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Fall 2009 Textile Society of America Newsletter 21:3 — Fall 2009 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. T VOLUME 21  NUMBER 3  FALL, 2009 S  A

Conservation of Three Hawaiian Feather Cloaks by Elizabeth Nunan and Aimée Ducey

CONTENTS ACRED GARMENTS ONCE to fully support the cloaks and and the feathers determined the worn by the male mem- provide a culturally appropriate scope of the treatment. 1 Conservation of Three Hawaiian bers of the Hawaiian ali’i, display. The museum plans to The Chapman cloak is Feather Cloaks S or chiefs, feather cloaks and stabilize the entire collection in thought to be the oldest in the 2 Symposium 2010: Activities and capes serve today as iconic order to alternate the exhibition collection, dating to the mid-18th Exhibitions symbols of Hawaiian culture. of the cloaks, therefore shorten- century, and it is also the most 3 From the President During the summer of 2007 ing the display period of any deteriorated. Believed to have 4 TSA News the Bishop Museum, Honolulu, individual cloak. been taken to Calcutta, India, HI, under the supervision of its The cloaks are made of in 1826, it was purchased for 5 TSA Member News conservator, Valerie Free, com- netted olona cordage, a bast fiber the Bishop Museum collection 8 Collections News, Conference menced a project to stabilize shrub endemic to the Hawaiian in 1937. The cape’s voyages Reviews the cloaks so that they could be Islands that forms a flexible sup- undoubtedly played a part in the 10 Book Reviews safely exhibited in the museum. port to which feather bundles poor condition of its feather sur- 13 Exhibition Reviews This project was funded by are attached. The netting is face, which is bare in places and a grant from the Institute of often made of multiple sections very soiled. However the fiber 14 Conservation continued Museum and Library Services. stitched together to form the netting, which is the most finely 16 Calendar-Exhibitions Over the course of the sum- whole. The fragility of this netting gauged of any of the cloaks at 18 Calendar-Lectures, Workshops, mer three of the twelve cloaks the museum, is in very good Tours in the museum’s collection to p. 14 19 Calendar-Conferences & were treated: the “Chapman” Symposia, Calls for Papers cloak, the “Joy” cloak, and the smaller “Joy” cape. The museum completed a conservation sur- vey documenting the condition of the cloaks before treatment. THE TEXTILE SOCIETY OF AMERICA, Because exhibition requires fre- INC. PROVIDES AN INTERNATIONAL quent handling and manipulation FORUM FOR THE EXCHANGE of these large and fragile textiles, AND DISSEMINATION OF the main purpose of treatment INFORMATION ABOUT was to stabilize the existing dam- TEXTILES WORLDWIDE, ages in the cloaks, primarily in FROM ARTISTIC, CULTURAL, the form of tears and loss of ECONOMIC, HISTORIC, feathers. In addition to stabilizing POLITICAL, SOCIAL, AND preexisting damage, the museum TECHNICAL PERSPECTIVES. designed a new mounting system The Chapman cloak before conservation, courtesy of the Bishop Museum, Honolulu, HI. TSA BOARD OF DIRECTORS Activities and Exhibitions OFFICERS Textiles and Settlement: From Plains Space to Cyber Space! PRESIDENT Patricia Hickman TSA 12th Biennial Symposium—Lincoln, Nebraska TEL 845/947-8735 [email protected]

October 6-9, 2010 VICE PRESIDENT Ruth Scheuing TEL 604/254-6322 HE TSA SYMPOSIUM PLANNING A long history of quilting Explorer received the Bronze [email protected] T Committee is hard at work exists in the Sindh region of Award in the Online Presence TREASURER organizing a variety of exhibitions, southeastern Pakistan and across category of the 2009 American Mary Masilamani the border into northwestern TEL/FAX 973/538-2705 tours and workshops for TSA Association of Museum MUSE [email protected] members to experience when India. Patchwork, embroi- Awards. Try it out in advance by RECORDING SECRETARY they visit the Great Plains next dery, and appliqué all figure visiting the IQSC website at Roxane Shaughnessy October, one of the most beau- prominently in ralli—a traditional http://www.quiltstudy.org. TEL 416/599-5321 ext. 2226 tiful times of the year. A very quilted textile of the region. The The International Quilt Study [email protected] special opening reception will be ralli are used for a variety of Center & Museum is dedicated DIRECTOR OF INTERNAL RELATIONS Mary Anne Jordan purposes, such as bedcoverings, to collecting, preserving, study- held in the stunning new home TEL 785/864-3919 for the International Quilt Study temporary walls, prayer rugs, ing, exhibiting, and promoting [email protected] Center & Museum. The Center’s cushions, and storage bags. In discovery of quilts and quiltmak- DIRECTOR OF EXTERNAL RELATIONS new facility was designed by the the eastern Indian states of Bihar ing traditions from many cultures, Janice Lessman-Moss and West Bengal and across the countries, and times. Its academic TEL 330/672-2158 FAX 330/672-4729 internationally renowned Robert [email protected] M. Stern Architects of New York. border into Bangladesh, women home is within the Department The 37,000 square foot building create kantha and sujuni bed of Textiles, Clothing and Design PAST PRESIDENT Carol Bier coverings using running stitches at the University of Nebraska- houses the world’s largest public TEL 510/849-2478 collection of more than 3,000 as the primary decorative ele- Lincoln. The new facility for [email protected] quilts dating from the early 1700s ments. Serving as both quilting the International Quilt Study DIRECTORS AT-LARGE to the present from more than and embroidery, the stitches Center & Museum was funded Joanne B. Eicher 24 countries. The Reception Hall, holding the layers together can entirely by private gifts, including TEL 651/645-2914 with its curtain wall of glass, will be applied in simple geometric a leadership gift from the Robert [email protected] be the setting for the opening patterns or in complex figural and Ardis James Foundation of Barbara Shapiro TEL 415/882-7401 night reception. designs depicting local stories Chappaqua, New York. The envi- [email protected] or East Indian flora and fauna. ronmentally responsible building The galleries will be open Fran Dorsey that evening exclusively for TSA Constructed from layers of old received Silver-level certifica- TEL 902-494-8208 FAX 902/425-2420 members to explore. On view cotton sari and dhoti (women’s tion in the U. S. Green Building [email protected] will be quilts from South Asia. and men’s wrapped garments), Council’s Leadership in Energy Sumru Belger Krody “South Asian Seams: Quilts from kantha provide a way for women and Environmental Design TEL 202/667-0441 ext. 37 FAX 202/483-0994 India, Pakistan, and Bangladesh” to give new life to old cloth. [LEED] program, the nation’s [email protected] curated by Patricia Stoddard, TSA members will also be benchmark for high performance Matilda McQuaid author of Ralli Quilts: Traditional able to enjoy a variety of interac- green buildings. TEL 212/849-8451 Textiles of Pakistan and India tive digital experiences on Quilt [email protected] (Schiller Publishing, 2003). The Explorer in the Museum’s Virtual – Patricia Cox Crews Elena Phipps Gallery that evening. Quilt TEL 212/349-4485 exhibition will consist of more [email protected] than 30 examples of ralli and TASK REPRESENTATIVES kantha. It will also feature TSA WEBSITE a rich assortment of large- Susan Gunter, [email protected] scale photographs TSA LISTSERVE depicting the lives of Laura Strand, [email protected] the women who make TSA NEWSLETTER these quilts. Karen Searle, [email protected] 2009 SHEP AWARD CHAIR Barbara Sloan, bsloan@arts.ucla.edu TSA WEBSITE INFORMATION COORDINATOR Amy Scarborough, amyscarborough @gmail.com

The International Quilt TSA SYMPOSIUM 2010 CO-CHAIRS Study Center & Museum at Diane Vigna, [email protected] the University of Nebraska- Wendy Weiss, [email protected] Lincoln—the setting for the SYMPOSIUM PROCEEDINGS EDITOR opening night reception for Ann Svenson Perlman, the 2010 Symposium. [email protected] 2 TSA NEWSLETTER University of Nebraska campus. Publications and Website maximum of 20%, a respectable Librarian Mary Ellen Ducey will achievement, considering the Since our March Board meet- generously assist us in organizing 37% drop in the S&P 500 Index. ing, the Publications Committee F T these materials, which document According to the Maryland under Sumru Krody’s leadership the history of TSA. Association for Nonprofit has accomplished the following P Organizations (MANO), our cash goals: We now have a members- Symposium 2010 reserves exceed their recommen- only section of the website, a In addition to reading Pat dations. Last year 80% of TSA’s web-based Newsletter, a web- Crews’s article in this Newsletter expenses were program-related based Membership Directory, and about the welcoming reception and 20% were for manage- a web-based Bibliography! Watch Fall Board Meeting and exhibition being planned ment and related expenses. Our for an email with the access October 2009 at the International Quilt Study spending on programs exceeds password. I am very grateful to Center & Museum, check the MANO’s recommended 75% S I WRITE THIS LETTER IN JULY, Susan Gunter, Karen Searle, TSA Website for all details level. TSA does not spend on I’m in close touch with and Dorry Clay for their time A regarding the Call for Papers, fundraising activities. All of these the co-organizers of our next and effort making this happen. Symposium registration, hotel figures are developed from our Symposium, Diane Vigna and In addition, I would like to reservations, workshop oppor- most recent IRS 990 filing for Wendy Weiss, carefully plan- welcome Amy Scarborough, tunities, and much more which the 2008 fiscal year, which will ning the Fall TSA Board meeting appointed as a new Task will be happening in Lincoln. soon be available online along in Lincoln, NE. At that time, Representative, who will serve Please plan on joining us there. with earlier TSA filings at Board members will stay in the in the capacity of Website http://foundationcenter.org/ hotel selected to host the 2010 Information Coordinator, assist- Study Tours then select 990 finder. Symposium. We will tour meet- ing Susan Gunter as Website Since my last letter to the mem- TSA continues to work to ing rooms where events are Coordinator. One of TSA’s bership, I am delighted to report decrease expenses without impact- being scheduled, visit museums priorities is to further develop that the TSA-sponsored tour to ing the programs that mem- and galleries in Omaha and our website, increasing our orga- Uzbekistan was fully enrolled bers value. Many of you have Lincoln designated as venues nization’s visibility and making and with a waiting list, two received this newsletter elec- for exhibitions during the time it more public through a strong weeks after it was posted on the tronically as part of our efforts of our Biennial meeting, and web presence. It’s exciting to see TSA website. Participants on the to improve member services and view a private collection being this happening. reduce costs. Watch for more considered as part of a pre- or tour anticipate an extraordinary improvements in the future. post-Symposium tour. Board experience in Central Asia on Listserv the Silk Road while on this tex- members will learn what these Thank you to Task Representative Proceedings tile study tour, under the capable dedicated co-organizers and Laura Strand for her commit- leadership of TSA Board mem- In July, TSA members received their committees have already ment to TSA and her ongoing ber Mary Anne Jordan. The a CD-ROM copy of the pub- put in place for a most exciting management of the TSA Listserv. Board looks forward to a full lished papers presented at the Symposium, Oct. 6-9, 2010. This The Listserv Coordinator Position post-tour report and evaluation 11th Biennial 2008 Symposium, Board meeting will provide the remains open. Please see the at our October meeting. Textiles as Cultural Expressions. chance to refine the planning in Position listing in our Spring/ Matilda McQuaid, TSA extends a sincere thank- anticipation of warmly welcom- Summer 2009 Newsletter Program Chair, and the you to Task Representative Ann ing you to Nebraska next fall. and on the website. Letters of Program Committee are work- Svenson Perlman for generously Just prior to the October application and resumés should ing with Board member Mary giving her time as Designer and Board meeting, the Archive be sent to National Office Masilamani, who is planning Senior Editor on this publication. Committee, chaired by Carol Manager, Charlotte Cosby, the international study tour to Bier, will review the TSA [email protected]. Awards and Funding Archives, which are housed at Southern India in 2010. In addi- the Love Library on the tion, a domestic TSA-sponsored Finances Vice President and Awards tour to learn about the history Committee Chair Ruth TSA is extremely fortunate to TSA Headquarters: of the silk textile industry in Scheuing has worked with her have our finances under the Charlotte Cosby, Manager Paterson, NJ, is in the planning committee to further define and watchful eye of Treasurer Mary TSA National Office stages for April, 2010. Please see clarify all TSA awards to be pre- Masilamani. In spite of the TSA Member Services the short article on page 4 about sented at the 2010 Symposium. financial upheavals of 2008, the PO Box 193 this day trip to New Jersey’s Silk Elena Phipps, in charge of Textile Society of America com- Middletown, DE 19709 City. Details and exact dates for Funding and Development, pleted the year in good financial TEL 302/378-9636 these tours, and for the TSA tour continues to approach founda- shape. Although our net assets FAX 302/378-9637 to Korea in Fall, 2011, led by tions for possible support of TSA did decrease from the beginning [email protected] Newsletter Editor Karen Searle, awards, financial aid, publica- of the year to year’s end for the http://www.textilesociety.org will be announced in the next tions, study tours, and work- first time since the beginning your source for membership newsletter and on the TSA web- shops. To make good on TSA’s of 2002, the decrease was just forms, study tour information, site when registration opens. to p. 4 and the latest news. below the standard acceptable

FALL 2009 3 and our commitment to offer interpretation within the field During our visit we will also see scholarships for our program- of embroidery and art history examples of the narrow ribbons, ming, we rely on donations from exceed the temporal frame. The broad yard goods and looms foundations, corporations, and book will serve as a model and that made the city famous. The individuals who share our desire TSA N an intellectual resource for many day will conclude with visits to to advance the fields of textile years to come. It is a handsome two historic homes connected to studies and practice. I am presentation, both visually and the silk industry. Lambert Castle, very pleased to announce intellectually. home of wealthy silk manufac- that the Reed Foundation has –Mattiebelle Gittinger turer Catholina Lambert, perched awarded TSA a grant in support Chair, 2008 Shep Book Award on the crest of Garrett Mountain of a special workshop and panel 2008 Shep Book overlooking the city, tells the story Committee on color and dyes for the 2010 Award Announced of the luxurious life of the lead- Symposium, to be organized by ing industrialists. In contrast, the English Embroideries ‘Twixt Art and Elena Phipps. TSA Workshop: modest Botto House shows the Nature 1500-1700 by Andrew life of an immigrant Italian silk Morrall and Melinda Watt has Trip to Paterson, New Jersey Membership worker family who played an earned the R.L. Shep Book Spring, 2010 Since the Board met in March active role in the great Paterson Award for the best ethnographic in New York last Spring, TSA UST A SHORT DRIVE FROM Silk Strike of 1913, led by the textile book of 2008. The book has successfully solicited your New York City, Paterson was Industrial Workers of the World records and expands upon an J ideas through the membership once known as “Silk City” and at their height of membership. exhibition of English domestic survey, in which you articulated was the leading producer of silk In recognition of its pivotal embroidered objects drawn from your goals and hopes, as well fabric in the US. Join TSA on a role in the industrial history of the Metropolitan Museum of as suggestions for programs and bus trip from Manhattan to visit the country, Paterson’s historic Art’s collection. The exhibition the needs of our organization. I the spectacular Great Falls of the area was recently designated a and the catalogue are a collabo- am grateful to the 300 members Passaic River, the power source National Historic Park. Details of ration between the Museum and who participated in this survey, that made Paterson a leading this April trip will be available in the Bard Graduate Center, for as it helps the TSA Board under- east-coast industrial center shortly the next issue of this newsletter studies in the Decorative Arts, stand what you support and after the Revolutionary War. and online at: Design and Culture. how we can advance the goals http://www.textilesociety.org The book draws on the and plans of TSA. A summary work of experts from a variety of the results will be reported of disciplines whose contribu- in the next Newsletter, after the tions reveal the new concepts Textiles and Settlement: From Plains Space Membership Committee, chaired now being brought to the study to Cyber Space! by Janice Lessman-Moss, has of embroidery of this period. carefully analyzed the responses 12th TSA Biennial Symposium 2010 Embroidery has been seen as a we received. tool of a patriarchal society to October 6–9, Lincoln, NE Each TSA member is asked instill obedience and docility, and http://www.textilesociety.org/symposia_about.htm to bring in one new member this thus form a cornerstone of the year. Board members are each ideal of femininity in the social Awards, Scholarships and Financial Aid asked to bring in five new mem- matrix. Such concepts presented Financial support is available for the TSA 2010 Symposium bers. We would like to expand in the 1980s were subsequently through Awards, Scholarships and Financial Aid. Details our membership base, as we expanded by scholars who pro- will be available and updated on the website shortly. Some plan for the future of TSA. posed that women used embroi- Financial Aid is available to presenters by application and Thank you to each member dery to comment on public covers Symposium registration. Submit a letter, together of this committed volunteer affairs. By manipulating themes with abstract by October 1, 2009. Board of colleagues who work and subjects, their embroidery so well together during and Five Student/New Professional Scholarships are available commented on topical issues of in between Board meetings. to all students and new professionals in textiles to attend the day. “Seventeenth century Together we look ahead with the TSA 2010 Symposium; application form available online, embroideries thus became a vehi- great excitement and anticipa- deadline March 30, 2010. cle for sporadic self-expression tion to seeing you at Symposium in the long march toward female Five presentations will be nominated for the TSA Founding 2010 in Lincoln, Nebraska. emancipation.” Presidents Award; one person will receive the Award in Contemporary macro imag- 2010. There is no application process and selections are – Pat Hickman ing expands our knowledge of made from all submitted abstracts. TSA President the fine details which inform a number of these works, both in CALL FOR PAPERS DEADLINE: OCTOBER 1 techniques and materials. Click the following link for all details: While the book carries a http://www.textilesociety.org/symposia_2010.htm#callfor time bracket, the concepts of papers2010sym.

4 TSA NEWSLETTER and textile designer and collec- pursue curatorial work, including tor Jack Lenor Larsen (2005). researching and cataloguing the TSA Gittinger will be presented with Museum’s collection of Islamic the Myers Award in Oct. 2009. and Late Antique textiles, devel- M “Mattiebelle Gittinger is oping exhibitions, producing a world-renowned expert on scholarly materials, and inter- N Southeast Asian textiles,” said preting the Museum’s collection Bruce P. Baganz, president of through educational programs The Textile Museum’s Board of and chairing the Museum’s staff Trustees. “The Textile Museum Research, Publication, Library News and has been enriched by Ms. and Education task force. Announcements Embroidered baby carrier from Gittinger’s scholarship, exhibi- Krody began her 15-year Karen Augusta is a textile Mark Clayton’s collection of Chinese tions and curatorial guidance for career at the TM as Curatorial expert and costume appraiser for Hill Tribe textiles. over 30 years. She has built the Assistant, Eastern Hemisphere Museum’s collection of Southeast Collections, and has served the PBS series Antiques Roadshow. Julie Holyoke writes: On May Asian material into one of the as department head since She reports that the first Augusta 17, 2009, the statue of Our Lady finest holdings in the world. Her 2001. Her previous exhibitions Auction Company sale was held of the Shrine of the Rose was publications and other scholarly include “Flowers of Silk & Gold: in Sturbridge, MA, Sept. 10. carried in procession through contributions will have a lasting Four Centuries of Ottoman Many of the objects on sale the streets of Santa Margherita impact on the study and under- Embroidery” (2004-5); “Floral came from museums, including Ligure, dressed in new vestments standing of Southeast Asian tex- Perspectives in Carpet Design” the Montclair Art Museum (NJ), designed and woven by the Lisio tile traditions.” (2006); “Harpies, Mermaids Boston’s Museum of Fine Arts Foundation in Florence, Italy. http://www.textilemuseum.org and Tulips: Embroidery of the (MA) and Colonial Williamsburg The garments of both Virgin Greek Islands and Epirus Region” (VA) as well as objects from the and Child were made of figured Sumru Belger Krody has been (2006); and “Ahead of His Time: Brooklyn Museum’s former white silk velvet with uncut filé promoted to Curator, Eastern The Collecting Vision of George Costume Collection–now at the gold pile used to create a mean- Hemisphere Collections at The Hewitt Myers” (2007-8). “Flowers Metropolitan Museum of Art (NY). dering rose pattern. The Virgin’s Textile Museum, Washington, of Silk & Gold” and “Harpies, On Nov. 3-4, Augusta Auction mantle was woven in blue silk DC. Krody will continue to Mermaids and Tulips” were both Company’s fall fashion, textile weft-faced satin and the two head the department and to accompanied by fully illustrated and historic costume auction will motifs brocaded with three differ- be held at St. Paul’s Auditorium ent gold spoline: a scattering of in Manhattan. Proceeds from rosebuds across the ground were TSA Listserv Coordinator Wanted these sales will help provide woven in lamella and filé gold, financial support earmarked for and bordered by a meander of SA IS SEEKING A LISTSERV Coordinator to set up and the preservation and mainte- roses and leaves brocaded with Tmaintain the TSA email listserv using a majordomo program nance of the museums’ perma- lamella, filé and frisé gold yarns. and to work closely with the TSA Board on issues of list accessi- nent collections. bility, degree of moderation, and initiatives to improve effective- http://www.fondazioneLisio.org http://www.augusta-auction.com ness. Members Honored The email Listserv is one of the TSA member services which Mark Clayton announces: An is also open to non-TSA members (free of charge). The intention extensive collection of vintage Mattiebelle Gittinger, esteemed is to provide an easy venue for ongoing conversation among the embroidered Chinese baby car- researcher and scholar in the members of TSA. The list is a place to engage in conversation riers is available for study and field of Southeast Asian tex- about research areas and to share information about particular display, at no cost, to inter- tiles, has been chosen as the textiles, techniques, people, and regions throughout the world. ested students and professionals. 2009 recipient of The Textile It is a place to announce publications and exhibitions and to Primarily from the mid-20th Museum’s George Hewitt Myers share research in progress. century, these utilitarian and Award, one of the highest acco- Institutional support for information technology is crucial highly decorative textiles were lades in the field of textile arts. for carrying out the tasks. The Listserv Coordinator is a hand-embroidered by the girls The Myers Award, named for voluntary, non-voting Task Representative position on the TSA and women of the minority The Textile Museum’s founder Board, appointed by the President for a two-year term. The term cultures of Southern China (e.g. and given by the Museum’s expires with that of the President. S/he may be reappointed Miao/Hmong, Dong), in a tradi- Board of Trustees, recognizes an by the succeeding President. The Listserv Coordinator is also a tion that is rapidly disappearing. individual’s lifetime achievements member of the Publications Committee of the TSA Board. The collection is organized and and exceptional contributions Please send a letter of application and resumé to: housed in Long Beach, CA, in a to the field. Previous recipients Charlotte Cosby facility that is also a workspace. include scholar Jon Thompson Textile Society of America [email protected] (2008); collector and philanthro- P.O. Box 193 http://www.miaobabycarriers. pist Lloyd Cotsen (2007); the Middletown, DE 19709 com late Josephine Powell, an ethnog- rapher and photographer (2006); [email protected]

FALL 2009 5 catalogues resulting from Krody’s ship from the Association of by highly-trained and gener- groupings of people who appear field research in Turkey, Greece State and Land-Grant Institutions. ous professionals. The current to have nothing in common, thus and England. Krody has also co- The Malone Award provides exhibit focuses on natural dyes reflecting on human relationships. curated or coordinated numer- national recognition for a career and naturally-dyed textiles from http://www.lemieux-berube.com ous other shows. Most recently of outstanding contributions that around the world. An exhibit of she adapted the TM exhibition furthers international education Guatemalan textiles will open Rebeca Cross is an Artist in ”Timbuktu to Tibet: Rugs and of state and land-grant institu- toward the end of October, a Residence this fall (Sept-Oct) in Textiles of the Hajji Babas” (Oct. tions. Her colleague, Eulanda great time to visit the area and Budapest, Hungary, sponsored 18, 2008-Mar. 8, 2009), from Sanders, Associate Professor in explore customs surrounding the by the Hungarian Multicultural the exhibition “Woven Splendor Design and Merchandising Day of the Dead.” Center. Her recent exhibitions from Timbuktu to Tibet: Exotic at Colorado State University, http://museotextildeoaxaca.org.mx include: “Heavenly Day,” a group Rugs and Textiles from New received the second place award exhibition curated by Marcella York Collectors,” shown at the in the Queen Sirkit Institute of Terry McClain is in Guatemala Hackbardt, at Nazarene Univer- New York Historical Society. Sericulture Peacock Standard of during late September and early sity, Mt. Vernon, OH, during Beyond her exhibition Thai Silk Competition for her October gathering information August; and “Transformations,“ experience, Krody has served as design “Square Root.” Eulanda about the campeche (logwood) a solo exhibition at Malone managing editor of The Textile received the award from Her tree and interviewing ACOFOP, University, Canton, OH, Aug- Museum Journal since 1997 and Royal Highness, the Princess the Asociación de Comunidades Oct. Her work, “Echoes,” was contributed scholarly articles to of Thailand at the ASEAN Forestales de Petén, which repre- shown in “Quilt National ‘09,” Hali, Piecework, Shuttle, Spindle & Collaboration on Sericulture sents 23 grassroots organizations Athens, OH, May-Sept. Dyepot, and other publications. Research and Development that together manage about Last spring Cross was co- She has given many presenta- Conference in Bangkok in August. 500,000 hectares in the Maya Curator with Jean Druesedow of tions at The Textile Museum Biosphere Reservation (MBR) of “Inspired by Japan: Resist Dye and at symposia and conferences News from the Met: Melinda Guatemala. Techniques Traditional and across the US and in Europe. Watt is now Associate Curator Modern,” a student exhibit at Her professional affiliations in the department of European Member Exhibitions, Kent State University held in include the TSA Board and the Sculpture and Decorative Arts, Lectures, and conjunction with the retrospective council of the Association of and Supervising Curator of the Workshops of Japanese National Treasure, Art Museum Curators. Krody’s Antonio Ratti Textile Center at Itchiku Kubota, “Kimono: The BA is from Istanbul University; The Metropolitan Museum of “On the Curve,” an exhibition 20th Century Masterworks of she received her MA from the Art. Elizabeth Cleland has joined of work by Regina Benson Itchiku Kubota,” at Canton (OH) University of Pennsylvania. the European Sculpture and was held at Byron C. Cohen Museum of Art. In fall, 2008 http://www.textilemuseum.org Decorative Arts department as Gallery of Contemporary Art, Cross participated in “Design an Assistant Curator, specializing Kansas City, MO, May 1- Jul. 11. Shibori,” at the International Contemporary Quilt Art: An in tapestry. Benson also exhibited with Jill Shibori Symposium, Paris, France; Introduction and Guide, written by [email protected] Powers in “Material Difference” The Knitting & Stitching Show, Kate Lenkowsky and published at Arkansas Valley Art Center, Harrogate, UK; and the 400th by Indiana University Press, has Member Research and Aug. 15-Sep. 21. Anniversary of Arimatsu village, won the Gold Award in the Art Travel http://www.byroncohengallery.com Nagoya, Japan. Her recent col- category of ForeWord Magazine’s http://www.reginabenson.com laborations include: “XpanD,” 2008 Book of the Year Awards. Marsha Heiman writes about a multimedia performance by The award was established “to her work at Museo Textil de Louise Lemieux Bérubé is Double-Edge Dance, Cleveland increase attention to the out- Oaxaca: “After spending a exhibiting her jacquard-woven (OH) Public Theater, May, 2009. standing literary achievements of wonderful month in Oaxaca, portrait series, “Love One independent publishers and their Mexico, at the textile museum Another ”at the Montreal Center Daryl Hafter participated in the authors.” Lenkowsky’s book was there, I heartily recommend for Contemporary Textiles joint Business History-European selected for this top award in art that TSA members make a visit. through Oct. 23. Based on her Business History Association from among finalists from the One and a half years old, and photographs, she composes Conference that took place in Metropolitan Museum of Art, the first museum in textile-rich Milan June 11-13. She writes: the Museum of Modern Art and Mexico devoted to textiles, the “The Conferencepresents was entitled Rizzoli, NY. museo is beautifully ensconced “Fashions:Love One Another Business Practices in in a restored 18th-century town- an artwork by Louise Lemieux Bérubé, http://www.forewordmagazine. Historicaltextile artist and Perspective,” general director of the and MCCT. the net/botya/search2k8.aspx?srchtype house. Its exhibit, storage, and papersFrom August were 24th quite to October wide-ranging. 23rd, 2009 education spaces as well as its The opening, which launches the =category&srchval=4 In my talk,20th anniversary “Silk activitiesand ofSales: the Montreal Centre for Contemporary Textiles, library are modern and staffed Philippewill take place onde Wednesday, Lasalle September in the9th at 5pm.French Opening hours : Mary Littrell, Department Chair 18th Thecentury MCCT gallery is Silkopen Monday Industry,” to Friday I from 9 am to 4:30 pm and on Wednesday evening, until 8 pm. of Design and Merchandising Jacquard-woven work from the demonstratedOpen on Saturday, September the 26th frommany 10 am to 5uses pm during Les journées de la culture. at Colorado State University, series of woven portraits, “Love One Closedof sampleon the following Mondays,books September in 7ththat and October period. 12th. Another,” by Louise Lemieux Bérubé Admission is free. received the 2009 Malone 5800 St. Denis Street, Studio 501 TheyMontréal, Qc were H2S 3L5 used primarily to on exhibit this fall at the Montreal Rosemont metro and BIXI station Award for International Leader- show(514) 933-3728 clients various fabrics, and Centre for Contemporary Textiles. www.textiles-mtl.com 6 TSA NEWSLETTER factory built in 1838, where her Prize for a body of work in “Fiber least five quilts stitched by Mrs. studio is located. “Through the Directions 2009,” last spring at Powers. Eyes,” Hickman’s solo exhibition, Wichita Center for the Arts. http://www.BlackThreads.blogspot. will be at Phoenix Gallery, NY, Sloane and Karen Searle com Nov. 4-28. are jurors for “Metaphoric Fibers, Select Kyra’s African American Untamed Knit & Crochet,” to be History blog Bina Rao, textile designer and held at the Textile Center of MN http://www.amazon.com/This- scholar, presented lectures and in Spring, 2010. Both artists are Accomplish-Harriet-Powers-Pieces/ trunk shows in Los Angeles and also participating in “Loose Ends: dp/0982479654 San Francisco in June. She lec- Contemporary Fiber Arts” at The tured on endangered tribal textiles Fort Collins (CO) Lincoln Center Nancy Arthur Hoskins’ review “Echoes,” 2009 by Rebecca Cross, at Textile Museum Associates Galleries, Sept. 12-Oct. 23. of Clothing Culture: Dress in featured in Quilt National 09. of Southern California and the Egypt in the First Millennium AD.: to show merchant go-betweens Folk Art Gallery, San Rafael, Heather Allen Swarttouw will Clothing from Egypt in the Collection the many possibilities their cus- June 3, 13 and 20. She discussed have a solo exhibition at Blue of the Whitworth Art Gallery, tomers could request. But sample “Creating an Ethnic Statement” at Spiral 1 Gallery, Asheville, NC. The University of Manchester by books also had sketches of motifs Palo Alto Art Center, June 21. Oct. 1-Dec. 27. The work will Frances Pritchard was published to aid the weavers in Lyon; they In her textile designs, Rao merges include textiles and mixed media. in Hali Issue 159, p. 131. The had indications of what color the contemporary trends with tradi- http://www.bluespiral1.com catalog was written by the cura- fabric should be; and they even tional weaving and printing tech- tor Pritchard to accompany an Member Publications indicated whether the fabric had niques. She is an advisor to India's exhibit of the collection featuring already been woven, or whether Ministry of Textiles and the Françoise Cousin reports the garments and fragments found the “semple” (the patterning World Craft Council. She trains following new publications: “Du in Roman, Byzantine, and Islamic device) for the particular design rural weavers for the Hyderabad tissu au corps : formes et décors Egyptian burials. Hoskins had the was already created. They also design studio, Creative Bee, des vêtements drapés,” in Pleats opportunity to examine many gave hints about how the weav- which she founded with her and Folds, Multiple meanings. of these textiles in the archives ers should go about their work. husband, artist and master dyer, Conference Proceedings, Athens, at the Whitworth Art Gallery in I believe little research has been Kesav Rao. Jun. 2004, Peloponnesian 2006. done on sample books in the http://creativebee.in Folklore Foundation, Nafplion, The Flax and Linen Industry of hand-weaving era, and the sub- 2009. “Imprimer sur papier, Oregon by Nancy Arthur Hoskins ject merits further study. Any Barbara Shapiro spoke on her imprimer sur tissu. Un même is published online in the Oregon suggestions about bibliography work to the Contemporary Quilt terme pour deux processus Encyclopedia. From pioneer days would be gratefully accepted.” Art Group of Seattle on Jun. 13. différents,” in Odile Blanc ed., until the 1950s, fields of blue- [email protected] http://www.contemporaryquiltart. Textes et Textiles du Moyen-Age flowering flax flourished in com à nos jours, ENS Editions-Institut Oregon’s fertile Willamette Pat Hickman is exhibiting art She lectured to the Utah Surface Français duLivre, 2008; Françoise Valley to support the only US work in “Designing Women” at Design Group in Salt Lake City Cousin et Nicole Pellegrin eds., flax industry. Since the 1960s the Ann Street Gallery, Newburgh, and taught a dye workshop in “Tabliers au masculin, tabliers Hoskins has been gathering infor- NY, Sept. 12-Oct. 24. She is July. She will lecture on Nov. 21 au féminin” in Journées d’études mation, linen yarns, and fabrics part of an invitational exhibi- after her Nov. 14 workshop on de l’AFET (Association Française to document the history of tion, “Knitted, Knotted, Netted” “A Greener Indigo” for the pour l’Etude du Textile), Niort Oregon flax. In October Hoskins at the Hunterdon Art Museum, Textile Arts Council, De Young (Deux-Sèvres, F) Nov. 2007, will be the invited guest textile Clinton, NJ, Oct. 11, 2009- Museum, San Francisco. She will Musées de Chauvigny, 2009. host on “The Textiles of Egypt Jan. 24, 2010. Artists in that present this workshop at the Tour” (see Calendar). group exhibition, funded by the Conference of Northern California Rebecca Cross announces her http://www.oregonencyclopedia.org Handweavers in Santa Clara, CA, Coby Foundation, Ltd., include forthcoming publication in 1000 http://www.activetravel.com.au Karen Ciaramella, Abigail Doan, Apr. 8-11, 2010, sharing the Artisan Textiles (2010: Rockport results of her experiments with a Kazue Honma, Ed Bing Lee, Publishers/Quarry Books, Karen Searle is author of the non thi-ox formula for indigo dye- Norma Minkowitz, Ruth Marshall, Beverly, MA.) cover article, “To Knit-to Sculpt,” ing that does not give off fumes Leslie Pontz, Ann Coddington on contemporary art knitting and is suitable for studio use. Rast, Hisako Sekijima, Noriko Kyra Hicks announces her new in the Summer, 2009 issue of http://www.famsf.org/deyoung Takamiya, and Carol Westfall. book, This I Accomplish: Harriet Surface Design Journal. Adrienne http://www.cnch.org Hickman will teach a workshop, Powers’ Bible Quilt and Other Sloane’s article on political knit- “Openings: Knotted and Knotless Pieces, ISBN 9780982479650. ting appears in the same issue. Adrienne Sloane will teach Netting” at the Hunterdon on The book uncovers several new Sloane is also a featured artist in at the ATASDA and Geelong Nov. 15. She is participating in insights into Mrs. Powers and that issue. Forums in Australia in September “Garnerworld”, Oct. 16-Nov. 15, her quilts—including a copy of an http://www.surfacedesign.org/ and at the Aotearoa Creative an exhibition celebrating the his- 1896 letter from Harriet Powers publications.asp Textile Forum in Wellington, NZ tory of the Garnerville Arts and writing about her quiltmaking. http://karensearle.com in October. She received First Industrial Center, a former calico There is also evidence of at http://adriennesloane.com

FALL 2009 7 The American Textile History Department at the University Museum announced its new of Linz. Invited artists included affiliation with the Smithsonian Lia Cook, Wen-Ying Huang, C during the Museum’s grand C Pauline Verbeek-Cowart, Carol reopening celebration in June. Westfall, and Austrian textile N Established in 1996, the R artist Susanne Heindl. Smithsonian Affiliations Program European textile art is well has built partnerships with more rooted in the Jacquard medium, than 160 museums, educational as demonstrated by the range and cultural organizations in 41 and quality of the works pre- The Henry Art Gallery at states, the District of Columbia, ETN Conference sented. Grete Sørensen’s submis- the University of Washington Panama and Puerto Rico. The July 21-24 Mühl, Austria sion (Denmark) integrates the program allows Affiliates to knowledge of both computer welcomes TSA members to EXTILE ARTISTS AND EDUCATORS obtain long-term loans from manipulated imagery and tex- explore the Henry’s costume met in the small village of the Smithsonian’s collections, T tile techniques, while works and textile collection via the new Haslach an der Mühl, Austria and fosters resource sharing, produced by young artists were Collections Search feature. for the 15th conference of the educational initiatives, scholarly based on weaving digital pho- http://www.henryart.org European Textile Network. A exchange, and research efforts. tographic imagery in shaded Researchers and the general rich program of events and http://www.athm.org damask. Works by Dutch artists public currently have online workshops surrounded the Alexandra Graca and Marian access to catalogue entries for event, “Cultural Revival of Old Pacific Northwest College De Graaf combined weaves and 18,000 objects in the costume Textile Centres-New Educational of Art and the Museum of contrasting materials to produce and textile collection; users Challenges,” organized in col- Contemporary Craft, Portland, three-dimensional surfaces, while may view over 9,000 images laboration with the Association OR, announce a formal integra- Philippa Brock (UK) investigated from the collection database. Textil Kultur Haslach and the tion agreement. The new rela- the quality of materials. Petter The Henry’s innovative Digital Department of Textile Art & tionship honors both the interest Hellsing (Sweden) combined Interactive Galleries (DIG) fea- Design of the Linz Art University. of the Museum to align its future embroidery, objects trouvées and ture focusing on costume and http://www.etn-net.org with another educational/cultural Jacquard weaving in one of the textiles; “Exploring Costumes http://www.ufg.ac.at organization, and PNCA’s desire few three-dimensional works on and Textiles at the Henry Art http://www.textile.kultur.haslach.at to deepen and broaden its course exhibition. An illustrated cata- Gallery,” is also available. The conference both cel- offerings. The Museum’s focus logue accompanied the exhibit. http://dig.henryart.org/textiles/ ebrated and was hosted by the on craft will be maintained and http://www.textile-kultur-haslach.at textiles/ Textile Centre in Haslach, which expanded to include a greater A recurrent conference The Gallery employs Google occupies a mill site that until focus on design. Educational theme was textile education. Earth technology, allowing the recently employed 2,000 work- offerings will be developed Bethanne Knudsen and Louise user to locate an object’s place of ers. The new Centre will house: according to joint best practices. Lemieux-Bérubé spoke origin on a map, and to explore Textil Kultur Haslach, an associa- http://www.pnca.edu respectively of the Jacquard how climate, urbanization, and tion that organizes annual textile http://www.MuseumofContemp Center and Oriole Mill in terrain shape costume and textile gatherings with courses, exhibi- oraryCraft.org North Carolina and the Centre traditions. tions, symposia and a weavers’ for Contemporary Textiles in [email protected] market; a textile museum; Montreal. European didactics and a wool processing facility. are more process- and material- The Museum of Fine Arts, OIN THE Educational programs will offer J based than their North American Boston has recently acquired training on modern Jacquard and TSA LISTSERV counterparts, while incorporat- two major collections of 20th dobby looms. ing innovative materials and century fashion: 100 fashions for lively discussions For the occasion, Vibeke technologies, as confirmed by and the complete archives of on textile topics. Vestby, a pioneer in the creation the presentation of the Lisio legendary American fashion To subscribe, of handlooms for figured weav- Foundation’s (Florence, Italy) fig- designer Arnold Scaasi; and the send an email message to ing, organized the first major complete archive of original ured textile programs. West [email protected]. exhibition of Jacquard textile drawings by one of the most Leave the subject art held in Europe, “Thinking influential fashion illustrators of different: thinking JacquArt.” line blank. the 20th century, Kenneth Paul Forty-eight artists and institutions In the body of the Block. These acquisitions elevate participated. Twenty-one works message write: the Museum’s 20th-century tex- were selected by a jury com- tile and fashion holdings, making subscribe tsalist posed of Beatrijs Sterk, ETN; and the MFA a major resource for your email address. Christina Leitner, Textil Kultur the study of modern fashion and Within the day, you will begin the American fashion industry. receiving email. Jekaterina Alksne, Latvia, speaking http://www.mfa.org on her Jacquard-woven work at the ETN conference in Austria.

8 TSA NEWSLETTER Dean College, UK, is also moving university’s programs to programs with this extraordinary woman. on the manuscript and work towards digital technologies. such as that offered by the Lisio An evening walk-through to of Abraham Oberholtser (PA, July 24 was dedicated to Foundation. view all the classes indicated that 1800s), discovered in the presentations of Jacquard works During the days following other instructors who came from liquidation of an Ohio estate. by artists from a range of back- the Conference, participants around the country were equally She presented a picture of a grounds: Lia Cook, US; Ismini visited cultural heritage sites in informative and generous. The weaver’s life in the early 1800s. Samanidou, Greece-UK; Joe Austria and the Czech Republic, whole event was smoothly run, Rebeca Arkenberg (Stratford, Lewis, Canada; Kathy Schicker, including the Dyeing Museum in as near perfect as a long week- CT) spoke in 2008 on Silas UK; Wen-Ying Huang, Taiwan; Gutau and the famous Haslach’s end in the wine country can be. Burton (CT, 1750-1827), and and Jekaterina Alksne, Latvia. Weavers Market, which attracts CNCH 2010 in Santa Clara the early years of his weaving Ms. Huang’s presentation on 10,000 visitors every year. next April will be a much bigger business. This year she focused Jacquard fabrics in Taiwanese Between July 27-31, thir- event, complete with all the bells on the War of 1812 and the public art was of particular inter- teen workshops were held, and whistles: competitions and impact of blockades on US ports est: over the years she has seen including a colloquium with Lia galleries, fashion shows and ven- and on Burton’s business. The an increase in public commis- Cook discussing the work of dors (who we really need to sup- shortage of yarns and fabrics sions for Jacquard-woven art. the participating artists/design- port.) I look forward to being a caused him to expand his teaching Other conference participants ers. Vibeke Vestby led a course teacher there and participating in of weaving so that his neighbors confirmed the widening interest on the use of Adobe Photoshop all aspects, and yet there certain- could meet the local textile needs. in the capacity of figuring looms for Jacquard design and weav- ly is something to be said for the Virginia Gunn (Akron, OH), to generate works with pictorial ing on the TC-1 loom, while simple gathering of like-minded historian and interior design qualities and the single repeat Eva Basile taught Jacquard tech- people in a lovely setting such as instructor, spoke of the Colonial associated with more traditional niques and structures based on Sonoma—good wine, good food revival in home decor, 1893- mediums. methods implemented at the and good fiber vibes. 1943. She showed how books Ibola Hegyi (Hungary) and Lisio Foundation. A workshop –Barbara Shapiro and periodicals (among them Nora Chalmet (Belgium) pre- by English artist/designer Ann House Beautiful and Harper’s sented tapestry artists from their Richards featured “Textiles that Bazaar) promoted the use of cov- respective countries. Assadour Shape Themselves,” and methods Weaving History erlets and quilts in home decor Markarov introduced the pro- for the creation of three-dimen- Conference and the spinning wheel as a dec- grams of the National Academy sional effects. orative icon. Coverlet collecting May 9-10, 2009 of Art, Sofia, Bulgaria, an institu- – Eva Basile, Lisio Foundation also began during this era, and tion that has developed inter- HE 15TH ANNUAL WEAVING soon the craze for coverlets led esting collaborative programs THistory Conference con- to power-loom copies, and even between industry and universities Keeping It Simple- vened at the Clayton Opera by-the-yard coverlet production. in Europe and the US. Marina CNCH Retreat House in the village of Clayton, Bonnie Klatt (East Aurora, Blumin, Senior Researcher at NY) spoke on Anna Nett Shook April 24-27 Sonoma, CA NY on the St. Lawrence River the State Hermitage Museum in in the Thousand Islands. and the Roycroft Rag Rug St. Petersburg, spoke of various HEN THE SPRING Clayton is the home of the Weavers, a group inspired by the textile collections and initiatives WConference of Northern Thousand Islands Arts Center Arts and Crafts Movement. She in Russia. California Handweavers (CNCH and the archival repository of explained how Shook’s principles A pre-conference event, 2009) had finished, my head was the Handweaving Museum. were also those of this move- “Twist-Profile and Perspectives in buzzing from three days spent in Originally held to study early ment, which was actually a phi- European Textile Studies,” was an intensive basketry class with American handweaving manu- losophy of life—valuing simplicity held on July 20 at the Textile Nancy Moore Bess. Unlike a scripts, the conference theme and truthfulness, countering Department of Linz University, mega-conference complete with has broadened over the years the dehumanizing effects of the and included contributions by Lia fashion show, market, keynote to include other historical Industrial Revolution, supporting Cook, California College of the speakers etc, this alternate-year American weaving topics as well women’s suffrage, and develop- Arts, and Christine Keller, Otago retreat was ideal, given the quiet- as a few non-American topics. ing women’s economic indepen- Polytechnic School of Art. er economy and mood that pre- Studying and interpreting dence. Shook was a store owner, Many of the presentations vails. It was a very good “retreat early manuscripts were Gay a teacher, a loom and fabric highlighted the multidisciplinary conference” with straightforward McGeary (Carlisle, PA) and designer, and author of books nature of textile art programs emphasis on excellent-quality Marjie Thompson (Cumberland, and a column in Modern Priscilla that encourage students to inte- workshops. The only additional ME). Ms. McGeary, president of magazine. grate fiber with other mediums. event was an elegant reception the American Coverlet Society, Pat Hilts (Marshall, WI) Technical proficiency and crafts- serving champagne and hors worked with 16- and 18-shaft introduced a 1913 ribbon weav- manship are less emphasized in d’oeuvres and featuring a wine- patterns from three different er’s manuscript from Coventry, arts education today, so those bottle-bag silent auction. Nancy manuscripts to show how dif- UK. It outlines the history of seeking to deepen their knowl- Moore Bess’s class was superb, ferent drafting systems led to ribbon weaving in Coventry and edge of materials and process and as always, I learned a lot increasingly intricate 19th-centu- presents technical data, pric- must often look beyond their and enjoyed precious time spent ry coverlet patterns. She focused ing structures, and competing

FALL 2009 9 foreign ribbon-weaving cities, fashion. Rya rug designs echoed in Europe, particularly treaties as well as serving as a sample Abstract Expressionism, the pre- and defining activities in politics; book. She added information vailing art movement of the 50s, (3) “mosaics” formed from the on ribbon designs and textures, and appealed to students of con- B epaulettes of military regiments, threading drafts and weave struc- temporary art. highlighting their colors and iden- tures—even types of yarns used, Richard Jeryan (Dearborn, R tification numbers; (4) stage or among them a wood-pulp yarn, MI) told of his involvement in theatre life; (5) life and customs, or early rayon. She also outlined restoring a Jacquard handloom particularly portraying military the three-year training program at the Henry Ford/Greenfield life; and (6) coats of arms. The followed by apprentice ribbon Museum that had been idle for military content of many of the weavers in order to enter this over 30 years. He traveled to Inlaid patchwork in Europe works derives from the fact that very specialized trade. Britain to learn how to clean, from 1500 to the present/ military tailors during times of Suzanne Hokanson (East restore, and conserve this loom. Tuchintarsien in Europa von peace in Europe often turned Greenbush, NY) based her He outlined the history of the 1500 bis heute their attention to making inlay lecture on her Master’s Degree Jacquard loom from its inven- Neuland-Kitzerow, Dagmar Salwa patchwork, either on commission research on the Bauhaus. She tion in France to its arrival in the Joram and Erika Karasek or to keep themselves occupied. had visited Weimar, Dessau, US, and described the previous Berlin: Museum Europeischer Given this derivation from mili- and the Bauhaus archives in operations of the Ford Museum Kulturen, Staatliche Museen zu tary tailors, it is hardly surprising Berlin. She invented a fictional loom. The next step will be to Berlin, 2009 that the works derive from using Bauhaus student, Anna Werke, cut new Jacquard cards following old military uniforms or wool who studied with the school’s a design and to set up the loom ASED ON AN EXHIBITION AT remnants from the stitching famous instructors and shared to weave. The co-author of this Bthe Museum Europeischer of military attire. Many works her impressions of the workshop research study is Tim Brewer. Kulturen, Staatliche Museen zu also found use in the military. experiences. Two presenters spoke on Berlin with subsequent instal- Patchwork with religious portray- In the early 1940s the Searle Asian textile topics based on lations scheduled in 2009 and al, for instance, was used to help Grain Company of Manitoba, their fieldwork. Margot Miller 2010 in the Oesterreichisches form field chapels for troops on Canada was noted for its efforts (Rockport, ON) discussed Hill Museum für Volkskunde, campaigns. The mosaics formed to augment its workers’ family Tribe textiles from Tibet, Nepal, Vienna, the Muzeum Narodowe from epaulettes were used by incomes by teaching their wives Thailand, Laos, and Burma. Wrocław, and the Leeds military recruiters to point out to weave products to sell. Mary She compared images from Museums and Art Galleries, the the fame or distinction of a par- Underwood (Ann Arbor, MI) the 1970s with those from her text discusses 70 items which ticular branch of the military. For presented research unearthed at 2007 return trip, and traced portray a world of patchwork those unable to see the exhibi- Western Development Museum, design influences from the (often called cloth mosaic) very tion, this volume will introduce Saskatoon, and traced the begin- immigrant hill tribes to the host different than that found in them to a fascinating component nings of this project to Oscar villages, and from the villages American quilts. The patchwork of world patchwork technique. Beriau of Quebec and his success to the tribes. Sandra Swarbrick in the volume comes from a – Donald Clay Johnson with cottage-industry weaving (Camano Island, WA) discussed dozen countries, with the largest there. Nils LeClerc won a contest her India textile tour, which numbers coming from Germany for small loom design and pro- focused on visiting artisan coop- (29) and Great Britain (13). Forties Fashion: From Siren vided looms for the project—the eratives and weaving centers. She European inlaid patchwork Suits to the New Look loom still known to weavers showed many examples of con- utilizes prefabricated parts as Jonathan Walford today as the “Dorothy” was temporary design working well is also done in wood or stone London: Thames and Hudson, 2008 named for a Saskatoon weaver. using traditional techniques. inlay work. This allows for finely Rya rugs and their place In addition to the presenta- detailed work, often using 4- ONATHAN WALFORD’S RECENT in art school weaving curricula tions, there were pre-conference 5000 pieces. Using felted woolen publication on 1940s fashion as well as in weaving exhibi- workshops and a social event, cloth eliminates the problem of J offers a comprehensive look at tions was the focus of a lecture during which two recently- fraying of the cloth while con- the changes in fashion from the by Nell Znamierowski (New deceased founding members, structing the sections. The huge outbreak of war in 1939 to the York, NY). Rya rugs are seldom Alice Griswold and Gene Valk, number of pieces allows elaborate debut of Christian Dior’s “New made today in the US, but their were remembered. Each woman pictorial representation rather Look” in 1947. Walford uses popularity in the 1950s and later made a unique contribution to than the geometric designs found a cross-cultural framework to was largely due to Scandinavian historic and contemporary weaving. in American quilts. Therefore, few discuss the changes in silhouette design influence in US home of the works in the exhibition are – Nell Znamierowski from California to Australia and coverlets; most are hangings used everywhere in between, explain- for a variety of purposes. Themes TSA NEWSLETTER DEADLINES ing that “make do and mend” of the pictures include (1) Biblical was a phrase echoed around March 30 • July 30 • November 30 scenes and stories often used to the world during this war-torn make Lenten altar hangings; (2) Please send news, reviews, listings, and articles to: decade. historical views of notable events Karen Searle, Editor • TEL/FAX 651/642-9897 • [email protected]

10 TSA NEWSLETTER The book explores the architecture–and promises to light;” emergency shelters such repeatedly used, but rarely with many issues that arose in the introduce the reader to inno- as bags that become concrete its accepted art historical mean- fashion and textile industries vative and interesting textile buildings; the Beijing Water ing. Quotes are not footnoted, during WWII, highlighting fash- applications from across the Cube; and Testa and Weiser’s terms are applied without consid- ion designers’ use of alternative world. However, it is more of a Carbon Tower. eration to their accepted mean- materials and the introduction of coffee-table book than a serious Textiles in fine art are rep- ings, and the author appears to new synthetic fibers by manufac- study. The text adds little to the resented by Anish Kapoor’s have historical prejudices. turers such as Dupont. He also information or content provided “Melancholia, 2004,” a “tensile All said, the book is filled details the restrictions and regula- by the color-plate captions. If the membrane structure based on with interesting tidbits about new tions regarding the use of textiles discussions throughout the book the behavior of the soap bubble textiles and textile technology, in counties such as Australia, were at the level of the visual forms.” The section “Textiles, Art and although this reviewer felt England, Germany, Japan, and selections, this book would be and Culture” provides an inter- short-changed and empty-hand- the US. outstanding. esting juxtaposition and humanist ed, for the uninitiated, the brev- Much of the information is The book is divided into perspective to the high-tech tex- ity—especially the captions—pro- illustrated using a wide variety of five sections. The Introduction, tiles covered in the rest of vides a good, if brief, glance at photographs, drawings, advertise- “Textiles for the 21st Century, the book. the very large and significant field ments, garments and accessories, a World Wide Survey,” is fol- Topically the information in of textiles in the 21st century. which demonstrate changes in lowed by “Materials,” “Objects,” one section often overlaps infor- –Mona Berman everything from buttons and “Pattern,” and “Textiles, Art and mation in other sections, causing brooches to American ready- Culture,” and each section is unnecessary confusion. The orga- to-wear and Japanese kimonos. subdivided into several very brief nization lacks structural clarity. Pashmina: the Kashmir shawl Although the book lacks foot- chapters. The section “Objects,” clothing and beyond notes, the author has gathered The selected textiles and is described under a chapter on Janet Rizvi with Monisha Ahmed his information from a range their range of applications are “Fabric Architecture,” and archi- Mumbai: Marg Publications, 2009 of primary source periodicals, inspiring and awesome. Medical tecture is described in a chapter including the American maga- breakthroughs such as intelligent on “Architecture as Clothing.” ISTORIAN JANET RIZVI, AFTER zines Life and Vogue, Album du sutures tie themselves “into a For clarity, Colchester might have a survey of the role and Figaro and L’Officiel de la Couture knot within 20 seconds when... treated “Fabric Architecture,” H significance of the Kashmir shawl et de la Mode de Paris in France, exposed to 41 degrees centi- “Architecture As Clothing,” and in India and Europe, begins her and Die Mode, a German fashion grade.” There are beautiful pho- “New Geometries” as one larger, fascinating study with an analy- magazine. tographs of clothing made with more comprehensive section, sis of the fibers of numerous While recent scholarship Manel Torres’ FabriCan “spray- thus better supporting her defini- Himalayan animals and docu- on this period has focused on on non-woven fabric,” of struc- tion and description, and provid- ments the 13/1000-19/1000 France, Walford’s scope places tural components for airplanes ing an opportunity to elaborate millimeter thickness of the hair what was happening in Paris in created as “three-dimensional upon the interrelationship of of the Himalayan goat as the context by emphasizing that the woven beams,” and of polychro- clothing and its use as architec- source of pashmina, or Kashmir survival of the haute couture was mic fibers that take advantage ture as well as in conceptual and shawl wool. (For comparison, just one part of a larger move- of light interference to produce performance art. Furthermore, human hair averages 70/1000 of ment that was working to keep brilliant colors that mimic those she seems to treat the subject a millimeter.) She then identifies the fashion and textile industries of a butterfly wing. Also featured of “textile structures” as if it had the areas of Central Asia and afloat during World War II. are “green” fabrics, geothermal never existed prior to the 21st the Himalayan regions which fabrics, textiles incorporating nan- century. –Emily Banis produce such fine wool and otechnology and biomimicry (spi- The short, rambling text is discusses the evolution over cen- der silk), and textiles and objects filled with broad, unsubstanti- turies of the trade networks and made with recycled products. ated, often politically charged, art Textiles Today: a Global Survey routes which brought the wool Sci-fi lives in the military applica- historically inaccurate statements, of Trends and Traditions to Kashmir. tions of light-sensing textiles that vague generalities, and factual Chloë Colchester Arrival in Kashmir was mere- “cloak soldiers with invisibility;” a errors. For instance, linen, not London: Thames and Hudson, 2007 ly the first step in the transforma- “wearable...off-the-grid solar-pow- wool, is one of the oldest fabrics 208 pages, 381 color illustrations tion of the superfine wool into a ered lighting system,” and textiles “known to mankind.” In fact, product eagerly desired by half “capable of switching from an sheep from the Paleolithic Period EXTILES TODAY WAS ORIGINALLY the world. Spinners, dyers, and ultrahydrophobic to a hydrophilic had not yet developed wool published in hardback in weavers each undertook com- T state.” Colchester documents capable of being made into felt. 2007 and released in paperback plex activities to transform the armchairs inflated from a section Definitions of terms could in 2009. The book is resplen- raw wool into exquisite shawls. of parka-coat, cellular interior have provided clarification of the dent with beautiful color images Given the huge amount of time partitions “that expand up to author’s statements, and of textiles in every application needed to produce these mas- 200 times [their] compressed provided meaning to many of possible–clothing, furniture, inte- terpieces of the weaver’s art and size to form a freestanding wall her arguments. The term “mod- rior screening, inflatables, and their corresponding high cost, that absorbs and transmits ernism,” for example, is

FALL 2009 11 it was royal courts, such as that which today enjoys a modest, Fourteen chapters address his- initial Y (for Yedida Stillman) in of the Moghuls in India or the but notable patronage from torical origins, cultural values, bibliographic entries. Stillman’s Safavids in Persia, that eagerly selected elite groups in India. and local practices in the article on Libas (“Dress”) in acquired them. Contact with The volume is profusely Maghreb (Islamic West–Spain Encyclopedia of Islam should Europeans widened the scope illustrated with contemporary and and North Africa), the Levant also be referenced. of the market, which reached historical illustrations that provide (eastern Mediterranean lands), This well-organized and care- a virtual frenzy after Napoleon meaningful context and under- Egypt, Arabia, Iran, Afghanistan, fully researched book deserves acquired some Kashmir shawls standing of aspects of the Kashmir Pakistan, Northern India and broad readership. The glossary in Egypt and gave several to shawls discussed in the text. South Central Asia. Each chapter of technical terms, an extensive his empress, Josephine. Shawls –Carol Bier focuses on a particular cultural bibliography, and an index, pro- immediately became the rage region (with clearly drawn map); vide ease of access to those not in France, and their use quickly special attention is paid to cul- already familiar with this impor- spread to England and through- Covering the Moon: An tural divides between the eastern tant subject, ever more important out Europe, including Russia. Introduction to Middle Eastern and western Arabian peninsula, in today’s polarized discourse. Taste and fashion of course Face Veils and in the Indian subcontinent, –Carol Bier changed over the centuries, Gillian Vogelsang-Eastwood and reflecting external influences due which prompted Rizvi to ana- Willem Vogelsang to conquest and political hege- lyze the trends and issues which Peeters: Leuven, Belgium; Paris, mony, as well as access to trade DVD: Manuela & Esperanza: influenced the evolution of the France; Dudley, MA, 2008 and exchange via sea routes. The Art of Maya Weaving colors, shapes, and designs of the ISBN 978-90-429-1990-7 A particularly noteworthy Kathleen Mossman Vitale Kashmir shawl. Since Kashmir strength of this book is its dis- Endangered Threads shawls became the epitome of tinct reliance upon the study of HE MOON OFTEN FIGURES AS Documentaries, 2009 taste and fashion, it did not take Ta metaphor in Persian objects and their representation, long for enterprising 19th-cen- poetry, signifying the beauty of a rather than on the concept of N THIS THIRD INSTALLMENT OF tury Europeans to produce imita- woman’s face. Although Covering veiling. In Western literature the Iher series of video documenta- tions. Thanks to excessive taxa- the Moon presents itself as “An latter approach often recedes ries of Mayan weaving, Kathleen tion of the handwoven Kashmir Introduction to Middle Eastern quickly into superficial treatment, Mossman Vitale records the pro- original and subsequent outright Face Veils,” it is much more than resulting in highly imbalanced cess of weaving a huipil, or tradi- bans of its import, centers such an introduction, and its coverage studies of cultural norms, which tional blouse, from the purchase as Paisley in Scotland and Lyon extends far beyond the Middle neglect factors of local identity. of thread to completion of the in France could manufacture East. With interest sparked by Today face-veiling in the media garment. Manuela and Esperanza shawls on Jacquard looms; these, the excavation of a woman’s face is portrayed in terms of its being are backstrap weavers from dif- the public were led to believe, veil dating to the 13th century “banned, encouraged, enforced ferent regions in Guatemala who compared favorably with the at the site of Quseir along the by law...praised, and vilified” (p. create their brocaded blouses on Indian original. Production in Red Sea coast in Egypt, research 1). The veil, in the West, has backstrap looms in very different Kashmir plummeted in such for the present volume is based assumed significance as a symbol weaving styles. By working very a distorted trade system. To upon extensive study of ethno- of oppression (or hints of eroti- hard, each woman was able to compete with the European- graphic and historical face veils cism) with an emotional charge complete an elaborate two-panel manufactured imitations, workers from three major collections: that obliterates local meanings garment in a three-month period. in Kashmir switched to embroi- the Textile Research Centre in and forms of cultural expression. Glimpses into each woman’s dered shawls which could be Leiden, The Netherlands; the The final chapter of the book daily life and struggles to support produced more quickly than the National Museum of Ethnology addresses pan-Islamic face veils, their families are interwoven complex woven ones. Ultimately, in Leiden; and the Moesgaard historically contextualizing the with the stories of their weaving changing fashion and such things Museum in Denmark. The role of hajj (pilgrimage to Mecca). progress. as better heating in homes in authors have also drawn upon During hajj every year hundreds This 30-minute video pro- the late 19th century resulted in their first-hand knowledge of of thousands if not millions of vides valuable details of each the failure of a market for the contemporary traditions among Muslims gather from around the step in the backstrap weaving Kashmir product. many ethnic groups in Iran and world to participate in this pre- process, and is an excellent While this should have result- Afghanistan. Beautifully pro- scribed annual ritual. Yet, the rich companion to Vitale’s broader ed in the demise of Kashmir duced, this monograph presents diversity of cultural traditions and overviews of Mayan weaving shawls, the embroidered product color images of different types of local norms with respect to face- produced with Margot Schevill, continued in modest production face veils with diagrams illustrat- veiling has not been superseded Splendor in the Highlands: Maya throughout the 20th century, ing details of construction and by more normalized uniform Weavers of Guatemala (2005), and enjoyed a revival in the last use, alongside historical photo- practice. and A Century of Color: Maya third of the century, particularly graphs from the Tropenmuseum Minor criticisms of this Weaving and Textiles (2007). in blends such as silk with pash- in Amsterdam. book include the lack of entries http://www.endangeredthreads. mina. Rizvi, in her research, also The book is organized geo- for such terms as hijab, kafiyya, com discovered and documents the palak, pulkari, and parda in the graphically and characterized – Karen Searle survival of the woven shawls by its breadth and diversity. glossary, and a correction of the

12 TSA NEWSLETTER Felt piece woven in the 1930s, which were also on display this sum- features rows of arrow-like feath- mer at the Textile Museum in Willow G. Mullins ers on a field of diamonds pursu- the exhibition “A Lady Found a Oxford and New York: Berg, 2009 E ing their own trajectories across Culture.” Mattiebelle Gittinger, the woven surface. In addition research associate for Southeast ELTMAKING HAS BEEN KNOWN Ffor at least 8,000 years, and R to a two-faced “Ganado” style Asian Textiles at The Textile uses for this compressed-fiber rug and chief’s blankets, there Museum, presented a lecture on textile range from architecture to are award-winning contemporary the batiks on Aug. 13. clothing to fine art. Mullins pres- weavings by Morris Muskett, In a booklet on the collec- ents the early history, social his- a Navajo weaver and jewelry tion available at the Indonesian NAVAJO WEAVING: DIAMONDS, tory, and folklore of feltmaking maker. Consulate in Los Angeles, CA, DREAMS, LANDSCAPES around the globe, focusing on The second exhibition, Maya Soetoro Ng, Dunham’s MAY 29-OCTOBER 1 Central Asia (her particular area “Dreams, Schemes, and Stories,” daughter, mentions that her of expertise), the Middle East, DREAMS, SCHEMES, AND STORIES will feature imagistic rugs and mother had been a weaver in Turkey, Hungary, and Europe. OCTOBER 2-FEBRUARY 4, 2010 blankets. These woven narratives her youth and had a loom. It is stem from local stories of interac- believed that Dunham collected There is a general discussion LANDSCAPES tion and change created from most of her batiks while living of archaeological felt, establishing FEBRUARY 5-MAY 30, 2010 a global timeline for felt produc- a representational repertory of in Jogjakarta, Central Java. The UNIVERSITY OF COLORADO NATURAL tion and use. Mullins discusses animals, trains, and icons of the batiks in the collection represent HISTORY MUSEUM, BOULDER, CO feltmaking traditions that are West such as cowboys and cattle a wide stylistic range and include herds. both classic and contemporary passed on through generations HIS IS A NOVEL CONFIGURATION, The goal of the last exhibi- motifs. reflecting the beliefs, lifestyles, the analogue of a ‘travel- T tion “Landscapes” is to visually Ng says that it is not the and aesthetics of several cultures. ing’ exhibition, which remains suggest the different ways a monetary value of batiks, but She emphasizes that traditions in place but moves through sense of place and the profound the Indonesian world view her evolve and adapt with changing time. The Navajo weavings meaning of locale have bearing mother obtained while living times, and recognizes the creativity featured in this exhibition are on Navajo artistic and cultural in Indonesia that make the col- of the felt workers as playing an from the superb Joe Ben Wheat traditions. The entire cycle of lection special. Batik and other important role in this evolution. Southwestern Textile Collection, exhibits underscores the manner traditional Indonesian textiles Her discussion of felt in fine and most of these pieces are on in which life and art are inter- have served as an entry point art, and particularly in Western view for the first time. The select- twined. for better cultural understand- art and fashion, includes artists ed pieces are grouped according http://cumuseum.colorado.edu ing for many who visit or live in who have pushed the boundar- to stylistic and thematic con- Indonesia. This collection hope- ies of feltmaking by incorporating cerns–diamond motifs, pictorial – Suzanne MacAulay fully introduces more people to new technologies and finding new narratives, and the meaning of one of Indonesia’s most highly ways to use the material. She ends place–all of which relate to the A LADY FOUND A CULTURE IN ITS developed and prized art forms. with a brief discussion of industrial overarching curatorial approach CLOTH: BARACK OBAMA’S MOTHER The United Nations Educational, and scientific uses of felt. of weaving as a dynamic living AND INDONESIAN BATIKS Scientific and Cultural Although the information experience. AUGUST 9-23 Organization (UNESCO) has presented is useful to me as an Guest curator Judy recently designated Indonesia’s educator, as a visual artist, I longed Newland, anthropologist and THE TEXTILE MUSEUM handmade batik as a world for more illustrations throughout. textile specialist, is dedicated to WASHINGTON, DC cultural heritage. Process descriptions and descrip- the idea “that Navajo people NN DUNHAM’S BATIK TEXTILES, http://www.textilemuseum.org tions of archaeological finds and their culture are still vibrant, collected while living in would benefit from line draw- growing and changing.” A – Kaye Crippen Indonesia, have been exhibited ings or black-and-white photos. The first rotation, “Diamonds around the US at the Indonesian The section on design was not and Beyond,” highlights the dia- Embassy and consulates. They illustrated, and some textiles mond motif and its many artistic discussed in the cultural chapters and geometric mutations over were not pictured. The color time. Included in this set is a plate signature depicts a range of felted textiles from the prehis- Kain panjang (long cloth) Central Java, Yogyakarta. Traditional batik is known for its multiple design toric to the contemporary, but layers. Here the ovals containing a bird (sawat) these images are not referenced anchor a frame created by parang patterns. The in the text. Despite the scarcity octagons outlined by the frame encompass of images, the culturally based detailed nitik patterns. Nitik refers to dot and dash approach and complete overview lines in the patterning which imitate woven pat- terns. Nitik patterned cloths were some of the of felt use today make this book most expensive batiks because of the detailed not only a fascinating read, but a work they required. As a weaver, Ann Dunham valuable resource. would have enjoyed the “borrowing” of pattern – Karen Searle across media. Courtesy of The Textile Museum. FALL 2009 13 from p. 1 netting is quite fragile. condition. Different stitching methods The Joy cloaks, on the other were employed depending on hand, have much better pre- the strength of the area sur- served feather surfaces, but their rounding the damage. Couching, wider-gauge netting is compara- darning and tacking stitches were tively weak and brittle. The larger most frequently used. Due to the Joy cloak in particular has an extensive network of tears in the extensive history of exhibition. netting, patches of light brown The resulting exposure to light, nylon mesh were attached to heat, and humidity changes has provide extra support to the contributed to the degradation of most damaged sections. the fibers. This cloak had been The Chapman cloak has given as a gift to Captain Joy, three large losses. No documen- who belonged to a Boston family tation of the cause of these losses of merchants. It is said to have The Joy Cloak, courtesy of the Bishop Museum, Honolulu, HI. exists, raising questions about been used often as a knee rug how to conserve them for exhibi- for sleigh rides. It was then given from the plant by hand, and age and display environment. tion. Feather loss could originate to the Boston Museum of Fine scraping the bark away with a Therefore, the purpose of this from the use of the cloak as a Arts, and eventually it made its scraper made from a turtle bone treatment was to document battle garment, or could have way back to Hawaii, where it has or oyster shell. The dry fibers and stabilize the existing tears occurred at any point during its been exhibited intermittently for were formed into cords by laying and losses and help protect the later life. The losses were not the past 20 years. them upon the spinner’s thigh cloaks from future damage. All filled because this would not and twisting the strands with the three cloaks had rips and tears accurately represent the cloak’s Materials and Technology palm using an outward motion. throughout the olona cordage, history. The losses had distortions The most commonly used the majority of which had been around the edges that needed The neckline and leading edges feathers in the ahu’ula are from previously repaired by sew- to be flattened before the tears of these garments were often the o’o, the mamo, and the i’iwi ing them together with thread. could be repaired. The distor- bound with a braid of olona, birds. The brilliant yellow tufts of Various colors and types of tions were flattened with local while the lower hem was left the Hawaiian o’o were plucked thread were used on the cloaks, humidification and pressure, and free with the ragged edge con- from beneath the wings and indicating more than one cam- then repaired and stabilized in cealed by the lowest row of rump of the bird. The color is paign of past treatment. the same fashion as the other feathers. The feathers were care- described as lemony-yellow, and Where these repairs resulted tears.3 In addition, a double layer fully sorted and bundled together the barbs of the feather are long in the distortion of the adjacent of the nylon mesh was sewn in and tied to the mesh using a sep- and wispy. The o’o was over a rows of feather bundles, they place to prevent further stress arate olona cord. When bundling foot in length including its long were removed. The tear was at the edges of the loss. The the yellow feathers, sometimes tail, and though some accounts then realigned and re-stitched. brown mesh was chosen because a shorter red feather was placed tell of the feathers being plucked However, the stitch removal and it mutes the appearance of the over the yellow quills, forming and then the bird being set free, re-stitching risked breaking more black background of the mount, a ‘skirt’ that concealed the grey others mention that it was eaten cordage, and therefore some old but does not hide the loss. quill color while adding warmth as a delicacy.1 The o’o was vir- repairs were not removed. This The Joy cape required a spe- to the yellow. The bundles were tually extinct in Hawaii by the was especially important for the cial support in order to work on tied to the netting beginning 1920’s. The Hawaiian mamo was Joy cloak and cape where the the netting side without crushing at the bottom of the cloak and already extremely rare by 1888, the large, protruding feathers working upward. A cloak similar with the last sighting in 1898.2 to the Joy cloak is estimated to The i’iwi is a honeycreeper that use as many as 80,000 individual is still found in Hawaiian forests, feathers, plucked from three with the females being of a deep- types of Hawaiian birds, two of er red color than the males. The which are now extinct. downy feathers of the head and Olona is the name of both chest were used in the cloaks. the cordage and the shrub from which the fibers are obtained. Conservation Treatment Part of the nettle family, olona is one of the strongest natural The deterioration of the netting fibers in the world, second only and color of the feathers cannot to ramie. The plant is endemic be reversed. These processes of to Hawaii, and several species degradation may only be slowed exist on the islands. The fiber is though preventive conservation methods employed in the stor- obtained by stripping the bark The Joy cape, courtesy of the Bishop Museum, Honolulu, HI.

14 TSA NEWSLETTER on the opposite side. When the to take in visually, does not accu- The new mounts ensure that cloak was placed feather-side- rately represent the effect of the these cloaks can be safely exhib- down on the frame, narrow cloak design. The patterns are ited, allowing the public to enjoy wooden bars slid between the meant to be seen in three dimen- these treasures of Hawaii’s royal large feathers and provided a sions as they would be when history. support to the netting overall worn by a member of the ali`i. http://www.bishopmuseum.org without crushing the feathers. In the spring of 2007, Bob The Joy cloak also had a Barclay, a visiting conservator large loss at the lower hemline. from the Canadian Conservation Notes: A previous repair was removed, Institute, developed a new 1. Wilson, Scott and Sheila Buff, revealing a second, smaller loss. mount design for displaying the Frohawk’s Birds of Hawai`i, The Numerous tears surrounding cloaks in the round—an improve- Wellfleet Press, New Jersey, 1989, these losses were repaired, but ment on earlier mounts that had p. 69. this area was still extremely weak been designed to imitate the 2. Wilson, Scott and Sheila Buff, so a nylon mesh overlay was human form,4 but that put stress p. 124. added for strength. In addition, on the cloaks’ shoulder areas. A 3. The distortions were flattened the entire bottom edge of the thick, black, polyester felt liner is by placing a piece of Remy (100% cloak was riddled with many used to attach the cloak to the non-woven polyester) over each single, broken cords. Therefore, new mount. The liner in turn is loss followed by a 100% cotton rag a 6-inch wide band of mesh was attached to the cloak with Velcro blotter dampened with water. This sewn onto the entire length of tabs that have been sewn to the was then weighted with a small the bottom edge. netting side of the cloak in verti- piece of glass held in place by a cal rows on nylon ribbon. Back side of the Joy cape, showing After the individual mechani- the olona netting, courtesy of the small weight. After 10 minutes, cal damages were stabilized, This mount displays the Bishop Museum, Honolulu, HI. the damp blotter was replaced the overall netting strength was cloak in the round, with gently with a dry blotter and the pressure evaluated for each cloak. Despite undulating folds in the fabric, was replaced, soaking up excess sentation and conservation. The the relative strength of the and at the same time distributes moisture and allowing the area to actual construction requires many Chapman cloak’s fibers, the large the weight of the cloak over dry flat. adjustments for each cloak, as number of tears was seen as an many points of contact with the each one varies greatly in its 4. For detailed images and notes overall weakness. It was decided structure, relieving stress on the length, width, curvature of the on the construction of the mounts, to further protect the netting by object itself. The liner distributes neckline, and bottom edge. This contact Bob Barclay through the attaching a liner of nylon mesh the weight of the cloak while mount is a workable solution for Canadian Conservation Institute. from the neckline and extending reducing stress on the netting the longer capes, but the smaller it two-thirds down the netting during mounting, because the Velcro on the mount attaches to Joy cloak will be displayed flat side of the cloak. This article has been edited and the liner, and not the cloak. The with a padded support. The large Joy cloak also had abridged for the TSA Newsletter. felt liner also helps when moving The conservation of these area of overall weakness and The complete paper was published the heavy and awkward textile cloaks has provided the Bishop similarly patches of nylon mesh. in the IMLS newsletter as the April and can be kept with the cloak Museum with a proven meth- A large area just left of the cen- 2009 Project Profile, and will soon in storage. odology for treatment of the ter of the cloak had extensive be available to view on Elizabeth Thus, these mounts are a remaining cloaks in its collection. tears concealed by unsightly Nunan’s website, compromise between repre- white tulle patches. These patch- http://www.textileconservation. es were removed and the tears com/ mended, but the area was still very fragile, so a large overlay was attached to provide strength to the entire area. Exhibition Mounts

The final stage of the project addressed exhibition of the cloaks. The best way to display these cloaks has been a challenge for many years. In the past they were hung vertically on the wall, which caused stress where the textile was attached to the wall. Also, the flat format, while easy Specially built frame for supporting the Joy cloak during conservation treatment. Courtesy of the Bishop Museum, Honolulu, HI.

FALL 2009 15 Filipina as civilized and wild. FLORIDA Stories” explores how shoes can http://www.pacificasiamuseum.org Ruth Funk Center for Textile tell stories, addressing topics such Arts, Florida Institute of as gender, history, sexuality, race, E Mingei International Museum, Technology. To Dec. 12: “Coat class, and culture. To May 2010: San Diego. To Jan. 10, 2010: Couture: Inspiration to Creation,” “Machiko Agano: Structured “Masters of Mid-Century California C contemporary creations by Ruth Space,” installation. Modernism: Evelyn and Jerome Funk and others. http://www.fullercraft.org Ackerman,” includes wall hang- http://textiles.fit.edu/ ings from 1957-1965. Curated Peabody Essex Museum, by Dale Carolyn Gluckman INDIANA Salem. Oct. 19-Feb. 7, 2010: and Jo Lauria. Oct. 22-Mar. 10, “Rare Bird of Fashion: The United States Indianapolis Museum of Art. 2010: “Fisch Out of Water: Sea Irreverent Iris Apfel,” over 80 To Jan. 31, 2010: “Fashion in CALIFORNIA Creatures of Arline Fisch.” ensembles from the style icon’s Bloom,” examples of fashion that http://www.mingei.org collection. De Young Museum, San feature flower motifs, including Francisco. Nov. 14-Jun. 6, 2010: http://www.pem.org San Jose Museum of Quilts work by Norman Norell, Bill “Amish Abstractions: Quilts & Textiles. To Oct. 25: “Fabric Blass, Givenchy, Galanos, Pauline from the Collection of Faith and MINNESOTA Tattoos” The Spirit of the Mola,” Trigère and Callot Soeurs. Stephen Brown.” Goldstein Museum of Design, traditional Panamanian reverse http://www.imamuseum.org http://www.famsf.org/deyoung University of Minnesota, St. Paul. appliqués. To Oct. 25: “The To Nov. 1: “Intersections: Where World According to Joyce Gross,” IOWA Craft and Folk Art Museum, Art and Fashion Meet.” historical quilts and ephemera. Vesterheim Norwegian- San Francisco. Oct. 1-Jan. http://goldstein.che.umn.edu Nov. 17-Feb. 7, 2010: “Still 24, 2010: “Open Source American Museum, Decorah. Crazy,” a survey of the Victorian Embroidery.” To Oct. 11: “Knitting Along the Textile Center of Minnesota, crazy quilt fad. http://www.mocfa.org Viking Trail,” knitwear designs Minneapolis. To Oct. 24: http://www.sjquiltmuseum.org by Elsebeth Lavold. Sept. 18- “Intimate Apparel,” artists’ inter- Lacis Museum of Lace & Feb. 21, 2010: “Sacred Symbols: pretations of the merkin, curated Textiles, Berkeley. Sep. 26- COLORADO Ceremonial Cloth” explores the by Linda Gass. Feb. 1, 2010: “Bobbin Lace: Denver Art Museum. To Dec. pre-Christian function of symbols http://www.textilecentermn.org The Taming of Multitudes of 31: “New and Noteworthy: on Norwegian embroidered and woven textiles. Threads.” The Hopkins Family Quilt in NEBRASKA http://www.vesterheim.org http://www.lacismuseum.org Context,” ten quilts from the International Quilt Study permanent collection illustrate Center and Museum, University Fashion Institute of Design MASSACHUSETTS themes, patterns, and techniques of Nebraska, Lincoln. To Oct. and Merchandising Museum characteristic of the middle American Textile History 25: “A Fairyland of Fabrics: The and Galleries, Los Angeles. decades of the 19th century. Museum, Lowell. To Oct. 4: Victorian Crazy Quilt.” To Nov. Oct. 21-Dec. 13: “High Style: http://www.denverartmuseum.org “What Followed Me Home: 15: “American Quilts in the Betsy Bloomingdale and the Collecting Antique Quilts, Modern Age, 1870-1940” looks Haute Couture.” University of Colorado Fabrics, and Tools,” quilts from at quilters’ responses to moderni- http://www.fidm.edu Museum, Boulder. To May the personal collection of quilt ty and industrialization. Nov. 21- 30, 2010: “Navajo Weaving: historian Stephanie Hatch, show- LA County Museum of Art. May 9, 2010: “Perspectives: Art, Diamonds, Dreams, Landscapes,” casing a variety of styles and pat- To Sep. 6: “Five Centuries of Craft, Design, and the Modern a series presented in three itera- terns, with fabrics including resist, Indonesian Textiles: Selections Quilt.” Oct. 20-Spring 2010: tions displaying the breadth and block, copperplate and roller from the Mary Hunt Kahlenberg “Four Block Quilts.” depth of the Joe Ben Wheat prints. To Oct. 25: “Threads: The Collection.” Nov. 14-Jan. 18, http://www.quiltstudy.org Southwestern Textile Collection. Weaving of Stories,” curated by 2010: “A Tale of Two Persian Curated by Judy Newland. the Revolving Museum. Seven Robert Hillestad Textiles Carpets: The Ardabil and http://cumuseum.colorado.edu artists, including former Revolving Gallery, University of Nebraska, Coronation Carpets.” To May Museum Artistic Director Jerry Lincoln. Oct. 12-Nov. 6: 2010: “Early Andean Textiles DISTRICT OF COLUMBIA Beck, fuse the history of tradi- “Power and Pragmatism: Beyond from the Permanent Collection.” The Textile Museum. To Jan. 3, tional textiles with contemporary the Little Black Dress.” http://www.lacma.org 2010: “Recent Acquisitions.” Oct. issues, such as science, technol- http://textilegallery.unl.edu ogy, current fashion, history, and Pacific Asia Museum, 17-Apr. 11, 2010: “Contemporary Japanese Fashion: The Mary politics. Pasadena. Oct. 4-Feb. 8, 2010: NEW MEXICO Baskett Collection” and “Fabrics http://www.athm.org “Fashioning Domesticity, Museum of International Folk of Feathers and Steel: The Weaving Desire: Visions of Art, Santa Fe. Dec. 20-May 23, Innovation of Nuno.” Fuller Craft Museum, Brockton. the Filipina,” using textiles and 2011: “Material World: Textile http://www.textilemuseum.org To Oct. 18: “Chunghie Lee: My photography to explore early to Treasures from the Collection.” Cup Overflows.” Jun. 6-Jan. 3, mid-20th-century images of the Catalog. 2010: “The Perfect Fit: Shoes Tell http://www.moifa.org

16 TSA NEWSLETTER OHIO SOUTH DAKOTA 2010: “Bound for Glory: Cutting- Kent State University South Dakota Art Museum, Edge Winter Sports Footwear.” Museum. To Nov. 2: Michael Brookings. To Jan. 17, 2010: http:// www.batashoemuseum.ca Kors Designs from the Wendy “The Marghab Collection: Textile Museum of Canada, Zuckerwise Ritter Collection.” Applied Art of Embroidery,” Toronto. To Oct. 11: “Danish To Dec. 31: “The Art of the designs by Emile and Vera Way Modern: Suzanne Swannie Embroiderer.” To Feb. 14, 2010: Marghab from 1933-1980, made Textil.” Sep. 23-Mar. 21, 2010: “Confessions and the Sense of on the island of Madeira. To Detail, Pre-Columbian tapes- “Kaleidoscope: Antique Quilts Self: Works by Noel Palomo- Apr. 18, 2010: “The Collector’s try exhibited in “Natural and from the Collection of Carole Lovinski 2003-2009.” To Feb. Eye, Amish Quilts on Loan from Supernatural,” a curatorial project and Howard Tanenbaum.” of the City University of New York’s 28, 2010: “The Kokoon Arts the International Quilt Study http://www.textilemuseum.ca Ph.D. Program in Art History at the Club Cleveland Revels.” To May Center,” a two-part exhibition Godwin-Ternbach Museum. 30, 2010: “Gazette du Bon Ton.” highlighting three regional groups Montreal Centre for http:://www.kent.edu/museum within the Amish culture. Sept. Contemporary Textiles. To NEW YORK 30-Jan. 3, 2010: “Don’t Fence Oct. 23: Love One Another, a Museum of American Folk Cincinnati Art Museum. Oct. Me In,” the American West in series of Jacquard-woven portraits Art, Lincoln Square Branch, 24-Jan. 25, 2010: Imperishable contemporary art quilts. by Louise Limieux Bérubé. New York. To Oct. 11: “Textural Beauty: Art Nouveau Jewelry. http://www.southdakotaartmuseum. http://www.textiles-mtl.com Rhythms: Constructing the Jazz http://www. com Tradition–Contemporary African cincinnatiartmuseum.org. Musée du Costume et American Quilts.” VERMONT du Textile du Quebec. To http:// www.folkartmuseum.org OREGON Shelburne Museum. To Oct. Jun. 7: “The Meeting-Nitu Museum of Contemporary 25: “The Bright and Shining Natshishkuataw.” 30 women Museum at FIT, New York. To Crafts, Portland. To Oct. 31: Light of Irreverence: Richard Saja artists from Quebec, Wales, and Sept. 26: “Isabel Toledo: Fashion “Call + Response,” works by art and the Historically Inaccurate across Canada. from the Inside Out.” To Nov. and art history faculty members School,” site-specific installation; http://www.mctq.org 7: “Fashion and Politics.” Nov. 6- from OR colleges and universities. “Patty Yoder: Rugs of the Black Jan. 9, 2010: “American Beauty: http://www.museumofcontempor House Farm”; “Home Front ENGLAND Aesthetics and innovation in arycraft.org Textiles 1914-1945,” colorful Victoria and Albert Museum, Fashion” explores how the “phi- and expressive handkerchiefs London. To Jul. 4, 2010: “Quilts” losophy of beauty” is allied to the PENNSYLVANIA printed during the World Wars; showcases the V&A collection craft of dressmaking. Curated by Allentown Art Museum. and “Piecing Together the Past: of patchwork and quilted cov- Patricia Mears. To Sept. 5, 2010: “In Stitches: The Quilts of Florence Peto.” ers, bringing together over 3000 http://www.fitnyc.edu/museum Quilts from the Allentown Art http:// www.shelburnemuseum. years of British quilting history, Museum.” org Godwin-Ternbach Museum, from 18th-century bed hang- http://www.allentownartmuseum. Flushing. To Oct. 24: “Natural ings and silk coverlets to the org WISCONSIN and Supernatural: Andean creative reinvention of the quilt James Watrous Gallery, Textiles and Culture.” Textiles, by contemporary artists. To Lancaster Quilt and Textile Wisconsin Academy of Sciences, leatherwork, metalwork, wood Sept. 26, 2010: “Grace Kelly Museum. To Dec. 31: “Rainbow Arts and Letters, Madison. and ceramic objects from the Style: Fashion for a Hollywood Yarn: Navajo Weavings, To Apr. 11, 2010: “Stitched early Chavín and Paracas cul- Princess.” Germantown Yarns and the Ground: Four Artists Embroider tures., along with selected mod- http://www.vam.ac.uk Pennsylvania Connection” ex- the Land,” an exploration of ern examples. amines the history and influence landscape through the work of http://www.qc.cuny.edu/godwin_ FRANCE of the wool yarn produced in Wisconsin artists Terese Agnew, ternbach Musée Jean-Lurçat et de la the Germantown section of Chris Niver, Leah Evans and Tapisserie Contemporain, Philadelphia on Navajo weavings. Sarah Gagnon-Hunter. NORTH CAROLINA Angers. To Nov. 25: “With or http://www.quiltandtextilemuseum. http://www.wisconsinacademy.org Without Water?,” ninth exhibi- Blue Spiral 1, Asheville. Oct. com 1-Dec. 27: Solo exhibition by tion of the Mini Textiles triennial. International http://www.musees.angers.fr Heather Allen Swarttouw. Philadelphia Museum of Art. http://www.bluespiral1.com To Oct. 25: “Shopping in Paris: CANADA French Fashion 1850–1925” Virtual Gregg Museum of Art and Bata Shoe Museum, Toronto. explores the influence of Parisian http://www. Design, North Carolina State To Oct. 25: “Beauty, Identity, fashions on American dress. To americantapestryalliance.org University, Raleigh. To Oct. 4: Pride: Native North American Feb. 21, 2010: “An Enduring To Oct: “Jean Pierre Larochette “Graphic Quilts at the Gregg” Footwear” and “Chronicles of Motif: The Pomegranate in and Yael Lurie: A Study in and “Inspired Design: Jacquard Riches: Treasures from the Bata Textiles.” National Treasures,” curated by and Entrepreneurial Textiles.” Shoe Museum.” To Mar. 21, http://www.philamuseum.org Susan Martin Maffei. http://www.ncsu.edu/gregg FALL 2009 17 Lectures textile designer and Living of the Portuguese, Dutch, and Tours Treasure, Serizawa Keisuke British; history of design and cul- De Young Museum, San Fran- (1895-1984). ture and dissemination of style; Oct. 3-Nov. 13: Andean cisco, CA, Textile Arts Council http://www.japansociety.org material culture throughout these Textile Tour led by Nilda Lectures. Sept. 26: “Textiles of periods; and Post-Independence Callañaupa, Mary Frame, Oaxaca,” Eric Mindling. Oct. Museum at FIT, New York, modernism of 20th century. and Christine Franquemont. 17: “Transordinary Vessels: The NY. Sept. 24: “Isabel and Categories such as furniture, [email protected] Sculptural Basketry of Emily Ruben Toledo, in conversa- metalwork, ceramics, textiles, Dvorin.” Nov. 21: “The Magic tion with Valerie Steele.” Oct. ivory and other miscellaneous Ulana Huakai’ (Weaving of Indigo,” Barbara Shapiro. 6: “Rebel, Rebel: Anti-Style,” decorative arts objects will be Journey), Oct. 22-25, 2009, and Jan. 16, 2010: “The Current Keanan Duffty. Oct. 8: “Moods included. Experts in these areas mid-February, 2010. Experience ‘Art Quilt’ Movement,” Miriam of Norway,” Peder Børresen will be welcome participants. the living traditions, arts and Nathan Roberts. Feb. 13, 2010: and Simen Staalnacke. Oct. Study tours will take place during culture of Hawai’i with Cultural “Primitivism and Abstraction 13: “Textiles and the Future of the last two days. Practitioner Kumu Lynda Tu’a. in Persian Tribal Flatweaves,” Fashion,” Hans Schreiber. Oct. Contact: Ayesha Abdur- Visit little-known sacred, historic Alberto Levi. Apr. 17, 2010: 20: “Art Nouveau and Art Deco Rahman, and scenic sites in remote Puna, “Insight and Inspiration: Panel Fashion Postcards,” Edith Weber. TEL 787/889-2714 Volcanoes National Park and of Studio Art Quilt Associates Oct. 29: “Ruben Toledo’s Art: [email protected] Hilo, Hawaii’s second city. Artists Discuss Their Careers From Fashion to Literature,” [email protected] in Fiber,” moderated by Judith Ruben Toledo. The Lisio Foundation in Content. http://www.fitnyc.edu/museum Florence Italy announces its fall Oct. 23-Nov. 4: The Textiles http://www.famsf.org/deyoung and winter workshops: of Egypt with Nancy Arthur Godwin-Ternbach Museum, New Oct. 5-8: Renaissance and Hoskins and Christine Pearson, Gregg Museum of Art and York. Sept. 30: Elena Phipps. Baroque Italian Silk Damasks While visiting the museums and Design, North Carolina State Oct. 21: Nilda Callañaupa, (16th-18th C.), 4 days, Instructor: monuments of Pharaonic, Coptic, University, Raleigh. Sept. 24: lecture and demonstration. Anna Maria Colombo. and Islamic Egypt, the emphasis http://www.qc.cuny.edu/godwin_ will be on the rich textile history Panel discussion in conjunction Oct. 12-16: Figured Panels ternbach of the Egyptian weavers, ancient with the exhibition “Inspired Woven on Computer-Piloted and modern. Hoskins is the Design,” speakers include Susan Handloom. 1 week, Instructors: Palace of the Legion of Honor, author of a book and numerous Brandeis, Vita Plume, Bethanne Julie Holyoke, Eva Basile. Knudsen and Pat Mink. Oct. 1: San Francisco, CA. Textile Arts articles about Egyptian textiles, Janine LeBlanc discusses “Graphic Council lecture. Mar. 20, 2010: Oct. 23-24: Quechua Weaving and Pearson is an experienced Quilts” at the Gregg. “Bast Fibers of Japan: From Tafu 2 day, Instructor: Angela textile tour guide from Australia. http://www.ncsu.edu/gregg to Jofu,” Melissa Rinne. Giordano. Contact: Robert Fletcher. http://www.famsf.org/legion [email protected] Recognition, Study, and http://www.activetravel.com.au International Quilt Study Cataloguing Handmade and Textile Museum of Canada, Center, Lincoln, NE. Sep. Machine-Made Lace. Two 3- Toronto, Lectures. Nov. 3: “The Dec. 10-13: Khmer Textiles 15: “Fueled by Silk,” Patricia day sessions. Instructor: Thessy Mummies of Chinese Turkestan Then and Now: Study excur- Crews. Oct. 2: “Modern Yet Schoenholzer Nichols. with Elizabeth Barber.” Nov. 4: sion to Siem Reap with Jenny Anti-Modern: American Quilts Oct. 29-31: I - Bobbin lace “Textile Seminar: Hooked Rugs,” Spancake sponsored by the Thai in the Modern Age,” Marin Dec. 1-12: II - Needlepoint Natalia Nekrassova and Roxane Textile Society. Hanson. Nov. 14: “Why We lace, laces of varied techniques, Shaughnessy. :[email protected] Quilt,” Marianne Fons. Nov. 17: machine-made lace. http://www.textilemuseum.ca “Four Block Quilts,” Carolyn Art Workshops in Guatemala. Nov. 2-6: Creativity and the Ducey. Art, photography, and weaving Traditional Vertical Loom http://www.quiltstudy.org Workshops classes in Antigua. Textile tour 5 days, Instructor: Luciano Mar. 18-27, 2010 with Karen Oct. 14-18: Workshop on the Ghersi. Museum of Contemporary Searle. Decorative Arts of Sri Lanka, Craft, Portland, at Reed College. Nov. 23-27: Computer-aided http://www.artguat.org Colombo, Sri Lanka. This Oct. 8: “Craft Perspectives: Anne Textile Design CAD for Jacquard workshop is a forum for the Wilson: Liminal Networks.” fabrics. 1 week. Instructors: Julie Slow Fiber Studio Tours offer presentation, discussion, and dis- http://museumofcontemporary Holyoke and Eva Basile. an inside view of textile tradi- semination of various aspects of craft.org [email protected] tions on a local level. Upcoming the decorative arts of the island, http://www.fondazionelisio.org tours: South India (Jan 2010), Japan Society, New York, NY. spanning all historical periods. Nagoya, Japan (May 2010), Oct. 27: “Serizawa: Master of Topics will span Sri Lanka’s Pugalia, Italy (June 2010) and Japanese Textile Design,” Terry Ancient and Medieval periods China (2011). Milhaupt and Dr. Amanda and Kandyan Kingdom; the http://shiboriorg.wordpress.com/ Stinchecum discuss master early Indian Ocean trade routes projects/slow-fiber/

18 TSA NEWSLETTER overview of Japanese fashion, aspects of traditional tapestry inspired by the TM exhibition, restoration and current conserva- “Contemporary Japanese Fashion: tion practice. Dec. 8: Conserving C  C The Mary Baskett Collection.” Tapestries-Symposium Panels. http:///www.textilemuseum.org Discussions of technical aspects p & S of conserving historic tapestries, Sep. 30-Oct. 3: NORTH including cleaning methods, sup- AMERICAN TEXTILE port systems and display. This CONSERVATION symposium is made possible by CONFERENCE, Québec City, the Quinque Foundation with Due Dec. 15: GATHERING OF Sept. 25-27: FOURTH Québec, Canada. Conservation additional support from the WEAVERS OF THE AMERIAS, CONFERENCE ON of Three-Dimensional Textiles. Kawasaki Good Times Foundation. NORWEGIAN WOVEN Cusco-Peru, Oct. 11-15, 2010, The seventh biennial North TEL 212/396-5450 sponsored by the Center for TEXTILES, Vesterheim American Textile Conservation http://www.metmuseum.org Traditional Textiles of Cusco. Norwegian-American Museum, Conference includes two days Weavers of the Americas, Decorah, IA. International of pre-program workshops and Jun. 18-19, 2010: DUBLIN researchers, artists, students and symposium includes invited two days of papers and posters, SEMINAR FOR NEW interested public are invited speakers, juried papers, fiber art plus receptions and tours. Miriam ENGLAND FOLKLIFE. “Dressing to submit papers, panels, and workshops, and exhibitions of Clavir, author of the prize win- New England: Clothing, Fashion, demonstrations. Core themes both historic and contemporary ning scholarly book, Preserving and Identity,” held in conjunction of the gathering are: textile pro- weaving. Keynote and special What is Valued: Museums, with Boston University’s Program cesses—fibers, dyes, spinning, tra- speakers: Mikkel Tin (symbols Conservation and First Nations, is in American and New England ditional looms; textile design and on textiles), Inger Anne Utvåg the Keynote Speaker. Studies, the Costume Society of techniques; textile preservation, (contemporary fiber art), Britt Note: The NATCC web America, and Historic Deerfield. innovation and change; symbolic Solheim (sheepskin coverlets address has changed! Please visit Peter Benes, Director aspects of textiles—use of textiles with block printing and weaving), http://www.natcc.net TEL 978/369-7382 in rituals, fiestas, offerings; com- Mary Kelly (Oseberg tapestries). [email protected] mercialization and fair trade— TEL.563/282-9681. Dec. 5-9: AMERICAN STYLE, globalization, exchange and the http://www.vesterheim.org The Museum at FIT, New York, Oct. 2010: ENCUENTRO impact of tourism. The call for NY. In conjunction with the exhi- DE TEJEDORES DE LAS papers can be viewed on CTTC’s Sept. 30-Oct. 3: NORTH bition “American Beauty,” the AMÉRICAS/GATHERING OF website, under “convocation:” AMERICAN TEXTILE CONSER- museum’s eighth annual fashion WEAVERS OF THE AMERICAS, http://www.textilescusco.org/en/ VATION CONFERENCE, symposium will feature design- Municipal Convention Center, convocation.html Québec City, Québec, Canada. ers, authors, and curators from Cusco, Peru. Organized by The Conservation of Three-Dimen- the United States, Latin America, Center for Traditional Textiles Send proposals to: sional Textiles. and Canada who will discuss the of Cusco. The four-day confer- Centro de Textiles Tradicionales http://www.natcc.net many facets of American fashion ence will include presentations, del Cusco and style. The work of important panel discussions, weaving work- Avenida Sol 603 Oct. 15-17: BUILDING designers will be comprehensive- shops, exhibits, and a textile fair. Cusco, Perú BRIDGES: CREATING A NEW ly addressed, as will other aspects It affords the opportunity for [email protected], CRAFT CULTURE, American of American style such as coun- weavers from South and North [email protected] Craft Council Conference, terculture movements, like hip- America to share their experi- Radisson Plaza Hotel, Minneapolis, hop, and the impact of American ence, knowledge, techniques and Due Oct. 1: 36TH ANNUAL MN. For anyone involved with style abroad. Reservations: cultural traditions. Pre- and Post- COSTUME SOCIETY OF craft, new and emerging art- [email protected]. Conference extensions will be AMERICA SYMPOSIUM. ists, collectors, curators, editors, http://www.fitnyc.edu/museum available, including visits to weav- Join CSA in Kansas City, MO, educators, gallerists, students ing communities, museums and May 25-30, 2010. Submissions and writers. Scholarship sup- Dec. 6: CONSERVING Incan ruins. Information and related to or stimulated by the port available. Speakers include TAPESTRIES-A SYMPOSIUM, updates are available at conference title, “Crossroads: From Helena Hernmarck and Garth Metropolitan Museum of Art, .http://www.textilescusco.org Cowhide to Couture” are invited. Clark. Information: Monica New York. This symposium Categories include research papers, Hampton, Director of Education. brings together leading specialists panels or discussion sessions, TEL 212/274-0630 x272 in the field of tapestry conserva- Editor’s Note: research exhibits, and virtual exhi- [email protected] tion. It is held in conjunction Future web-based issues of bition tours. Submissions must be http://www.craftcouncil.org with the completion of the the TSA Newsletter will con- postmarked by October 1, 2009 Museum’s landmark tapestry res- tain an abbreviated Calendar (if originating within the US) and Oct. 16-18: FROM KIMONO toration project of the important section; More detailed September 15, 2009 (originating TO COUTURE: THE late medieval tapestry, “Christ Is Calendar entries will be posted outside of the U.S.). EVOLUTION OF JAPANESE Born as Man’s Redeemer.” Talks weekly on the TSA website. http://www. FASHION, The Textile Museum, and discussion concern various http://www.textilesociety.org costumesocietyamerica.com/ Washington, DC. A historical

FALL 2009 19 The galleries of the International Quilt Study Center & Museum at the University of Nebraska-Lincoln. “South Asian Seams: Quilts from India, Pakistan, and Bangladesh” will be on view when TSA holds its biennial Symposium in Lincoln, Nebraska in October 2010.

TSA Newsletter. It would not be curator of the Ashmolean and world,” as well as “Other recent possible without you. soon to join Yale University publications on dress and textiles   – Karen Searle Museum; Dale Gluckman, of the Islamic world.” Khil’a is a F T retired curator of the Los quality, scholarly journal. E Angeles County Museum of Art; Contact information: and Valery Garrett, Hong Kong- Uitgeverij Peeters based Chinese clothing scholar. Bondgenotenlaan 153 P Textiles Asia Newsletter will B-3000 Leuven, The Netherlands be published three times a year Subscription rate: 60 euros. The N (spring, fall and winter). For more journal is also available online at: ELCOME TO THE FIRST information: http://poj.peeters-leuven.be online issue of the TSA W Textiles Asia Newsletter Newsletter. We will continue to P.O. Box 423, General Post Office Fashion Practice Journal bring you the same informative Hong Kong Berg Publishers announces its newsletter three times a year Textiles Asia Newsletter TEL: Japan 81-(0)3-3440-2205 new journal. Fashion Practice without the size restrictions of Editor and publisher Bonnie [email protected] is the first academic journal the printed version, and with Corwin announces the launch of devoted to the serious analysis only minor changes in the format. Textiles Asia Newsletter. The new of fashion design. Articles will Less space will be allotted to the publication seeks to keep people New Journal for Islamic range from design theory to the Calendar section starting with interested in Asian textiles con- Textiles impact of new technologies and the next issue. Since an up-to- nected. With the demise of the Khil’a: Journal for Dress and commerce on industry practices date calendar is maintained on Textile Society Hong Kong in Textiles of the Islamic World is - information that is key to the the TSA Website, we will begin Spring, 2009, its formet newslet- published under the auspices entire business. The journal posting newsletter calendar items ter editor, Corwin, has taken of the Textile Research Centre, will also include interviews there on a weekly basis. steps to ensure that a regular Leiden, The Netherlands (c/o with industry leaders, as well as Thanks to Susan Ward, newsletter continues the explora- The National Museum of the latest book and exhibition Rebecca Klassen, Sumru tion of historical, cultural and Ethnology, Leiden). reviews. Krody, Pat Hickman, and technical aspects of both tradi- http://www.texdress.nl Subscription information: Cbarlotte Cosby for their help tional and contemporary Asian In addition to articles, each http://www.bergpublishers. with each issue. I am grateful to textiles. She has gathered an issue ontains an “Annotated list com/?tabid=3730 all of you who have contributed impressive group of contributing of recently published books on and will continue to contribute editors, including: Ruth Barnes, dress and textiles of the Islamic information and articles to the

Subject heads: Photographic details courtesy of: Haffenreffer Museum of Anthropology, Brown University, Estate of Lillian Elliott, RISD Museum.

20 TSA NEWSLETTER