67 With only one exception, the twenty-seven textiles in the exhibition are drawn from the collection of the Fine Arts Museums of San Francisco (of which the de Young is one component), and only fi ve have previously been publicly exhibited. Many are recent acquisitions either by gift or by purchase, while others have been in the collection for decades. Five out of the six inhabited continents of the world are represented, with only Europe excluded, since its textiles are often more literal and fi gurative and often emphasize storytelling aspects. The exhibition is FIG. 2 (left): Woman’s headcover, adghar ibrdane tasslit. Ait Abdellah people, Taroudant province, Anti- Atlas, Morocco. Early to mid 20th century. Sheepswool; plain and slit-tapestry weave, dip-dyed, hand-painted henna. 155 x 85 cm. Museum purchase, Textile Arts Council Endowment Fund, Fine Arts Museums of San Francisco, inv. 2015.13. FIG. 3 (right): Married woman’s shoulder cloth, lawon. Palembang, Sumatra, Indonesia. 19th century. Silk; stitch-resist dyeing (tritik). 208.3 x 78.7 cm. The Caroline and H. McCoy Jones Collection. Gift of Caroline McCoy- Jones, Fine Arts Museums of San Francisco, inv. 2000.118.10. Image courtesy of the Fine Arts Museums of San Francisco. the third in a series that allows visitors an opportunity to see the strengths of the museums’ collection in culturally comparative installations defi ned by specifi c themes. European textiles were addressed in one of these earlier shows. The minimalist movement has its roots in cubism and particularly in the vision of French painter and theorist Jean Metzinger, who predicted that cubism was only the fi rst step toward even less elaborate “primordial” forms. A thrust toward it developed in the years following WWII and fi nally reached fruition largely among New
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