A plethora of new talks and exhibitions!

It was a pleasure to see so many members take part in our recent AGM, and even more so that several of our overseas members were able to present textiles from their collections at the Show and Tell.

February certainly looks like being a busy month with lots of online talks and exhibitions. I’m listing them here in date order, as sadly several of them take place on the same date.

On 20 February there are no less than three online talks that I am aware of! The first of these is hosted by the Textile Museum, with Lawrence Kearney looking at American Coverlets for Rug Lovers. “In this virtual talk, carpet and textile dealer Lawrence Kearney will explore the varied art form of American wool coverlets from 1780 to 1830.

Woollen coverlets from the early 19th century are one of the great American art forms. They are often beautiful, plentiful and affordable. They were made, primarily, by itinerant weavers who travelled throughout New England and the Midwest from c. 1810 through the 1840s. After introducing the four main types of coverlets — over-shot, double-weave, winter-and-summer, and Jacquard-loomed (“figured and fancy”) — Kearney will explore the pleasures these 200-year-old woollen textiles can hold for rug lovers.” Textile Museum website.

Space for this session is limited so you are encouraged to register early.

A woman in Houaphan Province, Laos, models the hand-reeled silk, naturally dyed shaman cloth she wove on her handbuilt loom. ©Above The Fray.

Next is a Zoom Panel presented by WARP (Weave A Real Peace). This will take place at 1300 EST, which is 1800 in the UK. The panel will consist of Gunjan Jain, who “made a conscious switch from working for fast fashion industries to slow, sustainable fashion and set up Vriksh, a design studio that collaborates with handloom weavers in Odisha and other states in India.  Uddipana Goswami …. a feminist peace researcher turned peace entrepreneur who promotes eco-conscious traditional/indigenous crafts from India’s conflict-ravaged Northeast periphery, and Maren Beck, [who with] her husband Joshua founded Above the Fray: Traditional Hill Tribe Art in 2007 in order to document, support, and introduce to the world the incredible traditional textiles arts and cultures of Laos and Vietnam.” Maren and Joshua are the co-authors of Silk Weavers of Hill Tribe Laos. This talk is free, but registration is essential!

If rugs are more your thing then the talk hosted by the New England Rug Society might be for you. This also takes place at 1300 EST on 20 February, when Alberto Levi will speak on Rugs of the Golden Triangle. “While in Tibet in the early ’90s, hunting, in his words, “for the next Seljuk animal carpet,” Alberto Levi “stumbled across an entirely different kind of animal.” In time, what seemed to be a casual encounter yielded a distinct group of carpets, which Alberto labels “Tibetan Golden Triangle.” Far from being Tibetan, this elusive family of rugs, most of them fragmentary, appears to originate from a triangular region defined at its extremes by eastern Anatolia, the southern Caucasus, and Northwest Persia. How and why these rugs ended up in Tibet is yet another part of the mystery that Alberto will investigate in his talk. ” NERS Newsletter. NERS members will automatically receive a link. Non-members wishing to attend should email committee member Jean Hoffman to receive theirs.

Temple hanging, artist unknown, Gujarat 20th century

On Monday 22 February the Fowler Museum will host one of its regular Lunch and Learn sessions. Joanna Barrkman, the Fowler’s Senior Curator of Southeast Asia and Pacific Arts, will explore embroidered Jain temple and shrine hangings that offer insights into the religious beliefs and imagery of the Jain faith. This short talk will take place at 1430 PST which is 2230 GMT. Click here to register for this free event.

In addition to all of the above there is also the series of four talks hosted by the Textile Museum Journal that I covered in my previous blog. These are:- Elena Phipps on Brilliance, Colour and the Manipulation of Light in Andean textile Traditions (17th) , Raquel Santos and colleagues on Interdisciplinary Perspectives on Asian Textiles in Portuguese Collections (24th) and Walter Denny on Colour, Expectations and Authenticity in Oriental Carpets (26th). The talk by Dominique Cardon on Dyers’ Notebooks in Eighteenth Century England and France, which was scheduled for 10 February has been cancelled. However the good news is that one of Dr Cardon’s co-researchers, Dr Anita Quye, will now take her place for this talk on 10 March instead.

Buddhist robe (kesa), flowers in baskets. Japan, Edo period (1615-1868). Silk and gold brocade. ©Alan Kennedy

Don’t forget that the following day, Saturday 27 February, the Textile Museum Associates of Southern California will host an online talk by Alan Kennedy entitled Kesa: ‘Patchwork’ Buddhist Monks’ Robes in Japan, From Austere to Luxurious. This will take place at 10am Pacific time which is 1800 in the UK. “Kesa is the Japanese word for the traditional patchwork garment worn by Buddhist monks and nuns. These garments are among the earliest documented articles of clothing in Japan, based on inventory records dating to the 8th century. The history of kesa in Japan is of significance for both sacred and secular reasons. They served as a vehicle for both the transmission of Buddhism and of luxury textiles to Japan from the Asian mainland. Kesa that have been preserved in Japan are made of a wide variety of materials, ranging from monochrome bast fibre to sumptuous imported gold brocades. ….. This talk will survey kesa from its earliest history to modern times.” TMA/SC. Registration for this talk is available here.

Ensemble from Southern Moravia in Slovakia (KSUM 1995.17.574 a-e)

A new exhibition opened this week at Kent State University Museum, which will run until 19 December 2021. Entitled Stitched: Regional Dress Across Europe this exhibition showcases common features shared by regional costume across Europe. “In its original context in villages, regional dress carefully marked social and cultural differences. Religious affiliation, gender, age, and marital status were all instantly recognisable at a glance by members of the community. A person’s outfit signalled which village or region they came from. Focusing on these signs of difference obscures the common vocabulary that rural residents across Europe used to shape their clothing. By organising the pieces on display according to shared features, this exhibition highlights the commonalities across the continent rather than their differences. The pieces on view span Western and Eastern Europe including examples from Norway, the Netherlands, Slovakia, Romania and Albania. The development of elaborate regional dress was not a result of the isolation of their wearers but a signal of their integration into broader European society.” KSU website.

Quilt depicting scenes of domestic life and biblical scenes. Created by Minnie Melissa Burdick in 1876. ©Shelburne Museum

The Shelburne Museum in Vermont was the first to exhibit quilts as works of art. Most of the pieces in their collection were produced in New England in the nineteenth century. They recently launched a new online exhibition entitled Pattern and Purpose: American Quilts, which features high-quality images of a selection of their quilts, along with detailed background information on each one. There is also an excellent video in which Katie Wood Kirchhoff previews the exhibition and explains more about the history of the collection and about certain specific quilts. The catalogue of quilt patterns produced by the Ladies Art Company certainly made me smile.

Women’s festive headdress called a shamshur. End of the 19th century Sami, Arkhangel. ©REM

The Russian Museum of Ethnography has a new mini-exhibition which will run until 28 February. The subject is Glass Decor in the Traditional Costume of the Peoples of the Baltic and Barents Regions. The exhibition showcases textiles which are adorned using different types of glass decorations and were made in the second half of the eighteenth to the early nineteenth century. The quality of the images is very good, and there is a toggle at the top of the page to change the language to English.

Early 20th century. Leather, satin, silk, wool and metal thread embroidery, weaving tassels. Artisan Saadagul Mademinova, Southern Kyrgyzstan

The ethnographic collection of the Gapar Aitiev Kyrgyz National Museum of Fine Arts is highlighted in this article in Voices on Central Asia. In it Mira Djangaraсheva, the ex-director of the museum, Aigul Mambetkazieva, the chief conservator, and Chinara Daniyarova, a conservator, tell the story of the museum and describe some of its exhibits. The collection currently consists of over 18,000 items, including embroidered wall panels, felts, a fantastic pair of embroidered leather riding trousers and much, much more. Do take a look!

OATG member Sarah Fee, Senior Curator, Global Fashion and Textiles at the Royal Ontario Museum has informed us of the decision to extend the deadline for the IARTS Textiles of India grant until 15 May 2021. This biennial grant of $15,000 CAD “can be used anywhere in the world by anyone in the world toward a project that enhances knowledge about Indian textiles, dress, or costume”. The scope really is very broad, and can include research, fieldwork and creative work. Please click here for full details of how to apply.

Removing the bindings from the warp threads on Savu. ©David Richardson

Don’t forget the February issue of Asian Textiles will be out later this month. Our next online talk will be on 20 March when Genevieve Duggan will speak on People without history in eastern Indonesia, powerful or powerless? This will focus on the island of Savu, where Genevieve has conducted research over several decades. More details in my next blog!

More exciting online lectures and videos ….

PLEASE NOTE The video referred to in the title is no longer available. I will add it to a future blog when it is.

OATG member Dr Sarah Fee will be giving our first Zoom lecture later this month. Dr Fee is Senior Curator, Global Fashion & Textiles (Asia and Africa) at the Royal Ontario Museum, Toronto.

For the first time in 50 years, the Royal Ontario Museum’s world-renowned collection of Indian chintz is being presented to the public in a new original exhibition. Lead curator Dr. Sarah Fee will share highlights from the exhibition and discuss its wider narrative arc that traces 750 years of global trade in, and desire for, this most-influential of India’s trade textiles, from medieval times to the present. She will also share the challenges of bringing the exhibit to fruition during this time of global pandemic.

This online talk will take place on Wednesday 21 October at 1830 BST. This event is free for OATG members and just £3 (payable by Paypal) for non-members. Please note that registration is essential.

We have another excellent talk lined up for December, and the next edition of Asian Textiles is out later this month so why not consider joining us? Click here for more details.

The Seattle Art Museum will host an online lecture TOMORROW with the intriguing title of Dragon’s Blood and the Blood of Dragons. This is part of their Saturday University Lecture Series: Color in Asian Art – Material and Meaning. The presenter is Jennifer Stager, Associate Professor of Art History, Johns Hopkins University.

As an entry point into attitudes toward color, this talk considers the red pigment identified as cinnabar or dragon’s blood in the ancient Mediterranean. The Roman historian Pliny the Elder attributes this pigment (derived from Socotra tree resin) to the blood of actual dragons living on the Indian subcontinent. His critique of painters for their indulgence and excess in using it—and the persistent idea that colors contaminate—stands against an idealized whiteness constructed in opposition to the materials and geopolitics of other cultures. Prof. Stager examines the afterlives of Pliny’s fantastical slander. Seattle Art Museum website.

This talk will take place on Saturday 3 October at 1000 Seattle time, which is 1800 in the UK. You need to register in advance.

Mrs. George nee Elizabeth Blakeway by Frederic William Burton, private collection

The Japan Foundation are hosting an online talk entitled Kimono Crossing the Sea – Its Power to Inspire Imagination and Creativity on Friday 16 October at 1200 BST.  Renowned fashion historian and curator, Fukai Akiko, will discuss how the kimono was depicted in the latter half of 19th century and the intriguing relationship between the kimono and artists.

For progressive artists such as Manet and Whistler, as well as innovative fashion designers such as Paul Poiret and Madeleine Vionnet, the kimono was not merely a beautiful garment invoking exoticism, but an inspirational source for their creativity and, as a result, we are able to perceive its significant influence in their pieces. – Japan Foundation.

The talk will be preceded by an introduction  by Anna Jackson, the Curator of Kimono: Kyoto to Catwalk, and a brief conversation with Fukai Akiko will follow her lecture. Register for the talk here.

Finally Marilyn Murphy and her team at ClothRoads have put together another great list of textile-related events. Their list is definitely worth subscribing too as they often feature events that I don’t come across elsewhere.

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New textile books, an important online conference and links to some excellent blogs

 

 

In my last blog I mentioned a new book, Workbook: Antoine Janot’s Colours, by Dominique Cardon. Catharine Ellis has taken a much more detailed look at this book, specifically from the point of view of a dyer, in her blog which can be read here.

 

 

The Fabric of Civilization won’t be published until November, but is currently available for pre-order. The author, Virginia Postrel, will be taking part in an online book launch as part of the Textile Arts Los Angeles Textile Month.

“In The Fabric of Civilization, Virginia Postrel synthesizes groundbreaking research from archaeology, economics, and science to reveal a surprising history. From Minoans exporting wool colored with precious purple dye to Egypt, to Romans arrayed in costly Chinese silk, the cloth trade paved the crossroads of the ancient world. Textiles funded the Renaissance and the Mughal Empire; they gave us banks and bookkeeping, Michelangelo’s David and the Taj Mahal. The cloth business spread the alphabet and arithmetic, propelled chemical research, and taught people to think in binary code.” TALA website.

The launch takes place on 30 September at 12:30 LA time, which is 04:30 am in the UK, so probably only works for our international members.

 

 

The third new book celebrates the Indian textile collection of the authors Helmut and Heidi Neumann and has a foreword by Rosemary Crill. Published by Prestel it certainly seems to be lavishly illustrated and will be added to my wish list.

“Dating back to the fifth millennium BCE, India’s rich and vibrant textile tradition boasts an enormous range of techniques and extraordinary level of artistry. Drawn from one of the world’s finest collections of Indian textiles, this book presents a fascinating overview of centuries of artistic production from every corner of India. Each section examines a different region to reveal its distinct textile traditions, patterns, and processes: Patola silks from Gujarat, brocade lampas preserved in Tibetan temples, mordant resist dyed cottons from Indonesia, embroideries from rural Bengal, and silk saris from Murshidabad. The book also delves into the roles that textiles have played in daily life over the centuries, from household and dowry textiles to devotional pieces and exquisite materials crafted for rich patrons. Each object is photographed from multiple angles and reproduced in meticulous detail. Many of the antique pieces featured here are exceedingly rare, which makes this book an invaluable resource.” Prestel.

 

 

The Yale University Art Gallery has now reopened. One of its current exhibitions is called Place, Nations, Generations, Beings: 200 Years of Indigenous North American Art.

The exhibition “showcases basketry, beadwork, drawings, photography, pottery, textiles, and wood ….. …Guided by the four themes in its title, the exhibition investigates the connections that Indigenous peoples have to their lands; the power of objects as expressions of sovereignty; the passing on of artistic practices and traditions; and the relationships that artists and nations have to animals, plants, and cosmological beings.” Yale University Art Gallery website.

 

Moroccan woman’s kaftan made from Japanese kimono fabric. © Textile Research Centre, Leiden

I’ve already blogged about the virtual symposium organised by the Textile Society of America entitled Hidden Stories Human Lives. This takes place from 15-17 October and you can still register for the sessions.

However before then there will be another major online textile conference, this time organised by the IIAS Leiden, Tracing Patterns Foundation, and the Textile Research Centre Leiden. The title of the conference is Textiles on the Move, and it will take place from 6-9 October. “The theme of the online conference relates to the changing role, importance and significance of textiles and garments when they are moved from one particular cultural environment to another. Particular emphasis is laid on the movement of textiles and garments in Asia, and between Asia and the rest of the world.” – IIAS .

The programme is very varied, with an impressive line-up of speakers looking at kantha from Bengal, kanga from Africa, Turkmen carpets, Javanese batik, Silk Road textiles and much, much more. You can download the programme and abstracts here. Registration is also necessary for this free event – just click here.

 

 

Finally, I would like to recommend a series of blogs written by a variety of authors between 2017 and 2019 to celebrate New York Textile Month. These blogs have been hosted by Cooper Hewitt, Smithsonian Design Museum and cover a wide variety of topics – Chris Martens on Central Asian felt, Thomas Murray on an Indonesian palepai, Precious Lovell on Ghanaian adinkra, Wendy Weiss on a Gujarati patola – to name but a few.

 

Bhutanese coat, known as a gho. © Cooper Hewitt.

This is a link to just one of these blogs, this time by Susan Bean, looking at a Bhutanese coat which is known as a gho. I strongly recommend signing up to receive the Object of the Week emails from Cooper Hewitt.

 

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Exhibition: Collecting and Recollecting

Exhibition dates: 22 February – 14 July 2019

This exhibition has just opened at the International Quilt Study Center & Museum (IQSCM), which has the largest publicly held collection of quilts in the world.

According to the curator Marin Hanson

“Throughout western India, people make quilts for practical reasons: to have something to sleep under, to hang in doorways, to augment dowries, to sell. They make quilts for personal reasons, as well: to document daily life, to offer as gifts, to signal group affiliation or individuality. The quilts in this exhibition were made by women and men from towns and villages across the states of Gujarat, Maharashtra, and Karnataka. These craftspeople come from varied geographic, economic, and social backgrounds, but all value quiltmaking for the creative outlet it provides. The textiles often share visual and material similarities, but they also reflect their makers’ own communities, personalities, and life stories.”

Hanson goes on to explain how the IQSCM worked with researchers from various backgrounds to examine the quilting traditions of three regions: Gujarat, Maharashtra and Karnataka. Research on the quilts of Gujarat was carried out by Martha Wallace and Patricia Stoddard – the author of Ralli Quilts. They were assisted by Alok Tiwari and Salim Wazir, who is well-known to all who have had the good fortune to visit Bhuj.

Bhopa Rabari quilt. © IQSCM

Geeta Khandelwal from Mumbai has made and studied quilts since the 1970s. Recently she spent three years examining the quilts of Maharashtra. The quilt depicted below uses not only pieces srom saris and blouses but also seed bags that have the logo of the distributor printed on them.

Joshi quilt. © IQSCM

Karnataka quilts were studied by two different researchers – Henry Drewal and Shubhapriya Bennur. Henry Drewal was fascinated by the quilts of the Siddi people of northern Karnataka which are known as kawandi. These are usually made by older ladies, who are not able to work on the land. Drewal became involved in establishing a Quilt Cooperative to help these women to sell their textiles.

Siddi kawandi. © IQSCM

The quilts studied by Shubhapriya Bennur are known as kaudi. Most of these are formed from scraps of recycled clothing and they come in several different types for a variety of uses – baby quilts, ceremonial quilts, sitting quilts and bedcovers. 

 

Bedcover from northern Karnataka. © IQSCM

There are many more images of quilts featured on the museum’s website under the Featured Works section, with detailed information on the history and use of each example.

 

Location: International Quilt Study Center & Museum, University of Nebraska, Lincoln.

 

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Exhibition: Traded Treasures – Indian Textiles for Global Markets

Exhibition dates: 26 January – 9 June 2019

13th or 14th century cloth from Gujarat, made for the eastern Indonesian market

This recently opened exhibition at the Johnson Museum of Art, Cornell University, showcase the collection of Banoo and Jeevak Parpia.

“Known for many centuries as the source of fine cotton and silk textiles, India has produced some of the world’s most innovative textile traditions. Spanning five hundred years of the history of India’s thriving commerce to Southeast Asia, Europe, and Japan, this exhibition reveals why Indian textiles were in demand the world over.

Some of the earliest surviving Indian textiles are printed and painted cotton fragments found in Indonesia. Along with silk double-ikat patola, these were used for ceremonial purposes and treasured in Indonesia as heirlooms. The maritime trade that relied on supplying Indian textiles to Southeast Asian markets in exchange for spices was first conducted by Arab, Persian, and Indian merchants but later dominated by Portuguese, Dutch, and British traders, which expanded the demand for Indian chintz and embroideries in Asia and Europe.

The textiles presented in this exhibition…….. tell a fascinating story of global commerce and the ingenious ways that Indian artisans designed and produced goods of astonishing beauty and technical sophistication, while also revealing how cross-cultural interchange contributed to global aesthetic developments.”

A fully illustrated catalogue on the history of the Indian textile trade, is due out in March 2019 and will have contributions by many leading experts, including our founder Ruth Barnes, Kaja McGowan, and Sylvia Houghteling.

Location: Bartels Gallery, Johnson Museum of Art, Cornell University, 114 Central Avenue, Ithaca, NY.

 

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Event: Unpicking Woven Heritage – Cultural narratives of handwoven eri silk textiles from Meghalaya, Northeast India

 

 

Event date: Tuesday 4 September 2018 18:00 – 20:00

Anna-Louise Meynell (Centre for Sustainable Fashion, University of the Arts London) has been conducting doctoral research in the remote state of Meghalaya, Northeast India. The research aims to explore and define the cultural heritage of eri silk weaving in the Ri Bhoi District, considering the socio-cultural history, the craft process and the materiality of the product.

Eri silk holds many social narratives of North East India. It is cultivated domestically and known locally as “the poor man’s silk” or “peace silk”, as it does not harm the silkworm in the extraction of the silk. Unlike the continuous filament of the mulberry silk cocoon, the eri cocoon is made up of short staple fibres which require it to be hand spun, resulting in a slubby texture with a dull sheen of silk. It is still almost exclusively dyed with natural dyes and traditionally woven on a simple bamboo floor loom.

The eri silk communities of Meghalaya have been exposed to significant social change and external interventions since pre-colonial times, much of which can be ‘read’ through a study of the textiles and techniques. Anna-Louise will show photos and samples from the archive of eri silk textiles that has been collected during fieldwork – samples that are indicators of tribal migration and assimilation, of colonial influence and widespread conversion from the indigenous Khasi religion to Christianity.  

For further details and booking click here

This Oxford Asian Textile Group event will take place at the Pauling Centre, Oxford.

Event: Legend of the Loom – film and talk

 

Event date: Thursday 12th April, Barbican, London

The 3rd London Bengali Film Festival launches at the Barbican with the red carpet UK premiere of the documentary ‘Legend of the Loom,’ focusing on the Muslin cloth, trade and demise of the industry.

Researched and scripted by Saiful Islam, the film covers the story from the first foreigners to come to Bengal in search of its fine textiles, the establishment of empires and the opening of trade routes which began to connect the subcontinent to the wider world. Along the way, weavers, farmers, experts, designers, scientists and artisan’s give their views, add nuggets of information and display techniques which make the story come alive.

The film is introduced by Saiful Islam (CEO-Drik (Bengal Muslin), who is also be leading the Q&A after the film.

For more information and to book visit the website of the Barbican

Article: Master Weavers of Bhujodi

 

 

Up until fifty years ago, weaving was not an year-round activity. Bhujodi’s inhabitants dedicated half of the year to farming, and the other half to weaving. But due to climatic shifts that caused inconsistency of the monsoon and its consequential lack of water, farming became less reliable. In order to sustain a living, the shift to weaving became the community’s main livelihood.

The village of Bhujodi is now full of weavers. But how does one distinguish the quality of a weaver’s work from that of another, beyond that relative degree of “taste” that one may own, or years of expertise most people do not possess? Dinesh’s response is humorous and poignant: “It’s just like handwriting. Some have good handwriting, some have bad handwriting.”

Good weavers work with their mind. The mind needs to “see” the pieces. Some people do not see it. But those who have been the benefactors of generational continuity see it. According to Dinesh, it is not just about weaving–the mind needs to be trained. They have lived with the art and have been weaving for generations so they recognise what quality needs to be.

Read more about these master weavers, along with some stunning photography and video on the Moo Won website

Video: Patola Weaving in Patan, Gujarat

 

 

This video documents the process of weaving a patola in Patan, Gujarat. There are so many stages to this process, but when you watch them cutting open the bindings your heart really is in your mouth – just one slip and all of that work would be ruined!

Note the precision with which they are adjusting single threads at the end of the video.

See the video here

Event: Block Printing Study Day at the Joss Graham Gallery

Event date: Saturday 15 July 2017

John Gillow, well known author and authority on world textiles and Sevanti Roy, textile designer and practitioner, will share their expertise with discussion, demonstrations and practical workshops.

Try your hand at block printing!
10am – 1pm morning session (demonstration and practical workshop with Sevanti Roy)
2pm – 3pm talk by John Gillow
3pm – 6pm afternoon session (demonstration and practical workshop with Sevanti Roy)

Cost £45 per session. All materials supplied.
Places are limited, so booking is essential. Call or email the gallery to book a place (see details below).

JOSS GRAHAM GALLERY
10 Eccleston Street, London, SW1W 9LT
tel: 020 7730 4370
info@jossgraham.com