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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.

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

The Contemporary Jewish Museum, 736 Mission St, San Francisco, CA  (www.thecjm.org)

 Veiled Meanings: Fashioning Jewish Dress.  Through January 06, 2019.  Clothing exists to cover our bodies, but it can also uncover latent histories and personal narratives. To what extent does our choice of dress suggest individual taste or reflect influences from our surroundings? The variety of costumes displayed in this exhibition attests to the  iversity of Jewish communities across centuries and around the globe. In many cases, the clothes worn by Jews were similar or even identical to those worn by non-Jewish neighbors, although at times special features distinguished them from the dominant culture. This exhibition invites us to consider the history and language of Jewish clothing in all its complexity, from cultural dress codes to modes of self-expression.  Through many sartorial symbols and signifiers, these items disclose information about gender, age, geography, background, and custom, while simultaneously leaving some meanings fluid or encoded.  Regardless of origin, each ensemble tells a story—the story of its creator or wearer, of the community to which it belonged, or of its voyage across multiple generations, families, and channels of transit. These garments, dating primarily from the nineteenth and early twentieth centuries, are drawn from the Israel Museum, Jerusalem, the repository of the most comprehensive collection of Jewish costume in the world. Its holdings provide a unique testimony to bygone communities, to forms of dress and craft that no longer exist, and to a sense of beauty that still has the power to enthrall.


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

EXCELLENCE IN FIBERS, IN COLLABORATION WITH FIBER ART NOW MAGAZINE.  October 19, 2018 – January 13, 2019.  Turner and Gilliland Galleries.  Fiber Art Now Magazine highlights innovative, contemporary textile art in the Excellence in Fibers issue. An exhibition of the same name, the work shows current trends in the categories of vessel forms/ basketry, installation, wall/ floor works, sculptural works, and wearables.

SEEING THE THRESHOLD: Jayoung Yoon.  October 19, 2018 – January 13, 2019. Hallway Gallery.  Born in Korea, Jayoung Yoon is a New York based artist known for using human hair in her art. She focuses on using hair as a medium for exploring systems of thought, perception and sensations of the body. Her use of hair connects the viewer’s visual perception of the work to the physical form of the body. Her creations of 2 dimensional work, of both woven forms and geometric shapes, represent the limbo between conscious and unconscious states.

SUTURE AND STITCH: Mark Newport.  October 19, 2018 – January 13, 2019.  Finlayson Gallery.  For Mark Newport, textile and skin are intimately connected. Physical proximity causes sweat and strength, dirt and fear, love and cologne to move from flesh to cloth indiscriminately. While cloth protects skin, either can be cut or torn. Stitches are the means to aid healing and measure the intensity of the wound. 

These works begin by cutting a hole into the cloth. The hole is then filled by weaving with needle and thread. The repairs are made using traditional textile darning and mending techniques learned from studying European and American mending samplers. Whether the area of repair is immediately visible or camouflaged, mending holes leaves a scar that speaks of vulnerability, intimacy, and futility.

 November 28 2018 – January 13, 2019.  Porcella Gallery.   Wu Yu Jung’s Solo Exhibition depicts mended cloth as metaphor for how clothing shapes the identity of the wearer, but also reveals our histories, scars and growth. Her exhibition will document the participants of the mended clothing through artifact, video and photograph, and feature the artist’s experience of visiting her Sister City of San Jose.

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.


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.


  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.