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Winter 2012 Textile Society of America Newsletter 24:1 — Winter 2012 Textile Society of America

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This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Newsletters by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Textile Volume 24 n Number 1 n Winter, 2012 Society of America

Provocative Speakers Set for Symposium 2012

contents lanning is well underway histories and traditions across the for the Textile Society of globe and from prehistory to 1 Symposium 2012 PAmerica’s 13th Biennial today, along with both contem- 2 Symposium 2012, continued Symposium, to be held in porary and historical art, 3 From the President Washington, DC, Sept. 19-22, and contemporary developments 2012. The theme & such as the craft resurgence/DIY 4 TSA News, TSA Member News Politics, which befits the setting in movement and sustainable 7 In Memoriam: Mary Hunt the midst of the presidential textiles. Kallenberg election year, has proven to be 8 Textile Community News an exciting inspiration for the Featured Speakers 9 Conference Reviews textile scholars, artists, and other Two dynamic speakers will pres- experts who wish to participate. 12 Ceremonial Tai Textiles ent plenary sessions: Joyce Scott, TSA received an unprecedented a contemporary fiber artist who 14 Publication News number of abstract submissions of is renowned as the “Queen 15 Featured Collection exceptional quality from 31 US of ,” and Rosamond states and 23 countries. Submitted Joyce Scott. Photo: John Dean. 16 Exhibition Reviews Mack, a well-known art historian topics explore a range of textile whose expertise is the Italian Below, “Head Shot” by Joyce 17 Book Reviews Scott, 2008. Seed beads, thread, Renaissance. Together they glass, bullets, 18 1⁄2” x 4 1⁄2” x 4 1⁄2”. 18 Calendar will help us explore the ways Photo: Michael Koryta. Images in which politics influence the courtesy of Goya Contemporary Art. aesthetics, production, materi- als, uses, and numerous other Special Exhibitions aspects of textiles. Ms. Scott’s Several museums and other cul- exuberant beaded sculptural tural institutions are organizing forms and neckpieces are pro- special exhibitions in conjunc- The Textile Society of America, vocative and confrontational, tion with the Symposium. The Inc., provides an international addressing contentious political Fiber Department of Baltimore’s forum for the exchange and social issues such as gender, Maryland Institute College of and dissemination of race, and class struggle. Through Art (MICA) will present ”Cloth information about her writings and lectures, Ms. of Action,” an exhibition of col- textiles worldwide, Mack has focused her research laborative student work exploring from artistic, cultural, on the reciprocal relationships as a form of community economic, historic, and influences between Europe involvement. Participating artists political, social, and and Asia through textile trade and curators will offer a gallery technical perspectives. and production. talk during the Symposium. The tsa board of directors OFFICERS

President Elena Phipps tel 212/349-4485 [email protected]

Vice President Matilda McQuaid tel 212/849-8451 [email protected] Recording Secretary Roxane Shaughnessy tel 416/599-5321 ext. 2226 US Botanic Garden, the beauti- Progressive Era (c.1890-1920). the Marketplace hours and other [email protected] ful setting for the Symposium’s Whether playing sports, attending details, including registration Treasurer Mary Littrell opening reception, will grow college, fighting for the vote and forms for exhibitors. tel 970/219-6509 dye and fiber plants specifically other social causes, becoming [email protected] Tours and Site Seminars for this occasion. Symposium office workers, or volunteer- Director of Internal Relations attendees are also invited to The ing in many capacities during Other highlights of the upcoming Mary Anne Jordan tel 785/864-3919 Textile Museum for an evening World War I, the so-called “New Symposium include behind-the- [email protected] reception corresponding with Woman” of the age required scenes tours of private textile Director of External Relations the opening of “The Sultan’s more practical clothes than the collections and site seminars at Michele A. Hardy Garden: The Blossoming of bulky and impractical ones she’d Tudor Place, Dumbarton Oaks, tel 403/220-4137 [email protected] Ottoman Art.” The exhibition been wearing. The exhibition will Hillwood Museum and Gardens, presents a phenomenon almost also discuss society’s responses, the Daughters of the American Past President unique in the history of Islamic from favorable to ambivalent and Revolution Museum, the Arthur Patricia Hickman tel 845/947-8735 art: the sudden emergence in the critical, to these changing ideas of M. Sackler Gallery and Freer [email protected] mid-16th century of a new and womanhood and femininity. Gallery of Art, Sewall-Belmont DIRECTORS AT-LARGE original floral style in the royal House, and the National Gerry Craig design workshop of Istanbul. As Marketplace Museum of American Indian. tel 785/532-6605 the exhibition reveals, the iconic The Symposium will also feature Plan to join us in Washington, [email protected] attributes of classical Turkish art– a Marketplace where textiles and DC, in Fall, 2012 as we explore Joanne B. Eicher tulips, carnations, hyacinths, and related products from across the the myriad ways in which textiles tel 651/645-2914 [email protected] rosebuds–were the handiwork a nation and around the world pervade our lives and express single gifted artist, Kara Memi. will be available for purchase. political messages. Sarah Fee tel 647/347-9246 The Daughters of the The broad range of makers and http://www.textilesociety.org/symposia [email protected] American Revolution Museum suppliers on display will exhibit – Cyndi Bohlin Christine Martens will present the exhibition creativity and diversity in design, Communications Manager [email protected] “Fashioning the New Woman,” techniques, and aesthetics, TSA Symposium Organizing Barbara Shapiro tracing the radical changes in including both contemporary Committee tel 415/882-7401 [email protected] women’s fashions and social and ethnic textiles. Visit TSA’s roles during the American website for more information on Ann Svenson [email protected]

TASK REPRESENTATIVES TSA Website Coordinator Susan Powers [email protected] TSA Listserv Manager Lydia Fraser [email protected] TSA Newsletter Editor Karen Searle [email protected] TSA Bibliography Editor Marlys McGuire [email protected] 2010 Shep Award Chair Kate Irvin [email protected] TSA Symposium 2012 Co-Chairs Sumru Belger Krody The US Botanic Garden, Washington, DC, is growing dye plants in prepara- [email protected] tion for hosting the reception for TSA’s 13th Biennial Symposium. Cecilia Gunzberger Anderson Right, Bodice and skirt, 93.7 a and b, DAR Museum collection. [email protected]

2 tsa newsletter bring new insight and experience membership to others, to our organization. To do this whether you have some- requires some special attention, one special in mind, or From The and we are looking at ways to a general desire to help facilitate this at our events. And, others. Please see our President given the present climate of the website for gift member- US economy and the state of ship options. various organizations like muse- ums and academic institutions, Thanks to we also want to maintain our Volunteers Dear Members: commitments to our national At the close of the year, members and to encourage stu- I would like to thank all hat a year! dent and new professionals to of our volunteer Board So much has been going W attend our events. To achieve members who work on that it is hard to convey to these goals, we rely on you, ALL tirelessly to ensure that you all that has happened dur- of our members, for support. TSA as an organization is in a Elena at left, at the Cochineal ing the course of 2011. First TSA serves a variety of position to offer you, our mem- Dye Workshop for the and foremost, the plans are Council held in Berkeley, CA in needs—from links to information bers, the rich programming, underway for the 13th Biennial November, 2011. Photo: Sandra about textile activities around constantly updated, and to pro- TSA Symposium in Washington Sardjono. the country and internationally vide you with information about DC (Sept. 19-22, 2012). We Please help us achieve our to potential sources for engage- textile activities, exhibitions, sym- had a record number of paper goals to expand and explore the ment in symposia, publications, posia and other events around proposals—over 300 submissions! field of textiles and to dissemi- and grant opportunities, as well the world. We hope in 2012 to The program is going to be very nate information about the field as camaraderie and engagement be able to update our website strong. We are sorry to those to all. with others interested in learning and to ensure that our programs whose papers couldn’t be accom- Best wishes for the New Year. and enlarging the vision of, and reach all of our members. modated, and hope that every- See you in Washington, DC in knowledge about, textiles in a We would be happy to hear one will understand the complex Sept. 2012!!! variety of forms. from those of you who may wish process of evaluation for the to help us–either with financial – Elena program. It’s going to be great, Symposium Support support (see our website for Elena Phipps, President, TSA and we look forward to seeing The Symposium will be a rich ways to contribute!) or by volun- [email protected] you all there! engagement with a broad range teering your time and effort to New Directions of textile issues—from ancient help us achieve our goals. TSA Listserv studies to contemporary con- http://www.textilesociety.org TSA is undergoing a lot of differ- cerns. We hope this year to be The mission of the TSA list- ent processes of self-evaluation. able to assist those who may Opportunities for serv is to provide a venue for What kind of organization are need financial support to attend, Service ongoing dialogue among our we and what are our goals? We but I know that you all under- diverse and globally dispersed hope that we can serve our mem- We are seeking nominations stand that TSA is a grassroots textile community. Listserv bership, and at the same time for a number of Board positions. organization, and we have always members engage in conversa- are trying to expand outreach These are listed on the TSA invested in our programs what- tion about research; share to our international colleagues, website. These volunteer posi- ever proceeds may be available information about particular who enrich our context and tions are challenging and reward- to us. We are seeking support for ing. Please consider participating textiles, techniques, people, our Symposium programs, and in the core workings of the orga- and regions throughout the hope that you all may have some nization, and contact me or any world; announce publications TSA Headquarters suggestions for potential sponsors of the Board members if you are and exhibitions; and share Charlotte Cosby, Manager for our upcoming Symposium. interested or would like to rec- research in progress. TSA National Office (See the TSA website for details ommend someone. There is also You can subscribe to the TSA Member Services and information how to help in a need for people to help with Listserv by using the form PO Box 193 this effort.) other aspects of TSA, including on the TSA website at the Middletown, DE 19709 We also would like to be the Symposium planning in the address below. As soon as tel 302/378-9636 able to help enable our student DC area, website information, the form is submitted, you fax 302/378-9637 and new professional members Facebook activities, and many will be able to join in the [email protected] to attend the Symposium—and other sorts of efforts. Contact us conversations! hope that our membership may TSA Website: if you want to become involved. Subscribe at: find a way to help us do this. http://www.textilesociety.org TSA relies on its members—TSA http://www.textilesociety. Finally, given the spirit of the IS its membership. org/resources_listserv.htm Your source for membership times, we hope that all members forms, study tour information, may consider giving the gift of – Lydia Fraser, and the latest news. Listserv Coordinator

Winter 2012 3 RISD Museum Blaire Gagnon spent four 224 Benefit Street weeks in Otavalo, Ecuador, May Providence, RI 02903 21-Jun. 19, 2011. She received TSA [email protected] a Beatrice S. Demers Foreign Language Fellowship through News For further information, visit the Rhode Island Foundation to http://www.textilesociety.org/ study Spanish in Otavalo. Many awards_shep.htm vendors from the Otovalo region travel to the US to sell their wares at North American pow- R.L. Shep Ethnic wows, a phenomenon that she is Textile Book Award TSA currently researching. She studied by Ethel Stein. at the Otavalo Spanish Institute Nominations Due Member and learned about textile produc- March 1, 2012 Still actively , Stein tion and marketing through a

will be honored with an exhi- weaving lesson on a floor loom SA is soliciting nominations News bition at the Art Institute of and visits to a backstrap-loom for the R.L. Shep Ethnic T Chicago within the next five weaver and a factory. She Textile Book Award for books years. Her work is in the col- has received a grant to study the published in 2011. Given annual- lections of many museums and Ecuadorian vendors in the US. ly, the award is meant to encour- Honors and Awards private collectors, including the age the study and understanding The Textile Museum in Metropolitan Museum of Art; From Nov. 1- 22 Lisio of ethnic textile traditions by rec- Washington, DC honored Cooper-Hewitt, National Design Foundation instructor Julie ognizing exceptional scholarship Milton Sonday with the 2011 Museum; Smithsonian Institution; Holyoke enjoyed an artist in the field. The award consists George Hewitt Meyers Award in Cleveland Museum of Art; and residency at the Jacquard Center of a cash prize, funded by an a ceremony on Oct. 16, 2011. Long House in East Hampton, NY. and Oriole Mill in Hendersonville, endowment established by RL. Milton is one of the founding NC. During this time, a fruitful Shep in 2000. TSA administers members of the Textile Society – Lucy A. Commoner exchange occurred regarding the endowment through an inde- of America, and was TSA’s sec- Cooper-Hewitt, National Design teaching methods and mill prac- pendent committee appointed by ond President. Museum, Smithsonian Institution tice at the two centers dedicated its Board of Directors. http://www.textilemuseum.org to Jacquard weaving and education. Nominations are open to Member News http://www.theoriolemill.com English-language books (including The Art Institute of Chicago http://www.thejacquardcenter.com/ bilingual publications in which all recently acquired a large group Karen Augusta reports that at her mills.htm essential information appears in of woven textiles by TSA mem- recent fashion auction a World English). For the purpose of the ber Ethel Stein, a preeminent War II-era zoot suit brought a award, ethnic textiles are defined 20th- and 21st-century American record-setting price for a 20th- as the non-industrial textiles of artist and weaver. The acquisi- century gentleman’s garment. Asia, Africa, Oceania, and Native tion includes 33 handwoven The rare suit was purchased for a and Latin America, as well as textiles and Stein’s drawloom, major American museum costume those of identifiable cultural which she designed and built collection. groups in Europe and North in the 1980s. Ethel Stein is Augusta says, “We had never America. Books of a variety of known for her application of seen [a zoot suit] outside of mov- formats, including monographs, historical textile structures to her ies and newsreel clips and know anthologies, and exhibition own work, which ingeniously of only one other in an American catalogs, may be nominated. combines complex weaving and Museum collection—at the Henry Original, scholarly research that techniques to allow her Ford Museum in Dearborn, MI. is clearly communicated is the an extraordinary range of artistic A similar example was featured in principal criterion for the prize- expression through the control of a 1942 Dorothy Dandridge and winning book. Author-nominated color and pattern. Paul White film clip that extolled works are welcome. The pieces date from the the virtues of the zoot suit style Three copies of each publi- 1960s to the present and include in a musical ‘soundie,’ the pre- cation are required for judging. damasks, velvets, lampas, and cursor to music videos.” Please send the bibliographic plain-woven structures combined http://www.youtube.com/ citation and the publisher’s and with hand-dyeing techniques, watch?v=FjKlnXzE-Dk&noredirect=1 author’s contact details to: such as ikat. The works represent http://www.augusta-auction.com Kate Irvin, Chair a full range of imagery, from R.L. Shep Award Committee pure geometric abstraction to Curator, Department of abstracted reality and representa- “Afterglow,” tapestry by Deborah Costume and Textiles tional images. Corsini, 46” x 27”.

4 tsa newsletter Leesa Hubbell, FIT professor, Member Exhibitions SDA Digital News editor, and Deborah Corsini organized an expert on contemporary and co-curated, along with Indonesian batik, was invited Kerri Hurtado of Artsource by the Indonesian embassy Consulting, the Tapestry Weavers to judge the American Batik West exhibition at the historic Design Competition in August, Mills Building in San Francisco. 2011. The competition was “Interconnections” features 41 conceived by Ambassador Dr. recent by 21 members Dino Djalal to promote batik of TWW. The exhibition runs in the US and internationally. through Feb. 3, 2012. With the theme “The Spirit of Kelly Cobb’s winning batik design, and Kelly http://www.tapestryweaverswest.org shown with model draped in her QR code batik in America in the Heritage of Batik,” the American Batik Design Competition. the competition attracted over “Pat Hickman: Traces of Time” 50 Americans with diverse talents The Many Faces of Fiber,” at Barbara Shapiro’s woven scrolls is on view at the University in textile, graphic, and fashion the World Financial Center can be seen in the “Winter Art Gallery, University of design to create and submit Courtyard Gallery, NYC, Dec. 6, Solstice Exhibition” at Fibre Arts Massachusetts Dartmouth, New original designs that communicate 2011- Feb. 19. Her skirt forms, Design Gallery, Palo Alto, CA, Bedford, MA, Dec. 8, 2011-Jan. American spirit and values, while called “Performance,” balance Dec. 1, 2011-Jan. 25. 27, 2012. Pat’s lecture, “Minus referencing the visual legacy and sheer against velvet on sup- http://www.fibreartsdesign.com the Metronome: Time, Labor, resist processes of Indonesian batik. ports reaching over 7’ high. The and the Creative Process” was Nine finalists were chosen exhibition was organized by the Adrienne Sloane has work in presented at the opening. A 20- from digital designs, which were Textile Study Guild of New York “Crossing Lines: The Many Faces page catalog is available. A solo then sent to Yogyakarta, Java, to and juried by Rebecca A.T. of Fiber,” an exhibition of 58 exhibition of Hickman’s work, be interpreted in both tulis and Stevens. Julia also exhibited a large and small, two- and three- “Staying Time,” was extended at cap batik under the direction of work in “Craft USA ‘11,” Nov. 13- dimensional works of contemporary the Tovin Studio Gallery, Nyack, Nia Fliam and Agus Ismoyo of Dec. 23, 2011, juried by Museum fiber art, Dec. 6, 2011-Feb. 19. She NY. As part of this exhibition, Brahma Tirta Sari studio. Three of Arts and Design Director, Holly will teach “Playing with the Knit Pat and Warren Seelig had a first-prize winners, who received Hotchner. Her large work in indus- Muse: A Sculptural Approach conversation on Dec. 3, touching both cash and a 2-week tour trial , “Reflection,” was on view to ” at North Country on Hickman’s process, methodol- of Indonesia, were selected in in “Craft USA,” Nov. 13-Dec. 23 at Studio Workshops, at Bennington ogy, and approach to making art. a gala event in San Francisco in Silvermine Guild, New Canaan, CT. College, VT, Jan. 24-29. http://www1.umassd.edu/cvpa/ early November. Among them http://www.tsgny.org http://www. universityartgallery/gallery.cfm was Kelly Cobb, Instructor of http://silvermine.org northcountrystudioworkshops.org Fashion & Apparel Studies at the Sloane is currently serving as Jorie Johnson served on the University of Delaware, whose Ann Marie Moeller curated the co-chair of the Surface Design selection committee for the exhi- QR code pattern was repro- exhibit “Reverence for Nature Association’s MA/RI regional bition, “New Beat: International duced by copper cap stamp and in the Art of Kimono” in the group along with Nancy Crasco. Student Concours,” organized is readable by a smart phone headquarters building of the in conjunction with the 8th linked to the ABDC website. For International Monetary Fund in Linda Wallace’s solo exhibi- International Shibori Symposium, more information and a video Washington, DC, for the IMF tion has been posted on the Hong Kong, Dec. 2011-Jan. 2012. announcing the winners, go to: Annual Meeting, Sept. 20-26, 2011. American Tapestry Alliance http://shiboriorg.wordpress.com http://americanbatik. website. “A Penelopean Space: embassyofindonesia.org. Tapestries by Claire Campbell the Artwork of Linda Wallace” Julia Kiechel is exhibiting a trio Park and Mary Babcock and includes four series, including of large free-standing devoré paintings by Nancy Tokar sculptures in “Crossing Lines: Miller celebrate the Hawaiian landscape in “East/Pacific/West: Confluence” at Pima Community College/Center for the Arts, Tucson, AZ, Jan. 30-Mar. 9. http://www.pima.edu/ performingarts/bernalgallery

One of the many booths at the market in Otovalo, Ecuador. Photo: Blaire Gagnon. Detail, 7’ tall devoré sculpture by Julie Kiechel.

Winter 2012 5 Member Lectures and became a precious commodity re-launch with updates by British Workshops along the sea routes opened by Museum Press of her book, the Spanish in the 15th century, Indigo, is now available in a US On Sept. 11, 2011, Ann Marie and is still widely used in food, edition from Firefly books. Moeller gave the lecture, “Green cosmetics, and textiles. Ms. Phipps http://www.fireflybooks.com and Kimono: The Color of worked closely with scientists Gods and Youth,” at The Textile who conducted dye-analyses from Edith Crouch announces pub- Museum, Washington, DC. The examples in the collection of the lication of The Mola: Traditional lecture was in conjunction with Metropolitan Museum of Art. In Kuna Textile Art. The mola is the exhibition, “Green: The addition to the story of this fabled a multilayered textile art form Color and the Cause.” dyestuff, she examined cultural, and a metaphor for the story of technical and historical questions the Kuna, indigenous people of In September, Chunghie Lee arising from her research. Panama. With over 890 images mounted an invited exhibition http://elenaphipps.org covering more than a century and gave a lecture and work- of molas, she provides insights shop at the European Textile Cynthia Schira, Lia Cook and into design sources and influ- Network Conference in Kaunas, “Disconnect,” tapestry by Linda Louise Berube spent ten days in ences for molas, perspectives on Lithuania. Then she headed to Wallace. Kaunas, Lithuania in September the aesthetic practices of their London to mount an invitational 2011. They each spoke at the creators, and hints for collect- hand-woven tapestry, decon- exhibition in conjunction with 30th European Textile Network ing and preserving this colorful structed tapestry, and drawing. the 2011 “Knitting & Stitching Conference and attended the textile art form. A brief history To view the exhibit visit: Show,” an international annual opening of the “International of Panama and its rich tradition http://americantapestryalliance. event organized by Twistedthread Kauno Textile Biennale,” which of indigenous arts place the mola org/exhibitions/online-web- in London. included their work. in context. exhibitions/a-penelopean-space- http://www.bienale.lt http://www.bienale.lt http://www.schifferbooks.com/ the-artwork-of-linda-wallace http://www.twistedthread.com/ newschiffer/book_template. pages/exhibitions Barbara Shapiro will offer “A php?isbn=9780764338458 Carol Westfall has work in a Greener Indigo” workshops group show, “Be My Guest,” at Tilleke & Gibbins Consulting and lectures at Convergence Dirk Holger announces his the invitation of a member of the Curator Dr. Linda S. McIntosh in Long Beach, CA, Jul. 15-21. upcoming publication, To Weave Noho Gallery, Chelsea, NY, Dec. lectured in Bangkok in July on Registration is now open. or Not to Weave: A Basic Tapestry 20, 2011-Jan. 7. In March, she will textiles produced by the Tai Yuan http://www.weavespindye.org/ Book for the Lay Person, from- join her peers in the “Distinguished weavers originating from northern convergence Schiffer Books in summer of Educators Exhibition” in the Crane and central Thailand. The Tai 2012, for all tapestry lovers. Arts Building, Philadelphia, PA. Yuan is the most populous group http://www.schifferbooks.com Carol is currently writing for in the kingdom’s northern region. Member Publications the internet-based blogs of Fibre and communities are found in Indigo: Egyptian Mummies to Blue Michael A. Langkjær of the Quarterly in Canada and bgarts Chiang Mai, Phrae, Lampang, Jeans by Jenny Balfour-Paul, a University of Copenhagen has in the US. Uttaradit, Saraburi, and Ratchaburi. co-edited an anthology, Images http://www.carolwestfall.com She discussed the history of the in Time, on the study of photog- Tai Yuan, highlighting the presen- raphy and dress. The volume Mary Zicafoose celebrated the tation with textiles from Tilleke was published in Fall, 2011 launch of her new carpet line & Gibbins’ collection and field by Wunderkammer Press, Bath on Nov. 11 in the Khawachen photographs. McIntosh will lead School of Art & Design. The book Showroom, Hanover, NH. Her a textile study trip to Ratchaburi discusses historical and current carpet collection and that of Sara Province on Jan. 15. relationships between fashion Goodman were introduced. The http:www.tillekeandgibbins.com and photography with regard to collections are based on original identity, gender, post-modern designs and the carpets are Elena Phipps lectured at the re-use of media, street-style blog- manufactured in Nepal and Tibet Textile Arts Council, de Young ging, and integration of body and by Inner Asia/Khawachen. The Museum, San Francisco, CA, technology. Price: £19.99 beautiful carpets are the newest Nov. 12, 2011. She discussed ISBN: 978-0-9566462-2-4 expression of a lifetime of work the 30 years of research which http://www.wunderkammerpress.com in textiles for both Zicafoose and led to the publication of her Goodman. They are certified by book, Cochineal Red: The Art Elena Phipps announces the GoodWeave, and the artists are History of a Color. Valued in its publication of her book, Looking proud to see their names next to the native hemisphere, this prized dye At Textiles: A Guide to Technical GoodWeave label. Terms, released in December http://innerasiarugs.com “Lava/Sea/Sky” by Claire Campbell 2011 by Getty publications. Park, hand-woven linen, 70”x33”. http://www.getty.edu/publications

6 tsa newsletter and connoisseurship. Her many Ethnic Textiles Book Award, as travels enlarged her vision of the well as the Art Libraries Society In meanings and cultural value of of North America’s George the textiles that she spent much Wittenborn Award. Mary took Memoriam of her professional life studying, great pride and delight in this collecting, distributing and plac- recognition of achievement. ing into context, and into many – Ruth Barnes of the major textile resources and museums in the US and emembering Mary— elsewhere. Rwith the big wide laughing Mary Hunt I had the chance recently smile; sparkling eye with a bit of Kahlenberg to talk with Mary in her garden. mischief in the squint; a gentle 1940-2011 Weakened by a recent treatment, jolt of nervous eager energy; the she took time to talk about her focus was textiles. ary was a special person. concern for the future of textile She treasured the simplest MMany people know her research, of the need to encour- to the sublime. Her arrival in from her gallery as a dealer of age young scholars and curators, One day in 2005, I had a phone Los Angeles in the late 1960s beautiful textiles. Others asso- to help them to have opportuni- call from Mary–she had been awakened fresh vistas of Navajo ciate her with her long-term ties to travel and study and to diagnosed with cancer and had , grass as a textile interest in and important publica- develop the tools that would in just had her first operation. She medium, exploring nuances of tions on Indonesian textiles and turn help them gain confidence needed to reassess her life and Indonesian textile heritage, and Navajo blankets. within a profession that often decide what really mattered most many more musings outside the Her work with The Textile falls to the edges of a museum’s to her, and producing a first-rate traditional art museum offerings Museum, LACMA, and later priorities. I would add to this list book on the current state of at that period. with Lloyd Cotsen and the the need to develop the sensitiv- study in Indonesian textiles was Mary paced her life as a race: Neutrogena collections honed ity and knowledge that would her professional goal. She asked the running, leaping rabbit ground- her aesthetic viewpoints estab- enable the kind of textile con- me to be the editor, and that was ed in an ever-persistent, deter- lished through her curatorial vision. noisseurship and refined taste the beginning of what became mined turtle; a committed force to Those who had the opportunity that Mary embodied in her work Five Centuries of Indonesian Textiles. the end. She challenged all who to meander through her beauti- and her life. The book focuses on examples knew and/or worked with her. ful home in Santa Fe, which – Elena Phipps from Mary’s personal collection, She was, and remains, my she shared with her husband, but we aimed for a much wider “soul sister” in a shared passion. field. Rob Coffland, and which was Remembering Mary – Mary Jane Leland the early location of her gal- In October, 2008 all major contributors were invited to lery, could experience firsthand ary and I first met 20 Selected Publications by speak at the Third Triennial her exquisite taste and refined Myears ago in Basel at Mary Hunt Kahlenberg aesthetic sensitivity. Time spent the third Indonesian Textiles Symposium on Textiles and opening drawers and unrolling Symposium. She often visited Dress at the Los Angeles County Walk in Beauty: The Navajo and long tubes that revealed textiles— me in Oxford at the Ashmolean Museum, and then went on to Their Blankets, published by New York Graphic Society, co-authored each one more beautiful than Museum, and she took a par- Santa Fe as guests of Mary and with Anthony Berlant, 1977; the last—combined with Mary’s ticular interest in my research her husband, Rob Coffland. I revised edition 1991. poignant remarks about their project on Indian trade cloths. think we all agreed that this was functions and origins, could teach As I was then mostly studying a definite highlight of the proj- Textile Traditions of Indonesia, Los one a lot about history, quality fragments of textiles traded from ect. We inspected and handled Angeles County Museum of Art, West India into the Islamic Near textiles, we talked endlessly, we Los Angeles, 1978. Afternoon in Santa Fe with (l to r), East, she introduced me to Lloyd had wonderful food and hospital- The Extraordinary in the Ordinary: Mary Hunt Kahlenberg, Sharon ity, and we walked in the hills Takeda, Ruth Barnes, and Roy Cotsen and his marvelous collec- From the Collections of Lloyd Cotsen Hamilton. tion of ‘Textile Traces.’ We had around Santa Fe. It was magic. and the Neutrogena Corporation, The great fun choos- As with any publication involv- Museum of International Folk Art, ing highlights ing several authors, there were Santa Fe and Abrams. 1998. from his Islamic some rough patches to follow. Asian Costumes and Textiles, From fragments for But the memory of those days the Bosphorus to Fujiyama, Skira, an exhibition in will remain. Mary and Rob cre- 2000. ated a magic environment for Oxford, which Five Centuries of Indonesian Textiles, us, in which we exchanged and turned into an Delmonico Books/Prestel, 2010, exquisite display. reciprocated, marveled and were co-authored with Ruth Barnes; But it was inspired. winner, 2011 George Wittenborn her illness that The rest is history: the book Memorial Book Award and TSA really brought us was published in 2010 and has 2010 R.L. Shep Ethnic Textiles closely together. received the TSA R.L. Shep Book Award.

Winter 2012 7 support exhibitions and pro- (The “Eye” referred to the gallery, number of projects in develop- grams. The grant runs through and the “Egg” to the restaurant, ing countries, as well as other Textile June 2014 and requires the which served more than 50 kinds fiber art and textile organizations. organization to match $100,000 of omelets.) In 1973 Wyle began http://www.tafalist.com Community in additional gifts in the last to turn the enterprise into a full- two years of the award. The fledged museum. Economic woes ATA News News Museum, in Portland, OR, was forced the museum to close in late founded in 1937 as the Oregon 1997, with the consequent disman- he American Tapestry Ceramic Studio by artist/educa- tling of the permanent collection, TAlliance announces the tor Lydia Herrick Hodge along the donation of the museum library launch of its newly redesigned Textiles Asia with a dedicated group of to the LA County Museum of website. The site contains exten- women volunteers. Committed Art, and the museum’s archives sive web exhibitions, educational Special TSA Offer to the advancement of craft, the to UCLA Library Special articles, artist pages, and more!

extiles Asia seeks to con- museum recently celebrated the Collections. These institutional http://americantapestryalliance.org second anniversary of its part- The Alliance also announces Tnect people interested in records include correspondence, Asian textiles. Its articles and nership with Pacific Northwest memos, minutes of board and a scholarship for ATA members listings are designed to keep College of Art. staff meetings, announcements, to pursue study in the field of collectors, scholars, historians, http://www. clippings and press releases, tapestry weaving. The application museum curators, textile conser- MuseumofContemporaryCraft.org newsletters, posters, blueprints, may be for study in workshops vators, dealers, fashion and cos- memorabilia, slides and photo- or courses, study with indi- tume design professionals, crafts- CAFAM Online graphs, audiotapes, videotapes, vidual tutors or at institutions of people, and enthusiastic novices Catalog Launch and films. They can be accessed higher learning. A Scholarship informed about exhibitions, by appointment by calling UCLA Committee will determine the Library Special Collections at number of awards granted and educational programs, research, he Craft and Folk Art tours, and events related to TMuseum (CAFAM) has 310/825-4988. the amount of the awards. Asian textiles across the world. launched the online finding aid The Online Archive of Application deadline is Sept. 1, Textiles Asia is published three for the first 32 years (1965- California provides free public 2012. For more information: times a year. 1997) of the CAFAM archives access to detailed descriptions of [email protected] Publisher-Editor Bonnie located at UCLA Library Special primary resource collections main- http://www.americantapestryalliance. Corwin has gathered an impres- Collections. The finding aid is tained by more than 200 contrib- org sive group of contributing editors available through the Online uting institutions, including librar- including Valerie Foley, Dale Archive of California. ies, special collections, archives, Weave A Real Peace Gluckman, Gill Green, Sumru The Craft and Folk Art historical societies, and museums Krody, Pramod Kumar, Linda Museum has played an impor- throughout California, and col- Annual Meeting McIntosh, Mariah Woworuntu, tant role in the development of lections maintained by the ten he 20th Annual Meeting Zhao Feng and John Vollmer. University of California campuses. the Los Angeles art scene and of WARP, a networking A special one-time offer is extend- http://findaid.oac.cdlib.org T has launched the careers of well- organization for those interested ed to the members of the Textile known artists featured in the http://www.cafamorg in textile-related development Society of America. Subscription current exhibition, “Golden State projects, will be held May 17-20 rates are: 1 year, US$35 (now of Craft: California 1960-1985,” TAFA: The Textile and in Boulder, CO. The meeting US$29 for TSA), or 2 years, a part of the Getty’s “Pacific features speakers, discussions, US$60 (now US$48 for TSA). Fiber Art List Standard Time” initiative. and a textile marketplace with Offer good until Apr. 1, 2012. Former CAFAM librarian AFA was launched in goods from cooperatives around Textiles Asia Joan Benedetti, working with January, 2010 to access the world. For details, please visit P.O. Box 423, General Post Office the Special Collections staff, has T larger markets for its members. the WARP website: Hong Kong created the keyword-searchable The site, founded by Rachel Biel, http://weavearealpeace.org/ Information: Bonnie Corwin online finding aid. It provides brings a variety of textile tradi- annual.html [email protected] an index to the contents of tions to one place, serving as a the 6,208 folders in the 550 hub to disseminate information. Promote TSA to your document boxes that hold the TAFA has active groups on Group or Conference! Museum of records. Individual sections of the Facebook, Flickr, and a presence Contemporary Craft finding aid include “scope notes” on YouTube. It utilizes Twitter Request our new TSA that describe or offer background Receives Grant and maintains a blog on Etsy Membership brochures on that particular section. with member posts and a catalog from Char in the TSA he Museum of Contemporary In 1965, Edith Wyle and of shops. TAFA currently has Craft (MoCC) has received Bette Chase opened an inno- Office to hand out at your T 400 members from 40 countries. a three-year grant of $300,000 vative gallery and restaurant next meeting or textile- Most members are working from an anonymous donor to called The Egg and the Eye. artists, but there is a growing related event. [email protected]

8 tsa newsletter Unesco recognizes street artist, Mrs. Smith, into a presented her research on tra- Textiles Panel at single giant textile extravaganza ditional fabrics of her native Sadu textiles to be exhibited at the 2012 UK country. Lia Cook from the US Technology History

he Abu Dhabi Authority Knitting and Stitching Shows in introduced the audience to the Conference for Culture and Heritage London and Harrogate, accom- research of young US-based art- textile panel was organized T panied by a list of contributors. ists, their social concerns, and (ADACH) has announced that by Daryl Hafter at the Although the artists are focus- interest in the craft. She also A the traditional Sadu textile latest Society for the History ing on textiles, they believe that showed some of her recent production of the United Arab of Technology conference in the outcomes will be relevant work, a crossover between art Emirates is the latest addition Cleveland, OH, Nov. 3-6, 2011. across crafts and genres. For and studies on neurosciences. to the UNESCO List of the The panel was sponsored by details of how to participate and The title of the Biennial evokes Intangible Cultural Heritage of the interest group Women in further information about the the need for exploring new media Humanity. Carol Bier has shared Technological History. Chair: project, please visit the website: and materials, while remember- the link below to a detailed Joy Parr, University of Western ing our heritage. Maintaining article on this announcement and http://www.theunfinishable.com Ontario; Commentator: Daryl links to the past was the focus of the Sadu weaving tradition. [email protected] Hafter, Eastern Michigan “Rewind History,” an exhibition http://www.middle-east-online. University; Panelists: Margaret of Jacquard-woven Lithuanian art, com/english/?id=49218 Vining and Barton C. Hacker, and “Rewind Personal History,” A video on Sadu weving can be both at Smithsonian Institution. probably the most interesting exhi- seen at: “Uniformed Ladies in the bition, showing 31 works selected http://www.unesco.org/archives/ Great War,” was a discussion of from over 300 submissions. multimedia/index.php?id_ the collection of women’s uni- Conference Exploring new media and page=34&pattern=sadu forms, both military and civilian, technologies was the focus of before and during World War I, Reviews Sarah Braddock Clarke’s speech, in the Smithsonian Institution in The Unfinishable as well as the theme of the exhi- Washington, DC. Also covered bition she curated: “Rewind into Project were designs of mili- the Future.” tary themes sewn on aprons and ritish textile artists Hazel European Textile The second day of the con- handkerchiefs. Connors and Felicity Clarke ference was dedicated to a long B Network Rachel Maines of Cornell are organizing an international networking session, during which University discussed “Socks at participatory project. They ETN conference 25 speakers presented their most War: Trenchfoot Casualties in write, “In the course of our own Sept. 22-24, 2011 recent projects. Giselle Eberhard the American Forces in World practices we came across the Cotton spoke of the Toms Pauli War II.” The British military dilemma of pieces of stitchwork he ETN Conference held Foundation, an institution devot- had learned the importance of which, for whatever reason, will Tlast September in Kaunas, ed to the “Lausanne Biennale of dry socks during WWI. To help never get finished but somehow, Lithuania, was an interesting Textile Art Heritage.” Professors American soldiers avoid contract- intriguingly, are too special to be meeting point for artists, cura- Shi Hui Shan and Zeng of the ing the condition, the US military reworked or discarded. We call tors of contemporary textile China Academy of Art in requisitioned commercially made these pieces ‘Unfinishable.’ We art, and students. Over 100 Hangzhou informed the audience socks and filled in the supply gaps began to realize that this issue is delegates attended the confer- about the organization of a new with hand knitted socks produced encountered by many makers ence from Europe, the Americas, textile art event in China in 2013. by women from the home front. and that such pieces often have a Asia, and Africa. The conference The next ETN conference, Phil Gibson and Heidi story attached to them. We decid- took place during the open- to be held in 2013, will surely Schreuder-Gibson of the US ed to explore this phenomenon ing events of “Rewind Into The be an exciting opportunity to see Army’s Natick Soldier RDE in order to discover the reasons Future-20 Years of Celebration recent work, remain informed Center discussed “Future Military why it happens and what can be ETN”—an exhibition within the about new developments in tex- Textiles.” They described the learned from the shared pool of framework of the “8th Kaunas tile art, and encounter colleagues enormous variety of textiles knowledge.” The artists invite par- Biennial TEXTILE 11.” The staff working with the medium. designed to assist soldiers, such ticipation by “all fellow makers in of the European Textile Network For information on past confer- as: shirts with the capacity to any area of textile who have also worked in conjunction with orga- ences, visit: monitor blood pressure and vital suffered the Unfinishable experi- nizers of the Biennial, selecting http://etn-net.org/etn/212e.htm works for the main exhibitions, signs; cloth for shelter, such as ence.” – Eva Basile The results of their research and organizing some side events. synthetic tents; and cloth that will be published in a book con- Artists whose work was makes a human figure appear taining a selection of submitted shown at the National Museum’s invisible, among other inventions. Unfinishables and their stories, M. Žilinskas Art Gallery in per- This was the first panel on tex- to accompany an Unfinishables sonal exhibitions were invited tiles presented at a SHOT meeting exhibition. All of the donated to speak during the conference. in the US for at least ten years! Unfinishable pieces will be Chungie Lee from Korea – Daryl Hafter upcycled by the textile and

Winter 2012 9 Inaugural Meeting: Rowen Schussheim-Anderson, constituencies necessitated con- Augustana College siderable variation in approaches Midwest Fiber Artist Alec Slinde, Indiana University to teaching. Many of us, work- Educator Network Brooks Stevens, Eastern Michigan ing within institutions as single University tenured faculty members in our Nov. 11-13, 2011 Nancy Taylor, Earlham College discipline, enjoy the challenging— Hosted by Rowland Ricketts at Lisa Vinebaum, School of the Art albeit sometimes onerous—respon- Indiana University, Bloomington, IN Institute of Chicago sibility of handling all aspects Sarah Wagner, College of Creative of curriculum content, design, ast fall, after being Studies Lthoroughly invigorated by Wendy Weiss, University of and delivery. Influenced by our our attendance at the 12th TSA Nebraska-Lincoln situations as well as our personal Biennial Symposium, Rowland beliefs, discussion of our varied Ricketts and I had the good The program began late perspectives also revealed mutual fortune to be leaving Lincoln Friday afternoon in the Fine concerns, shared passions, and together for our departing flights. Arts Building on the university many common expectations. We As we waited in the airport, we campus with a “meet and greet” acknowledged the beauty of our Rowland Ricketts shows his indigo seed harvest at the Indigrowing reception that included digital field as a model of connection: discussed our mutual interest in Blue project, Indiana University. creating a fiber artist educator presentations of our creative uniting many strands of making, Photo: Sally Rose. network in the Midwest. Inspired work. Influenced by the con- materiality, technologies, histories, by conversations with colleagues cept of “Pecha Kucha,” each theories, etc., in a rich, expansive/ initiated by Ricketts on the out- from the Southeast presenter had only three min- evolving whole. skirts of the IU campus. It was Educators Association (SEFEA), utes to introduce themselves—a Further discussion of specific a thrill to see the field of indigo and encouraged by similar senti- wonderful, energizing way to get assignments revealed an excit- plants (ripe with seeds!) and tour ments from several regional col- acquainted! During dinner at a ing range of concrete/proven the newly constructed indigo leagues, we began to make plans. local restaurant, we continued methods of engaging students composting building while learn- With support and enthusiasm our engaging conversations and through process, problem-solving, ing more about Rowland’s plans from an impressive roster of art- capped the evening with a visit and creative/critical thinking. and expectations for the project. ist/educators, we launched the to “11/11/11,” an exhibition The sense of dedication, com- http://www.indigrowingblue.com Midwest Fiber Artist Educators showcasing the work of IU Fiber mitment, and knowledge of the Rowland and I had envi- Network with an inaugural meet- students at the Fuller Gallery. artist/educators present formed a sioned this organization as a ing held at Indiana University Saturday was filled with clear reflection of the vitality of way to make connections and in November 2011. Attendees productive dialogue generated the field in the Midwest! to develop “a forum to maintain included: by several questions that we The late afternoon “business vitality, criticality, and visibility Susan Aaron-Taylor, College of had circulated in advance of meeting” resulted in unanimous for/in the fields of Fibers/ Creative Studies the meeting. “Assuming that agreement to hold a second Textiles/Material Studies” Megan Abajian, Indiana University the foundation of a studio art meeting in November 2012 across our region. On leaving Cathryn Amidei, Eastern Michigan practice in fiber/textile/material at the University of Wisconsin- Bloomington, I felt we had ful- University studies requires an integration of Madison, hosted by Jennifer filled our expectations. Mike Andrews, School of the Art craft skill and conceptual content Angus, Mary Hark, and Carolyn For information about the Institute of Chicago built on research, critical think- Kallenborn. Jennifer Angus, University of next meeting and regional ing, knowledge of traditions rel- Our organized discussions Wisconsin-Madison announcements, please join the evant to the field, and an ability were augmented by a midday Xia Gao, Michigan State University email list at: to innovate…..,” we had asked tour of two inspiring exhibitions Allison Gates, University of http://www.mfaen.org participants to come prepared to mounted in the Grunwald Gallery: Wisconsin-Green Bay or the MFAEN Facebook Group. Suzanne Halvorson, Indiana discuss the fundamentals of what “LINEage,” featuring the recent we teach and how we teach it. work of Elizabeth Billings, Anne University NOTE: The geographic area designat- We had also asked col- Mary Hark, University of Lindberg, and Rowland Ricketts, ed for purposes of this organization, Wisconsin-Madison leagues to provide a copy of a and “Waveforms,” an exhibition including Illinois, Indiana, Michigan, Catherine. Joslyn, Clarion University class assignment that had proven of interdisciplinary art works Ohio, Wisconsin, and all neighbor- Carolyn Kallenborn, University of effective in generating a suc- showcasing sound. A lovely ing states, was defined primarily in Wisconsin-Madison cessful learning experience for evening reception was held in the interest of practicality. All faculty Janice Lessman-Moss, Kent State their students. Those attending Rowland’s studio on campus, members/professional artists teaching at an accredited four-year or gradu- University represented diverse institutions where we got to see his loom ate program in Textiles, Fibers, or Bill Lorton, Cleveland Institute of Art and program affiliations, from and indigo baths, as well as visit Lisa Lee Peterson, Purdue University Material Studies under the rubric of small liberal arts colleges to pri- the studios of current Textiles Rowland Ricketts, Indiana studio art are invited to join. vate art schools and large state MFA students. University – Janice Lessman-Moss universities; they were housed in Sally Rose, Central Michigan The Sunday morning meet- with Rowland Ricketts University departments/schools of design, ing closed with an introduction art, clothing and fashion; our to the Indigrowing Blue Project

10 tsa newsletter Sustainable the sun, “harvest electrical energy This process of using textiles to and provide a completely self- channel solar power also enables Innovations in contained source of renewable the advancement of healthcare Sustainable Textiles power and light.” The sunlight and education systems by yield- is then captured by the textiles ing the electrical power needed Observations on Shelia Kennedy’s and its energy is conserved to to charge devices, and providing Keynote Address at the 2010 TSA power the LEDs and bring light an energy source where there Biennial Symposium energy indoors via the Portable was once none. The Portable

extiles, due in part to their Light unit. Users benefit from this Light project is just one example Tessential role in every-day solar-powered textile-based light of the many ways that innova- life, have a history of creating a source, which dramatically tions in sustainable textiles can be dialogue across multiple disciplines. increases their ability to perform applied to benefit those beyond As sustainable design gains popu- tasks like cooking and reading the design studio and gallery. larity with global audiences, the at night, without the dangers of Kennedy also outlined her environmental and social implica- fire, which had previously been team’s work on the Soft House tions of the textile arts have gained the only light source in many of project. This design “transforms attention. This desire to understand these communities. the household curtain into a set how textiles impact the develop- http://portablelight.org of energy-harvesting and light ment of social responsibility and One of the goals of the emitting textiles that power solid A Huichol girl reads at night using environmental preservation was Portable Light project is to state lighting and portable work her Portable Light Unit. “enable the world’s poor- tools such as laptops, digital cam- illustrated by Keynote Speaker It is of note that when pre- est people to create and own eras, etc.” Kennedy explained Sheila Kennedy at the 2010 TSA senting the designs and final prod- energy-harvesting bags, blankets, that the Soft House’s fluid, textile Symposium, Textiles and Settlement: ucts of both of these energy-har- and clothing using local materi- driven design was created to From Plains Space to Cyber Space vesting textile projects, Kennedy als and traditional weaving and reduce the consumption of non- last fall in Lincoln, NE. emphasized the craftsmanship as techniques in an open- renewable energy sources. Kennedy’s address, “Energy- being central to their success and source model.” At this time these Science and artistry were Harvesting Textiles: From Flat to integrity. Her address also empha- include indigenous people and revisited in this second KVA Form,” invited TSA members to sized the importance of collabora- communities in over five coun- project. Textiles used in the Soft examine the ever-evolving world tions between the sciences and tries. In addition to the current House “can adapt to the chang- of textiles from a nontraditional the arts, which will benefit the distribution of the Portable Light ing space needs of home owners vantage point. As a founding environment as well as the textile project, KVA’s website notes and be moved to follow the sun, Principal of Kennedy & Violich arts community. Kennedy’s incor- that sustainability think tank, generating up to 16,000 watt Architecture Ltd. (KVA) and poration of sustainable textiles Rocky Mountain Institute, is hours of electricity—more than Professor of the Practice in MIT’s within an architectural frame- working with the Portable Light half of the daily power needs Department of Architecture, work illustrates the potential for project team to scale its efforts of an average household in the Kennedy’s career has been rooted creative problem solving across for increased textile-based solar US.” This sustainable textile solu- in innovation. At the Symposium disciplines, resulting in applied energy conservation worldwide. tion to the nation’s increasingly she profiled two very different art and craft that is able to inspire This vision will not only broaden problematic energy dependency undertakings, the Portable Light important social and environmen- the project’s reach, but enable is not only innovative, it is also and Soft House projects that were tal advancements. continued collaborations and beautiful in its construction. The united by their focus on the many By choosing Kennedy to innovations in textiles designed flowing panels of light-harvesting uses of solar-powered textiles. open the 2010 Symposium, TSA for optimal sustainability. textiles provide a customizable Kennedy’s keynote invited TSA demonstrated innovative thinking, In her address, Kennedy dwelling, incorporating nature members to consider the wide which is symbolic of the partner- discussed the power of energy and culture into its construction. reach of their work with textiles. ships that sustainable textiles harvesting textiles to bring light http://inhabitat.com/solar- Kennedy worked in coopera- continue to promote. Kennedy’s to previously darkened spaces. harvestingtextiles-energize-soft-house tion with MATx, the materials address affirmed that this is an research unit at KVA, to establish exciting time for the textile arts, the Portable Light project, which as they are both revisited and “creates new ways to provide discovered by new audiences renewable power in solar textiles with an eye towards a sustainable that can be adapted to meet the systems framework. This makes needs of people in different cul- anticipating the program for tures and global regions.” This Textiles and Politics, TSA’s 13th takes the form of a thin-film Biennial Symposium in 2012 photovoltaic textile which con- that much more exciting! tain LEDs that, when exposed to – Sasha Rabin Wallinger Mobile energy-harvesting curtains TSA Scholarship recipient illuminate the Soft House (model). http://hautevertecouture.com Photos courtesy of KVA Ltd. Winter 2012 11 Ceremonial Tai Textiles and their Uses

This article is based on a lecture made for herself, as well as the Shamanic Garb Textiles for Healing given by Linda S. McIntosh on one her mother-in-law made Special textiles utilized by sha- Textiles are accessories used by June 16, 2011, at the Tilleke & for her. (This special garment is mans include clothing. A hat or traditional healing specialists or Gibbins Textile Collection, Bangkok, decorated with a specific motif, cap with a tail, muu or muk phii, shamans. A shaman is asked to Thailand. mating serpent deities, whose is worn during rites. Shamans perform a ritual to improve the bodies form a triangular shape who conduct funerals, mau thang sick person’s condition when he complex traditional that symbolizes the grave-house yao, wear special robes, and other methods fail. Many house- belief system of the Tai roof gable.) When a son marries, the color of the robe changes holds continue to rely on tradi- requires different types of she will give her daughter-in-law T depending on which part of the tional or herbal medicine to heal ceremonies for various purposes. a sin phii similar to the one she ceremony he is conducting. Most illnesses, since modern medicine Rites of passages such as wed- wove for her own funeral. All shamans, regardless of gender, is not readily available to those dings and funerals are elaborate, women will wear the sin phii wear skirts and other women’s living in remote areas or to those and textiles play important roles given to them by their mother- clothing while conducting rites. without the funds to pay for in them. Other rituals, such as in-law at the funeral rites of their In the past, the human figure such care. Sometimes, the sick those for healing, spirit appease- in-laws (both parents). The similar motif was the distinctive pattern person who has been treated ment, and honoring ancestors, patterning will allow them to rec- of a skirt worn by a shaman, with modern medicine but call for woven accoutrements for ognize each other in the ancestor but these days anyone can wear remains ill then asks a shaman to their success. Although many Tai world. Special robes or coats clothing with the human motif for heal him or her. groups are Buddhist, pre-Bud- (seua hii, seua long or seua nyao) any occasion. Shamans also utilize During a ceremony, a sha- dhist beliefs are still part of the were worn in the past at funerals a shoulder bag composed of pat- man decides how the textile lives of the Tai people, and many and continue to be worn at other terned cloth to carry their amulets accessories will be used. The sha- Tai subgroups are not Buddhist ceremonial occasions. but animist, or believe in spirits. and other tools. Some bags are man may wear them as sashes, Wedding Textiles adorned with boar’s tusks. shawls, and head cloths. Textiles Funerary Textiles are displayed on and around the Marriage is another important spirits’ altar, and weavings are According to traditional Tai infor- rite of passage that requires the often part of the offerings to the mants, each Tai clan has its own exchange of textiles between the Below, Funerary skirt, sin phii, Tai spirits. Shamans also receive tex- heaven, and when a person dies, bride and her husband’s rela- ethnic group, NE Laos, first quarter a shaman must lead the newly tives. The wedding itself may not of 20th century. The red bands of deceased’s spirit to the correct weft ikat contain patterning of hong require a shaman, but a shaman mythical birds, and the indigo ones heaven. Textiles are important is required when notifying the are decorated with the motif that, in the funeral ceremony because guardian spirits that a new mem- in the past, restricted the use of this their motifs allow for the spirits ber is joining the clan when the skirt to funerals. This motif is bodies to recognize members from their bride moves into her husband’s of mating ngeuak (serpent deities), forming the grave house gable. own clan. When a man passes family’s home. Many of the Tai Right, Long coat, seua nyao or seua away, one of his wife’s head groups are patrilineal, and when long, Tai ethnic group, NE Laos, first cloths is placed on his gravesite a woman marries, she must cut quarter of 20th century. In the past, so they can be reunited in heav- kinship ties with her parents and a woman attending the funeral of en. When a woman passes away, clan and join her husband’s. one of her in-laws was required to she is dressed in the sin phii she wear this upper garment along with a sin phii skirt.

12 tsa newsletter tiles as symbols of gratitude from spirit he or she summons in cere- abundant with food without the the healed and their family mem- monies. The people that the sha- threat of natural disasters. bers. If the shaman is female, she man has healed must attend, or Different objects from the may weave these textiles too. at least make an offering to the weaver’s social environment, If the shaman is male, his wife spirits. The shaman’s apprentices such as trays of offerings, are may produce them. The textiles and former students must also incorporated into the designs. often become soiled or dam- attend and pay respect to their A manmade tree that plays an aged in the rituals by spilt food, mentor and the spirits. All par- important role in animist rites alcohol, candle wax, etc. Thus, ticipants use elaborately woven is often rendered in the design they often are replaced with new textiles during the rites, but the composition of textiles utilized in ones, or the damaged sections shaman is dressed in especially special rituals. This arrangement are removed and the remnants elaborately decorated textiles. of bamboo and/or tree branches continue to serve a function in is considered a tree of life con- future ceremonies. Symbolic Imagery necting the different realms. The textiles also play roles Complex supplementary weft Most importantly, human figures Shaman's hat, muuk, Tai ethnic in annual spirit appeasement patterning covers the textiles are found atop the various ani- group, NE Laos, first quarter of 20th ceremonies. The shaman performs (phaa mau phii) that serve impor- mals, on vessels in the form of century. a ceremony to pay respect to the tant roles in the ceremonies. The serpent deities, or standing alone motifs symbolize real and mythi- surrounded by the rich flora and Many shamans wear everyday cal animals, vegetation and flora, fauna of both realms. The figures clothing while conducting rites. objects found in the man-made represent the shaman’s spirit, the Production of some cer- environment, stars and other ill person’s spirit, ancestor spirits, emonial textiles continues. The illuminating objects, and human and other types of spirits, includ- special weavings may still be figures that symbolize various ing mot and mon. used in various rites, but they are spirits. Some of the real crea- The imagery on the textiles also consumed in different ways. tures symbolized by the motifs assists the shaman by allowing With a growing demand for include elephants and various his or her spirit to travel to the these textiles due to their beauty, types of birds. Mythical animals supernatural realm to commu- commercial production began 20 seem to dominate the imagery. nicate with various spirits that years ago. Sales of these textiles The hong is a majestic bird that are causing the illness. The Tai allow women to earn an income can travel between the natural supernatural world consists of to support their families. The tex- and supernatural realms. Serpent different levels, including the tiles, including those reserved for deities are depicted in numerous ancestor world, and heaven healing ceremonies in the past, forms. There are several types of where the gods reside. For exam- still function as identity markers snake-like supernatural creatures: ple, one type of spirit, mon, lives of the Tai groups and are worn ngeuak, naak, and luang. Other in a specific realm. Sometimes, for various special occasions. The imaginary creatures are hybrids the shaman’s spirit must travel creativity of Tai weavers is inter- of real ones, such as sang hong or to these realms to converse with nationally recognized, and their the elephant/hong mix. The maum the spirits to ask for their advice is part horse and part deer. or assistance. On the journey, the Various designs symbolize real and imaginary creatures pro- different types of flowers and tect the shaman’s spirit, luminary vegetation. Motifs of sandalwood sources light the pathway, and flowers, vines, rice, and other vegetation provides sustenance. plants are recurring symbols found on Tai textiles. The motifs Contemporary Usage of flowers, leaves, and seeds In some areas, traditional beliefs represent a fertile land; agrarian are not as strong, or some people life is strenuous, and households have converted to Buddhism. often do not have an adequate Thus, many of the rituals are no supply of food. Droughts and longer carried out, or are held floods also wreak havoc on the less often than they were in the annual rice yield, decreasing the past. Many ceremonies occur food supply. The Tai believe without the elaborately woven that the heavenly realms are textiles. For example, intri- cately decorated coffin covers Shaman’s cloth, phaa mau phii, Tai have been replaced by textiles ethnic group, NE Laos, first quarter adorned with paintings or with of 20th century. The creases in the Tai Dam mon shaman and his altar, textiles are evidence that a shaman pictures cut out of magazines. Luang Nam Tha Province, Laos, wore it as a head cloth. 2005.

Winter 2012 13 beautiful works of art are found 66-82. Bangkok: The James H.W. Thai Khadi Institute, Thammasat in museums and homes through- Thompson Foundation, 2004. University, 2003. out the world. Howard, Michael C. “Religious Sumitr Pitiphat. Tai Daeng Nai and Status-Marking Functions of Khwaeng Hua Phan, Satharanarat Publication Textile photographs by Pattana Textiles among the Tai Peoples Prachathipatai Prachachon Lao [Tai Decha, ©The Tilleke & Gibbins of Vietnam.” In The Secret of Daeng in Hua Phan Province, the News Textile Collection Southeast Asian Textiles: Status Myth Lao People’s Democratic Republic. Field photographs ©Linda S. Supernatural. The James H.W. Bangkok: Thai Khadi Institute, McIntosh Thompson Symposium Papers, Thammasat University, 2003. – Dr. Linda S. McIntosh Bangkok, 2007, edited by Jane Fashion Illustrated is the first Consulting Curator Puranananda, 194-215. Bangkok: editorial multimedia trade project Tilleke & Gibbins Textile The James H.W. Thompson Collection, Bangkok, Thailand Foundation, 2007. in English and Italian. It is avail- able through a complementary References and Further McIntosh, Linda S. Status, Myth, subscription at: Reading: and the Supernatural: Ritual Tai www.fashionillustrated.eu/en/ Textiles. Bangkok: The James H.W. Douangdeuane Bounyavong and signup Thompson Foundation, 2005. Viengkham Nanthavongdouangsy, Phan Ngoc Khue. My Thuat Dan Tapestry Weaving by Joanne eds. Legends in the Weaving. Toc Thai [Fine Arts of the Thai in Soroka includes: a step-by-step Vientiane: The Group for the Viet Nam]. Hanoi: Troung Hanh guide to setting up a small frame Promotion of Art and Lao Textiles, Fine Arts Publishers, 2003. loom and starting to weave; basic 2001. Sumitr Pitiphat. Sasanna lae Khwam and more advanced techniques; Gittinger, Mattiebelle. “Textiles Cheua Tai Dam Sip Song Chu Tai advice for working three-dimen- for the Living and the Dead–A Vietnam [Religion and Traditional sionally; information on materi- Lao Case.” In Through the Thread Beliefs of the Tai Dam of Sip Song als; and design ideas for tapestry. of Time: Southeast Asian Textiles, Chu Tai, Vietnam]. Bangkok: Hardback £25.00 UK edited by Jane Puranananda, 184 pages,190 colour photo- graphs and diagrams, ISBN 9781847972804 Orders: http://www.crowood.com

Coptic Textiles from Egypt in Ancient Times is an exhibition cat- alog published by The National Maritime Museum, Israel. It presents an overview of the development of textile styles in Egypt from the 3rd to the 12th centuries CE. English/Hebrew 135 pages, 105 color illustrations Paperback, Price: 90 NIS http://www.nmm.org.il/Museum

Irish People, Irish Linen by Kathleen Curtis Wilson is a beau- tifully illustrated cultural history of a textile with deep roots in Ireland and the Irish diaspora. Upper left, Tree of life motif on a Curtis Wilson weaves personal funerary skirt, sin phii, Tai ethnic group, NE Laos, first quarter of narratives of individual spinners, 20th century. factory workers, and out-workers Left, Tree of life sculpture in a relating to the history of Irish Tai Dam Bun Pii, Muang Festival, linen: Chapters cover agriculture, Luang Nam Tha Province, Laos, production, marketing, labor, 2005. design, emigration, and even lit- Above, Funeral banner or coffin erary and linguistic contributions. cover, phaa pok long, Tai ethnic Ohio University Press group, NE Laos, second quarter http://www.ohioswallow.com of 20th century. 14 tsa newsletter including decorative and house- Vesterheim is interested in hold textiles, clothing, and cloth- sharing the diverse backgrounds of ing accessories. We often talk the Norwegian emigrants and the Featured about the collection in terms diversity of their experiences in of origin: items brought from the US. Not all emigrants came Norway and items made here. from rural Norway. The urban Collection The items brought by emigrants experience is represented by from Norway make up about embroidered samplers made by one-quarter of the textile collec- young women attending needle- tion. They include items needed work schools usually located in Vesterheim’s Textiles for the journey, like bedding, cities and larger towns. Many and items they expected they emigrants came from inland and ow numbering 24,000 would need in their new homes. southern Norway. Norwegians Nobjects, the collection Women expected to continue continued to immigrate after that makes up Vesterheim working with wool in the US, the 1800s. When Hans Siewers Norwegian-American Museum in so they packed carders, came in 1947, he brought some Decorah, IA, started in 1877 as wheels, and sometimes even of his mother Amalie’s needle- a study aid for students attending looms into the family luggage. work: a wall hanging created in Luther College. By 1895, faculty Most emigrants were well- her needlework shop in Oslo, and alumni officially resolved enough informed that they knew and a bag made frugally, but that Norwegian immigrant mate- they would be wearing American artistically, from a blanket during rials should be a stated focus of fashions here, so they did not the war. the collection. In doing so, the usually bring complete outfits Although many Norwegian museum became one of the ear- of folk dress. But they did often immigrants settled in the liest pioneers in the preservation bring small items of folk dress to American Midwest, Norwegian and interpretation of America’s remember a place or person or immigrants are found through- cultural diversity. their old lives. There were also out the country. Asborg Ramse Some of the museum’s items considered too “valuable” arrived in Brownsboro, TX, in best textiles came as a gift from to leave behind, like sweetheart 1846 from southern Norway. Norwegian museums in 1925. gifts and engagement presents, Piecework were generally The gift was assembled to honor which were often textiles or tex- unknown in Norway, so - 100 years of emigration from tile tools. making was one of the many Norway and was intended to Items made or used by new American things Asborg had help Norwegian Americans Norwegian immigrants and their to learn. The sunbonnet, a dis- remember their cultural heritage. descendants in the US make up tinctly American garment worn After WWII, the museum about three-quarters of the textile by her granddaughter, says still evolved into a national museum, collection. Vesterheim is inter- more about a family adapting to in terms of both audience and ested in the immigrants and their a new life in Texas. collection. The museum became everyday lives, special occasions, In addition to core and an independent institution in occupations, and industries. Of special exhibitions of textiles, 1964 and adopted the name particular interest are objects that Vesterheim offers fiber arts class- “Vesterheim,” which was the show a blending of Norwegian es, textile symposia, and textile term that immigrants used to and American handicraft, like study tours to Norway. describe America when writing fashionable garments with har- http://www.vesterheim.org letters home to Norway. dangersøm , and the – Laurann Gilbertson Vesterheim’s textile col- work of contemporary artists Chief Curator lection consists of 5,500 items, working “within” the tradition.

Left, 1986.035.001, Married woman’s headdress embroi- dered by Kari Rhode Gjernes, Voss, Norway, mid-19th century. Right, top to bottom: 1986.122.016, Embroidered glove, Telemark, Norway, late 19th century. 1986.093.021, Doily in Hardanger embroidery made by Minnie Magnuson in Souris, North Dakota, in 1935. LC4293, Tablet-woven belt worn by Tone Mattisdatter Kleppen in East Telemark, Norway, late 19th century. Center, 1998.017.002, Handwoven coverlet from Gudbrandsdal, Norway, late 18th century.

Winter 2012 15 The costumes are arranged there is a vest to try on. weighing media by international artists by geographic region, which 21 pounds! This provides a dra- from all media, with the unex- allows for comparisons and con- matic demonstration of the weight pected inclusion of objects by Exhibition trasts. Similarities and variations of an entire outfit, especially with such artists such as Damien Hirst, within a given area are visible in all the jewelry. Yves Klein, and Salvador Dali. Reviews the outfits and further explained The full-color catalog that “Natural: Craft melting Within in the labels. Several outfits of accompanies the exhibit contains Nature” focused on the artistic the Miyaki tribe illustrate the photos of all the items in the use of materials. Melded into way the costume changed as a exhibit, including front and back this massive exhibition were the specific ethnic group migrated photos of full ensembles. Details entries for the juried exhibition Young Brides, Old Treasures: from one area to another, yet of the embroidery and full cap- of the Biennial, making for a Macedonian Embroidered Dress still retained the techniques and tions enhance the catalog. This is a rather chaotic array, all displayed motifs that identify the original welcome addition to the short list with minimal labeling. Having Museum of International Folk ethnic group. of works on Macedonian regional seen the 2007 Biennial exhibits Art, Santa Fe, NM The costumes are displayed dress published in English. which were well-organized in to Jan. 6, 2013 to allow the visitor to see them The exhibit could be terms of functional and artistic arely does a major museum from all sides. This is appreciated, enhanced by having Macedonian elements of craft, I found this Rmount an exhibition of as the costumes can have a very folk music play softly in the back- one quite confusing. regional dress, so the current different appearance from the ground. It would also be nice if Finland provided the Guest exhibit at the Museum of Inter- front and from the back. The small items related to the exhibit Country exhibition, “Between national Folk Art in Santa Fe, outfits displayed consist of mul- were available in the gift shop. Tradition and Future.” This more NM, is a welcome departure from tiple layers of garments. As a “Young Brides, Old Treasures: integrated exhibit presented the the usual display of fashion clothing. result, you cannot always see the Macedonian Embroidered Dress” best in contemporary Finnish The exhibit focuses on wom- layers underneath. This problem is on view at the Museum of craft and applied art. Its “Roots en’s embroidered dress of the is solved by the addition of detail International Folk Art, Santa Fe, and Identity” segment illustrated Orthodox Christian communities photos of the undergarments on NM until Jan. 6, 2013. the “roots of Finnishness” in in the former Yugoslav repub- some of the labels. http://www.moifa.org works made from native materi- lic of Macedonia from 1890- Cases along the perimeter –Linda Gross als. “Slow” presented sustainable 1950. It’s unfortunate that the of the gallery contain accessories design and craft. In “Materiality,” other ethnicities once present in (socks, aprons, head scarves, works incorporating found mate- Macedonia could not be included detachable sleeves) that are Cheongju International Craft rials were shown, along with wo in the exhibit. not visible on the mannequins Biennale interactive works. Upon entering the gallery, because of the many layers. On the lower floor of the Sept. 21-Oct. 31 you are struck by the vibrant Two older headscarves from the Tobacco factory, “Chairs: Flow” Cheongju, Korea colors, particularly the use of Debar region provide a glimpse examined the history and devel- various shades of red. The other into the changes over time when ast year’s Cheongju Biennale opment of the chair, incorporat- noteworthy aspect is the silhou- compared to a newer headscarf Lincluded several exhibitions ing the Museum of Arts and ette–very chunky and substantial from the same region displayed displayed in the Biennale’s excit- Design’s 2004 exhibition, “A with many layers and large, on a nearby mannequin. ing new quarters, a renovated Century of Chairs.” Numerous heavy jewelry. Once you start to It is impossible to get a sense tobacco factory. ”Contemporary other displays and small exhibits examine the garments, you find of the weight of the costumes Craft Here & Now,” the invita- filled this floor. “Paper and Type- that the intricacy and variety of from looking at the mannequins. tional exhibition, was divided Print,” an excellent special inter- the embroidery and techniques To give the viewer a sense of how into five sections. “Craft in Daily national exhibition of handmade used is breathtaking. heavy the individual garments are, Life” honored this year’s inspi- paper art was on display at the ration, William Morris and the nearby Cheongju Craft Museum. spirit of craft in daily life, with a Catalogs are available for all of stunning display of Morris carpets the exhibitions. and stained glass. “Craft Within I participated in a two-part History and Tradition” displayed seminar Sept. 23-24 on the top- some of Korea’s finest intangible ics “Crafts and Design Products cultural properties along with in Contemporary Museum masterworks by contemporary Environments” and “The Identity of Korean artisans. “Royal: Lofty Craft and Its Future,” with speak- Works by Artists” displayed superb ers from the US, Korea, China, craft treasures made for Korean Australia, England, Finland, and royalty. International works were the Netherlands. The presentations featured in “Genuine,” which were quite interesting, but, unfortu- included objects by master crafts- nately, were not well attended. men in all genres, and “Artistic: http://eng.okcj.org Gallery view of Macedonian costumes in “Young Brides, Old Treasures: Macedonian Embroidered Dress” at the Museum of International Folk Art . Craft as Art,” with art in craft – Karen Searle 16 tsa newsletter to supply the kingdom, so crucial Rapture: the Art of techniques, decorative themes was felt to their survival. We Indian Textiles and motifs, historical influences, are permitted a further glimpse and cultural aesthetics. The tex- Rahul Jain Book of this time-honored tradition tiles were produced for distinct through accounts of Marco Polo, New Delhi: Niyogi Books, 2011 audiences and served religious eviews de Plano Carpini and William of needs, royal courts, or were R extile historian Rahul Jain Rubrick, among others. traded within India as well as to takes us on a four-continent In addition, an entire chap- T foreign countries. They survived pilgrimage that discusses 85 his- ter is devoted to general and because they were highly trea- toric Indian textiles in 35 public regional variations in technique, sured or were used only rarely and private collections. With as well as sheep breeds, carding in rituals and ceremonies. Two Nomadic such a high ratio of collections tools, and dyes. 19th century embroidered exam- Stephanie Bunn to textiles, most museums are As the book proceeds, there ples, however, come from folk/ The British Museum, 2010 represented by only one or two is a chapter on the history of felt rural traditions, and thus offer a textiles. The exceptions are the and trellised tents, tent furniture unique glimpse into the textile tephanie Bunn’s long- Victoria and Albert Museum, (shelves, bedding, floor covering, world of non-elite people. awaited Nomadic Felts is finally which contributed ten works, S tent covering), clothing, animal Anyone interested in textiles here! Published by the British and the Los Angeles County trappings, amulets, and masks. serving as cultural vehicles will Museum in 2010, it is a vast, Museum of Art and Metropolitan Bunn writes of Kyrgyz and savor and be enlightened by this all-encompassing volume with Museum of Art, which have Kazakh traditions in great depth, magnificently illustrated history. information that has not existed six featured textiles each. The reflecting more than 20 years in any form or in any language remaining 32 collections are – Donald Clay Johnson of research in the region, noting until now. represented by one to four that the techniques and patterns Bunn intends her readers to works. While three museums used at Pazryk in 450 BC are still understand the profound signifi- contributed almost one-quarter The Fashion Reader, Second found in contemporary Central cance of felt in a variety of world of the textiles, Jain has sought Edition Asian felts. There are also chap- cultures, and to sense how life out the treasures in museums Linda Welters and Abby ters on Mongolian, Tibetan, and was lived when felt was made one typically would not think Lillethun, Editors Chinese felt, as well as felt of and used extensively. Her desire contained historic Indian textiles— Oxford, England: Berg, 2011 Turkey, Iran, Afghanistan, South to draw on archeological records, repositories as diverse as the Tapi Asia, Eastern Europe and Japan. archival sources, ancient texts, Collection (Mumbai), the David he second edition of The final chapter treats pat- trade accounts, ethnographic col- Collection (Copenhagen), Museu The Fashion Reader should tern, meaning and belief. Always T lections, and field studies is what Nacional de Arte Antiga (Lisbon), be required reading for anyone impartial and objective, Bunn makes this book a rarity. Al-Sabah Collection (Kuwait), the interested in the field of fashion is dedicated to portraying the Beginning with the ancient Museum of Islamic Art (Doha), the studies. After the overwhelm- diverse cultural backgrounds of felt of Pazryk tombs in southern Brooklyn Museum, the Cincinnati ing success of the first edition these nomadic pastoralists and Siberia (450-430 BC), the Tarim Art Museum, and the National in 2007, Welters and Lillethun specific sedentary groups fully, Basin in Xinjiang, China (1800 Gallery of Australia (Canberra). In updated the anthology this year. considering their complex his- BC), and Noin-Ula in northern several instances of masterpieces The second edition features a tories of invasions, migrations, Mongolia (AD 1), Bunn presents dispersed through several collec- revised organization with new collectivization, modernization, evidence of early feltmaking tions, he has been able to “re-join” sections and additional readings, identity, and loss. traditions that follow, and looks the parts/segments so that one 88 chapters divided into 16sec- There are over 250 photo- to Herodotus and Strabo to might see more of the original work. tions, covering every element of graphs, both in color and in black provide a sense of everyday life Clearly Rahul Jain had a the fashion system from design and white, from ethnographic, among the common people. We delightful project that introduced and manufacture to business and museum, and private collections. learn that the humble process of him, and now the readers, to marketing and art and sustain- Nomadic Felts is part of a new transforming a mass of unruly outstanding examples of India’s ability, with introductory sections series, Artistic Traditions in World fibers, most often from sheep, textile traditions dispersed through- on history and theory. Cultures, that “focuses on how into a dense fabric through pres- out much of the world. Strangely, The book features a compila- objects contribute to social rela- sure, agitation and moisture has however, the work does not note tion of written work gathered tionships through visual and sym- remained remarkably consistent any Japanese holdings. from articles, books, and sympo- bolic values specific to individual throughout history. Arrangement is by three sia in a wide variety of fields, by peoples in rapidly changing soci- We are introduced to broad historical periods: (1) 15th authors whose expertise spans eties.” Kudos to the British Chingis Khan, raised on a sacred to first half of the 17th century, the globe. Written by journalists, Museum for their wisdom in white felt at his installation as items 1-26; (2) last half of the college and university professors, publishing this, and to Stephanie ruler of all Turkic-Mongolian 17th through 18th century, items independent scholars, curators, Bunn for her rigorous scholarship tribes in 1206, and learn of state- 27-72; and, (3) 19th and 20th and critics, the range provides a and perseverance! sponsored felt workshops during centuries, items 71-85. wide scope with many points of the reign of Kubilai Khan, when – Christine Martens The discussion of the works view. Some of the better-known 29,000 workers were employed nicely blends construction authors include Teri Agins,

Winter 2012 17 Roland Barthes, Christopher Exhibitions: District of Columbia Breward, Caroline Evans, Anne The Textile Museum. Hollander, Richard Martin, and United States Oct. 15-Feb. 12: “Weaving Valerie Steele, but, the book also Abstraction: Kuba Textiles includes chapters by up- and-com- Calendar California and the Woven Art of Central ing scholars like Sarah Scaturro Africa.” 19th- and 20th-century Museum of Craft and Folk and Tiffany Webber. Kuba objects including skirts, trib- Art, San Francisco. To Feb. 25: The editors chose to define ute cloths, and baskets. Catalog. “Fiat Lux: Randy Colosky New fashion very broadly as “changing Feb. 3- Jan. 6, 2013: “Dragons, Works.” Site-specific works com- styles of dress and appearance Nagas, and Creatures of the missioned by the museum. that are adopted by a group of Conferences & Deep.” Objects portraying drag- http://www.mocfa.org people at any given time and ons drawn from diverse cultures. place” (xxviii). This not only Symposia Fowler Museum, UCLA, Los http://www.textilemuseum.org provides an interdisciplinary Angeles. Jan. 8-Apr. 29: “Fowler Feb. 23-24, 2012: Uncommon approach; it also welcomes new in Focus: Japanese Pictorial Ikats Florida ideas about the global nature of Threads Symposium at Ruth Funk from the Krauss Collection” Ruth Funk Center for Textile fashion in the 21st century. The Center for Textile Arts, Florida features approximately 30 cloths Arts, Florida Institute of selections acknowledge changing State University, Melbourne, FL selected from more than 200 Technology, Melbourne. Jan. ideas about who’s “in” and who’s http://textiles.fit.edu e-gasuri donated to the Fowler 21-Apr. 29: “Traditional Textiles “out,” by featuring articles that by Dr. Jeffery Krauss. Feb. 26–Jul. of India” and “Anita Luvera Mayer: challenge our perceptions about Mar. 30-Apr. 12: Fashioning 29: “Order and Disorder: Alighiero .” May 19-Aug. 18: Opera and Musical Theatre: fashion, like that of anthropolo- Boetti by Afghan Women.” Works Stage Costumes in Europe from “Florida in Fabric-—Wish you were gist Sandra Neissen and others created by Boetti in collaboration the Late Renaissance to 1900, here!” Juried quilt exhibition. who welcome non-Western dress with Afghan embroiderers. a conference at the Fondazione http://textiles.fit.edu into the fashion arena. They also http://www.fowler.ucla.edu/ look at new and emergent fash- Giorgio Cini, Isle of San Giorgio exhibitions Maryland ion centers in places like Brazil, Maggiore in Venice. [email protected] Baltimore Museum of Art. To China, and Korea; changing com- San Jose Museum of Quilts Feb. 5: “Hand Held: Personal munication platforms with Sarah and Textiles. To Feb. 5, 2012: Jun. 9-14: Scythia 9, The 9th Arts from Africa.” To May 13: Moore’s chapter on fashion blogs; “Invisible Lineage,” works by four International Biennial Symposium “Embroidered Treasures: Textiles and a new section featuring three pioneering California fiber artists and Exhibition on Textile Art, from Central Asia.” Bold, visually chapters on sustainability. While and four artists from the current Kherson, Ukraine. International stunning embroidered textiles many contemporary fashion texts generation. conference on textile art includes from Afghanistan, Uzbekistan, and forget that fashion is, above all http://sjquiltmuseum.org Tajikistan, many of them from else, a business, this work fea- papers, juried exhibition, artwear exhibition. dowries. tures the sections, “Design and Fort Mason Center. Feb. 10-12: [email protected] http://www.artbma.org Manufacture,” “Marketing and San Francisco “Tribal & Textile http://anschnei.public.kherson.ua Merchandising,” and “The Fashion Arts Show.” Minnesota Business and Global Economics,” http://www.caskeylees.com/ Aug. 22-26, 2012: Bojagi Minneapolis Institute of Arts. offering a framework for under- SF_Tribal/SF_Tribal.html standing the inner workings of the Forum, Seoul, Korea. The confer- To Feb. 26: “Optical Effects: 1970s ence will feature speakers from Printed Textiles.” Fabrics produced fashion industry. Colorado several continents, workshops, mainly for Heal’s Fabrics, UK. With a 35-page Bibliography, Denver Art Museum. To Jan. tours, exhibits, shopping, and http://artsmia.org this intensive and well-researched 29: “Threads of Heaven: Silken more! Focus is on the influence volume serves as a platform Legacy of China’s Last Dynasty.” of the Korean Bojagi (wrap- Textile Center, Minneapolis. upon which classes and entire To Apr. 15: “Sleight of Hand,” ping cloth) tradition on artists Jan. 7-Feb. 28: “A Common curricula can be based, with 16 works by 14 contemporary around the world. Organized by Thread,” annual member show. opportunities for endless discus- artists challenge and intrigue our Chunghie Lee. Information: Mar. 2-Apr. 14: “Constructions sion and debate. Introductions powers of perception. [email protected] in Concert: Art by Joyce and annotated guides for further http://www.denverartmuseum.org reading offer summaries of cur- http://www.facebook.com/bojagi. Melander-Dayton., Apr. 20-May rent research and also establish in.seoul 25: “Twelve Strands: Works by areas of need from which stu- Mentors and Protegées., dents and scholars can formulate http://textilecentermn.org everything from a paper to a doctoral dissertation. Lia Cook (American), “Face Maze: Nebraska Tera,” 2007, woven cotton and International Quilt Study – Emily Banis Stoehrer rayon. Denver Art Museum; Center & Museum, Lincoln. Neusteter Textile Collection: Funds from various donors, by exchange, To Feb. 26: “Yvonne Wells: 2011.279. © Lia Cook.

18 tsa newsletter Museum’s permanent collection. Laos Detailed class lists and descrip- More than 50 garments and Projectspace, Luang Prabang. tions are on the website, accessories are featured. The Great To Jan. 28: “Nithakhong http://fondazionelisio.edu Designers: Fashion’s Hall of Fame Somsanith–New Works of from A to Z , an accompanying Royal Style Lao Embroidery and The Textile Arts Council, de book to Parts One and Two, will Zardosi.” Nithakhong Somsanith Young Museum, San Francisco, be published early in 2012. Feb. is a self-taught folk artist devot- CA. Lecture Jan. 21: Lia Cook 9-Apr. 17: “Impact: 50 Years of ed to the very fine art of gold speaks on her residency at the Fashion from the CFDA.” thread embroidery of the royal University of Pittsburgh School of http://www.fitnyc.edu/museum Lao palace in such items as col- Medicine’s TREND program. lars, skirts, pillows, and religious [email protected] Ohio objects. Canton Museum of Art. To http://www.projectspace- The Textile Arts Council, de Detail, embroidered cover or small Young Museum Tour. Sept. hanging, Borpush or Nimsuzani. Feb. 26: “Focus Fiber,” a textile luangprabang.com Possibly Samarkand, Uzbekistan, exhibit sponsored by the Textile 26-Oct. 11: Echoes of the early 20th century. The Baltimore Art Alliance of the Cleveland Traditional Arts and Silk Road, A Textile Tour to Museum of Art: Gift of Jerry Museum of Art. Ethnology Centre, Luang Uzbekistan. Tour extension to Maizlish, Sparks, MD, BMA 1991.446 http://www.taacleveland.org/ Prabang, To Sept. 2012: “From Kyrgystan, Oct. 11-15, 2012. ffiber.html Visit Tashkent, the Ferdana val- Quilted Messages.” Noah’s Ark Courtship to Kinship: Wedding ley, Samarkand, Bukhara, and the Folk artist Yvonne Wells expresses Celebrations of Laos’ Ethnic ennsylvania ancient caravanserai of Khiva. her sense of humor and spirituality P Groups.” Wedding customs of tel 415 750-3627 in her quilts. Mar. 2-Sept. 2: “Jean Crane Arts Building, various ethnic groups of Laos, http://www.textileartscouncil.org Ray Laury: Getting It All Together.” Philadelphia. Mar. 2-April 14: such as the Lao and Mien; htp://www.quiltstudy.org “Outside/Inside the Box,” juried Wedding attire, and other Ruth Funk Center for Textile View Online exhibitions at: exhibition in conjunction with artifacts. Arts, Melbourne, FL Lectures. http://www.quiltstudy.org/ “FiberPhiladelphia 2012.” http://www.taeclaos.org Mar. 27: Anita Luvera Mayer, exhibitions/online_exhibitions http://www.fiberphiladelphia.org Singapore “The Creative Journey.” Mar. 28: Workshop, Clothing from Texas Asian Civilisations Museum. New Mexico Simple Shapes,” Anita Luvera Meadows Museum, Dallas. To Jun. 3: “Patterns of Trade: Museum of International Folk Mayer. Mar. 29: Workshop, Feb. 5-May 13: “The Pastrana Indian Textiles For Export, Art, Santa Fe. To Jan. 6, 2013: “Embellishment for Cloth, ” Tapestries.” Among the fin- 1400–1900.” Over 70 works of “Young Brides, Old Treasures: Anita Luvera Mayer. est surviving Gothic tapestries, strikingly patterned and brightly Macedonian Embroidered Dress.” http://textilesfit/edu Traditional clothing and jewelry first exhibited in the US at the coloured Indian trade textiles, National Gallery, and now travel- some over 600 years old. of Macedonian village women Textile Museum of Canada, ing to several US venues. http://www.acm.org.sg/exhibitions 1890-1950 that indicated the Toronto. Lectures: Jan. 19: http://www. wearer’s age and social status. “Cell and Stem Cell Biology meadowsmuseumdallas.org http://www.moifa.org Lectures, for Artists,” Radha Chaddah. Jan. 25: “Art of the Veil: Museum of Indian Arts Exhibitions: Workshops, Commoditization of a Cultural and Culture, Santa Fe. To Tours Practice?” Zulfikar Hirji. Apr. 14, 2014: “Woven International Workshop Feb. 11: “Traditional Identities: Basketry Art from the Workshops and Courses Indian Miniature Painting.” Collections.” Baskets woven by Canaida at the Lisio Foundation: Tazeen Qayyum. artists representing 60 cultural Textile Museum of Canada, http://textilemuseum.ca The Lisio Foundation, Florence, groups, the oldest object dating Toronto, ON. To Jan 22: Italy, offers many learning to 1200 AD. “GRAFT,” printed textiles by opportunities each semester http://www.indianartsandculture.org students from Ontario’s top art TSA Newsletter in weaving on Jacquard looms and design schools. To Feb. 12: Deadlines and drawlooms, textile analysis, New York “Veiled: Andrew McPhail, Grace and lacemaking. Explore the • March 30 • July 30 Bard Graduate Center. Ndiritu & Tazeen Qayyum.” Feb. Jacquard medium throughout To Apr. 15: “Hats: An Anthology 8 - May 6: “Dare to Wear Love.” • November 30 the year; reserve a week of by Stephen Jones.” Canadian fashion designers cre- Please send news, exhibition textile analysis, theory and prac- http://www.bgc.bard.edu/gallery ations raise awareness and funds reviews, book reviews, tice, or a loom for your art and The Museum at FIT. To May 8: for the AIDS/HIV pandemic in conference reviews, event design work. All courses may be “The Great Designers: Part One.” sub-Saharan Africa. listings, and articles to: held in English and/or Italian. The first of two exhibitions to http://textilemuseum.ca For further information: Karen Searle, Editor highlight masterpieces from the didat@fondazionelisio [email protected]

Winter 2012 19