{"id":2545,"date":"2012-02-21T05:30:52","date_gmt":"2012-02-21T12:30:52","guid":{"rendered":"http:\/\/fashionhistorian.net\/blog\/?p=2545"},"modified":"2012-02-20T10:52:54","modified_gmt":"2012-02-20T17:52:54","slug":"fashion-textiles-on-view-in-california-and-the-west","status":"publish","type":"post","link":"https:\/\/fashionhistorian.net\/blog\/2012\/02\/21\/fashion-textiles-on-view-in-california-and-the-west\/","title":{"rendered":"Fashion & Textiles on view in California and the West"},"content":{"rendered":"
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I recently received a note from a reader, describing her trouble finding information on upcoming fashion and textile exhibitions on view in California. So, I thought I’d share what I know with readers. Quite a variety of exhibits are available across the western states: exhibitions of film costumes, exhibits using old techniques in new ways (embroidery and knitting), historical design aesthetics (including ‘California’ design and the Aesthetic movement), as well as contemporary body art (tattoos!). Quite the range to choose from. Please feel free to comment if you’ve been to any of these or others you think readers should know about:<\/p>\n

20th Annual Art of Motion Picture Costume Design<\/strong><\/em><\/a>
\nThrough April 28, 2012
\nThe Fashion Institute of Design & Merchandising\/Museum & Galleries (Los Angeles, CA)<\/p>\n

The FIDM Museum is proud to present the twentieth anniversary Art of Motion Picture Costume Design exhibition. Celebrating the art and industry of costume designers, this exhibition will present more than 100 costumes from twenty films released in 2011. The exhibition includes selected costumes from all five 2011 Academy Award\u00ae Nominees for Costume Design: W\/E, Hugo, Jane Eyre, The Artist, and Anonymous. The exhibition also showcases classic film costumes from the FIDM Museum collection and the Department of Recreation and Parks, City of Los Angeles, Historic Hollywood Collection. Some of these same costumes were featured during the first Art of Motion Picture Costume Design exhibition in 1993.<\/p>\n

Common Places: Printing, Embroidery, and the Art of Global Mapping<\/em><\/strong><\/a>
\nThrough May 13, 2012
\nLos Angeles County Museum of Art (Los Angeles)<\/p>\n

Common Places features three objects from LACMA\u2019s permanent collection which transform printed works on paper into one-of-a-kind embroideries: a seventeenth-century valance, a cigarette silks quilt, and Alighiero Boetti\u2019s Mappa. The resulting textiles articulate contemporary aspects of global phenomena and suggest that far from being a recent development, globalization has deep historical roots that extended into the home and everyday life.<\/p>\n

California Design, 1930\u20131965: “Living in a Modern Way”<\/em><\/a><\/strong>
\nThrough June 3, 2012
\nLos Angeles County Museum of Art (Los Angeles)<\/p>\n

This exhibition is the first major study of California midcentury modern design. With more than 300 objects\u2014furniture, ceramics, metalwork, fashion and textiles, and industrial and graphic design\u2014the exhibition examines the state\u2019s role in shaping the material culture of the entire country. Organized into four thematic areas, the exhibition aims to elucidate the 1951 quote from \u00e9migr\u00e9 Greta Magnusson Grossman that is incorporated into the exhibition\u2019s title: California design \u201cis not a superimposed style, but an answer to present conditions\u2026It has developed out of our own preferences for living in a modern way.”<\/p>\n

The Art of the Anatolian Kilim: Highlights from the McCoy Jones Collection<\/a><\/em><\/strong>
\nde Young Museum (San Francisco)
\nThrough June 10, 2012<\/p>\n

A world-class collection of Anatolian kilims given to the Fine Arts Museums of San Francisco by H. McCoy Jones and his wife, Caroline, is showcased in a choice exhibition of two dozen of the finest examples. Presented in the textile arts gallery at the de Young, the Anatolian flat-woven kilims on view, dating from the 15th to the 19th century, include a variety of design types and regional styles, as well as superb examples of artistic and visual prowess. The kilims in the Fine Arts Museums of San Francisco’s permanent collection are considered the most important group of Anatolian kilims outside Turkey.<\/p>\n

Knitted, Knotted, Twisted & Twined: The Jewelry of Mary Lee Hu<\/strong><\/em><\/a>
\nThrough\u00a0 June 17, 2012
\nBellevue Arts Museum (Bellevue, WA)<\/p>\n

Over the past 40 years, Mary Lee Hu has affirmed her distinctive voice in the world of jewelry with her elegant, voluptuous creations. Using wire the way hand weavers use thread, Hu has blazed a trail as both artist and innovator, exploring the nexus between metalsmithing and textile techniques. Keen to metal’s ability to bend and manipulate light within a textured surface, Hu’s work is a testament to her sophisticated eye for weightless and rhythmic lines, translated into body adornment. Featuring more than 90 exquisite earrings, rings, brooches and neckpieces drawn from public and private collections internationally, this retrospective traces Hu’s evolution from her experimental designs of the 1960s to today’s creations full of light and movement.<\/p>\n

The Cult of Beauty: The Victorian Avant-Garde, 1860\u20131900<\/strong><\/em><\/a>
\nThrough June 17, 2012
\nLegion of Honor (San Francisco) <\/strong><\/p>\n

The Cult of Beauty: The Victorian Avant-Garde, 1860\u20131900<\/em> is the first major exhibition to explore the unconventional creativity of the British Aesthetic Movement, tracing the evolution of this movement from a small circle of progressive artists and poets, through the achievements of innovative painters and architects, to its broad impact on fashion and the middle-class home. The superb artworks on view encompass the manifold forms of Victorian material culture: the traditional high art of painting, fashionable trends in architecture and interior decoration, handmade and manufactured furnishings for the \u201cartistic\u201d home, art photography and the new modes of dress.<\/p>\n

Order and Border<\/em><\/strong><\/a>
\nThrough Oct. 21, 2012
\nSeattle Art Museum (Seattle, WA)<\/p>\n

Stripes are a fundamental visual element, appearing naturally in vertical lines as trees and in manmade products of all kinds, from street dividers to ornate fabrics. The stripe is so basic it is rarely given isolated attention. This installation examines how stripes decorate and structure objects, bodies and spaces. It follows the many ways that stripes are formulated\u2014swirling, rigid, ragged, skinny or bold\u2014and shows how they appear in a wide range of media from a multitude of cultures. These objects help us recognize the range of meanings that a stripe holds, from a minor design feature to the sign of a significant mythic journey.<\/p>\n

Indelibly Yours: Smith Andersen Editions and the Tattoo Project<\/a><\/em><\/strong>
\nde Saisset Museum, Santa Clara University, Santa Clara, CA
\nFebruary 24 – March 18 and April 13 – July 1, 2012<\/p>\n

Featuring work by ten artists\u2014five known for tattoo and five known for printmaking\u2014Indelibly Yours<\/em> explores the kinship between marking on skin and the practice of drawing on a printing plate.<\/p>\n","protected":false},"excerpt":{"rendered":"

I recently received a note from a reader, describing her trouble finding information on upcoming fashion and textile exhibitions on view in California. So, I thought I’d share what I know with readers. Quite a variety of exhibits are available across the western states: exhibitions of film costumes, exhibits using old techniques in new ways […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[93,88,94,7,37,91,89,4,1],"tags":[],"coauthors":[],"_links":{"self":[{"href":"https:\/\/fashionhistorian.net\/blog\/wp-json\/wp\/v2\/posts\/2545"}],"collection":[{"href":"https:\/\/fashionhistorian.net\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/fashionhistorian.net\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/fashionhistorian.net\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/fashionhistorian.net\/blog\/wp-json\/wp\/v2\/comments?post=2545"}],"version-history":[{"count":0,"href":"https:\/\/fashionhistorian.net\/blog\/wp-json\/wp\/v2\/posts\/2545\/revisions"}],"wp:attachment":[{"href":"https:\/\/fashionhistorian.net\/blog\/wp-json\/wp\/v2\/media?parent=2545"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/fashionhistorian.net\/blog\/wp-json\/wp\/v2\/categories?post=2545"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/fashionhistorian.net\/blog\/wp-json\/wp\/v2\/tags?post=2545"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/fashionhistorian.net\/blog\/wp-json\/wp\/v2\/coauthors?post=2545"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}