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1
Fine Arts Museums of San Francisco
de Young Legion of Honor
The Bay Area Forum for artists, aficionados & collectors of weaving, rugs & tapestries, baskets, costume & wearable art
September2013
Volume XXVIII, Number 3
Textile Arts Council
Programs continue on page 2, col. 1
Upcoming Programs and Announcements Unless otherwise indicated*, all programs are held in the Koret Auditorium at the de Young Museum in Golden Gate Park, 50 Hagiwara Tea Drive, San Francisco. Admission to the programs is FREE to TAC members, $10 for non-members, and $5 for FAMSF members and students with I.D. No additional Museum admission fee is necessary. You may enter from the garage level or the main floor entrance between the main and side doors to the Museum. (*alternate location, when indicated, is the Legion of Honor Museum, 34th Ave & Clement St., San Francisco.)
Before: Photo © Melissa Leventon 2007
Saturday, September 14, 2013, 10 a.m.
FROM THE GROUND UP: DEVELOPING THE QUEEN SIRIKIT MUSEUM OF TEXTILESWith Melissa Leventon
In April 2004, Melissa Leventon received an
RFQ—a request for qualifications—from an
architectural firm in Chicago looking for a
consulting textile specialist to assist with a
renovation project undertaken by one of its
principals. That out-of-the-blue email eventually
led her to the most exciting project of her career:
the creation of a brand-new museum. In Bangkok.
For the project, Leventon teamed up with Dale
Gluckman, a Los Angeles-based colleague. Their
work began with the architectural program as
she and Dale planned and led an international
tour for a few key museum stakeholders to study
best—and worst—practices for the care, storage,
and display of textiles and costumes. What they
learned resulted in three reports outlining what
ideal museum galleries, storage, conservation,
and other back-of-house spaces should look
like and contain. Subsequently, Melissa and
Dale’s work continued in a management and
curatorial capacity as they helped the museum’s
enthusiastic, but inexperienced, staff develop an
administrative structure for the museum and three
opening exhibitions. The Queen Sirikit Museum
of Textiles, nine long years in the making, finally
opened to the public on May 9, 2012.
Leventon will share her perspective on the
process, joys, and challenges of building a
museum from the ground up, across language
and culture barriers and 8,000 miles of distance.
She will display pictures charting the institution’s
development from four walls, a floor, and a roof to
Bangkok’s newest and best museum.
Melissa Leventon, former FAMSF Curator-in-
Charge of Textiles, is principal of Curatrix Group,
a San Francisco-based museum consultancy and
appraisal firm specializing in costume and textiles.
Leventon has curated exhibitions in media ranging
from contemporary glass to the Dead Sea Scrolls,
and has authored several books and many articles
and essays. She is also a senior adjunct professor
at California College of the Arts where she teaches
courses in fashion theory and history.
After: Photo by Anak Navaraj, 2012 © Queen Sirikit Museum of Textiles
continued from page 1Programs
2
Saturday, October 12, 2013, 10 a.m.
SCRAPE THE WILLOW UNTIL IT SINGS: THE WORDS AND WORK OF BASKET MAKER JULIA PARKERWith Deborah Valoma
Deborah Valoma has known master
basket maker Julia Parker (Coast Miwok/
Kashaya Pomo) for decades. Nine
years ago Valoma began recording their
conversations and from these emerged
the recently published
book, Scrape the
Willow until It Sings:
The Words and
Work of Basket
Maker Julia Parker
(Heyday–release
date October 15,
2013). Through image
presentation, formal
analysis, and personal
narratives, Valoma
will discuss Julia’s
life, art work, cultural
mission, and some
of the philosophical
principles that have
guided the weaver
through the years.
Julia Parker was
a student of the
great basket weavers of the twentieth
century Lucy Telles (Yosemite Miwok/
Paiute), Carrie Bethel (Paiute), Mabel
McKay (Cache Creek Pomo), and Elsie
Allen (Cloverdale Pomo). Over the
last fifty years of diligent study and
experimentation, she has emerged
as one of the preeminent Native
American basket makers of California.
A distinguished elder of the Federated
Indians of Graton Rancheria and a
longtime resident of Yosemite Valley,
Parker is a prolific artist, cultural
demonstrator, teacher, and storyteller.
Artist, professor, and author Deborah
Valoma is a faculty member and chair
of the Textiles Program at California
College of the Arts. Her specialized
field of research is the cultural history of
textiles as a global aesthetic practice. In
addition to teaching a comprehensive
series of graduate and undergraduate
courses on textile history and theory,
she has written articles including “Cloth
and African Identity in Bahia, Brazil”
(Berg Encyclopedia of World Dress
and Fashion) and “The Impermanent
Made Permanent: Textiles, Pattern and
the Migration of a Medium” (Fiberarts).
In 2010, Valoma edited and wrote the
introductory essay for a special issue of
Textiles: Journal of Cloth and Culture on
the topic of dust.
Deborah Valoma will have a book signing
of her book, Scrape the Willow until It
Sings: The Words and Work of Basket
Maker Julia Parker, at the Museum book
store after her lecture.
Saturday, November 16, 2013, 10 a.m.
LOOMS THAT BLOOM: YOUNG INDIGENOUS WEAVERS FROM OAXACAWith Hector Manuel Meneses Lozano
During my presentation, I will give a brief
overview of the Museo Textil de Oaxaca’s
history and will also address key aspects
of our mission. The presentation will be
very visual with pictures from different
regions of Oaxaca showing people at
looms, weaving, and doing embroidery,
and including videos with people speaking
(English subtitles).
In November 2012, the Museo Textil de
Oaxaca (MTO), located in Oaxaca City,
southern Mexico, presented an exhibition
titled, “Looms that sprout new leaves:
young textile artists of Oaxaca.” Twenty-
four weavers and embroiderers, ages 8
to 20 and coming from different regions
of Oaxaca, participated in the show. This
talk will focus on the experiences and the
impact this show has had on these young
textile artists.
Our goal was to motivate this group of
young textile enthusiasts into preserving
their traditions through a museological
experience, in accordance with our
mission. In preparation for the show, we
made trips to each of the participants’
communities, involving them, their
families, and the whole MTO staff in the
experience. These visits were made in
order to get to know all the participants
and, when allowed, to photograph and
film them at home. These pictures and
videos were then translated into a digital
publication that was on display and that is
currently in the process of being uploaded
onto the internet.
All participants and their families
attended the opening night. The MTO
prepared a series of activities for them
during the whole weekend. Then during
the exhibition period at the museum,
Programs continue on page 4, col. 1
3
FROM THE TEXTILE ARTS COUNCIL BOARD CHAIR
Gautier exhibition. TAC’s contributions to the
Textile Conservation Department support special
projects, including the cleaning of 3 European
textiles on display at the de Young’s recent
exhibition From the Exotic to the Mystical: Textile
Treasures from the Permanent Collection.
You may wonder how someone becomes a
Board Member. Each story is unique but I can
tell you mine. While I was teaching a class at U.
C. Davis on World Textiles of Africa, Asia, and
Oceania, another faculty member suggested
Serena Lee as a guest speaker. She is a Board
advisor and organizes TAC’s Ethnic Textile Study
Group that meets once a month at the de Young,
enabling members to share their knowledge and
enthusiasm about textiles from around the world.
This is a great interest of mine so I became a
member and began to attend the meetings in
addition to other TAC events. Subsequently I was
invited to become a Board member and about a
year later, I was asked if I would consider being
nominated to be chair. The Board Development
Committee is always looking for potential new
members who have an interest and enthusiasm
for textiles. If you would like to learn more, Board
members are easily identified by their badges at
all TAC events.
On a final note, The Textile Arts Council would
not have been able to accomplish all that it has
without the hard work and dedication of Trish
Daly. For 15 years, she has worked tirelessly
in the office to make sure that questions are
answered, bills are paid, meetings are scheduled
and events happen. Trish is retiring in September.
For the Board and all the members of the Textile
Arts Council, I thank her for all her efforts and
wish her all the best. We look forward to seeing
her at future TAC events.
Rose Kelly
Chair
July 2013
Along with the Chairs of the other curatorial
support groups, I recently presented a year-
end report to the Fine Arts Museums of San
Francisco Board of Trustees. They were
impressed by the hard work and diverse
activities of the Textile Arts Council. With
a membership of approximately 600, TAC
continues to be one of the largest support
organizations and one of the largest textile
organizations in the country.
I thought you might be interested in learning a
little more about how your Board works. The
20-member Board includes artists, designers,
scholars and collectors. Each member serves
a 6-year term and is expected to work on 2 or
3 committees. There are 14 committees that
keep TAC running. These include Finance,
Programs, Tours, Volunteers, and Hospitality.
There is a committee that organizes the
annual TAC Holiday Party and Silent Auction,
and one for the upcoming fundraiser, the
Ethnic Textile Bazaar. A committee puts
together the newsletter and events postcard
and another oversees the website. Board
members attend nine monthly meetings
a year as well as committee meetings as
needed. It is a dedicated group.
All these efforts produce a broad range of
lectures, programs, tours, and events tailored
to the interests of our members. Equally
important, they raise funds to support the
Department of Textile Arts and the Textile
Conservation Lab. Funds from the Acquisition
Endowment enable the purchase of key
textiles, identified and researched by curator
Jill D’Alessandro, that will strengthen the
collection. This year the Endowment Fund
purchased a wonderful top hat made from
human hair by the French artist, Odile Gilbert,
who made similar pieces for the Jean Paul
TAC BOARD
Rose KellyChair
Peggy GordonTreasurer
Leslee Budge Secretary
Ruth Anderson
Barbara Beckmann
Mikki Bourne
Jean Cacicedo
Sharon Christovich
Marlene Golden
Robin Hampton
Karin Hazelkorn
Darlene Jurow
Shirley Juster
Connie Levy
Heather Oelerich
Helen Scully
Dana Walsh
Advisory Board
Mary Connors
Serena Harrigan
Ana Lisa Hestsrom
Barbara Kelly
Karine Langan
Barbara Shapiro
Laurel Sprigg
Susan York
TAC Newsletter 4
continued from page 3Programs
we asked some of the participants if they
would be willing to give a workshop and/or a
demonstration of their work. We had one back-
strap loom weaving workshop, one macramé
knotting workshop, and two demonstrations
of different techniques applied on the back-
strap loom, all presented by participants of the
show.
This initiative has become a travelling
exhibition. Its first stop is La Salle University in
central-north Mexico. Some participants of the
show have been a part of this experience as
well, through demonstrations and workshops.
The reward of this effort becomes tangible
through close relationships and conversations
with both participants and their families.
An eloquent example: for a homework
assignment, children were asked, “What do
you want to do when you grow older?” The
Marcela Quiroz. Cotón (male shirt), 2012Mixtec group, Santiago Ixtayutla, OaxacaMuseo Textil de Oaxaca, Photography: Fidel Ugarte
AnnouncementsHAIL AND FAREWELL!
By the time you receive this
issue, I will be in my final week
before retirement. Working with
our wonderful membership
has been a joy–what an
extraordinarily talented group
you are! Thank you for your
support and appreciation. Please
extend the same support to our
new Office Manager during this
transition period. I hope to see
you all from time to time at TAC
events.
Trish
OBIKO ARTWEAR ARCHIVE–LAUNCH PARTY & FUNDRAISER
Saturday, September 21, 5–8pm
Joe Goode Dance Studio, Project
Artaud
401 Alabama Street, San Francisco
The Textile Arts Council invites
you to revisit the Obiko era
with projected fashion shows,
artist images, and an informal
modeling of fashion from this
extraordinary creative movement.
This archive documents the
work of designers collaborating
with Sandra Sakata at her iconic
shop, Obiko, in San Francisco.
The archive will be housed at
the de Young Museum’s Textile
Library and Study Center, to be
available for research.
As of our publication deadline,
there were still tickets available
for this gala event.
Cost: $25. Please contact the
TAC office for more information:
415 750-3627 or email: tac@
famsf.org
NEXT NEWSLETTER DEADLINE
NOVEMBER 13, 2013
Please send your copy to the TAC
office.
answer of the youngest participant in the
show (8 years old), “I want to be a weaver,
like my dad.”
Hector Manuel Meneses Lozano is director
of the Museo Textil de Oaxaca. He is also a
member of the Board of the North American
Textile Conservation Conference. He is co-
author with Stella Maria Gonzaléz Cicero
of Un pano novohispano: tesoro del arte
plumaria. Two editions were published in
2008 in Spanish and held by 9 libraries
worldwide. It is a very detailed study of the
“Paño Novohispano” feathered textile from
Oaxaca that includes history, restoration,
conservation and exhibition. This study
also includes design, texture, techniques,
identification of the fiber, feathers, dyes, and
colors.
Lubinia Cirilo, Huipil (female tunic), 2012Chinantec group, San Felipe Usila, OaxacaMuseo Textil de Oaxaca, Photography: Fidel Ugarte
5
Welcome to our New TAC MembersThrough July 15, 2013
Lucy Barter
Maren Beck
Roey Berman
ac Berry
Kathleen Bishop
Pamela Bjork
Chika Bradshaw
Ann Dawson
Lien Brent-Dilernia
Sarah Chu
Maria Erdi
Tasa Gleason
Susan Hall
Nancy Hawes
Christine Jensen
Jennifer Jeon
Karen Judge
Jane & Arnold Kahn
Hillary Sinclair Kirk
Hillary Koster
Terri Nevins
Courtney Norris
Sandra Peinado
Jeannie Sack
Nina Steidl
Roberta Valdez
SAVE THE DATE!A TEXTILE TOUR TO OAXACA, MEXICO
November 6—19, 2014
TAC is planning a specially designed tour to
Oaxaca, Mexico, focused on the Zapotec
and Huave weavers and embroiderers of the
Isthmus of Tehuantepec, sericulture in the
Sierra Madre, weaving and natural dyeing in
the central valleys of Oaxaca, and textiles of
the Mixtec and Trique people of the Upper
Mixteca. Look for details in future newsletters
and on our website.
PENINSULA TOUR OF ARTISTS’ STUDIOS
Saturday, September 28, 9:30am–4:30pm
Textile Arts Council’s popular visits to the studios of local textile artists return with this full day
event. We will be welcomed into the studios of four well-known artists on the Peninsula:
Therese May – prominent Art Quilter http://www.theresemay.com/
Anne Lamborn – multi-disciplinary fiber artist http://www.annelamborn.com/
Ulla de Larios – respected and innovative weaver http://www.ulladelarios.com/
Linda Gass – Quilt designer and ecological advocate http://www.lindagass.com/
This tour includes lunch and refreshments along the way and the number of participants is
limited. Transportation is not included, but we will make every effort to arrange carpooling.
Cost: $75. To reserve a spot, please contact the TAC office for reservations: 415 750-3627
STEP LIVELY! A TOUR OF THE FAMSF TEXTILE CONSERVATION LAB
Choose one date: Tuesday, October 1 or Thursday, October 3
9:30–11:00am, de Young Museum
Do you love shoes? Of course you do! Did you know that the collection of the FAMSF
Textile Department contains almost 500 pairs? There are shoes of every description, from
the 18th c. to yesterday and from many countries. Turkish and Yoruba slippers to Manolo!
As 3-dimensional objects of diverse shape and material, shoes have special storage and
care requirements within a museum collection. Over several years, Sarah Gates, Head of
the FAMSF Textile Conservation Lab, has developed a safe, secure, and modular method
of storage for this large group of footwear. For this tour she will exhibit some of the most
beautiful examples from our wonderful collection and explain the evolution of its care. Trish
Daly will provide the back story on designers and wearers.
Cost: $65. Space is limited, so please call now for a reservation:
415 750-3627 [email protected] Museum admission is not included.
Oaxacan weaver. Photography by Eric Mindling
TAC Newsletter 6continued next page
GLOBAL VISION: EVIDENCE OF GLOBAL TRADE IN MUSEUM TEXTILE COLLECTIONS
styles from casual to formal spaces, and the breathless pace
of technological advancement.
An eighteenth century man’s robe in the Fine Arts Museum
of San Francisco’s collection exemplifies the hybrid nature
of much early deshabille or “undress” fashion. Collected in
Sumatra, the de Young’s example is constructed of painted,
mordant-resist dyed cotton trade cloth like that produced on
the Coromandel Coast of India for export to the European
market. Based loosely on the silhouette of the kimono,
capacious men’s robes like this were popular vehicles for the
display of bright imported cottons. The informal style was
adopted in Europe as a masculine uniform for the leisured
pursuit of philosophical endeavors in the late seventeenth
century. The style’s many names echo its broad exotic
associations. The Dutch, who first observed the voluminous
silhouette in Japan, called the style Japonsche rock or
“Japanese robe.” Elsewhere in Europe, it was called a banyan
or “India gown” in reference to the bright printed cottons
frequently used in its construction. Familiarity with the style
communicated a wearer’s access to worldly goods and
ideas. It was often worn in eighteenth century portraiture as a
powerful symbol of success.
Man’s robe, 18th century India, Coromandel Coast Cotton; painted, mordant-resist dyed Gift of George and Marie Hecksher 2005.140.7
While some Indian textiles were made up into garments prior
to export, most were shipped as bolts of uncut cloth to be
constructed by European tailors and dressmakers according
to the latest fashions. The de Young’s Robe à l’anglaise of
painted, mordant-resist dyed cotton from the Coromandel
Coast was likely constructed in England or the Netherlands.
The rounded neckline, elbow-length sleeves, front-closing
bodice, and separate overskirt pleated into the waist all
Shortly after The Caroline & H. McCoy Jones Department of
Textile Arts closes its summer exhibition From the Exotic to the
Mystical: Textile Treasures from the Permanent Collection, the
Metropolitan Museum of Art will place on view a comparable
collection of textile treasures in the interdepartmental
exhibition: Interwoven Globe: The Worldwide Textile Trade,
1500–1800. Like From the Exotic to the Mystical, the
inspiration for Interwoven Globe was born of a curator’s
observation of pervasive themes encountered in a permanent
collection of textiles. Drawing on the Fine Arts Museum of
San Francisco’s Textile Arts collection, Jill D’Alessandro called
attention to the persistent influence of exoticism on centuries
of European textile design. Observing similar themes in the
Metropolitan Museum of Art’s American Decorative Arts
department, Amelia Peck proposed Interwoven Globe as a
platform for displaying the “exotic” textile objects that defy
conventional regional classification. Textile collections all
over the world contain hybrid objects that are too common
to call anomalies and too strange to catalogue according to
traditional cultural or historical systems of classification. These
objects, fascinating demonstrations of early globalization,
frequently linger unseen in collections because of their
resistance to prevailing exhibition strategies.
As the consulting costume specialist on the Interwoven Globe
project, I examined the holdings of The Costume Institute in
search of these anomalies in the form of fashionable dress.
What I found was a familiar story of adoption, adaptation,
and innovation. The Costume Institute contributed fourteen
garments to the Interwoven Globe exhibition that ranged
in date from the second half of the sixteenth century to the
last quarter of the eighteenth century. Of these fourteen, one
half were made of printed textiles and one third were made
of cotton. Prior to the golden age of European merchant
navigation in the sixteenth century, garments worn in Europe
were largely made of linen, silk, or wool fibers and embellished
with woven or embroidered rather than printed designs.
Cotton garments were extremely rare and printed designs
were crude or, worse, impermanent. The colorfast painting
and printing techniques and the comfortable cottons imported
from the East in the sixteenth, seventeenth, and eighteenth
centuries revolutionized the European textile market and
transformed the look of fashionable dress.
I was excited to discover a selection of eighteenth century
printed and painted cotton garments in the Fine Arts Museum
of San Francisco’s collection that succinctly illustrates some of
the dominant and recurrent themes of early global fashion: the
relentless demand for novelty, the percolation of fashionable
7
CONSERVING MODERNITY: THE ARTICULATION OF INNOVATION November 12—16, 2013San Francisco, California
The 9th Biennial North
American Textile
Conservation Conference
(NATCC) will take place November 12-15, 2013 in
beautiful San Francisco, California.
The 12 presentations from 9 different countries
will cover new ideas to old problems, creative
treatment solutions, will reflect on collaborations with
contemporary artists, and address approaches to
conserving evolving installations.
Two days of workshops will precede the presentations
and include:
• Aqueous Cleaning Techniques with Richard
Wolburs
• Fiber Identification with Denyse Montague
• Fosshape Mannequin Fabrication with Shelly Uhlir
• Shibori Dyeing Techniques with Ana Lisa Hedstrom
• Ribbon and Fabric Embellishment Techniques with
Candace Kling
The opening reception will be held at the Lotus Gallery,
Peter Pap Gallery and Arader Gallery in Jackson Square
and the closing reception will be held at the Asian Art
Museum.
Please visit http://natcconference.com/ for more
information on the conference and for registration.
Registration for the workshops requires full conference
registration. At the end of regular registration
(September 30th) if there are spaces available,
registration for workshops only will be allowed. Please
contact Beth Szuhay for volunteer opportunities at
Beth Szuhay
Chair, NATCC 2013
Chrysalis Art [email protected]
date this informal dress to the early 1780s. Early bans on
the import of cotton to England were relaxed in 1774 when
advancements in cotton production
and printing gave the British textile
industry a competitive edge against
the flood of inexpensive cotton
imports. The imposition of an import
tariff transformed the market. Once
considered inexpensive substitutes
for fine woven patterns, hand-
painted Indian chintzes like this
became luxurious alternatives to the
new industrial prints.
This woman’s caraco from about the same period
demonstrates the very advances in the European textile
industries that created viable competition with the import
market. The block-printed red and brown flower sprigs on
ivory with pencil blue detailing combine European taste in floral
print design with the new printing technologies developed to
compete with vivid colorfast dyes from India. A short, jacket-
style bodice, the caraco began as a working-class garment
that was typically worn over a woman’s short petticoat. Like
the printed cottons that moved from domestic spaces into
public ones, however, a version of the caraco was soon
adopted as fashionable day wear. This double-breasted
woman’s jacket with swallowtail peplum, long tight sleeves
and deep décolletage combined up-to-the-minute detailing
with the finest in new materials
to elevate a simple working class
garment to high fashion.
These and countless examples
from museums around the world
communicate the long history
of global exchange that inspired
early consumers and continue to
inform the taste of contemporary
culture.
Kristen E. Stewart
Curatorial Assistant
The Caroline and H. McCoy
Jones Department of Costume
and Textile Arts
Woman’s jacket or caraco, ca. 1780 English or French Cotton; printed, quilted Museum collection X1989.1153
Robe à l’anglaise, ca. 1780 Netherlands Cotton; mordant-resist dyed, embroidered Gift of George and Marie Hecksher 2006.127.1a-e
TAC Newsletter 8TAC Newsletter 8
GENERAL CALENDAROngoingUntil October 13 Out of Southeast Asia: Art That Sustains. Work by
Carol Cassidy, Agus Ismoyo & Nia Fliam, and Vernal
Bogren Swift. Textile Museum, Washington DC.
http://www.textilemuseum.org/
Until October 13 Ancestry & Artistry: Maya Textiles from Guatemala.
Textile Museum of Canada, Toronto.
http://www.textilemuseum.ca/apps/index.cfm?page=exhibition.detail&exhId=348
Until October 27 Collecting New York Beauty Quilts: Bill Volckening’s
Passion
Out of Chaos, quilts by Linda Toeniskoetter
Tasty Quilts Inspired by Food
All at the San Jose Museum of Quilts & Textiles, CA
http://sjquiltmuseum.org/
Until November 11 Hippie Chic, Museum of Fine Arts, Boston
http://www.mfa.org/exhibitions/hippie-chic
Until November 16 Retrospective. Exploring the way fashion “borrows”
from the past. The Museum at FIT, New York. http://
www.fitnyc.edu/336.asp
Until December For Worship and Glory, and exhibition of ecclesiastical
embroidery worked by the Royal Needlework School
and choice examples from their famous collection.
Hampton Court Palace, London. http://www.royalneedlework.org.uk/content/7/
royal_school_of_needlework_where_you_can_see_our_work
Until February 16, 2014 Club to Catwalk: London Fashion in the 1980s, Victoria
and Albert Museum, London.
http://www.vam.ac.uk/content/exhibitions/exhibition-from-club-to-catwalk-london-fashion-in-the-80s/
SEPTEMBER September 8 – 9Natural Fiber Fair, Arcata Community Center, Arcata, CA
http://www.naturalfiberfair.com/
September 13 – January 4, 2014A Queer History of Fashion: From the Closet to the Catwalk.
The Museum at FIT, New York. http://www.fitnyc.edu/3452.asp
September 13 – 15California Wool & Fiber Festival, Mendocino County
Fairgrounds, Booneville, CAhttp://www.fiberfestival.com/Fiber%20Festival/Home.html
September 14 – January 26, 2014Color Revolution: Style Meets Science in the 1960s. American
Textile History Museum, Lowell, MA. http://www.athm.org
September 16 – January 5, 2014Interwoven Globe: The Worldwide Textile Trade, 1500 – 1800
Metropolitan Museum of Art, New York. http://www.metmuseum.org/en/exhibitions/listings/2013/interwoven-globe September 28Azzedine Alaïa Retrospective. Celebrating the reopening of the
Palais Galliera, Musee de la Mode, Paris. http://parismusees.paris.fr/en/exhibition/alaia
OCTOBEROctober 3 – May 26, 2014Think Pink, exploring the changing meaning of pink in art and
fashion, this exhibition opens to coincide with Breast Cancer
Awareness Month. Museum of Fine Arts, Boston. http://www.mfa.org/exhibitions/think-pink
October 4 – 62013 Quilt & Fiber Arts Festival. International juried exhibition,
La Conner Quilt and Textile Museum, Gaches Mansion, La
Conner, WA.http://www.laconnerquilts.com/
9
October 8Glamorous Vice: Cocktail Culture, Couture &
Accoutrements. An American Decorative Arts Forum
lecture with Michelle Finamore, MFA Boston. Koret
Auditorium, de Young Museum, 8pm. ADAF members free,
$15 general, TAC members (with card) $10.http://www.adafca.org/
October 13Celebrate the 50th anniversary of the Fowler!
Opening at the Fowler Museum at UCLA:
° Powerful Bodies: Zulu Arts of Personal Adornment
° Maori Cloaks, Maori Voices
° The Peruvian Four-Selvaged Cloth: Ancient Threads/New
Directionshttp://www.fowler.ucla.edu/exhibitions/upcoming
October 18 – 21Antique Rug & Textile Arts (ARTS) Show, Capri Motel, 2015
Greenwich Street, San Francisco, 10am – 8pm.
http://artsrugshow.org/
October 24 – November 30Innovations in Fiber Art VI. International Juried Fiber Art
exhibition, Sebastopol Center for the Arts. http://sebarts.org/index.php/visual-arts/upcoming-exhibitions/
NOVEMBER AND BEYONDNovember 6 – 9Weaving Royal Traditions Through Time: Textiles and
Dress at the Thai Court and Beyond. Symposium featuring
a program of international speakers and visits to private
collections. Queen Sirikit Museum of Textiles, Bangkok,
Thailand. Early bird registration deadline September 30. http://www.qsmtsymposium2013.com/
November 6 – January 19, 2014Fiberart International, 21st triennial juried exhibition in its
West Coast premiere. San Jose Museum of Quilts & Textiles. http://sjquiltmuseum.org/exhibitions_upcoming.html
November 12Bengal to Baltimore: Influences on Anglo-American Quilts.
An American Decorative Arts Forum lecture with Linda
Baumgarten of Colonial Williamsburg. Koret Auditorium, de
Young Museum, 8pm. ADAF members free, $15 general,
TAC members (with card) $10.
http://www.adafca.org/
November 12 – 15Conserving Modernity: The Articulation of Innovation.
North American Textile Conservation Conference. San
Francisco (see page 7 for details)
http://natconference./com
November 16 – January 26, 2014Future Beauty: Avant-Garde Japanese Fashion. Peabody
Essex Museum, Salem, MA. http://www.pem.org/exhibitions/upcoming
Textile Arts Council
de Young Museum 50 Hagiwara Tea Garden Drive Golden Gate Park San Francisco, CA 94118-4501 415-750-3627
Fine Arts Museums of San Francisco
de Young Legion of Honor
OFFICERS
ChairRose Kelly
TreasurerPeggy Gordon
Office ManagerTrish Daly
EditorRosalie Cooke
Textile Arts CouncilDon’t miss these exciting TAC events!September
2013
September
2013 Visit our web site: www.textileartscouncil.org
Saturday, September 14, 2013, 10 a.m.
FROM THE GROUND UP: DEVELOPING THE QUEEN SIRIKIT MUSEUM OF TEXTILESWith Melissa Leventon
Saturday, October 12, 2013, 10 a.m.
SCRAPE THE WILLOW UNTIL IT SINGS: THE WORDS AND WORK OF BASKET MAKER JULIA PARKERWith Deborah Valoma
Saturday, November 16, 2013, 10 a.m.
LOOMS THAT BLOOM: YOUNG INDIGENOUS WEAVERS FROM OAXACAWith Hector Manuel Meneses Lozano
TEXTILE BAZAARTreasures from Around the World
Sponsored by the Textile Arts Council of the Fine Arts Museums of San Francisco
Sunday, November 3, 2013 10:00am - 4:00pmMoriarty Hall, St. Anne of the Sunset Church
1300 Funston (at Judah), San Francisco
Free Admission to shop over 30 vendors offering an extensive selection of extraordinary textiles and jewelry from across the globe: hand crafted fabrics, ethnic clothing and accessories, jewelry, home decor, textile books and much more---from China, Japan, Southeast Asia, the Middle East, Africa, South and Central America, and India.Free Parking in the church parking lotPayment by check or cash; some vendors accept credit cardsMuni: N Judah to Funston; buses #6 Parnassus, #43 Masonic, #44 all stop at 9th and Judah