San Jose Museum of Quilts and Textiles

A Geographical Journey: The Paul J. Smith Textile Collection. January 19- April 15, 2018.  Turner and Gilliland Galleries.  Director Emeritus of the Museum of Arts and Design in NY, Paul J. Smith is most noted for his groundbreaking curatorial works in the America Studio Craft Movement. During his career, he collected traditional and ethnographic textiles during his world travels that have never been exhibited before.

Talismanic Tresses: Vien Le Wood.  January 19 – April 15, 2018.  Award wining British textile artist and designer, Vien Le Wood is the founder of Gold Spink Studio, a fashion embellishment concept house based in Brooklyn, New York. Vien has ten years’ experience in the fashion industry. Vien’s exhibition, Talismanic Tresses is based on her view of human hair which she believes it acts as a conductor to our higher consciousness and intuition.In this exhibition she intimately crafted, stitch-by-stitch, piece-by-piece, and layer-by-layer the act of embellishment with an artistic expression. Le Wood believes that through the process of being gifted precious hair and buying discarded hair, an energy exchange is created that sends the message of mortality.

Without A Net: Susan Else.  January 19 – April 15, 2018.  Finlayson Gallery.  As a fabric sculptor, Santa Cruz-based artist Susan Else pushes the boundaries of the studio art quilt movement by integrating sound, light and motors with colorful, stitched figures. In her solo exhibition Without a Net, Else explores the theatrical awe and dark underbelly of the circus. 

Guns: Loaded Conversations;  Generation of Change: A Movement, Not a Moment-Quilts by the Social Justice Sewing Academy. April 22, 2018 – July 15, 2018.  Members only Preview: Sunday April 22, 2018, 2-3 pm.  Exhibition Opening Reception Sunday, April 22, 2018 3-5 pm


De Young Museum   (https://deyoung.famsf.org/)

Coming Together: Artistic Traditions of the Quilt and the Print.  November 4, 2017 – May 27, 2018.  Drawn entirely from the recently acquired Paulson Fontaine Press Archive, Coming Together features prints by the quilters centered in Gee’s Bend, Alabama including Louisiana Bendolph, Mary Lee Bendolph, Loretta Bennett, and Loretta Pettway. Due to light-exposure issues, the prints have appeared in two rotations, the first from June to November 2017 and the second from November to May 2018. The gallery also includes prints by Lonnie Holley, a friend and fellow Alabama artist, who created prints at the Berkeley press in 2013 and 2017.

Fans of the Eighteenth Century.  Saturday, March 31, 2018 through April 28, 2019. Textile Arts Gallery, de Young Museum. Admission: Included with museum general admission.  Fans have served as accessories of fashion and utility since antiquity but reached their peak production and use in eighteenth-century Europe. Made from and embellished by precious materials such as ivory, mother-of-pearl, and silver and gold leaf, eighteenth century fans also featured designs that reflected the spirit of their times. Fans addressed current events as well as themes of broad interest, including biblical and mythological tales and romanticized domestic and pastoral vignettes. Fans of the Eighteenth Century explores this quintessential period of fan production through a selection of examples from the permanent collection.
This exhibition is presented as a complement to Casanova: The Seduction of Europe at
the Legion of Honor (February 10–May 28, 2018). 

Contemporary Muslim Fashions.  September 22, 2018 – January 6, 2019.  Contemporary Muslim Fashions is the first major museum exhibition to explore the complex and diverse nature of Muslim dress codes worldwide. The exhibition examines how Muslim women—those who cover their heads and those who do not—have become arbiters of style within and beyond their communities, and in so doing, have drawn mass media attention to contemporary Muslim life.

Spotlighting places, garments, and styles from around the world, this exhibition considers how Muslims define themselves—and are defined—by their dress, and how these sartorial choices can be interpreted as reflections of the multifaceted nature of their identities. The exhibition will traverse different religious interpretations and cultures, ranging from commissioned couture and high-end fashions, such as those by United Arab Emirates-based Faiza Bouguessa and Malaysian-based Blancheur; to street wear, from the Brooklyn-based Slow Factory to the London-based Sarah Elenany; to sportswear, such as the burkini. Including social media as primary material, Muslim voices, visions, and personal narratives are framed by runway footage, news clips, as well as documentary and fashion photography.

Fresno Art Museum | 2233 North First Street, Fresno, CA

Council of 100 Distinguished Woman Artist 2018: Kay Sekimachi. With Kay Sekimachi. July 13 2018 to January 6 2019.   San Francisco native Kay Sekimachi (b. 1926) is a fiber artist and weaver based in Berkeley, California. She is the recipient of the Fresno Art Museum’s 2018 Distinguished Woman Artist Award. Her  retrospective, solo exhibition describes her years of art making beginning in the 1940’s and bringing it current today. The selected works define the breadth of Sekimachi’s oeuvre and the command she has of her fiber medium. Known as a “weaver’s weaver,” Sekimachi uses the loom to construct three-dimensional sculptural pieces. She attended the California College of Arts, where she studied with Trude Guermonprez, and at Haystack Mountain School of Crafts, where she studied with Jack Lenor Larsen. Throughout her six-decade-plus career, Sekimachi has explored the
infinite possibilities of the double weave, a technique in which she used one warp to
produce two-layer cloth and three-dimensional forms. In 1963, Sekimachi began
experimenting with monofilament, a then-new material from DuPont Chemical; the
resultant sculptures became a defining moment in her career.  Her work can be found in the collections of the Metropolitan Museum of Art, the Renwick Gallery, the Museum of Arts and Design, the Museum of Fine Arts, Boston, and the Fine
Arts Museums of San Francisco, where she was also recently the subject of a focused
exhibition of her work, Kay Sekimachi: Student, Teacher, Artist. She is recognized as a
pioneer in the resurrection of fiber and weaving as a legitimate means of artistic

  American Tapestry Alliance

On-going: TEx@ATA Online Gallery, American Tapestry Alliance. The American Tapestry Alliance (ATA) is engaged in a wide range of educational, exhibition, outreach and promotional programs. Their programs serve the goals of their Mission Statement:to promote an awareness of and appreciation for woven tapestries designed and woven by individual artists to encourage and recognize superior quality tapestries to encourage educational opportunities in the field of tapestry to sponsor exhibitions of tapestries to establish a network for tapestry weavers throughout the world to educate the public about the history and techniques involved in tapestry making Now showing in the On-line Gallery: Belinda Ramson “Belinda Ramson, (born in New Zealand 1935, died in Tanja, New South Wales November 2014) first learned cloth weaving in 1965-66 in Canberra, Australia,     studying with Solvig Baas Becking. Although Baas  Becking worked in tapestry herself, she did not teach the technique. Ramson was dissatisfied with cloth weaving and was seeking something more fulfilling. “In 1967 Ramson studied as a special student for a year in the Tapestry Department, Edinburgh College of Art. She went to the studio around 9:30 in the morning and worked till 4:00 or 4:30 every day, often including the weekends, stopping only for a cup of coffee at lunch time. “In 1973, Ramson returned to Edinburgh to work as a weaver at the Dovecot Tapestry Studio, learning the precise methods which she described as “solidly based in a traditional discipline.” Ramson was committed to Archie Brennan’s way of thinking in weaving, which she considered to be “constantly innovative” and about “using the medium of tapestry to elucidate a conceptually difficult problem. Ramson summarized her experience as a workshop weaver at the Dovecot as being encouraged to think beyond the basic skills of their craft. “A painting, religiously woven, was a complete waste of time.”

Lacis Museum of Lace and Textiles, 2982 Adeline Street, Berkeley, CA  https://www.lacis.com

Piña – The Philippine Cloth of Pride, Endurance and Passion. July 07, 2017 – May 04, 2018. Open for Tours Only: Monday through Saturday, 1:00pm. 3:00pm, 4:30pm. Admission: Registration in Advance: $0.50/person ($1.00 minimum).510-843-7178.

Berkeley Art Museum and Pacific Film Archive (bampfa.org)

Way Bay. January 17 – May 6, 2018.  Includes work by Lia Cook

The Textile Museum, Washington DC (https://museum.gwu.edu/)

Textiles 101.  Opens January 27, 2018.

Vanishing Traditions: Textiles and Treasures from Southwest China.  February 24-July 9, 2018.

Binding the Clouds: The Art of Central Asian Ikat.  March 10-July 9, 2018.

A Nomad’s Art: Kilims of Anatolia.   September 1 through December 23, 2018.   Woven by women to adorn tents and camel caravans, kilims are enduring records of life in Turkey’s nomadic communities, as well as stunning examples of abstract art. This exhibition marks the public debut of treasures from the museum’s Murad Megalli Collection of Anatolian Kilims dating to the eighteenth and nineteenth centuries. 

Mesa Contemporary Arts  (www. MesaArtsCenter.com)

39th Annual Contemporary Crafts. Feb 9 – April 15, 2018. Deborah Corsini is represented in this exhibit.  One East Main Street,  Mesa Arizona. (480) 644-6560.