Date of this Version
Textile Narratives & Conversions: Proceedings of the 10th Biennial Symposium of the Textile Society of America, October 11–14, Toronto, Ontario
In 2003 I enrolled in a master’s degree program in arts administration. In addition to such classes as exhibition planning, appraisals, and computer applications, we had two sweeping modern art surveys, which took us from the birth of impressionism in the 1860s to emerging artists of the 21st century.
For one end term project, we each had to design a complete hypothetical exhibition, from mission statement to budget to invitation card to gallery space. The only restriction was that we had to demonstrate on paper that we could actually pull it off.
At that time, I had recently seen a kimono in a catalogue from the Honolulu Academy of Arts for an exhibition of early 20th century Japanese art entitled Taisho Chic that had all the characteristics of a work by Miró, one of the artists in the program’s survey.
Codes et Constellations Dans L'Amour D'Une Femme, dated 1941 is an actual Miró. Without a catalogue raisoné, it is not possible to say that the kimono is an exact copy of a Miró, but it is evident the textile artist who created this design was consciously copying Miró’s style.