The Bay Area Forum for artists, Textile Arts Council aficionados & collectors of weaving, rugs & tapestries, baskets, costume & wearable art September 2012 Upcoming Programs and Announcements Unless otherwise indicated*, all programs are held in the Koret Auditorium at the de Young Museum in Volume XXVII, Golden Gate Park, 50 Hagiwara Tea Drive, San Francisco. Admission to the programs is FREE to TAC Number 3 members, $10 for non-members, and $5 for FAMSF members and students with I.D. No additional Museum admission fee is necessary. You may enter from the garage level or the main floor entrances at the front and side doors of the Museum. (*alternate location, when indicated, is the Legion of Honor Museum, 34th Ave & Clement St., San Francisco.)

Saturday, September 29, 2012, 10 a.m. headgear found in the burial grounds, however, THE ROLE OF COLOR IN THE are made from gray foundation cloth usually COSTUMES OF NORTHERN decorated in brightly colored imported silks from CAUCASUS PEOPLES Byzantine, Central Asia and China. With Dr. Zvezdana Dode Dr. Dode presents material from closed Russian archaeological sites, giving us a rare Color plays a major role in the costume of the opportunity to look at fascinating archeological Northern Caucasus peoples. Dr. Zvezdana Dode, finds. She talks about current methods for an archaeologist and art historian who has done reconstructing an archaeological costume. extensive research on mediaeval costume and Since a costume is a visual object, it requires textiles of the Northern Caucasus,describes and pictorial reconstruction that relies on a variety of discusses the color choices and dyes of the sources: archeological artifacts; images; written people who inhabited this region. She explains evidence, and folklore legend and myth. Dode how the environment influenced these choices. discusses three types of archeological costume The clothes, headdress, reconstruction. The method chosen depends and footgear of these on how much of the original costume remains, Northern Caucasus how easy it is to reconstruct the costume from peoples (Turks, Iranians, these artifacts, and what supporting evidence is Adigs, and Vainah), available. Finally, she takes us through a photo are similar in form and reconstruction of a Dagestan costume. decoration. However, Zvezdana Dode is a Senior Researcher at the tthe color preference Southern Scientific Center, Russian Academy and comprehension of Science. She received her Ph.D. from of color harmony are The Oriental Institute, Russian Academy of different for the various Science, Moscow, then served as Professor groups that inhabited of Archaeology and Art History and as Curator this large region (even at Stavropol State Museum. As an Andrew W. as these costumes Mellon Fellow at The Metropolitan Museum of evolved within similar Art, New York, Dr. Dode made a comparative stylistic complexes). study of silk textiles of the Mongolian period

Dagestan costume in Eurasia. She is the author of over 70 articles and 3 monographs. Her field work includes The local plants they chose as dye-stuff varied, Fine Arts excavations of Late Bronze Age, Iron Age, Museums of though the same plants were generally available and mediaeval barrows sites in the Northern San Francisco region-wide. This is evident in the color choices Caucasus. for dyeing locally made wool and for printing de Young the patterns on linen textiles. The clothes and Programs continue on page 2, col. 1 Legion of Honor 1 Programs continued from page 1

Saturday, October 20, 2012, 10 a.m. embellishment: silk flowers, veiling, Wichern will show a collection of his HAT BLOCKS AND HATS / feathers, ribbon, and fabric sashing. millinery work and demonstrate how the SCULPTURAL FORM AND According to Wichern, it’s fairly simple hat blocks are used to create them. The ARTISTIC FUNCTION to create the frothy event hat; the lecture will cover aspects of the current harder work is to design a simpler hat, millinery industry. With Wayne Wichern something one can wear frequently—a Wayne Wichern carved a curious path sophisticated hat that speaks with quiet as florist, ballet dancer, and visual PLEASE NOTE: Our Annual General Meeting elegance, not a shout. display artist to create his 27-year career will take place in Koret Auditorium just as a fashion millinery designer and before the October lecture. Behind each of these elegant hats is the teacher. Wichern teaches semi-private shaping tool known as the hat block. workshops in his Redwood City studio, A piece of felt, a cloud of steam, and The hat block is a tool made for the and has taught at Penland School of a wooden hat block are the essential millinery trade by a skilled woodcraft Crafts in Penland, NC and Peters Valley ingredients for the making of a blocked artisan. While the hat block is for School of Craft in Layton, NJ. He has hat. Take a peek inside the studio of practical use in the studio, it is itself works in the Textile Collection of the Fine hat designer Wayne Wichern. Wichern an amazing artistic achievement. The Arts Museums of San Francisco and specializes in women’s blocked hat’s felt or straw is pulled or “blocked” the Museum of History and Industry in fashion hats and elegant evening and over these wood forms while it is hot Seattle, WA. cocktail hats. Of particular interest are and damp with steam. This gives it the his theatrical Kentucky Derby-style desired shape, then it is tied with cords hats which are lavish and frothy with to hold the materials in place. The hat Saturday, November 17, 2012, 10 a.m. then needs to dry before FROM TUTUS TO TRUNKS: being removed from the THE SHAPING OF DANCE hat block. DESIGN The hat blocks in With Connie Strayer Wichern’s collection From the heavy and concealing are infinite in variety costumes for dance in the time of and complexity. “My Louis XIV to the more revealing body job as a contemporary hugging costumes of today, design for millinery designer is to dance has evolved alongside fashion, utilize these vintage and but has been molded by individuals contemporary hat blocks with vision and/or purpose. They are in innovative ways, not artists, choreographers, directors, just using the obvious and the dancers themselves. The first shape, but to combine shortening of the dance skirt in the 18th the forms to tease out century, from the floor to just above the their hidden expression. ankle, is credited to a Parisian dancer, I am constantly amazed Marie Camargo, who wanted to be by the skill that went into sure that her fancy footwork would not the conceptualization be concealed by the fabric of her floor and carving of my hat length skirt. Her contemporary, Marie blocks, and if I had time Salle, defied the artifice of the court for another career I would costume and dressed herself in Grecian turn my attention to drapery to better display her movement creating hat blocks.” and gestures of pantomime as well as Photo courtesy Wayne Wichern Programs continue on page 4, col. 1

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Programs continue on page 3, col. 1 4th Annual TEXTILE BAZAAR TEXTILE BAZAAR THE INSIDE SCOOP The Textile Bazaar is a unique event because of the vendors who, through Treasures from their travels, cultural knowledge, and collecting history, offer extraordinary textiles for sale. Some 34 vendors will bring their wares to the Bazaar. Around the

One vendor is coming from Indonesia. The Balinese gallery owner searches for rare antique textiles across Southeast Asia. Another is bringing textiles World direct from skilled artisans: silk ikat shawls from Northeast Thailand; batik silk Sunday, October 21 scarves from Cirebon, Indonesia; and weavings from a Chin weaver prodigy 10:00 am - 4:00 pm in Myanmar.

An expert on Chinese minority textiles and jewelry is bringing rare Chinese minority batiks, as well as Laotian scarves and Indian Ribari “story” panels. Moriarty Hall

Japanese textiles include resist-dyed horse trappings, an unusual St. Anne of the Sunset Church fisherman’s robe, and antique kimono. An appraiser of Japanese textiles will (1300 Funston (at Judah), San Francisco) sell hand-dyed indigo garments from the remaining inventory of the Roger Barber Japanese antiques gallery. A Bay Area collector of Japanese fukusa • Free Admission …. Free Parking (ceremonial gift covers) offers these, and a rare man’s jacket of tsumugi silk. (in the church parking lot)

Some vendors represent global cooperatives and international ventures. One • Payment by check or cash; some such group will offer natural-dyed, hand woven Peruvian home décor pieces, vendors accept credit cards and a Mayan cooperative will be selling such items as brocaded tapestries, huipiles, purses, and pillow covers. • Muni: N Judah to Funston; buses

The Bazaar has always been a great opportunity for downsizing collections. #6 Parnassus, #43 Masonic, #44 One vendor has textiles collected in West Africa in 1978. A photographer all stop at 9th and Judah is offering a large group of huipiles collected in Guatemala in 1973. Other collectors will be bringing early 20th Century Navajo rugs and blankets, Panamanian molas, and Mexican silver.

Jewelry and textile books are also part of the Textile Bazaar. A book dealer will once again offer some unusual, rare, and out-of-print volumes. A jewelry designer wants to share her “inspired Asian semi-precious stones, glass and beads; necklaces and earrings.” Other vendors will have antique and contemporary jewelry from artisans around the world.

There will be thousands of items for you to browse through. Nowhere in the Bay Area is there an event like this– with so many wonderful textiles in one place! Mark your calendars now for our October 21st bazaar!

3 Programs continued from page 3 NEXT her beauty. These dancers were just two of the individuals have brought us to a bounty of visual NEWSLETTER many individuals that helped shape the look of riches in dance today. In this lecture we take a DEADLINE Classical Ballet. whirlwind tour into the origins of dance design up

to the current day, and beyond. November 16, 2012 The design of the Classical Ballet costume Please send your copy continued to evolve, making its final leap to the Connie Strayer is a Costume Designer and Senior to the TAC office. iconic tutu in the 19th Century, where it remains Lecturer in Design in the Department of Theatre a requisite in most, if not all, classical ballets. and Performance Studies at Stanford University. [email protected] As other genres of dance were introduced in the late 19th Century and into the 20th Century, dancers such as Isadora Duncan, Martha ON YOUR TOES! Graham, and Twyla Tharp created works that A TOUR OF THE FAMSF TEXTILE were inextricably linked to the costumes that CONSERVATION LAB they wore. In the world of 20th Century ballet, The Textile Arts Council and Sarah Gates, George Balanchine shook up the ballet world Head of the FAMSF Textile Conservation by using “rehearsal” garments on stage: Lab, are once again offering an exclusive tour unadorned tights and leotards for the women, behind-the-scenes to benefit special projects and tights, shirts and socks with ballet shoes relating to the conservation and storage of for the men, to better serve the simplicity of the the Fine Arts Museums’ textile collection. choreography in some of his ballets that were With the exhibition : A Life in based more on pure movement than story line. Dance, opening October 6 at the de Young, Political upheavals, literature and art move- the focus of this tour will be theater and ments, as well as technical advancements, dance costume. have also made their mark on the visuals of Our collection of theatre and dance dance. These major events coupled with unique costumes present unique challenges to store and exhibit. Due to the “temporary” nature of many theatre costumes, their often “heavy” use and an unusual use of materials, cleaning and storage can defy the process of standard conservation techniques. The over- view of the lab’s facilities will include a look at everything theatrical, from Pavlova to Loie Fuller and Ruby Keeler.

Two dates—choose one: Wednesday, October 17 or Friday, October 19, 9:30am. Cost is $65. Space is limited, so call TAC soon to make a reservation.

SAVE THE DATE! The annual TAC Holiday Party and Benefit Auction will be a bit earlier this year. Mark your calendars for the last week in November

Connie Strayer Costume design for Sunken Cathedral, and watch for your invitation! choreographed by Mark Foeringer for Mark Foeringer Dance Project

TAC Newsletter 4 ANNA GRAY BENNETT (1917 – 2012): AN APPRECIATION Welcome to our New TAC Members Anna Bennett became involved with San exhibitions from the FAMSF collections, Through July 13, 2012 Francisco’s Fine Arts Museums in 1967 as including A Century of Brides (1978), Fans in a docent with a special interest in textiles, Fashion (1981), Undercover Agents (1983), and Carolyn Asbury which were then categorized as part of the The Paris Hat (1984). She retired from the Fine Jason Bowie Department of Decorative Arts. In 1973, she Arts Museums in 1984. met a visiting scholar, Jean-Paul Asselberghs, Early in 1981, Mrs. Bennett conceived Ellen Brook who had learned of the Museums’ tapestry the idea of a “Textile Study Group,” which Carolyn Burwell collection and agreed to catalogue the pieces. would support the Museums’ collection. Katherine Dunlevey Dr. Asselberghs felt that this valuable collection She envisioned “the formation of a broad Emily Dvorin was threatened by neglect and deterioration. support society for textiles, making possible Louaine Elke When he died suddenly, lectures, seminars, and other Nancy Germano Mrs. Bennett agreed to programs for textile-oriented Marcy Goldstein continue his work. But her people—a program to deepen Mary Hackenbracht vision was much larger. involvement in a specialized Kathryn Harris She enlisted her husband field and at the same time Christine Heinicke Ralph, who applied his broaden it by revealing the engineering skills to the relatedness of all branches of Ellen Hauptli problems of storing and the textile arts.” She saw this Alison Hussey caring for the tapestries. group as providing benefits to Grace Kang This was the birth of the the museums by “making the Mirka Knaster Fine Arts Museums Textile collection known and raising Paula Kehoe Conservation Lab. Ralph the level of public interest in Guillermina La Fever Bennett devised and built textiles, attracting collectors Michele Lasker all lab fittings, furniture, Photo by Sharon Beals and collections, supplying Susan Lazear and storage units for the fledgling Lab in the funds, and increasing museum membership.” Nancy Leavens basement of the old de Young building. Much of To this end she canvassed collectors, his work still survives. Sisko Luopajarvi instructors, and guilds in the San Francisco Molly Miles Mrs. Bennett gathered a large group of Bay Area, and mounted lectures targeting Alicia Moorehead volunteers to clean and stabilize the tapestries, specific textile aficionados. The Textile Study Deidre Murphy with professional instruction from Los Angeles Group was a growing concern by 1984, and County Museum of Art (LACMA) Textile in January of 1988, with 256 members (some Anna Naruta Conservator Pat Reeves. She also traveled to of whom are still active members!), it re- Rhonda Petrov study American and European sources of the named itself the Textile Arts Council. It was Jane Piller-Wilson Fine Arts Museums of San Francisco (FAMSF) then defined and expanded under the formal Gudrun Polak tapestries and obtained an MA in art history recognition of the FAMSF Board of Trustees. Usanee Sangmanee research to further her own knowledge. By 1976 We owe an enormous debt of gratitude Susan Shawl the tapestries were ready for their public, and to Anna Bennett, and know she would be Julie Slinger the exhibition Five Centuries of Tapestry opened pleased that we are now 600 members strong, Lisa Swanson at the Legion of Honor Museum. An international with back-to-back events and an endowment Mandi Toutsch tapestry symposium brought further glory which continues to enrich the collection she Andrea Tyson to the collection, and the catalogue, with a took under her wing so many years ago. second edition published in 1992, is still a highly Marilyn Ueki Trish Daly respected resource. Mary Vogt Dale Webdale Due to Mrs. Bennett’s endeavors, the Textile Anna Wong Department achieved stand-alone status by 1983. She mounted several memorable Yolanda Woo

5 RUDOLF NUREYEV: A LIFE IN DANCE Wais and Knowles Galleries of Textile Arts, de Young Museum October 6, 2012–February 17, 2013

“You live because you dance; you live as long as you dance.” traversed the world with his insatiable love of dance, This was Rudolf Nureyev’s mantra throughout his meteoric rise embracing a nomadic life and performing between 150 and as an internationally acclaimed dancer, choreographer, ballet 200 times a year, more than any other dancer. master, and company director. In celebration of the remarkable In 1963 Nureyev began remounting the ballets of Marius art and career of this legendary performer, this exhibition presents Petipa, a choreographer he revered, creator of 19th-century more than 70 costumes from ballets danced or choreographed masterpieces such as Swan Lake, by Nureyev—Swan Lake, Giselle, The Raymonda, Don Quixote, Sleeping Nutcracker, Marguerite and Armand, Beauty, and La Bayadère. Aided by and Manfred among them—as well as a his prodigious memory, Nureyev used selection of photographs that chronicle the productions he had seen and his illustrious life. The exhibition was danced in at the Kirov as sources of organized in collaboration with the Centre inspiration for breathing new life into national du costume de scène (CNCS) these classics, especially the male in Moulins, France and the de Young performances, to which he added Museum is its only US venue. On the many technical intricacies that suited twentieth anniversary of Nureyev’s death, it his own style and mastery. No longer is a privilege to bring this special display to would men’s roles be subservient to San Francisco. those of women. Nureyev’s unique Born into poverty in 1938, the young combination of artistry, technical Rudolf Nureyev in rehearsal for Marguerite and Armand, Nureyev lived a meager, isolated existence Covent Garden, 1963. Photograph by Michael Peto. precision, electric stage presence, and in Ufa, the capital of the Bashkir Republic, musicality, thoroughly transformed . His discovery of dance at male dancing in the West. the age of seven would change his destiny. Wherever Nureyev went, dance At seventeen, through sheer determination, companies were revitalized. Such was he gained acceptance to the famous the case for the Paris Opera Ballet, Kirov School in Leningrad. There, despite the oldest dance company in the his late start, he soon joined the ranks of world, when he became director in preeminent dancers and fellow graduates 1983. There he spent his final years Vaslav Nijinsky, Anna Pavlova, George challenging the hierarchical system Balanchine, and Mikhail Baryshnikov. and nurturing a new generation of A rising star in his own country, Nureyev stars who continue to give life to his caused an international sensation when ballets and teachings today, ensuring he “leapt” to freedom in Paris on June 16, his legacy for future generations. 1961. Soon after his defection, he began Nureyev died of complications from his quest to dominate the world of ballet, AIDS on January 6, 1993—but as he collaborating with the leading dancers had prophetically declared, “As long and choreographers of the West including, Doublet for Rudolf Nureyev in Sleeping Beauty, in the role as my ballets are danced, I will live.” of Prince Florimond, Act III most famously, , principal ballerina at the Royal Opera House, —a partnership that Exhibition organized by the Fine Arts Museums of San would last seventeen years. From his very first appearances on Francisco in collaboration with the Centre national du stage at Covent Garden, “Rudimania” set London ablaze. The costume de scène. rest of Europe, the United States, Australia, and Japan quickly —Jill D’Alessandro followed in succumbing to the dancer’s talent and charm. Nureyev Curator, The Caroline and H. McCoy Jones Department of Textile Art

TAC Newsletter 6 TEXTILE ARTS COUNCIL TOUR 2013 TO UZBEKISTAN: TAC BOARD APRIL 17 TO MAY 2 WITH TOUR EXTENSION TO KYRGYZSTAN MAY 2-6, 2013 Barbara Kelly Due to the overwhelmingly positive response to Lake Issyk Kul, the second largest mountain lake Chair our 2012 tour to Uzbekistan and Kyrgyzstan, we in the world. Along the way we will visit villages Marlene Golden are offering our members another opportunity to where women are carrying on traditional crafts Vice-Chair travel to these exciting destinations. This coming such as felting wool to make shydrak and ala kiyiz Spring you can have an in-depth exposure carpets and wall hangings, and making elaborately Peggy Gordon to the many craft traditions of Central Asia. decorated reed screens, called chiy. Today, a semi- Treasurer Uzbekistan is one of the major silk producers in nomadic culture still exists in Kyrgyzstan, and most the world and the Fergana valley, famous for its vibrant folk art centers around the yurt. In the cities, Ruth Anderson vibrant silk ikats, is home to one of the oldest these ancient crafts have been given new life and a areas of fabrication. In addition to being the sites contemporary look. Barbara Beckmann of incredible Islamic architecture, Samarkand For this tour we are working with the highly Mikki Bourne and Bukhara are alive with craftspeople regarded Gareeva Raisa, president of Salom Travel, Jean Cacicedo producing carpets, intricately embroidered who has organized special textile tours for the cloths, and handmade paper. Our tour is timed Sharon Christovich Textile Society of America and Craft World Tours to allow visits to two of the oldest and largest for many years. With the help of her agency we will Robin Hampton traditional markets in the region, Margilan and have special access to the most highly regarded Urgut. We will also visit the ancient caravanserai Karin Hazelkorn craftspeople in the region. of Khiva. Dubbed by UNESCO as “the most ______David Holloway homogeneous example of Islamic architecture For more information contact: Darlene Jurow in the world,” Khiva was one of the first places outside China to develop a thriving silk industry. Mary Connors 415 482-8035, email: Shirley Juster [email protected] The tour extension to Kyrgyzstan takes us from Rose Kelly the capital, Bishkek, to the beautiful alpine Trish Daly 415 750-3627, email: [email protected] Connie Levy

Judy Norman

Heather Oelerich

Suzanne Stassevitch

Sue Willows-Raznikov

Advisory Board

Mary Connors

Serena Harrigan

Ana Lisa Hedstrom

Karine Langan

Barbara Shapiro

Laurel Sprigg

Susan York

Photos by Cathy Cerny

7 GENERAL CALENDAR Ongoing Until October 6 Until February 17, 2013 Fiber Futures: Japan’s Textile Pioneers – Part I of a True Blue: Indigo, Turquoise, Cobalt & Lapis two-part exhibition Lazuli Exploring the remarkable fusion taking place in The mystery of the color blue: featuring Japan between a rich artisanal textile tradition and an basketry, textiles, jewelry, glass and ceramics. unusually innovative fiber industry. The first part of this Mingei International Museum, San Diego exhibit is color-intensive and centered on a dramatic http://www.mingei.org/exhibitions/true-blue work by artist Machiko Agano. SEPTEMBER October 13 – December 29 September 4 - 29 Fiber Futures: Japan’s Textile Pioneers – Part II takes Gyöngy Laky–Marks of Narration Opening reception: a more achromatic approach and features the work of Saturday, September 8, 6 – 9 pm b. sakata garo Jun’ichi Arai, one of Japan’s most celebrated textile gallery, 923 -20th Street, Sacramento, CA artists. Museum of Craft & Folk Art, San Francisco. 916 447-4276 http://www.bsakatagaro.com/ 415 227-4888 http://www.mocfa.org/ September 14 – January 5, 2013 Ivy Style One of the most enduring American clothing Until October 14 styles, revered and reviled, evocative of campus life and 2nd International TECHstyle Art Biennial (ITAB) copied throughout the world. A juried exhibition chronicling the work of emerging The Museum at FIT, New York and well-established fiber artists and the ways in which http://fitnyc.edu/336.asp they incorporate the new technologies into their work. San Jose Museum of Quilts & Textiles September 19 – 22 408 971-0323 Textiles & Politics–13th Biennial Textile Society of http://www.sjquiltmuseum.org/exhibitions_ America Symposium upcoming.html Lectures, films, artist demonstrations, tours and seminars, Washington, DC Until November 3 http://www.textilesociety.org/symposia_2012.htm Brides for All Seasons Bridal wear and accessories from the 1880s to 1970 September 21 – March 10, 2013 The Lace Museum, Sunnyvale CA The Sultan’s Garden: The Blossoming of Ottoman Art 408 730-4695 The birth of a rich, stylistic heritage and its eternal http://www.thelacemuseum.org/index.html influence and appeal. See October for symposium information. The Textile Museum, Washington, DC Until December 2 http://textilemuseum.org/exhibitions/ Beyond Function: Fiber, Fabric, and Finery SultansGarden.html Exploring the ways that contemporary California artists incorporate fabric in their work and bridge the divide September 27 – 30 between art and craft, and between utility and beauty. Candace Kling ribbon-work classes, The Sewing De Saisset Museum, Santa Clara University Workshop, San Francisco 408 554-4528 415 221-7397 http://www.scu.edu/desaisset/exhibitions/ http://www.thesewingworkshop.com/classes.php

TAC Newsletter 8 OCTOBER NOVEMBER and beyond

October 9 – February 24, 2013 December 14 – March 2013 Turkmen Jewelry from the Collection of Marshall & Marilyn Daniel Arsham: Reach Ruin, The Fabric Workshop and Museum, R. Wolf Philadelphia Metropolitan Museum of Art, New York http://www.fabricworkshopandmuseum.org/Exhibitions http://www.metmuseum.org/exhibitions/listings/2012/ turkmen-jewelry

October 12 – 14 Ottoman by Design: Branding an Empire, 40th Annual Fall Symposium The Textile Museum, Washington, DC http://www.textilemuseum.org/symposium/

October 19 – 21, 10 am – 8 pm San Francisco Antique Rug & Textile Show, the Antique Rug & Textile Art Association, over 40 international dealers. Capri Motel, 2015 Greenwich St., San Francisco http://artsrugshow.org/

October 20 – 21 Shibori workshop with Ana Lisa Hedstrom, The Sewing Workshop, San Francisco 415 221-7397 http://www.thesewingworkshop.com/classes.php Wayne Wichern, American, active 20th–21th century Bad Apple Hat, 1995–2000 October 20 – January 27, 2013 United States, California Hollywood Costume, Victoria & Albert Museum, London Hand-made wool felt, beading http://www.vam.ac.uk/content/exhibitions/exhibition- Museum purchase, Textile Arts Council Endowment Fund hollywood-costume/ 2002.69 See October lecture, page 2 October 20 – March 4, 2013 High Fiber Under Five Benefit art exhibition and sale with prices of $500 or less, benefits artists and the Museum’s art advocacy efforts. San Jose Museum of Quilts & Textiles 408 971-0323 http://www.sjquiltmuseum.org/

October 27 – November 4 Retro/Prospective: 25+ Years of Art Textiles BrownGrotta Arts, Wilton, CT http://www.browngrotta.com

9 Textile Arts Council September Don’t miss these exciting TAC events! 2012 Saturday, September 29, 2012, 10 a.m. THE ROLE OF COLOR IN THE COSTUMES OF NORTHERN CAUCASUS PEOPLES With Dr. Zvezdana Dode

Saturday, October 20, 2012, 10 a.m. HAT BLOCKS AND HATS / SCULPTURAL FORM AND ARTISTIC FUNCTION With Wayne Wichern

Saturday, November 17, 2012, 10 a.m. FROM TUTUS TO TRUNKS: THE SHAPING OF DANCE DESIGN With Connie Strayer

Fine Arts Museums of San Francisco de Young 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 Barbara Kelly Treasurer Peggy Gordon

Office Manager Trish Daly

Editor Rosalie Cooke

September 2012 Visit our web site: www.textileartscouncil.org