The Textile Appreciation Society of Atlanta offered two events this Fall –
On September 5, TASA members joined the Japanese friendship group called Tomadachi for a program of Junco Sato Pollack’s solo textile exhibit at the Swan Coach House Art Gallery. Junco explained her work and techniques. The two series of works on display were inspired by the Zen spiritual practice of Sutra chanting and internalized stitching as meditation. Junco explained how the repetitive action of chanting and stitching was a metaphor for Sutras, Mantras, breath, life force, and meditation.
On September 6, 2018. Thailand native,Tip Weniger, hosted and presented TASA’s Fall 2018 program on SE Asian textiles. With knowledge gained from her extensive travel and study of regional textiles and textile design, Tip explained the different weaving techniques and motifs found in textiles from Thailand, Cambodia, Laos, and Myanmar. Specifically, Tip explained the process of “mudmee” — also known as “ikat,” supplementary weft and warp weaving, and the exquisite and intricate achiek weaving of Myanmar. She also reviewed the history of weaving and looms. Throughout the program, Tip shared many beautiful examples of fabrics and fashions modeled by TASA members. At the conclusion of the program, attendees enjoyed the opportunity to make purchases.
Submitted by Gail Goodwin
Currently on exhibit at the Hammonds House Museum in Atlanta, Cultural Diagnostics: The Imprint of African Textiles and Objects, featuring works from TASA Member, Michael Mack’s extensive textile collection. The exhibition closes on May 3, 2015.
From the Hammonds House website:
The art and artifacts of Africa reflect strong traditional cultures, an affinity for decorative utilitarian materials, and an evidence of deeply rooted generational aesthetics. Historically in Africa, art was seldom used for decorative purposes, but rather to give life to the values, emotions and daily customs of the various ethnic groups throughout the continent. Different materials used to make and define various pieces of African art were determined by location. However religion was the common thread that made African art and culture the perfect team. Masks, sculptures, textiles, weapons, ceramics and many other items were created with the purpose of providing insight into the unpredictable unseen world.
Culture is the history, practices and beliefs that make up a society and it is evident that African art and culture are one and the same. This exhibit provides a path to increased understanding and appreciation for African art through a historical cultural lens. The exquisite pieces painstaking and strategically acquired by avid collector Michael Mack require the viewer to step beyond aesthetics to focus on cultural awareness.
Submitted by Gail Goodwin & Michael Mack
For many years, Marion Gartler traveled throughout the world searching for and collecting antique and unique textiles. In the early 1980’s she began using some of these fabrics to make functional and visually delightful garments, “safekeeper vests,” for men and women to wear about town and while traveling abroad. These double-faced vests come with zippered pockets inside and out, thus “safe-keeping” a person’s valuables. In 1984, the Textile Museum in Washington D.C. hosted an exhibition of artists designing fabrics for these vests.
In conjunction with the Trunk Sale, Junco Sato Pollack, retired associate professor of textiles at Georgia State University, will share her love for and knowledge of the safekeeper vests and her memories of traveling with Marion.
Saturday, October 25, 10 AM – 1 PM
Home of Clara O’Shea: 576 Pelham Road, 30324
RSVP: email@example.com, Free for TASA members and guests
On April 26 and 27, 2014, Decatur’s Mingei World Arts Gallery owners, Ann VanSlyke and Ellen McFee, and TASA members Barbara Sherman and Junco Sato Pollack hosted a weaving demonstration by the Burmese Karen women. The refugee women set up their backstrap weaving looms, yarns, and market bags for sale in Mingei’s outdoor courtyard.
Junco, who also answered questions about the future of this project, has worked with the women to create various marketable fabrics and products. The collaboration begins with Junco producing a design sketch with assigned colorways. Artisan Weaver Pa Taw produces one design from it and moves on to improvising and interpreting in the Karen style. She then creates individual warps and sends these to others to weave on their own looms. Junco accompanies Barbara Sherman on her weekly visits, to discuss colors, tools and techniques. The vision is ultimately to leave the designs and yarn selections up to the Karen weavers themselves as soon as they gain experience in the marketplace.
The Karen Weavers Workshop (KWW) was established in 2013 by two women who are members of the Textile Appreciation Society of Atlanta (TASA), an organization promoting an appreciation of the textile cultures of the world. There are many thousands of refugees within the Atlanta metro area and Clarkston, Georgia, in particular. One very fine group of weavers, originally from Myanmar, is the Karen. The Karen women’s traditional weaving techniques and designs have been passed down for generations. KWW’s goal is to encourage support and preserve this wonderful cultural heritage. The Workshop also hopes to be able to provide a sustainable income for the weavers by marketing their products through the Women’s Cooperative at the Clarkston Community Center which believes that collaborating and marketing as a community will translate into success for all artisans.
Submitted by Gail Goodwin & Junco Sato Pollack