Roundness A Brief History Of The Art Quilt
Roundness (detail)by Emiko Toda Loebsee page 19A brief historyof the art quiltIn honor of SAQA’s 25th anniversary, theSAQA Journal commissioned a series of fourarticles from Robert Shaw which exploreddifferent aspects of the history of art quilts.This publication brings those articlestogether into one place.
Discovering the rootsart quiltof theAlthough academically trained artists had been making quiltsby Robert ShawMany of the 16 artists whoEditor’s note: 2014 is Studio Art Quiltwere asked to make quilts for theAssociates’ 25th anniversary. In recognitionsince at least the mid-1930s, the termshow — Pauline Burbidge, Nancyof that landmark, the SAQA Journal will runart quilt was not generally appliedCrow, Deborah J. Felix, Veronica Fitz-articles on the history of art quilting in allto their work before 1986. That’sgerald, Gayle Fraas and Duncan Slade,2014 issues, including one in each issue bywhen quilt historian and curatorJean Hewes, Michael James, TerrieRobert Shaw.Penny McMorris and quilt dealer andHancock Mangat, Therese May, Ruthpublisher Michael Kile organized TheB. McDowell, Jan Myers- Newbury,Art Quilt exhibition. Quilts in theRisë Nagin, Yvonne Porcella, Joanresults. Thousands of women andexhibition were intended to be seenSchulze, and Pamela Studstill — hadmen around the world, includingas works of visual art distinct fromearned degrees in studio art.the 3,300-plus members of Studiotraditional bed quilts.Today, an online search of “artquilts” brings more than 1.4 millionArt Quilt Associates (SAQA), describethemselves as art quilters, people whouse the quilt medium to make art.While the art quilt movement isa fairly recent development, the artquilt has deep roots in U.S. quiltmaking traditions. Its early practitionerswere students of traditional quilts andquiltmaking techniques. The historyof quilted art in the United Statesstretches from before the Revolutionary War to the present day. Althoughmany of the quiltmakers’ names arelost to history and their work is inadequately recognized, U.S. quiltmakersof the late 18th, 19th and early 20thcenturies created thousands of worksthat deserve to be considered significant works of art.That fact has been acknowledgedby art critics for decades. In his NewTree of Life104 x 106 inches 1830Mrs. Benjamin Mumford, Newport, RhodeIsland. Collection of the Detroit HistoricalSociety.reprinted from SAQA Journal Winter 2014 2
The Elizabeth MacCullough Hervey Album Quilt110 x 110 inches circa 1848-1852Maker unknown, Baltimore, Maryland. Private collection, courtesy of Jan Whitlock Interiors.York Times review of the seminalprovinces created a remarkablebought by the yard, and from themexhibition Abstract Design in Ameri-succession of visual masterpieces thatcreated America’s first major abstractcan Quilts, mounted by the Whitneyanticipated many of the forms thatart . in their complexity, visualMuseum of American Art in Newwere later prized for their originalityintensity, and quality of craftsman-York City in 1971, Hilton Kramer, theand courage.”ship, [these] works simply dispel thenewspaper’s chief art critic, reportedSpeaking about quilts made byidea that folk art is innocent socialthe “suspicion” that quilts like theAmish women in Lancaster County,birdsong. They are as much a part ofones in the show might representPennsylvania, art critic Robertthe story of high aesthetic achieve-“the most authentic visual articula-Hughes, author of The Shock of thement in America as any painting ortion of the American imagination inNew: Art and the Century of Changesculpture. They deserve our attentionthe last century.”(McGraw-Hill, 1990) and Americanand amply and abundantly repay it.”He continued, “For a century orVisions: The Epic History of Art in Amer-Both Hilton Kramer and Robertmore preceding the self-consciousica (Knopf Publishing Group, 1997)Hughes were responding to geomet-invention of pictorial abstractionsaid:ric pieced quilts, which they recog-in European painting, the anonymous quilt-makers of the American“The Lancaster Amish . assemblednized as predating and in some waysblocks of . uniformly colored wool,reprinted from SAQA Journal Winter 2014 3
My Crazy Dream74 x 69 inches 1912Mary M. Hernandred Ricard.Haverhill, MassachusettsIQSCM 1997.007.0541anticipating the later geometric abstractpaintings of such masters as JosefAlbers, Wassily Kandinsky, EllsworthKelly, Piet Mondrian, Barnett Newman,Kenneth Noland, Ad Reinhardt andVictor Vasarely. The same judgmentcan be made about appliquéd quilts,many of the finest of which date tothe early decades of the 19th century,before the era of the pieced quilt.Quilting for showContrary to myth, early U.S. quiltswere not creations of necessity. Beforethe Industrial Revolution turned theUnited States into a major cottonproducer, cotton fabric was importedand affordable only by the well-to-do.Quilts were an elite, aristocratic art,practiced by wealthy, well-educatedand skilled women who had time tolavish on handmade quilts. For thatreason, relatively few quilts weremade in the early years of the nation,and most that were made were elaborate labors of love that employedexpensive fabric and time-consuminghand-sewing techniques as there wereno sewing machines until the 1850s.Such quilts were used to decorate beds on special occasions. Likecontemporary art quilts, they weremade to be seen, not to be practical,warming bedcovers. They were oftenthinly lined or not batted at all.During the 1840s and 1850s, the artCenter Diamond(Diamond in the Square)78 x 78 inches circa 1925 Maker unknown, Lancaster County, Pennsylvania.Private collection. Photo courtesy of Julie Silber/The Quilt Complex:www.thequiltcomplex.com.of appliqué reached levels of sophistication and technical complexity thatstill astonish. The most refined appliquéd quilts were made in the mid-Atlantic states, especially in Baltimore,reprinted from SAQA Journal Winter 2014 4
Maryland, and environs, where anecessity as women who were unableup quiltmaking until the 1880s, longnumber of skilled seamstresses andto afford store-bought fabric cut upafter it was commonplace amongpattern designers were concentrated.old clothing and other householdother U.S. women. They only madefabrics to use in their piecework.geometric pieced quilts, using sol-Although their materials wereid-colored commercially producedWhat has come to be called theBaltimore album quilt flourishedfrom the mid-1840s through the latehumble, and their quilts were often1850s. The best of these quilts haveassembled from scraps of varied sizes,long been considered a pinnaclethe best of these quiltmakers madehandful of simple but bold geomet-of U.S. quiltmaking technique andcareful, albeit intuitive, choices.ric patterns worked by the Lancasterdesign sophistication. They wereWhile make-do quilts are commonlyAmish, who cut large pieces of fabricmost often group efforts, made asassociated with African Americanfrom the same dress-weight wool theypresentation pieces. They were notquiltmakers, many white womenused for their clothing. They master-intended for use but for show, andmade similar quilts. The phenome-fully hand stitched wide expanses ofoften were made as wedding or com-non was economic.solid color in non-contrasting thread,ing-of-age quilts or given to departingclergy as going-away presents.Another clear forerunner of the artquilt is the crazy quilt, a phenome-wools.The Center Diamond is one of aa means of retaining the humilityOld Order Amish quiltingand personal modesty central toThe Old Order Amish of Lancastertheir faith. The quilting on LancasterCounty, Pennsylvania, did not takenon of the last quarter of the 19thcentury. Crazy quilts were usuallymade from fancy dress silks andvelvets and decorated with a varietyof fanciful embroidery and pictorialmotifs. They were made primarily forfun and show. They were often seendraped over furniture in Victorianparlors. Most were unlined, consisting only of a top and backing, andusually were not quilted. They weremade of randomly shaped pieces offabric and were originally named fortheir resemblance to crazed potteryglazes that were popular in the late19th century.Quilts of necessityThroughout the 20th century, womenin rural areas of the South, Midwestand Southwest and in poor inner-cityneighborhoods in the North followedtheir muses, producing odd, quirkyquilts that can be refreshingly unselfconscious in contrast to the carefullyplanned and executed work favoredby mainstream quiltmakers. Economics often limited their fabric choices.Quiltmaking became an art ofIris Garland87 x 77 inches circa 1935-40Hannah Haynes Headlee, Topeka, Kansas. Collection of the Kansas Historical Society.reprinted from SAQA Journal Winter 2014 5
Amish pieces is peerless, but it makesHannah Headlee was an artistand poor, young and old, educatedno attempt to draw attention to itself.who supported herself by teachingand unschooled — have long madeprivate lessons in watercolor andremarkable quilts whose artisticArt quilt term emergeschina painting. Her expertise in themerits transcend the genre. Even theA renewed interest in historic quiltssubtleties of watercolor is manifest inmost casual look at this country’sbegan in 1915 when Marie Websterher masterpiece, Iris Garland. Hannahquilt legacy will reveal masterpiecepublished the first book on U.S.Headlee did not enter her quilts inafter masterpiece from every decadequilts, Quilts: Their Story and How tocontests because, her family believed,and every region of the country. It’s aMake Them. In addition to featuring“she knew exhibiting her quilts atjourney well worth taking for anyonehistoric quilts, the book includedfairs would encourage copies, and sheinterested in the idea that great quiltsphotos of some of Marie Webster‘sloved being an original.”can and should be considered worksinnovative patterns, which Ladies’Unlike Hannah Headlee, Rose G.Home Journal had begun publishingKretsinger and Bertha Stenge’s designsin 1911. Demand for her patterns waswere often inspired by their researchso great, she founded a mail-orderon mid-19th century quilts. In 1935,business that offered her patterns, kitsRose G. Kretsinger and Carrie A. Hallthat included patterns and fabric, andwrote The Romance of the Patchworkfinished quilts throughout the 1920sQuilt in America. In 1943, the Artand 1930s.Institute of Chicago mounted a showAs do-it-yourself interest grew, doz-of 20 quilts by Bertha Stenge. A News-ens of newspapers printed patternsweek review of the exhibition dubbedfor new and old quilts, and nationalher quilts “art quilts,” but the namecontests were held. Competition grewdid not stick.fierce. By the mid-1930s, academically trained Midwestern artists suchConclusionas Hannah Haynes Headlee, Rose G.The historic quilts discussed andKretsinger and Bertha Stenge werepictured in this article representcreating original quilts of astonishingthe tip of an enormous iceberg.complexity.U.S. quiltmakers of all kinds — richof art.Robert Shaw, an expert on contemporaryand antique quilts, is the author of bookssuch as The Art Quilt, Hawaiian QuiltMasterpieces, Quilts: A Living Traditionand Art Quilts: A Celebration. His mostrecent book is American Quilts: TheDemocratic Art, 1780-2007 (SterlingPublishing, 2009). Bob was curator atthe Shelburne Museum in Shelburne,Vermont, from 1981-1994, and curatorof special exhibitions for Quilts Inc./International Quilt Festival inHouston, Texas, from 1998-2003.He is a dealer in art quilts. His websiteis www.artofthequilt.com.reprinted from SAQA Journal Winter 2014 6
Piecework pioneers:Artists embrace quiltmakingby Robert ShawEditor’s note: This is the second of fourarticles on art quilt history writtenby Robert Shaw for the SAQA Journalin recognition of Studio Art QuiltAssociates’ 25th anniversary.It is not surprising that most of theconcentrated on pieced quilts. Theseacademically trained artists whoartists cut their teeth on traditionaltook up quiltmaking in the 1960squilts, then moved away, in mostand ’70s, including such pioneers ascases step by step, to create work thatBeth and Jeffrey Gutcheon, Michaelwas distinctly their own. They had toJames, Nancy Crow, Jean Ray Laury,understand and master the traditionRadka Donnell, Molly Upton, Susanfirst. As Nancy Crow explained whenHoffman, and Nancy Halpern,interviewer Jean Robertson askedreprinted from SAQA Journal Spring 2014 7
Wholeness, 79 x 54 inches, Radka Donnell,Cambridge, Massachusetts, 1979.Machine-pieced cottons, machine quiltedby Claire Mielke. Private collection.whether she had been influenced bytraditional quilts:“I definitely bit off the traditionand stuck with it. I think that’s probably how I learn. I have to somehowpush through the traditional orclassical part and then come out theother end.”Block-style piecework is the UnitedStates’ single greatest contributionto the art and craft of quiltmaking.U.S. quiltmakers began organizingthe tops of their quilts in repeatedblock patterns in the early decadesof the 19th century. Organizinggeometric shapes into grid patternsoffered them a host of design possibilities that could be fleshed out andindividualized with colored fabric. Italso saved space, since the repeatingsquare blocks could be made one ata time and sewn together when allwere completed. By the beginning ofWorld War II, thousands of patternshad been invented. Quilt historianVictor Vasarely, and the striking sim-were inspired by the aesthetic possi-Barbara Brackman’s Encyclopedia ofilarities between them were not lostbilities inherent in the quilt medium.Pieced Quilt Patterns (American Quil-on students of modern art. Amongter’s Society, 1993) illustrates 4,127them were Gail van der Hoof andInterest in quiltmaking growsblocks, many of which had beenJonathan Holstein, who collectedAnyone interested in quiltmaking ingiven names and published in news-quilts they found graphically com-the 1960s and ’70s could access andpapers and magazines.pelling starting in the mid-1960s.study traditional designs throughThe couple’s 1971 exhibition at thebooks like Holstein’s and Patsyoptically challenging geometricWhitney Museum of American Artand Myron Orlofsky’s comprehen-patterns of block-style pieced quiltsin New York City, Abstract Design insive 1974 study Quilts In Americaintersected with later abstract paint-American Quilts, and Holstein’s 1973(McGraw-Hill Book Company), andings by artists such as Josef Albers,book The Pieced Quilt: An Americanthrough actual quilts, which wereEllsworth Kelly, Piet Mondrian andDesign Tradition (McClelland andplentiful and inexpensive.A number of the colorful and oftenStewart) presented pieced quilts as(previous page) Torrid Dwelling,110 X 90 inches, Molly Upton, NewBedford, New Hampshire, 1975. Cotton,cotton blends, and wool; hand andmachine pieced and machine quilted.As interest grew, classes becameworks of visual art. After its run at thepopular, and a number of ambitiousWhitney, versions of the exhibitionyoung quiltmakers found readytraveled widely in the early 1970s.audiences as teachers. Beth GutcheonMany young artists who saw themstarted teaching quiltmaking in NewYork City in 1971, a few years beforereprinted from SAQA Journal Spring 2014 8
Crystal Mountain, 43 x 57 inches, Jeffrey Gutcheon, New York City, New York, 1978. Cotton, poly-cotton, rayon, poly-rayon,brushed corduroy and nylon grillcloth; machine and hand pieced, appliquéd and reverse appliquéd, and hand quilted. Collectionof the Shelburne Museum. Photo courtesy David Gutcheon.she published her book The PerfectHall). His story is typical of how art-Institution’s Archives of AmericanPatchwork Primer (Penguin Hand-ists moved from the media in whichArt, Michael James said:books, 1974). Beth’s then-husbandthey had trained — painting, print-Jeffrey Gutcheon, who died in 2013,making, ceramics, weaving, graphicat the beginning because theystudied architecture at Massachusettsdesign, architecture — to quiltmaking.were the first traditional quiltsInstitute of Technology in Cam-In the introduction to The Quiltmak-that I looked at that seemed to mebridge, Massachusetts, and designeder’s Handbook, Michael James, whoto convey the kind of originalityhomes and commercial buildings.studied painting and printmaking inand visual power that I associatedLike Beth, he made innovative piecedart school, wrote:with art . I did incorporate aspectsquilts and wrote and taught his meth-“My initial explorations of the“Amish quilts had a big influenceof Amish quilts and Amish sort ofods, which included what he calledmedium revolved around the mak-approaches to color and composition“Diamond Patchwork.” This methoding of countless copies of traditionalin some of my earlier quilts. So Iimposed flat patterns on a matrix thatblocks as well as several small quiltsthink that was a very importantappeared to be three-dimensional,in traditional patterns and finally twoinfluence and still remains importantcreating visual tension and ambiguity.large, traditional quilts. Since thatin the sense that I still admire andMichael James, who was mak-‘apprenticeship,’ I have concentrateddraw some amount of inspirationing quilts full time by 1975, taughton working my own images, somefrom Amish quilts.”quiltmaking across New England.quite closely related to traditionalIn 1978, he published his first book,forms, others less so.”The Quiltmaker’s Handbook: A GuideIn a 2003 interview conductedto Design and Construction (Prenticeby David Lyon for the SmithsonianNancy Crow, who studied ceramicsin art school then moved into weaving, made her first quilt in 1970 whilewaiting for her son to be born. In areprinted from SAQA Journal Spring 2014 9
2002 interview with Jean Robertsonfor the Archives of American Art,Nancy Crow said:“It took probably till 1976 for meto realize I loved quiltmaking! It wassort of like I had to get my footingin terms of the technique, and thenI started to realize that this was theway. I love shape and line, and Iwasn’t really able to identify that. Itwas just the beginning of my beingable to identify how important thoseare to me. And in quilts, I could startto lay this down in a much moredirect way than weaving. In weaving,you know, you have a shape here,but you have to build it up with thethread going across. With quilting,I could cut the shape and have thatwhole shape in front of my eyes.”West Coast inspirationTwo of the first and most influentialpiecework pioneers were graduatesof Stanford University and beganOptical Log Cabin, 48 x 48 inches, Jean Ray Laury, Clovis, California, 1978.Cotton, machine pieced and hand quilted. Private collection.Log Cabin Variation, 73 x 73 inches, Maria McCormick-Snyder, Annapolis,Maryland, 1978. Machine pieced and hand quilted cotton. Private collection.making quilts for their children. JeanRay Laury (1928–2011) made her firstquilt in 1956 as part of her master’sthesis in design, and Radka Donnell(1928–2013) turned from painting toquilts in 1965 when her two daughters were young. Jean Ray Laury madeboth appliquéd and pieced quilts,but Radka Donnell made only piecedquilts.Jean Ray Laury’s work wasextremely influential because it wasvisually and intellectually accessibleand because she published manyimages and patterns in popular women’s magazines in the late 1950s andthroughout the 1960s. Many of herpieced quilts were based on traditional patterns, especially log cabins,but she brought them into the present with design and color conceptsdrawn from her study of modern art.reprinted from SAQA Journal Spring 2014 10
friends with Radka Donnell whenthey were all living in Cambridge,Massachusetts, and they collaboratedon a 1975 exhibition at HarvardUniversity’s Carpenter Center for theVisual Arts. Works by Molly Upton,Susan Hoffman and Radka Donnellwere included in The New AmericanQuilt exhibition the following year atthe Museum of Contemporary Crafts(now the Museum of Arts and Design)in New York City.Molly Upton called her work“quilted tapestries.” Because she wasnot hemmed in by grid structures, herquilts are often suggestively representational, with evocative titles like Forest Fire, Fanfare and Portrait WithoutMirror. Her Watchtower clearly depictsa largely black-and-white castle-likeBedloe’s Island Pavement Quilt, 84 x 76 inches, Michael James, Somersetstructure with multiple towers, whileVillage, Massachusetts, 1975. Cottons, woolens and blends; hand and machinepieced and hand quilted. Private collection.her best-known quilt, Torrid Dwelling,is a huge and complex pieced pictureof a Greek hillside ruin, completeJean Ray Laury taught widely andWomen's Art: A Quilt Poetics (Gallerierecalled her early days as “an excitingPublications, 1990) she wrote:time, finding out that there were peo-with tiny human figures. MollyUpton committed suicide in 1977when she was only 23. The 20-plus“The format of a quilt, sized by itsple who really wanted to know whatreference to the body, allows me tolittle I knew.”bring my emotions and body feel-quilts she completed before her deathremain unique and astonishing today.Radka Donnell was a maverickings to life size, to create from thefrom the beginning. She intendedbody outward, and to focus towardher quilts to be functional, and shethe body through the work of touchmade them from whatever fabric shenecessary to piecing. The intimatehad at hand. Unlike most other earlyconnection between my emotions,artist quiltmakers, she did not rely onthe materials I use, how I toucha traditional grid structure, a radicalthem, and how the final product isdeparture that Michael James andused — namely, to warm and celebrateNancy Crow would not take until theothers — all this helps me to give my1990s. She did not follow patternsbest.”but instead pieced intuitively, freelyArt quilting expandsNancy Halpern, who studied architecture at the Boston ArchitecturalCenter, began making quilts in theearly 1970s. She soon found herself pressed into teaching. Like herfriends and fellow Boston-area artistsRhoda Cohen and Sylvia Einstein,Nancy Halpern’s piecework designsAnother early artist quiltmaker whomixing pieces of various sizes andeschewed the grid structure was Mollyjuxtaposing bold prints and vividUpton. She and her high-schoolsolid colors that she found expressivefriend and fellow quiltmaker Susanto create overall compositions thatHoffman were the first quilt artists toconjure moods and elicit strong emo-be represented by a New York art gal-tional responses. In her book Quilts aslery. The two young women becameare subtle and reductive, suggestingmore than they make explicit. Sheexplained:“From the beginning, my quiltshave been inspired by the people,places and things I care about, plusthe happy coincidences found inreprinted from SAQA Journal Spring 2014 11
the colors and patterns of a heap oftotally new art medium that could befabric. Their designs are essences,pushed and manipulated. We wantedstripped down and distilled fromto be accepted as serious artists."more complex realities. Their fabricsThe first Quilt National, exhibited(begged, bought and stolen) embodyin an unconverted dairy barn, wasand embellish these essences. Theirheld in 1979 and included innovativequilting is the calligraphy that tellspieced quilts by juror Michael James,their stories.”Françoise Barnes, Rhoda Cohen,As the 1970s came to an end,Nancy Crow, Radka Donnell, BethNancy Crow, Françoise Barnes andGutcheon, Nancy Halpern and MariaVirginia Randles co-founded QuiltMcCormick-Snyder. In the decadesNational, the first ongoing forumto come, the tiny group would grow.for nontraditional quilts. FrançoiseNew artists would help pioneers likeBarnes recalled, "We were a tinythese push the boundaries of piece-group of quiltmakers, and we couldwork into new realms of complexitysee the sky was the limit. This was aand creativity.Robert Shaw, an expert on contemporaryand antique quilts, is the author of bookssuch as The Art Quilt, Hawaiian QuiltMasterpieces, Quilts: A Living Traditionand Art Quilts: A Celebration. His mostrecent book is American Quilts: TheDemocratic Art, 1780-2007 (SterlingPublishing, 2009). Bob was curator atthe Shelburne Museum in Shelburne,Vermont, from 1981-1994, and curatorof special exhibitions for Quilts Inc./International Quilt Festival in Houston,Texas, from 1998-2003. He is a dealerin art quilts. His website is www.artofthequilt.com.reprinted from SAQA Journal Spring 2014 12
Pictorial pioneersby Robert Shawreprinted from SAQA Journal Summer 2014 13
Quiltmakers have alwaysmedium in the process. While a fewcreated pictorial works.The godmother of modern picto-early quilt artists, including Mollyrial quiltmaking was Jean Ray LaurySome of the earliest quilts made inUpton, Rhoda Cohen, Nancy Halp-(1928–2011), who made her first quiltEngland and the United States wereern and Therese May, made pictorialin 1956 as part of her M.F.A. thesis atpictorial appliqués that imitatedpiecework, the majority of artist/Stanford University. Tom’s Quilt waselaborate mordant-dyed and hand-quiltmakers who were interested inmade for her then four-year-old sonpainted Indian palampore bed covers.pictorial imagery pushed traditionaland featured images of his favoriteAppliqué, which lends itself to pic-appliqué in new directions by bring-toys and activities; she later made atorial work, remains one of the twoing contemporary life into their work.similar quilt for her daughter. In hermost common ways of organizing aStill others trained in studio arts usedgroundbreaking 1970 book Quilts &quilt top to this day. In the 1960s andphoto transfer or printed and paintedCoverlets: A Contemporary Approach,’70s, pioneering quilt artists experi-directly on fabric to create entirelyJean Laury described it as “based onmented with new visual concepts andnew ways of incorporating images intoa patchwork approach [but using]techniques, revolutionizing the quilttheir work.appliqué designs on blocks of all sizes(previous page) Tom’s Quilt. Jean RayLaury. Clovis, California. 1956. Cotton;hand-appliquéd, hand-pieced andhand-quilted. Collection of Tom Laury.Author, designer, and early feministJean Ray Laury was arguably the mostinfluential quiltmaker of the second halfof the twentieth century and a pioneer ofmodern pictorial appliqué.(right) Therese Quilt. Therese May.San Jose, California, 1969. Cotton onmuslin backing, machine-appliquéd,hand-sewn and hand-tied. 90 x 72 inches.Private collection. This is one of twoquilts by Therese May that Jean Lauryincluded in her book Quilts & Coverlets:A Contemporary Approach. May is anacademically trained painter who beganmaking quilts in the late 1960s. She useda picture of herself as a template forthis quilt’s 80 blocks, then cut a varietyof patterned fabrics into pieces andreassembled them into the fracturedportrait blocks, each slightly different.reprinted from SAQA Journal Summer 2014 14
and shapes.” After a showing in a SanAs its title suggests, Laury’s Quiltsinto creating dense openwork com-Francisco art museum, she entered& Coverlets: A Contemporary Approachpositions, Joan experimented withthe quilt in the Eastern States Exposi-focused on new work and includeda variety of approaches and images.tion in 1958, where it was spotted byexamples of her own work as wellJean Laury featured Joan’s 1966 workRoxa Wright, then the needleworkas quilts by such other pioneersLa Chola en La Colcha (The Womaneditor of House Beautiful magazine.as Charles and Rubynelle Counts,on the Bed) in Quilts and Coverlets,“It was like a fresh breeze,” recalledTherese May, and M. Joan Lintault.which is an enormous (9 feet, 14Wright, “the first contemporary quiltLintault, who began making quilts ininches tall by 7 feet ½ inch wide)I had ever seen that really came off1965, is, like Jean Laury, a completelypiece that juxtaposes a larger-than-successfully.” She contacted Lauryoriginal artist whose work is inim-life-sized, stuffed and padded figureand asked her to write for the mag-itable. She is best known today foron a traditional piecework quilt top.azine. Laury’s first article appearedher incredibly complex and detailedAs Laury notes, the quilt uses tradi-in House Beautiful in January 1960,openwork quilts on nature themes,tional pieced block designs as a pointand she went on to design dozensfor which she dyes, prints and paintsof departure, and the woman, whoof quilts, many of them pictorialall of her own images of vegetables,wears a patchwork dress, “appears toappliqués, for Wright’s new Woman’splants, flowers, trees, butterflies,be both under the quilt and growingDay and other magazines for ’60sbirds, snakes, spiders, bugs and otherout from the surface.”homemakers.living things. But before she settledHeavenly Bodies. M. JoanLintault. Carbondale, Illinois.1980. Xerox transfers onpoly-cottons, machine-piecedand -quilted. 77 x 77 inches.Collection of the Rocky MountainQuilt Museum, Golden,Colorado. Gift of Marcus andKristen Lintault. Joan Lintault’s“openwork” quilts invite theviewer to look both at andthrough the piece.reprinted from SAQA Journal Summer 2014 15
photo-transferred images, were juriedThe American Wing V.Tafi Brown. Alstead, NewHampshire. 1976. Cyanotypephotographic prints oncommercial fabrics, machinepieced and hand-quilted. 99 x78 inches.into the seminal 1976 exhibition TheCollection of Beverly Fiske.New American Quilt at the MuseumTafi Brown explains: “I madeThe American Wing V formy sister as a visual recordof a family project. The 10cyanotype photographs inthis quilt are of my father andbrothers building my parent’sretirement home. The photoscapture the essence of eachperson and the part theyplayed in the project. That said,when I took each photograph Iwas conscious of the lighting,I was conscious of how it wascomposed or framed, becauseI knew that each individualphotograph would form thebasis of what would be seenby the viewer, initially, as asimple, graphically strong,repeat pattern.”A decade later, two qui
Today, an online search of “art quilts” brings more than 1.4 million results. Thousands of women and men around the world, including the 3,300-plus members of Studio Art Quilt Associates (SAQA), describe themselves as art quilters, people who use the quilt medium to make art. While the art quilt movement
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Collectively make tawbah to Allāh S so that you may acquire falāḥ [of this world and the Hereafter]. (24:31) The one who repents also becomes the beloved of Allāh S, Âَْ Èِﺑاﻮَّﺘﻟاَّﺐُّ ßُِ çﻪَّٰﻠﻟانَّاِ Verily, Allāh S loves those who are most repenting. (2:22
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