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.

tac@famsf.org

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

tac@famsf.org

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 tac@famsf.org 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

bethszuhay@gmail.com.

Beth Szuhay

Chair, NATCC 2013

Chrysalis Art Conservationwww.natcconference.combethszuhay@gmail.com

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