Exhibitions

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

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). 

 Claudia Schmuckli, Curator in Charge of Contemporary Art, has recently reinstalled the 20th-century galleries and included a number of works from the Textile Arts Department’s permanent collection. Like most encyclopedic museums in the West, the Fine Arts Museums of San Francisco  have grown both episodically and strategically, with directors, curators, and dedicated patrons continually expanding and re-configuring, deepening and diversifying its holdings through gifts and endowments. The impetus behind this presentation was to look across departments to explore connections between its varied collections that would suggest narrative arcs for a storyline developed from within. “Dragon Jewel”, by Artine Miller, early 20th century tapestry. This presentation is conceived in five chapters that uses these collection threads as anchors for an associative installation of art and artifacts that evokes disruption through the manifestation of different concepts including technology (from the Greek teknē) and knowledge, faith and ecstasy, displacement and destruction, time and history. In galleries G13, G14, and G17:

Bruce Conner, CHRIST CASTING OUT THE LEGION OF DEVILS, 1987; woven 2003; Cotton; tapestry weave (Jacquard woven) Logan Fry, Microchip Series 2: Poly, 1991; Wool; double weave, paired warp and weft threads (Finnweave) Olga de Amaral, Lost Image 17, 1993; Linen with acrylic paint and applied gold and silver leaf; plain weave, oblique interlacing Diane Itter, Blue Diamond, 1984; Linen; knotting (double-half hitch) Transitional weaving, ca. 1880; United States, Southwest, Navajo; Wool, cotton; tapestry weave Jessie T. Pettway, Bars and String-Pieced Columns, 1950s; Cotton plain weave; pieced and quilted Plummer T. Pettway, Roman Stripes Variation (local name: “Crazy Quilt”), ca. 1967; Cotton twill, denim, cotton-polyester blend plain weave, and synthetic knit; pieced and quilted Joe Cunningham, Quilt: Bend in the River, 2009; Cotton, bias tape; appliqué, quilting Artine Miller, Dragon Jewel Tapestry, early 20th century, allocated by the Federal Art Project

San Francisco Museum of Craft and Design (http://www.sfmcd.org)

Material Domestication. March 16 – July 14, 2019:  Museum of Craft and Design, 2569 Third Street, San Francisco, CA. Material Domestication will feature the work of
six contemporary artists who utilize disparate cultural backgrounds as a framework for sculptural explorations invested in skill, material and identity. This exhibition is an investigation of materiality and technique based on slow production and repetitive making. These practices are often rooted in the notion of craft as women’s work. Typical processes include needlework, knitting, weaving and other historical fiber based techniques. Modular components are stacked, folded, knitted or woven into existence by these artists. Whether through methods of casting, dyeing, weaving or construction, the process of physical repetition is at the core of each artist’s work. They were chosen specifically as a means of expanding the conversation pertaining to the relevance of — or perhaps insignificance of — gender in contemporary craft. The purpose of Material Domestication is to be inclusive rather than exclusive. It is an attempt to dismantle the dualities of gender. Each artist achieves enormous scale through the use of physical repetition and in turn, further dispels the notions of craft and gender.

Linda Gass – And Then This Happened…December 14, 2019 – May 03, 2020.
Museum of Craft and Design, 2569 Third Street, San Francisco, CA
Bay Area multimedia artist Linda Gass creates stitched paintings and works in glass to
question the relationship between humans and their environment. Informed and inspired by her extensive research on the impact of changing waterways, sea level rise, fire, and drought in California and the American West, Gass’s work uses beauty to shed light on difficult issues. Gass paints directly onto silk using dye, adds a
backing and fills it with batting, then stitches directly onto the painted fabric. These colorful, textured pieces visually index the environmental changes of specific regions.Evoking both topographical maps and comforting quilts, Gass’s work brings to light the incongruence between the safety of individual homes, and the often devastating effect environmental manipulation has on the natural ecological processes of our collective home, California.

San Jose Museum of Quilts and Textiles (www.sjquiltmuseum.org)

International TECHstyle Art Biennial IV
San Jose Museum of Quilts and Textiles, 520 South First Street, San Jose, CA. January 20 – April 14, 2019. In 2010, the San Jose Museum of Quilts & Textiles launched its signature event, the International TECHstyle Art Biennial (ITAB). Returning now for its fourth incarnation, ITAB is a juried exhibition of work by artists merging fiber media with new information and communication technologies in their artistic processes, as a medium of artistic expression, and/or in the content of their work. Leveraging its location in Silicon Valley, ITAB serves as the premiere platform for introducing the work of artists exploring the intersection of fiber and technology to a global community.

Mayan Traje – A Tradition in Transition
San Jose Museum of Quilts and Textiles, 520 South First Street, San Jose, CA. July 21 – October 13, 2019. The Maya of Guatemala are known worldwide for their excellent weaving and distinctive trajes (traditional clothing). These were once 100% village-specific, and people could be recognized as being from a specific place. Over time, many and diverse influences have caused significant change — but even so, visitors are struck by the ubiquitous nature of indigenous weaving and the persistence of their “wearable art”. This exhibit will show outstanding examples of clothing from the early 20th century to contemporary fashion, highlight key differences, and explore some of the reasons for these changes. On view will be individual pieces as well as full trajes – none created for tourist markets. These will be drawn from the rarely-displayed collection of the Friends of the Ixchel Museum.

 

Richmond Art Center (www.RichmondArtCenter.org)

Empowering Threads: Quilts from the Social Justice Sewing Academy.  January 15 – March 8, 2019.  Community Gallery.  Artists of the Social Justice Sewing Academy.  In August 2018 the Richmond Art Center and Social Justice Sewing Academy (SJSA) partnered to run a workshop at the Latina Center in Richmond, CA. Women from the Latina Center’s leadership program came together to learn how to visualize social justice issues to design fabric squares that express ideas relevant to themselves and their community. The multiple squares were then embroidered, pieced and sewn together to create a quilt that amplifies the impact and energy of the individual messages within it.  Empowering Threads will bring together recent SJSA quilts made in workshops held across America, including quilts by women at the Latina Center and youth from Richmond High School.

About SJSA: The Social Justice Sewing Academy is an education program that utilizes textile art as a vehicle for personal transformation and community activism. Founded in 2016, SJSA has run workshops with high school students, Boys and Girls Clubs and community groups in Chicago, San Francisco, Oakland, Richmond, Los Angeles, Rhode Island and Cambridge.
www.sjsacademy.com

 American Tapestry Alliance (https://americantapestryalliance.org)

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)

The Fringed Shawl.  April 6, 2018 – October 5, 2019.  Come explore the rich world history of the shawl, from the silk shawls of Canton, China to the silk-embroidered wool shawls of Manila and Seville, and the many roles that these would come to play in the 19th and 20th centuries, from Victorian fashion accessory, to vital element of home décor, to the Flamenco dancers that would adopt the fringed shawl as an integral part of their costume. The utility of the shawl, its dramatic drape and movement, the embroidered shawl of Canton, China, captured the attention of Western societies. The collection features some of the finest examples of embroidered fringed shawls from the 19th to early 20th century, made in China and Spain and sought after by the wealthy throughout the world. Attendees are encourages to wear a shawl.  Consult the website for additional information.

The Boteh of Kashmir and Paisley. June 29, 2018 – February 2, 2019.  The Signature From the Most Revered Cloths of Creation.

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

Woven Interiors: Furnishing Early Medieval Egypt.  August 31, 2019–January 5, 2020.  In the early medieval era, the eastern Mediterranean’s palaces, sacred spaces, and residences were richly decorated with hangings, curtains, and other luxury fabrics. Bringing together rarely displayed artworks from the fourth to the twelfth centuries, this exhibition will reveal how textiles infused warmth and beauty into Egypt’s interior spaces. Co-organized with the Dumbarton Oaks Research Library and Collection.