The Silver City Public Library is pleased to host a free presentation on weaving, in celebration of the 2013 Silver City Fiber Arts Festival. Our speaker will be Ann Lane Hedlund, former director of the Gloria F. Ross Center for Tapestry Studies at Arizona State Museum and former museum curator and anthropology professor at the University of Arizona. Ann has written Gloria F. Ross and Modern Tapestry (Yale, 2010), Navajo Weaving in the Late Twentieth Century (UA Press, 2004, Arizona Highways Award for Non-Fiction), and Reflections of the Weaver’s World (Denver Art Museum, 1992). She was also editor/compiler of Joe Ben Wheat’s prize-winning Blanket Weaving in the Southwest (UA Press, 2003).
Ann describes her presentation:
“I’ll discuss the growing recognition of Navajo weaving as an art form by collectors, curators and the weavers themselves. Based on long-term field research since the ’70s, I’ll describe weaving’s transition from craft to art, from household decor to museum display, and from curio to investment. Recent trends on and off the Navajo Nation are illustrated with my photos of people, places and artwork.”
“Textures,” explains Jeannie Miller, public information chair of the Festival, “was suggested by Joe Wade, a member of the Festival organizing committee.” The “y Sabores,” which in Spanish means “and Tastes” or “and Flavors,” was a natural addition to the theme,” adds Peter Garcia, Festival coordinator. “Together these words describe the wonderful atmosphere created when more than 50 writers, agents and publishers gather to participate in over 35 events.”
The Festival was created to highlight writers who live and write in the Southwest. More than half the Festival presenters live in the wider Silver City area, while the rest are from Texas, Arizona, Colorado and other parts of New Mexico. Ann Hedlund, author and anthropologist, will participate in panel discussions on Friday afternoon and Sunday morning. All events are free and open to the public except where noted in the schedule of events.
The two keynote speakers, Ana Castillo and Denise Chavez, rank among the best novelists of America, according to Garcia. Their excellence comes in part because they remain true to their roots and the rich idioms in the Mexican American communities of New Mexico, far west Texas, and Chicago.
The two databases plus extensive background information and helpful guides are available on the ASM website at: http://www.statemuseum.arizona.edu/coll/textile/asm_southwest_textile_database/
Available at the click of a mouse are baseline data and images essential for understanding the evolution of three cultural textile traditions in the American Southwest—Navajo, Pueblo, and Spanish American. Focusing on the nineteenth and early twentieth centuries, their history spans three major periods from the time of Spanish governance to 1821, the Mexican era until 1846, and the American and early reservation period since then. These groundbreaking resources represent the culmination of decades of research by two world-renowned textile authorities: the late Dr. Joe Ben Wheat of the University of Colorado at Boulder and Dr. Ann Lane Hedlund, who recently retired as curator at Arizona State Museum and professor of anthropology at the University of Arizona. Of this capstone project, Hedlund says
These tools can be used by anyone to create absolutely new knowledge about the Southwest’s Native American and European-influenced textile traditions. Most importantly, as an anthropologist who studies both living and long past artists, I want artists of all stripes to have access to this wondrous visual and technical compilation.”
Other audiences that Hedlund lists include every museum curator with SW textiles in their collections; scholars interested in SW history and material culture; handweavers and artists seeking the roots of SW weaving; collectors and others who appreciate worldwide crafts, folk art, and art of all time. “And certainly students of all ages, I hope students will enjoy exploring the information and will get it to tell us things that we’ve never known before.”
Though other online databases of museum collections exist, and there are certainly in-depth databases of ceramics and other media, there is nothing quite like these two new textile resources in terms of their detail and query-based interactivity.
It’s also a first to have such stellar visual, technical, historical selections from so many museum collections gathered in one place for comparisons,” says Hedlund. “I know of nothing that allows visitors as much access and ability to query the data as this incredible store of information does. We included nearly every SW textile in our collections, some 600 examples, and just over 1300 specimens studied by Wheat in 50 other public collections.”
Joe Ben Wheat was one of the first two recipients of a PhD in anthropology at the University of Arizona. He is the author of Blanket Weaving in the Southwest, which Hedlund edited and posthumously published in 2003. Ann Hedlund’s books include Reflections of the Weaver’s World, Navajo Weaving in the Late 20th Century, Navajo Weavings from the Andy Williams Collection, and Gloria F. Ross & Modern Tapestry. She also is curator of many textile exhibits and has presented countless public lectures around the world. The online databases were engineered by ASM Webmaster Laura LePere and Applications Programmer Michael Ornelas, with contributions by David Hayden of Museum Data Solutions and many other valuable participants who are acknowledged on each website.]]>
The mission of the new GFR Tapestry Program remains identical to that of the original Center: to foster the creative practice and cultural study of tapestry, handwoven worldwide from ancient to modern times. The GFR Tapestry Program has remained devoted to research and public programming,” says program director Ann Hedlund.
We extend our deep appreciation to the GFR Center’s former Board of Trustees, who worked through the process of corporate dissolution and who were always ready to remind us of our most important goals—to continue sharing the wonderful world of textiles with as many people as possible. Thank you to Alice Zrebiec, Ramona Sakiestewa, Susan Brown McGreevy, and Margi Fox, outgoing (and outstanding!) trustees. Thanks also to Ann Bookman, Archie Brennan, Helena Hernmarck, Hal Einhorn, Lotus Stack, and Sue Walker, who were extremely helpful and encouraging during previous board terms. We are very grateful to our generous donors and past Associates, who supported our many programs through your membership during the GFR Center’s many years of active programming and productivity.
Dr. Hedlund will present a richly illustrated talk about a unique series of handwoven tapestries designed by world renowned sculptor/collagist Louise Nevelson, orchestrated by Gloria F. Ross, and woven under the direction of Archie Brennan at the Dovecot Studies in Edinburgh, Scotland. The translation of Nevelson’s torn paper collages into large-scale woven works represents an intriguing collaboration. Inspired by a visit from the East Coast artist to the American Southwest, the resulting artworks were evocatively named “Desert” (MFA-Boston), “Dusk in the Desert,” “Landscape,” “Mirror Desert,” “Night Mountain,” “Reflection,” and “The Late, Late Moon.” These are also illustrated and described in Hedlund’s 2010 book, Gloria F. Ross & Modern Tapestry (Yale University Press).
Recital Hall adjacent to the Louis Carlos Bernal Gallery
Pima Community College, West Campus
Center for the Arts Complex
2202 West Anklam Road
Tucson, AZ 85709
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This program presented as part of the ongoing celebrations of Arizona State Museum’s Many Mexicos exhibit.]]>
Where to begin and how to proceed with understanding an unknown textile from the American Southwest, whether a Pueblo, Navajo or Spanish-American blanket, poncho or rug? In this workshop we’ll cover fibers, yarns and dyes; loom techniques; weave structures; end, side and corner finishes. We will offer hands-on analysis of varied museum textiles under magnification, coupled with digitally illustrated discussions of useful traits for identifying and dating Southwest textiles. Open to collectors, curators, scholars, artists, and others; no prior analytical experience necessary but appreciation and careful handling of textiles is essential.”
In advance of publishing an online project called the Joe Ben Wheat Southwest Textile Database, Ann Hedlund and colleagues are offering a number of one-day workshops on Southwestern Textile Analysis. The first took place last March at the Museum of Indian Arts and Culture (MIAC) during the Navajo Studies Conference in Santa Fe, New Mexico. Taught by Hedlund and Museum of New Mexico registrar Cathy Notarnicola, with contributions from MIAC curator Joyce Begay-Foss, the workshop was deemed a success by its registrants, half of whom were Navajo weavers and the other half, museum curators.
The next is offered during the annual meetings of the Textile Society of America, on Wednesday, September 19, 2012, at the National Museum of the American Indian in Washington, DC. Hedlund will teach again with Notarnicola and with NMAI conservator Susan Heald. There are still a few places open for participants and you do not have to register for the entire meetings. Click here for more information as this workshop will soon fill up.
Other opportunities occur in Tucson, Arizona, when Hedlund gives a free public lecture, “Where’s That Textile From and When Was It Made? An Illustrated Talk on Textiles from Mexico and the Southwestern U.S.,” at Arizona State Museum on Thursday, November 8, and follows with two one-day workshops on Friday and Saturday, November 9 and 10. Those belonging to the Friends of the ASM Collections, or ASM’s membership group, or Tucson’s Navajo Textile Study Group will be given priority registration for the limited enrollment. Click here for more information about ASM’s member groups and contact Darlene Lizarraga at firstname.lastname@example.org to sign up for this workshop.
In early April 2012, Hedlund will offer a workshop at the University of Colorado Museum to members of the Boulder Handweavers Guild. Contact David Johnson at email@example.com for more information on this one.
Also, please watch for more activities related to the Joe Ben Wheat Southwest Textile Database as its online debut approaches before the end of 2012.]]>
Wednesday, February 8, 12 noon
WILL Lunch and Learn illustrated talk by Ann Lane Hedlund
“Navajo Weaving: Then, Now, and in the Future.”
Western New Mexico University, Global Resource Center, ABC Room, Silver City, New Mexico.
Free and open to the public, sponsored by the Western Institute for Lifelong Learning (WILL).]]>
Tapestries Made After Paintings:
From the Dovecot to Ganado, from Brennan to Begay
In the right hands, a tapestry made from a painting becomes a new and different work of
In each of the tapestry projects that éditeur Gloria Ross orchestrated, the interactions of the weavers and artists whom she included varied, and so did the woven results. Between 1970 and 1980, she and the Dovecot’s team of Scottish weavers, led by Archie Brennan, created forty-eight tapestries from designs by eight famous painters and sculptors (Jean Dubuffet, Helen Frankenthaler, Robert Goodnough, Adolph Gottlieb, Robert Motherwell, Louise Nevelson, Kenneth Noland, Jack Youngerman). From 1979 to 1997, she brought purpose-made designs by one painter (Kenneth Noland) to six individual Native American weavers who produced twenty-five unique tapestries. In addition she worked with French tapestry weavers throughout both periods, interpreting the work of more than a dozen American painters and sculptors into the woven medium.
In this richly illustrated talk, Ann Hedlund will compare two of these enterprises—one in Scotland and one in the American Southwest—to open discussion about what can happen when a tapestry comes from a painted or collaged image.
Questions? Contact Alex Friedman - 415.310.2460 /AQSFriedman@gmail.com]]>