The Bay Area Forum for artists, Textile Arts Council aficionados & collectors of weaving, rugs & tapestries, baskets, costume & wearable art

September Diversity Abounds: 2017 In This Issue Recent Gifts to the Collection Volume XXXII, By Jill D’Alessandro, Curator of Costume and Textile Arts Diversity Abounds: Number 2 Recent Gifts ...... 1-3 and Laura Camerlengo, Assistant Curator of Costume and Textile Arts News from the Conservation Lab: Venus goes to Paris ...... 4 The Textile Arts collection is comprised of more than 13,000 textiles and costumes from traditions around the world with News from the Chair ...... 5 a wide array of techniques and cultures represented. What is Member Profile: remarkable about the collection is that it has been largely formed Alex Friedman ...... 6 by gifts from members of the Bay Area community. In fact, over Save the Date! 90% of the Museums’ Textile Arts collection was acquired by Upcoming 2018 Events ...... 7 donation. Consequently, our collections reflect the artistic and cultural currents of our city, which presents itself as culturally 2018 International Tour ...... 7 sensitive, broad-thinking, adventurous, and at the same time, General Calendar ...... 8-9 most stylish.

The diversity of patronage is also seen in donations made within the past two years. In this time, the collection added more than 400 new artworks, which we summarize here. An important gift of over 30 mid- twentieth century Japanese kimonos joined the Museums’ holdings by the generosity of Erik Jacobsen. These garments date from the years leading up to World War II as well as the war period from 1931 to 1945. During this era, Japan emerged as a world power, and its changing status is reflected in the vigor of its artistic output, including contemporary textile design. While the kimono has been worn in Japan for centuries, the patterns found on those produced in the 1930s and 1940s explore concepts of modernity, such as new modes of transportation and technology, interactions with the west, and cultural pride and exchange. The propaganda kimonos–printed with motifs of military machinery Figure 1. Boy’s summer kimono, ca. 1940 Japan and conquests–explicitly celebrate Japan’s military force and Sufu (wood pulp fiber); printed Fine Arts achievements (Figure 1). 86.4 x 81.3 cm (34 x 32 in.) Museums of Gift of Erik Jacobsen, 2015.84.7 San Francisco Wayne Siewert and his late wife, Cathy, donated a significant collection of Mexican textiles and costume from the second and de Young third quarters of the twentieth century. Wayne was a language Legion of Honor (continues on page 2, col. 1) 1 Diversity Abounds: Recent Gifts to the Collection (continued from page 1) professor at the National University of Museums’ costume collection. Highlights Mexico, Mexico City, and Cathy was a from this area of the Quigley gift include textile artist who received her degree Ruth’s 1950 Cristóbal Balenciaga at the Cranbrook Academy of Art. The debutante dress, several ensembles collection focuses predominately, but from Yves Saint Laurent’s famed Fall/ not exclusively, on the huipil (woman’s Winter 1976 Russian collection (Figure blouse), and showcases the textile 3), and a suit from his equally renowned traditions of numerous indigenous “Tribute to Picasso” collection from Fall/ cultures residing throughout Mexico, Winter 1979. A printed silk woman’s including the peoples of Oaxaca, evening dress from Saint Laurent’s Fall/ Puebla, and Chiapas, as well as the Winter 1971-1972 collection, donated Huichol Native Americans residing in by Ruth Quigley, was included in the the Sierra Madre Occidental range. recent exhibition, The Summer of Love This collection was lovingly assembled Experience: Art, Fashion, and Rock & by the Siewerts over the course of Roll, and featured in the accompanying nearly thirty years (1956-1983), both catalogue. by traveling to different regions but From Guignécourt, the former also, as their reputation as collectors Hillsborough estate of international style- Figure 3. Yves Saint Laurent (designer), French, b. grew, through frequent visits from Algeria, 1936–2008 setter Eleanor de Guigné, the Museums Ensemble (blouse and skirt), Fall-Winter 1976–1977 village representatives who would call received a remarkable collection of France. Printed wool. on them in Mexico City. Additionally, From the collection of Mrs. John B. Quigley, nineteenth through mid-twentieth 2016.35.7a-b close relationships with staff members century costumes, accessories, and at Fonart, the National Fund for the their respective periods, the artworks in furnishing textiles. These objects join Promotion of Handicrafts, allowed them this gift reveal much about the unique the couture collection of Eleanor de access to the highest quality textiles consumption habits of the family over Guigné, which was gifted in 1985. In with a focus on those that adhere to the course of two centuries. Highlights addition to being exemplary works from traditional technique of weaving four from the gift include a ca. 1885 woman’s selvedge cloth on a back-strap loom. wedding ensemble with a three-part One huipil from the collection, which woman’s wedding dress designed by features machine embroidery in running French couturier A. Félix (active ca. and chain stitches and hand embroidery 1860–1901); and a ca. 1900 woman’s in encroaching satin and roman stitches, hat by leading French modiste Camille is featured in Beyond the Surface: Roger, which is distinguished by its use Worldwide Embroidery Traditions, on of horsehair to form a semi-transparent view in the T.B. Walker Education Gallery crown. From Eleanor’s personal through January 2018 (Figure 2). wardrobe, the gift included two women’s evening ensembles by French couturier The Museums’ significant holdings Christian Dior (1905-1957): a three- of twentieth-century couture were part black silk faille woman’s evening enriched by the wardrobes of Mrs. ensemble, known as “Indiscrète,” and John B. Quigley and her daughters, a black silk satin woman’s evening Ruth and Joan Quigley. Among the dress, both from Dior’s Fall/Winter 1956 donated artworks are iconic designs Figure 2. Blouse (huipil), Fourth quarter of 20th century collection. by preeminent couturiers such as Yves Mexico, Chachahuantla, Puebla, Nahua group Cotton, synthetic; plain weave, machine embroidery Saint Laurent (1936-2008) and Cristóbal (running and chain stitches), hand embroidery While art collections may be shaped (encroaching satin and roman stitches) significantly by large gifts, donations Balenciaga (1895-1972), both of whom 68.6 x 40.6 cm (27 x 16 in.) are already well-represented in the Gift of Cathy and Wayne Siewert, 2015.67.35 of a few artworks or a single object

TAC Newsletter 2 (continued from page 2) Prestigious Mention can be equally transformative. Dean standing supporters of the department, for the summer of Shearer Wells and Linda Hammes-Wells who have continued, over the course love experience donated a rare blue and white double of many years, to enrich the collection, The Summer of Love: Art, Fashion and weave coverlet woven by the LaTourette such as Gail and Steve Berger. Rock and Roll was noted among the family of Covington, Indiana (Figure 4). Prominent figures in the textiles and “8 Best Museum Exhibits For Fashion The LaTourettes were one of the most tribal art world, they thoughtfully gifted History” in the world according to prolific coverlet weavers in Indiana, and the Museums their personal collection ElleDecor magazine: the coverlet features the LaTourette’s of Andean textiles, which they acquired signature–a blossoming flower–in each while living in the Urubamba Valley, Peru, “From Balenciaga to Louis Vuitton, these corner. Coverlets made by the family’s in 1973. exhibitions are a must-see this summer. patriarch, John LaTourette, only had the In addition to the above mentioned By Sara Tardiff, May 30, 2017 full flower and date, but after his death donors, the following individuals and “It seems that the age-old debate is over: in 1849, the same year this coverlet was families significantly augmented the fashion is considered artwork, and it made, his children Sarah and Henry, Fine Arts Museums of San Francisco’s belongs in museums. At least, that’s what wove coverlets with the word “YEAR” Textiles Arts collection by their recent we’re choosing to believe, what with the above the flower signature to distinguish gifts: Constance B. Peabody, the family major success of fashion exhibitions at their work from their father’s. The of Diana Dollar Knowles, Anne Halley, some of the world’s most prestigious art absence of the word “YEAR” above the David and Jan d’Heurle, William Reno on institutions. After all, what is more telling logo on the Museums’ coverlet suggests behalf of his late wife, Lucille, Barbara of a generation’s cultural progress than that it was one of John LaTourette’s last L. Traisman, Mickey Bright Griffin, the clothing of the time? designs before his passing. the family of Thomas W. Weisel, Kim “Luckily for museum-goers and fashion- In many instances, these artworks were Schwarcz and Carl Schwarcz, Linda lovers worldwide, there are plenty of heirlooms from Bay Area families, and Tesner in honor of Anna Gray Bennett, museum and gallery exhibits to catch their donations to the Museums grant Susan York, Leslee Budge, Ann Getty, this summer that explore the politics and the Textile Arts Department the special Linda Glatz in memory of June Glatz, history of fashion. . . honor of preserving both Bay Area Stephen J. and Sandra L. Sotnick, Ricky history as well as costume and textiles Serbin, Charles S. and Lucille Arensen, history. Many gifts came in from long- M. Jean Barrett, and Gary Westford.

Figure 4. John LaTourette (attrib. to), American, 1793–1849 Sarah LaTourette (attrib. to), American, 1822–1914 Henry LaTourette (attrib. to), American, 1832–1892 Coverlet, 1849 United States, Indiana, Fountain County, Covington Cotton, wool; plain weave double cloth with self fringe 229.2 x 208.9 cm (90 1/4 x 82 1/4 in.) Gift of Dean Shearer Wells and Linda Hammes-Wells, 2015.54 “Fifty years later, the deYoung is celebrating the vivacious counterculture that bloomed from San Francisco’s iconic Summer of Love in 1967. Although the era is framed by its radical activism, writing, and artwork, this exhibit will also explore the dress code of the mid-1960s Bay Area—because there was certainly nothing like it.. .”

3 NEWS FROM THE CONSERVATION LAB: Venus goes to Paris! By Sarah Gates Textiles Conservator

One of the most valuable costumes at the FAMSF, the Today, Anne and FAMSF curators have made a different evening dress titled “Venus” (1949) by Christian Dior is decision. This comes after consulting with conservators from going to Paris. It will co-star in the exhibition “The Dior the Met’s Costume Institute who have a version of Venus and Years” at the Musee Des Arts Decoratifs, along with a examining their photos, images of which are included in the version of its sister gown, “Junon.” recent Dior 70th anniversary publication, “Dior by Christian Dior.” The change in treatment is possible because the ‘80s Anne Getts, Andrew W. Mellon Assistant Conservator, has conservators maintained the professional conservation ethic been given the task of preparing Venus for travel and display of “reversibility.” This concept plays an important role in along with five other gowns. Anne is not only fitting the defining the difference between conservation and restoration. larger-sized, couture costume onto the much smaller-sized Parisian mannequin, she is also analyzing its sequins using Another new treatment since the last century is Anne’s Fourier transform infrared spectroscopy (FTIR) and deciding analysis of Venus’ sequins using FTIR. This was possible on how best to treat its distorted “petals.” Finally, she will because of Anne’s two undergraduate degrees in chemistry be preparing Venus to travel upright on its mannequin in a and the conservation science training she received in custom-made crate that Anne herself will courier to Paris for graduate school at Winterthur. Just as she suspected, some, installation. if not all, of Venus’ sequins are composed of cellulose nitrate, which produces acetic acid as it degrades over time. Acetic What has made this project particularly interesting to me is acid is something to avoid in long-term art storage as it can the change in treatment I’ve seen applied to Venus since cause and/or increase degradation to objects in the vicinity. 1980. As an intern at the FAMSF in that decade, I remember Consequently it is a very good thing that the valuable Venus the discussion surrounding the proposal on whether to add already lives in her very own storage cabinet, custom-made wire to the large sequined petals that cover the back of the for her when the collection moved into the new DY. skirt and train. Back then it was felt the adding wire would provide support and the petals could then be manipulated Included here is a photo of Venus, with Anne hard at work on into the desired cupped shape. its distorted petals (below).

Figure 1.: Photograph of Venus being modeled in Figure 2.: Installation photo of Venus in the exhibition Figure 3.: Removing wire from petals September 1949, before entering the Museums’ collection. Christian Dior: Couturier du Rêve, at the Musée des Arts Christian Dior (French, 1905 – 1957), Evening dress, décoratifs. Christian Dior (French, 1905 – 1957), Evening “Venus,” Fall-Winter 1949. Fine Arts Museums of San dress, “Venus,” Fall-Winter 1949. Fine Arts Museums of Francisco, Gift of I. Magnin and Company, 49.25.1a-c. San Francisco, Gift of I. Magnin and Company, 49.25.1a-c.

TAC Newsletter 4 FROM THE TEXTILE ARTS COUNCIL BOARD CHAIR TAC BOARD September 2017 Leslee Budge Chair We recently received a packet of historical to bring these programs to our members and documents from someone’s filing cabinet in the friends. Below is a sampling of our events: Shirley Juster museum. They chronicled the establishment of Vice Chair • Safeguarding Your Textile Treasures, a textile the Textile Arts Council. It began in 1983 when conservation workshop with de Young Shelley Wells Anna Bennett, former curator of Costume and Conservators Sarah Gates and Anne Getts at Vice Chair Textile Arts, organized the Textile Study Center the Textile Conservation Lab at the De Young Joy Stocksdale with the purpose of “study[ing] The Fine Arts Museum Treasurer Museums’ collections of tapestries, costumes, • Special Guided Tour of the Fukusa rugs, lace, and other textiles, attended lectures Alex Friedman Collection at Mills College and workshops by scholars in the field and Secretary • Three Left Coast Artists: Linda Gass, Gyongy provided an information exchange and meeting Laky, and Linda Macdonald, a curator’s Barbara Beckmann place for individuals interested in textiles. walk-through with Barbara Shapiro, San Catherine Cerny Its additional raison d’être is to bring to the Jose Museum of Quilts and Textiles Mary Connors FAMSF a new and vigorous sector of support.” • Behind the Scenes Tour: The Summer of Karin Hazelkorn The Textile Study Center became The Textile Love Experience: Art, Fashion, And Rock Barbara Kelly Arts Council in January 1987 when the Board & Roll, led by the exhibition’s co-curator, Donna LaVallee of Trustees of the Corporation of The Fine Arts Jill D’Alessandro, Curator of Costume and Janice Paredes Museums recognized the Textile Arts Council Textile Arts Juliana Pennington as an affiliated organization in support of The • Tour of Degas, Impressionism, and The Paris Helen Scully Fine Arts Museums of San Francisco Textile Millinery Trade, tour led by exhibition and Connie Strayer Collection…” catalogue contributor, Laura Camerlengo, Sally Yu Leung The Textile Arts Council has continued this Assistant Curator of Costume and Textile Dana Walsh vision for thirty-four years by providing high- Arts Advisory Board quality lectures, workshops, and local and Our membership as of this June 2017 is 503. Ruth Anderson international tours to support the FAMSF Our primary means of communication with our Mikki Bourne and the departments of Textiles and Textile membership is through our monthly e-news. Jean Cacicedo Conservation though our membership fees and The IT Marketing department at the museum Marlene Golden donations from our members. Our lectures and has consistently helped TAC in supporting Peggy Gordon special events draw people to the Fine Arts this vital communication with not only our Robin Hampton Museums of San Francisco and foster interest current TAC membership, but those who have Serena Harrigan in current and future exhibits. expressed an interest in TAC or were former Ana Lisa Hedstrom The Textile Arts Council supports the Caroline members. Darlene Jurow and H. McCoy Jones Department of Textile Arts Finances for FY 2015-16 (last full year): Karine Langan under the direction of Curator Jill D’Alessandro, Gross revenue: $41,600 Barbara Shapiro with Assistant Curator Laura Camerlengo. Expenses: $36,100 Susan York The George and Marie Hecksher Textile Net Income: $5,500 Conservation Center for Textile Conservation Net Endowment fund balance: is under the direction of Sarah Gates, Head $476,460 Conservator, with Anne Getts Andrew W. Mellon Assistant Conservator. Endowment income which can be used for purchases: $110,943 In addition to our educational lecture programs, (Note: TAC transferred $50,000 to the we hope you have noticed that we are doing Endowment in December 2016) many local tours and workshops. Thanks to Donna La Vallee, Shelley Wells, Alex Friedman, Leslee Budge, Chair and others who have put forth many hours August 2017

5 Featured Member: Alex Friedman, Tapestry Artist

I have often felt that tapestry chose me Each jumbo jet had 6 tapestries: four in front of one of my tapestries of a rather than the other way around. My on the bulkhead of the first-class section of a house, asked if it was great aunt had an old verdure tapestry cabin and two on the movie screen my summer house. I replied, “Yes, hanging in her apartment, and as a young covers. Michelle hired four weavers. but it’s only 1/4” deep and weighs 10 girl, I remember thinking that it was dark For almost two years, we rotated the pounds!” and dreary, and that tapestry had little to jobs to keep it interesting and to share In the early 2000s, I began working offer. our weaving solutions. We worked with three dimensions in my in an old sweatshop in the Garment Fast forward to my first job working in tapestries. I did a series of small District. (Yes, there were no heaters or an architectural office in Cambridge, pieces that explored woven elements air conditioning but we all loved the MA as an office manager, model builder, that I could manipulate off the surface opportunity to weave and to be paid.) and interior designer. I enjoyed the job, of the tapestry. It took planning and but realized in time that architecture I was now a convert and began experimenting, but it is an aspect could be a frustrating field. A wise friend weaving my own designs. Tapestry of tapestry I keep coming back to. I suggested I take a weaving course at the provided the wide scope I was looking find inspiration in nature and make YWCA. I was instantly hooked! I loved the for in contrast to multi-harness lots of sketches to develop my ideas. colors, working with my hands, and the weaving. My first pieces were large Sometimes an idea percolates for a planning that went into the infinite design and abstract, using richly colored yarns long time before I see it as a tapestry. possibilities. absent in my aunt’s verdure. (I did inherit the verdure tapestry, which is not as bad as I remembered, When we moved to NYC, I was hoping In the mid-1980s I challenged myself but remains rolled up under my bed.) to find a job related to weaving. Good to do something very realistic. My fortune smiled upon me when I learned architectural interests were reignited. My tapestries are exhibited of a tapestry artist, Michelle Lester, who I used architectural elements as a foil internationally and collected widely. had just received a commission from Pan for the shadows that the doors, stairs, I welcome visitors to my studio in American to fill their 36 new jumbo jets or shingles created. The results were the ICB in Sausalito and to visit my with tapestries. I was hired, although at tromp l’oeil tapestries. In fact, a client, website, alexfriedmantapestry.com. that point, I had never made a tapestry! who saw a photograph of me sitting

Triple Flips, 9” x 9” waxed cotton, cotton, Japan thread Bound, 50” x 35” wool, cotton, embroidery floss

Beach Stairs 72” x 49” wool, cotton

TAC Newsletter 6 Upcoming in 2018! TEXTILE ARTS COUNCIL TRAVEL Indonesian Adventure Save the Date! The Textile Arts Council will be offering an Indonesian Adventure July 2018.

Participants will have the opportunity to explore the heart of Java’s batik culture from July 11 to 22 and extend their tour by visiting Sumatra, home of the Batak and Minangkabau people from July 22 to 31. Both of these groups continue to weave complex traditional textiles. Look for more information in upcoming newsletters and on our website. For more information, please contact: Textile Arts Council Office, (415) 750-3627 [email protected]| Mary Connors, (415) 482-8035 | [email protected]

TEXTILE BAZAAR OCTOBER 2018 Antique ✜ Ethnic ✜ Vintage ✜ Contemporary

Sadly, the 2017 Textile Bazaar has been canceled. We’ll all miss it, but don’t worry, we’ll be back bigger and better than ever in Fall 2018.

Sponsored by Textile Arts Council Fine Arts Museums of San Francisco

www.textileartscouncil. fans of the eighteenth Century Opens March 31, 2018 | TB. Walker TexTile educaTion Gallery NEXT NEWSLETTER | February 2018 Deadline for Submission Nbovem er 5, 2017 The Textile Arts Council newsletter welcomes announcements and columns from our members about textiles and related events in the textile community. Please send your copy to the TAC office: [email protected]

The Noble Wedding, 1715–1725. Italy. Gouache on vellum, paper; mother-of-pearl sticks and guard. 27.9 cm (11 in.) Fine Arts Museums of San Francisco, Gift of Mrs. Reginald Rives, 1978.10.5a-b

7 GENERAL CALENDAR ONGOING EVENTS ONGOING EVENTS

July 12, 2017 - January 21, 2018 On now through January 9, 2018 Diligence and Elegance: The Nature of Japanese Textiles: an Quilts of South West China, Museum of International Folk exhibit at The Textile Museum of Canada, Toronto, Canada. Art, 706 Camino Lejo on Museum Hill, SantA FE, NM Features the contemporary work of shifu weaver Hiroko www.internationalfolkart.org/exhibitions Karuno www.textilemuseum.ca On now through February 2018 August 19 – January 2018 Balenciaga: Shaping Fashion examines the work and A Tribute to James Galanos is a retrospective dedicated to the legacy of influential Spanish couturier Cristóbal iconic American fashion designer. Featuring more than 40 Balenciaga, with over 100 pieces crafted by ‘the couture-quality, ready-to-wear ensembles and accessories, master’ of couture, his protégées and contemporary including an ensemble worn and donated by former First fashion designers working in the same innovative Lady Nancy Reagan, the exhibition will illuminate the tradition. Victoria and Albert Museum, https://www.vam. designer’s influence and legacy with objects from the 1950s ac.uk/exhibitions/balenciaga-shaping-fashion. through the 1990s. Phoenix Art Museum, http://www.phxart. On now through February 18, 2018 org/exhibition/james-galanos. Coiling Culture: Basketry of the Native North American, On now through October 1, 2017 Carlos Museum, Emory University, 571 South Kilgo The world Of Anna Sui, Fashion and Textile Museum, 83 Circle, Atlanta, GA www.carlos.emory.edu/exhibitions Bermondsey St, London UK On now through February 4, 2018 www.ftmlondon.uk Japanese Bamboo Art: the Abbey Collection. Metropolitan On now through Oct 28, 2017 Museum, 100 Fifth Ave. NYC www.metmuseum.org/ Grandma’s Lace: A look at mid 20th century colorful, useable lace. An invitation is extended to step back into the 1940’s to 1960’s – and remember the laces that New Events Listings adorned every home. Tatted, knitted and crocheted doilies, SEPTEMBER crocheted pot holders, colorful tea towels with lace edgings, September 6 – October 15, 2017 fancy printed hankies, interesting aprons, and of course, a Artful Basketry: Beyond Traditions. Traditional techniques ruffled doily under the center piece. The Lace Museum, 552 get contemporary interpretations as Bay Area Basket S. Murphy Ave, Sunnyvale, CA. www.thelacemuseum.org Makers (BABM) transform a variety of natural materials, found objects, wire, and uncommon fibers into vessels, On now through October 31 baskets and sculptural forms. San Jose Museum of Small Tapestries International 5: Crossroads,, UNT on the Quilts and Textiles, 520 South 1st Street, San Jose, CA Square, 109 N Elm St, Denton, TX Opening Reception: Sunday, Sept 10, 3-5 pm. Street https://untonthesquare.unt.edu parking is free that day. https://www.sjquiltmuseum.org On now through December 22, 2017 Sept 2017- January 2018. Fashion Philanthropy: The Linda & Steven Plochocki Collection Scraps: Fashion, Textiles, and Creative Reuse, Sept 2– at the FIDM Museums and Gallery, 919 S. Grand Ave #250, January 7, 2018 Los Angeles, CA 90015. www.fidmmuseum.org/ The Box Project: Uncommon Threads, Sept 30–January On now through January 2018 29, 2018. Both shows at the Textile Museum, 701 21st Christian Dior, Couturier du Rêve will feature designs by the St. NW, Washington DC. house’s founder and the six couturiers who succeeded www.museum.gwu.edu/textile-museum him, spread over 3,000 square meters, or more than September 10, 2017 32,000 square feet, with an elaborate set design by interior Hungarian Embroidery Workshop. Taught by Sarah Pedlow architect Nathalie Crinière. Les Arts Décoratifs, of Threadwritten Textiles. 10 a.m. – deYoung Museum, http://www.latimes.com/fashion/la-ig-wwd-paris-museum- Wells Fargo Room. $125.00 includes class materials. For expansive-show-dior-70th-anniversary-20170425-story.html. details and to register contact: [email protected]

TAC Newsletter 8 Textile Arts Council Holiday Party! • December 6, 6:00–9:00 PM. • Krimsa Fine Rugs, 2190 Union Street, San Francisco September 15, 2017 – January 6, 2018 Expedition: Fashion from the Extreme examines high December 5 – May 2018 fashion inspired by clothing made for survival in the most The Body: Fashion and Physique will elucidate the impact the inhospitable environments on earth and beyond. On view in fashion industry has had on how people have viewed and Expedition will be a historical fur garment created in Siberia, treated their bodies throughout history. It will also consider as well as adaptations of indigenous Arctic clothing by the how fashion has contributed to the marginalization of certain pioneering American explorer, Matthew Henson. Special body types within our culture. Fashion & Textile History Exhibitions Gallery, The Museum at FIT, http://www.fitnyc. Gallery, The Museum at FIT, http://www.fitnyc.edu/museum/ edu/museum/exhibitions/upcoming/index.php. exhibitions/upcoming/index.php.

September 16, 2017. TAC Lecture JANUARY Degas, Impressionism, and the Paris Millinery Trade January 20, 2018. TAC Lecture by Laura Camerlengo, Assistant Curator of Costume and The Flowing Line: Japanese Tsutsugaki Paste-Resist Textiles, by Textile Arts, Fine Arts Museums of San Francisco. Ruth Anderson, Independent Scholar. 10 a.m., Koret Auditorium, deYoung Museum 10 a.m., Koret Auditorium, deYoung Museum September 19-23, 2018 FEBRUARY The Social Fabric: Deep Local to Pan Global, Textile Society February 10, 2018. TAC Lecture of America’s 16th Biennial Symposium invites participants African-Print Fashion in Ghana to examine textiles within the context of the “Deep Local,” by Dr. Suzanne Gott, Associate Professor, at the University defined as knowledge, beliefs, resources, and practices of British Columbia, Okanagan and Lead Curator of the that are profoundly anchored in particular communities Traveling Exhibition, African-Print Fashion Now! A Story of and places, which reflect not only the cultures of the Taste, Globalization, and Style, developed with the Fowler original inhabitants but also those of later settlers. Textile Museum at UCLA, 10 a.m. Society of America, https://textilesocietyofamerica.org/ tsa_symposium/symposium-2018/. MARCH March 31, 2018. TAC Lecture OCTOBER Applied Color: From Studio to Stage Oct 20, 2017– January 9, 2018 by Amy Van Every, Senior Dyer at San Francisco Opera. Quilts of the Lakota, National Quilt Museum, 215 Jefferson St 10 a.m., Koret Auditorium, deYoung Museum Paducah KY. www.quiltmuseum.org APRIL October 21, 2017. TAC Lecture April 21, 2018. TAC Annual Sinton Lecture Inside the White Factory: The 15th International Triennial of Waiting for the Monsoon–Slow Clothes in India Tapestry, Lodz, Poland by Charlotte Kwon, Owner of Maiwa Handprints & Founder by Judith Content, Artist. of Maiwa Foundation. 10 a.m., Koret Auditorium, deYoung Museum 10 a.m., Koret Auditorium, deYoung Museum

NOVEMBER MAY November 18, 2017. TAC Lecture May 19, 2018. TAC Lecture Finding Art in a Used Coffee Filter–Inspired by Recycling Journey Along the Warp by Lucy Matzger, Fiber Artist. 10 a.m., Koret Auditorium, by Alex Friedman, Tapestry Fiber Artist. deYoung Museum 10 a.m., Koret Auditorium, deYoung Museum JUNE DECEMBER June 9, 2018. TAC Lecture December 3, 2017 10 a.m. Textiles, Style and a Designer’s Evolution Matzger Studio Tour with Lucy Matzger by Suzi Click, Wearable Art Designer. For details and to register contact: [email protected] 10 a.m., Koret Auditorium, deYoung Museum

9 Textile Arts Council September Don’t miss these exciting TAC events! 2017 “Degas, Impressionism, and the Paris Millinery Trade” • Laura Camerlengo, Assistant Curator of Costume and Textile Arts, Fine Arts Museums of San Francisco • Saturday, September 16, 2017, 10 a.m. • Koret Auditorium, de Young Museum “Inside the White Factory: The 15th International Triennial of Tapestry, Lodz, Poland” • Judith Content, Artist • Saturday, October 21, 2017, 10 a.m. • Koret Auditorium, de Young Museum “Finding Art in a Used Coffee Filter–Inspired by Recycling” • Lucy Matzer, Fiber Artist. 10 a.m. • Saturday, November 18, 2017, 10 a.m. • Koret Auditorium, de Young Museum “The Flowing Line: Japanese Tsutsugaki Paste-Resist Textiles” • Ruth Anderson, Independent Scholar • Saturday, January 20, 2018, 10 a.m. • Koret Auditorium, de Young Museum

Fine Arts “African-Print Fashion in Ghana” Museums of • Dr. Suzanne Gott, Associate Professor, at the University of British Columbia, Okanagan San Francisco and Lead Curator of the Traveling Exhibition, African-Print Fashion Now! A Story of Taste, Globalization, and Style, developed with the Fowler Museum at UCLA. de Young • February 10, 2018, 10 a.m. • Koret Auditorium, de Young Museum Legion of Honor

Textile Arts Council de Young Museum 50 Hagiwara Tea Garden Drive Golden Gate Park San Francisco, CA 94118-4501 415-750-3627

Officers Chair Leslee Budge Vice Chair Shirley Juster Vice Chair Shelley Wells Treasurer Joy Stocksdale

Secretary Alex Friedman

Editor Caroline Ocampo

Visit our web site: www.textileartscouncil.org September Follow us on www.facebook.com/TextileArtsCouncil 2017 Twitter @TextileArtsSF