WEBVTT 00:01:28.738 --> 00:01:35.004 - show and costume ball at the John Walden Art Center. Tonight we have a variety of materials to show 00:01:35.004 --> 00:01:41.271 - to you. We have ethnic costume, we have stage and Halloween costume, we have vintage pieces, and we 00:01:41.271 --> 00:01:48.164 - have wearable art and craft pieces. The things that you'll see tonight represent contributors from throughout 00:01:48.164 --> 00:01:54.430 - the region, and there's an immense amount of talent represented. I'd like to invite you all to stay 00:01:54.626 --> 00:02:03.204 - after the show for our costume ball. And I see that many of you have arrived in costume and that's great 00:02:03.204 --> 00:02:11.781 - fun. So without further ado, let's get started. The first piece tonight was created and is worn by Donna 00:02:11.781 --> 00:02:20.196 - Jo Brizendine. Donna Jo is a weaver and textile artist who with her husband owns the Breezy Manor shop 00:02:20.196 --> 00:02:22.238 - in Mooresville, Indiana. 00:02:25.602 --> 00:02:36.318 - This piece is hand woven and hand dyed. It's raw silk and cotton. It's a three-piece ensemble. 00:03:00.994 --> 00:03:09.392 - The next piece is a vintage ensemble. It comes from a material plane in Bloomington. It's an example 00:03:09.392 --> 00:03:17.956 - of combining elements from several different periods into one unique ensemble. The gown is rayon satin 00:03:17.956 --> 00:03:26.354 - with a rhinestone buckle and it dates from about 1935. The hat dates from 1965, 30 years later. It's 00:03:26.354 --> 00:03:27.518 - rayon tapeta. 00:03:30.466 --> 00:03:55.582 - Valerie carries a wrist bag of gold lorax that dates from the mid-1940s. The next ensemble we have 00:04:02.530 --> 00:04:10.326 - by Charlotte. It's created by Suzanne Halverson. The tunic is hand-woven rayon chenille. The color is 00:04:10.326 --> 00:04:18.351 - called iris, and Suzanne has woven it with jewel-tone accents. It has a V neckline, three-quarter length 00:04:18.351 --> 00:04:26.223 - sleeves, pockets, and padded shoulders. The scarf, which Suzanne calls autumn pearl, is also hand-dyed 00:04:26.223 --> 00:04:31.038 - chenille. It's overdyed from its original bright yellow color, 00:04:32.706 --> 00:04:40.211 - and it's woven in a shadow weave with rayon black ribbon. The hat is pieced together from chenille fabrics 00:04:40.211 --> 00:04:47.717 - and was designed by Bloomington designer and seamstress Lynn Michaelon. Suzanne Halverson has been weaving 00:04:47.717 --> 00:04:54.942 - for 21 years. She maintains a studio in downtown Bloomington, sells through the By Hand Gallery. She's 00:04:54.942 --> 00:05:01.886 - also the gallery director here at the John Waldron Center, as well as being the gift shop manager, 00:05:02.082 --> 00:05:14.750 - She is the co-founder and creator of tonight's show. Next, you'll see various interpretations of the 00:05:14.750 --> 00:05:27.418 - word jacket. Kate is modeling a piece by Anna Brown of Brown County. This Anna Brown calls the Santa 00:05:27.418 --> 00:05:28.798 - Fe Jacket. 00:05:30.018 --> 00:05:40.240 - Both of the pieces that Anna Brown is showing tonight are strip pieced and quilted together. The Santa 00:05:40.240 --> 00:05:50.462 - Fe jacket employs what Anna Brown refers to as the seminal patchwork technique. Phyllis is wearing the 00:05:50.462 --> 00:05:58.302 - fortune teller coat. Again, it's cotton broad cloth with a strip piece method. 00:06:00.226 --> 00:06:08.289 - Anna Brown is an artist and clothing designer. Her work combines traditional techniques with contemporary 00:06:08.289 --> 00:06:15.895 - styles. She finds the actual creation of her clothing to be the most satisfying part of the process 00:06:15.895 --> 00:06:23.730 - and feels that in the end, her clothes speak for themselves. The next jacket is modeled by Rebecca and 00:06:23.730 --> 00:06:29.054 - was created by Jonna Asher of Nashville. It's a ready-made sport coat 00:06:29.314 --> 00:06:38.815 - with applied acrylic and textile paints. A companion piece to this is the musical or keyboard jacket. 00:06:38.815 --> 00:06:48.129 - Again, a ready-made sport coat with applied paints. Ms. Asher started painting on jackets just this 00:06:48.129 --> 00:06:57.629 - year. She's found them to be immensely popular, and she has a number of different motifs that she has 00:06:57.629 --> 00:06:58.654 - available. 00:07:03.810 --> 00:07:15.431 - We have two pieces by Charlene Marsh of Nashville. The first is hand-dyed cotton velveteen and china 00:07:15.431 --> 00:07:27.167 - silk. The haphazard quilting stitches that you see are intentional. And this piece is reversible. The 00:07:27.167 --> 00:07:33.150 - next piece by Charlene Marsh is a reversible cotton 00:07:34.146 --> 00:07:40.967 - jacket. The pattern was created by a discharge or bleach out dye process, a sort of tie dye in reverse, 00:07:40.967 --> 00:07:47.526 - and additional highlights were added by stitching through the fabric during the tying and bleaching 00:07:47.526 --> 00:07:54.282 - out process. Charlene Marsh has been studying various aspects of fashion and textile arts for a number 00:07:54.282 --> 00:08:00.382 - of years, and she now makes tapestries, one of which is currently in the gallery downstairs. 00:08:29.410 --> 00:08:39.998 - This piece is modeled by David Ebbinghaus. It was created for David by Marilyn Ebbinghaus. It's a hand-woven 00:08:39.998 --> 00:08:50.099 - linen tunic, created with an e-cut dye process. It's hand-dyed and hand-woven. Marilyn is a weaver here 00:08:50.099 --> 00:08:59.230 - in Bloomington, and she's best known for her tapestry work. This piece was created for David. 00:09:06.498 --> 00:09:16.435 - Next, Donna Jo Brizendine again models one of her own creations. This jacket is a modified waffle weave. 00:09:16.435 --> 00:09:26.750 - And it's shot through with Lurex yarns. You can see a bit of the sparkle in there. It's lined with a fleece. 00:09:38.210 --> 00:09:46.326 - Donna Jo's jackets or ensembles is unique. She uses natural fibers, natural yarns, and she hand weaves 00:09:46.326 --> 00:09:49.950 - all of her pieces and hand dyes many of them. 00:10:14.562 --> 00:10:25.340 - vintage ensembles. First we have Corinne. She's wearing an ensemble put together by Eileen Rice of Jasmine 00:10:25.340 --> 00:10:35.815 - in Bloomington. She wears a machine-made Irish crochet lace blouse. It's cotton and it dates from about 00:10:35.815 --> 00:10:41.758 - 1900. It's embellished with glass pearls and velvet trims. 00:10:44.386 --> 00:10:56.258 - The skirt is wool broadcloth and dates from about 1915. The next piece is modeled by Valerie Peters. 00:10:56.258 --> 00:11:08.718 - Valerie wears an ensemble again, a combination of a number of different periods. The coat is silk velvet, 00:11:08.718 --> 00:11:11.422 - dates from about 1940. 00:11:17.954 --> 00:11:29.148 - Underneath the coat, Valerie wears a polyester rayon velvet dress. And that dates from the 1970s. Karen 00:11:29.148 --> 00:11:39.373 - Sherrington and Andrea Honst have accessorized this ensemble with three pieces from the 1950s, 00:11:39.373 --> 00:11:46.046 - a velvet hat, a chrome basket bag, and a rhinestone necklace. 00:12:12.866 --> 00:12:25.322 - jasmine. It consists of a pannais velvet cape, worn over a 1950s nylon chiffon dress. Phyllis carries 00:12:25.322 --> 00:12:37.534 - a handbag, a contemporary piece that was created by Paula Worley of Bloomington. Paula began making 00:12:37.954 --> 00:12:44.765 - purses for her own use and is now the owner of Reliquary Bags, a full-time artistic pursuit for which 00:12:44.765 --> 00:12:51.509 - she creates unique and luxurious bags for all uses and occasions. Drawn to lush fabrics and inspired 00:12:51.509 --> 00:12:58.586 - by the endless shapes and colors of flowers, Ms. Worley uses rich materials from many sources and employs 00:12:58.586 --> 00:13:00.990 - a variety of needlework techniques. 00:13:07.778 --> 00:13:17.729 - By the way, Paula Morley's bags are available in the gift shop here. The next piece is worn by Frances. 00:13:17.729 --> 00:13:27.297 - This piece is one of our ethnic examples tonight. This comes from Ghana. It was tailored for Sophie 00:13:27.297 --> 00:13:37.630 - Sieber of Bloomington when she lived in Ghana in the mid-1960s. It's a native cotton, native African cotton 00:13:38.562 --> 00:13:46.043 - And the pattern is created by a resist dye technique. It was tailored to the styles that were popular 00:13:46.043 --> 00:13:53.450 - in Ghana during the mid-1960s. Those styles are an adaptation of traditional Ghanaian dress combined 00:13:53.450 --> 00:14:01.371 - with the missionary's desires for covering people when they got there in the mid-19th century. So actually, 00:14:01.371 --> 00:14:07.678 - the blouse is the missionary influence. And the skirt, there would be one other piece 00:14:07.810 --> 00:14:19.131 - with this if it was a traditional, and that would be a shawl or wrap piece. So the skirt and the shawl 00:14:19.131 --> 00:14:30.231 - are traditional Ghanaian wear, the blouse is missionary influence. Next we have Sharon King. And, oh 00:14:30.231 --> 00:14:36.606 - I'm sorry. We have Charlotte, sorry. Charlotte is wearing 00:14:38.370 --> 00:14:49.016 - a Bedouin dress. Said to be a Bedouin wedding dress. It's made of various cotton woven fabrics with 00:14:49.016 --> 00:15:00.087 - silver beads and coins. Along with her, David Ebbinghaus wears a piece of his own creation. It's titled 00:15:00.087 --> 00:15:07.646 - Shaman Robe and Headpiece. This is a performance art and ritual piece. 00:15:10.434 --> 00:15:18.998 - And it consists of a cotton robe embellished with shells and human hair, and a headpiece of bent sticks, 00:15:18.998 --> 00:15:27.563 - shells, and a turtle shell. Mr. Ebbinghaus is a well-known Bloomington artist who does not limit himself 00:15:27.563 --> 00:15:36.127 - to traditional media. His recent exhibit, Labyrinths and Oracles, was here in the John Maldonard Center. 00:15:36.127 --> 00:15:39.390 - I also like to note that the camel coat 00:15:40.162 --> 00:15:45.831 - which is the coat constructed of Camel Cigarette packages that's hanging out just outside of the room 00:15:45.831 --> 00:15:47.998 - here as a creation of Mr. Ebbinghaus's 00:16:12.866 --> 00:16:24.599 - modeling a piece of her own creation. The surface design is a batik process, completely designed and 00:16:24.599 --> 00:16:32.382 - executed by Rudy. She's well on her way to being a textile artist. 00:16:51.970 --> 00:17:00.377 - Ghanaian piece. This one is similar to the other one that you saw just a few minutes ago. Slightly different 00:17:00.377 --> 00:17:08.166 - blouse style. Again, the blouse is the missionary influence. This piece is constructed with European 00:17:08.166 --> 00:17:16.341 - cotton, a European cotton dimash that was imported to Ghana and then tailored in the traditional Ghanaian 00:17:16.341 --> 00:17:19.966 - style. When we say traditional Ghanaian style, 00:17:20.386 --> 00:17:30.566 - Remember that that was going on for about 100 years before this piece, the missionary influence had 00:17:30.566 --> 00:17:41.358 - been going on for about 100 years before this piece was created. Each of the three pieces in the Ghanaian 00:17:41.358 --> 00:17:49.502 - ensemble, the blouse, skirt, and wrap consist of exactly three yards of fabric. 00:17:58.978 --> 00:18:10.176 - This piece is modeled by Phyllis. It was created by Elizabeth Elmer, a senior in fine arts at IU. It's 00:18:10.176 --> 00:18:21.264 - cotton-broad cloth, constructed through the strip-piece method. This kimono-style jacket was inspired 00:18:21.264 --> 00:18:28.222 - by African kinte cloth. And Miss Elmer says of this piece that, 00:18:29.634 --> 00:18:42.973 - of the finished piece realize the simplicity of its construction. Next we have Rebecca Roberts modeling 00:18:42.973 --> 00:18:56.697 - a piece of her own creation. The dress is polyester charmeuse, rayon chiffon wire, and it's been hand-dyed 00:18:56.697 --> 00:18:59.006 - and hand-painted. 00:19:00.738 --> 00:19:10.601 - Ms. Roberts graduated from IU with a bachelor's degree in fashion design through the individualized 00:19:10.601 --> 00:19:21.055 - major program. And this particular piece was part of her senior project, her designer's line. Ms. Roberts 00:19:21.055 --> 00:19:30.622 - describes the leaf dress in its nature influence as Eve gone baby doll. Next we have two pieces. 00:19:31.362 --> 00:19:43.964 - Created by the models, this is Emily Purcell and Paul Kane. Paul's piece is a fool's costume. It consists 00:19:43.964 --> 00:19:51.454 - of cotton boutique, ready-to-wear garments, and applied paint. 00:19:54.594 --> 00:20:02.561 - Mr. Kane graduated from IU's master's program in painting in 1991. He's been painting on clothes for 00:20:02.561 --> 00:20:10.528 - several years, and each piece evolves through use and renewal as his ideas develop. He's inspired by 00:20:10.528 --> 00:20:19.048 - the fool, a key figure in tarot imagery. And if you notice the knee pads or the knee paint on this costume, 00:20:19.048 --> 00:20:24.254 - they were inspired by architectural elements known as grotesques. 00:20:34.530 --> 00:20:48.295 - vest was created with mixed fiber fabric pieces sewn over recut ready-made garment, then stitched. And 00:20:48.295 --> 00:21:00.990 - over top of that, she's applied ink drawing. Emily is currently a junior in art history at IU. 00:21:04.930 --> 00:21:12.751 - This is among her influences in her clothing pieces, quilts, Japanese art, and rock music. Emily has 00:21:12.751 --> 00:21:17.630 - another piece out in the flashlight gallery here this evening. 00:21:37.186 --> 00:21:49.243 - Next we have Sharon King. Sharon is modeling a gown constructed of rayon moray file with lace and other 00:21:49.243 --> 00:22:01.532 - trims. This gown is inspired by 19th century fashions and combines aspects of several 19th century period 00:22:01.532 --> 00:22:05.822 - styles. Ms. King has been a teacher. 00:22:06.498 --> 00:22:13.893 - and a painter, and in addition to creating and collecting stage and ethnic costume, she runs the King 00:22:13.893 --> 00:22:21.215 - Gallery and Studio in Gosport, Indiana. The kimono hanging on the wall just outside the door here is 00:22:21.215 --> 00:22:28.465 - from Miss King's collection. Miss King says of the piece that she's wearing, and I quote, I know in 00:22:28.465 --> 00:22:36.222 - another life I wore this gown and danced the night away. It is designed to catch the candlelight's flicker 00:22:36.738 --> 00:22:49.984 - and hopefully my true love's eyes. Chris Sharon is Susan, and Susan is wearing a Tudor-style gown created 00:22:49.984 --> 00:23:03.230 - by Emma Linda Perez. The gown is constructed of acetate satin, with lurex and acetate fabric, faux pearls 00:23:03.230 --> 00:23:05.854 - and beads, painting, 00:23:06.018 --> 00:23:13.560 - and other applied techniques. Miss Perez creates costumes and ensembles from existing materials and 00:23:13.560 --> 00:23:21.404 - employing historical references. This piece incorporates aspects of late 16th century English, Spanish, 00:23:21.404 --> 00:23:26.910 - and Italian dress and uses modern materials and construction techniques. 00:23:39.938 --> 00:23:47.882 - Then we have a costume piece and an ethnic piece together. Carol wears a piece from the collection of 00:23:47.882 --> 00:23:55.670 - Emma Linda Perez. This is a Mediterranean dancer's costume, actually a combination of Mediterranean 00:23:55.670 --> 00:24:03.691 - cultural costume elements, many of which are adapted from historical and or traditional garments. This 00:24:03.691 --> 00:24:08.286 - particular ensemble is constructed of contemporary fabrics 00:24:08.482 --> 00:24:25.412 - and uses contemporary techniques. Rebecca wears another piece of her own creation. She calls this the 00:24:25.412 --> 00:24:37.694 - Harlequin Tutu. It's acetate satin nylon tulle with beading and applique. 00:24:39.618 --> 00:24:51.160 - currently working at the Indiana Repertory Theater in Indianapolis. This piece was created for a costume 00:24:51.160 --> 00:25:02.152 - class at the Musical Arts Center here in Bloomington. It's a dance costume that was created for the 00:25:02.152 --> 00:25:08.638 - character in the ballet, Harlequinade. The next two pieces 00:25:10.690 --> 00:25:19.164 - are both creations of Gloria Fisher, Gloria and her husband Robert, model King Neptune, and School of 00:25:19.164 --> 00:25:27.472 - Fish. These pieces are mixed media. They contain lorax, acetate, tinsel, nylon fiber, plastic gems, 00:25:27.472 --> 00:25:36.030 - glitter, feathers, wires, sequins, et cetera, et cetera, et cetera. Ms. Fisher studied printmaking and 00:25:36.030 --> 00:25:40.350 - painting in India, I'm sorry, in Indiana and Italy. 00:25:40.866 --> 00:25:53.357 - and has exhibited throughout the United States, Spain, and Brazil. Her pieces currently grace collections 00:25:53.357 --> 00:26:05.612 - across the United States. Including children's Halloween costume, Ms. Fisher has been designing costume 00:26:05.612 --> 00:26:07.262 - for 25 years. 00:26:07.842 --> 00:26:16.316 - She says that the older she gets, the more bizarre her costumes become. But she delights in the fun 00:26:16.316 --> 00:26:25.045 - and fantasy of her creations. Finally tonight, we have Emily Stewart. She's showing us Mother's Dress. 00:26:25.045 --> 00:26:34.198 - This piece is created from cotton, crayon, and acetate, satin, and twill. The skirt is 10 feet in diameter, 00:26:34.198 --> 00:26:36.062 - excluding the ruffle. 00:26:39.170 --> 00:26:49.445 - She teaches postural patterning, is an independent choreographer, and, in her spare time, is 00:26:49.445 --> 00:27:00.493 - the undergraduate academic advisor for the School of Fine Arts. Mother's Dress, Laid to Rest, was a 00:27:00.493 --> 00:27:06.238 - solo dance created by Ms. Stewart. It's intended to 00:27:06.434 --> 00:27:14.504 - expressed the loss of our childhood fantasy worlds of dress up, make believe, and let's pretend. In 00:27:14.504 --> 00:27:23.058 - this costume, a young girl parades in a much too big dress belonging to her mother. Throughout the dance, 00:27:23.058 --> 00:27:31.774 - the skirt is manipulated into 15, or into various configurations, depicting aspects of the child's fantasy. 00:27:45.666 --> 00:27:51.241 - to invite all the models to come out and let you get a look at their pieces one more time. And I would 00:27:51.241 --> 00:27:56.870 - like to invite the artists who are not modeling their own pieces to come up and stand next to the model 00:27:56.870 --> 00:27:58.494 - so everybody can get an idea. 00:28:28.930 --> 00:28:34.046 - They did a wonderful job. I'd like to thank all of the artists and the people whose hard work contributed 00:28:56.226 --> 00:29:00.784 - I hope you'll all stay and have a drink and enjoy the ball. We have a good band here tonight and I think 00:29:00.784 --> 00:29:03.518 - we're gonna have a lot of fun. Thank you very much for coming.