Textile Society of America Newsletter 24:2 — Spring 2012 Textile Society of America

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Spring 2012 Textile Society of America Newsletter 24:2 — Spring 2012 Textile Society of America

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contents n exciting program of methods. Lastly, Julie Holyoke events has been lined up of Lisio Foundation will help 1 Symposium 2012 Aalong with the Textile deepen our understanding of 2 Symposium 2012, continued Society of America's 13th European historic and contem- 3 From the President Biennial Symposium, to be held porary figured velvet weaving, in Washington, DC, Sept. 19-22. including cut, uncut, ciselé, 4 TSA Member News The main Symposium events double pile, lancé, brocaded, 6 Textiles and Cultural Context will take place at the Washington bouclé, floating pile, and space- 7 The Mola: Imagery of Culture & Court Hotel centrally located in dyed warp velvet. Politics downtown DC near the National Pre- and Post- 8 Taiwan Aboriginal Textile Mall, Penn Station, and Union Reproductions of Yushan Tsai Quarter. Set in the midst of Symposium Tours 10 Book Reviews the presidential election year, From metropolitan Washington, the theme Textiles & Politics has DC to further afield, our four 11 Textile Community News proven to be an exciting inspira- tours promise engaging, in-depth 12 Featured Collection: Denver Art tion for textile scholars, artists, explorations of significant textile Museum and other experts who will Great Hall, view from the second floor collections. On Wed., Sept. 19, south corridor, Library of Congress 14 Calendar: Conferences & participate. see “Baltimore Album Quilts” on Symposia, Exhibitions Thomas Jefferson Building, Hands-On Workshops Washington, DC. curator-led tours in the world- 15 Calendar: Lectures, Workshops class collections of the Baltimore techniques; weave structures; & Tours Five workshops will provide Museum of Art and Lovely and finishes. A third workshop, hands-on learning opportunities Lane Church, and a demonstra- led by Ann Pollard Rowe, will for varied textile techniques and tion of quilting techniques by the delve into the many different The Textile Society of America, traditions. Jorie Johnson will Baltimore Appliqué Society. textile structures used to create Inc., provides an international demonstrate a contemporary Or, visit Mount Vernon, home patterns using warp floats on forum for the exchange approach to Central Asian felt- of George Washington, and simple looms, with examples and dissemination of making, as participants create Gunston Hall, home of George provided by Andean and Middle information about personalized felt arm cuffs. Ann Mason, and explore the textiles Eastern textiles from The Textile textiles worldwide, Hedlund, Cathy Notarnicola, that two founding families of the Museum’s collection. Michel from artistic, cultural, and Susan Heald will instruct us US made and used, including Garcia and Yoshiko Wada economic, historic, on how to identify and analyze needlework by Martha Washington will guide us in natural dyeing political, social, and Southwestern textiles, covering and imported Indian palampores, with cochineal using sustainable technical perspectives. fibers, yarns, and dyes; loom on special curator-led tours. On Sun., Sept. 23, travel to Uzbekistan's Fergana Valley, and Delaware’s Winterthur Estate and his assistant, Aziz Murtazayev. Gardens, home of Henry Francis Explore the Japanese interpre- DuPont and his unparalleled col- tation of ikat with a tour of lection of early American decora- the exhibition “Abstractions tive arts. Participants can enjoy a and Variations of Traditional special behind-the-scenes viewing Symbols in Japanese Picture of Winterthur’s important printed Ikat (E-gasuri)” at the Japanese textile and needlework collec- Embassy's Japan Information Detail, Baltimore Album Quilt. 1849. American, Maryland, Baltimore, tions. Or stay in the Washington, and Culture Center. collection Baltimore Museum of Art. Attributed to Mary Simon. Friends of DC area and visit the homes of For a look at other textiles the American Wing Fund, BMA1976.93. two private collectors of fiber art, from around the world, visit the from the collections. The Two other gems of as well as an exhibition of emerg- Dumbarton Oaks Museum, National Museum of Natural Washington, DC, will offer ing fiber artists at the Maryland known for its holdings of History will also provide a special tours as well: Hillwood Institute College of Art. Discuss Byzantine and Pre-Columbian behind-the-scenes viewing of Estate, Museum & Gardens, the historical development of art, for gallery tours and a special textiles received by the United founded by Marjorie Merriweather fiber as an art form and current behind-the-scenes textile viewing. States as diplomatic gifts from Post, and Tudor Place, home trends in the field. At the Smithsonian’s Freer and foreign nations, as well as collec- of Thomas Peter and his wife, Arthur M. Sackler Galleries, tions storage and conservation. Martha Custis Peter, grand- In-Depth Site Seminars explore Charles L. Freer’s pio- Explore the expression of iden- daughter of Martha Washington. Site seminars offered during the neering interest in Chinese textiles tity, class, and race through the Hillwood holds the foremost Symposium will provide behind- as well as Gu family embroidery. social and material histories sur- collection of Russian imperial art the-scenes access to the renowned Visit The Textile Museum to rounding African-American quilts in the US as well as outstanding textile collections held by examine the archives of George at the Smithsonian Anacostia French furnishings and objects, Washington, DC-area institutions Hewitt Myers, Irene Emery, and Community Museum. including over 2,500 textiles. large and small, and offer special Charles Grant Ellis, who left Several seminars will offer Our tour of Tudor Place will insight into a range of textile rich collections of handwritten in-depth perspectives on the role focus on furnishing textiles and traditions with talks by curators, material reflecting a kind of of women's fashion in American clothing on display, includ- weavers, and other experts. intimacy with objects seldom history. The Sewall-Belmont ing Federal period furnishings, Learn firsthand about the seen in today's digital age. A House, which houses one of the and clothing worn by Caroline velvet ikat process, from cocoon tour of the concurrent exhibi- most expansive and unique col- Ogden-Jones Peter (1894-1965), to the final product, with Rasul tions, “The Sultan’s Garden: The lections from the women’s suf- the wife of Armistead Peter III. Mirzaahmedov, master velvet Blossoming of Ottoman Art” and frage and equal rights campaigns, For seminars focusing on ikat weaver from Margilan in “Dragons, Nagas, and Creatures will offer a tour focusing on the design and contemporary fiber of the Deep” will be offered. National Women’s Party (NWP)’s art, join us at the National Tour the National Museum of use of persuasive language and Gallery and the Renwick the American Indian’s Cultural imagery on banners, costumes, Gallery. We'll see the master- Resources Center, the institution’s capes, sashes, and ribbons. At the pieces of the National Gallery of collections storage and research Daughters of the American Art’s M.C. Escher Collection, one facility, and see native textiles Revolution Museum, we'll of the world's largest and most from North, Central, and South preview the exhibition America. “Fashioning the New As we gather in the nation’s Woman” and discuss capital, it will be fitting to explore new mannequin and the many historical American mounting techniques collections available to us. At the and materials, then Library of Congress, we'll tour see the museum’s the Great Hall in the Italian period rooms. Tudor Place collection, a gift from Renaissance Thomas Jefferson Martha Washington: printed cotton Freer Gallery of Art, Building and enjoy a special banyan to be featured in the Tudor Smithsonian Institution, Place site seminar for TSA attendees. viewing of textile-related materials Washington, DC, Gift of (Inset shows fabric pattern.) Charles Lang Freer 2 tsa newsletter tsa board of directors complete collections of his works, the mind and imagination, to OFFICERS focusing on the origins of Escher’s encourage and support you in

President analytic elements of design that your own directions. I know that Elena Phipps have many commonalities with From The some of my favorite scholars and tel 212/349-4485 textile designs and patterns. At the long-time friends and colleagues [email protected] Renwick Gallery, we'll tour the President will be presenting and attend- Vice President exhibition “40 under 40: Craft ing, and I look forward to see- Matilda McQuaid tel 212/849-8451 Futures,” featuring 40 American ing them, as well as having the [email protected] artists born since 1972 working in chance to get to know new ones. Recording Secretary craft, decorative arts, and design, Dear Members: Symposium Opportunities Roxane Shaughnessy followed by a panel discussion tel 416/599-5321 ext. 2226 Spring is here, and our We are very grateful to those of [email protected] among the artists. Symposium Registration is open! you who have helped us in our Treasurer planning and sponsorship, and at Mary Littrell Exhibits & Marketplace When you have the chance this time we still could use help tel 970/219-6509 Other highlights of the Symposium to review the program you will [email protected] from all of our members. We are include special exhibitions at the share my amazement, I am sure, Director of Internal Relations looking for sponsors to help with Maryland Institute College of at the depth and breadth of the Mary Anne Jordan the costs of all the events, and Art, the US Botanic Garden, the interests and expertise of our tel 785/864-3919 we are also hoping that some [email protected] Daughters of the American organization’s membership. From of you may help us to provide Director of External Relations Revolution Museum, and The Andalusi textiles to the semiotics scholarships to our student and Michele A. Hardy Textile Museum, as well as a of handkerchiefs, the politics of tel 403/220-4137 new professional members, our Marketplace where textiles and cotton to the patronage of kings, [email protected] general members who may need related products from across the dyes as weapons to garments Past President help, as well as our international nation and around the world will and identity—these are only Patricia Hickman members who travel so far to be available for purchase. Visit the some of the subjects that will tel 845/947-8735 participate and whom we wel- [email protected] TSA website for more information. come from members from the come heartily. Can you help by http://www.textilesociety.org/ US, India, France, the UK, Spain, DIRECTORS AT-LARGE sponsoring a student or member? symposium Korea, Japan, Canada, Turkey, Gerry Craig Can you contribute even a small tel 785/532-6605 Indonesia, China, and Africa [email protected] Registration (among other places). In addition, amount to help offset costs? Do you know of an organization that Joanne B. Eicher Early Symposium registration our Symposium co-chairs, Sumru tel 651/645-2914 Krody and Cecilia Anderson, and may like to sponsor a lunch or [email protected] is $435 for TSA members and their planning team have devel- coffee break, providing an impor- Sarah Fee $515 for non-members. The oped 15 site seminars that will tant opportunity to network tel 647/347-9246 deadline for early-bird registration and mingle with friends and [email protected] is May 31, 2012. For registration provide first-hand and behind- colleagues? Please contact me if Christine Martens forms and other information, the-scenes experience with some [email protected] you have some ideas, or go to visit the TSA's website. We look of our great (and small) institu- the TSA website’s Donate Now or Barbara Shapiro forward to seeing you in Washington, tions, museums, historic houses, tel 415/882-7401 Symposium Sponsorship pages: DC, this fall as we explore the and government facilities. [email protected] http://www.textilesociety.org/ myriad ways textiles pervade our They have also put together Ann Svenson symposia_2012.htm [email protected] lives and express political messages. a number of interesting pre-and post-conference tours and work- See you in Washington! TASK REPRESENTATIVES –Cyndi Bohlin shops, including a focus on the (And, by the way, I am pres- TSA Website Coordinator 2012 Symposium Committee understanding of weave struc- Susan Powers ently teaching at UCLA/Getty [email protected] tures from three different per- in Los Angeles until mid-June. spectives—one presented by Ann TSA Listserv Manager I would like to meet local TSA Lydia Fraser Rowe on warp-pattern weaves, members while I am in CA. I [email protected] another by Ann Hedlund on will be happy to meet people on TSA Newsletter Editor weaves of the Southwest, and Friday mornings at the Getty. If Karen Searle one by Julie Holyoke on velvet [email protected] anyone would like to come and weaves. These workshops fulfill TSA Bibliography Editor have coffee with me, please let Marlys McGuire a goal of TSA to help our mem- me know.) [email protected] bers enlarge their scope and abili- Best, 2010 Shep Award Chair ties to understand textiles, and Kate Irvin we are very happy to be able to Elena [email protected] offer these special opportunities. Sabrina Gschwandtner, “Hula Hoop,” Elena Phipps TSA Symposium 2012 Co-Chairs All in all, I hope that each of Sumru Belger Krody 2010, Smithsonian American Art President, TSA 2011-2014 [email protected] Museum, Gift of Chris Rifkin in you will find something of [email protected] Cecilia Gunzberger Anderson honor of the 40th anniversary of interest, something that sparks [email protected] the Renwick Gallery. Photo: Sabrina Gschwandtner. Spring 2012 3 Callañaupa is the Director Culture by Berg Publishers, and of the Center for Traditional is Regents’ Professor Emerita at TSA Textiles of Cuzco, and Joslyn the University of Minnesota. She teaches textile design at Clarion recently received the University Member University, PA. Joslyn’s textile of Michigan College of Social design work was included in Science’s 2012 Outstanding News “Focus Fiber” at the Canton Alumni Award. Museum of Art, Dec. 2, 2011- Mar. 3, organized by the Textile Conservators Joyce Hulbert Arts Alliance of the Cleveland and Elise Yvonne Rousseau Member News Museum of Art. lectured at the Bay Area Kate Kretz, “Your Fragility...,” 2010, Conservation Guild on Feb. 25. Judy Newland and Karen Searle mother's hair from gestation period have joined the Board of Directors Kate Kretz has a solo exhibit, embroidered on child's garment, Hulbert discussed her experience of Weave A Real Peace (WARP). “The Sharp World,” at Hardcore velvet, 14 x 15". with infill/lacunae in conservation mounting projects and her insights The organization serves as a Art Space, Miami, FL. sculptural works, embroidery, on working with ancient tapestry. catalyst for improving the quality http://www.katekretz.com and unique techniques—and is Rousseau spoke on mold and pest of life of weavers and textile arti- beautifully installed at the DAI. abatement in large infested col- sans in communities-in-need. Eulanda Sanders exhibited her This exhibit was organized by the lections, and her experiences with hhttp://weavearealpeace.org work in “I Make/U- Buy: Texiles SJMQT and curated by Corsini the cleaning and repair of several in the Electronic Age” at the and Professor Ni Yuehong of Member Exhibitions historic textiles and garments. Robert Hillestad Textiles Gallery, Tsinghua University, Beijing. It is Polly Barton is one of eleven University of Nebraska-Lincoln, the first time that a show of con- Jane Hoffman and Ann Keuper fiber artists in the exhibition, Feb. 27-Mar. 30. Sanders was temporary Chinese fiber art has will present a workshop on “Sourcing the Museum,” curated also a presenter in a related come to the US. After its 2009 natural dyes May 11-13 at Lew by Jack Lenor Larson, Mar. 23 - seminar, “Starting Your Own showing in San Jose, a portion Sorenson Community Arts Aug. 19 at The Textile Museum, Online Business: From Practical then traveled to the American Center Tucson, AZ. Registration: Washington, DC. Considerations to Elegant Textile History Museum. The art- http://www.tanqueverdeschools. Solutions” on Mar. 1. works will return to China after org Nilda Callañaupa Alvarez, of http://textilegallery.unl.edu/ its run at the DAI.. For more Cuzco, Peru, and Catherine info: Linda McIntosh presented a Joslyn co-curated the exhibit Carol Westfall is part of the www.daytonartinstitute.org program on “Natural Dyes in “Engaging History: Continuities Distinguished Educators exhibi- www.sjquiltmuseum.org Thailand and Laos” on Mar. of Textile Traditions in the tion, one of the Fiberphiladelphia 29 at the Tilleke & Gibbins Andes,” Jan. 30-Mar. 13 at 2012 celebrations held during The College of Social Science, Textile Collection, Bangkok. Sturgis Library Gallery, Kennesaw March and April in Philadelphia, Michigan State University, McIntosh also gave presentation State University, Kennesaw GA. PA. This show at the Crane will host a May 3 lecture by in Singapore on Apr. 20 for the The exhibit catalogue ($12), with Building included the work Joanne B. Eicher titled, “Global Friends of the Asian Civilizations an essay by Ann Pollard Rowe, of Gerhardt Knodel, Lewis Perspectives on Dress and Museum Textile Group on is available from Catherine Joslyn Knauss, Adela Akers, Cynthia Fashion.” Eicher is Editor-in- “The Influence of Indian Trade (subject “exhibit catalogue”) at: Schira, Rebecca Medel, Joan Chief of the Berg Encyclopedia Textiles in Mainland Southeast [email protected] or Livingstone, Pat Hickman, of World Dress and Fashion, Asia: Examples from the Tilleke [email protected]. Deborah C. Warner, Warren Series Editor of Dress, Body, Seelig, Jason Pollen, Gyongy & Gibbins Textile Collection.” Laky, and the late Lillian Elliott. Her talk introduced the muse- TSA Headquarters http://www.fiberphiladelphia.org um’s conference, “Patterns of Charlotte Cosby, Manager Trade.” TSA National Office Member Lectures/ http://www.tilleke.com TSA Member Services Workshops Registrar, Symposia, Study “A Day in Velvet,” a Lisio Tours, and Workshops In conjunction with the exhibi- Foundation Workshop, will be tion “Changing Landscapes: held at the TSA Symposium PO Box 193 Contemporary Chinese Fiber on Sept. 19. Julie Holyoke Middletown, DE 19709 Art” at the Dayton Art Institute will teach this day-long work- tel 302/378-9636 through Jun. 17, San Jose shop on figured velvet at the fax 302/378-9637 Museum of Quilts & Textiles Washington Court Hotel. The [email protected] curator Deborah Corsini gave Lisio Foundation, an historic mill http://www.textilesociety.org a presentation on Mar. 25 on specialized in the production Your source for membership the history and creation of this and study of figured silk velvets, forms, study tour information, exhibit. “Changing Landscapes” Detail of an historic velvet from the and the latest news. includes 45 pieces—tapestries, Lisio Foundation archives. 4 tsa newsletter Qaraqalpaqs of the Aral Delta written by David and Sue Richardson will be published by Prestel Verlag in July. It introduces the textiles and weavings of the Qaraqalpaqs to an English-speaking audience for the first time. The “Arab Spring” by Polly Barton, 2011, Silk, double ikat, woven in 3 panels. 92" x 16". volume is organized into four will supply sample kits for each Shapiro will offer a class on attending to the specifics of the sections. Book 1 explains who participant. Sample analysis and basketry techniques called “Not modes or garments discussed the Qaraqalpaqs really are and documentation will be practiced, Your Mother’s Laundry Basket” thereunder: “Assumptions about where they come from. Book 2 and design and production of at the Downtown San Francisco the motivations behind the don- covers the Qaraqalpaqs’ choice traditional and rare velvets studied. State University facility for the ning of uniforms among rock of fibers, natural dyes, and For details see the Symposium Osher Lifelong Learning Institute, musicians, as well as among looms and describes the textiles program on the TSA website and Tuesdays, Jun. 19- Jul. 10. The contemporary youth, must be that they wove locally as well visit the Lisio Foundation’s website: course covers several techniques re-examined.” Nordic Fashion as those that they imported. It http://www.fondazionelisio.com and references global historic Studies, published in Stockholm provides new insights into the traditions and the Contemporary in 2012, presents a selection of local speciality craft of producing Deb McClintock, Independent Art Basket movement. the research papers delivered in polished cotton alacha, and the Scholar and Weaver, in col- http://olli.sfsu.edu May, 2008 at the first “General little-known ikat weaving and laboration with Dr. Sandra Cate, Research Workshop in Fashion silk sash weaving industries of Department of Anthropology, San On Apr. 14, Adrienne Sloane Studies for the Nordic Region” Khiva. Book 3 covers all aspects Jose State University, conducted presented a workshop on “Knit organized and hosted by the of Qaraqalpaq headwear, cos- primary field research for a panel Painting” at the Textile Arts Centre for Fashion Studies at tume, and jewellery, while Book presentation at the Association Center, Brooklyn, NY. Stockholm University. Langkjaer’s 4 reviews Qaraqalpaq dwellings for Asian Studies Conference in http://textileartscenter.com chapter is on Open Access at: and their furnishings, describ- Toronto in March, 2012. The http://www.adriennesloane.com http://saxo.ku.dk/arkiv_2012/ ing the Qaraqalpaq yurt and its paper, “Handmade Futures: NFS_Langkj_r.pdf/. construction in detail, along with Design, Labor and Identity in Bobbie Sumberg presented her its associated tent bands, storage Asian Craftwork: Re-crafting Silk ongoing research on Mexican Weaving A Chronicle by Judith bags, and decorations. Each sec- in Southeast Asia,” addressed the samplers to the Embroiderer’s Poxon Fawkes chronicles the tion is generously illustrated with design flexibility given to Lao/ Guild of America International author’s life as an artist and photographs by the authors, sup- Thai weavers by their technology, Conference in Naples, FL, in weaver, and a provides a retro- plemented by numerous images the changing roles of weavers September, 2011. spective of her beautiful hand- extracted from the archives of within their country, and the use woven tapestries. She also relates museums in Qaraqalpaqstan and Russia, which have never been of the “Lao” khao tam huuk, as Member Publications stories of the competitive/col- major factors in generating the laborative nature of commissions previously published. authenticity and distinguishing Jacqueline Davidson’s new that were integral to the creation ISBN: 978-3-7913-4738-7 characteristics of Lao weaving. book, Nets Through Time: The of many of her tapestries. She Hardcover, 480 pages, Technique and Art of Knotted discusses her favorite weaving 760 color illustrations, 240 B/W Barbara Shapiro will teach Netting is available through her techniques and her original ideas http://www.qaraqalpaq.com three classes on indigo at HGA’s website, for tapestries. Convergence 2012, Long Beach, http://www.netsthroughtime.com Schiffer Publishing Ltd. Bobbie Sumberg edited and CA, Jul. 15 -21. Her classes fea- ISBN: 978-0-7643-4063-5 contributed to the Museum of ture her “Greener Indigo” formu- Michael A. Langkjaer, PhD. Hard Cover, 8.5 x 11, International Folk Art’s catalog of la, a non-toxic, no-fumes formula and lecturer at the Saxo Institute, 160 pages, 98 color images, its Macedonian dress collection. originally used in the 18th cen- History Section, University of $39.99 Titled Young Brides, Old Shirts: tury in Europe before the advent Copenhagen, has a chapter on http://www.schifferbooks.com Macedonian Embroidered Dress, it of the strong toxic industrial “Rock Military Style: Motivations is available from the Museum of chemicals commonly used for Behind the Military Look of New Mexico Foundation website, indigo reduction today. Participate 1960s Rock Musicians” in the http://worldfolkart.org in all the Convergence activities anthology Nordic Fashion Studies, Sumberg also published an article or sign up for Barbara’s work- edited by Peter McNeil & titled “Powerful Protection” in shops at: Louise Wallenberg, pp. 271-291. Hand/Eye, 6, Fall 2011. http://www.weavespindye. Langkjaer indicates his vexation http://Hand/eyemagazine.com org/?loc=8-00-00 with a certain type of cultural http://www.Barbara-Shapiro.com studies method that uses terms such as “transgressive” without Knit painting by Adrienne Sloane.

Spring 2012 5 Textiles and Cultural displays. I did not see these two to study not only the Spanish Context: Ecuadorian types of textiles on the pow- language but the cultural con- Artesanía Vendors and wow trail when I was doing my text of textile production that Transnational Markets research. Products common to fuels a transnational migration both sites include small tapestries of indigenous artisan vendors. made into bags, alpaca sweaters The country of Ecuador and its n April of 2011, I received and hats, inexpensive children’s artisans have felt the impact of a Beatrice S. Demers Foreign I toys, ocarinas, and bead neck- the global recession, which has Language Fellowship from the laces. More items with local not only depleted the market for Rhode Island Foundation to study indigenous motifs are found their goods abroad, but reduced Spanish in Ecuador (Foundation 1. The Otavalo market, June, 2011 in the Otavalo market than in the number of visitors traveling 2012). The Demers Fellowship standing of the cultural context the powwow market booths of to the region. This summer I will allowed me to travel to Otavalo, from which the vendors travel. Ecuadorian vendors. A more begin an investigation of how for four weeks between May and This summer, I will be conduct- careful comparison of these mar- transnational migrant indigenous June, 2011, and to Cuenca, for ing a pilot study on migrant keting choices will be part of my artisan vendors construct com- two weeks in Jan. 2012. Latin American artisan vendors, summer 2012 research. munity in the Southern New Otavalo is home to one of particularly from Ecuador, who In January, I returned England context. I also hope to the largest indigenous textile market their wares in Southern to Ecuador to study at the return to Ecuador in order to fur- markets in South America (1), New England. Fundación Amauta in the cosmo- ther my understanding of indig- and many artesanía vendors In Otavalo, I lived on the politan city of Cuenca. Located enous artisan marketing within a from this region also market corner of Poncho Plaza where in the province of Azuay, Cuenca western hemispheric context. their products in North America. Otovalo’s famous market is is Ecuador’s third largest city and During my dissertation research – Blaire O. Gagnon set up and broken down on a a UNESCO-designated World in 2006-2007, the presence of Assistant Professor of Textiles, daily basis seven days a week. Heritage Site for its colonial Latin American vendors, many Fashion Merchandising and The Otavalo Spanish Institute architecture. It also boasts numer- from the Otavalo area, on the Design, University of Rhode arranged many outings to muse- ous cultural institutions such as North American powwow trail Island ums, archaeological sites, and the Museo de Arte Moderno, piqued my curiosity, but, I did nature reserves, and catered to the Museo del Banco Central, not have the language skills Notes my particular interest in textiles and the Centro Interamericano to work with this population. 2012. Beatrice S. Demers Foreign by arranging a weaving lesson in de Artesenías y Artes Populares At one powwow, 25% of the Language Fellows Program, Vol. Ilumán and a visit to the work- (CIDAP). The Cuenca region is vendors were from the Otavalo 2012. Providence: Rhode Island shop of backstrap loom weaver well known for its beautiful warp region. Latin American vendors Foundation. Miguel Andrango in Agato (2). resist (ikat) textiles (4). The term are not always welcome in the One of the first things I rebozo or macana is often used to powwow context for several Young-Sanchez, Margaret, 2011, noticed was that the predomi- describe this type of cloth tradi- reasons: the North American “The Cholos of Azuay: Historical nant textiles in the Otavalo mar- tionally worn by cholas. The term Introduction.” In Costume and indigenous vendors believe that ket are rarely sold on the North cholo refers to Spanish-speaking History in Highland Ecuador, they are not Native American, American powwow circuit. The descendents of Spanish colonial- A.P. Rowe, ed. Austin: University though they will agree they are Otavalo market is filled with ists and indigenous people, one of Texas Press. indigenous; their products are brightly colored tapestry woven of the four socioeconomic groups thought to be mass-produced, not rugs with images of indigenous that make up the population of hand-made; and the economic persons against backgrounds Azuay (Young-Sanchez 2011). conditions in their home countries of mountains, geometrics, and During our trip, we visited the gives the Latin American vendors Escher-like patterns of fish and workshop of José Jiménez, a well a competitive edge. Bottom, left to right: lizards (3). In addition, bright known local weaver, to see the 2. Renowned Otovalo weaver Travel to Ecuador provided woven synthetic textiles made ikat process. Miguel Andrango. me the opportunity to study into tablecloths, scarves, and The Demers Fellowship 3. Tapestries in the Otavalo market Spanish in a one-on-one setting with traditional motifs. travel bags create eye-catching provided me the opportunity that also facilitated an under- 4. Ikats and embroideries for sale in José Jiménez’s workshop in Cuenca.

6 tsa newsletter The Mola: Imagery of sleeves are added, creating commercial advertise- blouses that the women wear ments. Household Culture and Politics and sell to the tourist trade. implements and tools, Mola-making, wearing, and mythological tales, he mola is a multilayered selling are all important aspects biblical stories, and textile art form that grew T of Kuna culture and life. The connections with local out of the religious and cultural combination of fine sewing and world politics are traditions of the Kuna, an indig- techniques and the Kuna art- all themes reflected in enous people of the Republic of ists’ creative vision has elevated mola design motifs. Panama’s southern Caribbean this textile form to unparalleled Although the Kuna coast. When European explora- artistry. The strong visual impact people are geographi- tion came to this part of the of Kuna mola art makes it one cally isolated on their world in the 15th century, the of the most evocative and tran- mainland and island native inhabitants tattooed and scendent indigenous art forms. homes in the Comarca painted their bodies with vegetal Two Kuna women fishing mola, c. Imagery from the women’s de Kuna Yala, they are not dyes in geometrical and floral 2005. The molas depicting “Diana surroundings and images from immune to outside cultural politi- La Bruja” (Diana the sorceress or designs. Missionaries in the mid- popular culture are transformed cal imagery. The Kuna are proud witch as she is known to the Kuna) 19th century taught the Kuna into iconic artworks through a of their cultural identity and have are some of the most extraordinary the importance of clothing the examples of fine contemporary highly evolved and sophisticated great respect for those who rep- body; cloth was provided and design and workmanship. They aesthetic grammar. resent political freedom. Popular the Kuna painted it with similar illustrate in elaborate detail, fine Molas tell endless stories of political figures, including John stitch work and color palettes many designs and added a sewn bor- island life: they may represent F. and Jacqueline Kennedy and aspects and activities of Kuna life der. With the availability of traditional myths or shimmer- a Panamanian presidential can- and ceremonies. vibrantly colored fabric and scis- ing geometric designs. Many didate, Galindo, have appeared sors obtained through trading molas have nature motifs depict- in the mola designs of several individuals, the mola artists have with passing vessels, the Kuna ing plants and ocean life, the generations of mola makers. stylized their features and associ- women developed a unique art sky or the rain forest; others Through print and radio commu- ated artifacts into their designs. form and created increasingly have designs derived from nications and stories told of these The many visual sources complicated chemises. are filtered through the Kuna Molas are constructed of artist’s creative perspective and multiple cloth layers that are Galindo mola, c. 2005. imagination to be interpreted in embellished with appliqué, This politically themed mola depicts Juan de her mola art and portrayed in a reverse appliqué, top-stitching, Arco Galindo, the 1964 beautiful and often humorous and embroidery. As young girls political candidate fashion. The mola represents the the Kuna women learn the art for Panama’s National incredible range of the human of mola-making from their moth- Patriotic Coalition. A imagination as well as the Kuna’s ers and grandmothers, initially political poster featuring a bespectacled Galindo unique and vibrant aesthetic rep- creating molitas and progressing in his gesture of leader- resentation of their world. to full-sized panels. Pairs of mola ship became a popular – Edith Crouch panels–which compliment one design motif for molas Author of The Mola: Traditional another but are never identi- during and after his Kuna Textile Art. Schiffer cal–are attached to a yoke and candidacy. Publishing, 2011.

Note: Molas pictured are from three private collections.

John F. and Jacqueline Kennedy mola blouses, c. 1960. Magazine photographs and souvenirs brought JFK’s image to the Kuna in the early 1960s. They memorialized this popular political figure in this mola blouse front (left) sur- rounded by laurel wreaths, the chief of state symbol, his rocking chair, and the P.T. 109 boat. The mola panel on the blouse back (right) features the First Lady in stylish attire with daughter, Caroline, by her side.

Spring 2012 7 Taiwan Aboriginal artistic values of these through more “Taiwanese” identity. affinity, and possibly also the the display of its permanent col- Besides matters of ethnic pride, original availability of dye stuffs. Textiles: Translations lection, special programs and official recognition of the minori- With increasing population and Transformations exhibitions. ties bestows certain legal rights pressures from Chinese immi- As a visitor to the museum, to those groups and grants them grants, some aboriginal groups Background of Yushan the collection of traditional textiles some favorable economic con- retreated to the mountainous Tsai’s Exhibition immediately attracted my atten- cessions. uplands, where they lived in rela- tion. Colorful and varied fabrics The yuanzhumin speak lan- tive isolation with a degree of he Shung Ye Museum of and garments were set within the guages of the Austronesian family cultural continuity until modern TFormosan Aborigines is cultural context of their respec- and are racially distinct from the times. The Yami (Tao) live on located on Yang Ming Mountain tive groups. The equipment and Han Chinese, who migrated to Orchid Island, some 60 miles overlooking Taipei city in Taiwan. techniques used to produce them the island from the 16th century apart from the main island of From Jun. 19-Aug. 1, the exhibi- were included in the display. For onward. Austronesian is one Taiwan, and are the most iso- tion, “Recovering Lost Woven a hands-on weaver and textile of the largest language families, lated of all. There is evidence Treasures” will be on view. It historian like me, these displays with speakers dispersed widely suggesting that the Yami reached consists of 86 reproductions and were valuable sources of informa- throughout maritime South East Orchid Island less than 1,000 creative interpretations of beauti- tion and a powerful motivation to Asia and the Pacific Islands. It years ago from the Batan islands, ful historic textiles from Taiwan’s seek further information. seems likely that the early aborigi- in the Bashi Channel between “first peoples,” the yuanzhumin, In the early days of my nal settlers divided the island Taiwan and Luzon, the largest of woven and embroidered by research, I could find little infor- into separate territories where the Philippine Islands. TSA member, Professor Yushan mation in English about these distinctive cultures were able to Yushan has made a special Tsai, shown in Fig. 1 modeling a textiles. As I widened my search develop in relative isolation. This study of Yami textiles as part of beautiful costume from the Rukai for sources, my quest took me is easily observed in the textile a co-operative research project indigenous group. The exhibition to the Fu Jen Catholic University styles, which have preserved their with a team from Kobe Design is the culmination of more than Department of Textiles and distinct tribal identity over long University, Japan, and showed ten years of her research and Clothing, College of Human periods of time. some of the resulting samples in textile reproduction work. Ecology, where I met Professor Head hunting was part of her exhibition. We may assume When I lived in Taiwan Yushan Tsai. Here, I was able the culture of the Taiwan groups that the unique Yami patterns in from 1996-99 I was a frequent talk to the professors and exam- (except for the Yami) as it was blue and white and their weaving visitor to the museum. It was ine the collection of historic in other Austronesian popula- techniques reflect a very ancient established by a private founda- textiles which would become the tions, however, it was ended by continuity. Like most of the other tion in 1985 and opened its basis for a departmental museum the 1930s during the period of yuanzhumin groups, the Yami doors in 1994. Its mission was in this University near Taipei. Japanese occupation,1895-1945. originally wove their cloth on to showcase a private collection I am happy to say that prog- The Japanese occupiers also dis- backstrap looms using fibers from of artifacts from Taiwan's indig- ress has been made since then couraged the yuanzhumin from local forms of ramie, which differ enous peoples, and to promote, in researching and publishing weaving their traditional textiles from that research, and stimulate public about these textiles. Yushan has and practicing the art of the tat- used on the awareness of the cultural and authored and published several too. It is worth noting that pat- main island. books, alone and in collabora- terns on clothing and easily visible Today tion with her colleagues at Fu Jen tattoos enhanced the status and these native University.* aesthetic appeal of the wearer fiber plants Statistically, the yuanzhumin and would have revealed the have been constitute a small minority of individual’s tribal affiliations. replaced non-Han Chinese population, Some of the tattoo patterns by manu- not more than 2% of the total seem to be reminiscent of old factured population of the island, which black and white textile patterns cotton is predominantly Han Chinese. on ramie textiles which I saw in yarn. Fig. But, with recent political changes, the museum, but, experts dis- 3 shows interest in the aboriginal cultures agree on the connection between Yushan’s has been part of a shift to a tattoo and textile patterns. Both adaptation patterning and predominant of Yami color combinations reflect aes- traditional thetic preferences and tribal patterns with designs 1. Yushan Tsai in Traditional Rukai dress. drawn from 2. Heads motif, possibly reference the paint- to trophy heads. Reproduction of an ing on their old textile by Yushan Tsai. famous 3. Creative transformation of Yami fishing textile patterns integrated with painted boat designs by Yushan Tsai. boats.

8 tsa newsletter Yushan was trained as a graphed them and textile professional in France and given them new life has been Associate Professor of in her creative trans- Textile Design in the Department formations. Through of Textiles and Clothing, College the medium of her of Human Ecology, Fu Jen crisp and impeccably Catholic University, Taipei since woven and embroi- 1993. Under the inspiration dered samples we and guidance of Department are encouraged to Chairman Sister Maryta Lauman, take a fresh look at a collection of historic textiles the wealth of color, from Taiwan and mainland china pattern, composition, has been assembled. This fine variety of materials and collection is now housed in a techniques employed small research museum and pro- in making these mean- vides valuable resource material ingful cloths. 4. Memories of Past Grandeur. for study by staff and students. Contemporary interpretation of In addition to Figure 4 shows Yushan’s contem- traditional aboriginal textiles by her research, from porary expression of textiles from Yushan Tsai. 1999- 2001, Yushan a traditional source. and her colleagues at 7. Yushan at her dobby-style sample loom. She is For this exhibition Yushan re-weaving the pattern from the Pinpu man’s vest Yushan has used all available wove some samples and embroi- Fu Jen University were shown below. 8. Pinpu man’s vest. resources for her creative re- dered others in a counted thread involved in an educa- productions of the old aboriginal technique. In the case of weav- tional initiative sponsored by the intimately, and in “Recovering textiles: museum and private ing, colored weft threads were Council on Indigenous Peoples of Lost Woven Treasures“ presents collections with actual specimens: used to build the pattern into the the Executive Yuan (Taiwan’s leg- a unique glimpse of a rich and old books and catalogues with structure of the cloth. Figure 6 islative body). They were charged varied textile heritage framed photographs; and contemporary shows Yushan needle-weaving by with training a group of 15 tribal in a new vision for the 21st photographs of the old pieces. hand a Rukai embroidery pattern students as “seed” teachers in century. She freely shares these To determine what had into a warp on her loom. This a two-year course, after which discoveries in this exhibition, and gone into a textile’s making and pattern could later be converted the students would be prepared through her teaching, passes on reproduction, she had to perform into a loom-controlled weave on to return to their communities her knowledge to future gen- careful analysis of each example. a dobby loom at a great saving of to help revitalize their respec- erations of weavers and textile This fabric analysis involves time and effort. tive textile traditions, conduct scholars, and for this we are counting the threads in warp (the Fig. 7 shows Yushan at her research, and build cottage indus- grateful. lengthwise threads) and weft (the dobby-style sample loom. She is tries. Yushan taught her yuan- – Kathleen Forance Johnson crosswise threads) and noting re-weaving the pattern from the zhumin students how to weave the way they interact with each Pinpu man’s vest in Fig. 8. their traditional designs using the *Books by Yushan Tsai, published other (the interlacement). These Weaving complex pattenrs dobby mechanism to expedite by the Taichung County Cultural interactions are then recorded in on a simple loom, such as the textile production. Center in Taichung, Taiwan: a specialized graph called a weav- traditional backstrap loom of Yushan’s work focuses on Tablet Weaving: Technique and ing draft. (Fig. 5) A reproduction the yuanzhumin, is a very time- woven and embroidered patterns Creation (1998) can be woven from the directions consuming and exacting process. and structural analysis of rare Shuttle Weaving Technique and derived from the draft. Or, you A great deal of effort must be fabrics representing 13 of the Textile Structure analysis (2000, could make your own variations devoted to counting and select- 14 aboriginal tribes of Taiwan: reprint in 2007, 1200 NT $) as Yushan has sometimes done. ing threads, warp and weft, with Atayal, Truku, Sedeq, Yami, Textile Fabrics of Aboriginal Tribes Pattern can be either woven into which to build the pattern. Bunun, Tsou, Puyuma, Paiwan, in Taiwan: An Analysis of Textile the cloth or embroidered on top Yushan has worked both Saisiyat, Rukai, Pin-Pu, Amis and Structure and Weaving Patterns of the of a foundation cloth. from original textiles and photo- Thao. She knows these textiles Atayal Tribe (2006, with English graphs to create her reconstruc- translation, 700 NT $). tions. In some cases, she converted embroidered patterns into For more information contact woven patterns for her dobby The Shung Ye Museum of loom. She has patiently counted Formosan Aborigines and recorded the stitches of 282, Chihshan Road Sec 2, lovely old embroidered patterns, Taipei, 111 Taiwan (R.O.C) Fax: +886-2-2841-2615 5. Original Paiwan cloth fragment http://www.sinica.edu.tw/tit/ (left) and analysis work sheet with museums/1294_shung-ye.html draft (right). 6. Yushan needle-weaves a Rukai embroidery pattern on the loom.

Spring 2012 9 instances where there were no Both studies serve as examples of teacher of “primitive” techniques textiles, the existence of tunics exciting, new work that can be such as netting, I find this sur- and trousers at the time of depo- done on existing archaeological vey a valuable resource. The Book sition could be inferred from the collections. lace aspect of netted lace is not spatial relationships of groups of – Erica Tiedemann often discussed in the context of Reviews small clothing clasps where the net-making, and, I appreciate its original garments have disap- inclusion here. peared. By contrast, the woolen Nets Through Time: The – Karen Searle textiles of Thorsberg, including Technique of Knotted Netting two well-known tunics and a pair Jacqueline Davidson of trousers, were preserved in an War and Worship: Textiles Textiles from the Andes, acidic environment that dissolved 2012: Maine Authors from 3rd to 4th-century AD Fabric Folio Series the iron. Möller-Wiering also Publishing Weapon Deposits in Denmark Penelope Dransart and resolves the artifacts as they are ISBN 13: 987-1-936447-34-3 and Northern Germany Helen Wolfe now known with the artifacts as 156 pps. $19.95 Susan Möller-Wiering described in Conrad Engelhardt’s British Museum Press Jacqueline Davidson, in this book, Oxford, UK: Oxbow Books diaries and publications from the Distribution: David Brown provides an overview of the original 19th century excava- Book Company usan Möller-Wiering’s ways in which basic knotted net tions, to add the dimensions of ISBN 978: 0-7141-2584-8 War and Worship is an ambi- textiles have been used through- S artifact condition at time of exca- L12.99 tious study of the textiles that out history and around the world. vation and the details of their accompanied large weapon In the first three chapters she he British Museum Press placement in the sites. Her thor- sacrifices of the early first millen- discusses the knotting technique, has issued this small volume ough discussion of the material T nium in Denmark and northern the simple wood and bone tools on Andean textiles as part of draws on comparisons to local Germany. The sites of weapon that have been used to carry the its “Fabric Folios” series. These archaeological sites unrelated to sacrifices are characterized by thread and to gauge the rows of reasonably priced books for the weapons deposits as well as large deposits of weapons and knots throughout history, and textile lovers explore the vari- a far-reaching survey of roughly military equipment that were provides archeological examples ety of color and pattern in the contemporaneous tunics, trou- damaged and sunk into lakes or of early nets. A chapter on “Nets museum’s collections of world sers, and cloaks. bogs. Current hypotheses on the for Utility” discusses the wide- textiles, and may also serve as The 12th chapter of War and origin of these sites propose that ranging use of this utilitarian source books for designers. For Worship is Lise Ræder Knudsen’s local victors ritually consecrated fabric for fishing nets, in balance the Andean volume, the tenth companion study of the tablet- and then cast off the belongings scales, and for carrying bags and in the series, over 30 spectacu- woven textiles from the same of defeated foreign warriors. head coverings since its develop- lar Peruvian and early Andean sites. Consistent with Möller- Möller-Wiering gives ment in prehistory. textiles are introduced, with Wiering’s work, Ræder Knudsen detailed documentation for A chapter on “Lace” surveys over 100 photos, including documents the tablet-woven the textile artifacts from four the ornamental uses of netting many detail images. The textile artifacts in fine detail. Using well-known sites located on the in three types of lace formed structures and techniques are illustrations, she distinguishes Jutland Peninsula: Illerup Ådal, with the same knot: filet, lacis, described and a brief overview among several weaving struc- Vimose, Thorsberg, and Nydam. and guipure. Examples of these of their environmental and cultures to show the many possible Excavation and research on the laces were used for clothing and tural contexts is provided. The approaches to weaving a tablet- sites began nearly 150 years ago, decorative household goods examples range in date from woven border onto a larger piece with much attention going to the from doilies to bedspreads. The the Paracas to the Inka and of cloth. She develops the argu- weapons. Systematic investigation chapter “Nets for Ceremonies Colonial periods (200 BC to late ment that tablet-woven borders of the textiles lagged, leaving this and Celebrations” describes the 18th century AD.) A Glossary may be woven to the fringed area of inquiry wide open for use of netting for ceremonial cos- provides further explanation of edges of textiles after they are discovery. tumes in various cultures, such techniques and a Bibliography taken from the loom. One remarkable achieve- as veils and the famous feather encourages further study. War and Worship breaks new ment of this work is the coordi- capes of the Hawaiian islands. – Karen Searle ground across four old collec- nation and analysis of very dif- A final chapter, “Contemporary tions. By investigating long-over- ferent types of artifact evidence Fiber Art,” outlines the uses of looked textile evidence, Möller- over several sites. The chemical netting with non-traditional mate- Wiering has expanded the body composition of the ground at rials by such fiber artists as Lillian of information about weapon Illerup Ådal, Vimose, and Nydam Elliott, Faith Heisler, Luba Krejci, deposits and the rituals that pre- favored the preservation of met- and Rebecca Medel. ceded them. Ræder Knudsen’s als, wood, bone, and antler. At Each chapter concludes with work brings new insight to the these sites many small fragments a detailed bibliography. As a state of weaving technology in of woolen textiles were pre- the 3rd and 4th century AD. served in close association with iron artifacts. At Nydam, in some

10 tsa newsletter Scythia Textile Art Glorious Heritage from Warm trunks and chests, in danger of Socks to High Art, will provide an being discarded. They deserve a Scythia Textile Art has changed Textile historical perspective of the craft. permanent home, where knitters its email and web addresses. Melissa Leventon, Principal can study and be challenged and The website is updated, and has of Curatrix Group Museum inspired by them.” In addition to Community “Fibremen” exhibition images and Consultants and former Curator- knitting, the museum plans to video. Scythia has sponsored inter- in-Charge of Textiles at the Fine collect design information and News national textile biennale exhibitions Arts Museums of San Francisco, related literature for scholars in several countries around the will speak on the challenges seeking research opportunities, as world since 1998, most recently in of starting a textile museum, well as for anyone with an inter- Kherson, Ukraine. El Palacio Online based, in part, on her six years est in the subject. [email protected] of experience as consultant to A continent-wide audience El Palacio Magazine, published http://www.scythiatextile.com by the Museum of New Mexico the Queen Sirikit Museum of of ardent knitters and crocheters, for nearly 100 years, celebrates Queen Sirikit Museum Textiles in Bangkok that opened educators, designers, researchers, the digital age just as the state of of Textiles in spring 2012. historians, curators, archivists, New Mexico celebrates its cen- Leslie Bellais, Curator of industry suppliers, and publishers The Queen Sirikit Museum of Costumes and Textiles for the are expected at the Symposium. tennial, by putting the first ten Textiles in Bangkok, Thailand years of the magazine online for Wisconsin Historical Society, and For more information, contact opened to the public this spring. Maya Lea, Curator of the Helen Karen Kendrick-Hands at public access at: The museum’s mission is to col- Louise Allen Textile Collection tel 313/ 600.1670 http://archives.elpalacio.org. lect, display, and preserve textiles at the University of Wisconsin- [email protected]. With the changing times, the from East, South and Southeast Madison, will create a special http://www.facebook.com/ vision of many magazine publish- Asia, with a special emphasis on knitting and crochet exhibit, KnittingHeritageMuseum?sk=info ers—including El Palacio’s—has the textile heritage of Thailand. broadened in order to continue “Curator’s Choice.” http://www.ravelry.com/groups/ An international symposium, Knitting and crochet have producing a print product while museum-wip “Weaving Royal Traditions been part of the fabric of life also developing an online version http://knittingheritagemuseum. through Time: Textiles and Dress since the colonizing of the and full archive for web-savvy wordpress.com at the Thai Court and Beyond,” Western Hemisphere, yet this audiences. When El Palacio enters is being planned in conjunction its centennial year in 2013, the legacy is often overlooked with the international launch of and under-appreciated. A new balance of the publication years the museum in January, 2013. are slated to be available online. Knitting Heritage Museum In addition to pre- and post-con- planned for Madison, WI aims to http://www. ference tours there will be special museumofnewmexico.org correct this long-standing neglect, opportunities to see behind the and will embrace the rich scenes at the new museum and TSA Listserv Craft and Compassion: heritage of educational, research, visit private collections of textiles A Special Collaboration artistic, cultural, and fellowship The mission of the TSA list- not accessible to the general opportunities of knitting and serv is to provide a venue for public. For further information, The Fetzer Institute’s Labor, related yarn arts. ongoing dialogue among our please visit the QSMT website: Trade and Crafts FAC (Fetzer Wisconsin, located centrally diverse and globally dispersed Advisory Council) has completed http://www.qsmtthailand.org within North America, is the textile community. Listserv a global survey of individual or Exploratory Symposium home of one of the “godmoth- members engage in conversa- group art and craft practitioners ers” of North American knitting, for a National Knitting tions about research; share whose methods and results pro- Elizabeth Zimmerman, as well information about particular Museum mote integration, community, rec- as many contemporary knitwear textiles, techniques, people, onciliation, forgiveness, and love. Thanks to the vision and designers. The state also boasts and regions; announce pub- The link between art and craft generosity of the Wisconsin supporting organizations such as lications and exhibitions; and and these broader topics has been Historical Society and The the Wisconsin Historical Society, share research in progress. little studied and, in many cases, Yarn Group of the National the University’s Helen Louise You can subscribe to the the crafts in question are endan- NeedleArts Association (TNNA), Allen Textile Collection, and Listserv by using the form gered. The result will be published a symposium is planned on Nov. the Madison Knitting Guild, the on the TSA website at the in a special issue of HAND/EYE 8-9 to explore the formation of a oldest modern knitting guild in address below. As soon as Magazine on the theme of “Craft Knitting Heritage Museum, with the US. the form is submitted, you and Compassion.” The magazine a planning work group continu- According to planning com- will be able to join in the will be distributed at the Fetzer ing on Nov. 10. mittee leader Karen Kendrick- conversations! Institute’s Global Gathering in The Symposium will be held Hands, “Thousands of striking Subscribe at: Assisi, Italy in Sept. 2012 and will on the campus of the University examples of historic knitting, http://www.textilesociety. be offered to HAND/EYE sub- of Wisconsin-Madison, Opening brought to North America by org/resources_listserv.htm scribers in October. speaker, Dr. Susan Strawn, immigrants during the last three www.fetzer.org author of Knitting America: A centuries, lie undiscovered in – Lydia Fraser, http://hand/eyemagazine.com Listserv Coordinator

Spring 2012 11 • An internationally-recognized collection of over 300 American quilts. These include examples Featured made by and donated by Charlotte Jane Whitehill (1866- 1964), a well-known appli- Collection qué quilt maker. Whitehill’s “Indiana Wreath” quilt and “The Matterhorn” quilt by Myrtle M. Fortner (1880-1966), were hon- Denver Art Museum ored in 1999 as being among Textile Art Department the 100 best quilts of the 20th century. Also notable are the Expansion mid-19th century quilts, includ-

$3 million gift from the ing the extraordinary broderie perse album quilt given to Anna A Avenir Foundation is A glimpse of the opening gallery of “Ikat: Splendid Silks of Central Asia,” a transforming the Denver Art 2001 exhibition showcasing Dr. Guido Goldman’s collection of robes and Eliza Pratt; crazy quilts; and Museum’s Textile Art depart- hangings from the 1800s made in what is today Uzbekistan. Amish and Mennonite quilts. ment. The donation, announced • Over 100 American coverlets on Jan. 10, 2012, will support The origins of the department also prompted renaming the representing overshot, double the expansion of the gallery, date to 1927 with the gift to the department from Textiles and cloth, and Biederwand tech- slated to open Summer 2013, museum of a Kashmir shawl— Costumes to Textile Art. With niques. and form an endowment that the museum’s first recorded the announcement of • The Julia Wolf Glasser collec- will fund staff and program in non-American Indian textile. In the Avenir Foundation gift, Dr. tion of samplers dating from the perpetuity. 1955, Lydia Roberts Dunham Zrebiec has assumed the fulltime 18th and 19th centuries, made The new Textile Art gallery was appointed the first Curator position of Avenir Foundation in Europe, North and South exhibition space will increase of Textiles, succeeded in 1965 Curator of Textile Art. America. six-fold, allowing the department by Imelda G. DeGraw, who held to show a greater portion of its that position until her retirement The Collections • The Charlotte Hill Grant col- collection as well as host loan in 1992. During the tenure of Perhaps the two best known lection of over 600 Chinese exhibitions. Also planned are sci- these curators the collection grew areas of the Textile Art depart- court costumes and accessories— entific and educational spaces, a dramatically, assisted by the cre- ment are its internationally primarily late Qing Dynasty— staging area for exhibition prepa- ation of the Neusteter Fashion, exhibited and widely published acquired by Mrs. Grant in China ration, and storage for the more Costume and Textile Institute in American quilt collection and its in the 1920s and 1930s, and than 5,000 textile objects in the 1962, which for ten years helped extensive holdings of late Qing gifted to the museum by her DAM’s collection. Additional gifts support acquisitions and promote Dynasty Chinese costumes and children in 1977. will underwrite an innovative artistic appreciation of the col- textiles. This diverse department, • Ecclesiastical vestments and and interactive educational area lection. however, contains many more textiles from the Renaissance to and enable the hiring of a full- In 1996, Alice Zrebiec, riches. Its wide-ranging scope the 20th century, particularly the time textile conservator. formerly a textile curator at the extends from pre-Columbian gift of Reverend John Krenzke. Metropolitan Museum of Art, and Coptic archeological textiles Included in the latter is a tour de was charged as to contemporary works of art force set of five vestments: the Consulting Curator in fiber, and overlaps culturally “Angel” chasuble, maniple, stole, to display the col- and/or chronologically with the chalice veil and chalice cover lections again after departments of Asian Art, New designed by Gaspard Poncet several years of World, Painting and Sculpture, (1820-1892), and woven by the exhibition hiatus. Western Art, and Modern and firm of J.A. Henry in 1889 in Changing the focus Contemporary Art. Objects Lyon, France. of the department under its curatorial charge • Textiles from India, made for to reflect its position include all textiles in the Denver local use as well as resist-dyed within a museum of Art Museum except American palampores created for export to fine art and design Indian, African and Oceanic tex- Europe and Indonesia. required assessing tiles, which are collected by the and refining the col- Native Arts department, and the • Indonesian textiles lections and their textiles and rugs in the Herbert • European lace presentation. This Bayer collection. • A growing collection of contem- Notable holdings of the porary art in fiber. Recent additions Charlotte Jane Whitehill (American. 1866-1964), “Indiana Wreath,” 1930. Textile Art collection include the include works by Carol Shinn, Lia Cotton: appliquéd, stuffed, quilted and embroidered. Denver Art Museum; following: Cook, and Carol Eckert. Neusteter Textile Collection: Gift of Charlotte Jane Whitehill, 1955.56.

12 tsa newsletter • Western costume and accesso- Curators in other departments ries, both ethnographic and fash- with textile expertise: ionable, illustrate specific textile Nancy Blomberg, Chief Curator techniques or design movements. and Curator of Native Arts: • Smaller holdings of Asian Native American, African and carpets, European tapestries, pre- Oceanic textiles Columbian textiles, Coptic textile Dr. Margaret Young-Sanchez, fragments, Islamic textiles, and Mayer Curator of Pre-Columbian historic European textiles. Art: Pre-Columbian textiles When the Textile Art Gallery reopened in 1997 it was named Dr. Gwen Chanzit, Curator, The opening gallery of “Threads of Heaven: Silken Legacy of China’s Last Herbert Bayer Collection and in honor of previous benefactors, Dynasty” (Oct. 29, 2011-Jan. 29, 2012) explored the dragon’s domain and Bernita and Myron Neusteter, the significance of this mythical creature in Qing Dynasty court costumes Archive Herbert Bayer and the entire Textile Art collec- and textiles. http://www.denverartmuseum.org tion, formed by purchases and are installed. The current exhibi- of Chinese costumes and tex- gifts from many sources, is now tion, “Sleight of Hand,” on dis- tiles that illustrate aspects of late known as the Neusteter Textile play until Nov. 25, presents work Qing Dynasty court life and Collection. The Neusteter Textile by 14 contemporary artists who culture. Other large, major exhi- Gallery displays changing exhibi- trick the eye with unexpected bitions such as “Ikat: Splendid Call for tions drawn primarily from the materials, unusual techniques, Silks of Central Asia from the permanent collection. and out-and-out illusion. Guido Goldman Collection,“ Papers Exhibitions Working with other curatorial “Kaleidoscope of Color: Amish departments, Textile Art has lent Quilts from the Collection of Textile Gallery exhibitions such objects for display in the Asian Faith and Stephen Brown,” and as “Crazy Quilts and Other Art and New World galleries, “Gee’s Bend: The Architecture of Curiosities;” “For the Greater thus placing the textiles into a the Quilt” brought to the Denver Due Aug. 1: Iara: revista de Glory of God: Ecclesiastical larger cultural context. In turn, public objects that are not avail- Moda, Cultura e Arte, Iara: Fashion Vestments and Textiles;” and objects from Asian Art, Modern able in the collections or that Culture and Art Magazine, invites “Lighter than Air: Gauze Robes and Contemporary, and Native complement the collections. submissions of articles on the from China” highlighted spe- Arts have been installed in the subject, Textiles and Textile cific aspects of the collection, Textile Gallery to illustrate cross- Textile Art Department Design. The Magazine is orga- while other shows like “Cultural cultural influences and design Staff Coatings,” “Fabulous Floral nized by Professor Luz García parallels. Fabrics,” or “No Boundaries: Art Dr. Alice M. Zrebiec, The Neira. Submissions are accepted The latest special exhibi- + Fiber” were thematic and cut Avenir Foundation Curator of in Portuguese, Spanish, English, tion, “Threads of Heaven: Silken across centuries and countries. Textile Art and French. Legacy of the China’s Last From time to time special solo Micah Messenheimer, Curatorial The main objective of this Dynasty,” closed on Jan. 29. It contemporary artist showcases Assistant, Textile Art publication is to show the mul- featured over 90 objects from Lisa Steffen, Master Teacher for tiple possibilities of research the DAM’s permanent collection Textile Art and the spectrum of knowledge developed on the particular subject of each issue by analyzing different perspectives, such as material culture, fashion, design, art, crafts, sustainability, econom- ics, technology, engineering, production and historical studies. In addition, Iara receives articles, interviews, reviews, essays and audiovisual materials on fashion, culture and the arts. For information: Prof. Luz Garcia Neira, [email protected] or visit Iara's website at: http://www.iararevista.sp.senac.br/ http://www.sp.senac.br Left, Bedcover (colcha) or hanging, Mexico, 1775-1825. Wool and cotton crewel embroidery on wool. Denver Art Museum; Neusteter Textile Collection: Gift of the Frederic H. Douglas Collection, 1956.54. Right, Carol Eckert, “Beware of Cranes,” 2010. Coiled cotton over wire. Denver Art Museum; Neusteter Textile Collection: Museum purchase with funds from Salon du Musée, 2011.270. Sspring 2012 13 culture from the 1850s through iconography will be addressed the 1970s. Convener: Regina during conference proceedings. Lee Blaszczyk Communication: Ahmet Aytac. http://bloom.bg/wHePAo [email protected] Calendar Editorial Board, Journal of Design tel +9.0.507.259 33.44 History http://jdh.oxfordjournals.org/ Nov. 8-10: The Knitting http://hss.sas.upenn.edu/people/ Heritage Museum Project, reggie Madison WI, a symposium to explore the establishment of a Conferences & Jul. 21–31: Fifth International museum to honor our knitting Felt Symposium in Bishkek, and crochet heritage, co-hosted Symposia Kyrgyzstan. The Central Asian with the Wisconsin Historical “Apocalypse Clouds,” tapestry by Crafts Support Association’s Society, Dr. Ellsworth Brown, Mark Adams, on view at San Jose May 18: Craft and the Art of Resource Centre in Kyrgyzstan Director. Sponsored by The Museum of Quilts and Textiles. Embroidery in Colonial Boston (CACSARC-kg) has planned a Yarn Group of The National at the Museum of Fine Arts, conference with field trips intro- Needlearts Association. Long Beach Public Library. Boston. Embroidery played an ducing Kyrgyzstan’s Felts. Travel http://www.yarngroup.org, Jul. 7-Aug. 30: “Pacific Portals,” important and varied role in to yurt and felt makers’ villages Karen D. Kendrick-Hands American Tapestry Alliance small colonial society. This symposium in mountainous Naryn and Lake tel 313/600.-1670 format exhibition. Catalog. will explore many aspects of Issyk Kul, visit local museums [email protected]. http://www. embroidery in colonial Boston: and Central Asian Craft Fair Project Blog: americantapestryalliance.org its relationship to the other crafts, with artisans from Uzbekistan, http://knittingheritagemuseum. its important place in establishing Tajikistan and Turkmenistan, par- wordpress.com San Jose Museum of Quilts gentility, and its role in the lives take of master workshops, and Facebook: and Textiles. May 15- July 2: of colonial Bostonians. Free with hear traditional Kyrgyz music on http://www.facebook.com/ Mark Adams. Pictorial tapestries. Museum admission. a beautiful alpine lake, rimmed KnittingHeritageMuseum http://sjquiltmuseum.org RSVP to Diana Zlatanovski at with snow capped peaks. [email protected] Information: Exhibitions: Colorado This symposium is generously [email protected] Denver Art Museum. To sponsored by the Ann and http://www.cacsarc.kg United States Jul. 8: “Yves St. Laurent: The John Clarkeson Lecture and or Chris Martens Retrospective.“ To Jul. 29: Publication Fund for Textiles and [email protected] California “Texture & Tradition: Japanese Costume. Fowler Museum, UCLA, Los Woven Bamboo.” To Nov. 25: http://www.mfa.org Aug. 19-25: Braids 2012, Angeles. To Jul. 29: “Order and “Sleight of Hand,” 14 contempo- Manchester, England. Disorder: Alighiero Boetti by rary artists. Jun. 9-14: Scythia 9, The 9th http://www.braidsociety.com/ Afghan Women.” Works created http://www.denverartmuseum.org International Biennial Symposium confer.htm by Boetti in collaboration with and Exhibition on Textile Art, Afghan embroiderers. To Jun. 24: District of Columbia Kherson, Ukraine. International Aug. 23-26, 2012: Korea “Japanese Pictorial Ikats from the The Textile Museum. To Jan. conference on textile art includes Bojagi Forum, Seoul. The confer- Kraus Collection.” 6, 2013: “Dragons, Nagas, and papers, juried exhibition, artwear ence will feature speakers from http://www.fowler.ucla.edu/ Creatures of the Deep.” Objects exhibition. several continents, workshops, exhibitions portraying dragons drawn from [email protected] tours, exhibits, museums, shop- diverse cultures. To Aug. 12: http://www.scythiatextile.com ping, and more! Focus is on the Los Angeles County Museum “Woven Treasures of Japan’s influence of the Korean Bojagi of Art. To May 13: “Common Tawaraya Workshop.” To Aug. Jun. 21-23: Color, Commerce, (wrapping cloth) tradition on art- Places: Printing, Embroidery, and 19: “Sourcing the Museum,” con- and Consumption in Global ists around the world. Organized the Art of Global Mapping.” To temporary art textiles, curated by Historical Perspective at the by Chunghie Lee. Information: Jun. 3: California Design, 1930- Jack Lenor Larsen. German Historical Institute, [email protected] 1965: “Living in a Modern Way” http://www.textilemuseum.org Washington, DC. Historians of http://www.handsofkorea.com http://www.lacma.org business, technology, and indus- http://www.facebook.com/bojagi. Florida try have examined the role of in.seoul Hellada Gallery, Long Beach. Hardcore Contemporary the 19th-century German chemi- Jul. 14-21: “Complex Weavers: Art Space, Miami. “The Sharp cal industry in revolutionizing the Oct. 2-5: International Turkish Glamour, Glitter, Glitz,” juried by World,” work by Kate Kretz. production of dyes, paints, and Handwovens (Textile) and Patrice George, Sandra Rude, http://www.katekretz.com pigments. Interdisciplinary discus- Traditional Arts Congress, and Bhakti Ziek. sion of how color inventions and Azerbaijan. Turkish hand-woven http://www.complexweavers.org Ruth Funk Center for Textile innovations impacted markets, textiles, illumination, tiles, and Arts, Florida Institute of product design, and consumer traditional design, dyes, and

14 tsa newsletter Technology, Melbourne. May including Mentors Carolyn Texas over 600 years old. 19-Aug.18: “Florida in Fabric-— Halliday and Karen Searle. Meadows Museum, Dallas. http://www.acm.org.sg/exhibitions Wish you were here!” Juried quilt Jun. 8-Jul. 14: “Land by Hand,” To May 13: “The Pastrana exhibition. nature-inspired fiber art, includes Tapestries.” Among the finest Lectures, http://textiles.fit.edu work by Karen Searle. surviving Gothic tapestries, http://textilecentermn.org first exhibited in the US at the Workshops, Maryland National Gallery, and now travel- Tours Baltimore Museum of Art. Nebraska ing to several US venues. To May 13: “Embroidered International Quilt Study http://www. Workshops and Courses Treasures: Textiles from Central Center & Museum, Lincoln. meadowsmuseumdallas.org at the Lisio Foundation: Asia.” Bold, visually stunning To Sept. 2: “Jean Ray Laury: The Lisio Foundation, Florence, embroidered textiles from Getting It All Together.” Italy, offers many learning Afghanistan, Uzbekistan, and http://www.quiltstudy.org Exhibitions: opportunities each semester Tajikistan, many of them from View Online exhibitions at: International in weaving on Jacquard looms dowries. http://www.quiltstudy.org/ and drawlooms, textile analysis, http://www.artbma.org exhibitions/online_exhibitions Canaida and lacemaking. New offer- Textile Museum of Canada, ings this season include “Kente Massachusetts New Mexico Toronto, ON. To Sept. 3: Cloth Weaving,” “Creativity and Museum of Fine Arts, Boston. Museum of International Folk “Perpetual Motion: Material the Traditional Vertical loom,” To Jun. 13: “Figure/Fabric/ Art, Santa Fe. To Jan. 6, 2013: Re-use in the Spirit of Thrift, and “Recognizing Embroidery Fantasy: Selections from the “Young Brides, Old Treasures: Utility and Beauty;” and “Portable Stitches and Technique,” among Jean S. and Frederic A. Sharf Macedonian Embroidered Dress.” Mosques: The Sacred Space of many other topics. Explore the Collection of Fashion Drawing.” Traditional clothing and jewelry the Prayer Rug.” Jacquard medium throughout the To Jun. 3: “Embroideries of of Macedonian village women, http://textilemuseum.ca year in courses and workshops; Colonial Boston: Domestic 1890-1950. reserve a week of textile analysis, Embroideries.” To May 28: http://www.moifa.org theory and practice, or a loom Laos “Beauty as Duty: Textiles and the for your art and design work. All Traditional Arts and Home Front in WWII Britain.” New York courses are held in English and/ Ethnology Centre, Luang http://www.mfa.org or Italian. For further information: Metropolitan Museum of Prabang, To Sept. 2012: “From Art, NYC. May 10-Aug. Courtship to Kinship: Wedding didat@fondazionelisio Maryland 19: “Schiaparelli and Prada: Celebrations of Laos’s Ethnic Detailed class lists and descrip- Kaplan Gallery, VisArts Center, Impossible Conversations.” Groups.” highlights wedding cus- tions are on the website, Rockville. Sept.4-Oct.17: http://www.metmuseum.org toms of various ethnic groups of http://fondazionelisio.edu “Complex Weavers: Glamour, Laos, such as the Lao and Mien; Glitter, Glitz.” The Museum at FIT, NYC. To wedding attire and other artifacts. Rhode Island School of Design http://visartsatrockville.org/ May 8:“The Great Designers: http://www.taeclaos.org Textiles Summer Institute kaplan-gallery Fashion’s Hall of Fame from A to June-August: Rhode Island Z., Part One.” May 23-Nov. 10: Singapore School of Design has been at the Minnesota “The Great Designers, Part Two.” Asian Civilisations Museum. forefront of textile design educa- Catalog. Gotdon Parks Gallery, To Jun. 3: “Patterns of Trade: tion for 135 years. Every sum- http://www.fitnyc.edu/museum Metropolitan State University, St Indian Textiles For Export, 1400- mer, artists and designers from

Paul. Apr. 18-Jun. 2: “Weaving 1900.” Over 70 works of pat- around the world and from all to Survive,” traditional Lao weav- terned Indian trade textiles, some backgrounds and skill levels are ings of Bounxou Daoheuang and provided the unique opportunity Laddavanh Insixiengmay. to learn with renowned faculty http://www.metrostate.edu/ and on rarely accessible, world- msweb/explore/cas/departments/ class equipment. Three-week cwa/gallery/index.html intensives and six-week courses are offered. Minneapolis Institute of Arts. http://summer.risd.edu/textiles To Aug. 5: “Woven and Worn: Textile Arts and Silverwork of Art Workshops in Guatemala the Diné.” offers classes in arts, writing, and http://artsmia.org photography based in Antigua, Guatemala. This year’s textile Textile Center, Minneapolis. To tour Jul. 21-30, led by Karen May 25: “Twelve Strands: Works Searle, visits the ikat-weaving by Mentors and Protegées in workshops in Quetzaltenango. the 2011-12 Mentorship cycle, RISD Textiles Summer Institute student plots colorways for her fabric design, http://www.artguat.org at the Jacquard loom. Spring 2012 15