2023 Fall Benefit
This evening will feature live jazz from V. Shayne Frederick (at left) and an eclectic blend of soulful music by DJ Rashid Zakat (at right). Photos courtesy of the artists.
Program
Enjoy dinner, drinks, live entertainment, and an auction at FWM
Cocktail Hour
For Full Benefit Ticket Holders
4:30 PM | Doors open
5:00 PM | Cocktails + hors d’oeuvres, followed by remarks
Dinner + Live Auction
For Full + Half Benefit Ticket Holders
6:00 PM | Dinner with live jazz by V. Shayne Frederick
7:00 PM | Live auction followed by guided + self-guided tours of FWM
DJ Dance Party
For Full, Half, + Dance Party Ticket Holders
8:00 PM | Dance party with DJ Rashid Zakat
10:00 PM | Goodnight!
Creative cocktail attire
The Fabric Workshop and Museum
1214 Arch Street, Philadelphia
Yinka Shonibare CBE RA, in collaboration with The Fabric Workshop and Museum, Space Walk, 2002. Photo credit: Aaron Igler.
Sponsorship
We invite you to consider our sponsorship offerings, which include recognition opportunities, event tickets, and underwriting support. Your sponsorship ensures that the evening’s proceeds will all directly go towards FWM’s mission of collaborating with artists, revealing new possibilities. Additionally, FWM is pleased to create a package that meets your individual needs and goals.
For more information on becoming a sponsor, please download this resource.
Sponsorship PDF
Contact April LaVai Williamson at 215.966.9903 or april@fabricworkshop.org.
Reflecting with Christina Roberts
Christina Roberts printing Louise Bourgeois enormous scarf, "She Lost It," c. 1992. FWM Visual Archives.
How did you get started at The Fabric Workshop and Museum?
CR: While a sophomore at Moore College here in Philadelphia, I met [FWM founder] Kippy Stroud on a tour of the Fabric Workshop and immediately connected with the idea. With my love of contemporary art, printing, fabric, and dyes, it felt like home! The studio had a warm feeling and vibrancy that was really exciting. Kippy had a way of making me feel welcome and suggested I apply to the apprenticeship program. I came back the next summer (I begged to come back actually!) and filled the role of Apprentice Coordinator as a paid intern. I remember being in my cap and gown, ready to head to graduation when I got a call from [longtime Project Coordinator] Mary Anne Friel with news that I got the job. I started that Monday and never looked back.
Christina Roberts (at left) with Toshiko Takaezu (center) and Cassandra Lozano (at right) with Takaezu's "Moon Ball" soft sculptures, c. 1992. FWM Visual Archives.
Who are some of the artists you worked with over the years?
CR: I was doing production printing when I first started and Toshiko Takaezu was the first visiting artist I worked with. She was actually a family friend and so I became the Project Coordinator. I traveled to Toshiko’s studio and together we made her “moon balls.” She was so generous and lovely to work with. And then we did Faith Ringgold’s “Tar Beach Quilt” soon after I started here.
Mary Heilmann (at left) observes as Christina Roberts (center) prints her "Serape" yardage design with Virgil Marti (at right), c. 1995. FWM Visual Archives.
CR: I’ve worked with so many amazing artists, staff included. Everything I know about production printing and dyes I learned from Bob Smith, who was the longtime Master Printer. And I’ve worked at all five locations for the Workshop.
Kippy gave us so many incredible opportunities. I’ve traveled the world, including trips to Kyoto, Japan and Papua New Guinea, and multiple trips to work with artists like Barbara Bloom, Louise Bourgeois, and Mary Heilmann.
Christina Roberts (at right) sharing work in the archives with 2019 Summer High School Apprentices. Photo credit: Carlos Avendaño.
What are some of the most impactful projects you’ve been a part of?
CR: We once had an exhibition that traveled to thirteen countries in Africa. It attracted so many people and inspired hand-written letters by people asking to become an apprentice. One artist came here and later set up a whole printing program in Uganda inspired by her experience at FWM. She had one hundred students her first year! That’s when I realized the impact that this place can have. We had another student, Lucy Lau-Bigham, from Kenya who did something similar. She visited for three weeks, returned a decade later to coordinate our apprentice program, and later built a fabric workshop for single mothers in her home country to experiment with dyeing techniques. I learned the power of community from her. Art isn’t really interesting to me unless you’re giving back and helping others understand their potential. Of course, there are many ways to do this. I teach it through textiles. I’ve seen that [play out] time and time again through students, which brings me so much joy. Did I mention my dad was also an artist and educator?
Christina Roberts (at left) leading a tour of the archives with Black Girls in Art Spaces, 2023. Photo credit: Dominique Nichole.
How has FWM grown and evolved during your tenure?
CR: In recent years, our outward-facing public programs have really taken off. It’s been fun for us to grow into our museum shoes and bring more opportunities to the public. FWM has always been evolving—we’re constantly reflecting and learning. Now we’re really focused on who we’re serving.
And then there’s the people we work with. Amazing, talented people always seem to find their way here. I’ve been so fortunate to work with some incredible colleagues over the years who have remained dear friends.