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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

September2012

Volume XXVII, 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 entrances at the front and side doors of the Museum. (*alternate location, when indicated, is the Legion of Honor Museum, 34th Ave & Clement St., San Francisco.)

Dagestan costume

Saturday, September 29, 2012, 10 a.m.

THE ROLE OF COLOR IN THE COSTUMES OF NORTHERN CAUCASUS PEOPLESWith Dr. Zvezdana Dode

Color plays a major role in the costume of the

Northern Caucasus peoples. Dr. Zvezdana Dode,

an archaeologist and art historian who has done

extensive research on mediaeval costume and

textiles of the Northern Caucasus,describes and

discusses the color choices and dyes of the

people who inhabited this region. She explains

how the environment influenced these choices.

The clothes, headdress,

and footgear of these

Northern Caucasus

peoples (Turks, Iranians,

Adigs, and Vainah),

are similar in form and

decoration. However,

tthe color preference

and comprehension

of color harmony are

different for the various

groups that inhabited

this large region (even

as these costumes

evolved within similar

stylistic complexes).

The local plants they chose as dye-stuff varied,

though the same plants were generally available

region-wide. This is evident in the color choices

for dyeing locally made wool and for printing

the patterns on linen textiles. The clothes and

headgear found in the burial grounds, however,

are made from gray foundation cloth usually

decorated in brightly colored imported silks from

Byzantine, Central Asia and China.

Dr. Dode presents material from closed

Russian archaeological sites, giving us a rare

opportunity to look at fascinating archeological

finds. She talks about current methods for

reconstructing an archaeological costume.

Since a costume is a visual object, it requires

pictorial reconstruction that relies on a variety of

sources: archeological artifacts; images; written

evidence, and folklore legend and myth. Dode

discusses three types of archeological costume

reconstruction. The method chosen depends

on how much of the original costume remains,

how easy it is to reconstruct the costume from

these artifacts, and what supporting evidence is

available. Finally, she takes us through a photo

reconstruction of a Dagestan costume.

Zvezdana Dode is a Senior Researcher at the

Southern Scientific Center, Russian Academy

of Science. She received her Ph.D. from

The Oriental Institute, Russian Academy of

Science, Moscow, then served as Professor

of Archaeology and Art History and as Curator

at Stavropol State Museum. As an Andrew W.

Mellon Fellow at The Metropolitan Museum of

Art, New York, Dr. Dode made a comparative

study of silk textiles of the Mongolian period

in Eurasia. She is the author of over 70 articles

and 3 monographs. Her field work includes

excavations of Late Bronze Age, Iron Age,

and mediaeval barrows sites in the Northern

Caucasus.

continued from page 1Programs

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Programs continue on page 3, col. 1

Saturday, October 20, 2012, 10 a.m.

HAT BLOCKS AND HATS / SCULPTURAL FORM AND ARTISTIC FUNCTIONWith Wayne Wichern

PLEASE NOTE: Our Annual General Meeting

will take place in Koret Auditorium just

before the October lecture.

A piece of felt, a cloud of steam, and

a wooden hat block are the essential

ingredients for the making of a blocked

hat. Take a peek inside the studio of

hat designer Wayne Wichern. Wichern

specializes in women’s blocked

fashion hats and elegant evening and

cocktail hats. Of particular interest are

his theatrical Kentucky Derby-style

hats which are lavish and frothy with

embellishment: silk flowers, veiling,

feathers, ribbon, and fabric sashing.

According to Wichern, it’s fairly simple

to create the frothy event hat; the

harder work is to design a simpler hat,

something one can wear frequently—a

sophisticated hat that speaks with quiet

elegance, not a shout.

Behind each of these elegant hats is the

shaping tool known as the hat block.

The hat block is a tool made for the

millinery trade by a skilled woodcraft

artisan. While the hat block is for

practical use in the studio, it is itself

an amazing artistic achievement. The

hat’s felt or straw is pulled or “blocked”

over these wood forms while it is hot

and damp with steam. This gives it the

desired shape, then it is tied with cords

to hold the materials in place. The hat

then needs to dry before

being removed from the

hat block.

The hat blocks in

Wichern’s collection

are infinite in variety

and complexity. “My

job as a contemporary

millinery designer is to

utilize these vintage and

contemporary hat blocks

in innovative ways, not

just using the obvious

shape, but to combine

the forms to tease out

their hidden expression.

I am constantly amazed

by the skill that went into

the conceptualization

and carving of my hat

blocks, and if I had time

for another career I would

turn my attention to

creating hat blocks.”

Wichern will show a collection of his

millinery work and demonstrate how the

hat blocks are used to create them. The

lecture will cover aspects of the current

millinery industry.

Wayne Wichern carved a curious path

as florist, ballet dancer, and visual

display artist to create his 27-year career

as a fashion millinery designer and

teacher. Wichern teaches semi-private

workshops in his Redwood City studio,

and has taught at Penland School of

Crafts in Penland, NC and Peters Valley

School of Craft in Layton, NJ. He has

works in the Textile Collection of the Fine

Arts Museums of San Francisco and

the Museum of History and Industry in

Seattle, WA.

Saturday, November 17, 2012, 10 a.m.

FROM TUTUS TO TRUNKS: THE SHAPING OF DANCE DESIGN With Connie Strayer

From the heavy and concealing

costumes for dance in the time of

Louis XIV to the more revealing body

hugging costumes of today, design for

dance has evolved alongside fashion,

but has been molded by individuals

with vision and/or purpose. They are

artists, choreographers, directors,

and the dancers themselves. The first

shortening of the dance skirt in the 18th

century, from the floor to just above the

ankle, is credited to a Parisian dancer,

Marie Camargo, who wanted to be

sure that her fancy footwork would not

be concealed by the fabric of her floor

length skirt. Her contemporary, Marie

Salle, defied the artifice of the court

costume and dressed herself in Grecian

drapery to better display her movement

and gestures of pantomime as well as Photo courtesy Wayne Wichern

Programs continue on page 4, col. 1

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The Textile Bazaar is a unique event because of the vendors who, through

their travels, cultural knowledge, and collecting history, offer extraordinary

textiles for sale. Some 34 vendors will bring their wares to the Bazaar.

One vendor is coming from Indonesia. The Balinese gallery owner searches

for rare antique textiles across Southeast Asia. Another is bringing textiles

direct from skilled artisans: silk ikat shawls from Northeast Thailand; batik silk

scarves from Cirebon, Indonesia; and weavings from a Chin weaver prodigy

in Myanmar.

An expert on Chinese minority textiles and jewelry is bringing rare Chinese

minority batiks, as well as Laotian scarves and Indian Ribari “story” panels.

Japanese textiles include resist-dyed horse trappings, an unusual

fisherman’s robe, and antique kimono. An appraiser of Japanese textiles will

sell hand-dyed indigo garments from the remaining inventory of the Roger

Barber Japanese antiques gallery. A Bay Area collector of Japanese fukusa

(ceremonial gift covers) offers these, and a rare man’s jacket of tsumugi silk.

Some vendors represent global cooperatives and international ventures. One

such group will offer natural-dyed, hand woven Peruvian home décor pieces,

and a Mayan cooperative will be selling such items as brocaded tapestries,

huipiles, purses, and pillow covers.

The Bazaar has always been a great opportunity for downsizing collections.

One vendor has textiles collected in West Africa in 1978. A photographer

is offering a large group of huipiles collected in Guatemala in 1973. Other

collectors will be bringing early 20th Century Navajo rugs and blankets,

Panamanian molas, and Mexican silver.

Jewelry and textile books are also part

of the Textile Bazaar. A book dealer will

once again offer some unusual, rare,

and out-of-print volumes. A jewelry

designer wants to share her “inspired

Asian semi-precious stones, glass

and beads; necklaces and earrings.”

Other vendors will have antique and

contemporary jewelry from artisans

around the world.

There will be thousands of items for

you to browse through. Nowhere in the

Bay Area is there an event like this–

with so many wonderful textiles in one

place! Mark your calendars now for

our October 21st bazaar!

TEXTILE BAZAAR

THE INSIDE SCOOP

4th Annual TEXTILE BAZAAR

Treasures from Around the

WorldSunday, October 21

10:00 am - 4:00 pm

Moriarty HallSt. Anne of the Sunset Church (1300 Funston (at Judah), San Francisco)

• FreeAdmission….FreeParking

(in the church parking lot)

• Paymentbycheckorcash;some

vendors accept credit cards

• Muni:NJudahtoFunston;buses

#6 Parnassus, #43 Masonic, #44

all stop at 9th and Judah

TAC Newsletter 4

continued from page 3Programs

her beauty. These dancers were just two of the

many individuals that helped shape the look of

Classical Ballet.

The design of the Classical Ballet costume

continued to evolve, making its final leap to the

iconic tutu in the 19th Century, where it remains

a requisite in most, if not all, classical ballets.

As other genres of dance were introduced in

the late 19th Century and into the 20th Century,

dancers such as Isadora Duncan, Martha

Graham, and Twyla Tharp created works that

were inextricably linked to the costumes that

they wore. In the world of 20th Century ballet,

George Balanchine shook up the ballet world

by using “rehearsal” garments on stage:

unadorned tights and leotards for the women,

and tights, shirts and socks with ballet shoes

for the men, to better serve the simplicity of the

choreography in some of his ballets that were

based more on pure movement than story line.

Political upheavals, literature and art move-

ments, as well as technical advancements,

have also made their mark on the visuals of

dance. These major events coupled with unique

Connie Strayer Costume design for Sunken Cathedral, choreographed by Mark Foeringer for Mark Foeringer Dance Project

individuals have brought us to a bounty of visual

riches in dance today. In this lecture we take a

whirlwind tour into the origins of dance design up

to the current day, and beyond.

Connie Strayer is a Costume Designer and Senior

Lecturer in Design in the Department of Theatre

and Performance Studies at Stanford University.

NEXT NEWSLETTER DEADLINE

November 16, 2012

Please send your copy

to the TAC office.

tac@famsf.org

SAVE THE DATE!The annual TAC Holiday Party and Benefit

Auction will be a bit earlier this year. Mark

your calendars for the last week in November

and watch for your invitation!

ON YOUR TOES! A TOUR OF THE FAMSF TEXTILE

CONSERVATION LABThe Textile Arts Council and Sarah Gates,

Head of the FAMSF Textile Conservation

Lab, are once again offering an exclusive tour

behind-the-scenes to benefit special projects

relating to the conservation and storage of

the Fine Arts Museums’ textile collection.

With the exhibition Rudolf Nureyev: A Life in

Dance, opening October 6 at the de Young,

the focus of this tour will be theater and

dance costume.

Our collection of theatre and dance

costumes present unique challenges to

store and exhibit. Due to the “temporary”

nature of many theatre costumes, their often

“heavy” use and an unusual use of materials,

cleaning and storage can defy the process of

standard conservation techniques. The over-

view of the lab’s facilities will include a look

at everything theatrical, from Pavlova to Loie

Fuller and Ruby Keeler.

Two dates—choose one: Wednesday,

October 17 or Friday, October 19, 9:30am.

Cost is $65. Space is limited, so call TAC

soon to make a reservation.

5

ANNA GRAY BENNETT (1917 – 2012): AN APPRECIATION

exhibitions from the FAMSF collections,

including A Century of Brides (1978), Fans in

Fashion (1981), Undercover Agents (1983), and

The Paris Hat (1984). She retired from the Fine

Arts Museums in 1984.

Early in 1981, Mrs. Bennett conceived

the idea of a “Textile Study Group,” which

would support the Museums’ collection.

She envisioned “the formation of a broad

support society for textiles, making possible

lectures, seminars, and other

programs for textile-oriented

people—a program to deepen

involvement in a specialized

field and at the same time

broaden it by revealing the

relatedness of all branches of

the textile arts.” She saw this

group as providing benefits to

the museums by “making the

collection known and raising

the level of public interest in

textiles, attracting collectors

and collections, supplying

funds, and increasing museum membership.”

To this end she canvassed collectors,

instructors, and guilds in the San Francisco

Bay Area, and mounted lectures targeting

specific textile aficionados. The Textile Study

Group was a growing concern by 1984, and

in January of 1988, with 256 members (some

of whom are still active members!), it re-

named itself the Textile Arts Council. It was

then defined and expanded under the formal

recognition of the FAMSF Board of Trustees.

We owe an enormous debt of gratitude

to Anna Bennett, and know she would be

pleased that we are now 600 members strong,

with back-to-back events and an endowment

which continues to enrich the collection she

took under her wing so many years ago.

Trish Daly

Anna Bennett became involved with San

Francisco’s Fine Arts Museums in 1967 as

a docent with a special interest in textiles,

which were then categorized as part of the

Department of Decorative Arts. In 1973, she

met a visiting scholar, Jean-Paul Asselberghs,

who had learned of the Museums’ tapestry

collection and agreed to catalogue the pieces.

Dr. Asselberghs felt that this valuable collection

was threatened by neglect and deterioration.

When he died suddenly,

Mrs. Bennett agreed to

continue his work. But her

vision was much larger.

She enlisted her husband

Ralph, who applied his

engineering skills to the

problems of storing and

caring for the tapestries.

This was the birth of the

Fine Arts Museums Textile

Conservation Lab. Ralph

Bennett devised and built

all lab fittings, furniture,

and storage units for the fledgling Lab in the

basement of the old de Young building. Much of

his work still survives.

Mrs. Bennett gathered a large group of

volunteers to clean and stabilize the tapestries,

with professional instruction from Los Angeles

County Museum of Art (LACMA) Textile

Conservator Pat Reeves. She also traveled to

study American and European sources of the

Fine Arts Museums of San Francisco (FAMSF)

tapestries and obtained an MA in art history

research to further her own knowledge. By 1976

the tapestries were ready for their public, and

the exhibition Five Centuries of Tapestry opened

at the Legion of Honor Museum. An international

tapestry symposium brought further glory

to the collection, and the catalogue, with a

second edition published in 1992, is still a highly

respected resource.

Due to Mrs. Bennett’s endeavors, the Textile

Department achieved stand-alone status

by 1983. She mounted several memorable

Welcome to our New TAC MembersThrough July 13, 2012

Carolyn Asbury

Jason Bowie

Ellen Brook

Carolyn Burwell

Katherine Dunlevey

Emily Dvorin

Louaine Elke

Nancy Germano

Marcy Goldstein

Mary Hackenbracht

Kathryn Harris

Christine Heinicke

Ellen Hauptli

Alison Hussey

Grace Kang

Mirka Knaster

Paula Kehoe

Guillermina La Fever

Michele Lasker

Susan Lazear

Nancy Leavens

Sisko Luopajarvi

Molly Miles

Alicia Moorehead

Deidre Murphy

Anna Naruta

Rhonda Petrov

Jane Piller-Wilson

Gudrun Polak

Usanee Sangmanee

Susan Shawl

Julie Slinger

Lisa Swanson

Mandi Toutsch

Andrea Tyson

Marilyn Ueki

Mary Vogt

Dale Webdale

Anna Wong

Yolanda Woo

Photo by Sharon Beals

TAC Newsletter 6

RUDOLF NUREYEV: A LIFE IN DANCEWais and Knowles Galleries of Textile Arts, de Young Museum

October 6, 2012–February 17, 2013

traversed the world with his insatiable love of dance,

embracing a nomadic life and performing between 150 and

200 times a year, more than any other dancer.

In 1963 Nureyev began remounting the ballets of Marius

Petipa, a choreographer he revered, creator of 19th-century

masterpieces such as Swan Lake,

Raymonda, Don Quixote, Sleeping

Beauty, and La Bayadère. Aided by

his prodigious memory, Nureyev used

the productions he had seen and

danced in at the Kirov as sources of

inspiration for breathing new life into

these classics, especially the male

performances, to which he added

many technical intricacies that suited

his own style and mastery. No longer

would men’s roles be subservient to

those of women. Nureyev’s unique

combination of artistry, technical

precision, electric stage presence, and

musicality, thoroughly transformed

male dancing in the West.

Wherever Nureyev went, dance

companies were revitalized. Such was

the case for the Paris Opera Ballet,

the oldest dance company in the

world, when he became director in

1983. There he spent his final years

challenging the hierarchical system

and nurturing a new generation of

stars who continue to give life to his

ballets and teachings today, ensuring

his legacy for future generations.

Nureyev died of complications from

AIDS on January 6, 1993—but as he

had prophetically declared, “As long

as my ballets are danced, I will live.”

Exhibition organized by the Fine Arts Museums of San

Francisco in collaboration with the Centre national du

costume de scène.

—Jill D’Alessandro Curator, The Caroline and H. McCoy Jones Department of Textile Art

“You live because you dance; you live as long as you dance.”

This was Rudolf Nureyev’s mantra throughout his meteoric rise

as an internationally acclaimed dancer, choreographer, ballet

master, and company director. In celebration of the remarkable

art and career of this legendary performer, this exhibition presents

more than 70 costumes from ballets danced or choreographed

by Nureyev—Swan Lake, Giselle, The

Nutcracker, Marguerite and Armand,

and Manfred among them—as well as a

selection of photographs that chronicle

his illustrious life. The exhibition was

organized in collaboration with the Centre

national du costume de scène (CNCS)

in Moulins, France and the de Young

Museum is its only US venue. On the

twentieth anniversary of Nureyev’s death, it

is a privilege to bring this special display to

San Francisco.

Born into poverty in 1938, the young

Nureyev lived a meager, isolated existence

in Ufa, the capital of the Bashkir Republic,

Soviet Union. His discovery of dance at

the age of seven would change his destiny.

At seventeen, through sheer determination,

he gained acceptance to the famous

Kirov School in Leningrad. There, despite

his late start, he soon joined the ranks of

preeminent dancers and fellow graduates

Vaslav Nijinsky, Anna Pavlova, George

Balanchine, and Mikhail Baryshnikov.

A rising star in his own country, Nureyev

caused an international sensation when

he “leapt” to freedom in Paris on June 16,

1961. Soon after his defection, he began

his quest to dominate the world of ballet,

collaborating with the leading dancers

and choreographers of the West including,

most famously, Margot Fonteyn, principal

ballerina at the Royal Opera House, London—a partnership that

would last seventeen years. From his very first appearances on

stage at Covent Garden, “Rudimania” set London ablaze. The

rest of Europe, the United States, Australia, and Japan quickly

followed in succumbing to the dancer’s talent and charm. Nureyev

Rudolf Nureyev in rehearsal for Marguerite and Armand, Covent Garden, 1963. Photograph by Michael Peto.

Doublet for Rudolf Nureyev in Sleeping Beauty, in the role of Prince Florimond, Act III

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TEXTILE ARTS COUNCIL TOUR 2013 TO UZBEKISTAN: APRIL 17 TO MAY 2 WITH TOUR EXTENSION TO KYRGYZSTAN MAY 2-6, 2013

Lake Issyk Kul, the second largest mountain lake

in the world. Along the way we will visit villages

where women are carrying on traditional crafts

such as felting wool to make shydrak and ala kiyiz

carpets and wall hangings, and making elaborately

decorated reed screens, called chiy. Today, a semi-

nomadic culture still exists in Kyrgyzstan, and most

vibrant folk art centers around the yurt. In the cities,

these ancient crafts have been given new life and a

contemporary look.

For this tour we are working with the highly

regarded Gareeva Raisa, president of Salom Travel,

who has organized special textile tours for the

Textile Society of America and Craft World Tours

for many years. With the help of her agency we will

have special access to the most highly regarded

craftspeople in the region._____________________________________________

For more information contact:

Mary Connors 415 482-8035, email:

khamsing88@yahoo.com

Trish Daly 415 750-3627, email: TAC@FAMSF.org

Due to the overwhelmingly positive response to

our 2012 tour to Uzbekistan and Kyrgyzstan, we

are offering our members another opportunity to

travel to these exciting destinations. This coming

Spring you can have an in-depth exposure

to the many craft traditions of Central Asia.

Uzbekistan is one of the major silk producers in

the world and the Fergana valley, famous for its

vibrant silk ikats, is home to one of the oldest

areas of fabrication. In addition to being the sites

of incredible Islamic architecture, Samarkand

and Bukhara are alive with craftspeople

producing carpets, intricately embroidered

cloths, and handmade paper. Our tour is timed

to allow visits to two of the oldest and largest

traditional markets in the region, Margilan and

Urgut. We will also visit the ancient caravanserai

of Khiva. Dubbed by UNESCO as “the most

homogeneous example of Islamic architecture

in the world,” Khiva was one of the first places

outside China to develop a thriving silk industry.

The tour extension to Kyrgyzstan takes us from

the capital, Bishkek, to the beautiful alpine

TAC BOARD

Barbara KellyChair

Marlene GoldenVice-Chair

Peggy Gordon

Treasurer

Ruth Anderson

Barbara Beckmann

Mikki Bourne

Jean Cacicedo

Sharon Christovich

Robin Hampton

Karin Hazelkorn

David Holloway

Darlene Jurow

Shirley Juster

Rose Kelly

Connie Levy

Judy Norman

Heather Oelerich

Suzanne Stassevitch

Sue Willows-Raznikov

Advisory Board

Mary Connors

Serena Harrigan

Ana Lisa Hedstrom

Karine Langan

Barbara Shapiro

Laurel Sprigg

Susan York

Photos by Cathy Cerny

TAC Newsletter 8TAC Newsletter 8

GENERAL CALENDAROngoingUntil October 6 Fiber Futures: Japan’s Textile Pioneers – Part I of a

two-part exhibition

Exploring the remarkable fusion taking place in

Japan between a rich artisanal textile tradition and an

unusually innovative fiber industry. The first part of this

exhibit is color-intensive and centered on a dramatic

work by artist Machiko Agano.

October 13 – December 29 Fiber Futures: Japan’s Textile Pioneers – Part II takes

a more achromatic approach and features the work of

Jun’ichi Arai, one of Japan’s most celebrated textile

artists. Museum of Craft & Folk Art, San Francisco.

415 227-4888

http://www.mocfa.org/

Until October 14 2nd International TECHstyle Art Biennial (ITAB)

A juried exhibition chronicling the work of emerging

and well-established fiber artists and the ways in which

they incorporate the new technologies into their work.

San Jose Museum of Quilts & Textiles

408 971-0323

http://www.sjquiltmuseum.org/exhibitions_upcoming.html

Until November 3 Brides for All Seasons Bridal wear and accessories

from the 1880s to 1970

The Lace Museum, Sunnyvale CA

408 730-4695

http://www.thelacemuseum.org/index.html

Until December 2 Beyond Function: Fiber, Fabric, and Finery

Exploring the ways that contemporary California artists

incorporate fabric in their work and bridge the divide

between art and craft, and between utility and beauty.

De Saisset Museum, Santa Clara University

408 554-4528

http://www.scu.edu/desaisset/exhibitions/

Until February 17, 2013 True Blue: Indigo, Turquoise, Cobalt & Lapis

Lazuli

The mystery of the color blue: featuring

basketry, textiles, jewelry, glass and ceramics.

Mingei International Museum, San Diego

http://www.mingei.org/exhibitions/true-blue

SEPTEMBER

September 4 - 29Gyöngy Laky–Marks of Narration Opening reception:

Saturday, September 8, 6 – 9 pm b. sakata garo

gallery, 923 -20th Street, Sacramento, CA

916 447-4276 http://www.bsakatagaro.com/

September 14 – January 5, 2013Ivy Style One of the most enduring American clothing

styles, revered and reviled, evocative of campus life and

copied throughout the world.

The Museum at FIT, New Yorkhttp://fitnyc.edu/336.asp

September 19 – 22Textiles & Politics–13th Biennial Textile Society of

America Symposium

Lectures, films, artist demonstrations, tours and

seminars, Washington, DC http://www.textilesociety.org/symposia_2012.htm

September 21 – March 10, 2013The Sultan’s Garden: The Blossoming of Ottoman Art

The birth of a rich, stylistic heritage and its eternal

influence and appeal. See October for symposium

information. The Textile Museum, Washington, DChttp://textilemuseum.org/exhibitions/SultansGarden.html

September 27 – 30Candace Kling ribbon-work classes, The Sewing

Workshop, San Francisco

415 221-7397

http://www.thesewingworkshop.com/classes.php

9

OCTOBER

October 9 – February 24, 2013Turkmen Jewelry from the Collection of Marshall & Marilyn

R. Wolf

Metropolitan Museum of Art, New Yorkhttp://www.metmuseum.org/exhibitions/listings/2012/turkmen-jewelry

October 12 – 14Ottoman by Design: Branding an Empire, 40th Annual Fall

Symposium

The Textile Museum, Washington, DChttp://www.textilemuseum.org/symposium/

October 19 – 21, 10 am – 8 pmSan Francisco Antique Rug & Textile Show, the Antique Rug

& Textile Art Association, over 40 international dealers. Capri

Motel, 2015 Greenwich St., San Franciscohttp://artsrugshow.org/

October 20 – 21Shibori workshop with Ana Lisa Hedstrom, The Sewing

Workshop, San Francisco

415 221-7397http://www.thesewingworkshop.com/classes.php

October 20 – January 27, 2013Hollywood Costume, Victoria & Albert Museum, London http://www.vam.ac.uk/content/exhibitions/exhibition-hollywood-costume/

October 20 – March 4, 2013High Fiber Under Five

Benefit art exhibition and sale with prices of $500 or less,

benefits artists and the Museum’s art advocacy efforts. San

Jose Museum of Quilts & Textiles

408 971-0323http://www.sjquiltmuseum.org/

October 27 – November 4Retro/Prospective: 25+ Years of Art Textiles

BrownGrotta Arts, Wilton, CThttp://www.browngrotta.com

NOVEMBER and beyond

December 14 – March 2013Daniel Arsham: Reach Ruin, The Fabric Workshop and Museum,

Philadelphiahttp://www.fabricworkshopandmuseum.org/Exhibitions

Wayne Wichern, American, active 20th–21th centuryBad Apple Hat, 1995–2000United States, CaliforniaHand-made wool felt, beadingMuseum purchase, Textile Arts Council Endowment Fund2002.69

See October lecture, page 2

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

ChairBarbara Kelly

TreasurerPeggy Gordon

Office ManagerTrish Daly

EditorRosalie Cooke

Textile Arts CouncilDon’t miss these exciting TAC events!September

2012

September2012 Visit our web site: www.textileartscouncil.org

Saturday, September 29, 2012, 10 a.m.

THE ROLE OF COLOR IN THE COSTUMES OF NORTHERN CAUCASUS PEOPLESWith Dr. Zvezdana Dode

Saturday, October 20, 2012, 10 a.m.

HAT BLOCKS AND HATS / SCULPTURAL FORM AND ARTISTIC FUNCTIONWith Wayne Wichern

Saturday, November 17, 2012, 10 a.m.

FROM TUTUS TO TRUNKS: THE SHAPING OF DANCE DESIGN With Connie Strayer