Natalie Chanin and “Green” Artists Visit the TM this Summer

In conjunction with the exhibition Green: the Color and the Cause, this summer will bring world-renowned artists and textile experts to The Textile Museum to share their insights into the world of green art.

The In Their Own Words: Artist Lecture Series features Green exhibiting artists, including couture fashion designer Natalie Chanin and Gyöngy Laky, a New York Times Magazine featured cover artist  These contemporary artists will discuss their creative process and their work on view in Green: the Color and the Cause.  After the lecture, attendees are invited enjoy light refreshments with the artists in the beautiful TM gardens or to continue to explore the galleries, open late until 8.p.m following the program.

TM visitors will also have the opportunity to create their own green art through a series of hands-on Summer Arts Workshops.  These workshops range from easy afternoon projects, to more in-depth multi-day studies of specific topics and techniques.  Workshop sessions include natural dyeing, green crochet (taught by Green artist Jackie Abrams), silk screening, digital textile design, and textile storage and mounting (led by the TM’s own chief conservator Esther Méthé).  Registration to any multi-day workshop includes a one-year membership to the TM at the Individual level.  View more information about these workshops on our website.

Register for any workshop or program by calling (202) 667-0441 ext. 64.  A full listing of all upcoming programs at The Textile Museum can be viewed on our website.

In Their Own Words: Artist Lecture Series

Gyöngy Laky: Geometric Disturbances
Thursday, May 26, 6PM

Gyöngy Laky explores form, arrangement, dimensionality, material, texture, and pattern in her grids, vessels, and language sculptures. Laky uses screws, nails, dowels and wire with natural branches or commercial wood – even occasionally, charcoal, plastic soldiers, or post-consumer items.  Her art has been described as  both “elegant and ornery” and  “crude and tidy” and her piece The Green Issue on view in Green, was featured on the cover of an environmentally-focused New York Times Magazine. Join Laky as she divulges her concepts and methods.  Fee: $20/members; $25/ non-members. Advance registration is required. Call (202) 667-0441, ext. 64 or register online. Space is limited.

Natalie Chanin: “Life Is In the Details” 
Thursday, June 16, 6 PM
After a decade abroad as a stylist and filmmaker Natalie Chanin returned to her home in Florence, Alabama to begin the clothing line Alabama Chanin that has touched the lives of women who both make and wear her styles.  Natalie has pioneered a “slow design” movement; the fibers for her garments are grown in Texas, spun in Tennessee, knit in South Carolina, dyed in North Carolina and Mississippi, then cut, painted, and sewn entirely by hand in Florence, Alabama.  Join Natalie as she speaks candidly about the journey that brought her back to her roots and the unique business model that makes this artisan enterprise possible.  Fee: $20/members; $25/ non-members.  Advance registration is required. Call (202) 667-0441, ext. 64 to register or register online. Space is limited.

Michael F. Rhode: Functional to Conceptual
Thursday, July 7, 6 PM
Michael Rohde began hand-weaving flat rugs over thirty-five years ago. As his work evolved, it was influenced by the loom’s capabilities, inspirations from travel, and exposure to other textile traditions. Rhode began working in tapestries when the concept behind his weavings became more important than their function. Join him as he shares insight into his trajectory as a weaver and artist, and learn more about his work on view in the exhibition. Fee (includes refreshments): $20/members; $25/non-members. Call (202) 667-0441, ext. 64 to register or register online.

Summer Arts Workshops

“UP-CYCLE” YOUR PLASTIC BAGS
Saturday, June 18, 10 AM-4 PM

Green exhibition artist Jackie Abrams teaches you to make a strong, colorful and multi-purpose carrier using everyday plastic bags and the simple technique of crocheting. No experience is necessary. Although you may not be able to finish during class time, instructions will be provided to complete your bag at home. A short presentation of the development of a plastic bag crochet cooperative in Ghana is included.  Fee: $35/members, $45/non-members.  Participants must bring plastic bags (about 50), crochet hooks (size J or K), scissors (with long sharp blades), and a tape measure (optional).  Register online for this workshop.

THE GREEN ELEMENTS:
DIGITAL TEXTILE DESIGN AND PRINTING
Part I: Friday, July 15, 10:30 AM-4 PM
Part II: Saturday, July 16, 10:30 AM-4 PM
Part III: Sunday, July 17, 1-4 PM

This introductory workshop on creating and printing textile design is led by Hitoshi Ujiie, Professor at Philadelphia University and Heather Ujiie, Professor at Moore College of Design. The course is focused on designing and developing printed textiles with a “green” theme. Instruction includes file preparation, file formating and coloring. Participants also will learn the basic digital inkjet printing process.  Fee: $275/members, $335/non-members.  Computer equipment required as well as Photoshop skills.  Call (202) 667-0441, ext. 64 to register.

TEXTILE STORAGE AND MOUNTING
Part I (Storage): Wednesday, July, 20, 10 AM-4 PM
Part II (Mounting + Display): Thursday, July 21, 10 AM-4 PM

Anyone from the seasoned collector to the fiber artist needs to know how to properly store and mount their treasures. Attend this special two-day workshop led by Esther Méthé, The Textile Museum’s chief conservator, and learn the techniques and standards used by the experts.  Fee (includes materials); $170/members, $200/non-members.  Call (202) 667-0441, ext. 64 to register.

SHADES OF GREEN: NATURAL DYEING WORKSHOP
Part I: Friday, July 22 10:30 AM-4 PM
Part II: Saturday, July 23, 10:30 AM-4 PM
Part III: Sunday, July 24, 1-4 PM

Led by artist, weaver, and independent textile conservator Louise Wheatley, this vegetable dye workshop explores the three-part process of creating the color green. The first day will focus on mordanting various fabrics and fibers. During the second and third days participants will prepare dye pots with yellow producing plants, and then overdye them in an indigo vat to create many shades of green.  Fee (includes materials): $275/members, $335/non-members.  Call (202) 667-0441, ext. 64 to register.

TEXT IN DESIGN: SCREEN PRINTING WORKSHOP
Saturday, August 6, 2-4 PM

Explore the use of text in creating patterns on recycled wall art and textiles with artist Kristina Bilonick in this screen printing workshop. Participants should bring a favorite piece of text (such as a poem, quote, love letter, or lyrics) to use in their design. Using the drawing fluid technique for screen printing, you will create a stencil to print on recycled cardboard. In addition, attendees are encouraged to bring in old textiles to experiment on and give new life to old tee shirts, jackets, pillowcases, and curtains.  Fee (includes materials): $45/members, $55/non-members.  Participants should bring a favorite quote, and may choose to bring any additional textiles they wish to screenprint.  Register online for this workshop.

What Does “Green” Mean to Artists, Past and Present?

Green: the Color and the Cause exhibition opens at The Textile Museum on April 16

Maggy Rozycki Hiltner, Hothouse Flowers (detail), 2005. Cotton and found textiles; embroidered. Lent by the artist. Photo by Virginia Spragg.

The Textile Museum asked artists to respond to “green,” and this spring, their collective answers are on view. Today, the word “green” is as likely to refer to eco-consciousness as the color itself. Often incorporating recycled and sustainable materials, artists from around the world respond to these dual meanings of “green” in Green: the Color and the Cause, on view at The Textile Museum April 16 -September 11, 2011.

The exhibition will showcase the art of contemporary makers, including site-specific installations and a growing garden sculpture, alongside historical precedents from the museum’s collection. The objects on view may be united in concept, but the approaches and materials each artist, past and present, used vary greatly—visitors to the exhibition will see recycled tire strips and clothing, peacock feathers, paper and natural fibers in weavings, sculptures, clothing, installations and more.

On April 16, The Textile Museum will launch a paperless interactive web catalog at www.textilemuseum.org/green where visitors can learn more about the art on view in Green and participate in the ongoing “green” conversation, including posting their own green artwork in a continuous Flickr™ photo gallery. Visitors to The Textile Museum will have a chance to engage directly with the exhibiting artists during the “In Their Own Words: Artist Lecture Series” or at a hands-on summer arts workshop. For a full listing of related programs, please visit www.textilemuseum.org.

About the Exhibition

Shigeo Kubota

Shigeo Kubota, Shape of Green II, 2009. Nylon, stainless steel, sisal; assembled. Lent by the artist. Photo by Kouichi Nisimura.

Green: the Color and the Cause will feature original contemporary works by 32 international fiber artists, ranging from stitched canvas to sculpture. These works are presented in conjunction with 13 historical pieces from The Textile Museum’s permanent collection that explore how cultures across the world have captured and interpreted the color green through textile art. Although it is the most common color in nature, green is notoriously hard to reproduce with natural dyes.

“We are excited to inspire reflection on the environmental concerns facing us today through the artwork in Green,” says Textile Museum Director Maryclaire Ramsey. “This exhibition provides a forum for contemporary fiber artists to contribute to this global conversation, and for the public of Washington, D.C. add their own voices.”

To assemble the group of artists represented, The Textile Museum issued a call for entry to contemporary fiber artists across the country and around the globe. Exhibition co-curators Rebecca A.T. Stevens and Lee Talbot reviewed more than 1,000 works of art submitted by nearly 300 artists. From this group, the co-curators selected 32 contemporary artists—representing 18 U.S. states and 6 countries—to participate in the exhibition.

Green is the third in a series of exhibitions exploring the cultural and artistic significance of specific colors in textile art; it follows Red (2007) and Blue (2008). Because textiles reveal so much about a given culture’s tastes, technological advancements and rituals, The Textile Museum is in a unique position to help shed light on the symbolism of color.

For more information, please contact Katy Clune at (202) 667-0441, ext. 77, or by e-mail at kclune@textilemuseum.org.

Download the press release in PDF form.
View a page of interesting facts and trivia about Green.
View a list of upcoming workshops, lectures, and family programs related to Green

Request a link to a gallery of high-resolution exhibition images available for download.

Museum-School Partnership Participants Announced

Museum School Partnership

A banner created by students participating in the 2010 Museum-School Partnership is displayed at The Textile Museum during the month of June. Photo by Kevin Allen.

The Textile Museum is pleased to announce the participants of the 2011 Museum-School Partnership. The following teachers and their classes were selected from a competitive application process that was open to all District of Columbia Public and Public Charter Schools:

Sarah Burke
Marla McLean
Margaret Ricks
John Burst
School-Within-School at Peabody
Kindergarten

Ellen Saunders
Thomson Elementary School
Grades 3 & 4

Michelle D. Parker
LaSalle-Backus Educational Campus
Grade 6

The Museum-School partnership is a three-month-long collaboration between The Textile Museum and the selected schools as they explore a key theme of recycling and reusing textiles and other materials in conjunction with the exhibit Second Lives: The Age-Old Art of Recycling Textiles. Each of the selected classes will tour Second Lives at the museum and will be visited by a museum docent at their classrooms for a three-date series of engaging and ongoing classroom art activities. In addition, each of the schools will receive art materials to create a banner inspired by the theme of recycling that will be exhibited at The Textile Museum during the month of June. Participating schools will be recognized and their banner presented at The Textile Museum’s annual Celebration of Textiles on June 4, at 12:30 pm.

To receive information about other upcoming programs for schools at The Textile Museum, sign up for the Educators’ E-Newsletter.

To receive general updates about exhibitions and all programs at the museum, sign up for The Textile Museum’s monthly E-Friends Newsletter.

If you have any questions or would like any additional details about this news item or any other news item, please e-mail info@textilemuseum.org.

“Colors of the Oasis” Closes March 13

ColorsOfTheOasis

"Colors of the Oasis: Central Asian Ikats," on view through March 13, 2011. Photo by Kevin Allen.

Colors of the Oasis: Central Asian Ikats, an exhibition dubbed “overwhelming” with its boldness and color, closes at The Textile Museum on March 13.  This rich, jewel-toned exhibition of more than 60 ikat robes and hangings explores ikat fabrics from Central Asia through the lenses of beauty, technique, and culture.

What is ikat?
Ikat (pronounced ee-kat) cloth is made by dyeing individual silk threads before they are woven into fabric. The threads are resist-dyed in a process similar to tie-dyeing; threads are tied and bound tightly together so parts of the threads remain un-dyed. Upon weaving, the striking ikat pattern is revealed.

Story Ideas for Colors of the Oasis

  • The Ikat “Look” in Contemporary Design
  • Oscar de la Renta reproduced bright, graphic ikat patterns in his spring 2005 collection—and today, prints derived from the ikat technique are available at Pottery Barn, Target, Anthropologie, Chico’s, J Crew and more.  While mainstream designers have adopted this visual language, Colors of the Oasis reveals its undiluted source.

  • The Fabric of a Culture
  • Silk ikat garments were the height of fashion in 19th century Uzbekistan. The wealthy could afford more intricate patterns, and communicated their status through layering robe upon robe. In response to the popularity of the fabric, which quickly traversed the Silk Road, multiple ethnic groups became involved in the production process.

  • A Collector’s Legacy
  • All of the ikats in Colors of the Oasis were donated to The Textile Museum by the late cultural philanthropist and collector Murad Megalli (1957-2011), who set out to assemble the world’s most diverse collection of Central Asian ikat garments. This exhibit presents the finest articulation of a nation’s people that many know little about.

 

“Don’t think for a minute that the 19th-century equivalent of a Milan catwalk didn’t exist on the plains of Central Asia” – Washington Flyer Magazine

“Just go for the sheer purpose of being around style and grace.” – Ari C., Yelp.com

For more information, please contact Katy Clune at (202) 667-0441, ext. 77, or by e-mail at kclune@textilemuseum.org.

Download the press release in PDF form.

Request a link to a gallery of high-resolution exhibition images available for download.

Recycling Materials & Reinventing Meaning

 

Before and After

Emphasizing a non-materialistic Buddhist sensibility, this cover for a religious text was pieced from a badge indicating high status in the chinese imperial court. Top: Rank badge, China, Ming dynasty. Collection of Dr. Young Yang Chung. (Not on view). Bottom: Sutra cover made from a rank badge, China, 16th-17th century. TM 51.37. Acquired by George Hewitt Myers in 1956.

Second Lives: the Age-Old Art of Recycling Textiles
on view at The Textile Museum February 4, 2011 – January 8, 2012

February 2, 2011, Washington, D.C. — The Textile Museum launches a year-long exploration of the ties between textiles and environmentalism with the opening of two new exhibitions in 2011. Second Lives: The Age-Old Art of Recycling Textiles (February 4, 2011 – January 8, 2012) presents ingenious examples of repurposed textiles from around the world. Examples from the museum’s diverse permanent collections illustrate this phenomenon across cultures and centuries. These historic examples complement the major exhibition opening later this spring: Green: the Color and the Cause (April 16 -September 11, 2011).

About the Exhibition

Long before vintage fashion boutiques were in vogue, artisans found ways to repurpose precious handmade textiles. Throughout history and across cultures, textiles were so valuable that worn and threadbare fabrics were seldom simply discarded. Textiles are reused for aesthetic, symbolic, or practical reasons. Recycling can be an act of remembrance or signification; like a quilt pieced from childhood clothes, new textile forms carry the memories of past times, owners, experiences, and uses into the future.

Second Lives features 18 objects from The Textile Museum’s permanent collection that showcase the different forms repurposing textiles has taken around the world. Objects on view date from the 16th through the 20th centuries and include patchwork hangings from Uzbekistan, India and Iran, textiles woven with recycled fiber from Japan and the American Southwest, and garments constructed from discarded religious textiles from the Pacific Northwest coast and Turkey. Each object embodies layers of meaning and social significance.

Several of the objects on view carry religious significance—either in their original form, or in their repurposed incarnation. A sutra (religious text) cover from the 16-17th century is pieced from an insignia badge worn by a Chinese military officer during the Ming dynasty. In order to accrue merit for deceased loved ones, people in East Asia sometimes donated dead family members’ fine clothing to Buddhist temples, where they were reconfigured into new forms for sacred use. In the Islamic world, fine textiles once used as coverings at holy sites in Mecca and Medina were distributed to pilgrims, some of whom used these fabrics to create objects imbued with almost magical significance. A red silk vest adorned with verses from the Koran was likely worn by its wearer as a talisman.

Luxurious garments communicate wealth and status, and when they can no longer be worn, cultures have found ways to reuse them. A panel from a Qing dynasty (1644-1912) Chinese dragon robe, a prestigious garment requiring two to three years of labor to complete, is included in this exhibition as a wall hanging.

While some textiles are valued for the labor involved, others are valued for the stories they tell. Two finely woven velvet panels from 16th-century Persia found their way to Ottoman Turkey, where Sultan Suleyman the Magnificent (1494-1566) used them to embellish his tent. Taken from Turkey to Poland in the 17th century, they were incorporated into a noble family’s sled blanket, used until the 1920s.

Second Lives: the Age-Old Art of Recycling Textiles is organized by Lee Talbot, Associate Curator, Eastern Hemisphere Collections.

About The Textile Museum

Established in 1925 by George Hewitt Myers, The Textile Museum is an international center for the exhibition, study, collection and preservation of the textile arts. The museum explores the role that textiles play in the daily and ceremonial life of individuals the world over. Special attention is given to textiles of the Near East, Asia, Africa and the indigenous cultures of the Americas. The museum also presents exhibitions of historical and contemporary quilts, and fiber art. With a collection of more than 18,000 textiles and rugs, The Textile Museum is a unique and valuable resource for people locally, nationally and internationally.

The Textile Museum is located at 2320 ‘S’ Street, NW in Washington, D.C. The museum is open Tuesday through Saturday 10 a.m. to 5 p.m. and Sunday 1 p.m. to 5 p.m. An $8 donation is requested of non-members.

For more information, call (202) 667-0441 or visit www.textilemuseum.org.

For more information, please contact Katy Clune at (202) 667-0441, ext. 77, or by e-mail at kclune@textilemuseum.org or visit www.textilemuseum.org/about/pressroom.htm.

Request a link to a gallery of high-resolution exhibition images available for download.

Download this press release in PDF form.

Central Asian Family Festival on Feb. 12

Kids explore ikat-dyeing in the Textile Learning Center

Enjoy a family-friendly festival featuring Central Asian music and food as well as hands-on art and textile activities on Saturday, February 12, 12-4 p.m. Visitors can:

  • Take part in Central Asian dance with the Silk Road Dance Company, including a huge dancing dragon inspired by Uzbek legends
  • Add Central Asian flare to their outfit by creating a kalpak—or high-crowned hat—and wearing it throughout the festival
  • Weave their own ikat textile on a pre-warped loom, making an original fabric to take home
  • Explore the exhibition Colors of the Oasis: Central Asian Ikats with a family guide
  • Enjoy tea and refreshments

All activities and demonstrations are free and no reservations are required!

Find One-of-a-Kind Gifts in The TM Shop

Silk Ikat scarves from Uzbekistan ($60)

The Textile Museum Shop is the perfect place to buy one-of-a-kind gifts this holiday season. Shoppers will find a colorful assortment of new ikat items to coincide with the exhibit Colors of the Oasis: Central Asian Ikats (on view through March 13, 2011) as well as other unique gift ideas. The shop provides museum visitors with a convenient holiday shopping opportunity and shares special holiday discounts with museum members.

In conjunction with the museum’s newest exhibit, Colors of the Oasis: Central Asian Ikats, visitors will find a variety of related products for sale in the shop that showcase the colorful and dramatic designs created using the specialized ikat dyeing process. Available for purchase are vibrant ikat scarves, handbags, bracelets, men’s ties, books and many beautiful ikat apparel items, such as original Uzbek coats and jackets, hand-painted silk robes and modern printed cotton robes.

From December 3 – 5, the shop offers museum members a 25% discount on all merchandise during “The TM Member VIP Weekend.” This is one of the shop’s most popular annual events, and members may also apply the discount to online purchases made during the VIP Weekend.

Recently named one of the “5 Best Museum Shops” in Washington, D.C. by Frommers.com and one of the 10 “Best U.S. Museum Gift Shops” by Apartment Therapy, The Textile Museum Shop offers a colorful selection of scarves, jewelry, books, fine fabrics and other handmade goods for sale year-round. The shop is always bringing in new items from artists around the globe. There are Peruvian hats, handbags, and scarves made by weavers of the Center for Traditional Textiles of Cusco, embellished handbags from Afghanistan, and embroidered suzani textiles from Central Asia.

Proceeds from shop sales support the museum and allow it to continue its mission to expand public knowledge and appreciation – locally, nationally, and internationally – of the artistic merits and cultural importance of the world’s textiles.

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Michael Franses to Receive The TM’s 2010 George Hewitt Myers Award

The Textile Museum's 2010 George Hewitt Myers Award honoree Michael Franses

The Textile Museum announced today that Michael Franses, renowned textile publisher and scholar, has been chosen as the 2010 recipient of the museum’s George Hewitt Myers Award, one of the highest accolades in the field of textile arts. The Myers Award, named for The Textile Museum’s founder and given by the Board of Trustees, recognizes Franses’ lifetime achievements and exceptional contributions to the field of textile arts. Previous recipients include researcher Mattiebelle Gittinger (2009); scholar Jon Thompson (2008); collector and philanthropist Lloyd Cotsen (2007); the late Josephine Powell, an ethnographer and photographer (2006); and textile designer and collector Jack Lenor Larsen (2005). Franses will be honored with the Myers Award at an event held at the Residence of the Turkish Embassy on Thursday, October 14, 2010.

“Perhaps no one else alive today has accomplished more for the field of Oriental carpets and textiles than Michael Franses,” said Bruce P. Baganz, president of The Textile Museum Board of Trustees. “Through his scholarship, publications and exhibitions, Mr. Franses has demonstrated his commitment to educating a wider audience about the textile arts—an effort closely aligned to the mission of The Textile Museum.”

Upon receiving the award announcement, Michael Franses commented, “In 1967, soon after I started to build my carpet and textile library and photo archive, I became aware of The Textile Museum in Washington, D.C. through its Journal and numerous other outstanding publications. I first visited the Textile Museum in 1973 and was immediately smitten. The kind of textiles that [Textile Museum founder] George Hewitt Myers collected, in particular classical Persian, Spanish and Chinese carpets, were in my opinion then, and still remain today, at the aesthetic pinnacle of textile art. The more I study what Myers collected, the more I rank him as probably the greatest collector and connoisseur of historical carpets ever. Even before my first visit to Washington, I had named my business The Textile Gallery, so that I might modestly attempt to follow in his footsteps. Now, at the end of my business career, as I embark upon full-time carpet and textile research in my ‘retirement,’ to be honored with the George Hewitt Myers Award is the greatest recognition I could ever have received.”

About Michael Franses

Michael Franses is the author and publisher of numerous books and periodicals related to the textile arts as well as co-founder of several textile-related organizations. For more than 40 years he has built major private and institutional collections worldwide as a dealer and advisor and organized exhibitions for galleries, museums and private collectors. He currently consults and pursues scholarly writing through new publications.

Born in 1949 in Brighton, England, Michael Franses began his apprenticeship in the field of antique carpets and textiles in 1965, working with his father, who had rejoined the family business, S. Franses (carpets) Ltd. In 1969 Franses and his father left the family firm to form their own partnership, Robert Franses & Son. Three years later, Michael Franses became managing director of a new company in London, The Textile Gallery. In this position Franses acquired numerous important historical carpets and textiles and began to arrange exhibitions for museums and private collections.

In the early1970s, Franses formed a textile conservation studio in London employing nine conservators, looking after historical carpets and textiles in many important private and museum collections. In 1975, he co-founded the International Conference on Oriental Carpets, jointly organizing the first conference in London in 1976. That same year he co-founded Hali, The International Journal of Oriental Carpets and Textiles, was the publisher, co-editor and principal shareholder until 1986. He has since remained a consultant editor and regular contributor. In 1993 he established Textile & Art Publications to continue the dissemination of new research on textiles and other art forms.

Franses owned The Textile Gallery in London from 1971-2007, exhibiting at major art fairs all over the world and mounting numerous special exhibitions. He closed his gallery three years ago and the following year closed his publishing company and became board chairman of Hali Publications Ltd. His intention is to devote his autumn years to study and to putting his extensive archives in order and making these widely available. He is currently working on a catalogue raisonné covering the early history of Chinese woven silk, from the Warring States to Northern Dynasties periods (475 BC—AD 580) and collaborating with scholar Elena Tsareva on The Birth of a Rug, a book charting the history of carpets before 1400. He is also assembling a catalogue raisonné of East Mediterranean carpets. He is working as editor of two volumes on the Khalili collection of Islamic carpets and textiles, and as editor and principal author of a publication of carpets in the collection of the Museum of Islamic Art in Qatar.

Recently, in 2009, he was awarded the Joseph V. McMullan Award, presented by the Near Eastern Art Research Center, for his stewardship and scholarship of Islamic rugs and textiles. Franses currently resides in Somerset and London with his wife, Jacqueline.

Turkish Embassy Residence in Washington, D.C., photo courtesy M.V. Jantzen

About The Turkish Embassy Residence

The Turkish Embassy Residence is one of Washington, D.C.’s most important historic buildings. Designed by well-known architect George Oakley Totten, Jr. and completed in 1914, the Mansion was commissioned by Edward H. Everett, a wealthy industrialist from Cleveland, Ohio best known for inventing the corrugated metal tops for soft-drink bottles. Architect George Oakley Totten, Jr. had a longstanding relationship with Turkey before the future Residence was built. He previously worked in Istanbul, where he designed the first American Chancery and a Residence for Izzet Pasha, the Grand Vezir, Prime Minister of the Empire. His work was so well received that he was offered the position of “Private Architect to the Sultan.”

Totten blended three architectural periods in his design for the mansion: 16th-century Italian, 18th-century Romanesque and 19th-century Art Deco, with distinct features from decorative Ottoman styles. During the 1920s, the House because famous for festive musical evenings with singers from New York’s Metropolitan Opera. Everett continued to reside in the mansion until his death in 1929. In 1932, Everett’s widow, Grace Burnap, leased the House to the Turkish Embassy and it was used both as Chancery and Residence. In 1936, at the behest of Turkey’s first President, Mustafa Kemal Ataturk, the House was purchased with all its contents. In the 1990s, the Chancery moved to Embassy Row on Massachusetts Avenue and the Mansion became the Residence of the Ambassadors of Turkey. The Residence was closed in 2004 for a nearly three-year renovation effort, during which all contents were painstakingly restored.

About The Textile Museum

Established in 1925 by collector George Hewitt Myers, The Textile Museum is dedicated to expanding public awareness and appreciation – locally, nationally and internationally – of the artistic merit and cultural importance of the world’s textiles. The museum presents changing exhibitions of historical textiles from its 18,000-piece collection and other holdings as well as contemporary fiber art, complemented by a range of public programs for all ages.

The Textile Museum is located at 2320 S Street, NW, in Washington, D.C.’s Embassy Row, and housed in two historic buildings: the founder’s family home – designed in 1913 by John Russell Pope – and an adjacent building designed in 1908. These former residences provide a warm, intimate setting for the museum’s galleries, research library, shop and program spaces. The museum also boasts lovely gardens designed by Rose Greely, Washington’s first licensed female architect. Museum hours are Tuesday through Saturday 10 a.m. – 5 p.m. and Sunday 1-5 p.m. The suggested donation for admission is $5 for non-members. For more information, visit www.textilemuseum.org or call (202) 667-0441.

Media Contact: Cyndi Bohlin, Director of Communications and Marketing, (202) 667-0441, ext. 78 or cbohlin@textilemuseum.org.

Collector Murad Megalli to Receive The TM’s Award of Distinction

This ikat is one from the collection donated to The Textile Museum by collector Murad Megalli (TM 2005.36.27, The Megalli Collection)

The Textile Museum announced today that collector Murad Megalli will be honored this fall with the museum’s Award of Distinction. The award recognizes an individual’s distinguished service in fulfillment of the museum’s mission to expand public awareness and appreciation—locally, nationally and internationally—of the artistic merits and cultural importance of the world’s textiles. Previous recipients include longtime museum supporters Harold M. Keshishian, Alice Dodge Wallace and Edwin M. Zimmerman, all three of whom were recognized in 2007. Megalli will be honored with the Award of Distinction at an event held at the Residence of the Turkish Embassy on Thursday, October 14, 2010.

Megalli has had an interest in and collected textiles for 22 years. A resident of Istanbul, Turkey, he learned much about textiles from his mentor, the late Josephine Powell, a renowned ethnographer and photographer who was awarded The Textile Museum’s George Hewitt Myers Award for lifetime achievement in 2006. Megalli donated a collection of 149 19th-century Central Asian ikats—stunning, colorful textiles named for the difficult resist dyeing technique used to create their patterns—to The Textile Museum in 2005, with subsequent gifts to the collection. Among one of the largest holdings of Central Asian ikats in the world, the collection represents the artistic virtuosity of this textile tradition and documents how these pieces were used their original cultural context. A selection of textiles from The Textile Museum’s Megalli Collection, including coats for men and women, women’s dresses and pants, cradle covers, hangings and fragments, will be on display for the first time ever in the museum’s fall 2010 exhibition, Colors of the Oasis: Central Asian Ikats. The entirety of the collection will also be published in a beautifully illustrated catalog with original scholarship complementing the exhibition.

Murad Megalli is a managing director and the chief executive officer for the Middle East, Turkey and Central Asia at J.P. Morgan based out of London and Istanbul. He holds a Master in Management from Yale as well as graduate and undergraduate engineering degrees in civil engineering and hydraulics. He speaks English, Turkish, Arabic and Russian.

About The Turkish Embassy Residence

The Turkish Embassy Residence is one of Washington, D.C.’s most important historic buildings. Designed by well-known architect George Oakley Totten, Jr. and completed in 1914, the Mansion was commissioned by Edward H. Everett, a wealthy industrialist from Cleveland, Ohio best known for inventing the corrugated metal tops for soft-drink bottles. Architect George Oakley Totten, Jr. had a longstanding relationship with Turkey before the future Residence was built. He previously worked in Istanbul, where he designed the first American Chancery and a Residence for Izzet Pasha, the Grand Vezir, Prime Minister of the Empire. His work was so well received that he was offered the position of “Private Architect to the Sultan.”

Totten blended three architectural periods in his design for the mansion: 16th-century Italian, 18th-century Romanesque and 19th-century Art Deco, with distinct features from decorative Ottoman styles. During the 1920s, the House because famous for festive musical evenings with singers from New York’s Metropolitan Opera. Everett continued to reside in the mansion until his death in 1929. In 1932, Everett’s widow, Grace Burnap, leased the House to the Turkish Embassy and it was used both as Chancery and Residence. In 1936, at the behest of Turkey’s first President, Mustafa Kemal Ataturk, the House was purchased with all its contents. In the 1990s, the Chancery moved to Embassy Row on Massachusetts Avenue and the Mansion became the Residence of the Ambassadors of Turkey. The Residence was closed in 2004 for a nearly three-year renovation effort, during which all contents were painstakingly restored.

About The Textile Museum

Established in 1925 by collector George Hewitt Myers, The Textile Museum is dedicated to expanding public awareness and appreciation – locally, nationally and internationally – of the artistic merit and cultural importance of the world’s textiles. The museum presents changing exhibitions of historical textiles from its 18,000-piece collection and other holdings as well as contemporary fiber art, complemented by a range of public programs for all ages.

The Textile Museum is located at 2320 S Street, NW, in Washington, D.C.’s Embassy Row, and housed in two historic buildings: the founder’s family home – designed in 1913 by John Russell Pope – and an adjacent building designed in 1908. These former residences provide a warm, intimate setting for the museum’s galleries, research library, shop and program spaces. The museum also boasts lovely gardens designed by Rose Greely, Washington’s first licensed female architect. Museum hours are Tuesday through Saturday 10 a.m. – 5 p.m. and Sunday 1-5 p.m. The suggested donation for admission is $5 for non-members. For more information, visit www.textilemuseum.org or call (202) 667-0441.

Media Contact: Cyndi Bohlin, Director of Communications and Marketing, (202) 667-0441, ext. 78 or cbohlin@textilemuseum.org.

Maryclaire Ramsey Promoted to Director of The Textile Museum

Maryclaire Ramsey

Maryclaire Ramsey in The Textile Museum's garden. Photo by Katy Uravitch.

The Textile Museum announced today that Maryclaire Ramsey has been promoted to director in recognition of her outstanding work. During the course of her 14 months as chief executive officer, The Textile Museum has achieved a balanced budget, seen an increase in attendance and individual giving, and presented six acclaimed exhibitions accompanied by a wide range of public programs. The museum was also awarded re-accreditation by the American Association of Museums during her tenure as CEO. Ramsey has been with The Textile Museum since April 2007.

“Maryclaire Ramsey’s energizing leadership has brought much to The Textile Museum,” said Bruce P. Baganz, president of the museum’s Board of Trustees. “Over the past 14 months, she has raised the museum’s profile through expanded strategic partnerships, set in place new sources of funding, and maintained The Textile Museum’s high standards of collections care, scholarship, exhibitions and public programs.”

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