|Fragment of a floral serenk from a costume,
Istanbul, lLate 16th century.
Acquired by George Hewitt Myers in 1951.
The Sultan's Garden:
The Blossoming of Ottoman Art
September 21, 2012 through March 10, 2013
Ottoman art reflects the wealth, abundance, and influence of an empire which spanned seven centuries and, at its height, three continents. The Sultan’s Garden chronicled how stylized tulips, carnations, hyacinths, honeysuckles, roses, and rosebuds came to embellish nearly all media produced by the Ottoman court beginning in the mid-16th century. These instantly recognizable elements became the brand of the empire, and synonymous with its power. Incredibly, the development of this design identity can be attributed to a single artist, Kara Memi, working in the royal arts workshop of Istanbul. The Sultan’s Garden unveiled the influence of Ottoman floral style and traces its continuing impact through the textile arts—some of the most luxurious and technically complex productions of the empire. Read the
An exhibition catalog, The Sultan’s Garden: The Blossoming of Ottoman Art, co-authored by Sumru Belger Krody and Walter Denny accompanied this exhibition and is available in The Textile Museum Shop.
The Textile Learning Center offered visitors a hands-on opportunity to discover how textiles are made.
The Textile Learning Center
Since 1997, the Textile Learning Center has engaged and delighted thousands of visitors while teaching them the "vocabulary of textiles." The Textile Learning Center has temporarily closed in preparation for the museum's transition to the George Washington University. Plans are underway for a completely new and updated learning center to open in the new museum in fall 2014. Learn more about the exciting future of The Textile Museum.
The Textile Museum offers a variety of online resources to delve deeper into how textiles
are made and the ways in which cultural traditions, the environment,
and even the economy influence the character of handmade textiles.
Visit one of our online exhibitions, or click here to access a PDF of the terms most commonly used to describe
Pillar rug, China, Ningxia, 19th century. TM R51.2.1. Acquired by George Hewitt Myers in 1927.
Dragons, Nagas, and Creatures of the Deep
February 3, 2012 through January 6, 2013
2012 was the East Asian calendar’s Year of the Dragon, and in celebration, Dragons, Nagas, and Creatures of the Deep presented a global selection of textiles depicting dragons and other fantastical creatures of legend.
Across the world and over the centuries, dragons have taken many forms, from the beneficent nagas (divine snakes) of East and Southeast Asia, to the fearsome flying beasts of Western traditions. Whether viewed as good or evil, these powerful creatures became symbols of prestige for those who were permitted to use their images to decorate clothes and furnishings.
Drawn entirely from the museum’s collection, the textiles in this exhibition illuminated imaginative images of mythical creatures as diverse as the peoples who created them.
|Ayako Nikamoto works on her piece inspired by the museum’s permanent collection.
Photo by Lee Talbot.
Sourcing the Museum
March 23 through August 19, 2012
The word “museum” derives from the ancient Greek mouseion—"temple of the Muses"—home of goddesses believed to inspire creativity. The Textile Museum’s permanent collections provided the source of creative inspiration for eleven contemporary artists.
Invited to participate by renowned textile designer Jack Lenor Larsen, the artists explored the Museum’s historically and culturally varied collections, and the exhibition will display the twelve new artworks the artists created, alongside the fabrics that inspired them. The historical textiles highlight the wide scope of the Museum’s collections, ranging from rare Pre-Columbian and Late Roman weavings to Japanese kimono and Central Asian ikats.
Diverse in background, preferred technique, and aesthetic, but all at the height of their careers, the invited artists include Olga de Amaral, James Bassler, Polly Barton, Archie Brennan, Lia Cook, Helena Hernmarck, Ayako Nikamoto, Jon Eric Riis, Warren Seelig, Kay Sekimachi, and Ethel Stein.
|Uchigi (ceremonial court robe) (detail)
Silk, woven in the futae-orimono technique
Courtesy of Hyoji Kitagawa
Woven Treasures of Japan's Tawaraya Workshop
March 23 through August 12, 2012
Japan has a remarkably refined textile tradition, and for centuries the Japanese have admired the silks produced in the Nishijin neighborhood of Kyoto as the epitome of beauty and opulence. Woven Treasures will feature some of the sumptuous pieces created in one of Nishijin’s oldest and most illustrious workshops: Tawaraya.
With a history stretching back more than 500 years, the Tawaraya workshop is renowned for supplying the Japanese Imperial Household with yusoku orimono—fine silks in patterns, weaves, and color combinations traditionally reserved for the garments and furnishings of the aristocracy, including the Emperor.
This exhibition was organized with the help of Mr. Hyoji Kitagawa, the 18th generation head of the Tawaraya, who was recently designated a Living National Treasure for his knowledge and preservation of this unique cultural inheritance. The kimono, screens, and other colorful silks in the exhibition demonstrate the technical and aesthetic mastery of the Tawaraya workshop while providing insight into the pageantry and refinement of Japanese court culture.
|Man’s Status Cloth,
D.R. Congo, Shoowa people, Early 20th century.
Jeff Spurr collection,
Photo by Don Tuttle.
Kuba Textiles and the Woven Art of Central Africa
October 15, 2011 - February 12, 2012
The textiles of the Kuba kingdom are among the most distinctive and spectacular works of African art. Emerging in the early 17th century, the Kuba kingdom grew into a powerful and wealthy confederation of 18 different ethnic groups located in what is now the Democratic Republic of Congo. While they have fascinated artists, collectors and designers for over a century, this will be the first major museum exhibition in the U.S. to showcase the artistic inventiveness and graphic power of Kuba ceremonial dance skirts within a wide-ranging survey of Kuba design. More than 140 exceptional 19th- and early 20th-century objects will be on view, including ceremonial skirts, ‘velvet’ tribute cloths, headdresses and basketry from the permanent collection of The Textile Museum, the National Museum of African Art, and several private collections.
| Sutra cover (detail), made from rank badge. China, 1500-1644. The Textile Museum 51.3. Acquired by George Hewitt Myers in 1932.
Second Lives: the Age-Old Art of Recycling Textiles
February 4, 2011 - January 8, 2012
Throughout the world, textiles were historically so valuable that threadbare fabrics
were seldom completely discarded. Drawn from The Textile Museum's permanent collection, this exhibition highlights the ways people in various
cultures have ingeniously repurposed worn but precious fabrics to create beautiful new textile
forms. Examples include a rare sutra cover made from a 15th-century Chinese rank badge, a
vest fashioned from a Pacific Northwest coast Chilkat blanket, and a large patchwork hanging
from Central Asia stitched together from small scraps of silk ikat and other fabrics. Also featured
are a pictorial kantha from India embroidered with threads recycled from old saris, a coat
from 19th-century Japan painstakingly woven from rags, and other recycled textiles. Second Lives complements the major spring exhibition, Green: the Color and the Cause.
|A Woman of Substance, 2010.
Silk (recycled blouses), waxed linen thread; coiled; 12″ x 10" x 10". Lent by the artist. Photo by Liz LaVorgna.
Green: the Color and the Cause
April 16 - September 11, 2011
Visit the exhibition online at www.textilemuseum.org/green to explore all the works on view and join the "green" conversation.
Many cultures traditionally associate the color green with nature and its attributes, including life, fertility and rebirth. In recent years, green has become the symbolic color of environmentalism. This exhibition will celebrate green both as a color and as a cause, exploring the techniques people have devised to create green textiles, the meanings this color has held in cultures across time and place, and the ways that contemporary textile artists and designers are responding to concerns about the environment.
The exhibition will include a selection of work from the Museum’s collection, along with extraordinary work by contemporary artists and designers from five continents. For the first time in the Museum’s almost 90 year history, this exhibition will present two site specific installations― a handmade paper sculpture of the eco-system of coastal New Jersey which emulates the ebb and flow of an important estuary and a lace-covered arbor in the Museum’s garden embedded with grass seed which will sprout, mature and die during the period the exhibition is on view. Like all of the contemporary works, these installations will help continue today’s Green conversation.
The Green exhibition and website are made possible in part through generous support from The Coby Foundation, Ltd., E. Rhodes and Leona B. Carpenter Foundation, an anonymous donor, Virginia McGehee Friend, and Martex Fiber Southern Corp. / Jimtex Yarns.
|Woman's Robe (munisak)
Central Asia, Uzbekistan, Bukhara, mid-19th century.
The Textile Museum 2005.36.106.
The Megalli Collection. Photo by Renée Comet
Colors of the Oasis: Central Asian Ikats
October 16, 2010 through March 13, 2011
Central Asian ikats are distinguished by bold, original designs using vibrant colors and are prized for their great beauty. In the streets of Central Asian oasis towns, a man’s clothing defined his status in society and proclaimed his wealth. In the home, and during family ceremonies, ikat textiles provided luxurious embellishment. Today the influence of ikat designs can be seen in contemporary fashion and home décor.
These textiles derive their name from the technique used to create them, wherein bundled warps—and sometimes also the wefts—are bound and dyed several times before weaving, resulting in eye-catching designs in dazzling colors. Ikats display Central Asian artists’ and weavers’ attention to the harmony between design, color and execution in order to create these master works.
The Textile Museum mourns the passing of its friend Murad Megalli, who was killed in an airplane crash on February 4, 2011. It was through the generosity and foresight of Murad Megalli that this remarkable collection of Central Asian ikat textiles is available for the world to share in the appreciation of their beauty. Megalli, recipient of the 2010 Textile Museum Award of Distinction and Museum Trustee, donated his collection of nearly 200 spectacular nineteenth-century ikats to the museum.
A beautifully illustrated catalog presenting all of the textiles from The Megalli Collection was in conjunction with Colors of the Oasis: Central Asian Ikats, hardcover copies are available for sale in the museum shop. To make a donation in support of The Megalli Collection, please click here.
|Qanat (tent hanging),
Early 18th century
The Textile Museum 6.129
Acquired by George Hewitt Myers in 1944
The Art of Living: Textile Furnishings from the Permanent Collection
February 12, 2010 - January 9, 2011
Homes and furnishings shape the human experience of everyday life. Each culture designs domestic environments that reflect its own social traditions, aesthetic preferences, political and economic circumstances, and local climate.
The Art of Living highlighted the historical and cultural breadth of The Textile Museum's collection through the display of textile furnishings, including hangings, rugs, chair covers, cushions and other materials made in societies ranging from the late Roman Empire and colonial Peru to Edo-period Japan and Victorian Britain. The varied furnishing textiles in the exhibition, made to provide protection, comfort, color and pattern in homes from the ancient Mediterranean world to 20th-century America, documented the lifestyles enjoyed by their original owners as well as the technical and artistic accomplishments of their creators.
|Helix, 1970. Lucienne Day. Manufactured by Thomas Somerset. Printed Linen. The Collection of Jill A. Wiltse and H. Kirk Brown III.
Art by the Yard: Women Design
May 15, 2010 - September 12, 2010
The art of textile design changed radically after World War II as Britain was transformed from a country devastated by war into an optimistic consumer society. Three women designers were pivotal in this artistic revolution: Lucienne Day (1917- 2010), Jacqueline Groag (1903-1985) and Marian Mahler (1911-1983). Incorporating dramatic saturated colors and bold motifs inspired by artists like Alexander Calder and Joan Miró, these young designers transformed the market by inspiring elegant yet affordable product lines that brought the world of contemporary art into everyone’s homes.
Art by the Yard: Women Design Mid-Century Britain showcased these groundbreaking women designers, highlighting the work of Lucienne Day, through the display of textiles together with preliminary drawings and collages, ceramics and period furniture, all drawn from the Jill A. Wiltse and H. Kirk Brown, III Collection of British Textiles.
| Dress, Fall/Winter 1990/91, Issey Miyake (b. 1938), Japan. Collection of Mary Baskett.
Contemporary Japanese Fashion:
The Mary Baskett Collection
October 17, 2009 – April 11, 2010
In the 1970s and early 1980s, Japanese designers Issey Miyake, Rei Kawakubo and Yohji Yamamoto shocked the fashion world by introducing avant-garde styles that challenged received Western notions of “chic.” Informed in part by Japanese traditions such as the kimono, obi and the art of origami, these designers produced radical garments with shapes and textures often incongruous with the natural contours of the human body. Their designs—characterized by asymmetry, raw edges, unconventional construction, oversized proportions and monochromatic palettes—effectively overthrew existing norms and set the stage for the postmodernist movement in the fashion industry. Miyake, Yamamoto, and Kawakubo remain three of the most successful designers in today’s fashion world, and under their tutelage a new generation of Japanese talent has emerged.
This exhibition, an expanded version of an earlier showing at the Cincinnati Art Museum, included avant-garde garments from the collection of Mary Baskett, an art dealer and former curator of prints at the Cincinnati Art Museum who has been collecting and wearing Japanese high fashion since the 1960s.
|Mercury, Reiko Sudo and Keiji Otani, 1997.
Fabrics of Feathers and Steel:
The Innovation of Nuno
October 17, 2009 - April 11, 2010
The worldwide success of Japanese fashion designers owes much to the talented textile designers and manufacturers who enable their creative visions. Led by artistic director and co-founder Reiko Sudo, Nuno (meaning “functional fabric” in Japanese) integrates the techniques, materials and aesthetics of traditional Japanese textiles with cutting-edge technologies in order to create some of the world’s most innovative and influential fabrics. Experimenting with an eclectic array of materials ranging from stainless steel and aluminum to bamboo and bird feathers, as well as unorthodox finishing methods, such as burnishing, burning, and chemical dissolving, Reiko Sudo and her team have broadened the parameters of contemporary textile design.
The exhibition featured 18 examples from the Nuno studio, dating from the time of the company’s founding in 1984 to the present day. This exhibition was presented in conjunction with Contemporary Japanese Fashion: The Collection of Mary Baskett, inviting visitors to experience the design process from start to finish – from structure to style.
| Manchu woman’s robe, China, late 19th century. The Textile Museum 2007.13.4. Donated by Elizabeth Ickes.
March 6, 2009 - January 3, 2010
In the past eight decades, The Textile Museum’s collection has grown from a modest group of 275 rugs and 60 related textiles to nearly 18,000 objects from around the world. Each year, through the generosity of private donors and through income from endowed funds, the Museum’s holdings continue to evolve.
This exhibition celebrated the Museum’s rich collection and shared with the public a selection of 19 of the most artistically and culturally compelling objects The Textile Museum has acquired within the last five years. Exhibited pieces included hats from Peru and Cameroon and a turban from India, a contemporary batik from Java, Indonesia, a turkish prayer rug, and a grass raincoat from China, among others.
|Center Diamond, circa 1920-1940,
Probably made in Lancaster County, PA.
International Quilt Study Center & Museum, 2003.003.0071.
April 4 – September 6, 2009
Amish quilts are among the most striking and famous of all American quilt types. Renowned for their play of color and strong geometric patterns, their similarities to modern art have been noted ever since the 1971 exhibition at the Whitney Museum of American Art in New York entitled Abstract Design in American Quilts.
The parallels are perhaps most striking with regard to color field paintings and art that explores the manipulation of visual effect.
This exhibition, on loan from the International Quilt Study Center and Museum at the University of Nebraska-Lincoln, featured 25 examples from the center’s highly regarded collection. The quilts represent three specific regional groups, each with its own distinctive features, drawn from Lancaster County, Pennsylvania, from Midwestern communities and from Mifflin County, Pennsylvania. Each of these Amish communities produces unique quilts that reflect the availability of materials, influences from non-Amish neighbors, and the relative conservatism of individual communities as determined by their Ordnung, or community guidelines.
Constructed Color: Amish Quilts was curated by Rebecca A. T. Stevens, Consulting Curator, Contemporary Textiles at The Textile Museum in coordination with the International Quilt Study Center & Museum, University of Nebraska, Lincoln, Nebraska.
|Kain panjang (long cloth used as lower body wrapper) Java, Yogyakarta Ann Dunham Collection No. 6
A Lady Found a Culture in its Cloth: Barack Obama's Mother and Indonesian Batiks
August 9-23, 2009
For two weeks only, textiles from the collection of Ann Dunham, President Obama's mother, were view at The Textile Museum. This marked the final stop on a national tour of the exhibition A Lady Found a Culture in its Cloth: Barack Obama's Mother and Indonesian Batiks.
Early in her life, Ann Dunham explored her interest in the textile arts as a weaver, creating wall hangings in earthy shades of brown and green for her own enjoyment. After marrying Lolo Soetoro and moving to Indonesia in the 1960s with her son Barack Obama, Ann Dunham was drawn to the vibrant textile arts of her new home and began to amass the collection from which the exhibition objects are drawn. The wide variation in the batiks reflects the range of colors and of patterns, both classic and contemporary, that captured her imagination, and provides a window into the rich culture from which these fabrics originated.
This exhibition was organized by the Embassy of Indonesia with the support of the Indonesian Investment Coordinating Board and Maya Soetoro-Ng, on behalf of Ann Dunham's family.
|East Caucasian rug (detail), Caucasus, 19th century. From the Collection of William Fern. Photo by Don Tuttle Photography.
to Tibet: Rugs and Textiles of the Hajji Babas
18, 2008 - March 8, 2009
the display of objects from a wide geographic area encompassing
Africa, West Asia and Central Asia, Timbuktu to Tibet explored
the central role that textiles have played in many disparate
cultures across several continents. The exhibition told the
story of the people who made the textiles, the ways they lived
and worked, and the functions of their weavings. It also chronicled
how the Western understanding and appreciation of non-Western
textiles has 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.
years, the Hajji Baba Club has greatly impacted how we view,
appreciate, study and promote textiles and rugs as works of
art. George Hewitt Myers, founder of The Textile Museum, was
an involved member of the Club, and it continues to boast
an active membership today. The Club's history, coupled with
exhibition's thematic focus on the cultural context and functionality
of the objects, provided a delightful journey for those
unfamiliar with textiles as well as specialists in the field.
scholar Jon Thompson authored the accompanying catalogue,Timbuktu
to Tibet: Exotic Rugs and Textiles from New York Collectors,
and served as guest curator of the exhibition's initial showing
at the New York Historical Society. The Textile Museum's showing
was organized by Sumru Belger Krody, associate curator, Eastern
Hemisphere Collections, and accompanied by a wide range of
support for the exhibition was provided by the Page and Otto Marx, Jr. Foundation, the Marshall and Marilyn R. Wolf Foundation, Bruce P. and Olive W. Baganz, Vinay S. Pande, Bruce J. Westcott and Security Energy Company.
Additional support provided by The National Gallery of Art Design Department of the Smithsonian Institution, The National Museum of African Art and the Arthur M. Sackler and Freer Gallery of Art.
|Coca bag, Bolivia, northern Potosí, possibly
Laymí, 1950-75. The Textile Museum 2007.29.18.
Latin American Research Fund.
coca bag, Bolivia, Charazani area, mid-20th century.
The Textile Museum 1989.28.9. Latin American Research
Finishing Touch: Accessories from the Bolivian Highlands
15, 2008 - February 1, 2009
In 2007, The Textile
Museum acquired a large group of charming accessories
from the Bolivian highlands. That group of belts, bags and other items
inspired this exhibition, which also included Bolivian textiles
already in the Museum's collection.
Bolivian accessories are often invested with great care and even more fully decorated
than larger shawls and ponchos. Some are used in daily dress,
while the more elaborate examples were often made for festival
costumes. The bags
serve a variety of purposes, from decorative accents in festival
dress to utilitarian containers for the farmer's lunch in
the fields. The exhibition also featured other garments, such
as the Charazani area woman's headband, still called by its
Inca name, wincha, and the small shoulder ponchos of
the Tarabuco area, still called unku, the Inca word
for tunic. The broad
range of techniques, patterns and items in the exhibition
reflected the many regional variations that characterize the
cultural wealth of the Bolivian highlands.
Finishing Touch: Accessories from the Bolivian Highlands was curated by Ann P. Rowe, Research Associate for Western Hemisphere Collections.
|Hiroyuki Shindo, Shindigo Space 07 (detail),
2006. 'Shindigo shibori'-dyed cotton and hemp and Shindigo
balls (polystyrene wrapped with hemp and dip-dyed).
Courtesy of the artist. Photo by Joel Chester Fildes.
panjang (long cloth, hip wrapper) detail, Indonesia,
Yogyakarta (in the style of Ceribon), Chinese-Indonesian,
20th century. Commercial cotton, resist patterning.
The Textile Museum 1998.11.16. Gift of Beverly Deffef
4 - September 18, 2008
human perception of color is a complex sensory phenomenon
filtered through the eyes, brain, language and multiple layers
of social experience. While shades of red (examined in the
2007 Textile Museum exhibition RED)
quicken the pulse and increase blood pressure, blue induces
a calming effect and is widely perceived as a cool,
BLUE explored 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
The exhibition featured blue textiles ranging from Greco-Roman
and pre-Columbian tunic fragments to installations by internationally
renowned artists. Hiroyuki Shindo, a Japanese artist who grows
and processes his own indigo to produce innovatively patterned
textiles, as well as Maria Eugenia Davila and Eduardo Portillo,
who raise silkworms and dye threads with natural dyes in Venezuela,
highlighted the ways that artists around the world are embracing
this ancient dye to create works that speak to their own experience.
BLUE was curated by Lee Talbot, Assistant Curator, Eastern Hemisphere
Collections, and Mattiebelle Gittinger, Research Associate,
Southeast Asian Textiles.
support for the exhibition was provided by
Pleasures: Collecting Contemporary Textile Art
September 28, 2007 - February 17, 2008
has played a central role in the shaping of art history as
a discipline. Private Pleasures highlighted this aspect
of the discipline through the display of contemporary textile
art drawn from private collections in the Washington, D.C.
metropolitan area. The exhibition explored both the individual
preferences of the collectors and presented the textiles as
outstanding examples of the art form. This discussion included
the history of textile art from the mid-20th century to the
present day and the genre's place in contemporary art history.
artists included Olga de Amaral, Archie Brennan, Nick Cave,
Nancy Crow, Lia Cook, Ritzi Jacobi, Michael James, Louise
Nevelson, John McQueen, Jon Eric Riis, Robert Rauschenberg,
Ed Rossbach and Cynthia Schira, among others. The exhibition
was curated by Rebecca A. T. Stevens, The Textile Museum's
Consulting Curator for Contemporary Textiles and accompanied
by an evening lecture series funded by Eleanor T. and Samuel
of His Time: The Collecting Vision of George Hewitt Myers
September 28, 2007 - February 17, 2008
George Hewitt Myers founded The Textile Museum with a collection
of 275 rugs and 60 related textiles drawn from the traditions
of non-Western cultures. With the establishment of The Textile
Museum, Myers demonstrated his commitment to championing the
appreciation of textiles as works of art. Ahead of His
Time explored his collecting interests and strategies,
and emphasized the richness and importance of the Museum's
holdings acquired by him. As the exhibition showed, Myers
collected not only for personal pleasure but with the aim
of improving the aesthetic sensibilities of others. The eventual
establishment of a museum for the appreciation of textiles
as art was the culmination of his efforts in this regard.
but representative portion of The Textile Museum's collections
acquired by George Hewitt Myers was displayed, including items
rarely exhibited before. A selection of some of the finest
textiles from both the Eastern and Western hemispheres reinforced
the theme of collecting explored in all three of the Museum's
fall 2007 exhibitions. The exhibition was curated by Sumru
Belger Krody, the Museum's Associate Curator of Eastern Hemisphere
Collections in collaboration with Ann P. Rowe, Curator of
Western Hemisphere Collections.
the Online Exhibition
of Klimt's Vienna
August 3, 2007 - January 6, 2008
was a center of creative activity between 1897 and 1932 with
the emergence of the Secession and the Wiener Werkstätte.
These artists' associations were intended to challenge the
prevailing conservative and historicizing tendencies of many
Vienna artists and exhibitions. Participants also strived
to encourage among the public a heightened sensitivity to,
and appreciation for, culture and the arts in everyday life.
The line between fine and applied arts became blurred, and
the concept of Gesamtkunstwerk, or unified work of
art, was introduced. This resulted in a full range of objects
and furnishings being designed for specific interiors to create
a unified, harmonious ensemble.
group of young artists who formed the Secession included the
architect Josef Hoffmann, the painter Koloman Moser, and the
painter Gustav Klimt, who was elected president. Workshops
for painters, cabinetmakers, gold and silversmiths, jewelry
makers, leather workers and bronze founders thrived during
this era. Wiener Werkstätte fabrics were designed by
a multitude of talented designers and were then produced on
an industrial basis.
of this intimate, focused exhibition was to examine the artistic
values and development of the Secession and Wiener Werkstätte
through textiles, one of the most resonant and revealing aspects
of artistic creativity of the time and a key element in the
realization of Gesamtkunstwerk. On view were approximately
50 textiles and related objects including fabric samples,
a sample book, fabric covered books and boxes created by Josef
Hoffmann, Dagobert Peche, Maria Likarz-Strauss and other textile
artists working in Klimt's era.
Textiles: Tent Bands of Central Asia
March 30 - August 19, 2007
trellis tent is a brilliant invention. It has made nomadic
life possible across Central Asia for at least one and a half
millennia. An important component of its construction is a
woven tent band which girdles the lower part of the wooden
roof struts. This critical engineering element provides the
tension necessary to brace the roof dome against outward collapse
under the load of heavy felts and the force of strong steppe
winds. Beyond serving a utilitarian function, tent bands are
often elaborately decorated.
Architectural Textiles: Tent Bands of Central Asia highlighted this unique and fundamental weaving. The exhibition
included tent bands made by different Central Asian ethnic
groups, including Turkmen, Kyrgyz, Uzbek and Kazakh. Approximately
40 objects drawn from The TMs collections and private
holdings were included in this exhibition, representing a
wide range of structures, colors, designs and materials. Supplemental
materials provided a richer context to deepen understanding
of the lost world of the nomads. These included period photographs
of nomadic life and weaving for discussion of textile structure.
An educational gallery taught visitors about the exhibition,
such as how to read a tent band. Richard Isaacson, a former
member of The Textile Museums Advisory Council, served
as the guest curator.
Collection of the artist
February 2 - July 8, 2007
RED explores the complex uses and meanings of red in textiles across time and place. Included in the exhibition are 21 varied textiles from the Americas, Africa, Asia and the Middle East that delve into the significance of this bold color. Complementing the textiles is a series of photographs depicting the use of red textiles in contemporary life, including an official portrait of Nancy Reagan standing in the Red Room of the White House.
The textiles on view are drawn from The Textile Museum’s collections of more than 17,000 rugs and textiles as well as other holdings. Contemporary objects in the exhibition include the tapestry-woven TOMMY USA, on loan from artist Thomas Cronenberg. Part of his “Identity Series,” TOMMY USA is a self-portrait that explores the artist’s identity as he moved from America, the land of his birth, to Germany, his ancestral country, and from the “straight” to the “gay” world. In reflecting on his choice of color Cronenberg says, “The color red is central to this work for its visual and emotional impact.” The exhibition also includes a Halston ballgown from the 1970s and an AIDS Awareness lapel ribbon on loan from the Whitman-Walker Clinic.
Cotton and silk
complementary weft patterning
The Textile Museum 2006.8.33
of Merit: Chin Textiles from Mandalay to Chittagong
October 13, 2006 - February 25, 2007
of Merit is the first major exhibition devoted to the
sophisticated textiles from the Chin peoples, an ethnic minority
group some two million strong who live in the hills of western
Myanmar, northeastern India and eastern Bangladesh. Traditional
textiles play a central role in Chin practices marking the
achievement of merit in this life and the next, as well as
serving as clothing and as badges of identity and status.
This exhibition introduces a variety of Chin ceremonial textiles,
which are traditionally created on back-tension looms with
homegrown cotton, flax or hemp, and often dyed with indigo
or other locally produced natural dyes. Included are blankets,
tunics, loincloths, hanging panels and other garments. The
exhibition also includes historic and contemporary photographs,
the latter taken during the curators' extensive fieldwork
in the region.
of a multiple-medallion carpet
Iran or Afghanistan
Safavid Period, second half of the 16th century
The Metropolitan Museum of Art,The
Page & Otto Marx Jr. Foundation Gift and Rogers
of a Puzzle: Classical Persian Carpet Fragments
September 1, 2006 - January 7, 2007
reunites for the first time the three known fragments of a
superb and unusual late 16th-century Persian carpet of the
so-called Khorasan type. Khorasan type carpets, distinguished
by superb color and drawing, are named for a large province
in northeastern Iran where they are thought to originate.
The type has been defined only in recent times and is not
well known to the public since most surviving examples are
fragmentary and have not been displayed. Included in the exhibition
are one large field and border fragment belonging to The Textile
Museum; another large field fragment, with beautiful colors
and drawing, from a private collection in New York; and a
small border fragment with splendid color from the collection
of The Metropolitan Museum of Art, New York. The large fragments
are unpublished and the carpet as a whole is little known.
In bringing the actual pieces together for close inspection
in one space, the exhibition guides visitors in sharing the
process of research and discovery experienced by the curator.
The exhibition will also include a selection of Persian carpet
fragments from the same time period, including others of the
same Khorasan class.
Mermaids, and Tulips: Embroidery of the Greek Islands and
Skýros, Northern Sporades
The Textile Museum 81.99
Acquired by George Hewitt Myers in 1950
March 17 - September 3, 2006
Mermaids, and Tulips: Embroidery of the Greek Islands and
Epirus Region included approximately 70 embroidered textiles
created between the 17th and 19th centuries for bridal trousseaux
and domestic life. The textiles on display were from island
groups located in the Ionian and Aegean seas surrounding the
Greek mainland, and from the Epirus region on the western
Greek coast. While the geographic area where these textiles
were made is relatively small, they are incredibly diverse
in design, structure and function. The exhibition explored
how and why people living so close together produced such
divergent styles of embroidered textiles, offering a unique
window into Greek island societies at the intersection of
two worlds: the Latin West and Ottoman East. Objects included
colorfully-embroidered bed tents, bed curtains, large covers,
and pillows, as well as handkerchiefs and embroidered panels
from women's clothing. All of the textiles, except for two
loaned objects, were from The Textile Museum's collections.
Many were collected by the Museum's founder, George Hewitt
Myers, in the early part of the 20th century. The exhibition
was accompanied by a full-color catalogue.
The Textile Museum R33.28.1
Acquired by George Hewitt Myers in 1926
Seen: Director's Choice from the Museum's Collections
February 10 - July 30, 2006
Seen: Director's Choice from the Museum's Collections presented Director Daniel Walker's selection of 28 textiles
from The Textile Museum's permanent holdings, which number
more than 17,000 objects. In consultation with the Museum's
curatorial staff, Mr. Walker selected each object based a
compelling visual quality or aspect, sometimes more than one
- form, surface treatment, color,or refinement of concept
or expression. The resulting exhibition was varied in terms
of culture and function, representing the major areas of textiles
traditionally collected by the Museum. Included were textiles
from South America, Africa, the Middle East, South East Asia,
|Caftan, Central Asia Kazakh,
Late 19th - early 20th century.
The Textile Museum 2002.5.1.
Gift of Caroline McCoy-Jones
& Leather: Splendid Attire of 19th-Century Central Asia,
An Exhibition in Honor of Caroline McCoy-Jones
September 2 - February 26, 2006
and Leather: Splendid Attire of 19th -Century Central Asia
featured different types of garments and accessories worn
by the ruling class and urban and nomadic elites of the region
which today encompasses Turkmenistan, Uzbekistan, Kyrgyzstan,
Tajikistan and part of Kazakhstan. The exhibition included
seven stunning coats as well as children's clothing and accessories
such as hats, boots, belts, pig tail covers, purses, pouches
and veils. The 38 objects featured in the exhibition were
drawn from The Textile Museum's holdings as well as private
leather have lengthy, intertwined histories as materials for
Central Asian dress. Silk was first and most prolifically
produced in China, where for centuries its source and production
methods were closely guarded secrets until they were carried
to Central Asia and beyond. Leather, felt and fur as well
as a distinctive clothing style that included trousers, made
life easier for the horse-riding nomadic pastoralists of the
vast, sparsely populated Eurasian steppe bordering on China
and Central Asia. The nomads' mobile economy and potent cavalry
enabled them to extort vast quantities of coveted luxury goods
from the Chinese - first and foremost silk - which they both
consumed and sold.
the Russian conquest completed in the late 19th century, the
western part of Central Asia, with its ancient urban centers
of Samarkand and Bokhara, was ruled for much of its history
by different groups who originated in the Eurasian steppes.
Although they largely gave up their nomadic lifestyle, these
ruling elites retained their taste for rugs, textiles and
the garments worn on the steppe. The copious production of
silk, its brilliant dyeing and multifaceted use in textiles
of urban and nomadic manufacture, along with the continued
use of leather, were all part of the spectacular blossoming
of the textile and related arts during the 19th century in
west Central Asia.
Tange. Lotus Pond in Summer (detail), 2003.
67" x 51"
Masters of Japan
October 14, 2005 - February 12, 2006
Masters of Japan featured the work of 15 contemporary Japanese artists and
included folding screens, scrolls, panels and kimono all
created using rozome, a wax-resist dyeing technique
unique to Japan. The exhibition was complemented by a selection
of Japanese textiles from The Textile Museums own collections. Rozome has roots in ancient Japan, dating to the Nara
period (645-794), but was eclipsed by other resist-dye techniques
after the Heian period (794-1185). The technique experienced
a revival of popularity in the early part of the 20th century,
when Kyoto-based kimono specialists began to reexamine the
possibilities of the wax-resist medium. Rozome flourished
after World War II as artists became interested in the technique
as a vehicle for unique image-making and self-expression on
cloth. Today, in the hands of these talented artists, rozome is used to create technically breathtaking, complex works
whose imagery ranges from traditional botanical and landscape
subjects to contemporary abstract compositions.
Masters of Japan was organized by Betsy Sterling Benjamin
and Ann Wessmann in collaboration with the Massachusetts College
of Art, supported in part by grants from The Japan Foundation
and Friends of Fiber Art International. The Textile Museum's
presentation of the exhibition was supported in part by The
E. Rhodes and Leona B. Carpenter Foundation and The Rau Foundation.
A fully-illustrated catalogue published by the Exhibitions
Department at the Massachusetts College of Art accompanied
(detail), Huari style
Peru, probably found on the south coast
ca. AD 750-800
The Textile Museum 2002.20.1
July 1, 2005 - January 15, 2006
During the 7th and 8th centuries the Huari Empire conquered
a vast area of what now constitutes modern day Peru. Archaeological
evidence of the Huari Empire includes fine tapestry-woven
textiles featuring colorful and distinctive iconography. Gods
and Empire: Huari Ceremonial Textiles explored what this
iconography tells us about Huari religious and ceremonial
practices and the development of the empire over time.
of the exhibition was a large tapestry panel that was donated
to The Textile Museum in 2002. It came to the Museum as a
group of fragments that were reassembled and prepared for
exhibition by the Museum's conservation department. Unlike
most other known Huari style tapestry textiles, it is clearly
not a garment, and its iconography also suggests a prominent
ceremonial function. Also included in the exhibition were
examples of Huari style garments and related ceremonial textiles.
|Wrapper (hinggi kombu)
The Textile Museum 68.1
Acquired by George Hewitt Myers in 1953
for This World and Beyond:
Treasures from Insular Southeast Asia
1 - September 18, 2005
Long before Islam and Christianity were established in the
islands of Southeast Asia, the people who settled the area
had developed a philosophy for existence in a highly unpredictable
world. Textiles play an important part in many of the beliefs
and customs which are followed to this day. Textiles for
This World and Beyond explored the role that textiles
in Indonesia and Malaysia play in daily society, and how textiles
are used in ceremonies to maintain harmonious relationships
with the deceased or the gods. This was the first exhibition
of a group of 19th- to early 20th-century Southeast Asian
textiles acquired by The Textile Museum in
the last 25 years. Many of the more than 60 objects had not
been exhibited at The Textile Museum or elsewhere in the United
States prior to this exhibition. Many of these textiles were
acquired by the Museum in 2000 with a grant from The Christensen
Fund in Palo Alto, California. The exhibition was curated
by Dr. Mattiebelle S. Gittinger, The Textile Museums
Research Associate for Southeast Asian Textiles. A leading
scholar in the field of Southeast Asian textiles and culture,
Dr. Gittinger has curated numerous exhibitions and published
extensively. The exhibition was accompanied by a fully-illustrated
The Textile Museum 1992.11.1
Ruth Ketterer Harris Memorial Collection
the Bag: Textiles as Containers
28 - June 5, 2005
While containers perform the practical functions of holding,
carrying and covering everyday items, they are also objects
of creativity made with a designing and purposeful eye. Beyond
the Bag celebrated the use of textiles as utilitarian
containers and gave visitors an opportunity to investigate
the many ways various cultures have exploited the unique properties
of textile containers to suit their needs. Through the objects
on view, visitors gained insight into the lifestyles of different
cultures and their various storage and transportation needs.
Included in the exhibition were objects from both Eastern
and Western Hemispheres drawn from the Museum's collections.
The Textile Museum 1978.16.1
Gift of Mrs. Jefferson Patterson
The Buta and Its Seeds
October 1, 2004 - March 6, 2005
The natural grace of the gardens of Mughal India was reflected
in the patterns of trees, vines, and flowers that decorated
textiles of the period. Kashmir shawls express this taste
for fluid softness, flower-bright color, and rhythmic design.
One of the most recognizable design motifs in Kashmir shawls
is the flame-shaped cluster with a bent tip, known as the buta or paisley motif. A Garden of Shawls: The Buta
and Its Seeds included spectacular variations of the buta in both Asian and Western shawls, and explores the landscape
of its design in history. Accompanying the shawls in the exhibition
were complementary textiles of several different materials,
techniques, and periods beginning with fragments found in
Egypt and going back more than a thousand years. All of the
objects were drawn from The Textile Museum's collections.
Perspectives in Carpet Design
China, Xinjiang, Khotan
Late 18th - early 19th century
The Textile Museum 56.1.3.
Acquired by George Hewitt Myers in 1915
August 27, 2004 - February 6, 2005
Floral motifs are represented in the arts of many cultures
and are ubiquitous in carpet design. Floral Perspectives
in Carpet Design examined this phenomenon from three perspectives
- spiritual, cultural, and artistic - as rendered in the designs
of 17th- to 19th-century Indian, Chinese, Central Asian, Persian,
and Turkish carpets. The exhibition explored the variety of
floral motifs and how these motifs speak to the transfer of
ideas from culture to culture. Included in the exhibition
were 12 carpets drawn from The Textile Museum's collections,
many of which were collected by the Museum's founder, George
The Textile Museum 1984.28.4
Ruth Lincoln Fisher Memorial Fund
One, Under One, and Much More...
July 2, 2004 - January 2, 2005
This exhibition explored the diversity of patterning achieved
in plain-woven textiles from Asia to the Americas. Every weaving
tradition around the world includes plain weave, the simplest
interlacing of warp and weft. However, weavers of different
cultures create an amazing variety of patterns within this
unvarying alternation. This diversity results from individual
weavers' cultural traditions, the particular types of yarns
available in their areas, and their own creativity.
Eric Riis, Icarus #3, 2002
weave and stitching, silk and metallic thread, crystal
63" x 104"
Hand in the Electronic Age:
March 27, 2004 - September 5, 2004
exhibition included the work of 14 contemporary artists using
tapestry technique, one of the oldest, most versatile textile
techniques used to produce designs and pictures in cloth.
Featuring a single work by each of 12 Hungarian artists, By
Hand in the Electronic Age also took an in-depth look
at two North American artists, Jon Eric Riis and Marcel Marois,
to demonstrate how a tapestry artist, like a painter, develops
his or her own style and themes. Through works ranging from
pictorial to abstract, the exhibition showed that this labor-intensive
technique is not an abandoned anachronism but continues to
be a vibrant medium of artistic expression. By Hand was curated by Rebecca A.T. Stevens, Consulting Curator, Contemporary
Textiles, The Textile Museum.
Hand in the Electronic Age was accompanied by a full-color
catalogue, available for purchase through the Museum
Hand in the Electronic Age was presented with the support
of the Department of Foreign Affairs and International Trade
of Canada/ avec l'appui du ministère des Affaires étrangères
et du Commerce international du Canada, The Ministry of Cultural
Heritage of Hungary, The Embassy of the Republic of Hungary,
Washington, DC, The Rau Foundation, The Charles Simonyi Fund
for Arts and Sciences, Deena and Jerry Kaplan, Cynthia and
J. Alton Boyer, and Eleanor and Samuel Rosenfeld.
China, Late 17th or early 18th century
The Textile Museum 51.29A
Acquired by George Hewitt Myers in 1931
16, 2004 - August 1, 2004
Tapestry is one of the oldest, continually used techniques
in the creation of complex textile designs. With objects drawn
from the Museum's collections, this exhibition provided a
broad historical and cultural context for the concept of tapestry
weave. Tapestry structures, materials, designs, and the cultures
that use tapestry weave were represented through objects from
India, Turkey, Mexico, China, Peru, and Egypt among others.
Wrapped, and Folded:
Chile, Araucania, Mapuche people
The Textile Museum 1987.12.1
Gift of Dr. and Mrs. Frederick J. Dockstader
January 30, 2004 - June 6, 2004
Though simple in form, untailored clothing can reveal
a great deal about both the wearer and the culture from which
the clothing originates. While some cultures prefer to make
highly-tailored garments that echo the human form, other cultures
favor rectangular lengths of cloth worn draped, wrapped, or
folded about the body. The design and decoration of untailored
clothing can reflect a high degree of visual complexity and
artistic expression that can be unexpected given the simplicity
of its form. The exhibition highlighted this unique blend
of complexity and simplicity in a showcase of 19 untailored
garments from Africa, Asia, and the Americas.
weave blanket, Navajo
The Textile Museum 1962.37.1
Blankets of the 19th Century: Selections from The Textile
September 5, 2003 - March 14, 2004
During the 19th century, southwestern American Indians
used colorful handwoven wool blankets as clothing, cloaks,
baby wraps, bedding, furnishings, saddle pads, and trade goods.
Featuring 16 blankets made between 1800 and 1890, Navajo
Blankets of the 19th Century highlighted the powerful
aesthetics and significant trends that characterize nineteenth
century Navajo weaving. The exhibition also explored how Navajo
blankets were made and how experts today analyze Navajo blankets'
materials, structures, and designs to assess and assign dates
to each textile. Navajo Blankets of the 19th Century was curated by Ann Lane Hedlund, director of the Gloria F.
Ross Center for Tapestry Studies at the Arizona State Museum
|Log Cabin variation by Augusta Duncan
Robert & Helen Cargo Collection
International Quilt Study Center
University of Nebraska-Lincoln
Quilts from the Robert & Helen Cargo Collection
October 3, 2003 - February 29, 2004
An exhibition that featured African-American quilts from the
South, primarily Alabama. Quilts from this region represent
an important chapter of American quilt history and reflect
the diverse traditions that merge to form the American quilting
heritage. Each quilt is a unique, one-of-a-kind work of art
with visually arresting patterns ranging from traditional
to original designs, from patchwork quilts, to story quilts
and strip quilts, each distinguished by a lively improvisation
that juxtaposes bright or subdued colors with bold design.
The quilts incorporate a wide variety of new and recycled
fabrics including plaids, crepes, denims, flannels, twills,
pillow ticking, and feed sacks. Most of the quilts in the
exhibition were made since the 1970s, although several of
the anonymous quilts date to the early 20th century. All of
the quilts featured were drawn from the Robert and Helen Cargo
Collection at the International Quilt Study Center at the
University of Nebraska-Lincoln.
Hausa Culture, 1950s
The Textile Museum 1982.44.52
Bequest of Irene Emery
Art of Resist Dyeing
5, 2003 - January 5, 2004
exhibition, drawn exclusively from The Textile Museum's collections,
focused on how textiles from many cultures across the globe
are patterned by the process of resist dyeing. In resist dyeing,
areas of either woven cloth, or yarns to be woven, are protected
from dye penetration. By tying, stitching, or covering areas
of selected yarns or a whole cloth during the dyeing process,
an endless variety of designs and patterns can be created.
Familiar examples of resist-dye patterning include batik and
tie dyeing. The Art of Resist Dyeing highlights the
use of resist dyeing across many cultures and explores the
variety of techniques used and the diversity of results achieved.
Spain, second half 15th c
The Textile Museum R44.2.2
Acq. by George Hewitt Myers in 1931
Rugs from Egypt:
Jewels of The Textile Museum's Collection
March 28 - September 7, 2003
A stunning display of one of the most significant
groups of classical carpets this exhibition of
Mamluk rugs from Egypt highlights one of the
great strengths of The Textile Museum's
collections. Dating from the late 15th century,
Mamluk rugs form a cohesive design group that
demonstrates an exuberant play with geometric
shapes and stylized forms. Woven in a three-color palette of brilliant reds, greens, and blues,
the tones of Mamluk rugs evoke rubies, emeralds
and sapphires. The use of simple geometric forms,
repeated within circles and squares, relates these
rugs to architectural decoration of the time, and
to other arts such as metalwork, enameled glass,
inlaid stone, and illuminated manuscripts.
support for Mamluk Rugs from Egypt was provided
by Jeremy and Hannelore Grantham, Saudi Aramco and Sothebys
Mikhayllu tribe in their summer quarters on Mt. Sabalan.
Peter Alford Andrews, 1970. ©
It: Textiles as Containers
January 31 - June 8, 2003
Drawn exclusively from The Textile Museum's collections, Hold It celebrated the use of textiles as containers.
While containers perform the practical functions of holding,
carrying and covering everyday items, they can also be objects
of creativity, made with a designing and purposeful eye. In
comparison to rigid materials such as clay, wood, or glass,
containers made from fabric are closely related to that which
they contain; the form of a textile container is seldom fully
realized until it is in use. The objects in the exhibition
demonstrate the flexible and artistic nature of textile
containers and shed light on the various cultures that use
Western or Northwestern Anatolia
The Textile Museum R34.2.8
Acquired by George Hewitt Myers in 1913
Classical Tradition in Anatolian Carpets
September 13, 2002 - February 16, 2003
art of Turkish pile carpets represents one of the worlds
oldest and richest carpet-weaving traditions. The Classical
Tradition in Anatolian Carpets provided a unique opportunity
to explore the artistry of this enduring tradition, which
has been the subject of wonder and admiration in both the
East and West for hundreds of years. The exhibition featured
more than 50 Turkish carpets, dating from the 15th to 19th
centuries, drawn from the collections of The Textile Museum,
The Metropolitan Museum of Art, The Jewish Museum and several
the accompanying catalogue on-line at the Museum
late 19th early 20th century
The Textile Museum 1990.1.1
Secrets of Silk
28, 2002 - January 5, 2003
Is silk really stronger than steel? Can a silkworm produce
a strand of silk more than a mile long? What gives silk its
luster? These and many other fascinating questions were answered
by Secrets of Silk, an exhibition exploring the production
and use of one of the world's most luxurious fibers. The textiles
on view highlighted the creativity of different silk weaving
cultures around the world and showed how weavers and embroiderers
have produced textiles that delight the eye with their vibrant
colors and lustrous sheen. The exhibition also explored the
unique properties of silk and the labor-intensive process
of silkworm cultivation. Textiles drawn exclusively from the
Museum's collections, such as the colorful kimono shown at
right, were on view
of a discontinous warp in Q'ero. Photo by Emilio Rodriguez.
Threads of Peru: Q'ero Textiles
March 22 - August 18, 2002
is a remote indigenous community in Southern Peru on the eastern
slopes of the Andes. Q'ero textiles are woven on a staked
out loom primarily from alpaca and llama hair, using indigenous,
and in many cases pre-Hispanic, techniques. These handsome
textiles represent a rich and complex tradition, and are distinguished
by 3-color patterning (equally clear on both sides of the
fabric), and monochrome stripes made by using yarns of opposite
directions of spin. The exhibition included approximately
40 Q'ero textiles from The Textile Museum's collections as
well as several examples from the American Museum of Natural
History in New York and from private collectors. Decorated
textiles included women's shawls, men's ponchos, and coca
bags. The exhibition was curated by Ann Pollard Rowe, Curator,
Western HemisphereCollections, The Textile Museum.
Lia Cook pictured with her work Big
Cotton, rayon; handwoven
39" x 142"
as Catalyst: Textile Artists on the Cutting Edge
February 15 - July 28, 2002
exhibition of textile art created using revolutionary digital
technologies. Technology as Catalyst explored the marriage
of high-tech equipment and handwork that enables contemporary
artists to implement traditional textile concepts with new-found
freedom and flexibility. Included in the exhibition were six
contemporary artists -- surface designers Junco Sato Pollack
and Hitoshi Ujiie; Carol Westfall and Susan Brandeis, who
both employ a variety of weaving, digital printing, and dyeing
techniques in their work; and master weavers Lia Cook and
Cynthia Schira. The exhibition was curated by Rebecca A.T.
Stevens, Consulting Curator in Contemporary Textiles, The
Turkmen Uzbek Uzbekistan
Last half of the 19th century
Robert Emry, Arlington, VA
the Amu Darya to the Potomac: Central Asian Bags from Area
September 7, 2001 - February 24, 2002
the Amu Darya to the Potomac featured a selection of Central
Asian pile bags, dating from the 19th century and earlier,
that combine beauty with diverse utilitarian function. Objects
included in the exhibition were drawn from private collections
in the Washington area as well as from The Textile Museum's
collections. Examples of bags made for different purposes
were featured, including a chuval (large wall storage
bag), khorjin (saddlebag), and namakdan (salt
bag). The bags were all drawn from the Turkmen, Baluch, Uzbek,
and Kyrgyz ethnic groups. The exhibition was guest-curated
by Dr. Richard Issacson
of Silk and Gold: Four Centuries of Ottoman Embroidery
February 18 - July 30, 2000
Click on the banner below to explore the on-line component
of Flowers of Silk and Gold: Four Centuries of Ottoman
Embroidery, an exhibition presented at The TM in the year
here for a list of past exhibitions dating from 1985 to