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Textile Society of America Newsletters Society of America

Winter 2011 Textile Society of America Newsletter 23:1 — Winter 2011 Textile Society of America

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Textile Society of America, "Textile Society of America Newsletter 23:1 — Winter 2011" (2011). Textile Society of America Newsletters. 62. https://digitalcommons.unl.edu/tsanews/62

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 23 n Number 1 n Winter, 2011 Society of America

Lillian Elliott Award Recipient: Sharon Kallis

contents he 2010 Lillian Elliott volunteers from the Stanley Park Kallis describes her role as Award was presented Ecology Society removed almost that of “a traveling catalyst,” a 1 Lillian Elliott Award Recipient Tat the TSA Biennial five hectares of invasive material. new element in the environ- 2 Symposium 2010: TSA Award Symposium held this past The vines were dried and ment, spring-boarding the com- Winners October in Lincoln. The recipi- then netted, crocheted, or spool munity into seeing the local 3 From the President ent, Sharon Kallis of knitted into “nurse logs” and “bio landscape from a fresh perspec- 4 TSA Study Tours Vancouver, BC, has collaborated netting” to hold the eroding soil tive. Traditions of handwork, for the past few years with envi- in place long enough for new often springing directly out of 5 Symposium 2010 Photos ronmentalists, ecologists, and native growth to return. As the locale into which they are 6 TSA Member News community members to forge a these crafted elements gradually re-deployed by Kallis, underline 9 Symposium 2010: Reports by human/landscape relationship of decay and allow for a succes- a way of being present that is TSA Award Recipients stewardship and attention. sion of growth, the environment often divorced from our actual 12 Symposium 2010 Photos Her creative process is driven becomes a collaborator as well, experience of being in a place. by the twin desires to bring com- bringing the cycle full circle. Sharon Kallis has held resi- 13 Book Reviews munity involvement into the dencies in Canada, the US, and 16 Conference Reviews, Textile local manage- most recently Community News ment of invasive Catalonia, Spain, 17 Publication News species, and to working with 18 Calendar use ancient communities textile processes and woodlands. to turn the By learning harvested traditional mak- materials back ing processes into a form that from elders and will support the then re-inserting re-establishment them into the of native flora environment in The Textile Society of America, and fauna. To this collaborative Inc. provides an international this end she way, she encour- forum for the exchange has worked most ages dialogue, and dissemination of recently on the fosters commu- information about “Ivy Project” at nication across worldwide, Stanley Park. different from artistic, cultural, Sharon Kallis: collaborative project in a Vancouver park, 2009. “The Ivy The park was segments of the economic, historic, Boat,” English ivy, assorted park maintenance branch waste. A total of 200 political, social, and being over-run volunteers over four days participated in pulling ivy, building a structure, community, and technical perspectives. by English ivy, so and the ivy boat. literally knits together the landscape and the The Brandford/Elliott Award people who inhabit it. for Excellence in Art, http://sharonkallis.com honoring the late and beloved The Lillian Elliott Award for fiber artists Joanne Segal Excellence in is pre- Brandford and Lillian Elliott. sented at the Textile Society of Donations in support of this America’s Biennial Symposium award may be sent to: Banquet by the Lillian Elliott Barbara Goldberg Award Board. It is a unique award, 74 Sargent Beechwood in that it supports the work of con- Brookline, MA 02445-7542 temporary fiber artists. [email protected] Recently the name of the –Fran Dorsey award was officially changed to Detail, The Ivy Boat.

he 12th biennial TSA nature (fireflies are an example), TSymposium received a her research team has created resounding “hurrah” from all prototypes of fabrics that absorb who attended. In addition to light, then give it off. These fab- inspiring speakers, the 250 rics can be used as light sources attendees could choose from and even as battery chargers. among 90 sessions and site sem- These new light-weight materi- inars, video presentations, pre- als require new energy-efficient and post-Symposium workshops design and manufacturing prac- and tours, and also find time to tices. Kennedy’s “Portable Light” visit the textile marketplace and project has evolved to use the bookstore, and the numerous energy-harvesting textiles to pro- contemporary and historic tex- vide clean energy to parts of the tile exhibitions in both Lincoln world where electricity is scarce. Founding Presidents Awardees Deborah Barkun, Nancy Feldman, and Claire and Omaha. Odland with Pat Hickman (far left) and Ruth Scheuing (far right). The Keynote Speaker, Sheila TSA Award and and Nancy Feldman for Feldman and Odland use an Kennedy, Principal Architect at Scholarship Winners “Shipibo Textile Practices, 1952- ethnographic film made in 1959 KVA Ltd., Boston, opened the 2010” and Deborah Barkun to work forward and backward proceedings with a stimulating The Founding Presidents and Jools Gilson-Ellis for in time, enhancing their Shipibo presentation about her work Award for the best paper submit- “Choreographed Cartography: textile research. Authors of the with energy-harvesting textiles. ted to the Symposium lineup Translation, Feminized Labor, winning papers shared a mone- Inspired by bioluminescence in was shared this year by two sets of presenters: Claire Odland and Digital Literacy in half/ tary award and received complei- angel’s ‘The Map.’” mentary symposium registration. These two jointly authored winning papers reflected the Student/New Professional theme of the Symposium by con- Scholarship Winners: Five necting space and technologies scholarships in the form of in innovative ways. Barkun and complementary Symposium reg- Gilson-Ellis, for example, connect istrations were awarded this year knitting with Global Positioning to: Blaire Ort Gagnon, Jillina Systems and other interactive Gryzlak, Rebecca Cross, Cathy current mapping technologies. Morley, and Sasha Wallinger. More information on the TSA Student and New Professional Awards and Scholarships can be Scholarship recipients: Cathy found on the TSA website at: Morley, Rebecca Cross, Blaire Gagnon, Jillina Gryzlak, and Sasha http://textilesociety.org/awards Rabin Wallinger with TSA President Ruth Scheuing. Photo: Karen Searle

2 tsa newsletter tsa board of directors Workshop Scholarship and Pat Hickman, who as Past which will be published shortly OFFICERS Recipients: Carla Tilghman President, has been instrumental in its new format on the President received scholarship support in providing a smooth transition. University of Nebraska-Lincoln Ruth Scheuing to attend “Jacquard: A I would also like to recog- Libraries Digital Commons, an tel 604/254-6322 [email protected] of Opportunity” led by Julie nize the ongoing work by Task open-access archive service of Holyoke. Scholarships to the Representatives, who continue the University of Nebraska. Vice President Elena Phipps workshop “Investigation of to provide services to TSA: I encourage you to look at tel 212/349-4485 Natural : and ” Newsletter and Directory Editor the TSA website. Updating it, [email protected] with Dominique Cardon and Karen Searle, Bibliography within our financial abilities, is Recording Secretary Elena Phipps, supported by The Editor Marlys McGuire, Website one of the things I would like Roxane Shaughnessy Foundation, were awarded Coordinator Susan Powers, to accomplish during my term. tel 416/599-5321 ext. 2226 to Nell Goss and Masumi and Listserv Manager Lydia The way we all use websites and [email protected] Kataoka. A scholarship to the Fraser. I am looking forward to online technologies is expanding Treasurer Mary Littrell Feltmaking workshop with Janice working with Jill D’Alessandro very fast, and we need to see tel 970/491-5811 Arnold and Chris Martens as the new R.L. Shep Ethnic how we can best use it to show- [email protected] was awarded to Heather Clark Textiles Book Award Chair; case TSA and to enhance the Director of Internal Relations Hillard. and, last but by no means least, working relationship between the Mary Anne Jordan The recipients of the Student/ the new Co-Chairs of the TSA Board and our members. tel 785/864-3919 [email protected] New Professional Scholarships 13th Biennial Symposium in Our next Board meeting Director of External Relations and the Workshop Scholarships Washington, DC, 2012: Sumru will be held in Toronto, Ontario, Michele A. Hardy have submitted reports on the Belger Krody and Cecilia Mar. 4-6. We hope to see some tel 403/220-4137 Symposium events that they Gunzburger Anderson. of you, if you live in the Toronto [email protected] considered personal highlights. Much of these two months area, on that occasion. Past President Their reports begin on page 9 of have been spent in winding I welcome any suggestions Patricia Hickman tel 845/947-8735 this issue and will conclude in the down the work from the you may have and look forward [email protected] Spring/Summer issue. Symposium in Lincoln, NE. You to hearing from all of you about DIRECTORS AT-LARGE will find reports elsewhere in the the things we do well, and about Gerry Craig Newsletter about this event that what TSA needs to do better. tel 785/532-6605 was so successfully organized – Ruth Scheuing [email protected] by Wendy Weiss and Diane TSA President Joanne B. Eicher From The Vigna and their committees and tel 651/645-2914 teams of volunteers. [email protected] President Mary Littrell and book- Sarah Fee tel 647/347-9246 keeper Jennifer Treece, with [email protected] Charlotte Cosby at our Matilda McQuaid National Office, continue to tel 212/849-8451 implement the changes to our [email protected] financial tracking initiated by ith my starting term as Barbara Shapiro Carol Bier, who served as tel 415/882-7401 WPresident, TSA also wel- [email protected] comed four new Board mem- Interim Treasurer (from April- Ann Svenson bers for 2010-12—Michele October 2010). [email protected] Hardy as External Relations In 2011, we look forward TASK REPRESENTATIVES Director, Geraldine Craig, to two International Study Tours to Korea and India. Please check TSA Website Coordinator Sarah Fee, and Ann Svenson TSA Headquarters Susan Powers as Directors-at-Large—as well as for details and dates on the TSA [email protected] Elena Phipps, who was elected website. We are also planning Charlotte Cosby, Manager TSA Listserv Manager as Vice-President, and Roxane some smaller regional events as TSA National Office Lydia Fraser a way to provide the TSA mem- TSA Member Services [email protected] Shaughnessy, who will serve bership with professional oppor- PO Box 193 TSA Newsletter Editor for a second term as Recording Karen Searle Secretary. Mary Littrell has tunities to experience special Middletown, DE 19709 [email protected] stepped in as Treasurer, and exhibitions, lectures, and tours. tel 302/378-9636 TSA Bibliography Editor Matilda McQuaid was appoint- For those of you who fax 302/378-9637 Marlys McGuire attended the Symposium, many [email protected] [email protected] ed by Pat Hickman to fill the two-year term remaining in images have been added on TSA Website: 2009 Shep Award Chair the 2010 Symposium pages of Jill D’Alessandro Elena Phipps’s role as Director- http://www.textilesociety.org [email protected] our website by Ann Svenson. at-Large. I would also like to Your source for membership Ann is also compiling the paper TSA Symposium 2012 Co-Chairs thank the remaining Board forms, study tour information, presentations from the 2010 Sumru Belger Krody members: Joanne Eicher, Mary and the latest news. [email protected] Anne Jordan, Barbara Shapiro, Symposium for the Proceedings, Cecilia Gunzberger Anderson [email protected] Winter 2011 3 National Museum of Folk Art, Cheongju, known as Korea’s For more information on the Museum of Korean Straw craft center. The Biennale shows the Biennale, visit the Biennale’s TSA and , and other local the work of approximately 200 Official Website below and select attractions. We will stay in Insa- invited artists in its invitational English language. Artists: see Study dong, a district known for its exhibition, and its international page 19 for entry information for shops, galleries, and restaurants. juried exhibition attracts as many the Juried exhibition. Tours From Seoul we will travel to as 1,500 artists from all over the http://www.okcj.org Seocheon to see the Ramie world. An invited guest country Fabric Hall and a demonstra- also mounts an exhibition each tion of ramie processing, and to year—this year Finnish craft will India Tour Postponed Damyang to visit the Bamboo be featured. New TSA Listserv Museum. The 2011 Biennale he TSA Study Tour to India A highlight of the tour will exhibitions will include: he mission of the TSA Twith Sandra Evenson has be attending the opening of the “Contemporary Craft, NOW & Tlistserv is to provide an been postponed. New dates Cheongju International Craft HERE,” the invitational exhibit; effective venue for ongoing will be announced soon. Check Biennale exhibition. A home-stay “Chairs: Flow,” a special fur- dialogue among our diverse the TSA website for registration experience will be provided by niture exhibition; the “7th and globally dispersed tex- details. the Biennale while we are there. Cheongju International Juried tile community. It is a place We will return to Seoul for more Exhibition;” and Guest Country to: engage in conversation museum and artist studio visits, Exhibition, “Design Finlandia.” about research; share infor- TSA Study Tour including a trip to the Heyri Accompanying these exhibitions mation about particular to Korea Artists Village, a unique studio/ will be an International Craft and textiles, techniques, people, September 16-26, 2011 residence settlement of some of Design Fair. and regions throughout the Korea’s finest artists, craftspeople, Three Symposia will also be world; announce publications Registration is now open for the and architects. held during the Bienniale period, and exhibitions; and share TSA Study Tour to Korea. Tour A tour extension is planned Sept. 21-Oct. 30. Session titles research in progress. details, costs, and registration with additional activities for those are still being finalized, but topics The new listserv platform materials are posted on the TSA who wish to stay a bit longer. will include: craft design educa- requires that all members of website. Look for more information on tion in Finland; a “Craft Summit the previous listserv resub- http://www.textilesociety.org/ the tour extension on the TSA 2011,” and a symposium on craft scribe using the form on the events_tours.htm website in February. and identity in the 21st century. TSA website. It will take only The tour focuses on the tra- Interested members of our tour a moment of your time. If Cheongju Biennale. The 7th ditional and contemporary fiber party will be able to attend the you have not previously Cheongju International Craft arts in Korea. We will begin in latter seminar. been a member of the list- Biennale is held in the city of Seoul, where we will visit the serv, we invite you to sign on. We hope that all of you will choose to join in the conversation! Subscribe at: http://www.textilesociety.org/ resources_listserv.htm – Lydia Fraser, Listserv Coordinator

TSA Board: Front row: Ann Svenson,* Janice Lessman-Moss,** Michele Hardy,* Fran Dorsey. ** Back row: Sarah Fee,* Carol Bier,** Barbara Shapiro, Roxane Shaughnessy, Ruth Scheuing, Matilda McQuaid, Joanne Eicher, Patricia Hickman, Elena Phipps, Mary Littrell,* Mary Anne Jordan, Diane Vigna.** Missing from photo: Gerry Craig,* Lydia Fraser,* Susan Powers, Karen Searle. Photo: Karen Searle

* incoming Board members; * **outgoing Board members

4 tsa newsletter TSA Symposium 2010: Clockwise from top left: Sheila Kennedy, Keynote Speaker. Photo: Marci McDade. View of the exhibition, “Carved Board Clamp Resist ” at the Uno Art Gallery, Omaha, NE. Photo: Barbara Shapiro. Pat Hickman receives the honor of being appointed an Admiral of the Nebraska Navy, presented by Diane Vigna and Wendy Weiss. Photo: Karen Searle. A member of the Many Moccasins Dance Troupe performs at the Symposium finale. Photo: Karen Searle. Kathy Rousso and Char Cosby at the Symposium Banquet. An international cadre of natural experts: Dominique Cardon, ; Elena Phipps, New York; Sachio Yoshioka, Japan; and Masumi Kataoka, Boston.

Winter 2011 5 Chris Martens, who presented David and Sue Richardson have Melissa Leventon led a textile the TSA Symposium paper of reliable and well researched infor- tour to London and Bath for the TSA Marinika Babanazarova and mation on Qaraqalpaqstan. They Council of the de the film Desert of Forbidden Art, have written Qaraqalpaqs of the Young Museum, San Francisco, Member has provided contact informa- Aral Delta, a definitive book on the CA. The tour included museum tion for Ms. Babanazarova, Qaraqalpaqs, 400+ pages with collections in London and Bath, News Director of the Karakalpakstan 1500 illustrations due in early 2012. and visits to artisans’ studios and State Museum of Art, Nukus [email protected] textile art dealers. Uzbekistan, along with the film- http://www.karakalpak.com makers and others connected http://www.qaraqalpaq.com Ruth Scheuing was nomi- Member News and to the museum. Chris says, David Pearce, Friends of Nukus nated for the 2010 Mayor’s Arts Achievements “I know Marinika would be Museum. Want to join a growing Award in Vancouver, BC. http://vancouver.ca/commsvcs/ On Nov. 19, 2010, Dr. Kaye very pleased to hear from our and eclectic group of individuals cultural/gasp/awards/ Crippen and four students from members. Some [Symposium working in international organiza- mayorsarts/2010/studio.htm the University of Arkansas at attendees] expressed an inter- tions, international financial institu- Pine Bluff presented a paper est in showing the film at their tions, NGOs, media, the private sector and just plain and simple at the American Association of museum or University, others Member Exhibitions wanted to do something to help, cultural stalwarts who are support- Textile Chemists and Colorists. Regina Benson’s work in “Art and yet another group was inter- ing the Savitsky Collection? Please The paper, which reviewed Cloth: Engaging New Visions” ested in knowing more about contact David! research in spider silk and other continues to tour in Australia. Karakalpakstan.” [email protected] biomaterials, is titled “Lured into The exhibition curator has creat- According to an email the Web of the Spider by Unique Amanda Pope and Tchavdar ed a special blog featuring details from Ms. Babanazarova, she Properties and Possibilities.” Georgiev, filmmakers of Desert of about the show, the exhibiting was denied permission to leave The USDA Southern Forbidden Art. artists, and their work, along with Uzbekistan by its Ministry of Regional Research Center in [email protected] gallery installation views of the Foreign Affairs one week before New Orleans hosted and really [email protected] exhibit. Read it at: the Symposium due to an unex- welcomed the students. This was www.desertofforbiddenart.com http://artquill.blogspot.com the students’ first time to attend a pected government order to demolish the building housing the Daryl Hafter participated in a professional meeting and to inter- Michele Hardy of the Nickle museum. The frantic staff quickly “Workshop on Silk” that took act with other professionals. They Arts Museum and Sergeant Chris moved everything to temporary place in Berlin, Dec.16-18, toured the USDA SRRC pilot Mavin, CD of Princess Patricia’s quarters, and then were told 2010. The workshop was part plant operation in the afternoon, Canadian Light Infantry Museum that the building would not be of the conference “Historical where they saw processing and Archives, both in Calgary, demolished after all. Due to this Systems of Innovation: The from start to finish. Dr. Crippen, AB, have curated an exhibi- turmoil, she missed speaking at Culture of Silk in the Early who used to work in industry, tion of Afghani in the the TSA Symposium, Columbia Modern World (14th-18th thought it was such a positive context of Canadian soldiers’ University, Rutgers University and Centuries),” sponsored by the experience for the students to be experiences in . a number of other venues. Max Planck Institute for the able to see the actual fiber pro- “Unravelling the , War For more information: History of Science. Organized cessing and not just watch it on a Rugs and Soldiers” has been on by Dagmar Schafer of the Max video. She encourages businesses Marinika Babanazarova view at the Military Museums, Planck Institute and Luca , in textiles and related industries Director: Karakalpakstan State Calgary, Sept. 11, 2010-Jan. 31, European University Institute- to assist students in understand- Museum of Art 2011. The exhibit features selec- Florence and University of ing the industry and to support Nukus, Uzbekistan tions from The Fyke Collection Warwick, UK, the conference students with competitions. [email protected] of Afghan War Rugs in the http://www.savitskycollection.org examined the integration of silk production into various cultures and its relationship to regulatory practices. Seventeen participants from , Germany, Japan, Vietnam, India, Canada, Italy, and the US discussed the innovative themes. Daryl’s paper is entitled: “The Silken Tug-of-War in Eighteenth-Century Lyon.”

Tapestry by Susan Iverson, “Dream Worlds: Nurture,” will be featured in E. Buckner, V. King, K. Bell (UAPB students) with Chris the exhibition “Green” at The Textile Dolham in front of the tester for cotton classing at the USDA Museum, Washington, DC, Apr. Southern Research Center in New Orleans. 16-Sept. 11. 6 tsa newsletter Nickle Arts Museum collection, at the Goldstein Museum of the US. For details: features essays by Petra Timmer together with examples of weap- Design, University of Minnesota- [email protected] and Matteo de Monti, along with onry and other artifacts from St. Paul. “Beyond Peacocks and 200 color images of Delaunay’s Princess Patricia’s Canadian Light Paisleys: Hand Crafted Textiles The Lisio Foundation, Florence, fashion and textile design work. Infantry Museum and Archives. of India and Its Neighbors” opens Italy, will be a partner in the http://www.cooperhewitt.org The first war rugs were likely in June, and runs into September. juried exhibition “The Bag: woven in western Afghanistan http://goldstein.design.umn.edu Necessary Accessory,” sponsored Michael T. Rhode’s tapes- after the arrival of the Soviets in by the Italian Weavers Guild in try rugs “Sustainability” and 1979. Weavers replaced tradi- Alan Kennedy Ltd. will exhibit collaboration with the city of “Transect” were selected by tional motifs with representations Edo period (1615-1868) Japanese Florence, the Florence Foundation juror Rebecca A.T. Stevens for of tanks, guns, helicopters and the costumes during Asia Week in for the Arts and Crafts, and the “American Biennial 8,” occasional soldier, inaugurating a New York City, Mar. 18-26 at Royal Academy of Fine Arts in shown in Lincoln, NE in conjunc- genre of expressive contemporary the James Goodman Gallery. Antwerp, Belgium. Submissions tion with the TSA Symposium, textiles referred to as “war rugs.” Highlights include a kosode will be accepted until Mar. 15. and traveling to the American They reflect the profound politi- (forerunner of the modern-day A jury of designers and experts Textile History Museum, Lowell, cal, social, and economic changes kimono) dating to the 1660s, and will select 50 bags based on MA, Jan. 22-May 11. His work in Afghanistan through the rep- quite similar to an illustration of originality and design. On Jun. “Winter/Lake Biwa” is in resentation of historic figures, a kosode in a woodblock-printed 16 an exhibition of the selected “Contemporary Fiber Art: A military events, and armaments. design book. A rare paper robe works will open at the SAM Selection from the Permanent Complementing the exhibition is with inserts of imported Chinese Gallery, a center for the arts and Collection” at the Art Institute of a website featuring the digitized silk, once worn by a tea ceremo- crafts sponsored by the city of Chicago, Nov. 3, 2010-Feb. 7. Fyke Collection with commen- ny master, will also be exhibited. Florence. The works will travel to His piece “Water” will be includ- tary by Michele Hardy. Other types of costumes to be Collegno (Turin) and Antwerp. ed in “Green” at The Textile http://www.ucalgary.ca/fyke_ shown are Noh theater robes A tri-lingual catalogue will docu- Museum, Washington, DC, Apr. war_rugs and kesa, the gar- ment the project and exhibition. 6-Sept. 11. ments worn by Buddhist monks. http://fondazionelisio.org “Tents, Camels, Textiles of Saudi [email protected] Roxane Shaughnessy has curat- Arabia and More” an exhibition Matilda McQuaid and Susan ed the exhibition “Beauty Born of textiles from the collection of Chunghie Lee served as Chief Brown have edited the catalog of Use: Natural Rainwear from Joy Totah Hilden and Robert Curator for Hands of Korea, Color Moves: Art and Fashion by China and Japan,” on view at Hilden will be on exhibit at the quartet of exhibitions of Korean Sonia Delaunay for the exhibition the Textile Museum of Canada Mills Building, San Francisco, fiber art and design plus a of the same name to be on view to May 1, featuring exquisitely CA, May 9-Jul. 29. The exhibi- fashion show featured at the at the Cooper Hewitt National crafted garments made from tion is presented by Artsource European Patchwork Meeting Design Museum, New York, natural . Consulting, curated by Margo in Alsace-Lorraine, France, Mar. 18-Jun. 15. The exhibition http://www.textilemuseum.ca Blum Schevill. The textiles were Sept.17-20, 2010, celebrating focuses on Delaunay’s fashion acquired by the Hildens between Korea’s presence as the event’s and textile designs from her Adrienne Sloane is pleased to 1982-1994 in Saudi Arabia and Guest Country. The four exhibi- Atelier Simultané in Paris dur- announce the recent acquisi- nearby countries. During that time tions were “Bojagi and Beyond,” ing the 1920s, as well as textiles tion by the American Textile Robert taught at a university and traditional and contemporary designed for the Metz & Co. History Museum of both older Joy conducted the research that Korean patchwork and wrapping department store in Amsterdam and newer art works. She partici- culminated in the book, Bedouin cloths; “Beyond ,” contem- in the 1930s. The catalog pated in “Interface,” an exhibi- Weaving of Saudi Arabia and Its porary Korean art ; “Korean tion of cross-disciplinary work in Neighbours, published in 2010. American Joomchi,” traditional Omaha, NE at the Hot Shop Arts www.beduinweaving.com and contemporary handmade Center, Oct. 1-30, 2010, with a paper works; and “Traditional piece combining glass and fiber Artist member Susan Iverson Korean Costume,” Korean Royal techniques. Her work was juried had two in “New Fiber attire worn during the Joseon into the Maryland Federation of 2010” at University Art Gallery, Dynasty (1392-1897). The Art’s “Fiber Options: Material Eastern Michigan University, exhibitions were enhanced by Explorations” in Annapolis, MD, Ypsilanti, MI, Nov. 1-Dec.10, “Fashion in Motion,” an informal Oct. 28-Nov. 28, 2010. 2010. She will have one tap- modeling of garments by 15 of http://www.adriennesloane.com estry in “Green” at The Textile Korea’s leading fashion design- Museum, Washington DC, Apr. ers and artwear artists. Color Carol Westfall gave a lecture 6-Sept. 11. catalogs were published for the at the First Encounter of the event. The exhibitions “Bojagi “Redtextilia” conference in San Donald Clay Johnson’s Paritosh and Beyond” and “Korean Collection of South Asian American Joomchi” are now trav- Paper Garment by Jeeun Kim, fea- tured in “Hands of Korea” at the Textiles will soon be on exhibit eling to venues in Europe and European Patchwork Meeting in Korea and are seeking venues in France last fall.

Winter 2011 7 Juan, Costa Rica, dedicated Designing Your Dream Bag, to India. The apparel is mar- to the textile culture of Latin Feb. 4- 6. Instructors: Julie keted abroad through retail stores, America, Portugal, and Spain. Holyoke, Eva Basile. The Lisio catalogs, and the Internet. Market- She also exhibited one of her Foundation’s experience in the Place operates with a dual focus: “Cascade” series about the creation of object-specific, bespoke developing artisans’ capabilities for increasing difficulty of obtain- textiles for high-fashion bags the profit-driven global market- ing clean water throughout the will be shared with weavers and place and thei artisans’ economic world. Carol sent a “Cascade” designers. and social empowerment. work off to the 6th Biennial of Historical Techniques and Artisans and Fair Trade the “From Lausanne to Beijing” Technologies: from basic received Earthwatch Institute group in China. This Biennial weaves to brocade and other and Rockefeller Foundation fund- was held in central China in the weft effects, May 16- 20. ing that allowed for extensive city of Zhengzhou. Instructors: Julie Holyoke, Eva field research, artisan interviews, Basile. Intensive practical seminar Mary Hunt Kahlenberg and analysis over eight years in Member Lectures and to produce weave structures stud- Mumbai. The book informs dia- Workshops ied during textile analysis courses Ruth Barnes and Mary Hunt logue concerning “cultural indus- using a range of and visual- Kahlenberg have edited Five Baarbara Arlen will teach tries” as well as broader issues ization methods. Centuries of Indonesian Textiles: classes in color theory at the of worker empowerment, social The Mary Hunt Kahlenberg Fashion Institute of Technology’s Designing Jacquard Textiles, entrepreneurship, and business Collection published by School of Professional Studies. May 30- Jul. 1. Instructors: Eva social responsibility. DelMonico Books–Prestel. This For details visit: Basile, Julie Holyoke. Organization http://www.kpbooks.com comprehensive volume highlights http://www.fitnyc.edu/ of figured textile design by hand and using digital technology. Kahlenberg’s personal collection Chunghie Lee announces her Ann Lane Hedlund shares her Figured Textile Design: From of over 350 Indonesian cer- book, Bojagi and Beyond. This busy winter and spring lecture Sample Analysis to Production, emonial garments and sacred internationally known Korean and booksigning schedule for Jul. 4-8. Instructors: Julie Holyoke, textiles that she assembled over fiber artist explores the Korean Gloria F. Ross & Modern Tapestry: Eva Basile. Representative samples a 30-year period. A group of wrapping cloth tradition (bojagi) experts have contributed essays that inspires her contemporary Jan. 15, “Tapestries Made After of Jacquard techniques using one revealing the complexity and art works and fashion designs. Paintings: From the Dovecot to warp and one or more wefts will appeal of these ceremonial gar- Ganado, from Brennan to Begay,” be observed and analyzed. She provides instructions for ments and sacred textiles from Tapestry Weavers West, Sausalito, Silk Damask: One Warp: making five types of bojagi and throughout Indonesia. A selec- CA. RSVP: Infinite Solutions, Jul. 11-22. three basic projects, along with [email protected]. Instructors: Julie Holyoke, Eva tion from Kahlenberg’s collection an extensive color photo gallery was exhibited at LACMA, Sept. of her art works. Jan. 16, “Louise Nevelson and Basile. Participants design a project 18, 2008–Sept. 6, 2009. Bojagi and Beyond Archie Brennan: From Collage to to be woven in damask or other http://prestel.txt.de Providence, RI: Beyond and Tapestry,” lecture/book-signing self-patterning techniques with pat- Above, Fall, 2010 at San Jose Museum of Quilts tern wefts at a prestigious Italian Mary Littrell (Colorado State & Textiles, San Jose, CA. RSVP: silk mill. Prerequisite: one of the Paper, 134 pps., $35 plus shipping University) and Marsha Dickson’s 408/971-0323 or previous two courses or the Lisio ISBN SBN 978-0-9830029-0-1 (University of Delaware) new [email protected]. Foundation’s Analysis courses. [email protected] book was published in Fall, 2010 Feb. 11, Preview reception for Kente Weaving on an Ewe by Kumarian Press, a leading Claire Campbell Park’s book, “Gloria F. Ross: Rebirth of loom, May 2-27. Instructor: publisher focusing on interna- Creating with Reverence: Art, Modern Tapestry” Feb. 12-Mar. Luciano Ghersi. Theory and tional development issues. Diversity, Culture and Soul, inspires 25, and book signing, at Jane practice in the use of the African Artisans and Fair Trade: Kahan Gallery, New York, NY treadle loom. us to expand our cultural perspec- Crafting Development presents a (held during the 100th anniver- tives and form a dynamic creative socio-economic analysis of the foundation through her reflections sary meetings of the College Art Member Publications Association). capabilities, livelihood, and qual- on artists who are committed to Fern Devlin has written several ity of life for artisans who work- life-giving values. Included are: Feb. 17, Lecture/reception/book- articles about Sheila Hicks over ing under the fair trade business Maria Martinez, a Pueblo potter; signing, for Mt. Holyoke College the past several months. The model practiced by MarketPlace: the woodworkers of Kyoto, Japan; Alumni Club of New York at Handwork of India. Founded in painters from Australia who Jane Kahan Gallery, New York, latest one is about her 50-year 1986, MarketPlace grew from NY. Contact: Arina Shulga, arina. retrospective exhibition at the honor their Aboriginal ancestry; roots in a modest proj- [email protected]. Addison Gallery of American the weavers of Chiapas, Mexico; Art, Andover, MA. Read the ect for impoverished women in and leading contemporary artists. Lisio Foundation announces its article at: Mumbai, India. Today, over 300 Color photos are interspersed winter and spring course sched- http://buyathread.wordpress. MarketPlace artisans produce throughout the text. Available ule. For detailed information con- com/2010/11/07/sheila-hicks-50- Western-style apparel and house- through Amazon or: tact: [email protected] years hold textiles with design inspiration [email protected] [email protected] and production techniques native

8 tsa newsletter Indian ratanjot, two forms of orchil, and Afghan arnebia. There was never a down moment during the workshop. There was always a new dyebath that needed preparing, a pot that to reach a level of virtuosity needed stirring, pH levels to be from their careful observations taken, fiber to wash out, or notes and experiences, which we, at to take. Plus, everyone had the the present time, still struggle to opportunity to meet and to share fully interpret even with sophisti- their thoughts and interests. It cated analytical instruments. This was positively overwhelming, workshop provided an invaluable and the best display of organized opportunity to develop an appre- chaos I have ever been part of. ciation of dyed colors encoun- Cardon and Phipps are tered in historic textiles, and two major figures in the natural reiterated for me the complexity dye world. To have the minds of natural dyeing. I am thankful of these two women in the to Dominique and Elena for gen- same room was quite thrilling. erously sharing their expertise, There was a culmination of his- and to The Reed Foundation for Louise Mackie observes Dominique Cardon stirring a dyebath in the tory, chemistry, experience, and pre-Symposium workshop. Photo: Elena Phipps. funding the scholarship position. wisdom between them. They Symposium Reports of the dye plants were generous- introduced new dyestuffs, tech- Investigation of niques, and tips simultaneously, from Award Winners ly provided from Dominique’s own garden in France (it sound- Natural Dyes: Reds yet it could still all be absorbed through the dynamics of the Workshop: ed like such a lovely place!). The aim of the workshop and Purples II class. When the two were in uni- Investigation of was to understand the funda- by Nell Goss son, it was bliss. Cardon deferen- mental chemical principles of tially led the way with madder Natural Dyes: Reds magine a context where every the dyes, rather than to learn the and most of the -produc- and Purples I sense is being fully stimulated traditional dyeing techniques. I ing plants, whereas Phipps car- by nothing more than raw and by Masumi Kataoka The demonstration elucidated: ingly headed the and cooked vegetal matter, natural the extraction of colorant(s) from safflower demos. Nevertheless, fiber, and good company. This had the privilege of the dyestuffs, requiring various both women were individually fantasy world was brought to attending a pre-Symposium mechanical, chemical, biologi- filled with endless information I full reality in the workshop workshop, “Investigation of cal, and thermal processes; the about all the dyes. “Investigation of Natural Dyes: Natural Dyes: Reds and Purples” optimum condition of the dye In addition to the knowledge Reds and Purples.” Dominique at the Textile Society of America bath, created with auxiliary of Cardon and Phipps, Sachio Cardon and Elena Phipps led Symposium in Lincoln, NE, Oct. agent(s); and the fixation of the Yoshioka, Japanese master the workshop, sharing the world 6, 2010. The workshop was run colorant(s) onto a fabric with dyer, was also in attendance of natural dyeing—specifically his- by Dominique Cardon, a lead- or without a . In addi- at the workshop. He was very torical - and purple-producing ing scientific researcher of natural tion, it was interesting to learn kind, inquisitive, and stayed in dyestuffs, but offering much more. dyes, and Elena Phipps, a con- unique characteristics of certain the shadows. His presence was The workshop consisted of 20+ servator and textile scholar. dyes, such as western madder known, but he was very humble. diverse attendees genuinely The workshop focused on ( tinctorum) root that has to He became more prominent interested and entirely motivated natural dyestuffs of plant and be harvested at a specific age. during the safflower dye bath, to learn. The atmosphere was animal origin that had been Colorants could also be con- as he is very experienced with friendly, the spirits where high, historically used for dyeing reds tained in very specific parts of a this plant. It was then that we and good times ensued. This and purples on fibrous materials. plant, such as the bark of alkanet learned of the Japanese way to workshop was truly a once-in-a- Within limited time, the work- (Indian ratanjot) root. These traits test pH levels simply by touch. lifetime opportunity. shop was very ambitious and could vary even within the same This made my job, as “pH guy” A shocking quantity of informative. We were fortunate species of a plant. feel rather unnecessary. dyestuffs were used at this work- to have twelve different dyestuffs Looking at archeological I feel that I can speak for shop. We used a total of 12 sep- to experiment with on various and historic textiles, I am always everyone at the workshop arate dyestuffs in the course of silk and samples. Madder, struck by the colors achieved when I say I’ll never forget the eight hours! Our dyes included cochineal, and safflower were by natural dyes and the techno- experience of this workshop. It three types of madder root, two supplied for reds; and purple logical refinement behind their was filled with positive shared varieties of cochineal, two kinds root (Chinese Lithospernum), alka- creation. It is truly remarkable adventure, a plurality of dye- of safflower, Chinese lithospernum, net, and orchil for purples. Some that dyers in the past were able stuffs, expected outcomes, and

Winter 2011 9 unexpected outcomes. The unex- Traditions of Central Asia together, and the fulling stage and trade. This cultural shift pected outcomes were the most and Reverberations Abroad” when the fibers are shrinking. toward war and industrialization beautiful and resonated with the was organized by Christine For the second sample we continued to influence both the natural dye process. This connec- Martens, and the post-sympo- used partially felted wool cut into production and iconography tion between the two outcomes sium workshop, “Feltmaking,” linear and organic shapes which of , mingling new was—despite wisdom, testing, and was taught by Christine we placed on an open-weave silk images with ancient animal research—the result of a situation Martens and Janice Arnold. fabric, adding further embellish- imagery symbolizing wishes for a or dye bath that cannot be con- This hands-on workshop was ments in wool and other shiny prosperous and long life for the trolled or anticipated, but simply my official introduction to the fibers such as bamboo, and then new couple. experienced. feltmaking process. When I made doing the felting process. This Claire Odland and Nancy a 100-mile trek through the Tien “new” felting technique is used Feldman presented the shifting Workshop: Shan Mountains in Kyrgyzstan, it by many contemporary art- of tradition and research meth- was an experience that changed ists. The fibers migrate into the ods in the paper “Shipibo Textile The Wisdom of Wool my life. It was also the place silk weave structure, creating Practices, 1952-2010.” Working and Water where I discovered felt. The what Arnold calls “hybrid felt.” with the only known histori- by Heather Clark Hilliard opportunity to meet and learn Making felt is a very physical cal footage of the indigenous from artist Arnold and indepen- process. The wisdom in the wool Shipibo communities in the ombining wool with water dent scholar Martens brought my and water is that the possibilities upper Peruvian Amazon, filmed Cmay sound like it is worlds journey full-circle. are endless and the results are by Harry Tschopik Jr. in 1952, away from wisdom. Yet the Both Arnold and Martens are beautiful. Odland and Feldman shared seg- two have gone hand-in-hand passionate about the history, pro- Thank you, Chris Martens ments of original and new foot- for centuries in the making of cess, and felt makers of Central and Janice Arnold, for gener- age. The always-evolving textile felt. In October, the Textile Asia. They covered traditional to ously sharing your knowledge. It patterns are visualized through Society of America hosted its contemporary felting methods. is wonderful that TSA is able to the drinking of Ayahuasca by the Biennial Symposium in Lincoln, The first sample we made was award scholarships that encour- men; the women paint, embroi- NE. The session on felt, “Textile with the traditional approach, age curiosity about how textiles der and use appliqué to create made by arranging layers of are made throughout the world. designs that express flowing riv- loose wool and saturating it with ers, paths of life, and the move- hot, soapy water. Then we rolled Symposium Panel: ments of the cosmic serpent. The it into a funny-looking tube that designs are a constant creative we methodically rolled on the Tradition Embraces process of interpretation. Used table using our forearms. This the New as garments, the older textiles was quite a workout, and within by Jillina Gryzlak are overdyed, and in some cases a few minutes all of us were hap- become completely black, with pily wet, despite the towels sur- ultural traditions shift only the texture of the embroi- rounding the edges of the tables. Cas time progresses. The ways dery and appliqué visible. Finally, we fulled the felt by in which textile practices reflect Following the creation of the gently tossing and manipulating the change and allow for reflec- film into a DVD titled El Pueblo it with our hands. We learned tion was a theme in the three Shipibo: Men of the Montaña in to distinguish between the felt papers presented in the panel 2007, Shipibo communities saw stage when the fibers are locking moderated by Wendy Weiss the footage of their ancestors in titled “Evaluating Historical 2008. Seeing the film confirmed Threads.” Ann Marie Moeller for the Shipibo their cultural presented the change of imagery knowledge and ancestral history. in Japanese picture in the Tanya Williams Wetenhall paper “Tradition Embraces ‘The presented the development New Depictions of Modernity’ of the handwoven tapestry on Japanese Kurume E-gasuri (pic- shawl industry of Russia as an ture ikat) Futon-ji (bed covers).” industry independent from Moeller explained the effect of other Kashmiri-inspired shawl- political shifts on culture that producing countries in the paper led the imagery on the bed cov- “Woven Blooms of Nationalism: ers presented to new brides on Russian Hand-Woven Tapestry- their wedding day to transition Technique Shawls 1825-1855.” from plum, sparrow, and bam- During the rule of Emperor boo, symbolizing a good harvest Nicholas I, the concept and during the rule of the Samurai, definition of Russian national- Above, Fulling demonstration by Janice Arnold in the post-Symposium to the warship. The incoming ism was important. The imagery Feltmaking workshop. Janice Arnold, left, and Chris Martens, center with the rulers in the early 20th century and color combinations found feltmaking students examining hybrid felt. Photos: Heather Clark Hilliard. welcomed Western influence in the intricately woven wool

10 tsa newsletter shawls was inspired by and fur- that covered the Gallery’s walls of art, indigenous markets, and ending supply of people with thered what was uniquely Russian provided a vibrant, yet warm and concepts such as authenticity, I whom to talk textiles! through references of jewel tones, neutral foundation that accentu- found the answer to this ques- On Oct. 6, I took part in religion, language, architecture, ated the beauty of the textiles tion intriguing: We know it is art the pre-Symposium tour, and the decorative arts. These displayed. The gray foundation because weavers, dealers, cura- “Conserving Textiles on the shawls played a large role in the also created a cohesive frame for tors, collectors, and museums Plains.” Our group of about development of an independent the exhibit that worked particu- say it is art. This answer, which 15 boarded the bus as almost Russian identity after Russia turned larly well with the first of the four I am not disputing, glosses over complete strangers (except for away from Western influence. themes: “Framing,” “Recalling,” the complexity of the issues two participants who knew each Shifts in political rule, cultural “Naming,” and “Narrating,” used embedded in any discussion of other); upon our return, we had practices, changes in material and by Curator Ann Hedlund in her what is art or when is art. Some ‘buddies’ with whom we were needs, all played and continue presentation. “Framing” referred of the exhibit themes, particu- able to reconnect many times to play a role in the changing of to such aspects as rugs within larly “Framing” and “Narrating,” during the next few days. tradition. To think of culture as rugs, borders as frames, and the addressed these complex ideas The tour took us first to the a stagnant or historical certainty biographical and historical fram- more fully than others. In addi- International Quilt Study Center does not give space for the chang- ing through such references as an tion, the time focus of the exhibit in Lincoln, where we learned ing of cultural identity. All three artist’s schooling, participation in identified the shift in valuation about the origins of the collec- papers in this panel showed how contests, etc. that has occurred since the tion and the center, how the col- tradition and expression live in “Recalling” linked contempo- 1960s with regard to tex- lection is stored and maintained, constant evolution. rary textiles to the past through tiles and the concept of art. I am and how it is photographed (in family, historical patterns, materi- confident that Dr. Hedlund, an a most wonderful photo studio Exhibit: als and the like. “Naming” drew expert in the textile field, is fully especially constructed to take attention to the trend since the aware of the role of other stake- photos from above). A bonus A Turning Point: 1960s for artisans to assert their holders, such as the academy was the opportunity to observe in individual identities and their role and the federal government, who volunteers refolding pieces of the Late Twentieth as artists through such practices have participated in the redefini- the collection (done according as signing and putting titles on tion of Native material culture to a schedule) while we learned Century their works and constructing from the category of artifact to about the Center’s operations. By Blaire Gagnon, PhD their image much like a brand. that of art. Our participation http://www.quiltstudy.org Lastly, “Narrating” spoke to the in mounting such exhibits also From there we drove to uring the Textile Society role of Navajo culture in textile implicates us in these processes Omaha, where, following lunch, Dof America’s recent production and in the lives of of valuation. we visited the Gerald Ford Symposium, I had the pleasure their producers. That being said, the exhibit Conservation Center. The Center of experiencing the exhibit “A One of the most interesting “A Turning Point: Navajo was so named as it is located Turning Point: Navajo Weaving aspects of the exhibit for me was Weaving in the Late Twentieth near the birthplace of the 38th in the Late Twentieth Century,” the reflection on the question: Century” engaged me on an US President, not because he which was mounted in the How do we know Navajo weav- aesthetic level through its choice was a conservator. Textile con- Cooper Gallery of the University ing is Art? As someone whose of textiles and the beauty of their servation is only a part of the of Nebraska-Lincoln’s Morrill research focuses on definitions mounting, but it also engaged work done there. We toured the Hall. The medium gray fabric me on multiple intellectual levels labs, learned about cleaning and from material to design, from preserving techniques, and we local cultural meaning to issues were able to see pieces currently of theoretical importance regard- undergoing conservation. ing the concept of art. I recall the absolutely gor- geous beading on a newly Pre-Symposium Tour: treated pair of moccasins. Seeing these pieces caused me to pay Conserving Textiles attention to the many beaded on the Plains pieces (especially moccasins) that by Catherine Morley, were part of exhibits and that were on the feet of members PhD, RD, FDC of the Many Moccasins Dance Troupe at the Symposium’s clos- ll textiles, all the time! AThis was the joy of attend- ing ceremonies. ing the 12th Biennial Symposium http://www.nebraskahistory.org/ of the Textile Society of America conserve Melissa Cody, a 4th generation Navaho weaver, works on one of her signature in Lincoln, NE, Oct. 6-9, 2010, http://www.themanymoccasins. eye-dazzler pieces. She demonstrated at the site seminar “A Turning Point: as a Student/New Professional com Navajo Weaving in the Late Twentieth Century” at the University of Nebraska Scholarship recipient—a never- State Museum’s Cooper Gallery, and for the general public during Symposium week. Photo: Barbara Shapiro. Winter 2011 11 Then we traveled north to as well as sewing supplies and Iowa! I had never been to Iowa, a never-to-be-forgotten wall of so was thrilled that our tour boots that never made it to the included the opportunity to learn gold fields! about the local geography and http://midwest.fws.gov/desoto history. Our destination was the As one of our tour group Desoto Bend Wildlife Refuge and gleefully exclaimed as we wend- the Steamboat Bertrand exhibit. ed our way back to Lincoln, “I Huh? What does a wildlife ref- have found my people!” It was uge have to do with textiles?— a delight to have met a group that’s what we all wondered, too. of fellow enthusiasts right at It turns out that a steamboat, the start of the Symposium. I’m loaded with supplies for the definitely planning to attend the Montana gold fields, sank on 2012 gathering in Washington, April 1,1865, at a location that DC and to participate in pre/ would later become part of the post-Symposium tours. I appreci- National Wildlife Refuge System ated how the tour provided a operated by the US Department better sense of where I was, and of Fish and Wildlife. As such, of the surrounding countryside. it was required by law that the I encourage anyone eligible to retrieved cargo be catalogued apply for the SNP Scholarships to and stored in a museum. The do so! Attending the Symposium result is a literal treasure trove of was well worth the trip! Sincere Civil War-era household goods, thanks to the Textile Society of clothing, and mining materials, America for this honor.

Gallery Exhibitions. From top: images 1-4 are from the Sheldon Museum of Art Reception, University of Nebraska-Lincoln. 1. “Tranquil Meeting,” paper installation by Ishida Tomoko Hashimoto. Photo: Barbara Shapiro. 2. Artist Jessica Smith in front of her work, “El Dorado,” Jacquard-woven, digitally and hand-printed, 70” x 37”. Photo: Janice Lessman-Moss. 3. George D. Veneciano, Director, Sheldon Museum of Art, with artists Kyung-Ae Cho (1997 Lillian Elliott Awardee); Wendy Weiss, Symposium Co-chair, Jessica Smith, artist; James B. Milliken, President, University of Nebraska; Sharon Kennedy, Sheldon Museum Curator of Cultural and Civic Engagement; Janice Lessman-Moss, artist; Ishida Tomoko Hashimoto (1998 Lillian Elliott Awardee); Grethe Sørensen, artist. Photo: Janice Lessman-Moss. 4. View of the reception at the Sheldon Gallery. Photo: Karen Searle. 5. Exhibition Curator Janice Lessman-Moss leads a gallery tour with semi- nar participants at the Jacquard weaving exhibition “Binary Fiction: Digital Weaving ” at the Eisentrager-Howard Gallery, University of Nebraska-Lincoln. Photo: Karen Searle.

12 tsa newsletter box and cover, both of which are collection of essays builds upon, remarkable absence of redundan- decorated in gold with the pat- in part, new chronological infor- cy despite the voluminous and tern found on a breast covering mation and recent advances in varied material presented (techni- Book from central Java (plate 42). the field of Indonesian textiles. cal, contextual, anthropologic, Kahlenberg’s acknowledge- In her following essay “Early and ethnographic). Last, a brief, Reviews ment is followed by her highly Indonesian Textiles: Scientific useful glossary is followed by personal and informative essay Dating in a Wider Context,” short biographies of the authors “Close Observations and Priceless Barnes “presents, for the first and an exhibition and publica- Memories,” describing how she time, important evidence for the tion history of the collection. became an Indonesian textile antiquity of some of the textiles Excellent typography helps The Mary Hunt Kahlenberg collector. Kahlenberg skillfully by including radiocarbon dates maintain the book’s structural Collection: Five Centuries of builds the reader’s textile vocabu- for some of the key pieces in design, but the small, discreet, Indonesian Textiles lary while she weaves together the [Kahlenberg] collection.” hard-to-locate plate numbers and aspects of textile production and The surprising 15th-century date the lack of a title page for each Ruth Barnes, Author, Editor and the anonymous makers, and dis- of some of these textiles will regional collection is sometimes Mary Hunt Kahlenberg, Editor cusses color, structural elements, undoubtedly inspire research in frustrating. The complexity of Hardcover: 408 pages motifs, techniques, iconography material culture in the region—or the layout and unclear cataloging Prestel USA, $95. 00 and history. She ends by address- as Barnes states, “it is the editors would make the retrieval of infor- ISBN-10: 3791350714 ing questions the public might hope that the diversity of the mation difficult for a novice reader. ISBN-13: 978-3791350714 ask about collecting: “Why tex- interpretations will lead to further Despite some design flaws, ive Centuries of Indonesian tiles? Why Indonesia?” discussions and advancement in anyone interested in the art, FTextiles is a beautifully illus- The introduction by Ruth the field of Indonesian studies, as anthropology, history, and mate- trated catalog of the private col- Barnes clearly and succinctly well as add a new perspective to rial culture of Indonesia will find lection Mary Hunt Kahlenberg includes an excellent outline and the arts of Southeast Asia.” this book an invaluable, stimulat- acquired over more than 30 topical summary of the essays An introduction to the plates ing, and beautiful reference. It is years. Kahlenberg, now a private and of the textile descriptions is followed by a series of signifi- original in its exploration of new curator and dealer, was Senior that follow. Brief physical geo- cant, well-researched and docu- chronologies and advances in the Curator of the Textile and graphical and historical descrip- mented essays by leading schol- field of Indonesian textile study Costume Department at the Los tions about Indonesia provide a ars in the field. Essays are accom- and contains an excellent his- Angeles County Museum of Art useful context for the collection. panied by a series of related tory of the field, including a vast after her tenure as assistant cura- These include the region’s geog- plates, overall images and superb amount of accepted information tor at The Textile Museum in raphy and weather, its peoples details of the textiles under dis- and scholarship. Washington, D.C. and ancestry, and some “under- cussion, as well as by maps or –Mona Berman Co-editor Dr. Ruth Barnes lying principles associated with contextual photographs depicting Independent Scholar is a leading scholar of Indonesian the making and use of textiles.” how the textiles are made, worn, Director, Mona Berman Fine Arts textiles and the Thomas Jaffe Barnes skillfully lays the ground- or ceremonially displayed. Curator of Indo-Pacific Art of work for understanding the Catalog entries and essays the newly formed Department importance of trade and foreign alternate throughout the book, Fabric: Metallic Textile Design of Indo-Pacific Art at Yale influence in the development, adding some unnecessary confu- of Kinor Jiang University Art Gallery. Prior to production, and significance of sion for the reader. In the catalog Kinor Jang this appointment, Dr. Barnes was textiles as she discusses Indonesia sections, textiles selected from Hong Kong: Sandu Publishing lead curator for three recently as the “crossroads between India one of the seven regional groups Co. Ltd, 2009 completed galleries at the and China.” (Sumatra, Java, Bali, Borneo, Ashmolean Museum in . Dr. Barnes closes her intro- Nusa, Tenggara, and Maluku) are r. Kinor Jiang is a textile This high-quality, informative duction with a discussion of accompanied by object informa- Ddesigner and Assistant catalog with excellent photo- past and future scholarship. This tion including: 1) the English professor of Textile and Fashion graphs by Bruce White includes name (or use) of the cloth Design at the Institute of maps, photographs, major essays followed by the name in the Textiles and Clothing, Hong with some original research on, original language; 2) geographic Kong Polytechnic University. In and detailed descriptions of, origin of manufacture followed his book Fabric: Metallic Textile the textiles. As a result it is a by location of use; 3) date of Design of Kinor Jiang, we see big book, weighing about seven construction; 4) materials used that this accomplished textile pounds. The full-color plates in fabrication; 5) techniques of researcher has concentrated on match the elegance of the book’s fabrication; 6) measurements; the fusion of design and tech- 7) number of panels or if object nology to produce metalized is tubular shape. Following the fabrics with amazing sculptural descriptive information are brief and fashion possibilities. Jiang’s plate-commentaries by an essay honored mentor, Japanese tex- Bag, cotton, glass beads, plaited palm leaf inner bag, 12.75 x 9.8” in Five author or by another scholar in tile creator Junichi Arai, offers a Centuries of Indonesian Textiles, p 324-325. the field. The editors achieved a poignant introduction praising

Winter 2011 13 his young protégé for his mar- The many photographs of of the TAPI collection. Then of the Parsis’ use of the embroi- velous achievements. Jiang was Kinor’s work that make up the in 2005 came Masters of the dery in their clothing to scholarly instrumental in an exhibition body of his book are tantalizing. Cloth: Indian Textiles Traded to analyses and histories. Being of his mentor Arai’s works in It is not the technical aspects that Distant Shores: TAPI Collection, by the first volume devoted to this Hong Kong in 2009. He cur- moved me the most, but the Deepika Shah, which concen- unique tradition, it rently serves as the co-chair of poetry with which he describes trated upon Indian international certainly opens many doors to a the upcoming 8th International the myriad effects possible when trade textiles. Next, in 2007, was largely unknown manifestation Symposium to be held in cloth is treated in this way. For In adoration of Krishna: Pichhwais of . More investiga- Hong Kong, 2011-2012, at Hong Jiang, “Technological progress of Shrinathi: TAPI Collection by tions need to be undertaken, Kong Polytechnic University. never foretells any innovation in Kalyan Krishna, Kay Talwar, and building on this wonderful intro- Jiang’s own works have recently design. New fibrous materials, B.N. Goswamy, a volume on duction to an important aspect been exhibited twice, at the new technologies, new think- the famous painted cloths used of embroidery in India. San Jose Museum of Quilts and ing… all these factors merely in the ceremonies of the –Donald Clay Johnson Textiles and in a solo exhibition provide possibilities for creative Hindu Vallabhacharya sect in at UC Davis. His “Casement VI design.” In the hands of a lesser Rajasthan. 2010” (polyester, stainless steel: artist, all these advances would The present volume is Recycling Indian Clothing: sputter deposition, stencil resist) not sing with the poetry of Kinor the first ever to appear on the Global Contexts of Reuse was recently gifted to the de Jiang’s fabrics. A beautiful book embroidered textiles used by the and Value Young Museum of San Francisco. with its dark silver metalized Parsi community of India. Active Lucy Norris The book leaves us in awe edges and many close-up photo- international merchants who Series: Tracking Globalization of Jiang’s facility in adapting high- graphs, this is an intriguing entry competed most successfully with Indiana University Press, 2010 tech scientific innovation into the into a very forward-thinking the British during colonial times, Paper, 256 pages, 16 color illus., language of contemporary cloth. textile world. the Parsi worked in numerous 7 b&w illus. $24.95 What Jiang shares with us is not For more information on the places, including Hong Kong and ISBN-13: 978-0-253-22208-4 so much the scientific protocols International Shibori Symposium: Shanghai, where they became of what are undoubtedly propri- http://8iss.wordpress.com/ aware of the distinctive, elabo- ccording to its author etary techniques in metalizing For information on ordering rate embroidery done by the ALucy Norris, Recycling Indian fabric, but rather, his scientific Fabric: Metallic Textiles Design of Chinese. When Europe had a Clothing examines the “changing methodology and artistic inspira- Kinor Jiang, visit: fashion craze for chinoiserie in indigenous practices of disposal, tion as he proceeds with the http://www.swindonbooks.com the 19th century, the Parsi work reuse, and recycling of local heart of an artist and the soul –Barbara Shapiro incorporated Chinese embroi- clothing and the burgeoning mar- of a poet to invent new textiles. dery techniques into numerous ket in used textiles in a rapidly What we see is what the Dean pieces of their attire. They then changing Indian society.” This of Tsinghua University, Li Dang Peonies and Pagodas: brought Chinese embroiderers it does, but, the report of her Qi, calls the “seamless synergy of Embroidered Parsi textiles: to India to teach their techniques “research on trans-national mate- rationality and sensitivity” break- TAPI Collection. to Indians, and a unique textile rials flows” is barely realized. The ing the constraints of tradition artistic expression emerged in Shilpa Shah (and Tulsi Vatsal) book only touches upon “trac- and integrating arts and technol- India which combined aspects of Surat: Garden Silk Mills in ing commodities as they move ogy. Jiang’s stated objective is to Chinese and Indian traditions. association with TAPI Collection, through multiple sites along break the conventional textile Since the origins of this 2010. 196 pages. trans-national chains,” and when design mode by utilizing his com- embroidery tradition derive from Norris briefly mentions Indian prehensive technical knowledge he TAPI Collection of China, museums in India by and clothing recycled, redesigned, and resources and taking the Thistoric textiles from India large have not collected exam- and sold in the fashionable dis- risks inherent in applying these does not have a permanent ples, and it has largely been over- tricts of London, the information new technologies through rigor- home open to the public. Rather, looked by collectors and scholars is scant and arrives late in the ous scientific practices. He speaks aspects of it travel to various until recently. Yet as the volume text. This is not to say the book of nano-particle plating of the cities in India to form unique amply documents, while Parsi has no value, but it hardly meets textile surface and then corrod- exhibitions or parts of exhibitions. embroidery may have Chinese the expectations generated by its ing it, adding and subtracting, just http://www.tapicollection.com origins, it certainly was adapted subtitle, Global Contexts of Reuse as a painter would. Silver and Fortunately, over the last and evolved in India, where it and Value. aluminum are metalized on the decade a series of volumes played an important cultural role The first chapter, “Recycling cloth, etched, dyed and heat-set, focused upon aspects of the col- within the Parsi community. Indian Clothing: The Global allowing for three-dimensional lection have appeared. This began The catalogue portion of the Context,” raises interesting points memory when it is manipulated, in 2002 with Court, Temple and volume portrays 83 embroidered and questions about clothing crumpled and shrunk. The result- Trade: Indian Textiles from the Tapi items (14 saris, 26 women’s “rejected… commodified… ing fabrics are rich and varied, Collection, a stunning collection of blouses/children’s tunics, 25 sari and transformed,” and offers sensuous and architectural, open- essays by Ruth Barnes, Stephen borders, 10 hats, and 8 miscella- great promise. If the stories told ing a world of design possibilities. Cohn, and Rosemary Crill that neous works). The accompanying throughout most of the book surveyed the depth and breadth essays range from reminiscences were as interesting as Norris’s

14 tsa newsletter summary and discussion about the population studied, but also abruptly turns from journalistic incongruous to associate the fas- the “social life of things, their from the book’s organization. to academic in the one- or two- tidiously confected, snowy white, disassembly and reassembly,” the Although the reader is alerted paragraph summaries at chapter luxury textiles worked in broderie book would be spectacular. to the structure of the book in ends. Here, Norris is at her best de Marseille (corded needlework) Norris’s dry reportage-style Chapter 1, the information is not when she locates her conclusions with the raucous seaport from stories examine the wardrobe presented as succinctly or defini- within anthropological studies which this style of takes of several middle-class (or now tively as Norris suggests. Chapter such as those of Gell, Miller, and its name. Yet the alliance is cor- middle-class) women living in a 4, “Love and Protection,” for Pearce, and provides insight and rect, for Marseilles is both the suburban Delhi housing co-op, example, discusses clothing sold a philosophical framework for cradle of these exquisite con- the Progressive Housing Society. for its precious metal content her research. fections and the point of their The women are “largely from (“Strategies of Conservation”), –Mona Berman dispersal.” families possessing high symbolic how and why clothing is handed- The book describes the capital in the form of education down within families (“Family quilted bedcovers, accessories, and professional capability.” All Envelope”), and touches upon Marseille: The Cradle of White and clothing, and the ateliers of “kept good-quality clothing and clothing’s perceived auspicious, Corded Quilting professional seamstresses, within made it last, and acquired more religious, mystical and magical, a vividly depicted context of late Kathryn Berenson in order to be properly attired at protective powers—all informa- 17th- to 19th-century France. Director’s Foreword: Patricia Cox functions...[and] had large num- tion already introduced and Technical terminology is clearly Crews bers of surplus saris.” discussed in the women’s stories. defined and illustrated. And, an Lincoln: International Quilt Study The selection of this small, Such repetitions could have abundance of pictures provides Center & Museum, 2010 non-representative sample of been avoided if, for example, evidence as to why these textiles the Indian population does little each interview had been used to are called “confections.” It also he cover reproduction to address the global context of illustrate a single point. Careful includes a chapter on imitations of Joseph Vernet’s “Interior clothing and its recycling, and pro- editing and a better organization T and a formidable bibliography. of the Port of Marseille” (1754) vides a culturally atypical context where topic directly relates to This monograph was pub- gives way to an image on the from which to draw conclusions. story would also help make this lished in concert with an exhibi- title page of this beautiful book Much of the book is a nar- field report a more useful text tion of the same title held at IQSC showing an exquisite whitework rative accounting of Norris’s and broaden its appeal. Nov. 13, 2010-May 8, 2011—the bedcover made for child-king fieldwork. Each woman is The global context is finally first-ever exhibition devoted to Louis XV. Kathryn Berenson has interviewed while showing the discussed in Chapter 6. Some these rare quilts. It is a wonder- written a book that combines the author her clothing, and it is in of the various trends discussed ful souvenir for visitors, and the quilt’s medieval literary roots, this sartorial context that each in the production of recycled next best thing to being there. commercial history, technique, woman reveals details of her life clothing and domestic items This resource for artists, historians, and development in a manner and experiences, of her social are less recent than Norris sup- scholars, Francophiles, and roman- that is as informative as it is and religious background, and of poses. In the chapter “Recycling tics is as rich and satisfying as a engaging. Once I began, I couldn’t her family and beliefs. Combing or Reincarnation: The Elite livre of whipped cream. put it down. It was like hearing a through their wardrobes, the Indian Market,” Norris provides Marseille: White Corded master storyteller tell a complex women may describe how a examples of how “designers Quilting is available at the and little-known history as if it piece was acquired, whether it and retailers have skillfully man- International Quilt Study Center were a popular novel. The first was gifted or personally selected, aged to create a new fashion by & Museum, 1523 N. 33rd Street, chapter, for example, begins with and consequently reveal their reversing a deep-seated anxiety University of Nebraska, Lincoln, lines from a 12th-century French preference of dress and taste. about used cloth, turning it into a NE 68583. For further informa- love poem. There are discussions about the desirable commodity.” With the tion about the exhibition and Berenson, a quilter herself, occasion when an item was worn example of a designer’s boutique special programs, or to order the is the recognized authority on —if indeed it had been worn at opened in the late 1990s, the book on-line, go to: the subject of whitework quilts. all—the care and maintenance of author implies this as the date http://www.quiltstudy.org Dr. Crews, IQSC Director, says selected items, and the means of of the emergence of this trend. this of Berenson: “With her –Suzanne Smith Arney disposing or otherwise recycling This reviewer experienced the knowledge of and appreciation used, too worn, or unwanted production and consumption for French history and culture, clothing. Much is made of the of similar high-fashion recycled she helps us more fully appreci- Godrej cupboard (almari), the clothing in the mid-1980s, when ate the references embedded in physical container of the cloth- young artisans, also recently grad- the visual elements stitched into ing, what Norris refers to as the uated from the fashion institute, each piece.” An American living symbolic vessel or ‘“body” con- were supported and encouraged in Paris, Berenson was a dealer taining the “second skins.” by the Indian government in its and collector before dedicat- The redundancies between attempt to assure the continua- ing her attention to writing. In the stories and within various tion of India’s handcrafts. the introduction to this book chapters of the book result not The information provided is (her third), she writes, ”It seems only from the narrow focus of not uninteresting, but, the writing

Winter 2011 15 TSA Past President Mary full-time work for a period and pamphlets, serials, articles Dusenbury explained the of one to twelve months at a and offprints, dissertations, royal symbolic five colors and their stipend of up to $2,500 per decrees and laws—published Conference hierarchical variants over the cen- month. The IQSCM is especially from the late 15th century to turies in ancient Japanese royal interested in supporting research date, treating all aspects of the Reviews robes. TSA Vice President Elena that will advance understanding history of handmade textiles, Phipps spoke on “pre-Columbi- of quiltmaking traditions interna- including woven and printed an Red: Commercial Exchanges tionally. For more information, textiles, embroidery, , tapes- and Symbolic Significance.” please go to: try, dyeing, , weaving and Much was gleaned from http://www.quiltstudy.org fiber technology, pattern books, COLOURS other papers as well. Amazing and click on the Education & and costume, among many other Wellcome Institute, London are the textile finds that have sur- Research link. The application subjects. November 19-20, 2010 faced in Scandinavian bog areas proposal of no more than 1500 Since that time an enlarged and nordic tundra due to global words, along with a current vitae, edition has been in preparation, he Early Textile Study warming and climatic changes. should be submitted by Mar. 1. which now contains over 9,000 TGroup’s 13th biennial con- Also amazing are the exception- Fellowship recipients will be noti- records with over 25,000 indi- ference, organized by Helen ally well-preserved materials in fied by May 15. vidual entries of authors, articles, Persson of the Victoria and Albert Austrian salt mines, and also reviews and books, of which Museum, was held Nov. 19-20, at those discovered in the excava- Denver Art Museum 750 titles are pre-1800. This the Wellcome Institute, London. tions in Tyre and the reconstruc- Reopens Renovated new enlarged edition is available There were 85 participants tion of the city’s purple dye Galleries online as a open-access database, from 22 countries. The meeting industry. And last, but not least, fully searchable by multiple key- was held, significantly, where I was impressed by a study of The Denver Art Museum’s words and criteria. It is free to the Wellcome Pharmaceutical red in ancient Roman military renovated and restored American use without any charge or regis- Company Foundation has a vast dress, which was then used to Indian Galleries will reopen tration requirement. collection of material related create stage and film costumes. on Jan. 30, 2011, with newly The Stichting Egress to pharmacopeia and pharma- The complete program can commissioned artworks, never- Foundation is an independent ceutical history. For those who be found on the Early Textiles before-seen objects from the multi-faceted cultural founda- attended the TSA pre-Sympo- Study Group website: museum collection, and visitor tion, created at the beginning of sium conference Natural Dye http://www.earlytextilesstudygroup. favorites on view. The galleries the 21st century to encourage Workshop with Elena Phipps org will be divided into nine regional critical research and dialogue in and Dominique Cardon, and areas that allow focus on specific –Rosalia Bonito Fanelli three main areas: contemporary the “Dyes and Color” seminar in artists and art forms. Visitors will art theory and practice; historic Lincoln, NE, this conference con- have an active experience with textile research; and time and tinued similar themes but looked, the art through hands-on activi- causality studies. in particular, at the application ties, digital interpretives, media Underlying our future of scientific medical technology Textile installations and live artmaking. research projects currently in and equipment to the study, Challenging long-held stereo- development, we maintain the reconstruction and restoration of Community types about what is (and is not) following libraries and collection archeological artifacts and textiles American Indian art, DAM’s new resources: up to 1600 A.D. Notably, there News galleries will encourage visitors • The Siegelaub Collection was a reassessment of the dates to expand their definitions and & Archives consists of a collec- and organic chemical composi- expectations of this genre. tion of contemporary “concep- tions of some previously-studied tual art” and the archives of Seth ancient textiles. Call for Fellowship New Textile Database Siegelaub, arising from his activi- Dominique Cardon intro- Applications Now Online ties 1964-1971 in New York duced the proceedings, sum- The International Quilt Study The Stichting Egress and Europe, and including exhi- marizing the past history of and Center & Museum (IQSCM) Foundation is pleased to bitions, projects, and interviews. recent advances in natural dye at the University of Nebraska- announce that its Open-Access • The Center for Social studies. Lincoln (UNL) invites applica- Bibliographica Textilia Historiae Research on Old Textiles The 15 international speak- tions for short and long-term Database is now available (CSROT), a research library, ers were grouped, it seems to residential or nonresidential online. The Bibliographica Textilia and the Bibliographica Textilia me, around three themes: research fellowships. The IQSCM Historiae, the first and only anno- Historiae database documenting 1. Innovative scientific methods in is dedicated to collecting, pre- tated bibliography attempting the world literature on the history natural colorant analyses; serving, exhibiting, studying, and to document all facets of the of textiles. 2. Ethnic and geographical tracing promoting discovery of quilts world history of textiles, was first • The Center for Social of natural plants and dyes; and quiltmaking traditions from published in 1997 as a printed Research on Old Textiles 3. Symbolic significance and many cultures and countries. book. At that time it contained (CSROT) collection of his- nomenclature of colors, especially Fellowships support continuous over 5,000 titles—printed books toric textiles, a wide-ranging, in costume.

16 tsa newsletter diverse international collection Call for Artist Connecticut FibreQUARTERLY including woven and printed Residencies Needlework Book Joe Lewis writes: Seasons greet- textiles, , and bark The Houston Center for What forms of art from ings from fibreQUARTERLY. cloth (tapa) from Europe, Asia, Contemporary Craft (HCCC) the American Colonial and It was a pleasure to be at this Oceania and Africa, from late is a non-profit arts organiza- Federalist periods warrant year’s TSA Symposium and meet antiquity (Coptic Egypt) through tion dedicated to presenting the attention? In her new book some of you for the first time, the 20th century. It is espe- dynamic world of contemporary Connecticut Needlework: Women, and meet up with others I had cially rich in 15th-8th century craft to the Houston community. Art, and Family, 1740-1840, met at the 2006 Symposium in European silks and velvets, with Its Artist in Residence program Susan P. Schoelwer argues that Toronto. The new issue of fibre- a collection of headdresses and offers time and space for craft the needle arts prior to 1840 QUARTERLY, Volume 6 Issue caps from Africa, Asia, and artists to focus on their creative (produced almost exclusively 3/ Winter, 2010, is now on-line Oceania (currently 600 works). work and interact with the public. by women) deserve our notice. with Symposium reports from • The Egress Time The program supports emerging, Schoelwer challenges the sim- two of the students who were & Causality Library and mid-career and established artists plistic notion of needlework as there as witnesses. I wrote a Database, a small but growing working in all craft media. Artists “schoolgirl art” and asks us to report which has been published specialized research library and selected for the program receive reassess the significant and often by Beatrijs Sterk in the latest database centered on the theory a 200-sq.-ft. studio and a monthly overlooked role of this medium issue of Textile Forum 4/2010 of time and causality in the con- stipend. Artists are selected based in the development of American December. text of physics. on the quality of their creative visual and decorative arts. If you enjoy fibreQUAR- Stichting Egress Foundation work, their ability to interact with The first regional study of TERLY, feel free to Sign up for Herenstraat 1A, NL-1015 BX the public, career direction and its kind, Connecticut Needlework, our free newsletter and receive Amsterdam, The program diversity. Applications published by Wesleyan Press, quarterly announcements of [email protected] may be downloaded at: contains lavish, full-color illus- new issues. tel 31 (0)6/4432.4415 http://www.crafthouston.org trations of masterworks, many Joe Lewis http://www.egressfoundation.net never before published, from Editor: fibreQUARTERLY the extraordinary Connecticut E-Zine for Canadian Fibre Arts ATA News Historical Society Collection. http://www.velvethighway.com 240 pp, 225 illus. (205 color) The American Tapestry $30.00 Paper Alliance is pleased to announce ISBN: 978-1-881264-12-5 that Friends of Fiberart Publication $65.00 Cloth International has awarded ATA ISBN: 978-1-881264-11-8 a grant for partial funding of News http://www.wesleyan.edu/ the catalog for the exhibition wespress “Small Tapestry International 2: Passages.” For more information on the exhibition, visit: Natural Indigo Study http://americantapestryalliance. Craft Australia Links Awa Natural Indigo, by Dr. org/Exhibitions/STInt/STI2_ Craft Australia publishes a free Miyoko Kawahito, encompasses Passages.html online newsletter at her research on the Awa indigo The American Tapestry http://www.craftaustralia.org.au dyeing industry, Tokushima, Alliance, in association with Japan. Kawahito was first TSA Newsletter Tapestry Weavers in New Readers may subscribe and view intrigued with the noticeably Deadlines England (TWINE) will be spon- previous newsletters. The Craft brighter colors obtained from soring two talks during the Australia Calendar, also found on the indigo of that region, and • March 30 • July 30 “American Tapestry Biennial the website, promotes contem- her book includes a profile of • November 30 8” exhibition at the American porary craft and design through its dye industry, dye procedures Please send news, exhibition Textile History Museum, Lowell, exhibitions, workshops, opportu- and practices, comparative color reviews, book reviews, MA. On Mar. 13, Susan Martin nities, conferences and trade fairs. results between Awa indigo conference reviews, event Maffei will present a talk entitled Craft Australia is celebrating and indigo from other sources, listings, and articles to: “Under the Influence; or Is It its 40-year anniversary in 2010, and a chapter on her own work Karen Searle, Editor Just Inspiration?” On Apr. 10, and as part of the celebration has designing clothing with indigo- [email protected] Anne Jackson will present a talk set up a flickr page to showcase dyed fabrics. entitled “Anne Jackson: Knotted Australian studio craft and design. ¥2000,($23.85) available from Tapestries.” Images are constantly being Tokushima Prefecture Culture TSA Newsletter Staff http://www.athm.org uploaded to this site. Promotions Committee Karen Searle, Editing, Layout http://www. http://www.flickr.com/photos/ 1-1 Bandai-cho, Tokushima City Susan Ward, Copy Editing americantapestryalliance.org craftaustralia Tokushima Prefecture Charlotte Cosby, Proofreading Japan 770-8570

Winter 2011 17 purple dyeing. For more informa- Exhibitions Illinois tion, registration and program, Koehnline Museum of Art, visit the website: Oakton Community College, http://www.isend2011.com Des Plaines. Feb. 3-Mar. 25: Calendar California “Clothing and Culture in South May 20-21: Material Culture, Los Angeles County Museum Asia,” items from the Helen Craft & Community: Negotiating of Art. To Mar. 6: “Fashioning Louise Allen Textile Collection, Objects Across Time & Place, Fashion: European Dress in University of Wisconsin-Madison. University of Alberta Material Detail, 1700-1915.” To Mar 6: http://textilecollection.wisc.edu/ Culture Institute. Keynote India’s Fabled City: The Art of events.html Conferences & Speaker: Laurel Thatcher Ulrich, Courtly Lucknow. Harvard University. Organizer: http://www.lacma.org Iowa Beverly Lemire, Department Symposia Vesterheim, the Norwegian- of History & Classics and de Young Museum, San American Museum, Decorah. Department of Human Ecology, Below is a brief selection of Francisco. Mar. 26-Jul. 24: To Mar. 20: “Pieces of Self: University of Alberta. upcoming Textile-related events. “Balenciaga and Spain.” Identity and Norwegian- http://www.wornthrough.com/ See TSA Member News and the www.deyoung.famsf.org American Quilts.” calendar on the TSA website for http://www.vesterheim.org more exhibition listings. May 21: Study Day, Sacred San Jose Museum of Quilts Dressed Images at Lisio & Textiles. May 17-Aug. 7: Massachusetts Feb. 17-18: Uncommon Threads: Foundation, Florence, Italy. “Primary Structures” featuring Little Black Dress, Florida http://fondazionelisio.org innovative artists using simple Museum of Fine Arts, Boston. Institute of Technology. Featured linear elements in combination To Jun. 19: “Scaasi: American speaker: Dr. Valerie Steele. May 23-25: SMARTEX-2011, with unconventional materials, Couturier,” showcasing Scaasi’s http://411.fit.edu/threads Conference, Egypt. The Textile transforming the structures custom-made clothing, late and Apparel Branch of the of knit and . Curators: 1950s to the present. To Mar. April 1: The 2011 IQSC Home Economics Department, Deborah Corsini and Adrienne 13: “Colonial Boston Samplers.” Symposium Quilted and Corded Faculty of Specific Education, Sloane. Apr. 13-Jan. 17, 2012: “Global Needlework: A Closer Look Kafrelsheikh University, Egypt, http://www.sjquiltmuseum.org Patterns: Dress and Textiles in will be held in conjunction has organized the first World Africa.” Textiles Conference. The http://www.mfa.org with the exhibition “Marseille: Delaware White corded Quilting,” featur- SMARTEX-2011 conference ing speakers Linda Baumgarten, is multidisciplinary and brings Winterthur Museum, Fuller Craft Museum, Curator of Textiles and Costumes together international scientists Wilmington. Mar. 1 through Brockton. To Feb. 6: “The New at the Colonial Williamsburg from textile teaching, research Oct: “Made for the Trade: Native Materiality: Digital Dialogues at Foundation, and Kathryn and development institutions, American Craft Works.” the Boundaries of Contemporary Berenson, curator and author of and companies to present and http://www.winterthur.org Craft.” To March 27: “Caravan: Quilts of Provence and Marseille: discuss the latest developments An Installation by John Garrett.” The Cradle of White Corded in the general field of textile District of Columbia Feb. 5-Sept. 15: “Loom and Quilting. Further details are avail- materials, technologies, fashion The Textile Museum. To Mar. Lathe: The Art of Kay Sekimachi. able at: and marketing. Registration, trans- 13: “Colors of the Oasis: Central and Bob Stockdale.” http://www.quilstudy.org portation, exhibition, and other Asian .” Feb. 4- Jan. 8, 2012: http://www.fullercraft.org details are available at: “Second Lives: The Age-Old Art April 25-30: ISEND 2011 http://www.kfs.edu.eg/smartex of Recycling Textiles” Apr.16- American Textile History EUROPE, International Dr. Elsayed A. Elnashar Sept. 11: “Green: the Color and Museum, Lowell. Jan. 22-May 1: Symposium and Exhibition [email protected] the Cause,” juried exhibition. “American Tapestry Biennial 8.” on Natural Dyes, La Rochelle, [email protected] http://www.textilemuseum.org http://www.athm.org France. The conference, orga- tel (+2)016/92.88.940 innesota nized by Dominique Cardon and Florida M June 9-12: Confluence, in Anne de la Sayette, with a large Ruth Funk Center for Textile Textile Center, Minneapolis. Minneapolis, MN, International scientific committee, is expecting Arts, Florida Institute of Jan.14-Feb. 26: “A Common textile conference of the Surface to have over 500 dyers, produc- Technology, Melbourne. To Apr. Thread,” Annual Members Design Association and the ers, researchers and enthusiasts 23: “Little Black Dress: Selections Exhibition. Mar. 11-Apr. 16: Textile Center. Pre-and post- from over 70 countries. The from the Costume Museum of “Figuratively Fiber: Art Dolls.” conference workshops, exhibits, conference will include lectures, Canada.” Apr. 29-May 28: “Re-tread tours. Information: dyeing demonstrations, a market- http://textiles.fit.edu Threads,” fiber art wearables place, and field excursions to a http://www.surfacedesign.org from recycled materials. nearby seashore to see shellfish http://www.textilecentermn.org http://www.textilecentermn.org

18 tsa newsletter Nebraska Oregon China and Japan.” To May 1: International Quilt Study Museum of Contemporary “Kai Chan: A Spider’s Logic,” CALL FOR NOMINATIONS Center & Museum, Lincoln. To Craft, Portland. Mar. 17-Jul. 35-year retrospective. May May 8: “Marseille: White Corded 30: “Laurie Herrick: Weaving 15-Nov 15: “Magic Squares: The R.L. SHEP ETHNIC Quilting.” To Apr. 3: “Revisiting Yesterday, Today and Tomorrow.” Patterned Imagination in Muslim TEXTILES BOOK the Art Quilt.” http:/ Africa.” AWARD htp://www.quiltstudy.org MuseumofContemporaryCraft.org http://www.textilemuseum.ca Nominations for the best Robert Hillestad Textiles Washington England book on ethnographic textiles Gallery, University of Nebraska- University of Leeds Burke Museum of Natural published in 2010 are now Lincoln. To Feb. 11: “Indian History and Culture, Seattle. International Textiles Archive. being accepted, until March 1, Textiles and Costumes- To Feb. 27: “Weaving Heritage: To May 27: “A Catalogue of 2011. The award, endowed Perspectives and Potential.” Feb. Textile Masterpieces from the World Textiles: Celebrating the by R.L. Shep in 2000, 21-Mar. 18: “Addressing the Burke Collection.” culmination of a Major docu- encourages the study and Body: Lessons in Quilting.” http://www.burkemuseum.org mentation Project.” http:/textilegallery.unl.edu http://www.leeds.ac.uk/ulita understanding of textile Bellevue Art Museum. Feb. traditions by recognizing and 4-Jun. 26: “The Mysterious Virtual rewarding exceptional Museum of International Content of Softness.” Sculptural scholarship in the field. Folk Art, Santa Fe. To May 8: works in traditional techniques “Knit Picks” Exhibition show- “Empowering Women: that explore the psychological, Please send the full biblio- cases funky knitwear from Artisan Cooperatives That physical, and cultural associations graphic citation of each book around the world. Visit the Transform Communities.” of fiber in relation to the human nominated to: Helen Louise Allen Textile http://www.moifa.org body. Collection website at the Jill D’Alessandro http://www.bellvuearts.org University of Wisconsin-Madison. Curator New York http://textilecollection.wisc.edu/ The Caroline and H. McCoy Bard Graduate Center, International exhibitions_pages/knit_picks. Jones Department of Textile Arts Decorative Arts, Design History, html. de Young Museum Material Culture. May 18-Aug. 50 Hagiwara Tea Garden Drive Canada 14: “Knoll Textiles, 1945-2010.” San Francisco CA, 94118 Royal Ontario Museum, http://www.bgc.bard.edu/gallery/ Lectures, [email protected] gallery-at-bgc.html Toronto. Through May: “Riotous Colour, Daring Patterns: Workshops, The Museum at FIT. To Apr. Fashions & Textiles 18th to 21st Tours 2: “Japan Fashion Now.” Mar. Centuries.” Featuring 120 printed textiles and costumes from Call for Entries 8-Apr. 2: “Vivienne Westwood, Mar. 31: Helen Louise Allen Europe, North America, Africa, 1980-89.” Textile Collection, University and Asia drawn from the ROM’s Cheongju http://www.fitnyc.edu/museum of Wisconsin-Madison. “The extensive collection. Hyperbolic Crocheted Reef International Craft http://www.rom.on.ca Metropolitan Museum of Art. Project: Art/Math/Ecology,” Biennale To Mar. 27: “Rugs and Ritual in Margaret Wertheim’s explora- Textile Museum of Canada, Seeking art in craft media dem- Tibetan Buddhism.” Mar. 8-Sept. tion of the intersections between Toronto. To Feb 13: “Drawing onstrating a creative and original 18: “The Andean Tunic, 400 higher mathematics, coral reefs with Scissors: Molas from Kuna vision; individual works and B.C.E.-1800 C.E.” and the glories of handcraft. Yala.” To May 1: “Beauty Born group projects (2-3 artists). http://www.metmuseum.org http://textilecollection.wisc.edu of Use: Natural Rainwear from Calendar: July 2-17: Weaving cultures May 30-Jun. 8 (overseas dead- of Bali and Timor with Jean line): Entry Form and 6 photos Howe and William Ingram of or digital image files due for first Threads of Life, Chee Choy, jurying.. and I. Wayan Sudarta, sponsored Jun. 2 First Jury notification. by The Textile Arts Council of Jul. 5 (overseas deadline) the Fine Arts Museums of San Artworks due for second jurying. Francisco. Optional extension to Jul. 18 Final Jury notification. Java through Jul. 21. Entry Form is available for http://www.textileartscouncil.org/ downloading at the Biennale trips.html Homepage, select English: Detail, “Mirage” by Kai Chan on view at the http://www.okcj.org Textile Museum of Canada through May 1.

Winter 2011 19