Upcoming Exhibit “Dolls: Collections, Stories, and Tradition”

What: “Dolls: Collections, Stories, and Tradition” Exhibition

Where: African American Art & Culture Complex, Sargent Johnson Gallery, 1st Floor, San Francisco

When: Opening Reception: February 2, 2012, Time: 6 p.m. – 8 p.m. (Exhibition on view Feb 2 — May 3)

Details:

The Sargent Johnson Gallery is pleased to present a doll exhibition that addresses a need to celebrate the diversity and beauty of African American and African people and their experience, manifested in dolls. This exhibition is a survey, with selected samples of dolls from several collections and doll makers who have as their focus Black Dolls. They come in all shapes and sizes. They are made of various materials and have different functions. They tell stories and are witness to history. The human form doll is among the first play toys a child, especially a female child has to identify with; thus, its aesthetic appearance has important implications for how a child perceives his or her self image.

Curated by Nashormeh Lindo, this exhibition serves as a response to the underrepresentation of positive images reflective of the black experience in the mainstream toy and doll industry and that have negative implications for young girls from the Western Addition—primarily those who are African American of a darker skin complexion. Come and learn about the fascinating world of African and African American dolls!

Click here for more details: African American Art & Culture Complex

 

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Fashion in Motion: Nudie Cohen, the Rodeo Tailor

This odd little film (10 minutes) was created to accompany the Antwerp Fashion Museum’s 2011 exhibition ‘Dreamsuits: Designs by Nudie Cohn, the Rodeo Tailor.’ Here photographer and filmmaker Alice Hawkins “lends her unique eye to Cohn’s equally unique couture creations, capturing the glittering surfaces of Nudie suits drawn from the collection of Belgian entertainer Bobbejaan Schoepen on fashion film in ‘Museum of Costume.'” Happy New Year!

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In Brief: Maharaja: The Splendor of India’s Royal Courts

This past weekend, I had the good fortune to be able to visit the San Francisco Asian Art Museum’s current, excellent, exhibition: Maharaja: The Splendor of India’s Royal Courts (on view through April 2012). This show is a somewhat smaller version of the 2009 version put on by the Victoria & Albert Museum in London.

Poshak (costume for a woman). About 1900. Silk brocade with gold thread, base metal and sequins. Private Collection. (via Asian Art Museum)

Each piece in the show is impressive: sumptuous materials, exquisite details and extravagant design make obvious that the Maharaja’s were a VERY wealthy bunch. By examining their lives as a whole, the objects included provide a cohesive picture of their worlds and lives.

Objects included in the exhibition include paintings, thrones, regal accessories, men’s and women’s costumes, and LOTS of jewelry, furniture, musical instruments, games and much more. Some of the most physically impressive objects include a full size all-silver carriage, an elephant throne and some of the biggest diamonds and sapphires I’ve ever seen (many many by Cartier). Everywhere you looked were examples of fine craftsmanship, and nearly everything was gilded, embroidered or otherwise embellished to emphasize wealth and power.

Necklace. Cartier Paris, special order, 1928. Reconstructed with some substitute stones in 2002. Platinum, diamonds, yellow zirconia, white zirconias, topazes, synthetic rubies, smoky quartz, citrine. Created for Sir Bhupindra Singh, Maharaja of Patiala. Nick Welsh, Cartier Collection © Cartier.

One word of advice though – take a magnifying glass to truly appreciate some of the amazingly small and detailed paintings (similar to detail to the recent illuminated manuscripts exhibition at the Getty). The exhibition itself was well-thought out, and the (free) audio-tour was great. The show included several informative videos that provided good context for the show, and the audio-tour offered additional videos if you wanted more information.

Can’t make it to see the show? You’re in luck, there is an exhibition catalog of the V & A’s version of the show (which I sensibly purchased). There’s also an audio-tour that you can easily download through iTunes.

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Money Money Money: Paid summer internship and CSA membership discounts/offers

The December 15 application deadline for the Jack Handford Summer Internship is quickly approaching (extended to February 1, 2012). This internship provides a $2,000 stipend for a student member of the Costume Society of America to complete an internship with an accredited museum or costume collection. The internship is open to undergraduate students about to commence their senior year and to graduate students.

Not a member? There are currently two special offers open to non-members who are interested in joining:

The Western region is currently offering a discount to students joining or renewing. Currently registered students can join CSA or RENEW their memberships by sending in a CSA Membership application form with proof of their current registration at an educational institution (copy of a Registration card I.D.) along with a check made out to CSA for $25 (Instead of the regular $45) For more details, click here.

In addition, and for a limited time, join now and receive a pre-selected, complimentary issue of CSA National Symposia Abstracts (valued at $16.00)! Offer ends 12/31/2011. Click here for details!

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Alexander Mcqueen, ‘Fabulous’ FIDM, and the book

Those of you who follow me on Twitter will know that I went to the CSA hosted program on the FIDM Museum’s current exhibition, FABULOUS: Ten Years of FIDM Museum Acquisitions 2000-2010. During the lecture, our host and curator, Kevin Jones gave us some good behind-the-scenes dirt on the objects included in the exhibition and accompanying exhibition catalog (a veritable textbook on the last 200 years of fashion history, and well-worth the money).

Alexander McQueen Peacock dress, March 2008 Runway (Click for source)

Most interesting to me from his lecture, was the Alexander McQueen dress. The amazing craftsmanship of this dress was discussed. When the museum commissioned the dress it was to take 7 months (!) for the couture house to create it. In order to have the dress photographed for the exhibition catalog, the runway version was loaned to the museum for one day only. Thus, the dress included in the catalog is the same dress that appeared both on the 2008-09 runway and on Sarah Jessica Parker’s back in the Vogue shoot at the Met.

If you haven’t seen the exhibition yet, do so before it closes on December 17.

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Small Collection Highlight: Sacramento Valley Museum

I spent this past Friday and Saturday in the small town of Williams, CA. For those who don’t know it, it is on I-5, at the exit for Clear Lake. It’s primarily a farm town – but its history is long and well preserved in the former school house, now known as the Sacramento Valley Museum. My family’s roots go back to this particular town to at least 1920, but we were in the surrounding area as early as 1885.

The museum is a large two-story building and it contains all manner of historical every-day objects. It had a special Veterans Day memorial on view (which included example uniforms and paraphernalia from every major conflict). The permanent exhibitions areas include farming equipment, Williams High Alumni collections (including band uniforms), Masonic paraphernalia, as well as rooms organized by theme: kitchen, bathroom, bedroom, children’s rooms as well as businesses such as apothecary, general store and happily for me, the clothing boutique (all including objects from varying time periods). Shocking -and somehow comforting-to know just how long the same pharmacy (Fouch’s) has been in existence here.

Of particular note were the Model-T car, the dusters in the tack room (circa 1900), and some fine examples of corsets, dresses, and women’s accessories. Somehow, the things worn and used by real people (rather than the rich-and-famous) are always of greater interest to me. They seem more authentic, and by extension, more important to study and understand.

If you ever find yourself in the area, I’d encourage a visit – it’s a unique way to step back in time and smaller, lesser-known collections need your support to survive. Hope you enjoy these quick snap-shots:

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The Wednesday Word: Alexandra Palmer (1997)

Bath Fashion Museum Shoes (Click for source)

“Voids in fashion scholarship can be partly explained by the fact that the study of dress often carries negative associations. The traditional study of dress history has been largely based on old art-historical methods of stylistic analysis, without integrating this with economic or social history. A contributing factor is that there is little formal academic training that addresses fashion or costume history; and fashion has to fight to gain recognition as a legitimate area of study.”

Alexandra Palmer, Abstract for “New Directions: Fashion History Studies and Research in North America and England”, Fashion Theory: The Journal of Dress, Body & Culture, Volume 1, Number 3, August 1997 , pp. 297-312(16)

(“The article compares the teaching of fashion history in England and North America, and Palmer uses some sample case studies to illustrate the validity of employing a multidisciplinary methodology that is based on material culture. She concludes that material culture analysis has to be set within a broader academic framework and not just be for its own sake. Liaison with scholars in other areas should be encouraged, as it is through cross-disciplinary interaction that more dynamic research can be pursued.”)

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Exhibition Notice: Mottainai: The Fabric of Life (Portland)

Opening today at the Japanese Gardens in Portland, Oregon is Mottainai: The Fabric of Life, Lessons in Frugality from Traditional Japan.

“This exhibition of antique Japanese folk textiles from the Meiji period (1868-1912) is comprised of selections from the private collections of Stephen Szczepanek (suh-PAN-ecks) of Sri in Brooklyn and Kei Kawasaki of Gallery Kei in Kyoto. The exhibition demonstrates the remarkable ability of the Japanese to not only make do with the very little they had, but to make art with it.

For generations before the “Economic Miracle” took place in the decades following World War II, Japan was a poor country. People recycled everything. Nothing was wasted, and the word “mottainai” (waste nothing!) was a ubiquitous exclamation used by every frugal parent to warn children about wasting a bite of food or a scrap of cloth or paper.

All of the textiles and garments on view were made from bast fibers foraged from the forest, or patched and quilted together from second-hand scraps of cotton garments of city-dwellers who traded their hand-me-downs with the farmers for rice and vegetables.The exhibition represents a wide variety of traditional textile making and decorating techniques, including sashiko stitching, bast fiber weaving and dyeing, and patchwork quilting, the latter referred to as boro.”

This short exhibition only runs through November 27 – so see it while you can. Learn more about the textiles and objects included here.

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The Fabulous Tour (courtesy of CSA Western)

Back in 2009, I interviewed curator Christina Johnson of the FIDM Museum for Wornthrough – and she gave readers a brief glimpse the Fabulous exhibition (that was then in the planning stages).

Alexander McQueen "Peacock Dress" Fall/Winter 2008-09 (Via Nick Verrereos)

Two years later, and now as as Programs Chair for the Western Region of Costume Society, I’m thrilled to say that we have a very special behind-the-scenes tour to offer members and non-members alike.

To be held November 19, FABULOUS! Ten Years of FIDM Museum Acquisitions, 2000-2010, the exhibition includes 175 donated and purchased garments and accessories worn by women, men, and children spanning 1800 to 2010.

FABULOUS! highlights include: a luxurious embroidered court suit worn by composer Johann Hummel, a Redfern court gown with regulation eleven-foot-long train (see above), and a museum-commissioned lace peacock motif Alexander McQueen couture gown (pictured at left), among others.

The CSA special program includes both illustrated presentations by curatorial staff as well as a tour. Highlights include an inside look at the Fabulous! exhibition planning process by curator Kevin Jones and a close-up analysis of the Madame Olympe gown by Danielle Killam, assistant registrar.

Happily, there is still space for those interested. Simply download the flyer and mail it in with your check (The deadline for registering is November 11) . I hope I’ll see you there!

Download the registration form and details

Member(s) $20
Student Member(s) $10
Non-Member(s) $25
Student Non-Member(s) $15

Wedding Gown worn by Elisabeth of Wied, Queen Consort of Romania, in 1869 (via Nick Verreros)
Queen Victoria of Great Britain's Evening Gown, black silk faille and crepe, from 1897 (via Nick Verreros)
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Elena Phipps on Cochineal Red: The Art History of a Color

On November 12, 2011 at 10:00am, the De Young Museum in San Francisco will serve as host for a lecture by Elena Phipps, independent scholar, current Vice-President of the Textile Society of America, and former Senior Museum Conservator with the Metropolitan Museum of Art.

She is the author of Cochineal Red: The Art History of a Color (Metropolitan Museum of Art/Yale University Press, 2010). According to the Textile Arts Council, Phipps will trace:

“the origins of the famous insect-derived dye in the ancient Americas and its dissemination by global trade routes to the Old World. Thirty years of research and collaboration with scientists have enabled her to trace the world movements of this coveted dyestuff, illustrated by examples from the collections of the Metropolitan Museum of Art, New York. Interesting cultural, technical, and historical questions arise from these studies. A dye that was once relegated to history and replaced by modern chemical colorants has attained new status with today’s awareness of ecology.”

This lecture is free to Textile Arts Council members, $5 for FAMSF members and students, $10 for non-members. Tickets available only at the door. More details here.

 

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