quiltersmuse.com Blog

We rose early this morning, stopped for a quick breakfast, and then hit the turnpike for a long ride up to northern New Hampshire. The day was grand and we needed our sunglasses. Along the way, I spotted several wild turkeys, but today, there was no moose in sight, although we have seen them in bogs in that area. The reason for our journey was to attend a quilt lecture. It was with a bit of foreboding that we attended the lecture given by someone whose name I did not recognize but who was touted as a “quilt historian.”

The presenter arrived, only to find out that it would be impossible to give her power point program with photos of quilts. The library did not have the necessary equipment, and she had not brought her own. She brought in a few textiles and laid them off to the side, introducing herself as a knitter turned quilter, and a poet.

I am very sure that this lady is a nice person and that she means well. She described her first quilt ever made as one based on the “Anglo-European” tradition, and said she’d made a Dresden Plate design (”shaped like a plate, you know, and with different colors.”) The words “Anglo-European” tradition had me wondering because of the imprecision of the statement. I recalled the “wholecloth quilt” tradition of early English textiles, and made a mental note to re-check when the earliest English and Dutch pieced quilts were made.

The lecturer stated that she has a photo of the first known Amish quilt in faded reds and purples, created sometime between 1865 and 1940. Again, I question how anyone would know “who” made the very first Amish quilt. As an Indiana Amish quilt expert has stated, it would be prideful to brag about having made the first Amish quilt. That fact would not be something discussed.

Update on June 14, 2009: I have been trying to find out further information about this purported “first Amish quilt.” My query to the speaker yielded no response. Inquiries of my colleagues in quilt history circles reaped one answer from a scholar who has studied Amish quilts extensively – she has never heard of such a thing. Will keep my mind and my eyes open for more information.

Moving along, she stated that yellow was a forbidden color. I am told that this is not widely the case, and if the color were forbidden, the Bishop of an area would be the one to decide. She further stated that Amish women came to use the color yellow in their quilts because a peddler hid some of the yellow fabric into a fabric packet. I am not sure where she learned that story, but it sounds a lot like a myth, although a very “nice story.” There are a lot of myths surrounding quilting, as you know.

There was mention of “squash seed” quilting. The term I have always heard has been “pumpkin seed” quilting and I saw quite a lot of that in pre-1950 Amish quilts, from the two valleys, (one of them being Lehigh Valley and the other ??), in an exhibit in Intercourse, Pennsylvania when we visited a while ago. Similarly, the mention of “square within a square” is a misnomer and a mathematical impossibility, according to another friend who taught high school mathematics for many years. The term, “diamond within a square” has a better ring.

In my opinion, it is important to mention Jonathan Holstein and his exhibit at the Whitney Museum, in any mention of Amish quilting. That exhibit was a pivotal point in the way quilts were viewed, and when they first came to be considered as “art” (to a broad audience) in the twentieth century.

An interesting point is one of terminology. If one makes a mistake in quilting, one should think of “possibility,” as in what do I do now? I enjoyed that remark. As quilters, we all need to be flexible. I remember when I cut two long borders, for a twin size quilt, just 1/4″ too short. What to do? I added a 3/4″ strip to one end of each one, adding a meaningful statement (to me) in German, in Calligraphy. So, her statement resonated. Conversely, the statement that many new quilt patterns probably originated with African-Americans did not seem to ring true.

The most interesting part of the lecture was a recount of the genocide/ethnic cleansing that was U.S. policy toward Native Americans during the 1800s, particularly the Lakotas. The presenter did a very nice job in explaining the situation and how the quilt traditions of the Lakotas is partially-based on symbolism.

All in all, I love to hear anyone talk about quilts, but all through the lecture, I found myself biting my tongue and wishing that I could elaborate, clarify, or add to the discussion. Yet, today, someone else was the “expert,” and I knew that no one there knew me from a hole in the ground and would not realize that I might have additional information. So, as usual, I share what I know, on my website and blog, in the hope of clarifying statements made.

By the way, if you are not Amish, you cannot make an Amish quilt, just as I cannot make Hmong needlework, or an African-American quilt. I can make a quilt, in any style I choose, but I would call the result, “in the Amish style,” etc. Small distinction, but one worth noting.

I loved seeing her quilt tops and one small Amish style quilt and it is always fun to hear what people say about their own design and color choices. This lady is multi-talented, writing poetry and playing the piano … and knitting. As a general statement, let me say that it is one thing to like to quilt, and it is quite another to know quilt history well, and not just facts, but to be able to interpret data collected and do some critical thinking about all that is associated with quilt history, including history!

Tonight, I am thankful to the Humanities Council of New Hampshire for sponsoring the program. I try to be as precise as possible whenever I speak about textiles and quilts as I feel that they are “worth” getting “it” right. There is far too much misinformation being passed around. So, for the record, I have stated my views here for anyone who has had the staying power to read this far. I will be busy tracking down answers to some of the research questions this lecture generated. Many thanks to Cheryl Savageau.

To see a file of beautiful Amish and Mennonite Quilts from Indiana, please visit our website.

Peace and Good Wishes,

Patricia Cummings in the “Live Free or Die” state of New Hampshire
Quilter’s Muse Publications

PRESS RELEASE
For Immediate Release

“Living the Dream,” by Diana Bracy

Asheville, North Carolina, April 28, 2009 – More than 50 quiltmakers inspired by President Obama have been interviewed for Quilters’ S.O.S. – Save Our Stories, an oral history project for the Alliance for American Quilts. Throughout the presidential campaign, Karen Musgrave, volunteer and co-chair of the project, kept reading stories and seeing more and more images of quilts inspired by Barack Obama. Wanting to capture this moment in our history, she began interviewing those quiltmakers for Quilters’ S.O.S. – Save Our Stories. These interviews have been added to the more than 900 interviews in the project.

“I want to thank all the quiltmakers who shared so openly their thoughts and experiences in the interviews. This “feminine medium” continues to take ordinary materials to create something of great meaning and to provide us with an important glimpse of our history,” said Musgrave.

The quiltmakers were eloquent about what inspired their quilts. Carolyn Crump, a gifted art quilter from Houston, Texas who employs an unusual three-dimensional appliqué style, said, “I don’t know too many people that listened to his speeches or came in contact with him that didn’t want to be a better person … The quilt that I designed is part of me and when I’m dead and gone that quilt is going to be here, and that is part of me that I left behind saying this man touched my life.”

Indeed, like several of the quiltmakers interviewed for the project, Crump said she isn’t done making Obama quilts: she plans to make a total of 44, tracing his path from childhood to the presidency.

Detail view of “From Vision to Victory,” by Carolyn Crump

All the quilts and the stories behind them are a unique expression of the maker’s impression of the “Obama phenomenon.” Now that Obama is President, these quilts have become even more significant. The quiltmakers represent a broad spectrum of political views from avid Obama supporters, to Hilary supporters, to staunch Republicans. Their skills range from beginner to professional. Participants also include those from two exhibits, “Quilts for Obama: An Exhibit Celebration of our 44th President” and “President Obama: A Celebration in Art Quilts.”

Many of the quiltmakers drew upon the iconography of the campaign. Others took the literal image of Obama a step further and used elements of culture and Pop Art in their quilts, while others simply did a literal interpretation. The themes of family, patriotism, Africa, civil rights and hope were also popular.

“Obama Equals Hope,” by Jeanette Thompson

The Alliance for American Quilts is a national non-profit organization that supports and develops projects to document, preserve, and share the history of quilts and quiltmakers. The AAQ brings together groups and individuals from the creative, scholarly and business worlds of quiltmaking to advance the recognition of quilts and their makers in American culture.

Specific questions about Q.S.O.S. can be directed to Karen Musgrave, karenmusgrave@sbcglobal.net or call 630-579-1024.

Photographs of the quilts can also be seen as an online book at http://www.allianceforamericanquilts.org/qsos/Obama_qsos.php.

For further information, please contact:
Amy E. Milne, Executive Director
(828) 251-7073
amy.milne@quiltalliance.org

This press release is published by Quilter’s Muse Publications as a public service.

Now, what do I mean by such a title for this blog? There were certainly no long waiting lines for the rest room, at the quilt show, as has been commemorated in a very funny quilt by Barbara Barber, a favorite humorous quilter from Rhode Island.

No, what I am getting at is my general impression about machine-quilted quilts. As I said, “It’s all about the lines.” There are many more lines of stitching than are necessary to hold a quilt together. I should also add that “It is all about thread.” I saw lots of shiny, glitzy thread that probably glows in the dark! Much of it was variegated, changing its color like a chameleon or perhaps holographic, and dependent on how the light catches it.

Accenting the lines was more glitz in the name of beads, buttons with shiny parts, or what appear to be rhinestones. One can conclude that, “It’s all about the embellishments.”

Lines of quilting, shiny threads, and rhinestones: what do they equal? An “ART QUILT.” What were vendors selling besides long arm machines? Why, stencils for marking quilts, shiny threads, and rhinestones!

In walking the show, I could not help but wonder what someone who lived in 1850 would think of all of the individualism expressed creatively on the surfaces of quilts, something that used to be a utilitarian item, used up and thrown away. We do live in another age. I now wonder what people will think in 100 more years? Will we have reverted to traditional quilts again, or will something new entirely have come along? We can speculate, but it is nice to know that TODAY, all stabs at creative work is appreciated, by someone, somewhere.

Quilt shows are a little bit like a taste of heaven. Everyone has done their very best, within the scope of their personal vision, and all creative works mirror the work of God himself. Creativity does not exist in a vacuum and we are all influenced by each other, for better or worse. I have a question for you. In being a renegade art quilter, one of the pack, are you being a conformist to a trend? Are you then, not being so renegade at all, but trying to fit into a new way of working in order to gain peer approval? Is art quilting, including raw edge appliqué, which sends one friend screaming into the night, really so unique, or is it an excuse to do spontaneous (i.e. sloppy) work, at times. I have no answers, just many questions, in trying to put all of this into perspective. If anyone has any comments whatsoever, and I hope you do, please make a comment here.

Patricia Cummings
Quilter’s Muse Publications

I love making Crazy Quilt blocks! Being crazy isn’t a requirement, as I have always told my Crazy Quilt students, but it helps! The block you see above has a very coordinated look because I was working from a packet of designer fat quarters, a gift from Marcus Brothers for providing a quilting “tip” a few years ago. I love these smokey-tone, antique-look fabrics. They are 100% cotton, unlike the original Crazy Quilts that were primarily silks and fancy fabrics.

I started out with the fabric, a handful of embellishments (lace, beads, etc.), some embroidery floss and other fibers, and the memory of a stanza of a poem in Spanish that I have always loved, written by Jose Marti (with an accent on the “e” and on the “i,” characters which this blog doesn’t support.

Cultivo una rosa blanca, en junio como en enero
Para el amigo sincero que me da su mano franca. (For Spanish students, note that even though the word “mano” ends in “o,” it is a feminine noun (la mano).

These lines mean:

I cultivate a white rose, in June as in January
For the sincere friend who gives me his honest hand.

I made this block some time ago and have not done anything else with it. Some things do not have to be finished, or at least, not right away. With its bright colored borders, the block seems to stand on its own. Like the rest of my unfinished projects, I come across it, now and then, and feel no urgency to complete it. For quilters and needleworkers, the most exciting projects are the ones still swimming around in our minds. I have plenty of projects I would like to design, or start. There is always “another day.”

Patricia Cummings
Quilter’s Muse Publications

The quilters of South Carolina are doing their best to raise awareness of breast cancer. To that end, they have created 49 art bras that are displayed on a website. These are intended to be fun, amusing, and hilarious.

To visit the Breast Cancer site, click here.

Anyone may visit the Breast Cancer Awareness site, as often as once a day, to click on a link that will provide a free mammogram to an economically-challenged woman, at no cost to you.

Patricia Cummings
Quilter’s Muse Publications