|
|
Appropriation, Acculturation, Transformation
Ninth Biennial Symposium
Marriott Hotel, Oakland, California
October 6-9, 2004
Co-Chairs: Inez Brooks-Myers and Susan Tselos
The theme of the symposium was "Appropriation,
Acculturation, Transformation." Emphasis was on the way the
human activities (such as trade or war) influence the production,
aesthetics, materials, etc. of textiles.
Tours included the studios of well-known artists
such as Lia Cook, Kay Sekimachi, or Anna Lisa Hedstrom, the Hearst
Museum of Anthropology at UC Berkeley, the Fine Arts Museums of
San Francisco, and an exhibition of the work of legendary Native
American basket weaver, Julia Parker, in Walnut Creek.
From the baskets of the Pomo, Wintu, Miwok, and
Hupa people, to the time of the ranchos, when horseback riders
could be identified by the pattern of their serapes, to the California
Gold Rush, when trading ships plied the California/Mexican coast
full of pierced, painted or embroidered fans, embroidered shawls
and rich damasks from China and the Philippines, textiles have
been important to California in general and to the San Francisco
Bay Area in particular. More recently, this is where Dorothy Liebes
became a textile star at the Golden Gate International Exposition
on Treasure Island, 1939-40. Noted University of California scholars
such as Lila M. O'Neale and Ann H. Gayton encouraged textile research,
and Ed Rossbach, Lea Miller, Lydia van Gelder and Lillian Elliot
are some of the gifted artists/teachers who inspired what became
a textile revolution during the 1970s.
--Inez Brooks-Myers
Symposium
Proceedings: Table of Contents and Biographical and Abstract links
THURSDAY, OCTOBER 7, 2004
Plenary Session
- Keynote Address
San Francisco Bay As The Fountainhead and Wellspring
Jack Lenor Larsen
Weaver, Designer, Author
Handwork
Costume
Trade
Symposium Program
Thursday Continued
Cultural
Authentication and Fashion in the Global Factory (Panel)
Hazel A. Lutz, Chair & Moderator
Power of Pattern: Textiles, Politics & Persuasion
(Panel)
Victoria
Rivers, Chair
Individual Papers-South America
Symbols of Infuence
Thursday Continued
FRIDAY, OCTOBER 8, 2004
Plenary Session
Presentation Panel
A Heady Time: The UC Berkeley Fiber Department and its Infuence
Ira
Jacknis, Chair; Suzanne
Baizerman, Moderator
Asian Textiles
Innovation
Friday Continued
Physical Repair to Textiles
Trade
Changing Approaches in the Creation
of Woven Tapestry (Panel)
Mary
Lane, Chair and Moderator
Innovation
Friday Continued
SATURDAY, OCTOBER 9, 2004
Plenary Session
Keynote Address
Old Ways, New Ways
Julia Parker, Coast Miwok, Kashaya Pomo
renowned basket maker
Southwest
Western Infuence on the Textiles of
Meiji Japan (Panel)
Pamela
A. Parmal, Chair;
Joyce Denney, Moderator
Transformations in Pre-Columbian Cloth:
Weaving and Its Aftermath (Panel)
Blenda Femenias, Chair;
Ann
H. Peters, Moderator;
Susan A. Niles, Discussant Panel is in honor of Anne Paul.
Saturday Continued
Threads of Change: The Transformation
of Textiles in the Lao People’s Democratic Republic (Panel)
Charles
Carroll, Chair;
Sandra Cate, Moderator
Mexico and Guatemala
Weaving
Embroidery
Biographical Information:
Ping-Ann Addo received her PhD
from Yale University in Socio-Cultural Anthropology. Her dissertation
explored how women from the Polynesian Kingdom of Tonga who now
dwell in Auckland, New Zealand, employ their traditional arts in
enhancing and reinforcing their community’s cultural identity
as it exists dynamically in diaspora. Her current research addresses
similar issues in the lives of Tongan migrants to California, with
the aim of helping to bring about respect and cultural appreciation
for immigrant cultures in the United States. She has managed community-based
educational art programs, taught classes at the California College
of the Arts in the Anthropology of Art, and curated Pieces of Cloth,
Pieces of Culture: Tapa Textile Arts of Tonga and the Pacific Islands,
an exhibition held during summer 2004 in Oakland. She is jointly
editing a collection of papers tentatively titled, Hybrid Textiles
of the Pacific: Pragmatic Creativity and Contemporary Identity.
Filiz
Adigüzel is Research
Assistant in the Institute of Fine Arts, Dokuz Eylül University
inIzmir, Turkey, where she received her Master of Arts degree with
honors from the Traditional Turkish Arts Department in 2000. She
has studied Turkish manuscripts and illumination at the British
Library and in the National Art Library at the Victoria & Albert
Museum.
Jeni Allenby is formerly a curator
at the National Gallery of Australia. Director of the Palestine
Costume Archive in Canberra (http://www.palestiniancostumearchive.org),
she holds two postgraduate research degrees on Middle Eastern textiles.
She has recently published articles on Middle Eastern textiles
in Selvedge (UK) and Kalimat (Sydney), and has several forthcoming
monographs including Palestinian Embroidery (Interlink, USA) and
Palestinian Costume and Embroidery since 1948 (Brill, The Netherlands).
Her exhibitions include Arabesque: The Mythology of Orientalism
for the National Gallery of Australia, and the highly acclaimed
traveling exhibitions Portraits without Names: Palestinian Costume
and Secret Splendours: Women's Costume in the Arab World.
Philis Alvic, of Lexington,
Kentucky, is an artist, weaver, and writer. She has written Weavers
of the Southern Highlands (University Press of Kentucky, 2003)
and Crafts of Armenia (IESC/Armenia, 2003) and over 100 articles.
She has consulted on craft marketing in Peru, Morocco, Nepal, India,
Armenia, and Southern and Eastern Africa.
Elvan Anmac is Associate Professor
in the Traditional Turkish Arts Department at Dokuz Eylül
University in Izmir, Turkey, where she completed her doctorate
in 1997. Her research focuses on the study of traditional designs
and techniques of Turkish carpets from Kula, Milas, Konya and elsewhere;
she has undertaken field research at traditional weaving centers
in Anatolia and Aegean regions. She has published extensively and
contributed to several exhibitions of decorative textiles.
Suzanne Baizerman serves at
the Oakland Museum of California as Imogene Gieling Curator of
Crafts and Decorative Arts, a position she has held for seven years.
Prior to this, she was director of The Goldstein Museum of Design
at the University of Minnesota. Baizerman's publications include
Chimayó Weaving: the Transformation of a Tradition; Fired
by Ideals: Arequipa Pottery and the Arts and Crafts Movement and
Marvin Lipofsky: A Glass Odyssey.
Sharon Gordon Barber studied
textile conservation at the Abegg-Stiftung in Berne, Switzerland,
and served her apprenticeship at the Los Angeles County Museum
of Art as an Andrew H. Mellon Fellow. She was field conservator
on both the Chotuna-Chornamcap and Pacatnamu Archaeological Projects
in Peru from 1980 to 1987, sponsored by National Geographic Society
and University of California at Los Angeles. As a graduate student
in anthropology, she conducted extensive field research on the
ikat rebozo of Mexico, and documented graphic urban art in Los
Angeles and Mexico City. Her current research traces the manufacture
and distribution of a popular embroidered belt from the barrio
dance floors of twenty-first century Los Angeles to its pre-Hispanic
origins in the mountains of Oaxaca, Mexico.
Vandana Bhandari has wide and
varied experience in the teaching, research and documentation of
Indian textiles. She has studied the traditions and lifestyle of
the people of Rajasthan. Extensively published in journals and
magazines, Dr. Bhandari has authored and compiled books on Fashion
and Textiles. Her works include: Celebrating Dreams: Weddings in
India (1998), Textiles and Crafts of India: Arunachal Pradesh,
Assam and Manipur (1998), the NIFT Millennium Document titled Evolving
Trends in Fashion and Costume, Textiles and Jewellery of India – Traditions
in Rajasthan. Dr. Bhandari has a Master’s Degree in Textiles
and Clothing. The subject of her PhD was Women's Costume in the
Thar Desert. She currently holds a teaching position at the National
Institute of Fashion Technology, New Delhi, India.
Carol Bier is Research Associate
at The Textile Museum in Washington, where she served as Curator
for Eastern Hemisphere Collections from 1984-2001. Her research
focuses on the study of pattern. A historian of Islamic art, Bier
seeks to understand the meanings of geometry in Islamic art, including
architecture and architectural decoration, textiles and Oriental
carpets. She teaches in the Master of Liberal Arts program of Johns
Hopkins University and at the Maryland Institute College of Art.
She is author of The Persian Velvets at Rosenborg (Copenhagen,
1995), editor and contributing author to Woven from the Soul, Spun
from the Heart: Textile Arts of Safavid and Qajar Iran (16th-19th
Centuries) (Washington, 1987), and editor of The Textile Museum
Journal.
Dr. Marlene Breu is an Associate
Professor in the Textile & Apparel area of the Family & Consumer
Sciences Department at Western Michigan University. She has been
doing research in Turkey for the last 15 years.
Susan Brown received her MA
in Museum Studies: Costume and Textiles from the Fashion Institute
of Technology, SUNY. Prior to completing her Master’s she
enjoyed a twelve-year career as a costume designer for theater,
opera and television. She is currently Curatorial Assistant in
the Textiles Department of Cooper-Hewitt, National Design Museum,
and teaches at Parsons School of Design.
Charles Carroll is a graduate
student in Cultural Transformation, Political Economy, and Social
Practice at the University of California, Berkeley. He is the husband
of Dalounny Phonsouny, a weaver from Vientiane, Lao People’s
Democratic Republic. Through work and interactions with Dalounny’s
family and members of her community, and research trips together
in Thailand and Lao PDR, he has achieved an understanding of practices
of textile production in the region.
Patricia Cheesman has conducted
in-depth field research on textiles in Thailand and Laos over the
past 30 years. She has published numerous books and articles and
has been lecturing at Chiang Mai University in the Thai Art Department
since 1984. Originally trained in England in ceramics, Cheesman
worked for the UNDP/ILO in Laos from 1973–81. From 1981–84
she lectured at Sydney and N.S.W. Universities, Australia, on Southeast
Asian art history. She worked for the Crafts Board of Australia
on weaving projects for Lao refugees and contributed to numerous
international exhibitions including Indigo Textiles - Laos, Japan,
Nigeria, Lanna Textiles - Yuan, Lue, Lao, Textiles and the Tai
Experience in Southeast Asia, and Textiles of Asia: A Common Heritage.
She serves as textiles consultant to the Thai Ministry of Education,
the Bank of Thailand collection, and the Lao Women's Union.
Lee J. Chinalai and her husband
Vichai have a business selling Asian and ethnographic antiques,
with a strong focus on textiles and costumes of mainland Southeast
Asia and South China. They travel often to learn and to buy, and
have lived and worked in Thailand and the Middle East. Their clients
include museums, corporations and private collectors. Chinalai
attended graduate school in Asian Studies at the University of
California, Berkeley, and has authored and co-authored a number
of articles, including, “Ceremonial Dragon Covers of the
Li,” “Yao Lan Tan Shamans’ Robes,” “Bridal
Blankets of the Maonan,” “Yantra, Mystical Talismanic
Cloths and Charms,” and “Ceremonial Paintings of the
Yao.”
Maria Christou received her
BA in cultural anthropology from the University of British Columbia.
As a student curator at the UBC Museum of Anthropology, she became
interested in woven structures and continued her studies at Capilano
College, receiving a Diploma in Clay and Textiles. She received
her MA from the University of Alberta. Her thesis is titled An
Ethnographic Study of the Loom and Weaving of the Sa'dan Toraja
of To'Barana'. She was granted a World University Service of Canada
participant's award that enabled her to localize the Sa'dan Toraja
field area.
Diana Collins is an independent
researcher and textile conservator who has preserved Chinese and
Southeast Asian textiles in her textile conservation practice in
Hong Kong since 1986. She has presented lectures and workshops
on textiles in China, South-east Asia, the US and Australia. In
1993 she founded the Textile Society of Hong Kong.
Mary F. Connors is the author
of Lao Textiles and Traditions, Oxford University Press, 1996.
She has also written a number of papers such as Lao Textiles Today
and Tomorrow, presented at the Lao Textile Festival, November 2000
and articles such as Woven Harmony: Basketry and Textiles in Laos,
Arts of Asia, Vol. 33 #5, pp 129-136. Mary also contributed to
Beyond Tradition: Lao Textiles Revisited published by the Museum
at the Fashion Institute of Technology, New York, 1995, Weaving
Tradition: Carol Cassidy and the Woven Silks of Laos, Museum of
Craft & Folk Art, San Francisco, 2004 and Tai Textiles in the
Mekong Region: Continuity and Change, Vietnam Museum of Ethnology,
Hanoi, 2005.
Joanne B. Eicher is Regents’ Professor
in the Department of Design, Housing, and Apparel at the University
of Minnesota. She teaches and conducts research on cultural aspects
of dress with special interest and expertise in Asia and Africa.
She received her PhD and MA from Michigan State University in Anthropology
and Sociology. She is co-author of The Visible Self (2000), exploring
the significance of dress; editor, Dress and Ethnicity (1995),
and co-editor, Fashion Foundations: Early Writings on Dress (2003),
Beads and Beadmakers (1998), Dress and Identity (1995), and Dress
and Gender (1992). She wrote the introduction to National Geographic
Fashion (2001) and is published widely in professional journals.
She is consulting editor for Berg Publishers (Oxford, England)
for the Dress, Body, Culture book series, and Associate Editor
for Scribner's three volume Encyclopedia of Clothing and Fashion
(2005). She has been selected as Editor-in Chief for a ten-volume
World Encyclopedia of Dress and Adornment for Routledge to be published
between 2007 and 2012.
Blenda Femenías (PhD,
University of Wisconsin-Madison) is a Visiting Assistant Professor,
Department of Anthropology, University of Pittsburgh, and a Research
Associate at the Haffenreffer Museum of Anthropology, Brown University.
Her publications include Gender and the Boundaries of Dress in
Contemporary Peru, (University of Texas Press, 2004).
Cynthia Finlayson received her
doctorate in Classical and Ancient Art History from the University
of Iowa in 1998. She is currently Assistant Professor of Classical,
Ancient, and Islamic Art History and Curatorial Studies at Brigham
Young University and Co-Director of the BYU/Syrian Department of
Antiquities Projects. She is actively engaged in excavations in
Petra, Jordan and research and curatorial projects in Damascus
and Palmyra, Syria.
Kate Fitz Gibbon writes on Central
Asian art and arts policy issues. With co-author Andrew Hale, she
received the George Wittenborn Award in 1997. She is Editor of
Who Owns the Past: Cultural Policy, Cultural Property, and the
Law, to be published by Rutgers University Press in Fall 2005.
Yuko Fukatsu-Fukuoka is a PhD
candidate in Textile Conservation Science at Kyoritsu Woman’s
University. She received a MA in Costume Studies from New York
University, and another MA in Textile Design from Tama Art University,
Tokyo. She studies both scientific and technical analysis of Japanese
textiles and costumes. A comprehensive study of the Japanese warrior’s
costume, called Jinbaori, from sixteenth to nineteenth century
will be the subject of her dissertation.
Laurann Gilbertson has been
textile curator at Vesterheim Norwegian-American Museum in Decorah,
Iowa, since 1991. She has a BA in Anthropology and a MS in Textiles
and Clothing, both from Iowa State University. Among her recent
publications are a two-part series on “Using Clothing Styles
to Date Photographs of Women” in The Hoosier Genealogist
and “To Ward Off Evil: Metal on Norwegian Folk Dress,” an
essay in Folk Dress in Europe and Anatolia: Beliefs About Protection
and Fertility edited by Linda Welters.
Barbara B. Goldberg received
her BA and MA from Boston University and also studied at Radcliffe
Seminars. She taught at the Program in Artisanry at Boston University
from 1981–85, Swain School of Design from 1985–88.
She also taught at the University of Massachusetts, Dartmouth,
from 1988–2002, where for ten years she was Director of MFA
Programs in Artisanry, Fine Arts, and Design at the College of
Visual and Performing Arts. Goldberg’s work has been shown
throughout the US, and in France, Japan, and Chile. Her work is
in corporate and private collections, Museum of Fine Arts, Boston,
and the Aichi Shibori Archive in Nagoya, Japan. She is currently
a full-time studio artist.
Cecilia Gunzburger is Assistant
Curator at The Textile Museum in Washington, DC, where she specializes
in indigenous textiles of the Americas. She received her MA in
costume and textile studies from SUNY’s Fashion Institute
of Technology. Her thesis explored technological change over the
20th century in Huichol woven textiles from northwestern Mexico.
A weaver herself, she has also worked with textiles at the Museum
at FIT and the Brooklyn Museum of Art.
Rebecca Hall received her Master’s
degree in historic Textiles and Clothing from the University of
Rhode Island in 2002. Her Master’s thesis research focused
on Lao textiles. She is currently a PhD student in Art History
at the University of California, Los Angeles focusing on Southeast
Asian and Islamic art. Hall has also interned at the Los Angeles
County Museum of Art, UCLA Fowler Museum of Cultural History, and
the Peabody Essex Museum. She is an active weaver and textile artist,
having received a BFA in fiber art from the Kansas City Art Institute.
Ann Lane Hedlund directs the
Gloria F. Ross Center for Tapestry Studies, in the Arizona State
Museum, University of Arizona, where she also serves as curator
of ethnology and professor of anthropology. Hedlund’s research
focuses on the cultural organization of artists and the social,
economic and political dimensions of textile production.
Joyce Herold is Curator of Ethnology,
Denver Museum of Nature & Science, where she oversees one of
the nation's most significant Native American collections, including
treasures from the Arctic to the Everglades. Her profiles of Southwestern
and Plains Indian women and their basketry and clothing arts appear
often in American Indian Art Magazine.
Pat Hickman is Professor of
Art at the University of Hawaii at Manoa, where she has headed
the Fiber Program in the Art Department since 1990. Before that
she completed her graduate work at the University of California,
Berkeley, living and working there as an artist during the formative
years when the Fiber movement was at its height in the San Francisco
Bay Area. In 1998 she received a Hawaii State Foundation on Culture
and the Arts Individual Artist Visual Arts Fellowship. She is past
recipient of the National Endowment for the Arts, Individual Artist’s
Grants, 1986-87 and 1994-95. With the late Lillian Elliott, she
exhibited collaborative work in the Lausanne Biennial in Switzerland,
1985, devoted to Textiles as Sculpture. Hickman curated two traveling
exhibitions with catalogs, one in 1987, Innerskins/Outerskins:
Gut and Fishskin, and in 1993, Baskets: Redefining Volume and Meaning.
Her artwork is in several major collections, including that of
the Oakland Museum, the Honolulu Academy of Arts, the Hawaii State
Art Museum, and the Renwick Gallery of Smithsonian Institution.
In Hawaii Hickman’s commission, Nets of Makali’i–Nets
of the Pleiades, stands as monumental entrance gates for the Maui
Arts and Cultural Center.
Joy Hilden has a degree in Fine
Art from the San Francisco Art Institute. She taught secondary
art and English in the Mount Diablo School District. She did field
research in Bedouin weaving in Saudi Arabia for twelve years and
traveled throughout the Arabian peninsula and other parts of the
Arab world documenting techniques of spinning, weaving and dyeing,
as well as terminology and anthropological information. She has
taught classes and workshops and has written numerous articles
and papers, and an unpublished book on the subject of Bedouin weaving.
Publications have appeared in Aramco World (May–June 1988),
Threads (February 1989), Oriental Carpet and Textile Studies, (vol.
IV), and Creating Textiles: Makers, Methods, Markets, Textile Society
of America Biennial Symposium, 1998.
Shiralee Hudson is a museum
planning consultant with LORD Cultural Resources Planning & Management
with its headquarters in Toronto, Canada. She is a graduate of
the Master of Museum Studies Program at the University of Toronto.
Prior to beginning her Master’s, she was employed by the
National Museum of Ireland in Dublin and had the opportunity to
work closely with their extensive textile collection, which inspired
this TSA presentation.
Joyce Hulbert has been weaving
tapestry since the early 1980s. She wove for the Scheuer Tapestry
Studio in New York City. Her tapestries have been exhibited widely,
including Fiberart International 1991 and 1999. Recently, Hulbert’s
creative energies have shifted towards assemblage/collage, incorporating
textiles with found objects, frottage and drawing. Since 1988 she
has worked in textile restoration and conservation. Sole proprietor
of Joyce Hulbert Tapestry and Textile Restoration, she currently
lives and maintains a studio in Berkeley, California.
Ira Jacknis is Research Anthropologist
at the Phoebe A. Hearst Museum of Anthropology at the University
of California, Berkeley, where he has worked since 1991. Before
coming to Berkeley, he worked at the Brooklyn Museum of Art, the
Newberry Library, and Smithsonian Institution. He is the author
of The Storage Box of Tradition: Kwakiutl Art, Anthropologists,
and Museums, 1881–1981, and Carving Traditions of Northwest
California. His research on the Design Department at Berkeley is
part of his on-going investigation of the relationships between
artists and anthropologists.
Tina Kane is Conservator in
the Department of Textile Conservation at The Metropolitan Museum
of Art and principal of Tina Kane, Textile Conservation & Restoration
in Warwick, New York. She is adjunct instructor at Vassar College,
where she teaches in the Medieval and Renaissance Studies Program.
She received an MA in Comparative Literature from the University
of California, Berkeley, and has published articles on tapestry
and other subjects.
Keiko Kobayashi is an artist
and researcher of traditional weaving. After graduating from California
College of Arts and Crafts, where she learned textile history from
Ruth Boyer, she studied Japanese textile history under Professor
Tomoyuki Yamanobe at Tama Art College in Tokyo and wrote her MA
thesis entitled, “Double Cloth Weave on Back-strap Loom in
Hachijo Island.” At previous Textile Society of America symposia
she presented “Recreating a Warpfaced Compound Weave with
the Jacquard Mechanism-Considering Heizo Tatsumura” (1998),
and “Creative Methods of Reproduction: Two Japanese Weaving
Innovations Developed in Imitation of Complex Foreign Textiles” (2002).
She has published an article in the Textile Museum Journal 2001-2002,
on the new kasuri techniques invented after the Meiji period titled, “The
Effect of Western Textile Technology on Japanese Kasuri: Development,
Innovation, and Competition.”
Margo Krager is the owner of
ReproductionFabrics.com, an online source of reproduction fabrics
(1775-1970) with a storefront located in Bozeman, Montana. She
received a Bachelors of Science degree in Medical Technology in
1970 from Michigan State University. In 1984 she switched needles
and became a fabric retailer.
Sumru Belger Krody is Associate
Curator for Eastern Hemisphere Collections at The Textile Museum
where she has worked since 1994. She is also Managing Editor of
The Textile Museum Journal. Curator of Flowers of Silk and Gold:
Four Centuries of Ottoman Embroidery (2000) and author of its accompanying
catalog, Krody has coordinated and co-curated several Textile Museum
exhibitions, including most recently Floral Perspectives in Carpet
Design (2004). Born in Izmir, Turkey, Krody earned a BA from Istanbul
University and an MA in Classical Archaeology from the University
of Pennsylvania. Since 1998 Krody's research has focused on embroidery
traditions of cultures along the Mediterranean rim with the further
focus of the role of textiles as exchange medium, especially in
trade. She has presented numerous lectures and published several
articles on Ottoman and Greek Island embroidery traditions, the
subject of her next major exhibition.
Christine Laffer chose to pursue
weaving in the midst of studying architecture at the University
of Illinois in Chicago. Her interest in textiles turned into the
specific study of tapestry, training under Jean Pierre Larochette
at the San Francisco Tapestry Workshop. In 1985 she studied at
the Manufacture Nationale des Gobelins and followed that with an
MFA degree from San Jose State University (1995). She has exhibited,
lectured and taught across the U.S.
Mary Lane is an artist and art
historian. She was a founding member of the Scheuer Tapestry Studio
in New York City. Her tapestries have been published and exhibited
internationally and have been collected by both private and corporate
art collections, including the IBM Corporation, the State of Maine,
Northland Investment Corporation and Mary Bridge Children’s
Hospital. She has taught at Parsons School of Design, University
of Maine and Evergreen State College, and has published widely
on contemporary textiles.
Donna F. LaVallee is a Master’s
degree candidate at the University of Rhode Island in textile conservation.
She is currently completing an internship at the Cooper Hewitt
National Design Museum and will graduate in May 2005. Her thesis
is on sheer overlay fabrics used in textile conservation. She spent
twenty-five years as a community nutritionist before returning
to school to change her avocation for weaving, embroidery and sewing
into a vocation in textiles.
Abby Lillethun received her
PhD in the history of textiles and dress from Ohio State University.
Her dissertation examined the foundation, entry, emergence, and
practice of batik in America. She continues to research Asian influences
on western dress and textile design during the early twentieth
century. She also investigates Bronze Age Aegean (Minoan) dress
through garment recreations based on art and archeological textile
evidence. Publications include “The Reconstruction of Aegean
Cloth and Clothing” in METRON (2003). In June 2004 she presented “Apparent
Movement and Character of Pleated Cloth in Bronze Age Aegean Skirt
Flounces” at Ptychosis = Folds & Pleats: Drapery from
Ancient Greek Dress to 21st Century Fashion, part of the Cultural
Olympiad in Athens, Greece. As a member of the faculty of the University
of Rhode Island, she teaches historic, social, and cultural aspects
of dress.
Dr. Hazel A. Lutz completed
her BA in Indian Civilization and Language Studies (University
of Chicago), her MA in Anthropology (University of Minnesota),
and her PhD in the Department of Design, Housing & Apparel
(University of Minnesota). Her doctoral research, “Design
and Tradition in an India-West Africa Trade Textile: Zari-Embroidered
Velvets,” analyzed design development in the contemporary
production and trade network for gold-embroidered velvets produced
in Chennai, India for consumption in culturally defined West African
markets in Nigeria and around the world. She is independently employed
as a fiber artist and as a scholar of South Asian textiles and
dress. In January 2005 she begins an 18-month course of artistic
study under the Mentorship Program at the Textile Center of Minnesota.
Suzanne P. MacAulay,
PhD, chairs
the Visual and Performing Arts Department at the University of
Colorado, Colorado Springs. She is currently writing a book based
on New
Zealand expatriate narratives, which analyzes diaspora, memory, culture and
identity politics visà-vis the stories of these “professional” exiles.
Her article, “Diaspora by Degree: Narrative and Performance in Interviews
of Expatriates from Wanganui, New Zealand,” appears in Journal of American
Folklore (2004). MacAulay’s Stitching Rites, about creativity and folk
art revitalization, received Honorable Mention for the American Folklore Society’s
Elli Köngäs- Maranda Prize in 2001. Research interests include ethnoaesthetics
and material culture emphasizing Hispanic and South Pacific textiles.
Yuka Matsumoto received her
Master’s in Home Economics from Nara Women’s University,
where she is currently enrolled in a doctoral course of study.
Her dissertation focuses on cultural meanings and the creativity
of Indonesian fashion designers. She teaches clothing science and
culture at Kochi Women’s University in Japan. In 1999 she
published “Internationalizing Fashion, Tradition and Creativity
in Indonesian Dress Culture,” The Live Dress Culture, Its
Cultural Context edited by Kimiko Yokogawa, (Kyoto: Kagakudojin,
pp. 166-77, in Japanese), and in 2004, she published “Indonesian
Fashion Design and National Politics,” Asian Climate and
Its Costume Culture edited by Mihoko Domyou and Teruko Tamura (Tokyo:
The University of The Air, pp. 211-22, in Japanese).
Linda S. McIntosh is a PhD Candidate
at Simon Fraser University, BC, Canada. Her doctoral research focuses
on textiles and dress of the Phuthai ethnic group and neighboring
ethnic minority groups living in southern Laos. Research for her
Master’s degree in Southeast Asian Studies examined the use
of hand-woven textiles to create a national identity in Thailand.
She has given presentations based on her research in Thailand and
Laos at previous Textile Society of America conferences and other
venues and has published articles about textiles and weaving in
Thailand, Cambodia, and Laos.
Priya Ravish Mehra is a graduate
in Fine Arts, with specialization in Textiles, from Visvabharti
University, Santiniketan, India. She studied Tapestry Weaving at
the Royal College of Art, London, and West Dean College, Sussex,
under the aegis of Commonwealth Foundation and Charles Wallace
India Trust Fellowships. She has been Research Consultant in the
States of Bihar and Gujarat, India, for the Project Saris of India
sponsored by the Development Commission Handlooms, Ministry of
Textiles from 1987–2002. Co-author of Saris of India – Bihar
and Bengal, vol. 2, published by Wiley and Eastern National Institute
of Fashion Technology and AMR Vastra Kosh, she is also co-author
of Saris of India: The Gujarat Manuscript (forthcoming). She initiated
a creative weaving program for the female inmates of Tihar prison,
Delhi, a project sponsored by the Danish Embassy from 1993–96.
For the last ten years she has worked with Tushar Kumar on Benaras
Brocades for Baya, The Weaver Bird Studio. A weaver herself, she
has exhibited tapestries in solo and group shows in India and abroad.
Lucy Norris received her PhD
in Social Anthropology from University College London in 2003.
Her thesis investigated the life-cycle of clothing in contemporary
urban India, from domestic consumption and use to strategies of
reuse and recycling. Her research juxtaposes two opposing trajectories
of waste garments in the global marketplace: the transformation
of Indian clothing into new products exported abroad, and the recycling
of Western garments in India. Having presented papers at anthropological
conferences in the USA and Europe, she is now preparing a manuscript
based upon her doctoral research, developing work published in
the Journal of Material Culture, and chapters in Old Clothes, New
Looks (Berg) and Clothing and Materiality (Berg). She was previously
the Collections Manager at the Horniman Museum, London.
Karen Olsen received her BA
in Anthropology from University of Maryland. She has been executive
secretary at Gunston Hall Plantation, special-exhibitions assistant
at Vesterheim Norwegian-American Museum, and a bookkeeper for the
National Geographic Society. Currently, she is an independent researcher
focusing on topics related to needlework.
Ismail Oztürk teaches at
Dokuz Eylül University in Izmir, Turkey, where he received
his doctorate in 1984 from the Institute of Social Sciences. A
specialist in traditional Turkish arts, he is the author of three
books, Introduction to Traditional Turkish Handicrafts (Urun Publications,
Ankara, 1998), Dying Wool With Natural Vegetable Dyes (Dokuz Eylul
Publications, Izmir, 1999), and Bibliography of Carpet, Rug, Felt
and Fabric Arts (Ataturk Foundation, Ankara, 2000); the last publication
is co-authored with Gonca Karavar.
Claire Campbell Park received
her MFA from the University of California, Los Angeles, in 1978.
Her exhibits include Made in California 1900-2000: Art, Image and
Identity at the Los Angeles County Museum of Art; The Twelfth International
Biennial of Miniature Textiles in Szombathely, Hungary; and The
International Textile Competition in Kyoto, Japan. She has lectured
at the Louvre and Ecole Nationale Supérieure des Arts Décoratifs
in Paris; Seian College of Art and the World Textile Conference
in Kyoto; Apeejay College of Fine Arts in Jalandhar, India; and
the Center for Middle East Studies at the University of Arizona.
She has served as an exhibit consultant for The Textile Museum
and published articles in American and French textile journals.
Pamela A. Parmal is David and
Roberta Logie Curator of Textile and Fashion Arts at the Museum
of Fine Arts, Boston, where she oversees the collection of Asian
textiles and costume. At the Biennial meeting of CIETA in 2001,
she presented the related paper, “The Colors of Progress:
Aniline Dyes in Meiji Japan,” which subsequently appeared
in the 2003 CIETA Bulletin published in honor of Krishna Riboud.
Most recently Parmal curated the MFA exhibition, Draped in Dragons:
Chinese Court Costume, on display from December 3, 2003, through
September 20, 2004.
Ann H. Peters studies the roles
of textiles and the meanings imparted by dress in the Andean region
of South America. She has worked on the forms, techniques and imagery
of Paracas textiles since 1978. She earned a PhD in Anthropology
from Cornell University in 1997, with a dissertation on Paracas,
Topará and Early Nasca: Ecology and Society on the South
Central Andean Coast. She currently researches aspects of material
culture of Paracas Necropolis and Ocucaje in southern Peru, and
Alto Ramirez in northern Chile.
Elena Phipps is currently co-curator
for a special exhibition: Tapestries and Silverwork from the Colonial
Andes at The Metropolitan Museum of Art (September 27 – December
12, 2004). She has been a conservator in the Textile Conservation
Department at the museum since 1977, with a PhD from Columbia University
in Pre-Columbian Art History and Archaeology. She has published
on various aspects of Andean textiles, including “Color in
the Andes: Inka garments and 17th Century Colonial Documents,” in
DHA (2003) and “Tornesol: a Colonial Synthesis of European
and Andean Textile Traditions,” in TSA Symposium 2000. In
conjunction with her research, she has been a Museum Guest Scholar,
Getty Research Institute for the History of Art and the Humanities,
and she received a National Endowment for the Humanities Fellowship
for Independent Scholars.
Deborah Pulliam is an independent
historian and writer working on a Master's in history at the University
of Maine. Her bachelor's in anthropology is from the College of
William and Mary. She has been researching early handknitting for
more than twenty years, examining artifacts in North America and
Europe. She has written many articles for popular publications
such as Piecework and has presented papers at juried symposia,
including “Knitted Silk and Silver: Those Mysterious Jackets” (TSA,
2002), “No Family is Better Supplied with Handsome and Comfortable” (CSA,
2001), “Mitten Production in Nineteenth Century Downeast
Maine” (Dublin Seminar, 1997), and “Looking at John
Peters' Clothing” (Dublin Seminar, 1999).
Jane W. Rehl received
her PhD in Art History from Emory University under the direction
of Dr.
Rebecca Stone-Miller. During her fieldwork, she examined over 260
DWW textiles dating from ca. 300 BCE – 1540 CE in museums
and private collections in North and South America, as well as
in Europe. She has taught at Skidmore College, Rutgers University,
and Emory University, and is presently Professor of Art History
at the Savannah College of Art and Design. She has also served
as Assistant Curator and Curator of several museum and archival
collections and is a member of the Museum Studies faculty at SCAD.
While at Emory, she curated the exhibit, The Social Life of Kuba
Cloth, for the Michael C. Carlos Museum of Art and Archaeology.
At the Textile Society of America’s Seventh Biennial Symposium
in 2000, she presented “The Order of Things in Ancient Peru:
Visual Metaphors in Wari-Associated DWW Textiles.”
Elizabeth A. Richards is a PhD
candidate in the History of Art and Archaeology at Cornell University.
She organized New Media and Global Visual Culture: Interventions
and Interpretations, a graduate symposium in the spring of 2003.
She was the organizer of the 2003-2004 Visual Culture Colloquium
at Cornell, a forum for interdisciplinary discussion on the arts,
media and material culture. Sponsored speakers included Katy Siegel,
Arindam Dutta, and Fred Wilson. Richards teaches ‘Fabrics
in Modern American Art: Not just your Grandma’s Macramé,’ a
survey of the use of fabrics in American art from Abstract Expressionism
to the present.
Victoria Z. Rivers is Professor
at the University of California Davis in the Design program. She
is engaged in textiles research ranging from the producing and
exhibiting of dyed and embellished textile artworks to researching
and publishing subjects on South and Southeast Asian textiles and
curating exhibitions. She authored The Shining Cloth: Dress and
Adornment that Glitter (Thames and Hudson, London and New York).
Kathy Rousso received her MFA
in Textile Arts and Costume Design from the University of California,
Davis. In 2001 she was awarded a Fulbright grant to conduct research
in Guatemala on maguey net bags, which led to an exhibit at the
Museo Ixchel del Traje Indigena in Guatemala City. Numerous presentations
on her research include a paper at the 2003 International Vernacular
Conference in Puebla, Mexico. She has written many articles and
is currently working on a book.
Ann Pollard Rowe is Curator
of Western Hemisphere Collections at The Textile Museum in Washington,
DC. In addition to curating numerous exhibitions, she has published
extensively on indigenous Latin American Textiles. Her books include
Warp-Patterned Weaves of the Andes (1977), A Century of Change
in Guatemalan Textiles (1981), Costume and Featherwork of the Lords
of Chimor (1984), and Hidden Threads of Peru: Q’ero Textiles,
with John Cohen (2002). She has edited several volumes, including
The Junius B. Bird Conference on Andean Textiles (1986) and Costume
and Identity in Highland Ecuador (1998), and written many articles
for The Textile Museum Journal.
Jennifer E. Salahub completed
her undergraduate degree and Master’s in art history at Concordia
University in Montreal. She received her PhD in the history of
design from the Royal College of Art, London, England in 1998.
Her dissertation, Dutiful
Daughter: Fashionable Domestic Embroidery and the British Model, 1764–1911,
reflects her ongoing interest in domesticity, embroidery and identity. This
interest is seen in an on-line exhibition entitled The Cult of Domesticity
1840–67 at the McCord Museum of Canadian History, Montreal. In 2001 she
was the recipient of the Veronika Gervers Fellowship at Toronto’s Royal
Ontario Museum. She has taught the history of art at Montreal’s Marianopolis
College, Concordia University, University of Ottawa, and the University of
Calgary. She now lives in Calgary and teaches art and textile history at the
Alberta College of Art & Design.
Jo Ann Stabb received her MA
in Costume Design from the University of California, Los Angeles.
Her emphasis on costume/fashion/wearable art has been the foundation
for both her studio work and her research lectures and publications.
She served on the Design faculty and was Curator of the Design
Collection at the University of California, Davis, from 1968–2002.
Along with Katherine Westphal, she presented North American Wearable
Art at the World Crafts Council Conference (1980). She served as
Executive Producer for the video program Wearable Art from California:
Katherine Westphal (1985) and has written articles on Westphal
for Surface Design Journal, San Francisco Museum of Craft and Folk
Art’s Report, and the Introduction to Westphal’s Oral
History for the Bancroft Library, UC Berkeley, 1988.
Susan Strawn received her PhD
in Textiles and Clothing from Iowa State University, Ames. Her
dissertation is an interpretive study of Diné be’ íína’ (DBI),
a contemporary community-based organization working to restore
Navajo-Churro sheep and wool to Navajo weaving. As a fiber artisan
interested in historic and ethnographic textiles, her research
focuses on artisan sustainability through understanding process
and culture.
Sadae Torimaru, a professor
at Japan's Osaka University of Arts, began her career as a weaver
on complex, multi-harness looms. For the last eighteen years, she
researched the weaving traditions of China's minority peoples.
Recent publications include Fabric Graffiti (1999), a photo essay
of field trips through Guizhou, China; Spiritual Fabric (2001),
the culmination of a 15-year field research project among the Miao;
and Imprints on Cloth (2004), a detailed record of Miao textile
techniques.
Tomoko Torimaru has spent the
last several years in China studying the historical and modern
techniques of weaving traditions, particularly China's tablet weavings
and textile bands. She is currently a PhD candidate at Donghua
University, Shanghai China. Tomoko recently presented a paper on
her Chinese textile research at the Royal Melbourne Institute of
Technology as part of the Intermesh symposium/5th ISS, 2004.
Susan J. Torntore is Assistant
Professor of Textiles and Clothing and Curator of the Center for
Visual Learning in Textiles and Clothing at Iowa State University,
Ames. She received her PhD from University of Minnesota. Specializing
in history and cultural perspectives, Torntore focuses on change
in dress and meanings of dress in a global context through cross-cultural
exchange. She has conducted research in the Italian coral bead
industry, on Norwegian-American Hardanger embroidery, and on Hmong-American
dress in Minnesota. Her publications include Fashion Foundations:
Early Writings on Fashion and Dress; Cloth is the Center of the
World: Nigerian Textiles, Global Perspectives; and Patterns and
Passages: Quilts and Human Experience.
Yoshiko Iwamoto Wada is an artist,
scholar, and curator who has been active in textile art research
and the curatorial field since the 1970s and has been teaching
and exhibiting
internationally for 30 years. She co-authored the definitive publication Shibori:
The Inventive Art of Japanese Shaped Resist Dyeing (11th ed.). Her 2002 publication,
Memory on Cloth: Shibori Now, is hailed as one of the most inspiring books
in textile art. It was chosen by the Associate Press as one of the five important
books in fashion.
Wendy Weiss has taught textile
design at the University of Nebraska since 1986, where she also
has been director of the Robert Hillestad Textiles Gallery since
1996. In her own creative work, she collaborates with sound artist/inventor
Jay Kreimer. Their most recent project is called Traveler’s
Field, an installation with three 121” long x 28” wide
x 8” high woven fields set on the floor and a projected DVD
film of an historic Midwestern bridge at night. Beneath the weavings
are motorized rotating devices that react to movement in the space
and cause subtle shifts in the wiry fabric fields. The presence
of viewers activates sensors, which trigger both the movement of
the weavings and a digitally manipulated sound score.
Lauren Whitley is
assistant curator in the Department of Textile and Fashion Arts
at the Museum of Fine Arts, Boston. She holds an MA in Museum Studies
from the Fashion
Institute of Technology, New York, and received her BA in Art History from
Trinity College, Hartford, CT. Whitley has worked at the MFA since 1992 during
which time she curated several exhibitions including High Style and Hoop Skirts:
1850s Fashion and Threads on the Edge: The Daphne Farago Fiber Art Collection.
She is currently coordinating The Quilts of Gee’s Bend, scheduled to
open at the MFA in June 2005.
Michelle Willard completed her
Master’s program in Anthropology at the University of British
Columbia in Vancouver. Her thesis, “Re-Representing Authenticity
Through Factory-Printed Cloths of Ghana,” focuses on how
factory-printed cloths retain spiritual, cultural and symbolic
significance in West Africa as well as abroad in museum settings
despite being mass-produced in factories. Her exhibition Wearing
Politics, Fashioning Commemoration: Factory-Printed Cloths of Ghana
(2004) is based on her research and field collection of cloth from
Ghana. The exhibit approaches the topic of factory-printed cloth
as highly fashionable and communicative cloth and demonstrates
how these cloths are valued, existing alongside traditional Ghanaian
cloths such as kente and adinkra.
Liz Williamson is a leading
practitioner and contributor to Australian textiles. She studied
Textile Design at RMIT, Melbourne, 1981-83, and established a weaving
studio in Sydney in 1985. She is currently lecturer in design and
Textiles Co-ordinator at the School of Design Studies, College
of Fine Arts, University of New South Wales, Sydney, Australia,
where she is also completing a Master of Fine Arts degree. Her
textile practice embraces weaving textured wraps and scarves and
works for exhibitions in Australia and internationally. Her research
involves examining repair processes on cloth. Recently, she completed
research residencies in Jacquard weaving at the Centre for Contemporary
Textiles, Montreal, Canada; Renaissance Italian textiles at Lisio
Foundation in Florence, Italy; and Irish Damask design at Ulster
University in Belfast, Northern Ireland, UK.
Elayne Zorn is
Associate Professor of Anthropology in the Department of Sociology
and Anthropology at the University of Central Florida. Her PhD
in Anthropology
is from Cornell University. She has been a Fellow of the National Endowment
of the Humanities, a Fulbright Scholar in Bolivia, and recipient of fellowships
from the Social Science Research Council, National Science Foundation, and
Inter-American Foundation. She is the author of Weaving a Future: Tourism,
Cloth, and Culture on an Andean Island (University of Iowa Press, 2004), and
articles and book chapters published in the U.S. and Latin America on aspects
of Andean culture in Peru and Bolivia. She has carried out research in Quechua-speaking
Andean communities for more than twenty-five years.
Updated: May 17, 2005
|
