Marion Boulton Stroud
| Marion Boulton Stroud | |
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Marion (Kippy) Boulton Stroud, January 2014. Photo credit: Carlos Avendaño.
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| Born |
Marion Boulton Stroud March 22, 1939 Philadelphia, Pennsylvania, U.S. |
| Died | August 22, 2015 (aged 76) Northeast Harbor, Maine, U.S. |
| Other names | Marion Stroud Swingle |
| Alma mater | Chatham Hall, University of Pennsylvania |
| Title | Founder & Director, The Fabric Workshop and Museum |
| Spouse(s) | Clinton Swingle |
| Parent(s) | Marion Sims Rosengarten Stroud and Dr. Morris W. Stroud |
Marion Boulton Stroud (March 22, 1939 – August 22, 2015) was an American curator, author, and museum director who was particularly active in her support of contemporary art, and of the use of textiles as a medium. She was the founder and director of The Fabric Workshop and Museum in Philadelphia, Pennsylvania, and a trustee and active supporter of the Philadelphia Museum of Art. She is commonly referred to as "Kippy".
Marion Boulton Stroud was born on March 22, 1939, the only child of Dr. Morris Wistar Stroud 3d (1913–1990), a pioneer in geriatric medicine, and his first wife, Marion Sims Rosengarten (1913–1988). Boulton Stroud married Clinton Darlington Swingle (1928–2013) on February 20, 1980 in Nacogdoches County, Texas.
Boulton Stroud graduated from the University of Pennsylvania with a master's degree in art history. After graduating, she took her first job at the Philadelphia Museum of Art as director of art sales and rentals. She roomed with Anne d'Harnoncourt, the institution's future director.
Boulton Stroud was artistic director of a community organization, Prints in Progress, teaching silk-screening to inner-city kids from 1971 to 1977. She also founded an international artistic think tank, the Acadia Summer Arts Program (or "Kamp Kippy") on Mount Desert Island, Maine.
In 1977, Boulton Stroud started The Fabric Workshop in Philadelphia, Pennsylvania, as a studio where artists could explore unfamiliar media, particularly fabric arts. Her goal was "to explore, to take liberties, to be a studio and laboratory of new design, unhampered by rules and precedents". Artists were invited to attend "without any preconceived notions of what they had to do". In 1978, with the help of curator (and cousin) Patterson Sims, Boulton Stroud hosted 22 artists in two-week residencies.
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