California

Lacis Museum
Beyond the Pattern: The Quintessence of Fashion
Through August 2, 2008

Beyond the Pattern looks at costume from 1700 to 1870, celebrating the applied hand work, fabric manipulation, embroidery, and lace that raises costume from mere body covering to fashion. For more information, please visit http://www.lacismuseum.org

San Jose Museum of Quilts & Textiles
Beyond Knitting: Uncharted Stitches
June 17 – August 24, 2008

Beyond Knitting is an awakening to the brave new world of sculptural knitting. With pieces that are both visually stunning and intellectually provocative, the exhibition highlights the tremendous variety of approaches and subject matter that contemporary textile artists here and abroad are tackling using knitting as the primary technique. For more information, please http://www.sjquiltmuseum.org

San Jose Museum of Quilts & Textiles
Pun Intended: The Appliquéd Wit of Dorothy Vance
June 17 – August 24, 2008

Pun Intended: The Appliquéd Wit of Dorothy Vance, features 14 humorous quilts juxtaposing folk art, politics and pop culture. Dorothy Vance is known for her unique, clever and humanly charming folk art quilts, and this exhibition showcases this original work and the vision of an imaginative and irrepressible artistic personality. For more information, please visit http://www.sjquiltmuseum.org

San Jose Museum of Quilts & Textiles
In Javanese Moonlight: Sha Sha Higby in Transition
June 17 – August 24, 2008

Sha Sha Higby approaches dance through the medium of sculpture. She creates intricate costumes of materials such as wood, silk, paper and gold leaf and animates them with subtlety and grace in performances of her own contemplative form of dance. Higby’s contemporary mixed-media fiber sculptures are juxtaposed with rare royal Indonesian batiks from her own collection and the private collection of Noeleke Glenn Klavert. These batiks introduce visitors to the many cultural symbols that have shaped the iconic designs found in Indonesian batiks and have informed the artistic and spiritual practices behind Sha Sha Higby’s creations. Design influences in these batiks can be traced to India, China, Japan, the Middle East and Holland. Don’t miss In a Cloud of Glass, Sha Sha Higby’s new performance to be held next door to the Museum on July 27 at 6pm. For more information, please visit http://www.sjquiltmuseum.org

San Jose Museum of Quilts & Textiles
Crocheted Reef and Anemone Garden
June 17 – August 24, 2008

Crocheted Reef and Anemone Garden is an installation of sea life created by the 7th grade class at Gideon Hausner Jewish Day School in Palo Alto, California. Students created this coral reef, composed of approximately 500 crocheted life forms, including coral, sea sponges, squid, sea stars, sea jellies and urchins, as part of a hands-on experiential unit combining art, science and language arts and to draw attention to conditions threatening the world's coral reefs. For more information, please visit http://www.sjquiltmuseum.org

San Diego Museum of Art
Kimono Redefined: The Landscape Art of Itchiku Kubota
November 1, 2008 – January 4, 2009

In conjunction with the Timken Museum of Art, SDMA is presenting a major exhibition featuring the work of internationally recognized Japanese textile artist and kimono designer, Itchiku Kubota (1917–2003). Kubota used a variety of traditional techniques and unique personal innovations to create shimmering, abstract landscapes through a complex layering of dyes and inks on monumentally-scaled kimono. Included in the exhibition is a selection of kimono from his Mt. Fuji series—a popular subject in the arts of Japan—presented as three views of Japan’s most famous mountain at different times of day. The centerpiece of the exhibition and Kubota’s life work is Symphony of Light, a dramatic 30-piece presentation of kimono placed side-by-side depicting the four seasons. The subtle changes of color and the quality of light achieved through skillful dyeing and the clever exploitation of the light-reflective properties of silk make this a breath-taking installation. In addition, a selection of Kubota’s individual works will round out the exhibition. For more information, please visit http://www.sdmart.org

Fine Arts Museum of San Francisco – de Young Museum
For Tent and Trade: Masterpieces of Turkmen Weaving
December 15, 2007 — September 21, 2008

This exhibition shows selected works from the Museums’ extraordinary collection of Turkman carpets and related textiles, including many objects given by the primary donors who formed it—H. McCoy Jones, Caroline McCoy Jones, George and Marie Hecksher, and Wolfgang and Gisela Wiedersperg. More than 40 rugs and tent trappings will be on view in the Textile Gallery. A display in the nearby Textile Education Gallery will explore aspects of carpet construction and design and the interrelationship between them. For more information see http://www.thinker.org/.

University of California-Davis Sustainable Fashion Design Museum
Fashion Conscious
May 15-July 13, 2008

This exhibition explores sustainability and how it relates to the current clothing market, from the environmental impact of eco-friendly textiles to the re-evaluation of industrial manufacturing. The exhibiting designers and companies demonstrate a commitment to developing clothing that prove viable alternatives to the imperfect traditions of the fashion industry. Changing a long-standing paradigm will not happen overnight, but by choosing fabrics and methods of production conscientiously, designers have the power to change the way farms and factories operate. The objects on display represent a variety of sustainable approaches from recontextualizing existing fabrics or utilizing new environmentally friendly textiles, to reformulating the very idea of how garments are worn and constructed. Fashion Conscious will exhibit an exciting variety of fashion forward examples made with environmentally sustainable fabrics by leading designers including Elisa Jimenez (of Project Runway season 4), Linda Loudermilk, Anna Cohen, Bahar Shahpar, Mociun, and many others. For more information, please see http://designmuseum.ucdavis.edu and http://sustainablefashion.blogspot.com

Colorado

Denver Art Museum
Gee’s Bend: The Architecture of the Quilts
On view through July 6, 2008

For generations, African American women in an isolated farming community at a bend in the Alabama River made quilts from old work clothes, recycled fabrics, or scraps used by the Freedom Quilting Bee cooperative. Boldly combining color, form, and texture in unexpected ways, these quiltmakers integrated everyday materials like corduroy and denim to create utilitarian quilts that are now heralded as significant contemporary artworks. Gee's Bend: The Architecture of the Quilts tells the moving human stories behind these quilts—stories about the intertwined roles of community and family, environmental inspirations, and the artistic process. For more information see http://www.denverartmuseum.org/.

Denver Art Museum
Amish & Mennonite Quilts from the Big Valley & Beyond
On view through July 13, 2008

This exhibition features twelve recently acquired quilts that expand the Denver Art Museum’s collection of more than 300 quilts.

Five of the quilts demonstrate the design and color preferences of the three groups of Old Order Amish in the Kishacoquilla Valley of Mifflin County, Pennsylvania: Nebraska, Byler, and Peachey Amish. Each of these groups follows a different Ordnung—the rules that govern all areas of Amish life, from the colors and styles that can be used for clothing to the patterns and stitched motifs that are appropriate for quilts.

In addition to the Big Valley Amish quilts, the show includes examples of Amish quilts made in Somerset and Lawrence Counties in Pennsylvania, Midwest Amish quilts, and Mennonite quilts from Pennsylvania. For more information see http://www.denverartmuseum.org/.

Connecticut

Wadsworth Atheneum
Making a Splash: American Beach Fashions, 1850-1920
Through July 13, 2008

In complement to the exhibition Impressionists by the Sea, Making a Splash uses original costume items along with period photographs and prints to explore fashions worn at the American seaside in the Victorian and Edwardian eras. The exhibition examines the roots of American bathing costumes in reform dress for water cures and private exercise, as well as exploring the beach as a setting for relaxation, public recreation and the promenading the latest fashions on the boardwalk.

Delaware

Winterthur Museum
Who's Your Daddy?
Families in Early American Needlework
October 4, 2008 - January 9, 2009

This exhibition explores how family ties are honored and strengthened through needlework, how needlework can serve as primary source material for historical and genealogical research, and the function of needlework through gifts and inheritance by subsequent generations. Historians have long recognized that family networks play a crucial role in political, commercial and religious activities of both men and women. Many American samplers contain family names and other genealogical information, while silkwork pictures may depict family members or mourn their death.

Georgia

Polk County Historical Society Museum
Fabrics and Textiles: From Quilts to Lace
Through September 3, 2008

Fabrics and Textiles: From Quilts to Lace is an exhibit of early to mid-twentieth century needlework and handicrafts prevalent in Polk County, Georgia. The exhibit includes quilts, coverlets, vintage clothing, embroidery, crochet, lace, tatting and samples of appliqué and cross-stitch. Museum hours are Wednesday 1:30 – 4:00 p.m. and Saturday noon – 4:00 p.m. For more information, please call (770) 748-8084 or (770) 749-0073 or visit http://polkhist.home.mindspring.com/home.htm

Hawaii

Honolulu Academy of Arts
Indonesian Batik From the Christensen Fund Collection
July 3 - October 15, 2008
Bright and Daring: Japanese Kimono in the Taisho Mode
August 5 - October 5, 2008
Blue and White: Indigo-dyed Japanese Textiles
August 5 - October 5, 2008
Japanese Prints of Kimono in the Modern Era
August 5 - October 5, 2008

Free to Textile Society of America Symposium Attendees Thursday, September 25 through Sunday, September 28, 2008
Tuesday–Saturday 10 a.m.–4:30 p.m.; Sunday 1–5 p.m.

Several galleries of the Honolulu Academy of Arts will be devoted to selections from the museum’s superb collection of over 6,000 Asian textiles including exceptional pieces from the renowned Christensen Collection. Also woodblock prints depicting kimono will be shown in a special exhibition selected from the famed James and Mari Michener Collection and the collection of modern era prints. Galleries throughout the Academy regularly feature important examples of the textile arts as part of the artistic heritage of the culture represented. Honolulu Academy of Arts, 900 S. Beretania Street, Honolulu, HI 96814. For more information visit http://www.honoluluacademy.org.

Bishop Museum
Pauahi: A Legacy for Hawaii
Through December 31, 2008

Bishop Museum, 1525 Bernice Street, Honolulu, HI 96817
Free to Textile Society of America Symposium Attendees
Daily, 9 a.m. to 5 p.m.; Castle Memorial Building
Kapa beaters, exquisite kapa cloth, and other decorating utensils from Bishop Museum’s own fine collection will be on display in this exhibition which celebrates the contributions of Bernice Pauahi Bishop, the last descendent of King Kamehameha I. Among the other treasures on view are Princess Pauahi’s feather cape, and a feather cloak of Kamehameha the Great, For more information visit http://www.bishopmuseum.org.

Bishop Museum
Ili Iho: The Surface Within
September 20, 2008 through January 11, 2009

Bishop Museum, 1525 Bernice Street, Honolulu, HI 96817
Free to Textile Society of America Symposium Attendees
Daily, 9 a.m. to 5 p.m.; J.M. Long Gallery
Rare kapa cloth, a famous makaloa mat plaited in an eloquent woven protest to the King, spectacular Hawaiian featherwork, and other significant treasures from Bishop Museum’s own fine collection will be on display alongside a selection of contemporary Hawaiian textile arts by eight of Hawaii’s finest artists. University of Hawaii Associate Professor Maile Andrade guest-curates this exhibition. Andrade has invited the artists to explore their ancestral creations and create works that delve into the surfaces within. This exhibition makes imperative the role of the native community in interpreting and understanding their own material culture. For more information visit http://www.bishopmuseum.org.

Mission Houses Museum
Fundamental Fiber: Lauhala, Tapa & Quilts
September 19, 2008 through January 3, 2009

Mission Houses Museum, 553 S. King Street, Honolulu, HI 96813
Free to Textile Society of America Symposium Attendees
Tuesday through Saturday, 9 a.m. to 4 p.m.
Organized in conjunction with the 11th Textile Society of America Biennial Symposium (September 24-27, 2008), Fundamental Fiber: Lauhala, Tapa & Quilts will feature 19th and 20th century objects from the Museum’s permanent collections. Fiber arts traditions are well engrained in Hawaii’s ancient, modern, and contemporary cultures. This exhibition offers a unique opportunity to view rarely seen pieces from the permanent collections while providing a forum for local weavers and quilt makers to interact and share current techniques and trends. Extensive public programs are also planned. For more information visit http://www.missionhouses.org.

East-West Center Gallery
Fields of Flowers: Woven Carpets and Mughal Treasures
September 21 through December 31, 2008

Monday–Friday, 8 a.m.–5 p.m., Sunday, 12 noon–4 p.m.; Free
In mid-seventeenth century Mughal India, the taste for naturalistic floral sprays reached an apogee of artistic expression. The aesthetic style dominated the arts of South Asia from the 17th century to the present, and has had an impact on even Western and Chinese aesthetic traditions. The taste for beautiful floral motifs is seen in a rare pair of large, unusually-shaped Mughal carpets in the collection at Shangri La. Paired together, the carpets form a bold field of flowers with an interior void wherein a person, most likely a royal personage, would have sat in splendor. The exhibition will include a pedestrian bridge, enabling visitors to view the carpets more closely. Intricate works of art inspired by Mughal floral patterns, including brassware, paintings, stonework, woodwork, and textiles will also be displayed. Photographs and video will demonstrate social and historical context. This exhibition is presented by the East-West Center Arts Program and Doris Duke Foundation for Islamic Arts. The exhibition is co-curated by Michael Schuster, Ph.D., and Sharon Littlefield, Ph.D.

University of Hawaii
Ancient Customs, Ancient Stories: Lampung Ceremonial Textiles and Objects
Sep. 8-Oct. 31, 2008

Hamilton Library Bridge Gallery
University of Hawaii at Manoa, 2550 McCarthy Mall
Open all Library hours; Free
Examples of remnants of house architecture, ceremonial furniture and objects, mats and beadwork will be shown to demonstrate their relation to the imagery of textiles from Lampung, the southernmost province of Sumatra, Indonesia. This exhibition is curated by Garrett and Bronwen Solyom as part of the Textile Society of America site seminar on textiles from the Malay archipelago and New Guinea.

Outrigger Waikiki Hotel
Pacific Island Textiles as Status, Wealth, Genealogy, Supernatural Protection
September 8 – October 10, 2008

Outrigger Waikiki Hotel
Lobby Koa Showcase, 2335 Kalakaua Avenue, Honolulu
Worn or displayed, woven or plaited, these textiles from the Pacific Islands are both utilitarian and ceremonial, secular and sacred. In the Marshall Islands they provided clothing before the introduction of trade clothes. In Fiji, masi is essential for all ceremonies from birth to death as well as for the ordination of chiefs. In Tonga large nagatu honor their king, smaller ones wrap bridal couples and bury the dead. In Yap and the outer islands of Ulithi, supernatural powers are believed woven into machi worn only by chiefs. From Papua New Guinea and the Marquesas women have utilized traditional bark cloth to express their creativity and earn much needed cash. Caroline Yacoe is serving as consulting curator. Textiles on view will include Marshall Island mats and kili bags; Fiji masi including a wedding set; Tongan ngatu; Samoan siapo; Colinwood Bay tapa from Papua New Guinea; Marquesan tapa from the breadfruit tree; woven burial shroud from the highlands in Papua New Guinea; and Hawaiian five-layer kapa moe. Several photographs will also be included featuring images of a Tongan woman painting ngatu; a Fijian wedding couple in masi; tapa worn by dancing men of Papau New Guinea; and tapa from Pitcairn.

University of Hawaii at Manoa Art Gallery
Writing with Thread: Traditional Textiles of Southwest Chinese Minorities
September 21 - October 31, 2008

Writing with Thread will feature over 500 objects from the most inclusive collection of Southwest Chinese ethnic minority costumes in the world. Writing with Thread will showcase the finest and rarest costumes from 16 ethnic groups and nearly 100 subgroups and will explore the meanings associated with the production and use of indigenous clothing. In societies without written languages, traditions and customs are orally passed from generation to generation. However, the textile arts, largely practiced by women, provide tangible evidence of a groups history, myths, and legends. The signs and patterns woven or embroidered in their clothing and the ceremonial and ritual use of textiles are often replicated in the accompanying silver ornaments made by men. For more information see http://www.hawaii.edu/artgallery.

Academy Art Center
Tattered Cultures: Mended Histories
September 6 - 28, 2008

This invitational contemporary fiber art exhibition will feature a collection of artworks by international fiber artists who are members of the Textile Society of America. Tattered Cultures is curated by Mary Babcock, Assistant Professor and Fibers Area Chair, Department of Art and Art History, University of Hawaii at Mnoa, in collaboration with Carol Khewhok, Curator of the Academy Art Center at the Honolulu Academy of Arts. The exhibition explores how dominant ideologies of a specific time and place often tatter the cultural heritage of the less-dominant and culturally diverse. Multitudes of lives and events pass by unnoticed, distorted and dismissed by the dominant ideologies of a specific time and place. The result is holes and gaps in human experience and understanding, a tattering of our cultural heritage. This exhibition speaks to the large gaps; places where the dominant culture has suppressed the voices of other modes of being. It also speaks to the more subtle tatterings, the ways in which the lack of commemoration of ordinary lives results in impoverished cultures, cultural fabrics weakened by gaps in recognition, celebration and understanding. For more information see http://www.honoluluacademy.org.

Louis Pohl Gallery of Fine Art
WeARTables
August 27—September 27, 2008

The Handweavers’ Hui will present an exhibition of contemporary wearable fiber art created by its members. For more information about Louis Pohl Gallery of Fine Arts see http://www.louispohlgallery.com.

The ARTS at Marks Garage
Fiber Hawaii
September 16—October 11, 2008

This popular biennial juried exhibition is sponsored by Hawaii Craftsmen, one of Hawaii’s most active and respected arts organizations whose membership includes some of the finest artists and craftsmen in Hawaii. Fiber Hawaii, a showcase of contemporary art and craft based on fiber traditions, uniquely encourages creative interpretation of fiber as media as well as idea, offering artists an opportunity to explore their work within the context of Contemporary Fiber Art. Artists from all media participate in this juried exhibition. For more information about Fiber Hawaii see http://www.hawaiicraftsmen.org.

The Contemporary Museum at First Hawaiian Center
Fiber Artists of Hawaii
September 25—December, 2008

This group exhibition will feature the breadth of contemporary fiber art being created by artists working in Hawaii and artists with ties to Hawaii. See how Hawaii artists are interpreting techniques and ideas from a multitude of traditions.

Japanese Cultural Center of Hawaii
Pride and Practicality: Japanese Immigrant Clothing in Hawaii
July 26—September 27, 2008

The Japanese immigrants who came to Hawaii in a steady stream beginning in 1885 brought a rich cultural heritage that included their clothing. At the first the issei men and women worked in the fields in the rustic cotton kimono they brought with them. But those kimono were not practical for moving among the sugar cane with its razor-sharp edges. As these immigrants came in contact with the diverse ethnic groups in Hawaii, they found useful ideas in the dress of other cultures. By assimilating these new ideas and combining them with their own traditional ideas, a unique style of clothing developed. Curated with the help of Barbara Kawakami, important examples of early clothing and the stories of the immigrants will make this exhibition a poignant reminder of the past. For more information see http://www.jcch.com.

Indiana

Indianapolis Museum of Art
Shared Beauty: Eastern Rugs & Western Beaded Purses
May 31, 2008 – March 8, 2009

Though beaded purses were fashionable through the 19th and early 20th centuries, they became extremely popular in the 1920s as an integral part of the flapper-era costumes, greatly complementing the period’s beaded evening dresses. A wide variety of patterns were depicted on these bags, including flowers, landscapes and other popular motifs. However, some of the most fashionable designs were copied from the patterns of Persian, Turkish, Caucasian, Turkmen and Indian carpets and textiles. In this exhibition, beaded bags will be displayed alongside rugs with similar patterns. This juxtaposition will explore the motifs common to rugs and provide a closer look at "Orientalism," and examine the influences of Eastern art on Western art and fashion. The beaded purses are from the Stella and Fredrick Krieger Collection. The rugs are drawn from IMA’s permanent collection augmented by a few loans from private local collections. For more information, please visit http://www.ima-art.org.

Indianapolis Museum of Art
Simply Halston
Through January 4, 2009

Roy Halston Frowick (1932–1990) was born in Iowa and grew up in Indiana. He began his career as a milliner and later designed the hat Jacqueline Kennedy wore at her husband’s inauguration in 1961. A master of cut, he was a favorite of many celebrities and designed clothes for Elizabeth Taylor, Liza Minnelli, Anjelica Huston and Lauren Bacall. Most of the approximately 32 designs in this exhibition are drawn from the IMA’s fashion arts collection. For more information, please visit http://www.ima-art.org.

Indianapolis Museum of Art
Hats of Africa: From Asante to Zulu
Through September 28, 2008

More than 50 traditional head coverings representing 30 ethnic groups from across Africa show the great cultural diversity of the continent. See hats made for a variety of purposes made from a variety of materials, including cloth, leather, feathers, shells and hair. Many of the pieces on display have never been exhibited. For more information, please visit http://www.ima-art.org.

Maryland

Baltimore Museum of Art
Meditations on African Art: Pattern
Through August 17, 2008

The third and final installation in the BMA’s Meditations on African Art series, Pattern features more than 70 diverse works, including textiles and adinkra dye stamps, that define the shape and surface of African art. For more information, please visit http://www.artbma.org

Massachusetts

New Bedford Whaling Museum
Needle/Work: Art, Craft, and Industry in a Whaling Port
January 18, 2008-December 2008

The exhibition Needle/Work: Art, Craft, and Industry in a Whaling Port looks at the role needlework, in its broadest sense, has played in the region's history. It looks at domestic plain sewing, schoolgirl and fancy needlework, including work done by both sailors and the wives of whaling captains at sea. Local industries, such as sail and flag-making, the outwork manufacturing of seamen's clothing, local tailors, dressmakers, and milliners, and shoemakers, and the transition into factory work from outwork are addressed. It takes into account New Bedford's immigrant communities, particularly those from the Azores, Madeira, and Cape Verde, and their contributions. There is a small section on the needle trades that still exist in contemporary New Bedford.
see http://www.whalingmuseum.org.

American Textile History Museum
Textiles in America
Ongoing

This exhibition explores the story of how people have used art and science over the past 250 years to create beautiful and useful textiles. This 35,000 square-foot, bi-level installation includes imaginative period settings, gallery displays and interactive stations featuring over 500 artifacts from the Museum's collections of textiles, clothing and accessories, tools, machines, photographs, and advertising ephemera. A large-scale mid-1900s factory weave room produces fabric on looms for the Museum's heirlooms collection of textile products that are for sale in the Museum Store. For more information see: http://www.athm.org.

MASS MoCA
Fransje Killaars: Installation: Figures, Colors First
Long-term installation

“I am fascinated and deeply affected by the power and effect of color,” writes Amsterdam-based textile artist Fransje Killaars (b. 1959, Maastricht, The Netherlands). Her new textile work Installation Figures, Colors First - commissioned for MASS MoCA’s Hunter Gallery - uses a combination of vivid hues and rich textures to transform visitors’ experiences of the space (which was once the color shop of the original 19th-century occupant of the site, a textile printing company named Arnold Print Works). Merging painting, architecture, and fashion, Killaars’ work also mixes references from a range of cultures – with fabrics from Japan, acrylic blankets designed by the artist and hand-woven in India, and draped figures reminiscent of Burka-clad women and Greek caryatides. Re-contextualizing objects as familiar as a bedspread, Killaars imbues the material with surprising new meaning. For more information see http://www.massmoca.org.

Fuller Craft Museum
Majorie Durko Puryear: Woven Notes and Memorabilia
Through July 20, 2008

Using old handwritten documents, including diaries, letters, personal adress books and business ledgers, textile artist and UMass Dartmouth Professor Majorie Puryear creates narrative wall works, using digital design, and electronic jacquard weaving techinques. For more information, please visit http://www.fullercraft.org.

Fuller Craft Museum
Portions of the Re-Possessed: Fiber Work by Xenobia Bailey
August 2, 2008 – March 8, 2009

Harlem-based artist Xenobia Bailey’s aesthetic is decidedly funk, a fusion of Afrocentrism, feminism, spirituality, communion with nature, drumbeats, motion, and energy. Her exhibition will include large-scale wall mandalas crocheted in vivid colors and patterns made of cotton and acrylic yarns and plastic pony beads. For more information, please visit http://www.fullercraft.org.

Minnesota

Textile Center
Shibori Cut Loose
June 6 – July 19, 2008

This exhibition features the work of twenty-one fiber artists who use contemporary and traditional techniques of shaped resist dyeing to create artwear, fabrics, and two- and three-dimensional art. Juried by the distinguished shibori artist Ana Lisa Hedstrom, Shibori Cut Loose incorporates a wide range of approaches to the ancient, worldwide art of resist dyeing. For more information, please visit http://www.textilecentermn.org.

Minneapolis Institue of Arts
Larsen Design Studio: Part IV, Paul Gedeohn
Through July 27, 2008

The design studio is the heart and conceptual essence of textile production. For five decades Jack Lenor Larsen directed his design team as well as all the concerns of the exceptional company he founded. Larsen’s initial ideas were first explored and further developed by the design team’s collaborative efforts.
Paul Gedeohn was the primary graphic designer and colorist in the Larsen Design Studio for more than thirty years. He developed a unique working relationship with Jack Lenor Larsen that resulted in an effective interface from concept to completed fabric. Gedeohn had trained as a painter and, like Larsen, completed his graduate work at Cranbrook Academy before going to New York City. Working initially as a freelance designer for the Larsen company, Gedeohn was soon hired on a permanent basis. He contributed much to the Larsen look, particularly subtle color relationships within collections and individual patterns. Gedeohn continued to pursue his painting career. For more information, please visit http://www.artsmia.org.

Minneapolis Institue of Arts
Veiled Communications: Head Coverings from South Asia
Through November 16, 2008

For modesty's sake, women throughout much of the Indian subcontinent traditionally have covered their heads and shoulders with shawls or veils. In public, the feminine ideal has been fully covered and quiet. But the veils themselves were another matter. They told stories. Through pattern and color, material and workmanship, a veil might speak of geographic origin, tribal affiliation, economic standing, and marital status. It might tell the season and social occasion, or provide talismanic protection. And sometimes, a veil can express personal whimsy. Always a flag of identity, these pieces of cloth have continued to reveal as much as they conceal. Representing almost a century of collecting, "Veiled Communications," guest-curated by Jeffrey Hess, assembles two dozen superb head coverings from India and Pakistan, reflecting the region's diverse textile traditions of dyeing, embroidering, printing, and weaving. For more information, please visit http://www.artsmia.org.

Nebraska

International Quilt Study Center and Museum
Quilts in Common
Through August 17, 2008

Quilts in Common explores relationships between quilts that are not typically associated with one another, but which have strong visual or conceptual relationships. Regardless of time and place, quiltmakers have approached their creations in remarkably similar ways. This exhibition features works from nine different countries - Canada, France, Germany, India, Japan, Norway, Pakistan, the United Kingdom (Wales) and the United States - and from four centuries: the eighteenth through the twenty-first. A variety of techniques is represented, from hand- and machine-piecing to hand- and machine- appliqué, as well as embroidery, painting, stuffed work and cording. The one common denominator between all these varied forms, uses, and origins is the quilting stitch that connects objects from all over the globe and across the centuries. These fundamental connections illustrate that these quilt masterpieces truly are Quilts in Common. For more information, please visit http://www.quiltstudy.org.

Robert Hillestad Gallery, University of Nebraska, Lincoln
Celebration Threads: New Twists by Robert Hillestad
Through September 5, 2008

Silk, wool and cotton threads are mutated into a dazzling festival of wall pieces, garments, accessories and sculpture through a wide range of interrelated traditional and non-traditional techniques. This joyful pageantry of fiber was created to prompt viewers to look at textiles in a new way. For more information, please visit http://www.textilegallery.unl.edu.

New Jersey

Fabulous Fiber: A Juried Exhibition
The Monmouth Museum
August 15-September 21, 2008

The Monmouth Museum is excited to be hosting in our Main Gallery “FABULOUS FIBER” from August 15th through September 21, 2008. This exhibition will feature artwork that represents unique approaches within the media of fiber and demonstrates diversity in contemporary fiber art. For more information, please visit http://www.monmouth.org.

New Mexico

Capitol Rotunda Gallery at the State Capitol Building in Santa Fe
New Mexico Fabrications: An exhibition of art quilts by New Mexico artists
April 4 - August 22

Opening reception, April 4, 2008 from 4:00 - 6:00 pm.
Juried by Cynthia Sanchez, curator of Capitol Arts Collection.
Contact Colleen Sizemore, csizemor@signalpeak.net for more information.

New York

The Forbes Galleries, New York City
Good things in Small Packages: A Century of Japanese Children’s Wear 1860-1960
May 5 - October 11, 2008

This exhibition, guest curated by Valerie Foley, explores vintage Japanese children's wear as historical and cultural artifacts. Each piece reveals something about childhood in traditional and transitional Japan: popular patterns and their meanings, favorite fairy tales, annual celebrations, superstitions, material culture, religion, the economy, politics, and outside influences as Japan opened up to the rest of the world. For more information, see http://www.forbesgalleries.com

New York Historical Society
Woven Splendor from Timbuktu to Tibet: Exotic Rugs and Textiles from New York Collectors
April 11, 2008 – August 17, 2008

Woven Splendor celebrates the 75th anniversary of Hajji Baba Club, the nation’s oldest rug-collecting club. The exhibition will chronicle the history of this New York-based group while examining the history of the Oriental rug in New York. Featured are approximately 75 objects belonging to current club members, including rugs, costumes and other Near Eastern/Central Asian textiles. The thematic exhibition explores how rugs were produced and used in their countries of origin, as well as how Americans initially understood these objects. The show incorporates photographs depicting Oriental rugs in the homes of club founders in the early 20th century and images revealing how such objects were originally made through galleries and World’s Fairs. The accompanying catalog is by rug scholar Dr. Jon Thompson.

Metropolitan Museum of Art
Superheroes: Fashion and Fantasy
Through September 1, 2008

The symbolic and metaphorical associations between fashion and the superhero are explored in this compelling exhibition. Featuring movie costumes, avant-garde haute couture, and high-performance sportswear, it reveals how the superhero serves as the ultimate metaphor for fashion and its ability to empower and transform the human body. Objects are organized thematically around particular superheroes, whose movie costumes and superpowers are catalysts for the discussion of key concepts of superheroism and their expression in fashion. For more information, please visit http://www.metmusuem.org.

Metropolitan Museum of Art
The Essential Art of African Textiles: Design without End
September 30, 2008 – March 29, 2009

Dazzling textile traditions have constituted an important form of aesthetic expression throughout Africa’s history and cultural landscape. Textiles have long been a focal point of the vast continental trading networks that carried material culture and technological innovations across regional centers and linked Africa to the outside world. Leading contemporary artists reflecting on Africa’s distinctive cultural heritage and its relationship to the world at large have drawn upon the imagery of textiles in sculpture, painting, photography, installation art, video, and other media. This exhibition illustrates the stunningly diverse classical textile genres created by artists in West Africa through some of their earliest documented and finest works. Highlights of the Metropolitan’s own holdings will be presented along with some 20 works that entered the British Museum’s collection by the early 20th century. Selected works will represent inventive variations on major themes of the influential classical genres. The exhibition will relate these genres to contemporary art forms by affording an appreciation of the cultural context and visual language of these traditions and exploring their synergy and resonance in works by seven living artists. For more information, please visit http://www.metmusuem.org.

North Carolina

The Center for Craft, Creativity and Design
Inspired Design: Jacquard & Entrepreneurial Textiles
May 20 – August 27, 2008

What happens when the creative mind and the skilled hand are provided ongoing access to the computer aided, industrial weaving machine? This exhibit features designs and work that represent five 21st century design growth areas of creative/innovative textiles using computerized Jacquard looms: 1) Smart Textiles (e-textiles) with electronic components woven into textiles, 2) Performance and Interactive textiles designed as performative textiles for costume, stage, and dance or computer designs created by sound, 3) Textiles for Boutique Clothing – fabric designs for limited-edition boutique clothing, 4) Interior Textiles for furniture, panels, wall-coverings, and 5) Textiles as Fine or Commissioned Art. Gallery Hours: Tuesday-Saturday, 1-5 pm. For more information, please visit http://www.craftcreativitydesign.org.

Ohio

Kent State University Museum
In Bloom: Patterned Silk Design Innovations in Eighteenth Century France
Through February 8, 2009

James Galanos: American Luxury
Through March 1, 2009

Belle Époque Brides
Through January 4, 2009

Mood Indigo
Through August 31, 2008

For more information about these exhibitions, please visit http://www.kent.edu/museum.

Pennsylvania

Lancaster Quilt & Textile Museum
Lancaster County Amish Quilts
Ongoing

Featuring the premier group of quilts formerly known as the Esprit Collection, the museum's permanent exhibit seeks to tell the story of the Amish and their quilt making. Exhibited items extend beyond quilts to envelop Amish-made clothing and decorative household items, as well as related textiles from other communities.

There are 82 quilts in the former Esprit collection. These quilts will be rotated through the exhibition in 6 month cycles. For more information see http://www.quiltandtextilemuseum.com.

Lancaster Quilt & Textile Museum
Rags to Rugs: Pennsylvania Hooked and Handsewn Rugs
November 17, 2007—December 31, 2008

This exhibition features an array of hooked and handsewn rugs from Pennsylvania. Visitors will learn about the many functions of these rugs as well as how they are made. The exhibition will include a juried show component, which will feature the work of contemporary artists in this medium. For more information see http://www.quiltandtextilemuseum.com.

Philadelphia Museum of Art
Gee’s Bend: The Architecture of the Quilt
Late September 2008 - December 14, 2008

This exhibition takes a fresh look at the quilting tradition in Gee’s Bend, Alabama, introducing new artists and motifs in works ranging from the early twentieth century through 2005.

Examining the resurgence of interest in quilting in the Gee’s Bend community, this exhibition presents about sixty-five quilts, all of which are being shown for the first time. It demonstrates how the quilters play upon the structure or "architecture" of the quilt to create a work of art that is based upon a traditional quilt pattern while simultaneously creating a visual vocabulary that is stylistically identifiable as Gee’s Bend. Each pattern is examined with visual examples detailing various interpretations. With newly discovered quilts from the 1930s to the 1980s along with more recent work by established quilters and the younger generation they have inspired, it documents the development of key quilt patterns—housetop, courthouse steps, flying geese, and strip quilting—through outstanding examples.
For more information, please visit http://www.philamuseum.org.

Philadelphia Museum of Art
Fashioning Kimono: Art Deco and Modernism in Japan
April 26, 2008 - July 20, 2008

The Japanese kimono is celebrated worldwide for its elegant, distinctive silhouette. Though quintessentially Japanese, the kimono form has influenced fashion designers around the globe.

This exhibition features approximately 90 kimono created in the early to mid-twentieth centuries, one of the most dynamic periods in the history of Japan's national costume. It includes formal, semi-formal, and casual kimono, haori jackets, and under-kimono (juban) worn by men, women, and children. Some of these garments reflect historical continuity in designs and techniques, while many others illustrate a dramatic break with aspects of kimono tradition, as themes and designs from Western art began to predominate over historical Japanese references.

The exhibition begins by focusing on the early twentieth century, the final era of the "living" kimono, that is, when kimono still remained the dress of choice, worn daily by the majority of people in Japan; it continues through the 1940s, when Western clothes had replaced the kimono for everyday wear and the kimono assumed a largely formal and ceremonial meaning.

The outstanding garments in the exhibition, drawn from the internationally renowned Montgomery Collection of Lugano, Switzerland, have never before been exhibited in North America.
For more information, please visit http://www.philamuseum.org.

Philadelphia Museum of Art
African-American Quilts from the Ella King Torrey Collection
Fall 2008

African American Quilts from the Ella King Torrey Collection includes thirteen examples by leading Southern quilt makers. The collection was formed between 1981 and 1983 while Ms. Torrey was conducting fieldwork on African American quilt-making with Maude Southwell Wahlman.

Among its highlights are an appliquéd "word quilt" by the Mississippi artist Sarah Mary Taylor (born 1916) and one of her "hand" quilts, a version commissioned for the film The Color Purple. Two quilts in the collection are by Taylor’s mother, Pearlie Posey (1894–1984), who in 1980 followed her daughter’s lead and began creating rainbow-hued figurative appliqué quilts.
For more information, please visit http://www.philamuseum.org.

Philadelphia Museum of Art
Imagining Cathay: 18th- and Early 19th-Century Chinoiserie Textiles and Embroideries from the Collection
Through Fall 2008

For Europeans during the eighteenth and early nineteenth centuries, China—or Cathay as it was sometimes called—was a magical place. This exhibition includes nine Chinoiserie textiles and embroideries from the Museum's outstanding collection. For more information, please visit http://www.philamuseum.org.

Philadelphia Museum of Art
Hello! Fashion: Kansai Yamamoto, 1971-1973
Through Spring 2009

Kansai Yamamoto is one of the founding fathers of Japanese contemporary fashion. Best known for his work during the 1970s and 1980s, his avant-garde designs are inspired by the colorful Azuchi-Momoyama period (1568-1600) and traditional Kabuki theatre. The exuberant Pop-like quality of his work contrasts with what is today associated with Japanese fashion, Zen-like simplicity and deconstructed silhouettes. For more information, please visit http://www.philamuseum.org.

Allentown Art Museum
Hooked on Rugs: An American Art
August 10, 2008 – January 4, 2009

The hooked rug represents a beautiful and utilitarian decorative art, part of a rural craft tradition thought native to North America. Hooked rugs evolved from the eighteenth-century heavy handsewn bed coverings known as “bed rugs.” These works gradually found their way off the bed to add warmth and color to chilly floors in rural homes. Of all North American needlework, hooked rugs often display the most original designs. This exhibition will feature nearly a dozen examples of these lively works that reflect the creativity and ingenuity of their rural makers. For more information, please visit http://www.allentownartmuseum.org.

Allentown Art Museum
Linda Lee Alter: A Life in Art
June 8 – September 7, 2008

Philadelphia artist Linda Lee Alter’s life has been devoted to an all-embracing creative exploration of the arts. For more than twenty-five years, fabric was Alter’s medium, and she developed her own unique approach to creating wall hangings with appliqué and stitchery. In her fifties, she explored painting with acrylics, marrying the textures, patterning, and layering of color so characteristic of her fabric appliqués with the immediacy and fine detail possible with paint. Linda Lee Alter: A Life in Art features works in fiber, paint, and print from the five decades of the artist’s career. For more information, please visit http://www.allentownartmuseum.org.

Allentown Art Museum
Transitions IV: A Collection of Fiber Art and Poetry
The PROGRAM for Women and Families
July 6 – August 31, 2008

View artwork and poetry made by women participating in the PROGRAM for Women and Families artist residency led by artist Cassandra Stancil Gunkel and poet Marilyn Hazelton. The six-week residency, created to help women transitioning out of the criminal justice system, is a collaboration between the Allentown Art Museum, The PROGRAM and the Pennsylvania Council on the Arts. For more information, please visit http://www.allentownartmuseum.org.

Texas

The University of Texas at El Paso Rubin Center for the Visual Arts
Unknitting: Challenging Textile Traditions
April 10 - August 2, 2008
Rubin Gallery

Unknitting: Challenging Textile Traditions focuses on performative knitting practice in the creation of avant-garde, contemporary sculpture. This invitational exhibition highlights artists who are advancing and questioning established textile traditions. The artists address stereotypes of gender, ethnicity and the ideas and materials appropriate for art making. They hail from the United States,Mexico and the United Kingdom, all cultures that have strong yarn-based craft traditions. All of the artists upend those traditions through challenges to the domestic-based, utilitarian and female-made objects that are typical of the knitted crafts. UnKnitting questions traditions and assumptions about who produces knitted objects, and how the objects can and should be used.

The University of Texas at El Paso Rubin Center for the Visual Arts
In the Weave: Bhutanese Textiles and National Identity
April 10 - August 2, 2008
L Gallery

In the Weave presents traditional, village-based weavings from the remote Kingdom of Bhutan. The intricate textiles showcase the artistry of traditional craftspeople from one of the most isolated countries in the world. The majority of pieces in the show have been lent to the University of Texas at El Paso from the collection of the Peabody Essex Museum, which was founded in 1799 and currently houses more than 2.4 million works of art and culture. The exhibition is being held in conjunction with UTEP's annual Bhutan Days celebration. This year's celebration takes on special significance because the Smithsonian Museum's Annual Folklife Festival, the largest annual cultural event in the U.S. capital, has chosen to honor the cultures of both the country of Bhutan and the State of Texas.

The University of Texas at El Paso Rubin Center for the Visual Arts
The Third Lie: Chromatic Deflections
An Installation by Monica Bengoa
April 10 - August 2, 2008 Project Space

Chilean artist Monica Bengoa will create a site-specific, wall-sized installation piece that combines text, drawing, and her detailed, hand crafted embroideries. Bengoa's meticulous and theoretically complex installations have been featured internationally, including at the 52nd Venice Biennale in Venice, Italy, at the Museum of Contemporary Art in Los Angeles, CA and the 2006 ARCO International Fair of Contemporary Art in Madrid, Spain.

Vermont

Shelburne Museum
Quilts in Bloom: A Bouquet of Textile Art
May 18 – October 26, 2008

This exhibition is a brilliantly colorful array of more than a dozen quilts inspired by flowers. The show includes well-known contemporary quilters Judith Leslie and Emilie M. Belak of British Columbia and Velda E. Newman of California.

While the quilts were chosen for their extraordinary aesthetic appeal and craftsmanship, the theme has been taken one step farther. Museum visitors will find the flowers that inspired the artists' quilts planted throughout the museum’s 45-acre campus.
http://www.shelburnemuseum.org.

Virginia

Abby Aldrich Rockefeller Folk Art Museum
Flowers, Birds, and Baskets: Pattern in 19th-century Bed Coverings

This exhibition showcases colorful quilts and coverlets that decorated the homes in early America. A variety of techniques were used to create these household textiles. Americans were not shy about color and pattern and used them on everyday objects that today stand as works of art.
http://www.history.org/history/museums/abby_art.cfm.

Abby Aldrich Rockefeller Folk Art Museum
In Memoriam: Mourning Art in Early America

This exhibition explores the fascination with honoring deceased loved ones and heroes. Paintings, medals and quilts were created to honor the country’s first president and national hero George Washington after his death in 1799. School girls in the beginning decades of the nineteenth century created needlework pictures that memorialized a loved one. Jewelry was created specifically for those in mourning.
http://www.history.org/history/museums/abby_art.cfm.

Washington

The Island Gallery
Fiber Face: An exhibition by Agus Ismoyo and Nia Fliam (ISNIA)
July 11 – August 31

ISNIA is the collaborative husband and wife team of Agus Ismoyo (Indonesia) and Nia Fliam (United States). In 1985 Ismoyo and Nia established the batik studio Brahma Tirta Sari. Ismoyo and Fliam were the first artists in Indonesia to extensively explore the medium of Javanese batik as contemporary textile art outside the boundaries of modern lukisan batik (batik painting). Ismoyo comes from a family whose ancestors produced batik for the royal court of Surakarta in Central Java. Fliam was born in the United States and studied at the Pratt Institute, New York. She came to Indonesia in 1983 to study batik and has lived there since. For more information, please visit http://www.islandgallery.net

Washington, D.C.

National Museum of Women in the Arts
Something Pertaining to God: The Patchwork Art of Rosie Lee Tompkins
June 27, 2008 - September 21, 2008

Something Pertaining to God: The Patchwork Art of Rosie Lee Tompkins features approximately twenty-five quilts and other quilted pieces—including clothing, chair covers, and pillows—by this acclaimed African American artist. Organized by the Shelburne Museum, this is the first solo exhibition of this remarkable woman’s art. Tompkins’ quilts were featured in the 2002 Whitney Biennial in New York, have been part of group exhibitions nationwide, and are included in major museum collections. However, none of the art in this exhibition—drawn from the private holdings of Eli Leon—has been on public display before. For more information, see http://www.nmwa.org.

The Textile Museum
Blue
April 4 – September 18, 2008

Blue explores the creation and meaning of the color blue on textiles produced across time and place, with particular emphasis on contemporary artists’ use of natural indigo dyes. Until the invention of chemical dyes in the late 19th century, peoples worldwide relied largely on indigo-bearing plants to achieve blue-colored garments, household furnishings, artworks and even body paint. Many cultures attributed talismanic properties as well as health benefits to indigo, and the mysterious transformation of this temperamental dye has long been steeped in myth and magic. The exhibition features blue textiles ranging from Greco-Roman and pre-Columbian tunic fragments to installations by internationally renowned artists. For more information, please visit http://www.textilemuseum.org

The Textile Museum
The Finishing Touch: Accessories from the Bolivian Highlands
February 15 – September 18, 2008

The Textile Museum recently acquired a large group of charming accessories from the Bolivian highlands. These belts, bags and other items inspired this exhibition, which also includes Bolivian textiles already in the Museum's collection. The woven and knitted pieces were collected in the late 1970s and early 1980s, when such examples, made in the early to middle 20th century with handspun wool yarns, were commonly available. Subsequently, the more prevalent use of commercially produced yarns has changed the overall look of handwoven cloth. The belts, bags and other accessories in the exhibition, although small, are often invested with great care and even more fully decorated than larger shawls and ponchos. The broad range of techniques, patterns and items in the exhibition reflects the many regional variations that characterize the cultural wealth of the Bolivian highlands. For more information, please visit http://www.textilemuseum.org

The Textile Museum
Timbuktu to Tibet: Rugs and Textiles of the Hajji Babas
October 18, 2008 – March 8, 2009

Through the display of 70 objects drawn from a wide geographic area encompassing Africa, West Asia and Central Asia, Timbuktu to Tibet: Rugs and Textiles of the Hajji Babas tells the story of the people who made the textiles, the ways they lived and worked, and the functions of their weavings. The exhibition explores the central role that textiles have played in many disparate cultures across several continents. Timbuktu to Tibet also chronicles how the Western understanding and appreciation of non-Western textiles have changed over the 20th century through the history of the 75-year-old Hajji Baba Club, the nation's oldest society of rug and textile collectors. For more information, please visit http://www.textilemuseum.org.

National Museum of the American Indian
Identity by Design: Tradition, Change, and Celebration in Native Women’s Dresses
Through August 3, 2008

Dresses are more than simple articles of clothing for Native women—they are aesthetic expressions of culture and identity. Embodying messages about the life of the wearer, dresses offer Native women the opportunity to blend artistic tradition and bold innovation while preparing themselves, their families, and their communities to partake in the "dance of life." Bringing together a vast array of dresses and accessories from the Plains, Plateau, and Great Basin regions of the United States and Canada, Identity by Design highlights Native women's identity through traditional dress and its contemporary evolution. The exhibition examines the individual, communal, and cultural identity of Native women, and explores how women, gifted with highly developed artistic skills, benefited not only their families, but the entire community. For more information, please visit http://www.nmai.si.edu.

On-Line Exhibitions

Albers Foundation

This website includes a gallery of the work of Anni and Josef Albers: http://www.albersfoundation.org/.

American Tapestry Alliance Web Gallery
Barbara Heller: Work Over Time

The ATA Web Gallery is pleased to present the first in a series of in-depth portraits of distinguished tapestry weavers called Work Over Time. The intent of the Work Over Time series is to offer viewers a virtual look at a tapestry weaver’s entire career in both text and image, an opportunity not often afforded in the real world.
http://www.americantapestryalliance.org/
Exhibitions/HellerWOT/Welcome.html

American Tapestry Alliance Web Gallery
Tapestry on the Edge

Tapestry on the Edge, sponsored by Tapestry Artists of Puget Sound (TAPS) and currently on display at the Nordic Heritage Museum in Seattle, Washington is now online on the American Tapestry Alliance's website.
http://www.americantapestryalliance.org/
Exhibitions/TOTE/TOTE.html

Museum of Anthropology
Musqueam Weavers

Funded by Canada's Digital Collections Initiative, Industry Canada, this virtual exhibit profiles five weavers from the Musqueam First Nation, whose works have been exhibited at MOA as part of the exhibition "Gathering Strength: New Generations in Northwest Coast Art."
http://collections.ic.gc.ca/musqueam

Cranbrook Art Museum
HOT HOUSE: Expanding the Field of Fiber at Cranbrook, 1970-2007

Cranbrook Academy of Art has been a hothouse environment of graduate studies in the arts for over 75 years. The program in Fiber under the leadership of Gerhardt Knodel and Jane Lackey has always anticipated dynamic research and vigorous production of work that contributes to the field, redefines it and shifts it into new directions. Working from the base of established textile practices in the early years of the Academy, the program has always risked redefinition for the sake of discovery. The online version of this exhibition presents works that are key to understanding the ever-expanding field of Fiber by 68 of the 275 graduates of the program from 1971 through 2007.
http://www.cranbrookart.edu/hothouse/index.php.

Gloria F. Ross Center for Tapestry Studies
Navajo Weaving at Arizona State Museum: 19th-Century Blankets, 20th-Century Rugs; 21st-Century Views

This website presents an online version of a public exhibition that was installed from October 2004 through May 2005 in the Arizona State Museum's galleries in Tucson. http://www.statemuseum.arizona.edu/exhibits/navajoweave/

National Gallery of Art
Textiles from the Index of American Design

The Index of American Design consists of approximately 18,000 watercolor renderings of American decorative arts objects from the colonial period through the nineteenth century. Produced between 1935 and 1942, this visual archive reflects the expanding interest in American material culture that began to emerge at that time.

A variety of textile textiles were produced in America during the eighteenth and nineteenth centuries. Included are representative examples of the handiwork of American women of colonial and later times, articles made by professional weavers, as well as fabrics produced by textile mills in America's early years of industrialization.
http://www.nga.gov/collection/gallery/iadtxtl/iadtxtl-main1.html#overview.

The Textile Museum of Canada
Cloth & Clay

Explore over 2,000 years of Mexican, Central and South American culture and history. Cloth & Clay is an online collaboration with the Gardiner Museum of Ceramic Art.
http://www.textilemuseum.ca/cloth_clay/home.html

The Textile Museum of Canada
Digital Threads

The Textile Museum of Canada has recently launched Digital Threads, an interactive Web environment that highlights new digital artworks by Canadian artists Jennifer Angus, Joanna Berzowska, Kai Chan, Ruth Scheuing and Samuel Thomas. Internationally known for innovative work that challenges the boundaries of conventional textile arts, these five artists define new territory on the World Wide Web with dynamic projects that link to 50 exhibitions and thousands of textiles from the TMC permanent collection. Users can also browse through the on-line collection of over 6000 textiles, presented in both English and French, through multiple access points including geographic regions, materials, techniques and time periods.
http://www.digitalthreads.ca

The Textile Museum
Pieces of a Puzzle: Classical Persian Carpet Fragments

Classical Persian carpets of the 16th and 17th centuries have long been appreciated for their spectacular beauty and fine craftsmanship, although their development and classification have been poorly understood. Only in recent decades, as scholars began to analyze specific types of classical Persian rugs, have the pieces of the puzzle begun to fall into place. This exhibition presents nine examples of one of these types, named after the historic Persian province of Khorasan. This is the first exhibition to focus on classical Khorasan carpets.

The three principal surviving fragments of one spectacular 16th-century Khorasan rug are reunited in this exhibition from three different collections. These pieces also fit together like a puzzle, allowing us to glimpse the grand scale of the original carpet. Despite their fragmentary nature, the Khorasan carpets on view retain their delicate beauty and can reveal much about the complete rugs and about classical Persian carpets as a whole.
For more information see http://www.textilemuseum.org/pieces/index.html.