 12 Book Reviews secure exhibition venues so that ly. This group is composed of have a chance to stock up on 14 Featured Collection: The Bowes we could celebrate textiles in people from the area who share beads for the new skills you , Collections News many forms throughout Lincoln a passion for textiles. You will will acquire at the walk-in bead 15 Textile Community News and in Omaha. I asked Omaha have a chance to meet them dur- workshop during the Symposium artist Mary Zicafoose to chair ing the Symposium, as they will Opening Reception. 16 Publication News the Exhibition Committee, and Fundraising is a significant 17 TSA Member News, continued drew on local individuals, along aspect of planning for the Calendar with TSA Board members Janice Symposium, and TSA Board 18 Call for Papers, TSA Listserv Lessman-Moss and Mary member Elena Phipps has done Anne Jordan to assist with exhi- a stellar job in securing support bition planning. I contacted gal- from The Reed Foundation The Textile Society of America, leries and in Lincoln, to bring international speakers Inc. provides an international while Mary worked with venues of the highest caliber to speak forum for the exchange in Omaha. and dissemination of Lillian Elliott awardees hon- Elizabeth Ingraham, University information about ored at previous Symposia will of Nebraska faculty member, will textiles worldwide, exhibit selections from her embroi- be represented in three different from artistic, cultural, dery project “Mapping Nebraska: exhibitions in Lincoln. Other economic, historic, Personal Cartography, Eccentric political, social, and TSA members will have work Topography” in the exhibition “Stitch: Modern Embroidery” at the technical perspectives. included in “Binary Fiction,” a Haydon Art Center. TSA BOARD OF DIRECTORS OFFICERS

MORE SYMPOSIUM on P. 8 President Patricia Hickman tel 845/947-8735 [email protected] about natural dyes. Here in Omaha residents Annette and for Fri. and Sat., Oct. 8 and 9), Vice President Lincoln and Omaha, we have Paul Smith have generously sup- organized by Elena Phipps, will Ruth Scheuing been able to garner support from ported our exhibition program. explore the subject from a vari- tel 604/254-6322 local foundations and individu- The textile enthusiasts in ety of perspectives—both practi- [email protected] als to underwrite parts of the Lincoln and Omaha are look- cal and historical. International Recording Secretary exhibition program. Elena also ing forward to seeing you in experts such as Dominique Roxane Shaughnessy tel 416/599-5321 ext. 2226 worked with Christine Martens October. As Barbara Shapiro Cardon, whose 2007 book [email protected] to obtain funding from the Trust says elsewhere in the Newsletter, Natural Dyes is one of the most Director of Internal Relations for Mutual Understanding to over 90 compelling reasons important recent books on the Mary Anne Jordan bring speakers from Uzbekistan to attend are listed in the subject, will participate in the tel 785/864-3919 and Kyrgyzstan for the organized Preliminary Program, download- panel and also provide the Fri., [email protected] session “Textile Traditions of able from the TSA website. Oct. 8 Plenary Session Lecture, Director of External Relations Janice Lessman-Moss Central Asia and Reverberations http://www.textilesociety.org “Our Global Heritage of Color.” tel 330/672-2158 fax 330/672-4729 Abroad.” Those reasons are the fasci- Master dyer and historian, [email protected] The Cooper Foundation nating presentations submitted by Sachio Yoshioka, will travel Past President/Interim Treasurer is the sponsor for “A Turning TSA members from all over the from Kyoto to share his special Carol Bier Point: Navajo Weaving in the world that were juried into the knowledge and expertise about tel 510/849-2478 Late Twentieth Century” at the diverse program. traditional Japanese natural dyes. [email protected] Cooper Gallery, curated by Ann Jenny Balfour-Paul, renowned DIRECTORS AT-LARGE Hedlund. Weavers Melissa and Dyes and Color: expert on , joins the panel Joanne B. Eicher Lola Cody and Martha Shultz from England, and Bina Rao, a tel 651/645-2914 A Convergence of Master [email protected] will demonstrate and discuss dyer, artist and practitioner, will Barbara Shapiro weaving at the Site Seminar in Dyers and Dye Historians at arrive from Hyderabad, India. tel 415/882-7401 this exhibition space. While the the TSA Symposium Hector Meneses from Museo [email protected] weavers are in Lincoln, they will he upcoming TSA Symposium Textil in Oaxaca, Mexico, will Fran Dorsey interact with teachers and youth will be an opportunity for present cochineal production tel 902/494-8208 fax 902/425-2420 T [email protected] from Lincoln Public Schools to participants to meet some of the from the region, and Christina Sumru Belger Krody create audio interviews with world’s leading experts in the Cole and Susan Heald from tel 202/667-0441 ext. 37 support from Native American subject of natural dyes. Coming the Smithsonian Museum of fax 202/483-0994 Public Television. from Japan, France, India, Mexico, the American Indian will dis- [email protected] Long before visitors arrive China, the UK and the US, some cuss Native American dyes for Matilda McQuaid in Lincoln for the Symposium, of these experts will be in the quillwork—a special subject that tel 212/849-8451 [email protected] a small staff is working locally US for the first time, thanks to a is little known. Feng Zhao, an to get the entire community expert in textile techniques and Elena Phipps grant from The Reed Foundation tel 212/349-4485 enthused about the exhibitions. to sponsor their travel. Director of the China National [email protected] The Woods Charitable Fund has Silk Museum, will discuss Chinese The two-session panel on TASK REPRESENTATIVES underwritten this effort. And Dyes and Color (scheduled color sets and their relation to cul- TSA Website tural and technical meaning. Susan Powers, [email protected] A Pre-conference Natural Dye TSA Listserv workshop (already filled) will be Lydia Fraser, [email protected] held at the University of Nebraska- TSA Newsletter Lincoln, led by Dominique Karen Searle, [email protected] Cardon and Elena Phipps. 2009 Shep Award Chair This gathering of specialists Barbara Sloan, [email protected] will be a great cultural interchange TSA Website Content Manager Amy Scarborough, on a subject that touches so many [email protected] aspects of our textile interests. TSA Symposium 2010 Co-Chairs – Elena Phipps Diane Vigna, [email protected] Wendy Weiss, [email protected] Sachio Yoshioka, a master dyer, is Symposium Proceedings Editor pictured in his Kyoto Studio. He is Ann Svenson Perlman, [email protected] one of the presenters on the Dye and Color panel during the TSA Symposium in Lincoln.

2 tsa newsletter Treasurer will be appointed. commitment to sustain this bien- year. Please read your Newsletter She has seen TSA through a nial award, recognizing outstand- online or download it, enjoying major transition: the rebuild- ing scholarship in the field. it as you did the printed version. From The ing of our financial structure. Karen also designs and produces President She has worked closely with Programs the Membership Directory, avail- Jennifer Treece, our Bookkeeper, Thank you to Matilda able on the TSA website. Now and with John Wessells, CPA, McQuaid, Chair of the Program that an electronic version is pos- Charlotte Cosby, National Committee, along with Board sible, she can update this semi- Office Manager, and Mary members Mary Anne Jordan annually. Masilamani, past Treasurer; and Barbara Shapiro. During The 2009 Textile Bibliography s I write this letter in July, and also with our Finance this Board’s tenure, Mary Anne is now available to members in A I’m aware that anticipa- Committee, Patricia Cox led a very successful international the Members Only section of tion and excitement (on my part Crews, Ann Hedlund, and study tour to Uzbekistan. Mary the TSA website. TSA and the and that of others) are building Paul Marcus. TSA is deeply Masilamani orchestrated a won- Magrath Library, University of for October and the upcoming grateful for the time, energy, and derful regional tour to Paterson, Minnesota Libraries, jointly pub- Symposium in Lincoln. This will commitment this team of people NJ, for us to learn about the Silk lish the Bibliography. I thank the also be the final Board meeting has given so that the organiza- City and its important history. Reference Librarian at Magrath over which I’ll preside. What tion’s finances can be managed Registration will open soon Library, Marlys McGuire, our an outstanding organization we in a most effective and transpar- for TSA’s planned international Bibliographer, who compiles cita- have as TSA members! It has ent way. My hope is that Carol study tours to Southern India, tions and titles for this electronic been a privilege to serve as your can now gracefully and quietly Jan. 16-30, 2011, led by Sandra publication. President. I have found it very resume her scholarly research Evenson, and to Korea in Fall, Finally, Ann Svenson rewarding to work with our and life without the daily 2011 with Karen Searle. Perlman deserves deep appreci- volunteer Board members who demands of TSA. ation as Editor of the Symposium have willingly shared the tasks Publications Proceedings and as designer for involved in leading this organi- Awards My thanks go to Sumru Krody, the Symposium print and elec- zation. I am deeply grateful to Ruth Scheuing, as Vice who has served as Chair of the tronic media. The Board has each member of the 2008-2010 President/President-elect, has Publications Committee. During voted to have the 12th Biennial Board, whom I value and respect served TSA well as Chair of her tenure Sumru has overseen a Symposium Proceedings made as colleagues in the field, and the Awards Committee, work- lot of transition as TSA publica- available through the University whose friendship and support ing closely with Elena Phipps, tions have moved from print to of Nebraska-Lincoln’s Digital have been a most important part Fran Dorsey, and the R.L. electronic media. Increasingly Commons, rather than published of these two years for me as Shep Ethnic Textiles Book TSA’s website has become the as a CD. During this Board’s President. Award Committees consisting important visible face of the orga- term, the Board has made neces- Finances of Mattiebelle Gittinger (Chair nization. This will continue to be sary decisions in order for TSA 2008), Barbara Sloan (Chair strengthened. Task Representative, to keep pace with the transition I would especially like to thank 2009), Jill D’Alessandro, and Susan Powers, has worked happening in the larger world of Carol Bier, Past President, for Kate Irvin. With skillful leader- closely with Dorry Clay, our publications. all she has done for TSA. I could ship and care, Ruth has overseen Webmaster, to update postings. not have had a more generous TSA’s increased capacity to offer Thank you to Laura Strand, Archives mentor who has given her ALL awards, scholarships, workshop who served as TSA’s Listserv Thank you to Carol Bier to TSA. At the Spring, 2010 and study tour support, and Manager for nine years. We are for Chairing the Archive Board meeting, Carol agreed to financial aid through an increas- very grateful for her long-term Committee, working with serve as TSA’s interim Treasurer ingly diverse Awards Program. commitment and contribu- Roxane Shaughnessy, Karen until October, when the Acting The Student/New Professional tion to TSA. We are delighted Searle, Matilda McQuaid, and Scholarships and the Founding that Lydia Fraser has stepped Pat Hickman (ex-officio). The TSA Headquarters Presidents Award to be present- forward to replace Laura, and University of Nebraska-Lincoln’s Charlotte Cosby, Manager ed in Lincoln support the work that the current version of the Love Library houses the TSA TSA National Office and the professional develop- Listserv has new life with the Archives. I am grateful for the TSA Member Services ment of TSA members. capability of image posting. progress this committee has PO Box 193 We remain grateful to R.L. Please resubscribe to the TSA made in clarifying what materi- Middletown, DE 19709 Shep for his generosity in estab- Listserv (page 18) and be part als are housed in the library for tel 302/378-9636 lishing the Book Award in his of the active conversation about future reference. fax 302/378-9637 name, which recognizes excel- textiles worldwide. [email protected] lence in scholarship on the sub- Thank you to Karen Searle, Membership ject of ethnographic textiles. who has for eleven years Thank you to Janice Lessman- http://www.textilesociety.org your source for membership We seek to further develop served as the Editor of the TSA Moss, Director of External forms, study tour information, the Founding Presidents Award Newsletter, now available on Relations, to Mary Anne and the latest news. through donations. Your gener- the website. She solicits articles Jordan, Director of Internal ous contributions support our for the three Newsletters each Relations, and to Joanne Eicher, Fall 2010 3 Director-at-Large, for their efforts secured generous financial and Through their impeccable schol- to broaden membership and community support, which con- arship and the superb quality of make TSA more visible through tributes greatly to a successful their presentation, the authors press releases and other commit- Symposium, along with securing TSA have paid lasting tribute to the tee work towards this goal. multiple venues for exhibitions Wabanaki. in museums and galleries in both News Given annually to a publica- Fund Raising and Lincoln and Omaha. Words are tion judged to be the best book Development inadequate to convey the signifi- of the year in the field of ethnic Elena Phipps, Chair of this ad cance of the exceptional series textile studies, the award consists hoc Committee, with the help of events and programming that of a cash prize funded by an of Barbara Shapiro, succeeded awaits us in Lincoln. The 2010 2009 R.L. Shep endowment established by R. L. in securing a generous grant for Symposium promises to be one Shep in 2000. The endowment TSA from The Reed Foundation, of the best ever. Ethnic Textiles is administered by the Textile making it possible to bring inter- Book Award Society of America through an Retiring Board national scholars and specialists Awards Committee, composed to present their knowledge of Members he Textile Society of this year of Jill D’Alessandro, natural dyes at the Symposium. I thank everyone who has T America is pleased to Kate Irvin, and Chair, Barbara In addition, Elena worked served and worked hard on the announce the recipient of this Belle Sloan. closely with Christine Martens 2008-2010 Board and as Task year’s R.L. Shep Ethnic Textiles A formal presentation of this to secure a Trust for Mutual Representatives, and especially Book Award: Uncommon Threads: award, along with that of the Understanding Grant, which acknowledge those who are step- Wabanaki Textiles, Clothing and 2008 R. L. Shep Ethnic Textiles makes it possible for two Central ping down this Fall: Carol Bier, Costume by Bruce Bourque and Book Award winner, English Asian scholars to present their Janice Lessman-Moss, Fran Laureen LaBar, published by the Embroideries ‘Twixt Art and Nature focused textile knowledge at our Dorsey, Matilda McQuaid, and Maine State Museum, Augusta, 1500-1700 by Andrew Morrall Symposium in Lincoln. Sumru Belger Krody. You have in association with The University and Melinda Watt, will take the thanks of everyone in TSA. of Washington Press, Seattle and place at the TSA 12th Biennial Legal Consultant London, 2009. Symposium in Lincoln, NE, Oct. TSA is grateful for the work of Welcome New Board Dr. Bruce J. Bourque and 6-9, 2010. Deb Jung, who has carefully I welcome the newly elected Laureen A. LaBar are curators Nominations for the 2010 reviewed contracts and legal Board—Ruth Scheuing as at the Maine State Museum in R.L. Shep Ethnic Textiles Book agreements during this term. President, Elena Phipps, Vice Augusta. He is Chief Archeologist Award are due by March 1, President/President-Elect, and Curator of Ethnography; 2011. The nomination proce- National Office Roxane Shaughnessy, re- she is Chief Curator of History dure can be found on the TSA Manager elected as Recording Secretary, and Decorative Arts. Uncommon website. I must acknowledge Charlotte Michele Hardy, External Threads showcases the extraordi- – Barbara Belle Sloan Cosby for her dedication to the Relations Director, and Gerry nary textile arts of the Wabanaki Chair 2009, R.L Shep organization, making sure that Craig, Sarah Fee, and Ann people of the Maritime Peninsula, Ethnic Textiles Book Award things run smoothly and prop- Svenson Perlman, elected a region that falls in both the US Committee erly. I am indebted to her for her Directors-at-Large. As President, and Canada. The authors tell the help and support as we have re- and according to our by-laws, story of the Wabanakis—through structured our system of financial I have appointed Matilda archaeological discoveries, war Itinerary Set for reporting. We could not run this McQuaid from the past Board trophies, flea market finds, Study Tour to organization without her gener- to complete Elena Phipps’ term and scholarly purchases—and ous assistance. for two more years as Director- describe how textiles were used at-Large, since Elena has been to maintain identity in a rapidly January 16-30, 2011 Symposium elected Vice President/President changing world. The Wabanaki he trip begins in , Very special thanks to all those Elect. I will also be appointing culture is much less studied and formerly Madras, capital of on the local Steering Committee an Acting Treasurer to complete documented than the more well- T the colonial who have contributed to the Mary Masilmani’s remaining known indigenous peoples of and largest trading port on the success of the 12th Biennial two years. It will be my pleasure, the Western US and Northwest . Textile expert Symposium in Lincoln. Most of as immediate Past President, to Coast of Canada. Yet textiles Jasleen Dhamija will lecture on all, my deepest appreciation goes serve with this strong new Board. were just as important a means the rich history and variety of to Wendy Weiss and to Diane With appreciation, I look of personal expression and South Indian textiles, what they Vigna, Symposium co-chairs. forward to TSA 2010 in Lincoln identity to the Wabanaki as they mean, and how they are used in They have tackled this extraor- and anticipate TSA 2012 in were to other Native American the 21st century. After high tea, dinarily time-consuming, labor- Washington, DC. cultures. Bourque and LaBar we will explore Sunder Mahal, a intensive task of co-organizing hope that Uncommon Threads –Patricia Hickman delightful arcade where we can a Symposium and have done it “...has rescued from oblivion one TSA President stock up on Indian outfits. with grace and skill. They have of North America’s most dynam- ic indigenous textile traditions.”

4 tsa newsletter From Chennai, we will Exporters, one of the oldest weaving skills through contem- take day trips to , RMHK trading firms in Chennai. porary design. Creative Bee was Mahabalipuram, and Here we will see the antique founded by TSA member Dakchinachitra. A unique fea- pattern books used by West Bina Rao. ture of India is that specific vil- African customers and weav- Our journey will conclude lages and towns specialize in the ers alike to select and duplicate in Ahmedabad, site of the production of specific fabrics. weaving patterns cherished for Mahatma Ghandi’s Sabarmati Kanchipuram is one example. generations. Ashram and the famous Calico Kanchipuram is famous for its Then we will follow the Museum of Textiles. The Calico saris woven with gold and silk trail of RMHK to the village of is the premier textile museum thread, as well as for its temples Chirala, to see RMHK in the in India and houses fabulous dating from the Chola empire making. The cotton yarns are antique and modern textiles, (200 BCE). Mahabalipuram is spun by machine elsewhere in rare tapestries, and historic an ancient sea port, with fabu- India, but in Chirala they are dress. The collection is housed lous sculpture and architecture dyed, starched, and woven by in two historic buildings, con- Hanbok, the traditional Korean characteristic of South India’s hand. Special types of RMHK nected by pools, fountains, dress. Dravidian heritage. The sculp- called Fancies (which use a and lush gardens. As a final Cheongju. Artist members of tures are particularly interesting dobby technique and rayon and highlight, we will visit the Salvi TSA are encouraged to look because they depict scenes from Lurex yarns) and Telia Rumal (a family, master weavers of one for the exhibition prospectus everyday life and set the context double ikat set with oil) are also of the finest double-ikats called (posted on the Bennale website for the role of textiles in South hand-woven in nearby villages, Patan Patola. Flowers, animals, early next year) and to enter Indian society. Dakshinachitra where we can meet the artisans. birds, and human figures form their work in the Biennale’s is the Williamsburg of South India is famous for double the traditional motifs. competitive exhibition. India—a living heritage museum ikats—fabrics woven from yarns Watch your e-mail and the http://www.okcj.org that presents daily life typical that have been resist-dyed; TSA website for final cost and Other travel stops will of South India over 200 years. where the yarns intersect, a travel details. Contact Sandra include the Ramie Museum in Artisans work at traditional pro- picture or motif forms. We Evenson for more information Seocheon, the Bamboo Museum fessions, including dyeing and will see a silk double ikat pro- at [email protected]. in Damyang, and the Hemp weaving. duced for the domestic market Cloth Center in Andongh. In In Chennai, we will visit the in Poochampally—yet another TSA Study Tour Seoul we will visit the National Craft Education and Research excellent example of a village- Folk Art Museum and the Center at the Kalakshetra economy centered on a textile to Korea Museum of Korean Straw and Foundation. Here, a variety of tradition. Sept. 16- Oct 1, 2011 Plants, in addition to other muse- traditional textile products are In Hyderabad, we will ums, galleries, and artists’ studios. spun, dyed, and woven, includ- explore the bazaar around the he dates have been set, Our hotel will be located near ing the painting of kalamkari. Charminar, and the famous Tthe price is being finalized, Insa Dong, an area famous for its Indian Madras Plaid, bangle bazaar with its countless and details will be posted soon charming shops and galleries. also known as Real Madras shops of glass and lac bangles. on the TSA website for the Fall, A tour extension is planned Handkerchief, or RMHK, has On the outskirts of Hyderabad, 2011 Study Tour to Korea. for those who wish to stay a bit been traded out of the Port of we will get to try our hands Karen Searle, along with longer, that will include more Madras/Chennai to England, at various textile techniques at Korean artists Jeeun Kim and activities in Seoul and a visit to West Africa, and the Americas Creative Bee, a craft foundation, Soonran Youn, have selected an Daegu, the center of Korea’s for over 200 years. We will fashion house, and design studio itinerary that includes a variety textile industry. visit the offices of Beardsell dedicated to maintaining ancient of Korean folk arts as well as For more information on the the finest examples of contem- Korea Study Tour, email Karen porary textile art. Searle, [email protected]. A highlight of the tour will be a visit to the Cheongju TSA NEWSLETTER International Craft Biennale, consisting of multiple exhibitions DEADLINES throughout that city. Our group • March 30 • July 30 will participate in the opening • November 30 ceremony of the exhibition, and its organizers have offered us Please send news, exhibition a home-stay experience with reviews, book reviews, local families for the two nights conference reviews, event we will spend in the city of listings, and articles to: Karen Searle, Editor Varieties of fabrics from the Chennai [email protected] area of South India.

Fall 2010 5 “The site’s most unique feature is here’s the link: University of Minnesota. “Beyond a searchable database for every- http://buyathread.wordpress.com Peacocks and Paisleys: Hand TSA thing we have sold in the past. Crafted Textiles of India and Its Give it a try! We are still adding Member Exhibitions Neighbors” will open in June, Member photos and data from sales past, Regina Benson’s exhibition of 2011 and run into September. and correcting small mistakes. her rust-dyed textiles, “From The exhibition will show News We welcome feedback; please Nature’s Studio,” will be on the broad variety of surface let us know what you think, as view at the Denver Botanic design and weaving techniques well as what needs tweaking/ Garden’s Gates Garden Court employed in South Asia. It is Member News and changing. Thanks! Dates for Gallery until Oct. 3. She will the goal of the curators to make Fall Fashion & Textile Auctions: present a public workshop on these exquisite textiles more Achievements Sept. 8, Sturbridge, MA, and Sept. 18. Regina received a accessible to contemporary Jill D'Alessandro has been Nov. 10, NYC” special Juror’s Mention at the American viewers by exploring named Curator of The http://www.augusta-auction.com 13th International Trienniale of connections of South Asian tex- Caroline and H. McCoy Jones Textiles, Lodz, Poland, for her tiles with American fashion past Department of Textile Arts at Fern Devlin writes: My latest installation “Ablaze III.” and present, and with American the Fine Arts Museums of San blog post is about the tapestry http://www.botanicgardens.org handcraft of the studio arts and Francisco. Jill has been with the studio of Jan Annabert, and DIY movements. museum since 2002. Marianne Yoors. Never heard Hazel Lutz and Anna Carlson of them? Neither had I, until are co-curating an exhibition of Two digitally designed weav- Karen Augusta reports that the recently, but the Yoors studio has selections from Donald Clay ings by Janice Lessman-Moss website for her exclusive Fashion got to be the most fascinating Johnson’s Paritosh Collection have been included in the First & Textile Auctions has been weaving studio I’d never heard of South Asian Textiles at the International TECHstyle Art re-designed and is now online. of. If you’d like to read about it, Goldstein Museum of Design, Biennial exhibition mounted at

developed and sold more prod- the Institute of Ethnomusicology ucts to visiting tourists, but also in Lima, Peru. In worked alongside them at the Because she trained as an Smithsonian Festival of American artist and studied economics, Memoriam Folklife and performances Zorn had an especially keen at the American Museum of understanding of the relation- Natural History. Zorn eloquently ships between creativity and chronicles this involvement in economic concerns. Her talents Weaving a Future: Tourism, Cloth, as an anthropologist grew out and Culture on an Andean Island of her natural sensitivity, grace, Elayne Zorn 1952-2010 (University of Iowa Press, 2004). compassion, and humor. Thus, Building on several visits Elayne Zorn’s contributions to Long-time TSA member, Elayne to Bolivia, Zorn devoted her how both long-standing Andean our understanding of textiles Zorn, died on June 15 of can- doctoral work in anthropology symbolic repertoires and current transcend any individual area cer. She is survived by her to documenting contemporary changes in political economy, of scholarship, artistry, or social mother, Sandra Gordon, and her and historical weaving in the such as work in the coca fields, involvement. son, Gavriel Cutipa-Zorn. She Department of Potosí. During were expressed in Sacaca dress. A native New Yorker, Zorn served as the Southern Regional dissertation field research in Zorn applied her keen earned a BFA in Textile Arts at Representative on the TSA Board the 1980s, she lived in Sacaca, insights in many textile realms. the California College of the Arts from 2000-2002. a community where the tradi- Early studies based on fieldwork (formerly of Arts and Crafts), an Elayne Zorn is widely known tional warp-patterned structures in Macusani, Peru, analyzed the MA in Latin American Studies/ for her work with the artists and changed to include doublecloth, complex braided structures of Economic Development at the artisans of Taquile, Peru. Zorn and both men and women were herders’ slings, and she sensi- University of Texas-Austin, and a began working in the 1970s with increasingly applying intricate tively inquired into ritual uses of PhD in Cultural Anthropology at Quechua-speaking weavers and embroidered designs on their small woven cloths. More recent Cornell University. After teach- knitters who made elaborate garments; all these innovations investigations extended to Native ing for four years at Colgate garments for their own use. She were being vividly expressed in North American tapestry. More University, she joined the fac- and Kevin Healy helped establish exuberant color schemes and broadly, in an ongoing internet ulty of the University of Central a cooperative production and lively animal motifs. In her dis- project, PeruVine, she and col- Florida, where she was an associ- marketing system that included a sertation and articles such as laborator Natalie Underberg are ate professor. retail store on their island in Lake “Dressed to Kill” (Latin American not only making available their – Blenda Femenías Titicaca. Over three decades, she Fashion Reader, Berg, 2004), own research findings but facili- with contributions from Leslie not only documented changes in Zorn effectively demonstrated tating access to the collections of Lieberman and Natalie Underberg. their textile production, as they Photo by Nancy Rudner.

6 tsa newsletter or knots becoming pixels within the dense pile of each piece. She references the abstract patterns of traditional quilting. The Craft in America project includes a PBS documentary series, a companion book, traveling museum exhibi- tions, and an extensive website. The Study Center is an extensive craft-focused library, an archive of video footage, and a gallery with rotating exhibitions featuring the work of contemporary artists Textiles through October. The “Summer Matrix II” by Janice working in craft media. The “To Dye For” exhibit at piece, a coiled basket made from Lessman-Moss, © 8/08, hand woven http://www.craftinamerica.org the de Young Museum, San VCR tape and fiber optic cable Jacquard, silk, linen, 63 x55”. Francisco, CA, features five con- collected from dumpsters, was TSA members Linda Wallace temporary textile artists. Barbara mentioned in the exhibition’s and Lany Eila participated the San Jose Museum of Quilts Shapiro’s piece, “Flotsam,” from press release. in “Dialogues: Tapestry and and Textiles, Aug. 16-Oct. 31. her Indigo Landscape series, is Human/Nature,” Jul. 5-Aug. 20, “Summer Matrix II” was hand handwoven silk indigo ikat, with Member Lectures at South Broadway Cultural pigment and gold leaf. Other woven on the TC-1 loom in the Sumru Belger Krody reminds Center, Albuquerque, NM. artists in the show are Ana Lisa studio of Kent State University, us that the Textile Museum’s Handwoven tapestry served as Hedstrom, Judith Content, where Janice is a professor of fall Symposium, “Tying the both medium and metaphor to Yoshiko Wada, and Angelina textile art; the other weaving Rainbow: Reexamining Central explore the complex boundaries Deantonis. Barbara taught a was produced at the Oriole Mill Asian Ikats,” will be held in between humans, nature, and “Greener Indigo” workshop at in North Carolina. Janice says, Washington, DC, during the human nature. The inherent the Mendocino Art Center, Aug. “Whether the final object is first weekend in October. fragility of the plant and animal 2-28. She will teach a four-week woven by an industrial Jacquard Sumru has been lecturing on fibers used to create tapestry “Greener Indigo” course for the loom or by me on a Jacquard this subject during the past works becomes a potent meta- Osher Lifelong Learning Institute hand loom, the architecture of year; her most recent lecture phor for the fragility of human at San Francisco State University the weave, while capturing the was “Weaving Rainbows: Many life and ecosystems. in Feb. and Mar., 2011. For infor- iterative motifs of my designs, Yarns of Central Asian Ikat,” Recent work by Linda mation on “To Dye For,” visit: creates both the visual dynamics presented on Mar. 12 at the Wallace was featured in the http://www.cel.sfsu.edu/olli of the surface and the physical Philadelphia Rug and Textile Summer 2010 issue of Fiberarts plane of cloth. This connection Society. She has also been lec- magazine. This work, along with Carol Westfall’s work, “Cascade forms the basis of my work con- turing on other topics, such as work by Eila, will also be part of III,” was hung in the ”Make Me ceptually and materially.” “Tulips to Roses: Re-examining “American Tapestry Biennial 8,” Something Beautiful” exhibition Ottoman Embroidery” at the at the Elder Gallery, Nebraska at the Newark Museum this sum- Adrienne Sloane’s piece, “Fated Asian American Forum on Feb. Wesleyan University, Lincoln, mer. This show was the 2010 Glory,” was awarded the HGA 25, and “Relationship of Design NE, Sept. 20-Nov. 15. The exhi- edition of the New Jersey Craft Award “in recognition of a work and Structure in Textiles” at the bition can be viewed during the Artists exhibition series. demonstrating outstanding cre- Corcoran School of Art and TSA Symposium. ativity and craftsmanship in the Design on Jun. 23 and Jul.14. The two women also show A basket by Alicia Woods titled Fiber Arts” by exhibition juror with “Tapestry 3-2-1,” an inter- “Elegance,” is shown in the first Wendy Weiss at Convergence, Carol Westfall will speak at the national group of six artists who International TECH-Style Art the biennial Handweaver’s Guild “Arstextilia” Conference in San have shared years of ongoing Biennial exhibition at the San of America conference recently Member News to p. 17 discussions about tapestry, art, Jose Museum of Quilts and held in Albuquerque, NM. To conceptual frameworks, and indi- view the piece, visit: vidual creative passions. http://adriennesloane.blogspot.com www.adriennesloane.com Above right, Linda Wallace shown Ruth Katzenstein Sousa will with her tapestries “Threadbare” display her rugs at the Craft and “Hanging by a Thread.” in America Study Center, Los Right, Detail of a pile rug by Ruth Angeles, CA, Sept. 25-Nov. 13. Sousa. Ruth uses recycled clothing and Far right, Detail of “Any Time Now: fiber to achieve a very painterly One Family’s Softbook Primer of quality, with the strips she hooks Anticipated Catastrophes” by Lany Eila.

Fall 2010 7 Symposium Exhibition: tactile properties, but represented correspondence to the algorith- essence of the richly textured a unique artistic voice. mic functions of the computer. surface of the two-panel piece Binary Fiction: Digital Acknowledging the tradition Both Laurie Addis and Christy by Michael Radyk, composed Weaving 2010 of historic tapestry weavings in Matson elaborate on the itera- of gently angled rows of shapes depicting timely narratives, Ruth tive capabilities of both in their informed by his interest in Curated by Janice Lessman-Moss Scheuing presents weavings that distinctive work. Addis’s painterly architecture. Although Verbeek- Featuring work by Laurie Addis, employ collages of photographic woven compositions contain Cowart and Radyck allude to Catharine Ellis, Gail Kenning, images and symbols that address delicate linear traces of tradi- macro-sized subjects, alternative Chia-Hui Lu, Christy Matson, her personal perspective on the tional paisley motifs integrated interpretations of the microcosmic Vita Plume, Michael Radyk, mythologies surrounding the with grounds loosely based on provide an engaging ambiguity. Ismini Samanidou, Ruth Scheuing, computer and the loom. Also calculations of cellular automata. The manipulability of cloth Pauline Verbeek-Cowart, and building on historic roots, but Matson creates woven planes of is an asset that is sensitively Bhakti Ziek with a distinctly different output, rhythmic geometric shapes which engaged by Chia-Hui Lu in her Australian artist Gail Kenning have been computer generated poetic weavings. The folded ne of the many exhibitions deconstructs basic basket weaves, and manipulated according to plane of fabric deceptively con- Oto be mounted in conjunc- which she then uses as the her specific input. In them, she tradicts the images that remain tion with the 12th Biennial TSA foundation for her computer challenges the idea of musical visually uninterrupted, imply- Symposium will be held at the programming codes. Her explora- notation as abstract pattern. ing a mysterious sense of illu- Eisentrager-Howard Gallery tions result in the reconstruction Pauline Verbeek-Cowart uses sion. The physicality of fabric in the Department of Art and of the original forms as digital photo realism combined with a is also emphasized in the work Art History at the University of animations in combination with strong material sensibility to pres- of Catharine Ellis. Her large Nebraska-Lincoln. With Cyber new interpretations of woven ent a dramatic interpretation of decorative fields of shibori-dyed Space being part of the confer- objects. the surface of the moon, as the pattern drape gracefully to the ence theme, it seemed appropri- The systematic language title of her large-scale diptych floor as they reinforce the sense ate to present an exhibition such of weaving has a close “Luna” confirms. Tactility is the of infinity implied by repeated as this, featuring digitally related motifs. Vita Plume also uses woven work by eleven artists. digitally enhanced shibori dye The title of the exhibition techniques to create a dynamic references the process of weav- field from which highly emotive ing itself, which is binary in portraits emerge. nature: warps up or warps down. While several of the artists, While this duality forms the basis exemplified by Bhakti Ziek, are of the process, the term binary recognized internationally for is more familiar to many today their significant contributions to because of its relationship to the the field of textiles, others, such language of computing. Binary as Ismini Samanidou, are emerg- suggests something concrete, ing talents in the discipline. All of while fiction implies a world of the artists share a sophisticated imaginative options. Although understanding of the potential all of the artists are engaged in inherent in weaving and digitiza- the logical system of weaving, tion, and are adept at using that the translation of any thought skill and knowledge to realize or action into woven or digital their conceptual perspectives. form involves invention, subjec- – Janice Lessman-Moss tivity, even fantasy. In curating the exhibition, I was looking for interesting work that not only revealed a deep understanding and sensitivity for the vocabulary of weaving and its structural and

Pauline Verbeek-Cowart’s diptych, “Luna,” digital weaving, 90" H x 83" W.

8 tsa newsletter Four macro photos taken through a pick glass of custom-designed weaves used in a damask with pattern weft. One warp, two ground wefts, and one pat- tern weft are used to create contrasting warp-and weft-faced weave effects in each image.

Pre-Symposium Workshop: A Loom of Opportunity October 6, 2010

isio Foundation instructor, L Julie Holyoke, will hold a one-day seminar dedicated to building weaves for Jacquard textiles before the TSA Symposium. The objective of this workshop is to strengthen participants’ skills in the choice, creation, and adaptation of weaves in Jacquard weaving. Patterning in a Jacquard-woven textile is the result of contrasting weave structures. In order to select, create, or build the weaves appropriate to a given project, the maker must first identify the range and type of contrast required between two or more weave effects, and then adapt the chosen weaves to the loom set-up, materials, and artwork to be used.

The Day’s Program Morning: The first part of the morning will be dedi- cated to a brief review of weave analysis and drafting methods for textiles having a single series of warps and wefts. During the second part of the morning partici- pants will design self-patterned textiles using simple Weave and weft color sampler. “Grenade,” design by Emelia E. Haglund, Lisio Foundation School, 2010. Silk damask with one warp, two ground wefts, and one pattern weft. weave structures, in which patterning is achieved by the exchange of ground warp- and weft-faced surfaces, and the contrast between the three major weave groups–plain, twill, satin, and their derivatives. Aesthetic considerations will dictate the selection of weaves. Subsequently, the chosen weaves will be evaluated according to technical parameters: weave stability, float length, take-up, etc., and any necessary corrections will be made.

Afternoon: A selection of contemporary and historic textiles with both ground and pattern wefts will be observed and discussed. Using textile design software, participants will construct weaves with both ground and pattern wefts functioning to produce specific effects. The weaves will then be evaluated for technical correctness: float length, weave compatibility, stability, and take-up. Weft satin 8, shift 5, drafted on graph – Julie Holyoke is a designer for hand and industrial production of dobby and Jacquard-woven textiles. paper, then drafted in profile. She teaches textile design at the Lisio Foundation and other educational institutions in Florence, Italy, and abroad.

Fall 2010 9 Wight’s “Pendulum Wheel,” pat- ented in 1856, exemplifies the second. Conference Patricia Hilts discussed pattern collectors interested in Reviews reviving American handweav- ing at the beginning of the 20th century. Notable among these collectors were Laura Allen and Frances Goodrich. Laura Allen 15th Annual Weaving contemplated publishing a weav- ing book and corresponded History Conference widely with weavers and pattern collectors throughout the coun- May 15-16, 2010 Nebraska Bead Society Bazaar try. Among her correspondents Clayton, NY were William H.H. (Weaver) Ninety Great Reasons Bead Society he Weaving History Rose and Harmon Goodwin, to Attend TSA Invitation TConference met at the the last two old-time coverlet beautifully restored Clayton weavers in New England. She Symposium 2010 he Nebraska Bead Society, Opera House, sponsored by the also shared drafts and coverlet Tbased in Lincoln, invites TSA Thousand Islands Arts Center, pictures with William Wade, a f you are still sitting on Symposium attendees to its home of the Handweaving wealthy Pittsburgh steel mag- Ithe fence debating whether 12th annual Bead Bazaar at the Museum. Saturday’s schedule nate and coverlet collector. to attend the TSA Symposium Cornhusker Marriott Plaza. offered a slate of five presentations. Allen received encouragement in October, a look at the wide Oct. 9, 9-4 pm. Vendors will be Florence Feldman-Wood and many drafts from Eliza scope of papers that will be pre- selling seed beads, handmade spoke about moving-spindle Calvert Hall, author of A Book of sented might help you decide to lampwork glass beads, wheels, which were mid-19th- Handwoven Coverlets. Allen also join us. gemstone beads, jewelry findings century patented improvements exchanged drafts with Frances The program, available for and more. on the great wheel. The great Goodrich, founder of Allanstand view on our website, The Bead Society is also wheel uses a spindle to twist Industries, who collected drafts http://www.textilesociety.org/ coordinating a bead embroidery fiber into yarn, and the spin- and coverlets from the area offers a varied and tantalizing workshop for us on Wednesday ner stands and moves away around Asheville, NC. Among selection. You will hear about evening at the International Quilt from the spindle as a length of those who supplied Goodrich textiles from north to south Study Center Museum during yarn is spun. A moving-spindle with drafts and woven coverlets and east to west, the American the TSA Symposium’s open- wheel carries the spindle away was Almeda McHargue Walker, heartland to the farthest hinter- ing reception. Harriett Sleeper, from the spinner, allowing the who appears in Goodrich’s land, how we color our world a prominent Native American spinner to sit. All of the known Mountain Homespun under the and cover our heads, what our bead artist, will also be displaying moving-spindle wheels incorpo- name of Granny Jude. Allen’s clothes say about us and what her artwork that evening. rate an accelerating mechanism weaving book was never written, our objects of desire are. Explore Bead work by Society mem- patented by Amos Miner,1803 but nearly all of her collected textiles in the colonies and tex- bers and by Ms. Sleeper will be and 1810. There are two types material went to Marguerite tiles in the hands of conservators; on exhibit in the hallway outside of moving-spindle wheels: those Porter Davison, whose A slow practices and warp speed; the Hillestad Textiles Gallery on in which the spindle moves on Handweaver’s Source Book pre- history, renewal, and the ground- the UNL East Campus all week. horizontal tracks, and those in serves the names of many who breaking new. which the spindle is carried on sent drafts to Allen. Our esteemed presenters a moving arm. Hiram Wheeler’s After lunch, Marjie articulate the how and who and “Horizontal Spinner,” first patent- Thompson remarked on how why of textiles from plains space ed in 1838, provided the basis little we know about the lives of to cyber space—and even outer for the first type, and Lyman most individual weavers. Many space. From the back break- weavers are known, however, ing to the news-breaking to the through surviving manuscript pat- cyber revolution, it’s all there tern books that were created by during one glorious weekend in apprentices and journeymen as Nebraska. they copied drafts from their mas- – Barbara Shapiro ters’ books. Margie told of two successful women weavers. Eliza Wildes Bourne of Kennebunk, ME, took up the weaving of Bolton-style weft-loop counter-

10 tsa newsletter panes shortly after the embargo experience as an apprentice Sunday morning offered tours In the Handweaving of 1807 put her ship-builder to a master dressmaker near of three special exhibits featur- Museum’s main gallery, “Where husband out of business. She and Dresden, Germany. Although ing fiber artists Theo Moorman the Wild Women Weave” her daughter earned over $500 travel was difficult in the18th (1907-1990), Lucille Campbell showcased weavings by the from their weaving in 1811. Eliza century, Europe was crisscrossed Landis, and Marjorie Durko Wednesday Weavers group that Bourne wove a counterpane with a network of trade routes Puryear. A significant collection meets at the arts center. This for First Lady Dolly Madison. A linking various centers of linen of Moorman’s weavings offered a colorful display did credit to their later weaver of weft-loop coun- production. The major flax- rare opportunity to closely exam- makers and to their leader, Sonja terpanes was Hannah Leathers raising regions in Central Europe ine some of her historic works. In Wahl. Wilson, who was active in the were Westphalia, Lusatia, Silesia, addition to cubist style hangings in –Patricia Hilts 1830s-1850s. She numbered each Bohemia, and Slovakia, followed the famous inlay technique named of her counterpanes, and, by the by Hungary. The Baltic countries for her, there were a number of end of her career had made 177. produced the best seed, which innovative, shaped tapestries and Frieda Peisley focused on the was sent abroad, especially to necklaces embellished with metal flax processing demonstrations the Netherlands and Switzerland. and semi-precious stones. at Genesee Village, Mumford, Haarlem in the Netherlands was Lucille Campbell Landis’s NY, and showed the exacting, a favored center for bleaching massive color study collection Exhibition time-consuming, and physically flax, and many foreign workers included color cards painted with demanding process of converting found employment there dur- color arrangements based on Reviews flax into woven cloth. Flax seed ing the bleaching season. Fine Johannes Itten’s color theories, is planted in the spring and after drop-spindle-spun linen thread along with dyed yarns matching 90 days the plants are ready to from Silesia was sold to the the painted colors. There were be pulled and dried. Once dry, Netherlands and Switzerland for nearly 100 wrapped color layout the flax is rippled to remove delicate linens. Flax processing cards, many of which had corre- The Climate Is Changing seed capsules and put in water and finishing was labor-intensive sponding woven samples. While or placed out on the grass to be and industrial spying was ram- we feasted our eyes on this col- International touring exhibition retted. Retting decomposes the pant. Skilled workers were lured orful array, Sonja Wahl regaled of textile art flax straw in order to separate from one location to another us with stories of the relation- Textile Museum of Prato, Italy, the fibers from the plant stem. with promises of higher wages ships among Lucille Landis, Clare May 7 to July 7, 2010 Retting is the most critical stage and better living conditions, Cherepov and Theo Moorman. in the process and must be timed and lone journeymen sought Landis was artist-in-residence he topic is very timely. just right. Once retted and dried, improved techniques that they at the Stamford Museum, CT, TClimate change, and the the flax is broken, scutched and could take back home with them. and developed the weaving pro- need to revise economic models hackled. Each process requires its Following a fine meal at gram for the Industrial Design based on the exploitation of own set of tools—a flax break, a the Clipper Inn, after-dinner Department at the University of nonrenewable resources, is inter- scutching board and knife, and speaker Victor Hilts described Bridgeport. preted through a little-known but a set of hackles. Frieda showed 2010 as the bicentennial of the Marjorie Durko Puryear extremely versatile material: felt. slides of the Genesee Village census of 1810. This census is of led a tour of her retrospective Produced from sheep’s wool, felt equipment and demonstrated unique importance to historians exhibit, “Looking Back from the is an ancient material rich in cul- hackling, dressing a distaff, and of spinning and weaving in the Here and Now.” She discussed tural references. It lends itself as spinning the long flax fibers. She US. In 1810, census takers were her inspiration sources and easily to the realization of impal- brought samples of handspun instructed to ask each household her experiences in a Jacquard pable veils as to the creation of linen yarn and woven cloth pro- about the number of yards of weaving course featuring Point three-dimensional solid objects. duced at the museum. Notable cloth produced in the home that Carré software. A diary and a Felt can be shaped, but it also among the weavings were some year, and also about the number ledger figured largely in inspiring agrees to merge with other mate- fine linen tapes with indigo-dyed of spinning wheels and looms her work. She translated writ- rials. It retains its fabric nature, linen, and a lace-weave table- owned. In the years leading up ten pages into Jacquard-woven and therefore can be cut, sewn, cloth, also decorated with indigo- to the war of 1812, the govern- pieces which she later embel- and embroidered. Felt has an dyed yarn. ment sought information about lished with embroidery. Puryear original quality—an essence that The final paper was by Ute whether the US could be truly also described her “Notes From makes this atavistic Mateer ideal Bargman, who has researched self-sufficient in cloth produc- You” series, composed largely to translate into works of visual 18th-century linen production tion, so as to be independent of of antique handkerchiefs upon art the complex man/nature rela- in Central Europe. Ill health foreign imports. The raw 1810 which old letters were trans- tionship. prevented Ute from attend- census data for some parts of the ferred and minimally embellished Selected from 180 entries ing, so her paper was read by country survives, and provides a with stitchery. Puryear became from many European countries Sonja Wahl, Curator Emeritus surprisingly detailed and intimate interested in fiber art through and North America, Australia of the Handweaving Museum. view of household textile making her Ukrainian heritage and she and New Zealand, the 50 Sonja prefaced Ute’s paper with in the early 19th century. Some studied textile design in Khiva, works on display raise questions, a brief account of her own households produced more than Uzbekistan. A color catalogue was denounce the destruction of the 100 yards of cloth in 1810. produced for her exhibit.

Fall 2010 11 dyes identified in the historic tapestries. Following another sec- tion on Tapestry History, detailed Book descriptions of the yarns, dyes, and metal threads are given, fol- Reviews lowed by sections on accelerated light aging; analyses of the fibers, dyes, and metal threads, both before and after aging; and clear explanations of the various test- ‘Wroughte in gold and silk’ ing methods. Preserving the Art of Historic Despite the wealth of techni- Tapestries cal information, non-chemists Anita Quye, Kathryn Hallett, and and microscopists can still come Concha Herrero Carretero away with a good idea of the “Climate Change” exhibition, Photo: Daniel V. Kevorkian, courtesy Museo del results of these tests, which are National Museums of Scotland Tessuto di Prato. provided in minute detail in the Edinburgh, Scotland, 2009 succeeding chapter, along with ISBN: 978--905267-15-6, $29.95 ecosystem, express confidence in To Dye For: A World careful descriptions of testing Saturated in Color the regenerative power of nature, procedures, which often require or those readers whose or suggest solutions. There are de Young Textiles Galleries advanced equipment not gener- work involves the conserva- large wall pieces, installations, Golden Gate Park, San F ally available to most conserva- tion of tapestries, this book has small-format textiles and sculp- Francisco, CA tion laboratories. The following earned a place on the shelf. tures, and mixed-media works. Through January 9, 2011 chapter is a case study using It lays out, in great detail, the After showing at the Textile three 17th-century tapestries, or centuries, artisans have objectives, procedures, and Museum of Prato, the exhibition and is considered a “scaled-down employed the technique of results of the Monitoring of will be mounted in different loca- F version” of MODHT's proce- resist dyeing to embellish their Damage in Historic Tapestries tions in Germany: Wuppertal, dures; so-called "tips" regarding textiles. This exhibition, drawn Project, (MODHT) involving Historisches Zentrum, Jul. 17- sampling and analysis. It might from the Fine Arts Museums seventeen 15th-, 16th-, and Aug. 15; Göttingen, Holzhof, encourage conservators in of San Francisco’s permanent 17th-century pieces selected Aug. 20-Sept.12; Halle, Neue smaller laboratories to undertake collection and from key private from tapestry collections belong- Residenz, Sept. 17-Oct. 17; investigations of degradation on Bay Area collections, explores ing to the Palacio Real (Madrid), Dresden, Japanisches Palais, their own. the use of the resist-dye method the Tournai Cathedral, the Oct. 28-Dec. 12; and Appendix 1 will be of inter- from a broad range of cultures Bruges Musées Communaux, Forchheim, Pfalzmuseum, est to those conservators with and historic periods, with a Musée Notre Dame de la Jan.18-Feb. 13, 2011. a strong scientific background: more in-depth look at practices Poterie, the Royal Museum An exhibition catalog the title, Technical Details and in India, Japan, Indonesia, and of Art and History in Brussels, is available: The Climate Is Protocols for Scientific Analysis, Africa, where dyeing techniques and Hampton Court Palace Changing, with texts by Daniela tells it all. However, Appendix predominate in their textile tra- (UK). Three aspects of aging Degl’Innocenti, Jo Turney, Lydia 2, “Dyeing Recipes,” will be of ditions. Examples of resist-dye were examined: 1) the loss of Predominato, Antje Soleau, Sigrid interest to many who work with methods include tie-dye, stitch- strength; 2) the effects of dyes Bannier, and Eva Basile. fibers. Clear instructions for resist, ikat, batik, stencil-resist, and mordants on fiber strength; Polistampa 2010, 21 x 21 cm., making all the dyes, colors, and and mordant-resist dyeing. and 3) the corrosion of silver 132 pp., color, Euro 24.00 mordants found in the historical Artisans have passed their and gold threads. To order the catalog, contact Eva tapestries are found here. For knowledge down from genera- A lengthy history of the Basile: [email protected] some, this section will be worth tion to generation, and the roots pieces used, as well as tapestry To see interviews with the the price of the book. of ancient practices can still be weaving in general, is included; artists, visit: Since this is a book “written found in the artistry of their the latter will be superfluous http://www.youtube.com/ by committee,” writing styles distant descendants. Techniques for those already familiar with watch?v=CmSeyTld-uw in the chapters and sections proliferated through migration tapestries. A chapter on Model necessarily vary. Sections within –Eva Basile and ancient trade routes, and Tapestries follows, which chapters sometimes appear to be new techniques developed as describes the making of woven directed to a variety of readers. the artisans continued to experi- and dyed replicas using tradi- But one can read the parts which ment. Today, contemporary art- tional materials and techniques. interest one the most. The book ists continue to experiment with These “models” were used for is attractive to look at, with many both new materials and age-old the accelerated aging and subse- photographs, mostly in color, methods, and through their work quent testing of wool, silk, and which do not always give true these ancient techniques survive. metal-wrapped threads, which color renderings; an apology is were treated with the natural – Jill D’Allesandro prominently given for this. There

12 tsa newsletter is a Table of Contents, and an Park’s personal artistic journey ten years to research about the taken by the author. Equipment, incomplete "basic” Bibliography, has led her to rise above the maguey plant, which is found including several types of looms, and there are many footnotes craft/art issue. She elucidates from the southern US to north- is highlighted, as are the many throughout the text. There is, what she calls the ego-centric, ern South America. This life-sus- products fashioned from maguey, however, no Index, which would male-dominated, negative—even taining plant provides food and including ropes, cargo nets, bags, have been helpful to the non- mean spirited—voice of Western beverage, clothing, shelter, and, tump lines, horse and mule gear, scientists among us. art criticism and contemporary most prominently, thread for a hammocks, and even fireworks. - Molly S. Hope art practice slamming things wide variety of utilitarian objects. Part three, “The Gift of together, shouting only a superfi- The recipient of a Fulbright Life,” explores the economics of cial message. She longs for a time Award for her research, Rousso’s this most persistent Guatemalan Creating with Reverence: Art, when the artist was not marginal- explorations have culminated cottage industry. In spite of dra- Diversity, Culture and Soul ized, rather, an intrinsic part of in Maguey Journey: Discovering matic changes in demographics, society. She honors universal Textiles in Guatemala. since post-civil war stability has Claire Campbell Park restorative values of community- Maguey production predates encouraged greater international 74 pages, Self published based art practiced by early cotton, and its long history is tied trade and the incursion of plastic

leaning from her long American settlers, Pueblo com- to a subsistence life style that into traditional life, Rousso is G career teaching Studio Art munities and non-Western cul- continues today. Textile enthusi- enthusiastic about a future for at Pima Jr. College in Tucson, AZ tures, and the poignant voice of asts, ethno-botanists, and anthro- maguey as a sustainable green and around the world, fiber art- respectful craftsmanship iconic to pologists will find this book product. ist Clair Campbell Park offers a the Japanese Mingei tradition. For a good Western Hemisphere Maguey Journey is a fascinat- very personal little book of great Park, disregard for craftsmanship compliment to Material Choices: ing read about the staying power value to fellow teachers and art- expresses arrogance, whereas a Refashioning Bast and Leaf Fibers in of this durable fiber and the ists alike. Why do we create, why humble respect for materials and Asia and the Pacific, R. Hamilton people who have mastered it. should we create, for whom and the environment, along with the and B. Milgram, editors, 2007. – Barbara Shapiro with whom, and how can we intense focus of an act of total Rousso shares her passion for do so with reverence honoring attention, gives voice to a more the quieter maguey textiles of and protecting this fragile world? profound and universal message. Guatemala, often overlooked in In the Loop: Knitting Now She sees cross-cultural inspira- comparison to colorful backstrap- These are among the questions Jessica Hemmings, Editor she asks with references to the tion and appropriation as well woven cotton traje (costume). work of an intriguing selection as honoring diversity and shared Her approach is culturally sensi- Contributors: Sandy Black, of artists, familiar sources (Yanagi humanity when it is performed tive, with an attention to detail Linda Newington, Freddie et al), and great catalogue essays with respect. born from her years of experi- Roberts, and Paul Whittaker Park’s approach to teaching, ence as a textile artist. (Wrapped in Pride and Kindred London: Black Dog Publishing, much like her own art work, In part one, “The Land of Spirits). 2010, 192 pages, embodies this respect and speaks Maguey,” we meet the men and Each chapter begins with an ISBN: 978-1-906155-96-4 in a quiet, reverent voice. There women who for centuries have artist or group of practitioners UK: £24.95 US: $39.95 whose life and work embody are only a dozen illustrations, and worked this strong and versatile a virtue Park respects. These more might have enhanced the fiber with varying techniques in aken from the “In the Loop” include some textile artists, like reader’s experience—especially several of Guatemala’s distinct Tconference held in England Mayan embroiderers, 19th- and more of this popular teacher’s geographic regions. We revel in 2008, the recent publication early 20th-century Arizona quil- own work. This slim personal in a travelogue of Rousso’s In the Loop: Knitting Now, is a col- ters, and a rural Japanese basket tome will be enjoyed by those sometimes harrowing research lection of essays presented in the maker, as well as many from who appreciate the humility trips across Guatemala since the diverse voices of scholars, conser- other media. Next comes a series with which weighty issues are 1980s. We meet the generous vators, historians, librarians, and of stimulating questions Park approached, and the underlying maguey workers she encountered, poets, with an intentional inclu- often posed to her students to faith in the healing power of art whose practices vary by com- sion of makers. Through such develop their own creative foun- created with reverence. To order, munity. Part two, “The Plant to varied lenses as psychoanalysis, dation. The chapter is rounded visit Amazon.com or Claire’s Textile Transformation,” provides history, taxonomy, the genre of off with her students’ insights e-Bay catalog. historical references that Rousso “knit lit,” kite aerial photography, and reflections from Parks’ own – Barbara Shapiro re-examines on-site and clarifies zoetropes, “subversive teach- very personal perspective on sub- the biology, growth, fiber extrac- ing,“ and technology, 19 artfully jects such as collaboration and tion, dying, spinning and textile illustrated essays examine—and continuity, freedom of choice, Maguey Journey: Discovering production of maguey in a seem- often provocatively challenge—the objects of integrity, and the cre- Textiles in Guatemala ingly endless variety of structures. meaning and place of knitting in Techniques examined contemporary society. ative process and faith. Reference Kathryn Rousso include looping, knitting, ply-split Edited by Jessica Hemmings, is made to the work of artists she University of Arizona Press, 2010 respects, such as James Bassler darning, linking, interlacing, braid- one of the conference organiz- ing, and weaving. There are dia- and her first teacher, Neda asket maker and bast fiber ers, this elegant paperback is Alhilali. Bscholar Kathryn Rousso grams and references for further divided into four sections, titled has devoted much of the past study, as well as beautiful photos “Rethinking Knitting,” “Narrative Fall 2010 13 Knits,” “Site and Sight: Activist On either side of the glass Knitting,” and ”Progress: Looking cube are small temporary exhibit Back.” With no intended chro- areas. Currently, the visitor can nology, each section elaborates Featured watch a riveting video featur- Collections and expands on its theme, show- ing Italian theatrical costumer ing equally through words and Luca Costigliolo. He created a News images how broadly knitting Collection ca. 1872 ensemble based on has permeated our collective garments in the Bowes collec- consciousness. Freddie Robins tion, and is seen dressing a local and Celia Pym’s cover image, woman in these garments. When “The Imperfect,” a seamless but The Bowes Museum he’s done, she looks as if she has Exhibition, Book, darned knit fabric body, visually stepped out of a James Jacques and Symposium on represents the compelling contra- n northeastern England, Tissot painting. The other area dictions of these associations. Ibetween the cathedral towns features three Madeleine Vionnet Broderie de Marseille Throughout the book, mak- of York and Durham, lies the dresses recently acquired by the he International Quilt ers’ voices complement each sec- town of Barnard Castle, home Bowes Museum. These belonged Study Center & Museum tion, describing their impulses to of a successful carpet industry to British socialite, Lady Foley, T presents the first US exhibi- provoke, challenge and redefine in the 19th century. The Bowes and include a rare example of tion devoted to the French knitting through use of space, Museum, opened in 1892, is a Vionnet’s use of a patterned tex- needlework tradition of broderie scale, time, associations, and mate- French-style chateau commis- tile—printed chiffon with a bold de Marseille, Nov. 13-May 8, rials. Whether using traditional sioned by John and Joséphine design of red and purple flowers. 2011. “Marseille: White Corded tools as with Diedre Nelson’s Bowes (he was a businessman The new Fashion and Quilting” showcases French work, toy knitting cranks as in born in nearby Teesdale; she was Textile gallery is part of a recent whole cloth quilted and corded Lacey Jane Roberts’ barrier fences, a French actress) to house and museum-wide renovation. It is needlework, reviews the origins Liz Collin’s knitting machines share their art collection with the visually striking, and was planned and development of the tradi- in “Knitting Nation,” or using local populace. to be a flexible space for future tion, and describes its influence sophisticated Shima Seiki Whole In May the museum opened displays. The Bowes Museum on quilted needlework traditions Garment technology to create a new fashion and textile gallery, and Hashagan have used their over three centuries on five con- seamless work, as in work by organized by Keeper of Fashion resources wisely, and the results tinents. Guest Curator Kathryn Freddie Robins or Annie Shaw, and Textiles, Joanna Hashagan. make this museum much more Berenson is author of Quilts of makers are looping themselves This new gallery features a per- than just a local tourist attraction. Provence and the forthcoming into the future while acknowledg- manent display of objects from For more information, visit: Marseille: The Cradle of White ing the past. the collection, with examples http://www.thebowesmuseum. Corded Quilting, released by the Given the tremendous resur- dating from the 17th century org.uk to the 1970s. The objects are Nebraska Press this fall. gence of interest in knitting, the – Melinda Watt displayed in glass bays designed Broderie de Marseilles is a world-wide knit community on Associate Curator, to compliment the arches of the three-dimensional textile sculp- ravelry.com, the growing num- European Sculpture and original architecture. Highlights ture using plain white cloth and ber of museums and galleries Decorative Arts of the Bowes collection include white cotton cording to yield showing knit art, and the way in Supervising Curator, European furnishing textiles col- exquisite patterns and play of which knit graffiti has entered Antonio Ratti Textile Center lected by Joséphine Bowes; items light and shadow. The technique public spaces, those compelled The Metropolitan Museum of Art by the needle arts cannot but from the wardrobe of French wonder about how and why Empress Eugénie; and the dealer knitting has so captured the pub- Arthur Blackborne’s lace collection. lic imagination, and what role it Across from the new perma- now plays. In the Loop: Knitting nent display is the “Glass Cube.” Now serves as much as a barom- This combination storage and eter of the current status of workspace has a ceiling height of women as it provides a deeper 5 meters and glass walls on three look into the state of knit today. sides, which allow the visitor to It is a book to read over time, see some of the English quilts savor and digest. hanging above the heads of “In the Loop 2: Knitting, staff members as they work on Origins and Evolution” will cataloguing and storage projects meet at the Shetland Museum below. I can attest to the fact and Archives, University of that visitors find this “behind-the- Southampton, UK, Sept. 1-5. scenes view” irresistible, as the http://www.soton.ac.uk/intheloop/ staff were repeatedly interrupted by quilt enthusiasts while I was – Adrienne Sloane Radio controlled quilt descending for a Quilt group, June, 2010, in The Glass there. Cube. 14 tsa newsletter was widely copied and inter- In looking forward, she main- To bid, please submit your offer preted in Europe and America tained an occasional glance (opening bids begin at $1,500), and enjoys great popularity Textile backward to the past, to textiles’ including the amount and your today. Contemporary versions, history. name and contact information, to often referred to commercially as Community “Color It Twill” was a result [email protected]. matelassé, are machine-made; but, of her open mind. As a tapestry A Board member will reply, con- today’s quilters have also taken News it directly explores basic tradi- firming that your offer has been up the technique and produce tional tapestry structure, married received. The bidding will close unique creations. with its unique color qualities October 29, 2010 and the high- The exhibition includes bed and now its powerful tactile est bidder will be notified once the coverings, ceremonial wedding Elliot Tapestry On nature and a freer technical han- reserve has been met. quilts, petticoats, corsets and View in Lincoln dling. Today it could quietly be caps, all fashionable items in the given a casual, respectful nod, New MOIFA Exhibit: 17th century. Silent auction to Benefit as we move forward to current Empowering Women: The IQSC Biennial The Lillian Elliot Award directions that are the rewarding Symposium,“Quilted and Corded of these earlier, and now his- quiet revolution is taking Needlework: A Closer Look” is n the mid 1960s, creative torical days. A place around the world scheduled for April 1, 2011. Itextile artists made an unex- Lillian moved forward too, led by women artisans coop- http://www.QuiltStudy.org pected and dramatic switch to not least to her fascinating col- eratives. Taking the initiative to focus on, and exploit, the tactile laboration during the late ‘70s collectively produce, manage, MFA Boston Opens sensuality of fiber. It is arguable and ‘80s with Pat Hickman, and market their crafts, women New Wing with that those who were working where the humble basket took have enriched their lives and in clay, glass, metal, and even in a new turn and a new life. iI is become powerful forces in their Textiles wood, like these weavers, were important to recognize key steps communities. On July 4, the all following the lead that was that identify the earlier moments Museum of International Folk he Museum of Fine Arts, established by the American of the fiber art movement. Art inaugurated its “Gallery of Boston, opens the highly T painter Jackson Pollock. It was “Color It Twill” is surely one Conscience,” a space dedicated anticipated new Art of the a vibrant and valuable period, such moment. to exploring contemporary issues Americas Wing on Nov. 20. The exposing a somewhat previously – Archie Brennan affecting folk art production and new wing includes 53 new gal- ignored aspect of the diverse consumption. leries, including the Edward and materials and media that artists The Board of the Lillian Elliott “Empowering Women: Nancy Roberts Family Gallery, used. Award is pleased to offer, in silent Artisan Cooperatives That which will feature a rotation of Soon, creative people auction, this tapestry by Lillian Transform Communities” opened three exhibitions on “Colonial expressed a need to do more Elliott. Proceeds will support the in conjunction with the first Embroidery of Boston: Samplers, than simply display this inherent Lillian Elliott Award, established annual International Folk Arts Pictures, and Domestic Textiles.” property. To apply this reality, this in memory of Elliott and Joanne Week, with demonstrations, lec- Featuring fine pieces of colonial characteristic directed towards a Segal Brandford, and offered every tures, folk music, performances, embroidery created in Boston, concept stirred up a movement, two years to a contemporary art- and other programs concurrent the rotating exhibits will provide a direction, and an application ist working in the field of fiber. with Santa Fe’s International Folk insight into the lives of Colonial that clarified a purpose under the An image of the tapestry may be Art Market. Boston women and their domes- label “fiber art.” viewed on the TSA website, Focusing on10 cooperatives tic lifestyle. Each exhibition Lillian Elliott was a key http://www.textilesociety.org that illustrate how the power will focus on a distinct type of member of this loosely formed of such grassroots collabora- needlework—samplers, schoolgirl group that grew particularly in tions transform women’s lives, pictures, and domestic embroi- the west—the Bay Area of San deries. The rotation begins with Francisco and Berkeley—but also “Colonial Boston Samplers,” Nov. the north and south and inland. 20-Mar. 13, 2011; “Schoolgirl Lillian was an artist-craftperson Embroideries” will run from Apr. who had an intriguing approach. 2, 2011-Aug. 28, 2011; and “Domestic Embroideries,” Sept. 17, 2011-May 27, 2012. “Color it Twill,” a historic tapestry http://www.mfa.org by Lillian Elliott, 1973, 20”x 32”, is being offered in an online silent auction. The tapestry will be on view at the Tugboat Gallery, Lincoln, NE, during the exhibition “Surrounded: Large and Small Work by Lillian Elliott Awardees,” Oct.1-29. It will also be on view at the TSA Symposium Banquet on Oct. 8.

Fall 15 the exhibit brings together first- Weavers. María Concepción Encyclopedia of World Dress person quotes, stellar photos, and Cuc, a Maya working as a com- and Fashion stunning examples of the coop- munity organizer in Guatemala, Editor: Joanne B. Eicher eratives’ handmade traditional Publication moved with her husband, Oxford University Press, 2010 arts, revealing how female folk American Felipe Gonzales, to 6000 pp. artists are working cooperatively ews Washington State, where they N ISBN 978-0-19-537733-0 $1595 to preserve and reinvigorate their run Moonflower Enterprises and traditional arts; generate steady other Internet businesses. And, Global in scope and of his- livelihoods for their families; Pedro Marroquín, a young Maya torical depth, the 10-volume give back to their communities; from the Ixil Triangle, worked his Encyclopedia of World Dress and become leaders in public life; DVD: Saving the Weavers: way up to direct Codearteco, an Fashion is the first comprehen- overcome domestic violence; Small Assistance Programs assistance program for widows sive reference work to explore develop literacy programs for for Maya Women in Highland and orphans of the civil war in all aspects of dress and fashion themselves and their children; Guatemala San Juan Cotzal, Guatemala. The from pre-history to present-day. heal the traumas of war; sustain 34-minute Documentary documentary includes interviews Articles by over 600 renowned their natural environments; and Endangered Threads with program founders and scholars from around the globe save for the Future. staff, and scenes of beneficiaries cover all issues relating to the art http://www.moifa.org Endangered Threads in highland Guatemala. It also and anthropology of costume, Documentaries (ETD) has provides background information dress, and fashion. Orders: Friends Group Forms released a new video about on the devastating civil war and http://www.oup.com/us for Quilt Museum Guatemalan artisans. The 36-year how it affected Maya women civil war (1960-1996) decimated and their children. Berg Fashion Library.com is he Friends of the the indigenous Maya population http://www.endangeredthreads.org an online resource incorporating TInternational Quilt Study of Guatemala. Many of those the Encyclopedia of World Dress Center & Museum (IQSC) is who survived were widows, left and Fashion and is updated at is a newly formed nonprofit without any means of support Zandra Rhodes Textile least three times a year to keep organization dedicated to sup- for themselves or their children. Revolution: Medals, Wiggles, students, scholars, and profes- porting the mission of the This documentary focuses on 10 and Pop 1961-1971 sionals at the cutting edge of Lincoln, NE, Center through extraordinary people who saw Samantha Erin Shaffer their subject. It offers users cross- special events, grant funding, and the desperate need and dedicat- Antique Collectors Club searchable access to an expand- learning opportunities. A mem- ed years of their lives to establish ISBN 9781851498488 ing range of essential resources. bership drive is currently under- small assistance programs and http://www.bergfashionlibrary. way, with the goal of expanding find markets for products made Featuring textiles never seen com support for the IQSC and offer- by Maya weavers. before, this book highlights ing participants a unique way Italian-Guatemalan-American Rhodes’ early textile designs from to be part of the Center’s inter- Brenda Rosenbaum and her late her years at Royal College of Art Textiles Asia national community of scholars, husband Fred formed Mayan and from her early design career. Textiles Asia Newsletter is artists, and quilt enthusiasts. For Hands in Guatemala City. To pre-order: published in Hong Kong three membership information, visit: American weaving expert and http://www.antiquecollectorsclub. times a year by Bonnie Corwin. http://www.IQSCFriends.org teacher Deborah Chandler sub- com sequently joined the organization Issue 3 (January, 2010) contains as the in-country manager. The articles on Japanese Kosode by Felt Moon Sculpture late Jane Mintz of San Francisco Textile History and the Military Valerie Foley and on Chinese at RISD Museum founded Maya Traditions in A Supplementary Issue of Tiger zodiac textiles by John E. Panajachel, Guatemala, and Textile History Vollmer. Subscriptions: $35. To n enormous hand-worked enlisted help from American, subscribe through Paypal, email felt sculpture of the moon, A Martha Lynd. Vey Smithers, an The wearing of military uni- [email protected] “Lunacy” by Tristin Lowe, is American from the East Coast, forms by rock and pop bands and request a Paypal invoice. on view at the RISD Museum opened the store Colibrí in from the 1960s onwards has through Oct 24. Its surface is Antigua, Guatemala. Maya leader been considered to be a subver- composed of fourteen felt sec- Alida Pérez founded a large sive anti-war statement. But, new FibreQuarterly tions hand-worked and sewn artisans guild in San Antonio research published in a special together. Raised craters and rings fibreQUARTERLY Summer Aguas Calientes, and opened a issue of Textile History reveals approximate the moon’s terrain 2010 is now online at Maya textile museum and store that the motives are often much rather than replicating its actual http://www.velvethighway.com in Antigua. Candis Krummel less political. This special issue geological features. Tristin Lowe This issue presents a range of left a job on Capitol Hill in is included with a subscription is a multidisciplinary artist who examples of writing by students, Washington, DC, and headed to Textile History, or it may be uses a range of materials toward professional textile object mak- to Santiago Atitlán, Guatemala, ordered separately. unexpected ends. ers, and academics. where she co-founded the http://www.maney.co.uk http://www.risdmuseum.org Cojolya Association of Mayan

16 tsa newsletter Member News from p. 7 textile design for Jacquard-woven Look will be held on April 1, textiles. Jose, Costa Rica, this September. 2011, in conjunction with the Dec. 9-11: Recognition, study and Her talk will focus on “Heart, exhibition “Marseille: White cataloguing of lace: Needlepoint Hand and High Tech.” The alendar corded Quilting”, featuring speak- lace, laces of varied techniques, C computer, the internet, and the ers Linda Baumgarten, Curator machine-made lace simple to web have done much to unite us of Textiles and Costumes at complex. across the globe in our individual the Colonial Williamsburg http://www.fondazionelisio.org quest for knowledge and under- Foundation and Kathryn standing of what it means to be Berenson, curator and author of Quilts of Provence and the upcom- human in this age of high tech. Corrections Spring/ Below is a brief selection of ing Marseille: The Cradle of White Summer 2010 issue upcoming Textile-related events. Member Publications See Member News and the TSA Corded Quilting. Further details Sumru Belger Krody has website, or follow individual links are available at completed work on the book for more detailed information. http://www.QuiltStudy.org . Colors of the Oasis: Central Asian Ikats, with contributions by Feza Conferences & May 20-21, 2011: Material Çakmut, Mary M. Dusenbury, Culture, Craft & Community: Kate Fitz Gibbon, Andrew Symposia Negotiating Objects Across Hale, Sayera Makhkamova, and Time & Place, University of “Bugs on Parade,” a tapestry by Alberta Material Culture Susan Meller. It will be published DEC. 17-18: Historical Systems Patricia Z. Williams, and part of Institute. Keynote Speaker: and released this fall. The book of Innovation: The Culture her artist’s statement, were mistak- Laurel Thatcher Ulrich, Harvard accompanies the exhibition of Silk in the Early Modern enly included in the obituary for University. Organizer Beverly of the same name curated by World (14th-18th Centuries) Patricia J. Williams. Lemire, Department of History Sumru, on view at the Textile at the Max Plank Institute, & Classics and Department of Museum, Oct. 6-Mar. 13, 2011. Berlin. Organised by Dr Dagmar Human Ecology, University of Schafer (Max Plank Institute Member Workshops Alberta. for the History of Science, http://www.wornthrough. and Tours Berlin), and Professor Luca Molà com/2010/03/22/cfp-material- (European University Institute, Serena Lee Harrigan’s Textile culture-craft-community- Florence, and University of Odyssey Tour to Southwest negotiating-objects-across-time- Warwick, UK). The conference China has openings, Nov. 1-18. place This tour visits remote areas of is a collaboration between the Max Plank Institute, the Centre Yunnan, Guizhou, and Guangxi, May 21, 2011: Study Day, for the History of Innovation where many artisans continue Sacred Dressed Images at Lisio and Creativity (CHIC), and the ancient textile traditions and “Tiger,” a Jacquard fabric Foundation, Florence, Italy. Global History and Culture wear finely crafted clothing dis- woven by a student at the Lisio http://fondazionelisio.org Centre at Warwick. Information: tinctive to their ethnic group. Foundation was incorrectly attrib- www.textileodyssey.com [email protected] uted to Julie Holyoke. Exhibitions Karen Searle’s Guatemalan Jan.15, 2011: The Fifth Lake Villages Textile tour Triennial R.L. Shep Symposium United States has openings, Nov. 11-20. Art on Textiles and Dress, Los Workshops in Guatemala Angeles County Museum of Art. California http://www.artguat.org In conjunction with “Fashioning De Young Museum, San Fashion: European Dress in Francisco. To Sept. 26: “To The Lisio Foundation offers the Detail, 1700-1915,” LACMA Dye For: A World Saturated in following workshops this fall: will present a one-day sympo- Color,” textiles and costumes Oct. 25-28: Figured panels sium. Featured speakers include from the collection. woven in silk on computer- Akiko Fukai, Director and http://www.deyoungmuseum.org operated loom. Chief Curator, Kyoto Costume Oct. 21-23: Recognition, study & Institute, and Andrew Bolton, Fowler Museum at UCLA. To cataloguing of lace: Bobbin lace. Curator, The Costume Institute, Dec. 5: “Nini Towok’s Spinning Nov. 8-12: Creativity and the The Metropolitan Museum Wheel: Cloth and the Cycle of traditional vertical loom. of Art. Life in Kerek, Java.” Nov. 15-25: Recognition, analysis http://www.lacma.org http://www.fowler.ucla.edu and cataloguing of woven textiles: Plain and weave-patterned cloth. April 1, 2011: The 2011 Los Angeles County Museum Nov. 29-Dec. 3: Computer-aided IQSC Symposium Quilted and of Art. Oct. 2-Mar. 6, 2011; Corded Needlework: A Closer “Fashioning Fashion: European

Fall 2010 17 Dress in Detail, 1700-1915.” of elegance and craftsmanship IA. “Hidden Treasures: Finding http://www.lacma.org from the late 1950s to the pres- Evidence of Quilting in Norway,” ent. Nov. 20-Mar. 13, 2011: Joan Foster. tel 563-382-9681. San Jose Museum of Quilts “Colonial Boston Samplers.” http://www.vesterheim.org & Textiles. To Oct. 31: http://www.mfa.org “International TECHstyle Art Biennial 2010: Exploring the American Textile History Intersection of Technology and Museum, Lowell. To Jan. 2: Fiber Art.” Juried exhibition with “High Style: Betsy Bloomingdale Call for 41 works by 28 artists from six and the Haute Couture.” countries who combine fiber http://www.athm.org papers media with new information and Fuller Craft Museum, Brockton. communication technologies. To Feb. 26, 2011: “The New Mola on display at the Textile http://www.sjquiltmuseum.org Materiality: Digital Dialogues at Museum of Canada. the Boundaries of Contemporary Delaware Due Nov. 15: Sacred Dressed Craft.” Rhode Island Images, a Study Day at the Lisio Winterthur Museum, http://www.fullercraft.org RISD Museum, Providence. Foundation in Florence Italy on Wilmington. Oct. 2-Jan. 2, 2011: Oct. 1-Jan. 9, 2011: “Lynda May 21, 2011. Those interested “Betsy Ross: The Life Behind the innesota Benglis.” Retrospective exhibi- M in attending or submitting a Legend,” explores Betsy Ross as tion spanning 50 years of work Textile Center, Minneapolis. To proposal for a presentation are a wife and mother, and her work by this American sculptor who Oct. 15: “Mind At Hand: Jerome invited to contact Paola, in the upholstery trade and as a figures prominently in the femi- Fiber Artists Project Grants.” [email protected] flagmaker. http://www.textilecentermn.org nist art movement. To Oct. 24: http://www.winterthur.org “Lunacy” by Tristan Lowe Nebraska New TSA Listserv District of Columbia International Quilt Study International The Textile Museum. To Sept. Center & Museum, Lincoln. To o better serve our members and ensure continuity 12: “Art by the Yard: Women Nov. 17: “South Asian Seams: Canada T through administrative changes, Design Mid-Century Britain.” To Quilts from India, Pakistan, & Textile Museum of Canada, TSA has engaged the hosting Jan. 9: “The Art of Living: Bangladesh.” Dec. 1: “Childhood Toronto. To Oct 17: “Person services of EMWD to provide a Textile Furnishings from the Treasures: Doll Quilts from the Place Thing,” featuring Lia Cook, permanent home for this impor- Permanent Collection.” Oct. Ghormley Collection.” Nov. David R. Harper and Stephen tant means of communication. 16-Mar. 13, 2011: “Colors of the 13-May 8, 2011: “Marseille: Schofield. To Feb. 13, 2011: The mission of the listserv Oasis: Central Asian Ikats.” White Corded Quilting.” “Drawing with Scissors: Molas is to provide an effective venue http://www.textilemuseum.org htp://www.quiltstudy.org from Kuna Yala.” Mola blouses for ongoing dialogue among our and their striking panels con- diverse and globally-dispersed Smithsonian American New Mexico structed from multiple layers of textile community. It is a place Art Museum. To Sept. 26: Museum of International brilliantly-coloured cloth. to: engage in conversation “Christo and Jeanne-Claude: Folk Art, Santa Fe. To Sept. 11: http://www.textilemuseum.ca about research; share informa- Remembering the Running “Material World: Textiles and tion about particular textiles, Fence, Sonoma and Marin Dress from the Collection.” To England techniques, people, and regions Counties, California.” May 8: “Empowering Women: The American Museum throughout the world; announce http://www.americanart.si.edu Artisan Cooperatives That in Britain, Bath. To Oct. 31: publications and exhibitions; and Transform Communities.” “Classic American Quilts.” 50 his- share research in progress. Iowa http://www.internationalfolkart.org toric quilts spanning the history The new platform requires Vesterheim, the Norwegian- of the craft. Catalog. that all members resubscribe American Museum, Decorah. New York http://www.americanmuseum.org using the form on the TSA web- To Mar. 20, 2011: “Pieces of The Museum at FIT. To Nov. site. It will take only a moment Self: Identity and Norwegian- 26: “Eco-Fashion: Going Green.” Japan of your time. If you have not American Quilts.” To Jan. 8, 2011: “Japan Fashion Kyoto National Museum. Oct. been a member of the listserv, http://www.vesterheim.org Now.” 9-Nov.23: “Transmitting Robes, this is a perfect time to sign on. http://www.fitnyc.edu/museum Linking Minds: The World of We hope that all of you will Massachusetts Buddhist Kasaya.” choose to join in the conversa- GAGA Arts Center, Garnerville. Museum of Fine Arts, Boston. tion! Subscribe at: To Oct. 3: Tapestries by Archie Sept. 25-Jun. 19, 2011: “Scaasi: http://www.textilesociety.org/ Brennan and Susan Martin Maffei. Lectures American Couturier,” show- resources_listserv.htm http://gagaartscenter.org casing Scaasi’s custom-made Oct. 18: Vesterheim Norwegian- – Lydia Fraser, clothing that evoked the height American Museum, Decorah, Listserve Coordinator

18 tsa newsletter