�

Saturday, April 18, 2009, 10 a.m.

In Her Hands: Craftswomen CHangIng tHe worldWith Paola Gianturco and Toby Tuttle

In Panama, Kuna Indian women sew molas;

in India, mirror embroiderers create glittery

textiles; in South Africa, Zulu weavers craft

palm-leaf baskets; in Turkey, weavers work at

looms to make deep-pile natural-dyed rugs; in

Bolivia, women knit hats, sweaters, and gloves;

in Guatamala, weavers use traditional skills

to design new products;

in Peru, women sew

arpilleras, or story pictures.

Throughout the world,

traditional craft skills are

being preserved as women

discover that crafts are a

way of generating income

as well as maintaining and

promoting their cultures.

Quite often, when women

find a commercial outlet for their crafts, they use

the money they earn for the well-being of the

family. In many countries, for example, books,

uniforms, shoes, notebooks, and pencils are

quite costly for poor families, even if tuition

is free. By using their income to support the

education of their children, these women are

offering their families a better future.

In this lecture, Gianturco and Tuttle will use

images from the book they photographed and

wrote together, In Her Hands, which features 90

women artisans on four continents whose work

ranges from traditional to contemporary crafts.

While engaged in this project, our speakers say

they “learned about creating an artistic, social,

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

April2009

Volume XXIV, Number 2

Textile arts Council

Programs continue on page 2, col. 2

and economic legacy.” They also “learned that the

world is smaller—and women’s spirits are larger—

than we had ever imagined.”

In addition to this book co-authored with Tuttle,

Gianturco has written or co-authored a number

of other books, including Women Who Light the

Dark, Viva Colores/Vivid Colors, and Celebrating

Women. Gianturco and Tuttle have a longstanding

involvement with women’s issues, having worked

together at the first woman-owned advertising

agency in the U.S. Tuttle held management and

media positions in several advertising agencies

before turning to photography, and several times

a year travels to, and photographs in, Asia and

Europe.

Please join us for what will be an exciting look at

craftswomen changing the world, seen through the

eyes of the authors of In Her Hands. Copies of the

book will be available in the lower level de Young

Museum store.

Saturday, May 9, 10 a.m.

etHnIC dress In nortHern VIetnam: endurIng expressIons of Cultural dIVersItY

With Serena Lee Harrigan

Protected from the outside world by rugged

mountains that are accessible only through a few

high passes and via fast-flowing rivers, more than

thirty ethnic groups make their homes in northern

Vietnam. A history of migration and shifting borders,

geographic isolation, and relative political freedom

have allowed these ethnic minorities to retain many

ancient traditions. The fascinating and distinctive

costumes worn by many of these groups stand

Guatemalan weaver.

Photograph copyright Paola Gianturco and Toby Tuttle, thanks to Monacelli Press, Inc.

Upcoming Programs and Announcements 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 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.

in remarkable contrast to the modern technology,

globalization, and mass communication of our 21st

century.

Utilizing a wide variety of techniques such as

supplementary weft weaving, embroidery, appliqué,

patchwork, stitch-resist, batik, and indigo dyeing,

these costumes are painstakingly handcrafted with

fine details that speak of each maker’s pride as both a

member of a group with a unique ancestral past and

a skilled artisan. Reflecting distinctive esthetic and

cultural values, these costumes, still worn by many

on a daily basis, offer a striking contrast to modern,

western-style dress or the national costumes that

are worn in most parts of the world today. While the

introduction of modernity into some of these areas

encourages the adoption of mass-produced supplies

such as yarns, embellishments, and yardage, as well

as whole garments, the ingenuity and resilience of the

human spirit emerge in a surprising twist of adaptation

with new versions of traditional dress that clearly

express a continuity of cultural pride.

Serena Lee Harrigan has been traveling to northern

Vietnam since 1999. Field studies in 2005, 2006,

and 2007 took her to villages and towns in the

continued from page �Programs

�

Black Lolo woman and Serena Lee Harrigan in northern Vietnam, �007. Copyright Serena Harrigan (Black Lolo Bao Lac�005005.jpg)

From the Board’s Chair: Reflections on the Textile Arts Council

No less a quote-maker than William Shakespeare observed,

“The soul of this man is in his clothes.” Well, we all know people

like that, people for whom appearance is everything. But, wait.

I demur, I protesteth! I protest because I love beautiful clothes.

And frankly, if someone thinks I’ve gone over the narcissistic

edge because of it, then so be it. Clothes don’t reveal my entire

soul, but just might reveal part of it. Lois Beck, an anthropologist

known for her work among the Q’ashgai of Iran, once said, “A

cloth in the hand gladdens the heart.”

As members of the Textile Arts Council, we can all relate to that.

What we know and experience of textiles does enrich our lives.

Whether it’s a royal tapestry from France, or some amazing

dyeing techniques from India, or the clothes that we’re wearing

to TAC’s annual holiday party, each of us is a bit richer for living

the life of a textile enthusiast. The Textile Arts Council keeps us

coming together for our wonderful programs and other events,

and there’s a bond between us because of our mutual passion.

It’s not a secret passion, either. It’s right out there in front,

around our necks, on our backs, and beautifully wrapping us in

warmth, unashamedly saying how much we appreciate these

sundry cloths. Frankly, I love weavings, in nearly all their forms.

For most of us this column is not coming over a mobile phone

via text message. But this newsletter, in print and on the web,

does have a lot of text. It is interesting to note that text comes

from the same Latin root as textile, from texo, to weave, and

textus, woven cloth. Textile terminology has greatly influenced

our language, so we can speak of weaving a tale or the thread

of a story, or the text of these comments.

While TAC does many things in support of our beloved textile

arts department and our varied and interested membership,

the engine that keeps TAC running is the board. It’s 20 to 25

members are extraordinary individuals, and for me, it is an honor

to work with people of such diverse talents, dedication, and

willingness to put in the time to organize all what TAC does.

TAC is a unique organization, quite unlike any other organization

in the country, or the world. We in the San Francisco Bay Area

are so fortunate that TAC has grown to what it is now, and it

deserves all our support. By participating in our programs, by

keeping current our memberships—and even joining at upper

levels—and by volunteering, all of us will insure that TAC will

continue to prosper into the foreseeable future.

Paul Ramsey

northernmost areas of Vietnam,

bordering China and Laos. Her

presentation, which will include images

taken in these towns and villages as

well as examples of ethnic costumes

from these groups, provides a rare

glimpse into communities and a way

of life seldom seen by the rest of the

world. Among some of the groups that

will be discussed are the Black Lolo,

Flowery Lolo, Pathen, Bouyei, Hmong,

and Yao.

Serena Lee Harrigan is a textile artist

and independent researcher. She is

the founder of Textile Odyssey, an

organization that bridges cultures

through a common interest in textiles.

A published photographer and poet,

she has given presentations at Stanford

University, the World Eco-Fiber

Textile Forum 2008, Textile Society of

America Symposium 2008, and will be

presenting at the 2009 Congress of the

International Union of Anthropological

and Ethnological Sciences.

�

Photographs courtesy of Bina Rao

Saturday, June 20, 2009, 10 a.m.

The 6Th AnnuAl CArol WAlTer SinTon ProgrAm for CrAfT ArT

textIles of IndIa, dIlemma for surVIVal: ConserVe or dIVersIfY?

continued from page �Programs

With Bina Rao

For centuries, the Indian subcontinent

has been known for its rich textile

heritage. While a number of traditional

techniques and practices still exist today,

many areas are at a turning point. Textile

production has begun to replace regional

and ethnic identity with clothes that are

made for a mass market. Factors leading

to this change include the loss of royal

patronage, the introduction of textiles as

a commodity to support the colonial East

India Company, and the development

of the Indian government’s Cottage

Industry, an organization to promote

Indian textiles. In the rush to modernize,

industrially manufactured textiles began

replacing handcrafted ones and tribal

crafts became the victim of so called

“urban development.”

Not long after Bina Rao completed

her MFA studies in art and design in

1983, she began working in the area of

handicraft and hand-loom weaving in

reaction to a rapid decline in production,

promotion, and marketing that was

affecting the livelihood of artisans. In

1996, she set up Creative Bee, a design

and production studio for hand-woven

and hand-printed textiles focusing

on the revival of traditional textile

techniques. She and her husband,

Kesav Rao, an accomplished painter

and master dyer, created a natural

dye farm and craft foundation near

Hyderabad to train rural weavers and

resource people from India and abroad.

Bina Rao recognizes that today, fashion

has become as important as need.

Artisans in remote villages of India are

not able to keep up with the changes

and demands of the fashion world. As

a professional designer, Rao took a

diagnostic approach to this situation,

training clusters of different weaving

groups and linking them through

Creative Bee’s network. Currently, more

than 200 weavers are getting support

from the organization. It is her mission to

promote and conserve India’s heritage

of unparalleled craft skills. She has

organized exhibitions and fashion shows

as well as lectured at various

symposiums and museums.

In her talk, Rao will cover case

studies such as tribal weavers

from Orissa, where the world’s

rarest natural red dye practice

has survived. She will discuss the

dilemma of how to diversify without

changing the producer’s skills and

techniques. Rao will also explore

the question of a future for tribal

and traditional skills. Please join

us for this opportunity to meet

this exciting, dynamic individual

who has committed herself to the

preservation of traditional weaving

in India.

TAC Newsletter �TAC Newsletter �

A Caroline Islands Sash

Last winter the Textile Arts Council Endowment

Fund funded the purchase of a rare Caroline

Island sash. This finely woven sash or belt is an

exceptionally rare example of the artistry and

technical virtuosity of Oceanic loom weaving from

Micronesia.

The scarcity of loom weaving in Pacific Island

cultures has long perplexed both Oceanic and

textile scholars. Loom weaving in the central

Pacific region is confined to the Caroline Islands

of Micronesia and a few areas in northern

Melanesia. Comprising more than six hundred

small islands dispersed over a wide swath of the

Pacific Ocean, Micronesia was settled by different

waves of Oceanic migration and is culturally

and linguistically diverse. Austronesian speakers

from Formosa (today’s Taiwan) colonized the

westernmost islands around 2000–1500 BC.

Some 2,000 years ago, Oceanic speakers

from central Melanesia settled the Caroline

Archipelago of eastern Micronesia. Arguably, it is

the Carolines that saw the highest development

of loom weaving in the region.

This finely woven mid- to late 19th-century sash

or belt (tor) from the island of Pohnpei is a prime

example of Caroline Island weaving. It is made

from banana leaf fiber, commonly referred to as

manila hemp. Six single filaments are combined

to create a fine yarn that is gently twisted but not

fully twined; the yarns are then tied end-to-end to

achieve the desired length. The fibers are expertly

dyed: red with the roots of Morinda citrifolia and

dark brown yarns with a combination of leaves,

mangrove calyces, and mud.

The sash was made on a back-strap loom with

a cylindrical beam and continuous warp. The

back-strap loom of Pohnpei is analogous to

one of the three Indonesian variations; thus,

it is widely believed that loom weaving was

introduced to the Caroline Islands from Indonesia.

It is woven in a warp-predominant plain weave

with supplementary-weft patterning. However,

one of the most interesting features is the use

of a unique knotted-in warp technique used

solely on the islands of Kosrae and Pohnpei. This

“knotting-in” is carried out during the process

of winding the warp threads around a warping

bench. Guided by

a measuring grid

carved into the bench,

the female weaver

repeatedly breaks

the warp threads

to create a pattern.

The grid on the

bench, like the tied-

in warp patterning,

occurs only on Pohnpei and Kosrae. Writing in

1952, Riesenberg and Gayton suggest that the

technique probably evolved from a simple warp

stripe and eventually progressed into geometric

patterning.1 Finer examples illustrate more

complex patterns, as seen here in the repeated

rows of right-angle triangles.

Caroline Island sashes are characterized by

their fineness, precision, and symmetry. Their

patterns belong exclusively to certain lineages

and resemble motifs found on body tattoos and in

carvings on wooden house posts, dance paddles,

and combs.2 Of an age with the finest examples

of the tradition, the de Young sash is made up

of six different sections, each distinguished by a

color or pattern change in the knotted-in warps.

The highly worked section of the sash comprises

eight evenly spaced blocks of supplementary-

weft patterning, decorated with four different

geometric motifs: diagonal lines, vertical and

horizontal zigzags, and diamond lozenges. The

central field is flanked by a complex triple border.

Sashes were worn by men as loincloths and by

women as hip-wrappers. High-ranking men wore

elaborate sashes over a grass skirt as part of

their ceremonial regalia at dances and festivals.

By the 1880s, the traditional attire of the islands

had begun to be supplanted by modern clothing

introduced by missionaries, and belt weaving

declined.

Despite their remoteness, the Caroline Islands

had early contact with Europe, starting with

Spanish navigators in the 16th century. However,

it was during the mid-19th century that the

archipelago experienced intensive contact with

foreigners, with Pohnpei and Kosrae being

favored outposts for European and American

“A man of Ponapé in the Carolines” wearing a grass skirt and loom-woven sash. Engraving from a photograph in the Godeffroy Album, after Friedrich Ratzel, The History of Mankind. London, �896:�98.

Caroline Islands sash (tor), Pohnpei, Micronesia, mid- to late �9th century. Banana fiber, warp-faced plain weave with supplementary-weft patterning, tied-in warp patterning, 0.�5 x �.88 m (6 in x 6 ft, � in). FAMSF, museum purchase, Textile Arts Council Endowment, �008.�5.�

5

NEXT NEWSLETTER DEADLINEJuly 13, 2009

Please send your copy

to the TAC office at

tac@famsf.org

5

TAC BOARDPaul RamseyChair

Gerry MastellerVice Chair

Peggy GordonTreasurer

Barbara KellySecretary

Ruth AndersonMikki BourneSharon ChristovichMary ConnorsJoyce GoodeHansine GoranRobin HamptonSerena HarriganAna Lisa HedstromDavid HollowayKathy JudkinsDarlene JurowDee MyersCynthia ShaverLaurel Sprigg

Advisory Board

Sue FriedlandKarine LanganBarbara ShapiroGretchen TurnerSusan York

whalers, traders, naval ships, and exploring

expeditions. Several European and American

museum collections thus preserve examples

collected in the field during this period.

These include pieces from the Charles Wilkes

Expedition (1838-1842) in the Smithsonian

Institution’s National Museum of Natural

History, the collection of British ethnologist

Henry Christy (1810-1865) in the British

Museum, and those from the former Museum

Godeffroy in Hamburg, collected between

1861 and 1885, now in the city’s Museum für

Völkerkunde.

It is remarkable for a sash of this age and

fineness to appear on the market today. The

log from the Hamburg Südsee Expedition

(1908-1910) reported that on the neighboring

island of Kosrae “not a single mat (old-style

tol) was offered to us (for sale) . . . just small,

shredded, brittle fragments of such ancient tol,

as were to be found here and there in the small

baskets of the weaver.”3

The sash is a truly rare and significant artifact

in the loom-weaving culture of the Pacific

islands. As Anne D’Alleva writes, it is “through

the arts (of belt weaving), an area that

Westerners might consider as isolated small

islands (the Caroline Islands) reveals itself

as a place of dynamic historical and cultural

relationships, traversed by far-flung trade

routes, the crossroads of regional influences.”4

Jill D’AlessandroAssociate Curator

The Caroline & H. McCoy Jones

Department of Textile Arts

References1. Riesenberg SH, Gayton AH. Caroline Island belt

weaving. Southwestern Journal of Anthropology, 1952

Autumn; 8(3):342–375.

2. Feldman J, Rubenstein DH. The Art of Micronesia.

Honolulu: The University of Hawaii Art Gallery,

1986:50.

3. Krämer-Bannow EC. “Weberei. a) Die

webetechnik.” In: Sarfert E. Kusae, Ergebnisse der

Südsee Expedition, 1908-1910. Hamburg, 1919:186-

187, cited in Deegan A, Cordy R. “Micronesian

textiles: an introduction to the woven tol of Kosrae.”

In: Ars Textrina 21, 1994:107-136.

4. D’Alleva A. Arts of the Pacific Islands. New York:

Harry N. Abrams, 1998.

HaVe You seen tHe taC newsletter onlIne?At present, only about 30% of our members opt to receive their

newsletter via e-mail. The cost in dollars and time to mail hard copies

rises proportionately as our membership grows. We recently switched

to recycled paper stock in an effort to be greener.

The digital version of the newsletter is in full color—take a look at the

archived issues on our website, www.textileartscouncil.org. We strongly

encourage you to choose digital to save a tree as well as TAC funds.

Our long-term goal is to switch entirely to a digital format and we hope

you will help us in this endeavor. If you wish to make the switch, please

call or write the TAC office.

a remInder wHen You maIl to tHe taCPlease remember to address mail and checks to the Textile Arts

Council correctly. The Fine Arts Museums is a large corporation and

the likelihood of misdelivered mail is very real. Always address your

mail as it appears on the front of this newsletter, beginning with “Textile

Arts Council.” Checks should be made out to “TAC” or “Textile Arts

Council,” and it helps to note the reason for the payment in the lower

left corner. We appreciate your attention to these important details.

TAC Newsletter 6

welcome to our new members

Call to textile artists

DiBella Luce Gallery in Oakland is seeking textile artists interested in a one-day (or

evening) show with a window presence for two weeks. The shop is located at 310

Hudson, just off College Avenue in Oakland. For more details, contact owner/artist

(and TAC member) Ginger Takahashi at 510 734-9116 or dibellaluce@aol.com.

Through February 6, 2009

Catherine Adams

Shelley Adams

Erin Algeo

Marcia Ben-Ora

Constance Bernstein

Linda Boentgen

Lynne Brooks-Korn

Caryl Carr

Carol Causey

Diane Current

Robert Freund

Loreta Geisse

Amie Gutierrez

Debra Jack

Carrie Kojimoto

Ann Morton

Mary Plovanic

Joanne Powers

Nancy Poulos

Erica Robinson

Yi-Hui Wen

Save the Date! A Fun-raising Eventethnic textile Bazaarsunday, september 27, 2009

Calling all ethnic textile lovers and collectors: are your cupboards bulging and closets

overflowing, crammed with once-loved treasures that you acquired over the years

but no longer care about? Just how many ethnic scarves does one need? Kimonos?

Molas? Batik sarongs?

The Textile Arts Council is offering an opportunity to slim down your collection, clear

out textiles that someone else will surely love, fund your next textile purchase, and

contribute to TAC’s wonderful programs. We will be hosting an Ethnic Textile Bazaar

from noon to 4 p.m. at The Sewing Workshop, 2010 Balboa St., San Francisco, and

will be renting a limited number of tables to TAC members on a first-come first-served

basis. The rental cost for the 11 available tables depends on size: the three 10-foot

tables are $65 each; the six 6-foot tables are $50 each; and the two 4-foot tables are

$35 each. Take heart: if you don’t have a lot to sell, why not join with some friends

and rent a table together? In addition to the table rental, each vendor will be asked to

donate to TAC 20% of gross proceeds after the first $150 (gross proceeds).

This will be a do-it-yourself event: we will provide the rental tables, space, volunteer

help, and the publicity. Each vendor then takes full responsibility for setup and

teardown, selling, handling money, taxes, etc.

For more information and to reserve a table, contact

Ruth Anderson: tel. 415 455 8442, e-mail: anderson.ruth@sbcglobal.net

Mary Connors: tel. 415 482 8035 e-mail: khamsing88@yahoo.com

7

GENERAL CALENDARO

NG

OIN

GUntil April 18 Web and Flow, national juried basket

exhibition, including work by TAC members Barbara Shapiro and Michael Rohde, the Joan Mondale Gallery of the Textile Center, Minneapolis, MN,

www.textilecentermn.org/gallery.asp.

Until April 25 All Knotted Up, lace knotting techniques, the Lace Museum, Sunnyvale, CA, 408 730-4695,

www.thelacemuseum.org.

Until April 26 Changing Landscapes: Contemporary Chinese Fiber Art, the San Jose Museum of Quilts and Textiles, 408 971-0323, www.sjquiltmuseum.org.

Until May 3 Wonders of the Weavers: 19th Century Rio Grande Weavings from the Collection of the Albuquerque Museum, Hubbard Museum of the American West, Ruidoso Downs, NM www.hubbardmuseum.org.

Until May 11 Color and Light: Embroidery from India and Pakistan, Rubin Museum of Art, NYC,

www.rmanyc.org.

Until May 31 Hats: An Anthology by Stephen Jones, the most original couture milliner working today, Victoria & Albert Museum, London, www.vam.ac.uk/exhibitions.

Until June 1 Adela Akers, solo online exhibition. Go to the Virtual Gallery page at www.FiberScene.com.

Until June 14 Transformations: Recent Contemporary African Acquisitions, Fowler Museum at UCLA, 310 825-4361, www.fowler.ucla.edu.

Until June 16 Seduction Lascivious fashion! The Museum at FIT, NYC, www.fitnyc.edu/museum.

Until July 7 The Cutting Edge, the significance of shape in fashion, Textile Museum of Canada, Toronto,

www.textilemuseum.ca.

Until July 26 Chic Chicago: Couture Treasures from the Chicago History Museum, Chicago, 312 642-4600, www.chicagohistory.org.

Until Sept. 7 Fashioning Felt, all the rage and one of the oldest textile forms, Cooper-Hewitt National Design Museum, NYC, www.cooperhewitt.org.

Through September Traje de la Vida: Maya Textiles of Guatemala, Phoebe Hearst Museum of Anthropology, UC Berkeley, www.hearstmuseum.berkeley.edu.

APRIL

April 3 – 7 Beyond the Fringe, Invitational fiber art exhibition, Stables Gallery, Taos Center for the Arts, NM, www.taoscenterforthearts.org.

April 4 – Sept. 6 Constructed Color: Amish Quilts, the Textile Museum, Washington, DC. with the cooperation of the International Quilt Study Center at the University of Nebraska-Lincoln, www.textilemuseum.org.

April 4 – July 19 Baroque 1620–1800: Style in the Age of Magnificence, Victoria & Albert Museum, London, www.vam.ac.uk/exhibitions.

April 24 – 27 From Hand to Hand: Passing on our Fiber Traditions, CNCH 2009, Conference of Northern California Handweavers, Sonoma, CA, www.cnch.org/pages/conferences/cnch09/index.html.

MAY

May 1 – 2 Artwear at the de Young, a two-day exhibit and trunk sale by local artists, Piazzoni Murals Room, de Young Museum. Museum members receive a 10% discount on purchases. For more information, call 415 750-3642 or go to museumstores@famsf.org.

May 5 – July 26 Reservoir: John M. Walsh III Collects, contemporary quilts from a private collection; and

Connections: Small Tapestry International, sponsored by the American Tapestry Alliance.

Both at the San Jose Museum of Quilts & Textiles www.sjquiltmuseum.org.

May 6 – 7 Fabric Flowers, a two-evening class with local artist Candace Kling. For more information, call the Sewing Workshop in San Francisco, 415 221-7397 or go to www.thesewingworkshop.com.

May 6 – Aug. 9 The Model as Muse: Embodying Fashion, the Costume Institute at the Metropolitan Museum of Art, NYC, www.metmuseum.org.

May 7 – July 5 Feet Forward: Footwear from the Design Collection, UC Davis Design Museum, Davis, CA, 530 752-6150 www.designmuseum.ucdavis.edu.

May 28 – 31 Off the Grid – 2009 International Surface Design Association Conference, workshops, exhibitions, speakers, Kansas City, MO,

www.surfacedesign.org. Fiber Art Tour & Exhibits, Columbia, MO. Ten art

exhibitions will take place simultaneously to coincide with the SDA conference in Kansas City. For tour information go to www.FATEcolumbia.com.

May 30 – 31 Japanese Shibori for Today, a two-day workshop with acclaimed artist Ana Lisa Hedstrom. For more details, call the Sewing Workshop in San Francisco at 415 221-7397 or go to www.thesewingworkshop.com.

JUNE and beyond

June 12 and 13 Traditional and contemporary textiles from Laos, trunk show and talk by Kongthong Nanthavongdouangsy of Phaeng Mai Gallery, Ventiane, Laos. The Folk Art Gallery, San Rafael. Reception and presentation: Friday, 6 to 8 p.m. Trunk show: Saturday, 10 a.m. to 5 p.m., thefolkartgallery.com/.

June 16 – Sept. 26 Isabel Toledo: Fashion from the Inside Out, the designer of Michele Obama’s inaugural ensemble expounds on her love of the sewing process, the Museum at FIT, NYC, www.fitnyc.edu/museum.

Nov. 14, 2009 – May 16, 2010 Amish Abstractions: Quilts from the Collection of Faith and Stephen Brown, de Young Museum Textile Gallery. Quilts return to the de Young, this time from an eminent local collection. Watch for details at www.famsf.org/deyoung/exhibitions/index.asp.

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

ChairPaul Ramsey

treasurerPeggy Gordon

office managerTrish Daly

editorLucy Smith

Textile arts CouncilDon’t miss these exciting TAC events!

In Her Hands: Craftswomen CHangIng tHe world With Paola Gianturco and Toby Tuttle

Saturday, April 18 Koret Auditorium de Young Museum

etHnIC dress In nortHern VIetnam: endurIng expressIons of Cultural dIVersItY With Serena Lee Harrigan

Saturday, May 9 Koret Auditorium de Young Museum

The 6Th AnnuAl CArol WAlTer SinTon ProgrAm for CrAfT ArT textIles of IndIa, dIlemma for surVIVal: ConserVe or dIVersIfY? With Bina Rao

Saturday, June 20 Koret Auditorium de Young Museum

April2009

April2009 Visit our web site: www.textileartscouncil.org