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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).
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 (www.fresnoartmuseum.org) 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
Jenne Giles July 14- January 6, 2019. Jenne Giles is a contemporary fiber artist whose work ranges from traditional fine arts to innovative performance and installation art. Her pieces explore the concept of gender, identity, consumption, and mortality. Giles received her B.A. in art and art history from Rice University in 1997. She began her career in the San Francisco area and now lives and works near Joshua Tree, California. She has previously exhibited at such institutions as the De Young Museum in San Francisco and the Bellevue Art Museum in Washington. She was a featured artist in Head to Toe: Wearable Art at the Fresno Art Museum that ran from September 23, 2016 to April 28, 2017.
Originally a trained metalworker, Giles creates sculptures, paintings, and wearable art from handmade felt. Felting is one of the oldest forms of textile making. She finds great importance in the organic process of hand-making her materials. Giles’ felt sculptures are dense, finely detailed creations. The exhibition Jenne Giles: Americana consists of nearly 30 felt sculptures and paintings that examine the types of artifacts that are related to the history, geography, folklore, and culture of the United States. Felt-making, along with other forms of fiber art, has traditionally been associated with women and regarded as a craft, not a form of fine art. In the 1970s, the Feminist Art movement reclaimed fiber arts, elevating them to the status of fine art, and fiber arts became an integral aspect of contemporary artistic practice. The propagation of fiber art as a fine art emphasizes the resurgence of value on handmade objects and on the relationship between traditional art forms and the current era.
SF Museum of Craft and Design (http://www.sfmcd.org)
Anchors in Time: Dominic Di Mare. June 2 – October 28, 2018. Anchors in Time: Dominic Di Mare presents selected works completed over the past five decades by one of the Bay Area’s foremost artists in the contemporary craft movement. Dominic Di Mare (1932–) received acclaim for pioneering dimensional weaving in the 1960s, cast paper in the 1970s, and mixed-media sculpture from the 1970s through the 1990s. Among his most alluring sculptures are carved hawthorn branches with delicate feathers, beads, paper, and horsehair. These are simple materials. But in Di Mare’s hands, they were transformed into intensely poetic works. During the past few decades, the object maker resets his compass to explore luminous watercolor on paper in a singular way. He made precise cutouts in his unique artist’s books to provide alluring clues for subsequent pages, while his flat watercolors have such dense compositions that there is an illusion of dimensional realms.
While his mastery of a wide range of media is stunning, it is the continuity of personal references—his very own sea of ideas—that makes Di Mare’s work so compelling and meaningful. Central to his work is a private, sea-borne mythology in which universal symbols, materials, and processes relate to childhood experiences in Monterey, CA, as a son of a Sicilian-American fisherman.
A recipient of the American Craft Council’s Gold Medal (1999), Di Mare was awarded two fellowships from the National Endowment for the Arts (1987 and 1981.) His work is represented in significant museum collections, ranging from the Fine Arts Museums of San Francisco to the Metropolitan Museum of Art in New York.
Anchors In Time: Dominic Di Mare is presented in conjunction with the 176-page book of the same title, featuring over 100 color images and essays by guest curator Signe Mayfield, W. S. Di Piero and Michael W. Monroe. The Anchors In Time book can be purchased in the MCD store. This research was supported by a Craft Research Fund grant from the Center for Craft, Creativity & Design, Inc. The Rotasa Foundation has provided generous support as Lead Sponsor. Guest Curator: Signe Mayfield.
Healdsburg Center for the Arts (https://healdsburgcenterforthearts.org)
Intertwined [fiber from one extreme to the other]. July 21 – September 3, 2018. Healdsburg Center for the Arts presents this nationwide fiber exhibition. The exhibition honors all forms of fiber art expressions, from the humble woven basket to the abstract sculpture and from the traditional tapestry to the conceptual works with a social statement. 65 pieces are featured using a variety of materials- paper, wool, cotton, metal, wood, and plastic and many modes and techniques- weaving, papermaking, felting, dyeing, surface design, sewing, quilting and more. Loom and Shuttle member Carolyn Burwell has 2 pieces in this exhibition.
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/)
Textiles 101. Opens January 27, 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.