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Textile Narratives and
Conversations
Tenth Biennial Symposium
Toronto, Ontario, Canada
October 11-14, 2006
Co-chairs: Nataley Nagy, Executive Director of
the Textile Museum of Canada, and Frances Dorsey, fiber artist
(Nova Scotia College of Art and Design)
Toronto, Ontario, Canada
was the site of the 2006 biennial Textile Society of America
(TSA) Symposium. From October 11 - 14, 2006,
Harbourfront Centre, overlooking the northern shore of Lake Ontario,
provided an exciting setting in which to explore the conference
theme of Textile Narratives and Conversations.
Textile Narratives
and Conversations served as a springboard for discussions across
disciplines, as well as for in-depth explorations
of specific topics. Toronto was a particularly appropriate
venue for such cross-conversations because of the international
diversity
of its population, and because of the many cultural and educational
institutions that took part in the Symposium. The symposium
included tours and events in other parts of the city as well, so
that
participants
were able to visit such local galleries and institutions as
the Textile Museum of Canada, the Bata Shoe Museum, the Gardener
Museum, the Royal Ontario Museum, and the Art Gallery of Ontario.
Student/New Professional Scholarships for TSA
Conference, Toronto, 2006
The Textile Society of America was pleased
to announce the establishment of “Student/New Professional
Scholarships” for the
TSA Conference in Toronto, Oct. 11 – 14, 2006. Please see
this
page for more information.
Symposium
Proceedings: Table of Contents
and Biographical and Abstract links
TEXTILE NARRATIVES + CONVERSATIONS
Harbourfront Centre, Toronto, Ontario
October 11-14, 2006
Wade
Davis, Keynote Address (bio only)
Mapping New Territories: Memory,
Materiality and Process
Organized
session, Ruth
Scheuing, chair
Textile/Trade
Museums and Language
Culture and Context: Innovations in Education
Organized
Session, Wendy Weiss, chair; Jennifer
Angus, discussant
Women and Cloth
Objects of Memory
Artistic Production
Cultural Transitions
Textile Narratives in Book Form
Organized panel;
Robin Muller, moderator
Textiles – Math = 0; Textiles + Math = ∞
Plenary
session organized by Carol Bier, chair; David
Masunaga, discussant
Modernist Women
Constructing Domesticity
The Interaction between Idea and Process
The Thread of Khadi’s Story is Still Being
Spun
Organized session; Hazel
A. Lutz, chair and moderator
Textiles in the Political Arena
Carpets
Breaking Technological Boundaries: Conversations
and Collaborations
Organized
session; Vita
Plume, chair
Sustainability of Handwoven Carpets in Turkey:
Issues Affecting the Preservation of an Endangered Textile Art
Organized
panel; Charlotte Jirousek, chair and discussant
Symbolic Garments
Woven Messages: New Directions in Andean Textile
Research
A Panel in Honor of Ed Franquemont
Organized
panel; Andrea
M. Heckman,
chair; Christine Robinson
Franquemont and Nilda
Callanaupa, discussants
Bast and Leaf Fiber Weaving: Cultural Preservation
in the Asia-Pacific Regions
Organized
session, Roy
W. Hamilton,
chair and discussant
Andean Technology
Symbolism and Narrative
Narratives In and About Chinese Embroideries
Ritual Textiles
Cultural Evolutions in Central America
Biographical
Information:
Filiz
Adigüzel Toprak is Research Assistant in the Institute
of Fine Arts, Dokuz Eylül University in Izmir, 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 in 1998-99. She also received
a postgraduate diploma from the Asian Art Department of The Brisith
Museum’s Islamic Art Programme in 2004. Currently, she is
writing her Ph.D. dissertation about the signs of sultanate in
the Ottoman Miniature Paintings of 16th century.
Jeni
Allenby is
director of the Palestine Costume Archive (www.palestinecostumearchive.org),
Canberra. Former Curator at the National Gallery of Australia,
her exhibitions include “Portraits without names: Palestinian
costume,” with conference presentations on Middle Eastern/Islamic
heritage including the 8th and 9th Symposiums of the Textile Society
of America, Senses and Sentiments of Dress: a Symposium Recognizing
the Career of Joanne B Eicher (University of Minnesota), Arts and
Human Rights (Australian National University) and Islam, Human
Security and Xenophobia (Melbourne).
Cecilia
Gunzburger Anderson is Assistant Curator for Special Projects at The Textile Museum
in Washington, DC, where she currently manages
exhibition and cataloguing projects. Her research has focused on
indigenous textiles of the Americas, and she recently edited The
Textile Museum Thesaurus, a cataloguing terminology for textiles.
She received her M.A. in fashion and textile studies from SUNY’s
Fashion Institute of Technology. A weaver herself, she has also
worked with textiles at the Museum at FIT and at the Brooklyn Museum
of Art. Jennifer
Angus is an artist, writer and curator
living in Madison, Wisconsin. She is Associate Professor of
Textile Design
at the
University of Wisconsin – Madison. Jennifer received her
education at the Nova Scotia College of Art and Design (B.F.A.
1984) and at the School of the Art Institute of Chicago (M.F.A.
1991). She has exhibited her work internationally including Australia,
Spain and Japan. She has been the recipient of numerous awards
including Canada Council and Ontario Arts Council grants. Three
of her works are in the permanent collection of the Canadian Embassy
in Bangkok, Thailand. Recently she exhibited “A Terrible
Beauty” at the Textile Museum of Canada and has an upcoming
show at the American Museum of Art and Design in New York City.
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.
Lucy
Arai earned her Master
of Fine Arts degree (1983) and Graduate Certificate of Museum Practices
(1985) from the University of Michigan
and a Bachelor of Fine Arts degree (1979), cum laude, from the
University of South Carolina. She learned sashiko while apprenticing
under her uncle in Japan as a young teen and continues to practice
and refine this folk textile technique. Mathematics infuses her
life, beginning with basement sessions taught by her mathematician
father and architectural engineering studies, continuing through
her applied geometry by laying out temari (Japanese embroidered
balls) patterns on spheres with her mother. Arai has an innovative
approach to sashiko, combining her Japanese and Western art backgrounds
by using handmade papers for collage and sculpture. Arai is an
independent artist who is an active participant in the U.S. Department
of State Arts in Embassies Program, a nominee for the 2005 Louis
Comfort Tiffany Foundation Biennial Award, and the San Francisco
Asian Art Museum AsiaAlive artist in residence for December 2005/January
2006.
Ingrid
Bachmann (www.ingridbachmann.com)
is an interdisciplinary artist who explores the complicated
relationship between the material
and virtual realms. Recent developments in the field of bio materials
provoke some interesting and disturbing observations of our understanding
and conception of the body and our complex relationship to human,
animal and machine life. Bachmann uses redundant, as well as new
technologies, to create generative and interactive artworks, many
of which are site-specific. Her installations and projects have
been presented at exhibitions and conferences nationally and internationally.
She is presently Associate Professor in Studio Arts at Concordia
University in Montreal, Quebec and is the co-editor of Material
Matters, a critical anthology. She is also a founding member of
the Interactive Textiles and Wearable Computing Lab of HEXAGRAM:
Institute for Research and Creation in the Media Arts.
Michelle
Beauvais se permet ici de tracer l’itinéraire
d’un travail de recherche en construction textile. Son apprentissage
de la technique du « fléché » (du plus
simple au plus complexe), son historicité (du moins ce que
l’on en sait) et une formation en teinture végétale
s’échelonnent sur une période de 4 ans (1976-1980).
De la confection de ceintures fléchées de type traditionnel
et de facture ancienne, à l’enseignement de cette
technique unique en passant par des conférences et des ateliers,
elle devient en 1997 membre d’une Guilde de Tisserands : « Plus
j’apprends à tisser, plus je comprends que le « fléché » est
un tressage ». En 2004, elle met sur pieds une Guilde des étoffes
tressées / the Braided Fabrics Guild. Comme il y a absence
de manuels en français qui abordent les structures de bases
des étoffes, cette affirmation porte à innover et
lui sert alors de motivation. Cette recherche l’amène à publier
en 2005 une monographie spécifique au «fléché » Le
tressage au-delà du trois brins.
Kimberly
Berman, Department
of Textiles and Apparel Cornell University Ithaca NY, is an M.A.
student at Cornell University in Textiles
and Apparel, with the related field in Development Sociology. Her
M.A. thesis addresses “Development of a Sustainability Model
for Turkish Handwoven Carpet” and she expects to graduate
in summer 2006. In Fall 2003 she enrolled in an M.S.-level course
in Fiber Science at Kansas State University. She received her B.A.
in 2002 in Costume Design from Cornell University. In summer 2004
she worked as a Photographer/Archivist, at the Center for Folklife
and Cultural Heritage, Smithsonian Institution, Washington, DC,
and in spring 2004 she was Archive Manager for Documentary Educational
Resources, Waltham, MA, responsible for organizing the photographic
archives. Zane
Berzina is an artist, designer and researcher,
originally from Latvia. She works on interdisciplinary projects
across the
fields of science, technology and the arts. Her practice and research
evolves around responsive and interactive textiles, new textile
materials, processes and technologies as well as biomimetic practices.
In 2005 Zane accomplished a practice-based Ph.D., “Skin Stories:
Charting and Mapping the Skin” at the University of the Arts
London using analogies of human skin in relation to her textile
practice. She is exhibiting extensively around Europe and is actively
involved in the cultural debate across design, art, technology
and creativity. She is a co-founder of ‘E-Text and Textiles‘ project
in Riga in collaboration with Prof. Joseph Tabbi, University of
Illinois, Chicago. Currently she is lecturing at the Goldsmiths
College, University of London. 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 and has
an intimate knowledge and affinity with the subject and recently
written the book titled Costume, Textiles and Jewellery of India – Traditions
in Rajasthan. Extensively published in journals and magazines,
Dr. Bhandari has authored and compiled books on Fashion and Textile;
her education is in Textiles and Clothing and the subject of her
doctoral work was Women's Costume in the Thar Desert. Dr. Bhandari
is working towards promoting hand skills in textiles through her
work in the craft sector. She is currently Professor in the Fashion
and Textiles department at the National Institute of Fashion Technology,
New Delhi, India.
Carol
Bier is Research Associate at the Textile
Museum, Washington, DC, where she served as Curator, Eastern Hemisphere
Collections
(1984-2001); Chair, Research, Library, Publications and Education
Task Force (1987-2001); Department Head (1984-2001); Co-Editor,
The Textile Museum Journal (1992-2002). Her research and recent
publications focus on patterns as intersections of art and mathematics;
she currently serves on the Editorial Board of the newly established
Journal of Mathematics and the Arts. She lives in Berkeley, CA,
where she teaches and lectures on Islamic arts and culture. She
is Vice President/President-elect of the Textile Society of America.
Jerry
Bleem earned degrees from the School of the Art Institute of
Chicago (M.F.A.) and the Catholic Theological Union at Chicago
(M.Div.) Currently an adjunct assistant professor at the former
institution, he has taught, lectured and exhibited internationally.
His writings examine the intersection between art and religion.
His essay "Devoted to Art and Truth" considered religious
influences in the works of artists Jesse Howard and Roger Brown
for the recent exhibition Now Read On. A Franciscan friar and priest,
Bleem regularly contributes to U. S. Catholic magazine. His studio
practice focuses on the cultural construction of meaning, the value
of the overlooked and the everyday, and traditional techniques
(including textile processes) in contemporary art production. The
Aron Packer Gallery in Chicago represents his work. Neil
Brochu began studying Oriental rugs within the context of Toronto while
completing his Master of Museum Studies at the University
of Toronto between 2001 and 2003. Since graduation he has worked
as a collections specialist for the City of Toronto’s artifact
collection and as a research associate with an appraisal firm.
These positions have directed his knowledge of decorative art and
have expanded his research into aesthetic taste within the local
urban context. He curated two exhibitions, Romance Underfoot: Oriental
Rugs in Toronto Home 1880 – 1940 (2003) for the City of Toronto
Museum and Heritage Services and Oriental Rugs by Mail (2004) for
the Canadian Postal Museum in Ottawa. This paper is an outgrowth
of these two projects.
Sarah
Stopenhagen Broomfield studied at Antioch-Appalachia
in Beckley, West Virginia and is currently a student at Berea College
in Berea,
Kentucky, majoring in Women's Studies. She has been Designer at
Churchill Weavers, responsible for research and design for four
product lines of hand-woven items. While designing at Churchill
Weavers, she worked in collaboration with Gerhardt Knodel to oversee
production of hand-woven yardage to his specifications for corporate
installations in the U.S. during the 1980's. Sarah was Design Consultant
to Berea College's Weaving Department before returning to school.
She is a long-standing exhibiting member of the Kentucky Guild
of Artists and Craftsmen, a member of WARP, and a founding mother
of PeaceCraft, a Fair Trade store in Berea, Kentucky.
J.
Penney Burton is currently completing her M.A. in the Special Individualized
Program at Concordia University, combining Art and
Craft History and Studio Art. She received her Interdisciplinary
B.F.A. from the Nova Scotia College of Art and Design in 2004.
She has been the recipient of a Canada Graduate Master’s
Scholarship from the Social Science and Humanities Research Council
of Canada, as well as a Concordia University Graduate Fellowship,
a Campaign for the New Millennium Scholarship, and the Carolyn
and Richard Renaud Graduate Teaching Assistantship to develop a
database of contemporary Canadian craftswomen. Current research
interests are contemporary North American craft history, with an
emphasis on Fibers and Textiles, and the mind and body connection
artists experience while working in fiber techniques and processes.
Nilda
Callanaupa is the Director of the Center for Traditional Textiles
in Cuzco, Peru. She was born in Chinchero, Peru, in 1960
and received her Master’s degree in Tourism from the Universidad
Nacional de San Antonio Del Cusco in 1997. She speaks her native
Quechua along with Spanish and English. She has taught numerous
Andean weaving workshops, given lectures and participated in many
conferences in the United States since 1970. In 1996, she helped
establish CTTC to aid in the survival of Incan textile traditions
which helps provide support to eight communities of about 400 weavers
and 280 children. CTTC has established a permanent exhibit and
gallery to represent the weavers in Cuzco. She was a dear friend
of the late Ed Franquemont.
Linda
Carlson received her M.S. from
Colorado State University, where she is curator of the Historic
Textiles and Costume Collection
and teaches historic textiles and museum studies. Her research
interests include dress reform in the 19th century.
Lee
J. Chinalai and her husband, Vichai, have a business selling Asian and
ethnographic antiques, with an emphasis on the textiles
from mainland Southeast Asia and South China. They travel frequently
to Asia, and have lived and worked in Thailand and in the Middle
East. Lee attended graduate school for Asian Studies at the University
of California, Berkeley, and has written and co-authored a number
of articles, including “Yantra, Mystical Talismanic Cloths
and Charms”, “Ceremonial Dragon Covers of the Li”, “Yao
Lan Tan Shamans’ Robes” and an essay on Meifu Li ceremonial
head cloths with writing. Last Fall Lee and Vichai spent a month
on a Rockefeller Foundation residency in Bellagio, Italy, working
on a book on yantra, the subject of this year’s presentation. Maria
Christou received her B.A. degree 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 M.A. degree 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 locate the Sa'dan Toraja field area.
Currently, Maria Christou is living in North Vancouver, BC, Canada
and is pursuing her interest in looms and weaving.
Lucy
Commoner has been Head of Textile Conservation at the Cooper-Hewitt, National
Design Museum, Smithsonian Institution, in New York, since
1977 and has been responsible for the design and implementation
of the conservation laboratory and collection facilities, as well
as numerous exhibition installations. She was the Consulting Conservator
for the Museum‚s $20-million-dollar renovation and creation
of the Cooper-Hewitt’s Design Resource Center that houses
the Museum‚s collections and study centers. She also has
been Adjunct Professor, at the New York University Institute of
Fine Arts, Conservation Center, teaching textile conservation,
since 1987 and has lectured and published widely. In 1988, she
was elected a Fellow of the American Institute for Conservation
(AIC) and has been involved in materials research throughout her
professional career.
Wade
Davis is an anthropologist,
botanist, best-selling author and adventurer who received his
Ph.D. in ethnobotany
from Harvard
University. He spent more than three years in the Amazon and Andes
as a plant explorer, living among 15 indigenous groups in eight
Latin American nations while making some 6,000 botanical collections.
His work later took him to Haiti to investigate folk preparations
implicated in the creation of zombies, an assignment that led to
his writing Passage of Darkness (1988) and The Serpent and the
Rainbow (1986), an international best seller which appeared in
ten languages and was later released by Universal as a motion picture.
His other books include Penan: Voice for the Borneo Rain Forest
(1990), Nomads of the Dawn (1995), and Shadows in the Sun (1992).
His latest book, One River, is a biography of the plant explorer
Richard Evans Schultes, published by Simon & Schuster in September,
1996. A research associate of the Institute of Economic Botany
of the New York Botanical Garden, Davis is also a board member
of the David Suzuki Foundation, Ecotrust, Future Generations, and
Cultural Survival—nongovernmental organizations dedicated
to conservation-based development and the protection of cultural
and biological diversity. Davis brings those experiences to us
through his writings, lectures and photographs - teaching us that
there are other ways of seeing and experiencing the world. The
core of his work has been to catalogue these rare and distant cultures
as the threat of the modern world is making them disappear at an
alarming rate. While textiles have not been a focus for his attention,
he has noticed, and made thoughtful comment about the metaphoric
and practical roles textiles have played for some of the people
and cultures he has encountered.
Leah
Decter is a visual artist
whose practice is focused on large-scale installations that incorporate
a wide range of media. Her work
has been exhibited locally and nationally. Recent exhibitions include
'here' at the Art Gallery of South-western Manitoba and the video
bookwork here #4: back to front touring the UK with the McCleave
Gallery of Fine Art. Decter's work has been featured in publications
Border Crossings and Martriart and on The Arts Tonight on CBC Radio.
She has appeared on panels and has given artist talks, lectures
and workshops both locally and nationally. As well as continuing
to work on 'here', Decter is currently collaborating on several
projects with Toronto artist Michael Caines, including Cold Comfort,
which will be exhibited in Los Angeles in 2006.
Assoc.
Prof. Dr. Zeynep Erdo_an, Ankara University, School of Home Economics,
Department of Handicrafts M.S. and Ph.D., teaches courses
in Fiber Technology and Material Science at the undergraduate level,
and Traditional Turkish Fabrics at the graduate level. She serves
as advisor for students in the M.S. and Ph.D. programs. Her research
interests include textile fibers and Turkish traditional handweaving.
She was a Visiting Fellow at Cornell University in the Department
of Textiles and Apparel February-September 2001.
Michelle
Webb Fandrich is a costume and textile history consultant. She holds a Master
of Arts degree in Visual Culture: Costume Studies
from New York University and began her career at The Metropolitan
Museum of Art’s Costume Institute as a research assistant.
While there, she assisted the curatorial staff with the exhibitions “Rock
Style” and “Curios and Treasures” and coordinated
the initial catalogue digitization project for the Institute. She
later joined the staff of the department of Costume and Textiles
of the Los Angeles County Museum of Art, managing the department’s
catalogue digitization project and assisting with exhibitions such
as “A Century of Fashion,” “Erté/Opera & Ballets
Russes/Dance,” and “Breaking the Mode.” She is
currently completing a survey of the work of Elza Sunderland and
the designer’s contribution to California fashion design.
Sarah
Fee holds degrees in African Studies and Anthropology from Oxford
University and the Institut National des Langues et Civilisations
Orientales (Paris). Her Ph.D. dissertation, “A study of Tandroy
weaving traditions, the social significance of cloth and ceremonial
gift exchange,” will be published by Peters Press. In 2002
she was guest curator at the Smithsonian’s National Museum
of African Art for the exhibition “Gifts and Blessings: the
Textile Arts of Madagascar,” and wrote the lead chapter for
the accompanying catalogue, Objects as Envoys. She has contributed
chapters to recent collected works on Indian Ocean and Malagasy
Textiles. In 2005, with a grant from the US Ambassador’s
Cultural Preservation Fund, she worked to preserve the oldest remaining
handwoven cloth collection in Madagascar.
Lizou
Fenyvesi is senior
textile conservator at the US Holocaust Memorial Museum, where
she has worked since 1992. Between 1988
and 1991 she worked at the Textile Museum of Washington DC. Prior
to 1988 she was a conservator in private practice. After earning
an undergraduate degree in theater, she studied conservation at
the University of Maryland and at the Center for Museum Studies
in Budapest, Hungary.
Jacqueline
Field is an independent scholar
resident in Portland, Maine. She is a graduate of Edinburgh
College of Art, Scotland,
where she studied textiles. In the UK she had experience as a designer
in the textile industry, and taught at Callendar Park College.
After moving to the United States, she received her M.A. in American
and New England Studies from the University of Southern Maine.
She taught textiles at the University of Southern Maine, and at
Westbrook College where she was also curator of the costume and
textile collection. She has presented papers and published articles
on dress and textiles. She has extensively researched the American
silk industry and co-authored the book, American Silk 1830-1930.
Entrepreneurs and Artifacts, forthcoming early 2007.
Valerie
Foley received a Master's degree in Japanese textile history from
Tama Art University (Tama Bijutsu Daigaku), and is working
on a Master's degree in arts administration at The Fashion Institute
of Technology. She is the curator of “The Secret Life of
Japanese Textiles,” which will be shown at The Morikami Museum
and Japanese Gardens in 2007.
Mary
Frame is a Fine Arts Historian
who has specialized in Andean textiles. Since receiving her M.A.
in 1982, she has researched
both ancient and contemporary textiles of the Andes. Her collections
of village textiles are primarily housed at the UBC Museum of Anthropology
in Vancouver, Canada, the city where she lives. Her publications
include a book, museum catalogues, and more than 20 articles. The
interplay between fiber technology, pattern, and imagery continues
to be a central focus in her published work, and is the subject
of short courses and workshops she occasionally teaches in North
and South America.
Fenella
G. France received her Ph.D. in Textile
Science from Otago University, New Zealand. After lecturing
at Otago, she was textile
scientist for the Star-Spangled Banner project at the National
Museum of American History, Smithsonian Institution. As an international
specialist on textile aging, she focuses on links between mechanical
properties and chemical changes from environmental damage, and
is developing a comparative deterioration protocol relating environmental
conditions and the state of textiles. Since 2001 Dr. France has
supported APS as research scientist on projects such as the World
Trade Center artifacts, Ellis Island Immigration Museum, the Fiber
Reference Imaging Library (FRIL) and continued work with the Star-Spangled
Banner. She also works with various cultural and standards organizations
on the development of textile and lighting standards.
Christine
Robinson Franquemont is an anthropologist, ethnobotanist, and
non-profit administrator who has worked in Peru since 1967,
when she and the late Ed Franquemont were student members of a
Harvard archaeological team. A graduate of Radcliffe College with
a Ph.D. from Cornell University, she was a Fulbright Scholar in
Peru and has held many other grants and appointments. She is President
of Cultural Constructions, Inc., a consulting firm, and Acting
Executive Director of the New Haven Land Trust. As a founder and
Treasurer of the Center for Traditional Textiles of Cuzco, she
works actively to support the work of weavers. Her writing on the
Andes includes The Ethnobotany of Chinchero and Coca and Cocaine,
and articles on textile topics including learning to weave and
the meaning of woven designs. Christine lives in New Haven, Connecticut.
A New Zealander by birth, Sylvia
Fraser-Lu graduated from Otago University and spent many years as an
educator in a variety of
teaching and administrative positions in East and Southeast Asia.
Her growing interest in Asian arts and crafts led her to begin
writing articles for Arts of Asia and reviews for Oriental Art
in the late seventies-early eighties. Books for Oxford Press
soon followed, including Indonesian Batik: Patterns Processes
and Places
(1986), Handwoven Textiles of South-East Asia (1988), and Silverware
of South-East Asia (1989). In recent years she has turned her
attention to Burma with publications such as Burmese Lacquerware
(Orchid
Press, 1985 and 2000, Bangkok), Burmese Crafts: Past and Present
(Oxford Press 1993, Singapore), and Splendour in Wood: The Buddhist
Monasteries of Burma (Orchid Press, 2001). Christine
Giuntini is
the textile and organic artifact conservator for the Arts of Africa,
Oceania and the Americas at The Metropolitan
Museum of Art in New York, where she has worked since 1981. She
is also a consulting textile conservator for several East coast
museums and institutions. She attended the Conservation program
at the Institute of Fine Arts and studied textile conservation
under Nobuko Kajitani at The Metropolitan Museum of Art. Currently,
she is serving as a board member for the North American Textile
Conservation Conference. She served in several officer positions
for the Textile Specialty Group of the American Institute for Conservation.
Patricia
Marks Greenfield received her Ph. D. from Harvard University
and is currently Distinguished Professor of Psychology at UCLA,
where she is the founding director of the FPR-UCLA Center for Culture,
Brain, and Development. She has done field research on child development,
social change, weaving apprenticeship, and textile design in Chiapas,
Mexico since 1969. This cumulative work is presented in a book
entitled Weaving Generations Together (SAR Press, 2004), which
has just been awarded the 2005 R. L. Shep Book Award of the Textile
Society of America. Her central theoretical and research interest
is in the relationship between culture and human development. She
is a past recipient of the American Association for the Advancement
of Science Award for Behavioral Science Research and has held fellowships
at the Bunting Institute, Radcliffe College, the School of American
Research, Santa Fe, and the Center for Advanced Study in the Behavioral
Sciences, Stanford.
Roy
W. Hamilton is Curator of Asian and Pacific
Collections at the Fowler Museum of Cultural History, University
of California
Los Angeles. He is the editor and principal author of Gift of The
Cotton Maiden: Textiles of Flores and the Solor Islands and From
the Rainbow's Varied Hue: Textiles of the Southern Philippines,
as well as The Art of Rice: Spirit and Sustenance in Asia. Hamilton
is a member of the editorial board of the Fowler Museum Textile
Series, one of the leading publishers of textile books in the U.S.
His latest project involves recording video interviews of contemporary
weavers in Southeast Asia and in 2007, as a Getty Curatorial Fellow,
he will be conducting research on the textiles of Timor.
Karen
Hampton received her M.F.A. in Textile Arts and Costume Design from
University of California, Davis in June 2000. She has taught
textiles at College of Marin since fall 2000. Her artwork is based
on the re-memory of African American women's lives and textiles
from 1750 through the early twentieth century. She focuses on the
creation of cloth which holds their emotional imprint and gives
voice to these women. She lectures frequently on “African
American Textile Artisans during Slavery” and “The
Historical Role of Textiles in Providing Cultural Continuity through
the African American Diaspora.”
Michele
Hardy joined The Nickle
Arts Museum at the University of Calgary as Curator of Decorative
Arts and adjunct professor in
Anthropology in 2003. She has a Ph.D. in Cultural Anthropology
(UBC, 2003) and an M.A. in Clothing and Textiles (University of
Alberta, 1995). Hardy’s curated exhibitions include Made
in Afghanistan: Rugs and Resistance, 1979-2005 and Collecting China:
Beyond the Curio Cabinet. She has participated in many conferences
including TSA 2000 in Santa Fe and the American Anthropological
Association’s 2005 meeting in Washington DC. Publications
include: “Crafts and Knowledge,” in Owen & Fariello,
Objects and Meaning in Late 20th Century Art (2004). She is currently
working on a major exhibition of Oriental carpets drawn from the
Jean and Marie Erikson Collection at the Nickle for autumn 2007.
Andrea
M. Heckman (Ph.D. University of New Mexico in Latin American Studies,
Anthropology and Art History) has researched Andean textiles
near Cuzco for over twenty years. She researched rituals and textiles
near 20,800’ Ausangate when she lived there as a Fulbright
scholar in 1996. Her book, Andean Textiles and Rituals was published
by University of New Mexico Press (2003). She is finishing a documentary
film, Ausangate, scheduled for November 2006 release. She has worked
as a cultural and trekking guide for twenty-five consecutive years
in remote Andean areas such as Carabaya, Huayhuash, Vilcabamba
and Cordillera Blanca where she continues researching changes in
textiles. She teaches anthropology (The Anthropology of Art, Indigenous
Voice through Film, Symbolic/Ritual Behavior, Latin American Studies)
at UNM-Taos where she resides when in the USA.
Jessica
Hemmings holds a B.F.A. (Honors) in Textile Design from the Rhode Island
School of Design, an M.A. in Comparative Literature
(Africa/Asia) from the University of London’s School of Oriental
and African Studies and wrote her Ph.D. at the University of Edinburgh
on the role of cloth in the fiction of Zimbabwean author Yvonne
Vera. She is a regular contributor to publications such as The
Surface Design Journal, Embroidery and FiberArts and is a contributing
editor to Selvedge, Future Materials and Modern Carpets and Textiles
magazines. Jessica has taught at the Rhode Island School of Design
and Central Saint Martins and is currently Programme Leader of
Textiles, Fashion and Fibre at the Winchester School of Art.
I-Fen
Huang is a Ph.D. student at the Department of History of Art and
Architecture, Brown University. She has been trained as
an art historian at National Taiwan University and New York University,
specializing in Chinese painting and textiles. Her M.A. thesis
is entitled “Han Ximeng and the Pictorial Embroidery in the
Gu Style: Interactions between Gender, Art, and Market in Seventeenth
Century China.” In 2001 she co-organized an exhibition for
a private collection in Taiwan and co-authored the catalogue Enchanting
Images: Late Chinese Painting and Calligraphy from the Shih-t'ou
Shu-wu Collection. She also worked as a graduate intern at the
International Center of Photography in New York (2003-2004). She
has been continuing working on pictorial textile of late imperial
China. Min
Sun Hwang is an assistant conservator
in the Conservation Department at The Metropolitan Museum of
Art. Her specialty is
East Asian
textiles and costumes, including China, Japan, and Korea. She received
her M.A. in 2002 from the Department of Museum Studies (Costume
and Textiles) at the Fashion Institute of Technology in New York.
Her Master’s thesis,“A Japanese Costume in the early
20th century,” is from a curatorial perspective and a conservator's
point of view. At FIT in 2001, she co-curated an exhibition plan
and design, “Work in Uniform: Dressed for Detail.” In
2004, she was awarded a grant for field research on contemporary
Korean hemp.
Janis
Jefferies is Professor of Visual Arts,
Computing department, at Goldsmiths College, University of
London, UK. During
the last
30 years she has made significant contributions to the practice
and theory of contemporary textiles in visual and material culture
at an international level, through solo exhibitions of work (UK,
Poland, America, Canada and Australia), conferences and professional
seminars and conferences and artist residencies at the Universities
of Wollongong and Newcastle (Australia), visiting professorships
at Art Institute of Chicago, and University of South Australia.
She has 14 curated shows, 43 journal publications, 12 catalogue
essays for artists of international standing, 2 edited books and
several chapter contributions to anthologies distributed by Manchester
and Edinburgh University Presses, Telos Art Publishing, Berg Publishers,
and the School of the Art Institute of Chicago, USA.
Teena
Jennings-Rentenaar received her Ph.D. in Textiles and Clothing from The Ohio State
University in Columbus, Ohio. Her dissertation
research was directed towards material culture studies, specifically
to gain an understanding of the intricate relationships and often
unconscious factors that motivate people to continue making the
arts and crafts that symbolize their cultural group. She is currently
teaching all textile-related courses at The University of Akron,
in Akron, Ohio, to undergraduate students interested in fashion
merchandising or interior design and graduate students focusing
on material culture studies. In addition to her academic pursuits,
Teena continues to work in her spinning and weaving studio.
Charlotte
Jirousek is Associate Professor and Curator, Department
of Textiles and Apparel, at Cornell University in Ithaca,
NY,
where
she teaches design foundations, and cultural and historical aspects
of textiles and dress. She is also curator of the Cornell Costume
and Textile Collection. Her research focuses on Turkish and Ottoman
textiles and dress. Since 1992 she has been conducting a field
survey of surviving textile technologies in Turkey, and attempting
to place these survivals in the context of the Ottoman era textile
production and trade at the western end of the Silk Road. Tina
Kane is Conservator in the Department of Textile Conservation at
The Metropolitan Museum of Art; Principal of Tina Kane, Textile
Conservation & Restoration in Warwick, New York; and adjunct
instructor at Vassar College, where she teaches a course of Medieval
Tapestry and Narrative. She received an M.A. in Comparative Literature
from the University of California, Berkeley, and has published
articles on tapestry and other subjects.
Miwa
Kanetani received
her Ph.D. in Cultural Anthropology from the Kyoto University, Japan.
The artisan community and textiles
of Kutch, India are the subjects of her dissertation, especially
the ways that producing and consuming clothes create social relations
between castes and religion. Also at the Osaka Shoin Women's University
and Kansei-gakuin University, she teaches anthropology, and is
a research member of the National Museum pf Ethnology, Osaka. In
2005, She published “Tie-dyed Cloth Production as "Handicraft,” “Dyer's
Adoption to Changes in Demand for Indian Textiles” (Bulletin
of the National Museum of Ethnology, 29, 3), “Kinship and
Affinity in a Business Network of Indian Muslims” (Bulletin
of the National Museum of Ethnology 29, 4), Creation of Folk Craft:
Comparative Study between Yanagi Soetsu and Ananda K.Coomaraswamy
(eds., Kumakura and Yoshida), and Yanagi Soetsu and Japan Folk
Art Movement (Shibunkaku Publications).
Barbara
Karl studied art
history and languages at the University of Vienna, Ecole Normale
Supérieure in Paris, Universidad Nova of Lisbon, and
University of Innsbruck. She received her Ph.D. in art history
from the University
of Vienna in 2004. Her dissertation's title was “Colchas
- Indian Textiles of the 16th and 17th centuries from Bengal and
Gujarat commissioned by the Portuguese.” She worked in the
Textile departments of the Museu Nacional de Arte Antiga in Lisbon
and the Museum für Angewandte Kunst in Vienna. At the moment
she is enrolled in a post-doc project on objects of the Islamic
world in the collections of the Medici at the Scuola Normale Superiore
in Pisa. She has published articles on Portuguese commissions of
embroidered Indian textiles.
Susan
Warner Keene is a Toronto artist
working in textiles and handmade paper who has been exhibiting
her work in Canada and abroad
since 1980. Her work can be found in public, corporate and private
collections. In 1991 she was awarded the Prix Saidye Bronfman Award
for Excellence in the Crafts. Co-Head of the Textiles Studio at
Sheridan College, Oakville, from 2001-2003, Keene has taught numerous
courses and workshops at such institutions as the Ontario College
of Art & Design, Banff Centre, Arctic College, and Haystack
Mountain School of Crafts. She has served as a member of the Public
Art Policy Advisory Committee for Metropolitan Toronto and as a
Trustee of The Textile Museum of Canada. Her exhibition reviews
and feature articles have been published in Fiberarts, Surface
Design Journal, International Tapestry Journal, Artichoke, and
Ontario Craft. She is represented by David Kaye Gallery, Toronto.
Sumru
Belger Krody is Associate Curator for Eastern Hemisphere Collections
at The Textile Museum and Managing Editor of The Textile
Museum Journal. She curated several Textile Museum exhibitions,
including most recently Harpies, Mermaids, and Tulips: Embroidery
of the Greek Islands and Epirus Region (2006). She is the author
of two exhibition catalogues, Harpies, Mermaids, and Tulips (2006)
and Flowers of Silk and Gold: Four Centuries of Ottoman Embroidery
(2000). Born in Izmir, Turkey, Krody earned a B.A. from Istanbul
University and an M.A. in Classical Archaeology from the University
of Pennsylvania. She has presented many lectures and written many
articles on Ottoman and Greek Island embroidery traditions in public
and scholarly forums. The most recent travel grant she has received
from the Getty Foundation enabled her to study embroidered textiles
at museums in Greece and the United Kingdom. Her findings serve
as primary research for her most recent book and exhibition at
The Textile Museum.
Anuradha
Kumra received a Master’s
degree from Delhi University in 1993. She went on to train
at Nottingham
Trent University, UK
and Color Association of US in New York, under the UNDP fellowship
in the areas of fashion forecasting, exhibition design and costume
studies. Currently she is an Associate Professor with the Department
of Fashion and Textiles at the National Institute of Fashion Technology,
New Delhi. She has done extensive work in the craft sector under
various government initiatives and has coordinated several exhibitions
on Traditions in Indian Textiles and Costume at international events.
Her exhibition Living Culture at the MET Museum, Manila, in 2004
showcased contemporary collections using traditional Indian techniques
and design repertoire. She is currently researching Indo-Portuguese
textiles and is actively involved in Cluster development initiative
in craft sectors in Madhya Pradesh.
Wendy
Landry is pursuing interdisciplinary
doctoral studies in humanities at Concordia University (Montreal),
examining crafts
practice and education through an in-depth case study of ancient
velvet weaving that blends art education, material culture, and
history with over thirty years experience as a practicing hand-weaver.
Holding both an M.F.A. in textiles and an M.A. in art education,
she occasionally teaches courses in textile and crafts history,
as well as weaving courses, at NSCAD University in Halifax, Nova
Scotia, Canada. A past recipient of an international award for
her own textile design, she has also curated the work of other
textile artists and presented papers about velvets and textiles
history.
Barbara
Layne is a faculty member at Concordia
University in Montreal and a founding member of Hexagram: the
Institute
for Research and
Creation in Media Arts and Technologies. She received her M.F.A.
in Textile Design at the University of Kansas in 1982. Layne has
lectured and exhibited internationally, most recently at Future
Textiles: Fast Wear for Sport and Fashion exhibition in England
and SIGGRAPH 2006 in Boston. Her work has been supported with numerous
grants including the Canada Council for the Arts, SSHRC, and the
Conseil des arts du Quebec. She is the Principal Investigator of
a major infrastructure grant from the Canadian Foundation for Innovation.
Yuhang
Li is a Ph.D. student at the Department of East Asian Language
and Civilization in the University of Chicago. Her research interests
involve looking at the way in which women's artistic and literary
practices are mediated by material culture and ritual action in
late imperial China. Before coming to study in the United States,
she worked as an assistant curator at the Beijing Art Museum in
Beijing, China where she co-organized various exhibitions on Chinese
late imperial paintings, crafts, furniture, and Buddhist sculptures
and published a catalogue entitled Ming and Qing Buddhist Sculpture
in 1997. In 2003 she worked as an independent researcher of the
Chinese textile collection at the Field Museum of Natural History.
Abby
Lillethun received her Ph.D. in the history of textiles and
dress from Ohio State University. Her dissertation examines batik
practice in America to 1937. Research on Asian influences in early
twentieth-century Western design includes 2004 TSA Symposium presentation “Javanesque
Effects: Appropriation of Batik and Its Transformations in Modern
Textiles.” She also investigates Bronze Age Aegean (Minoan)
dress and published The Reconstruction of Aegean Cloth and Clothing
(METRON, 2003). As part of the Cultural Olympiad in Greece (2004)
she presented “Apparent Movement and Character of Pleated
Cloth in Bronze Age Aegean Skirt Flounces.” She co-edited
The Fashion Reader with Linda Welters, to be published in 2007
by Berg. At the University of Rhode Island, she teaches historic,
social, and cultural aspects of dress.
Mary
A. Littrell received
her Ph.D. from Purdue University and is Professor and Chair of
the Department of Design and Merchandising
at Colorado State University. Her teaching and research scholarship
focuses on fair trade, tourism, and marketing systems for cultural
products.
Hazel
A. Lutz is an independent scholar of
textiles and dress, a South Asian Specialist and fiber artist.
Lutz earned
her doctorate
researching the interplay between Design and Tradition in an India-West
Africa Trade Textile: Zari-Embroidered Velvets. From discovering
the global dimensions of the design of these velvets, she has turned
her attention to India’s khadi cloth. Lutz started her own
company, Unusual Cloth, in 2004, importing khadi and other hand
made textiles from India. In her artwork, she ravels and reworks
portions of khadi cloth to create global collaborations in fiber
art. She also makes quilts with khadi. Lutz is a co-editor of The
Visible Self, a college textbook examining cultural perspectives
on dress around the world. She occasionally teaches Costume History
and Dress, Society & Culture at the University of Minnesota.
Suzanne
P. MacAulay, Ph.D., is Chair of the Visual & Performing
Arts Department, University of Colorado at Colorado Springs, and
former director of the Quay School of the Arts, Wanganui Polytechnic,
Wanganui, New Zealand. MacAulay is working on a manuscript on memory,
Diasporas, culture, and identity politics inspired by New Zealand
expatriate narratives. The initial stage of this narrative study
of immigration received an Australian Sesquicentennial Gift Trust
Award. Other research interests include ethno-aesthetics and material
culture (Hispanic and South Pacific textiles). She has also researched
and written on Hispano village life in the Southwest, the history
of migration into that region, vernacular architecture, and Penitente
ritual practices as they are being revitalized in southern Colorado.
Diane
Maglio received an M.A. in Museum Studies -clothing and textiles
from the Fashion Institute of Technology, NY, specializing in the
history of American menswear. She is full time faculty at Berkeley
College, N.Y. in the Fashion Merchandising and Marketing program.
She developed, and currently teaches, The History of American Menswear
in the graduate studies program at FIT. Her research paper “Luxuriant
Crowns: Victorian Men’s Smoking Caps” was published
in Dress 2000. She was special editorial consultant to “A
Century of Men’s Fashion” published by DNR. She received
the Evelyn Welch Livingstone Award I 2005 to research Palm Beach
fashion for men. Most recently, she presented “Silk Underwear
for New York Swells in the Gilded Age” for the annual symposium
of the Costume Society, England.
Andrea
Kolasinski Marcinkus is
an Assistant Professor in the fashion department at Mount Mary
College in Milwaukee, Wisconsin. She received
her M.S. from the University of Wisconsin ñ Madison, and
is currently a doctoral candidate there. Her dissertation concerns
nature fancywork objects and literature, and how these objects
bridged the disparate worlds of home, science, art, and the workings
of the natural world. Marcinkus has presented a paper on fancywork
wreaths at the 19th Annual Ars Textrina Conference on Textiles.
She also wrote a history on the legacy of Helen Louise Allen, founder
of the textile collection of the same name and published in The
Challenge of Constantly Changing Times: From Home Economics to
Human Ecology at the University of Wisconsin-Madison, 1903-2003
(2003).
Lois
Martin is an artist and a writer. Her
articles have appeared in American Artist, American Craft,
Art Nexus, Fiberarts,
Hali,
JAB: The Journal of Artists Books, Sculpture, and Surface Design
Journal, and Textile. As Coordinator of the Selz Andean Textile
Project at the Brooklyn Museum, she spent six years working with
their collections of Latin American ethnographic and archaeological
textiles. She has lectured on pre-Columbian textiles for Barnard
College, Cooper Union, the New York City Board of Education, the
Brooklyn Museum, and the Rhode Island School of Design, and presented
seminar papers at the Haffenreffer Museum at Brown University (1991)
and the Ethnographic Museum in Gothenberg, Sweden (2001). Martin
has an M.A. in linguistics and an M.F.A., and currently teaches
Fashion Design at the Art Institute of New York City.
Marion
T. Marzolf is Professor Emerita from the University of Michigan,
where she taught classes in journalism, American and Scandinavian
Studies from 1967 to 1995. When she retired, she turned to weaving
and writing about fiber arts. Her articles have appeared in Fiberarts
magazine and in Shuttle, Spindle and Dyepot. She is co-author with
Marie A. Gile of the forthcoming Fascination with Fiber, Michigan’s
Handweaving Heritage (University of Michigan Press, Spring 2005).
She has published articles and book reviews in scholarly journals
on journalism history and Scandinavian studies and books: Up from
the Footnote: A History of Women Journalists (1977), Civilizing
Voices: American Press Criticism 1880-1950 (1991), and The Danish
Language Press in America (1979). She served as president and vice-president
of the Michigan League of Handweavers (1999-2003).
David Masunaga
teaches mathematics and design science at The Iolani School in
Honolulu HI. Recognized nationally for his outstanding
contributions to math education, he received his formal training
at Harvard University and Northwestern University. He has received
numerous awards for excellence in mathematics teaching and outreach,
and has participated in many projects relating art and architecture
to mathematics. He is actively involved with the National Council
of Teachers of Mathematics.
Yuka
Matsumoto received her Master in
Home Economics from Nara Women's University and is currently
studying for her Doctorate.
Her theme of dissertation is Indonesian fashion designer’s
creativity and its cultural meanings. She teaches clothing science
and culture at Kochi Women's University, Japan. Her specialty is
Indonesian textile culture and now she is also researching about
Japanese traditional textiles. In 2004 she published, “Indonesian
Fashion Design and National Politics,” Asian Climate and
Its Costume Culture, Domyou, Mihoko and Tamura, Teruko (eds.),
Tokyo: The University of The Air, pp.211-222 (Japanese).
Bettina
Matzkuhn has worked in fibre for 30 years with an emphasis on embroidery
and fabric collage. She holds a B.F.A. in Visual
Arts and an M.A. in Liberal Studies from Simon Fraser University.
In the 1980's she animated and directed three award-winning films
using textiles for the National Film Board of Canada and an interest
in narrative through serial imagery continues to inform her work.
She has exhibited nationally in solo and group shows and gives
talks and workshops in conjunction with her exhibits. Bettina also
writes professionally on the arts, teaches as a sessional instructor
at the Emily Carr Institute of Art and Design, and is an ongoing
volunteer for the Crafts Association of British Columbia.
Marcia
McLean received her M.A. in Textiles and Clothing from the
University of Alberta in 2005. Her thesis focused on how home
sewers
constructed their identities through prevalent discourses of sewing,
homemade clothing and femininity in the 1950s and 60s. Using objects
and stories collected from her research participants, she created
the exhibit Patterns and Variations: The Many Meanings of Home
Sewing in Alberta, 1950 - 1970, displayed at the University of
Alberta and at the Alberta Legislature Interpretive Centre. She
currently holds the position of Museums Advisor with the Alberta
Museums Association. She has worked in museums since 1996, including
with Asian textiles from the Mactaggart Art Collection and with
the Clothing and Textile Collection, both at the University of
Alberta.
Lynn
A. Meisch set out for the Andes in 1973
in search of adventure, and was smitten by the land, people,
culture
and arts, especially
textiles. She has spent many years in highland Ecuador, Peru and
Bolivia enduring terrifying bus and boat rides, dodging bandits,
eating strange food, sleeping on dirt floors, freezing, getting
parasites, dancing at fiestas, acquiring several dozen godchildren,
and having the time of her life while researching ethnographic
textiles. Living conditions in some places may be minimal but the
kindness and generosity of Andeans in putting up with the weird
gringa have been maximal. She looks forward to retiring from her
academic job so she can return to her real vocation: documenting
and writing about this ancient, beautiful and compelling textile
tradition.
B.
Lynne Milgram is a professor in the Faculty
of Liberal Studies at Ontario College of Art and Design, an
adjunct faculty
member
in the Graduate Department of Anthropology at York University,
and a research associate at the Royal Ontario Museum. She obtained
her doctoral degree in social anthropology in 1997 from York University.
She has received several grants from the Social Sciences and Humanities
Research Council of Canada for her on-going research in the Philippines.
She has co-edited the books Artisans and Cooperatives: Developing
Alternative Trade for the Global Economy and The Transformative
Power of Cloth in Southeast Asia and has published numerous articles
and book chapters.
Rachel
Morris has conducted research on Asian
and Asian-American identity expressed through the material
culture of textile and
dress. She earned her Master of Arts in Visual Culture: Costume
Studies from New York University and her Bachelor of Arts in Cultural
Anthropology at the University of California, Santa Barbara. Recent
publications include “Enter the Sultan's Tent: Seventeenth
Century Kalamkari Textiles in the Brooklyn Museum,” in the
November-December 2004 issue of Arts of Asia. She has also presented
at several conferences on Indian cinema and the transmission of
national fashion from 1947 to 1957. Currently, Rachel is Research
Assistant for the Mellon Costume Documentation Project at the Brooklyn
Museum.
Skye
Morrison is a Canadian folklorist and
textile designer. She holds a Ph.D. in Folklore from The University
of Pennsylvania
and
a M.A. in Design from Cornell University. For 22 years Skye taught
at Sheridan School of Crafts and Design in Oakville, Ontario taking
early retirement, or “re-invention,” to pursue research
projects. She demonstrated her kite expertise through the award
winning TVOntario series “Kite Crazy.” in 1990, visiting
Japan, China, Singapore, Malaysia, Indonesia, Europe countries
and North America. In 1999 Canada Post selected one of her kites
as a postage stamp. With Dorothy Caldwell in 1999 she co-curated
the exhibition “Stitching Women's Lives: Sujuni and Khatwa
from Bihar, India” at the Textile Museum of Canada. She curated
the Adivasi Indian and Canadian Inuit collaborative exhibition, “Images
tell the Stories: Thread has a life of its own,” at Harbourfront,
Toronto in 2004. Her work in India continues through technical
writing, forming a sujuni group in Bihar and a khatwa group of
Santal (Adivasi) women in Jharkhand and in Canada with Inuit textile
artists from Baker Lake, Nunavut. Skye wants to discover extraordinary
stories in everyday life.
Robin
Muller has been teaching weaving
and other disciplines at the Nova Scotia College of Art and Design
since 1979. She has lectured
extensively on craft history and ethnographic textiles. She holds
a B.F.A. degree from Virginia Commonwealth University (1976) and
a M.F.A. degree from University of Michigan (1978). She has exhibited
her weavings and artists books in the US, Canada, Europe, China
and Korea. Her work is included in permanent collections including
The Nova Scotia Art Bank, the Museum of Civilization and the National
Library, both in Ottawa. She co-curated The Handbound Book in Nova
Scotia at the Mary Black Gallery in Halifax in 2002 which included
a video and 32- page catalogue. She presented “Silk Velvet
and Brocade Book Bindings of 14th & 15th Century England & France,” at
the 2002 TSA meeting in Northampton.
Natalia
Nekrassova received
her Master’s Degree in History
of Art from the Moscow State University (Russia). Since 2002 she
has been the Oriental Carpets and Textile Curator at the Textile
Museum of Canada. From 1975 to 1999, she was Senior Research Fellow,
Curator of the Rug and Decorative Art Collection at the State Museum
of Oriental Art in Moscow, Russia. In 1997 - 1999 she lectured
on Islamic art in the Islamic University in Moscow. Her publications
include articles and catalogue essays on rugs of Central Asia,
the Caucasus, Turkey and Iran published in Russia and abroad. She
presented papers on rugs and textiles at ICOC in 1986 in Leningrad
and Baku, at Al Albeit University in Jordan in 1996, at the Ataturk
conference on Turkish art in Ankara in 1997, at Marmara University
in Istanbul in 1998 and at many national and international conferences
on Oriental Art.
Rebecca
Nelson is a textile artist and a
Presidential Scholar at the State University of New York at
Potsdam, majoring
in anthropology
and archaeology. Her research interests include prehistoric and
historic non-woven textiles. She has been working with fiber for
ten years, and has taught knitting classes and workshops. Her work
has been exhibited in multiple venues, including the Creative Spirit
Art Center.
Prof.
Dr. Özlen Özgen,
Ankara University, School of Home Economics, Department of
Family and Consumer
Sciences M.S.
and
Ph.D. - Teaches courses at the undergraduate and graduate level
on aspects of home management, Cons |
