Student / New Professional Scholarship
These merit-based scholarships are presented biennially to selected TSA members who are currently either students in a textile-related field, have graduated from a textile-related field within the past three years or have been in their first job in the textile field for less than three years. Applications for the 2014 symposium will be available when registration opens April 15.
2016 Textile Society of America Student / New Professional Scholarship Recipients
Recognized at the organization’s 15th Biennial Symposium, Crosscurrents: Land, Labor and the Port, held September 19-23, 2016, in Savannah, GA.
Left to right: Sylvia Houghteling, Tamryn McDermott, Brooke McEver, MacKenzie Moon Ryan, and Emily Frances Winter
Sylvia Houghteling received her Ph.D. in the History of Art from Yale University in 2015. Her dissertation, “Politics, Poetry and the Figural Language of South Asian Cloth, 1600-1730,” which received the Frances Blanshard Fellowship Prize, explored the production, reception and circulation of textiles in seventeenth-century South Asia. From 2015-2016, Houghteling will hold the Sylvan C. Coleman and Pam Coleman Memorial Fund Fellowship in the Department of Islamic Art at the Metropolitan Museum of Art. In the Fall of 2016, she began her appointment as an assistant professor in the History of Art department at Bryn Mawr College.
Tamryn McDermott is currently working as the Traveling Exhibition Manager for Rooted, Revived, Reinvented: Basketry in America, a traveling exhibition coordinated by the National Basketry Organization and the University of Missouri. She is also on the Board of Directors for the Surface Design Association and an active studio artist working in Philadelphia. In 2015, McDermott received an MFA in Fibers and Sculpture from the University of Missouri. McDermott also completed an MA in Art History and Arts Administration at Tyler School of Art, Temple University where she also received a BFA in Sculpture and Painting. McDermott has exhibited her artwork at the Torpedo Factory, Alexandria, VA; University of St. Louis Art Museum, St. Louis, MO; and the Crane Arts, Ice Box Project Space, Philadelphia, PA, among many others. In 2015, McDermott was the Fiber Artist-in-Residence at the Craft Alliance in St. Louis, MO.
Design Strategist Brooke McEver is currently at Stanford University focusing on social impact through human-centered design. After studying Fibers and Design for Sustainability at Savannah College of Art and Design, she moved to Bangladesh. There she founded a sustainability department in a major export factory and oversaw the design and production of thousands of upcycled items. As part of that effort, she (in collaboration with the Stockholm Environmental Institute and Aus Design) helped create the Upmade certification standard, the first upcycling certification of its kind. She also founded Tripty, a company focused on creating responsible supply chains within the textile industry. The current Tripty supply chain manages everything from raw materials to product marketing, involving over 50 employees across Bangladesh and the US. At Stanford, Brooke continues to challenge impersonal factory production by designing sustainable systems that can positively impact any level of community.
MacKenzie Moon Ryan is Assistant Professor of Art History at Rollins College in Winter Park, Florida. Her research and publications focus on African textiles, dress, and fashion, especially the manufacturing and design history of printed kanga cloth; global networks of trade; and the arts of East Africa as part of the Indian Ocean world and beyond.
Emily Frances Winter was born in San Francisco and lives in Chicago. She is co-director of The Weaving Mill, an experimental production studio in Chicago’s Humboldt Park, which focuses on short runs of original industrially woven fabrics and community-centered programs. Emily received her BA in History from the University of Chicago and her MFA in Textiles from the Rhode Island School of Design.
2014 Textile Society of America Student / New Professional Scholarship Recipients
Recognized at the organization’s 14th Biennial Symposium, New Directions, held September 10-14, 2014, in Los Angeles, CA
Whitney Artell received her MFA in Textiles from the Rhode Island School of Design in 2012 and her BFA in Fiber from the Maryland Institute College of Art in 2006. Whitney’s work has been exhibited at the Gray Gallery in Greenville, North Carolina, The Greater Denton Arts Council in Denton, Texas, The New York Design Center in New York City, the Sol Koffler Gallery in Providence, Rhode Island, and at Haystack School of Crafts in Deer Isle, Maine. In 2014, Whitney was selected to participate in the Winter Workspace residency at Wave Hill in Bronx, New York. Whitney Artell lives and works in Brooklyn. Her artwork is an investigation of contemporary perceptions of landscape. Drawing from her personal experiences in the post-industrial landscape and the history of painting and photography, Whitney creates materially rich compositions that question the nature/culture dichotomy. Whitney currently splits her time between her personal studio practice and her commercial work as a Jacquard designer for a domestic mill: True Textiles. Whitney’s artwork is included in TSA’s Juried Exhibition at the Craft & Folk Art Museum.
Hadley Jensen is interested in exploring the intersections between art, anthropology, and material culture. She has a bachelor of arts in Religion from Colorado College and a master’s degree in the Decorative Arts, Design History, and Material Culture from Bard Graduate Center. After spending a year in the Bay Area conducting preliminary dissertation research, Hadley is returning to the BGC as a doctoral student, where she will focus her studies on visual anthropology and material culture. She wrote her master’s thesis on the imaging of craft in the American Southwest with particular attention to photographs of Navajo weav- ers and their use in the marketing of Indian crafts. This builds upon her previous research at the Smithsonian Institution’s Summer Institute in Museum Anthropology, where she studied the Navajo material culture collection and associated field photographs of James Mooney, a nineteenth-century American anthropologist. Her other research interests include American visual and material culture, Native American art, ethnographic textiles, museum anthropology, exhibition design, and discourses of cultural preservation & heritage.
Sarah I. Baitzel grew up in Germany and moved to the United States to attend college at UC Santa Barbara where she received her B.A. summa cum lauda in Anthropology in 2004. Since 2006, Ms. Baitzel has been a graduate student of an- thropological archaeology in the Department of Anthropology at UC San Diego. Her dissertation research, funded by Fulbright-Hays and National Science Foundation grants, focuses on the mortuary rituals, material culture and social identities in the ancient Andes. It incorporates information about funerary dress, offerings, and biological markers from over 200 burials affiliated with the Tiwanaku culture (AD500-1000) at the site of Omo M10, Moquegua, Peru. Ms. Baitzel has excavated in the Moquegua Valley of southern Peru over ten years. As part of her research, she has collaborated closely with the Museo Contisuyo (Moquegua) in textile and mummy and textile conservation and analysis. Living in Peru for extended periods of time, she had the chance to learn local weaving techniques from indigenous community members, an invaluable set of skills and information for the analysis of collections of ancient textiles. Sharing in the weaving activities of the local Moquegua weavers has also been immensely enjoyable and allowed her to build connections and friendships with her teachers. Sarah will present a paper in the session on Textiles from the Southern Andes entitled Under Age, Underground and Under Wraps: A Comparison of Funerary Textiles from Two Child Burials, Omo 10, Moquegua, Peru.
Luu Dam Ngoc Anh, a PhD candidate is currently a researcher at the Institute of Ecology and Biological Resources, Vietnam Academy of Science and Technology, Hanoi, Vietnam. Responsible for investigating indigenous knowledge and experience in the utilization of useful plants among ethnic minorities in Vietnam for the purpose of building a database on traditional knowledge and discovering new material resources for dyeing. Luu Dam Ngoc will present a paper in the Natural Dye session entitled Reviving Indigenous Knowledge of Indigo Dyeing in Minority Communities of Vietnam.
Mei Rado is a doctoral candidate in Art History at the Bard Graduate Center, New York. Specializing in Chinese textile and dress, she is particularly interested in tex- tiles in the transcultural perspective. Her dissertation examines the new developments in design, weaving and display of Qing imperial silks and tapestries during the eighteenth-century — changes that occurred when in contact with European textiles. In a broader scope, she also researches and writes on early twentieth-century Chinese fashion, chinoiserie and Japonisme in European textile and fashion, as well as representational and metaphorical aspects of textiles. Her academic articles appear in the journals National Palace Museum Monthly of Chinese Art, Material Culture Review, and publications by Yale University Press, University of Chicago Press, and Getty Research Institute. She gave academic presentations at the Palace Museum (Beijing), China National Silk Museum, University of Chicago, The Frick Collection, the Society of Asian Studies, etc. In 2013, she was awarded the Natalie Rothstein “Silk Price” for excellent research essay by the Textile Society, UK. In 2013, she successfully curated the fashion exhibition “Shanghai Glamour: New Women 1910s-40s” at the Museum of Chinese in America (New York) in collaboration with China National Silk Museum. In addition, she contributed to the research and catalogues of several textile- and fashion-related exhibitions, including Interwoven Globe (Metropolitan Museum of Art, 2013), 1930s: Elegance in the Age of Crisis (Fashion Institute of Technology, 2014), and Chinese Whispers: Tales of the East in Film and Fashion (Metropolitan Museum of Art, forthcoming 2015). She will be presenting a paper in the session on Textiles in China entitled Imitation and Invention: Weaving “European-Style” Silks under Qing Imperial Patronage.
2010 Textile Society of America Student / New Professional Scholarship Recipients
Recognized at the organization’s 12th Biennial Symposium, Textiles and Settlement, held October 6-9, 2010, in Lincoln, Nebraska.
Rebecca Cross A finalist for both the NICHE Award in Surface Design and the Dunay Prize for Fashion Accessories in 2006, artist Rebecca Cross exhibits her work widely and has had critiques with various established artists. In 2006, Cross collaborated with Double Edge Dance Company to create the multimedia performance Fault Lines, performed at Kenyon College, the Cleveland Public Theatre and the 2007 Cleveland Ingenuity Festival. Her work has been exhibited regionally, nationally, and internationally, in Paris, England and Japan. Cross received her MFA in Textiles in May 2008 at Kent State University, where she now teaches Surface Design; she was also a Visiting Fellow in writing/art criticism at Case Western Reserve University in Spring 2009. Her work will appear in the forthcoming 1000 Artisan Textiles (Rockport/Quarry 2010). Her work appeared in Quilt National 09, and she received juror Carolyn Mazloomi’s Award of Excellence in the current Oberlin, Ohio FAVA Artist as Quiltmaker XIV Exhibition. Artist residencies include the Hungarian Multicultural Institute in Budapest, Hungary (2009) and Vermont Studio Center in Johnson, Vermont (August 2010). In 2011, Rebecca will exhibit her work in separate shows in Ohio with textile artist Clare Murray-Adams and painter Annette Poitau, and in an invitational group exhibit with Nancy Crow, Sue Cavanaugh and others at the Zanesville (Ohio) Museum of Art. Rebecca lives in Oberlin with her husband, composer Randy Coleman, and their two children.
Catherine Morley has combined studies in textile arts with her background as a registered dietitian-researcher, and filmmaker to explore the integration of the arts with health care and research.
Catherine’s three areas of interest are the work of creating and sustaining home and family, and implications of research findings about everyday food and textiles practices for nutrition and textile education; the history and environmental impact of textile production; and collaborative art endeavors and how these intersect with health professions’ training. Catherine founded the Canadian Institute for Studies and Art in Nutrition Education. The Institute will serve as a gathering place for those with interests in the use of art and critical exploration to advance training in and delivery of nutrition education programs. Her vision is for the Institute to facilitate communities of support for families experiencing illness through shows of work via online and community venues to promote social comparison, a key coping strategy.
Catherine holds a PhD in Community Rehabilitation and Disability Studies/Educational Research (University of Calgary), an MA in Adult Education (UBC), a BASc in Nutrition (University of Guelph), a certificate in Documentary Film, and a diploma in Textile Arts (both from Capilano University, North Vancouver). Catherine describes her textile arts studies as ‘a joy’. She developed a passion for textile history, production, use and disposal, and a love of weaving. She lives in West Vancouver, Canada with her two daughters and her new looms.
Blaire Gagnon As a researcher interested in intercultural markets, I will be looking to see what other researchers with similar interests are working on today and look for new resources and potential collaborations for my future research on Ecuadorian textile vendors. While my dissertation research sought to understand the powwow market as a domain, textiles are a significant and under studied aspect of the powwow market. I am currently in discussion with one vendor to collaborate on an article on the dying of moose hide with black walnut used in making powwow and hand drums. I am also interested in looking into/meeting professionals in the museum field and seek their input on training graduate students looking to work in the museum field with a specialty in textiles. One key question I have is: What kinds of skills or knowledge sets do they feel graduate students should have after completing a Masters?
Jillian Gryzlak Jillian Gryzlak received her Bachelor of Fine Arts from The School of the Art Institute of Chicago in 2005 having concentrated in the fiber and fashion departments. Inspired by the cultural symbolism textiles communicate, Jillian traveled to India and Indonesia to learn the life of ikat weavers and to gain knowledge of technique, myth and iconography. After returning to Chicago, Jillian began pursuing a M.A. at DePaul University combining cultural anthropology and hand-woven textile symbolism to further the exploration of motif as a visual form of story telling and map the spreading of common techniques through early migration, trade, religion and the idea of shared thought and a collective unconscious. Currently, Jillian works as a teaching artist to youth throughout Chicago with Urban Gateways, exploring identity and culture through multimedia visual art making practices. She also volunteers as the art director for Ag47, a one-to-one arts mentorship program serving pre-teen and teenage girls from the Logan Square neighborhood of Chicago.
Sasha Rabin Wallinger Sasha Rabin Wallinger is a Masters student at Reed College in Portland, OR. She is investigating the links between Eco Fashion and Material Culture, with emphasis in the anthropology and psychology of textile consumption. In addition to being a student of textiles, she is also a visual artist whose area of interests are in silk painting, weaving, basketry and textile design. As a part of her literary review for her upcoming Masters thesis she started the website, Haute VERTE Couture, an online discussion of Eco Fashion. She obtained her BS in Nature and Culture from the University of California Davis, and has also studied at Bard College, the Lacoste College of the Arts in France, and was a recipient of the prestigious Mendocino Arts Center Artist-in-Residence scholarship for post-graduate study. She is delighted to join this year’s TSA conference.
2008 Textile Society of America Student/New Professional Scholarship Recipients
Recognized at the organization’s 11th Biennial Symposium, Textiles as Cultural Expression, held September 24-27, 2008 in Honolulu Hawaii
Nao Namura (Tokyo, Japan) Nao Namura holds a double major in Textile History with an emphasis in Quilt Studies, and Museum Studies from the University of Nebraska-Lincoln (MA, May 2004). In April 2008, she began her Ph D in the Department of Area Studies at the Graduate School of Arts and Sciences at the University of Tokyo. Her scholarly work has focused on, and will continue to focus on textiles and quilts in particular. However, her graduate research will explore the subject from the specific perspective of cultural studies, particularly the investigation of how different cultures develop their textile traditions in the age of globalization. Nao hopes that the Symposium will allow her obtain invaluable input from her peers to help further develop her ideas as well as provide an opportunity to network and establish relationships with other scholars for potential future collaborations.
Margarete Ann Ordon (Madison, Wisconsin, USA) Margarete received her M.S. in Design Studies with a focus on the History of Clothing and Textiles (May 2008). She plans to pursue a Material Culture Certificate and Ph.D. degree in Design Studies (expected May 2013). Research for her Master’s thesis, “Making Sense of Dress: Multi-Sensory and Embodied Elements in Fashion Exhibits,” was funded by the 2007 Costume Society of America Stella Blum Research Grant. She is committed to researching textiles, dress, and related artifacts. As a future curator of textiles and clothing, she wants to devote herself to sharing the unique stories of objects. Margarete comes to the Symposium wanting to learn more about curatorial and museum work. She also looks forward to the many enriching exhibits and to critically analyzing the displays. The narratives and information will add to her growing textile knowledge, while the presentation techniques will expand her toolbox for curating.
Anne Peranteau (Wellington, New Zealand) Anne has recently accepted a contract at the Museum of New Zealand/Te Papa Tongarewa in Wellington. She will begin work there on Oct. 6, 2008. Prior to that she served as Textile Conservator at the North Carolina Museum of History in Raleigh for 3 years. She received a master’s in fine art conservation from the Winterthur/University of Delaware Program in Art Conservation in 2004. As part of her graduate and post-graduate training, she worked with broad collections in a range of museums including the Museum of Fine Arts-Boston and the Philadelphia Museum of Art and completed research travel to Japan, India and Bangladesh to learn more about the textiles of these regions. As a conservator, the core mandates guiding her work are provided by the Code of Ethics of the American Institute of Conservation which reads in part “All actions of the conservation professional must be governed by an informed respect for cultural property, its unique character and significance, and the people or person who created it”. Anne’s goal in being involved with TSA and in participating in this Symposium is to engage in dialog to learn more about textiles from around the globe, including aspects of technique, use and significance, as well as the philosophies guiding interpretation and display.
Lesli Robertson (Highland Village, Texas, USA) Since 2006, Lesli has been Adjunct Professor in Fibers at the University of North Texas, in Denton where she teaches classes in Weaving, as well as an Introduction to and the use of Alternative Processes in fibers. Since 2005, she has been actively involved in working and researching in Uganda. This began as an opportunity to assist and train underprivileged girls in their weaving skills, and has since become a focus on bringing awareness to Ugandan cultural arts. Currently, she is working on a body of work that focuses on her relationship as an artist to the cultural arts and artisans in Uganda. She is also working on a multi-media bark cloth exhibition, in conjunction with the University of North Texas. Attending and participating in the Symposium will provide Lesli the forum to meet other professionals and will open resources that would not be available to her otherwise.
Sarah Scaturro (Brooklyn, New York, USA) Sarah Scaturro has been the textile conservator at the Cooper-Hewitt, National Design Museum for a year and a half. She is also in the process of completing her graduate thesis at FIT on the subject of fashionable camouflage and she will be giving a presentation on the cultural appropriation of military camouflage at the Symposium. Sarah believes that it is integral to approach each object she handles with a keen understanding of it – how it was made, by whom, and for what purpose. She looks forward to the many presentations that will elucidate her understanding of textiles she works with daily. She feels that the symposium is a wonderful opportunity for professional development and she is looking forward to meeting other professionals who can provide expertise and mentorship.
2006 Textile Society of America Student/New Professional Scholarship Recipients
Recognized at the organization’s 10th Biennial Symposium, Textiles as Cultural Expression, held October 11-14, 2006 in Toronto, Canada.
Margaret Olugbemisola Areo is a Doctoral Student at the Ladoke Akintola University of Technology in Nigeria, where she also works as a full-time lecturer. She has a BA in Fine Arts from the University of Ile-Ife and an MFA from Obafemi Awolowo University. Her goal in coming to the Symposium was to link with people and events in other parts of the world and to broaden the scope of her textile knowledge. She has a particular interest in the relationship of fine and applied arts with technology. Margaret’s request for a visa from the Canadian Deputy High Commission in Nigeria was not granted and unfortunately she could not attend the Symposium.
Judith Penney Burton finished her BFA at the Nova Scotia College of Art and Design in Halifax in 2004 and is currently enrolled at Concordia University in Montreal where she is working on her MA combining Art and Craft History with Studio Art. Her research focuses on the history of Fiber Art in North America and for this study she plans to interview craftspeople and artists examining their mind and body engagement with materials and processes. She presented a paper at the Symposium entitled “Textiles: Stories from the Canadian Front”. Her goal at the symposium was to meet leaders in the field, students from other institutions as well as explore possibilities for future academic studies.
Jeanine Henderson is currently enrolled in a Master of Art & Design with a Fibers Concentration and a minor in Public History / Museum Studies at North Carolina State University. Along with her studies she is working part time as a Textile Conservation Technician at the NC Museum of History and at the NCSU Gallery of Design. Her interest is not only in expressing herself using textiles creatively, but also in researching, educating and caring for textiles. She came to the Symposium with the aim to consider textiles from a broad variety of perspectives and expand her understanding of the technical and cultural aspects of fibers. Her goal was to meet a broad range of textiles professionals who can share advice and insights to inform her career pathway.
Cristin R. McKnight : In 2004 Cristin received a Fullbright Fellowship to research the Kalamkari textiles of South India. This research was inspirational and informs her her graduate studies at the Department of Art History at the University of Texas, in Austin. She plans to continue a focused study of textile practice in South Asia and the role textiles play in a larger contemporary artistic discourse. She will also bring to her studies her various experiences as Curatorial, Project and Research Assistants for a private textile collection; as well as the Costume and Textile Department and the Modern and the Contemporary Art Department at The Los Angeles County Museum of Art. At the Symposium she was looking for interaction with a wide variety of textile professionals to provide inspiration for future academic and professional pursuits.
Emily Zilber has a BA in Art History from The University of Chicago and is currently working on a Master of Arts in the History of Decorative Arts and Design at Bard Graduate Center in New York. She has worked as an intern at the Antonio Ratti Textile Center and the Department of European Sculpture and Decorative Arts at the Metropolitan Museum of Art and also as Curatorial Assistant at the Museum of Arts and Design, both in New York. Her research is linked to the relationship of textiles to ritual, in early Modern Europe, specifically looking at narrative and modes of communication through design, iconography, pattern and ornament. She came to the Symposium to broaden her knowledge of methodologies in the field.