Archive for the 'Quilt Art' Category

Crazy Quilt

Tuesday, October 27th, 2009

crazy quilt by Pat Cummings

The quilt above is called a Crazy Quilt and it is an original design made by Patricia Cummings in 2001. By “original,” I mean that I chose all of the elements that went into making it, selected the layout, the colors and the embellishments as well as the techniques. In this case, I appliquéd on some items, like the owl in the upper right, that was a commercially-prepared item. I hand-stenciled the yellow rose in the center with paint, and again sewn on a store-bought bee for appliqué.

You will see a lot of separate design features in this quilt as I added gold findings, like the hand, a piece of lace, ribbon (purchased by the yard), and beads. I added embroidery as well as silk ribbon ladybugs, and handcrafted “ants.” Victorians loved “bugs” and I do, too! So, it was only natural to add some “ant fabric,” as well. This is a very “busy” piece!

This quilt is mainly in cottons. I don’t much care for working with “fancy fabrics,” and there are enough exquisite prints in cotton, today, that one can get a good effect without using silks, etc. That is not to say that I never use anything other than cotton for crazy quilts because I certainly do!

I just wanted to show you one of the many Crazy Quilts I’ve made. This technique originated in the 19th century (1800s) and has a long history. Files on my main website talk about old Crazy Quilts and show antique examples and some miniature crazy quilts that I have made. I’d have to say that Appliqué. Crazy Quilts, Hand-piecing, and Hand-quilting are my very favorite quilting techniques. Just call me a turtle in a mad hare world, my saying, so if you use it, please give me credit for having said it first!

Cheers! Bring on the Halloween chocolate. Now, where could Jim be hiding the stash (of chocolate, that is)?

Pat Cummings

Golliwog Doll and Quilt: A Fun Story or Racial Prejudice?

Saturday, October 24th, 2009

I have been aware of the Gollywog doll and its history for a number of years now. My doll was ordered from England, where they are still made and are popular, apparently. At the time I sent for one, I did not realize that there were any racial slurs attached to it. I’m not sure how I might have missed that fact. The doll’s image is still located in one of my related files online: African and African-Inspired Textiles.

This morning, I stumbled upon three interesting links:

1) http://www.gollyville.com/story.htm

2) A quilt named “Gollyville One,” which won a blue ribbon at the Pacific International Quilt Festival and has the same design as the “Gollyville 1 kit” sold by gollyville.com

3) Gollyville 1

The quilt, #1028, that won a prize for “Best Hand Workmanship” was made by Ruth DeBord and Wendy Reyes. The quilt was made from a kit that originated in Australia where Golliwog dolls are popular and are not meant to be derisive. To those who speak the King’s English, a “wog” is anyone of color: an Egyptian, an Indian, etc. You get the picture.

I would like you to think about this topic. When we make drawn caricatures or dolls that overexaggerate the physical characteristics of other humans, such as the emphasis on large lips, or curly hair, or skin color, does that always constitute racism or just poor taste? When, if ever, is that practice acceptable?

A second question is this: Should quilt judges award blue ribbons to quilts that are done perfectly, but carry a message that is contrary to acceptable and ethical social responsibility? In other words, is perfect appliqué more important than the message a quilt conveys, one that could be offensive to many others?

These are just words for thought on this dreary, rainy day. You would probably enjoy reading the file I prepared about “Mammy Quilts and other Black Memorabilia”, as well as the opinions of Dr. David Pilgrim, an African-American who finds many (most?) of these kinds of collectibles to be degrading and humiliating.

Touchy subject, I know. All comments welcome.

Patricia Cummings, pat@quiltersmuse.com
Quilter’s Muse Publications

Postcard Quilt

Wednesday, September 30th, 2009

Here is an image of a postcard quilt sent to me by my friend, Tamara Shpolyanska, a certified Master Quilter and quilt teacher from Ukraine. She sent this to me, in two pieces that I needed to assemble to have a finished project. I just got “a round tuit,” and completed it this week.

She has sent me four other postcard quilts, one of which needs an edge binding. I see I have my work cut out for me. Perhaps a skinny piece of left over binding would do just fine. Yes, very skinny!

I love Tamara’s artistic vision. Her quilts, large and small, are all wonderful! I am blessed to have some very special friends and she is certainly one of them. Here is the scan of the postcard. The back of the quilt features her personal stamp/ and her name in Ukrainian, as well as a personal message to me, her signature, and the date.

Postcard quilt from Tamara

This small piece features a pansy and fancy fibers. It looks very elegant, in person! She sent it as a gift for St. Patrick’s Day, in 2006.

Patricia Cummings
Quilter’s Muse Publications

MQX Quilt Show in Manchester, New Hampshire

Wednesday, April 15th, 2009

From April 13-18, 2009, the MQX quilt show (Machine Quilters Exposition) is the hottest thing happening in Manchester, New Hampshire. With quilt teachers flying in from all over the country, as well as vendors, and show participants arriving to see their work on display, this show has become so large that next year it is moving to the Providence, Rhode Island Civic Center.

The public is welcome to enjoy the quilts on display, starting TOMORROW, April 16, from 10-6. Additional viewing opportunities are on Friday, from 9-6, and on Saturday, 9-5.

The vendors at this show always offer many tantalizing items to make quilting easier, more pleasurable, and more fun! From hand-dyed fabrics to beads to fat quarters to fill out your stash palette, there is something for everyone, and every pocketbook.

To read more about the show, please visit the MQX site

quilt,

“Bear of the Trail,” by Janet Fogg, Lake Oswego, Oregon, is an example of a quilt featured in a show review on our website in 2006.

Enjoy the show, if you are in the area!

Patricia Cummings
Quilter’s Muse Publications

American Folklife Center Quilts Added to Quilt Index

Sunday, April 12th, 2009

PRESS RELEASE
For Immediate Release
April 10, 2009

Contact:
Amy E. Milne, Executive Director
(828) 251-7073
amy.milne@quiltalliance.org
AMERICAN FOLKLIFE CENTER QUILTS ON QUILT INDEX
ASHEVILLE, NORTH CAROLINA

The latest quilts to be posted online at the Quilt Index come from two significant collections archived at the American Folklife Center at the Library of Congress. Made in the late 20th century, these 300-plus quilts represent a broad range of techniques and tell a powerful story about the diversity, artistry and motivations of quiltmakers across the country.

The Folklife Center, which documents a wide variety of folklife traditions including music, crafts and food, boasts more than 4,000 collections. The just-posted quilts come from two collections. The Blue Ridge Parkway Folklife Project Collection from 1978 covers quilts made by six Appalachian quiltmakers from North Carolina and Virginia.

This collection at the Folklife Center site includes 229 photographs and 181 interviews with the six quiltmakers, delving into detail about their daily lives. It’s worthwhile to study the quilts on the Index, and link back to the Center’s online presentation to read about these quiltmakers.

quilt by Marnie Lee Parks Bryan

One quilt studied in the project is a simple, practical 16-patch bed quilt made by Mamie Lee Parks Bryan, one of the six Appalachian quilters included in the project. Mamie, born in 1900, led a hardscrabble life with her coal miner husband and six children.

A very different aesthetic is represented by the second collection from the Folklife Center, now searchable on the Index, consisting of 180 winning quilts from the All-American Quilt Contest sponsored by Land’s End and Good Housekeeping from 1992 to 1996. These exemplary quilts from all over the country include many original designs meant to be wall hangings rather than bedding.

Below is an art quilt completed in 1992 by Edna Harbison of Ontonagon, Michigan.

art quilt 1992

Michael Taft, head of the archive at the Folklife Center, said of the announcement, “The American Folklife Center is pleased and excited to be represented in the Quilt Index. The U.S. Congress has directed the Center to ‘preserve and present’ American folklife, and having the Center’s two major collections of quilts in the Quilt Index meets this mandate.”

Taft added that this is an especially fitting relationship, since the Folklife Center “is already the repository for Quilters’ S.O.S. – Save Our Stories, a project in partnership with the Alliance for American Quilts.” Materials from the 900-plus QSOS oral history interviews posted on the Alliance website (www.allianceforamericanquilts.org/qsos) are archived at the Center.

The Quilt Index is run in partnership by the Alliance for American Quilts, Michigan State University Museum, and MATRIX – The Center for Humane Arts, Letters and Social Sciences at Michigan State University. The Quilt Index merges tradition with technology and springs from the work of a unique team of researchers and experts committed to making significant, quilt-related data widely accessible to both scholars and the general public.

Applications are now being accepted from institutions or quilt documentation projects who are interested in becoming a Quilt Index contributor, with a deadline of May 31, 2009. Information and application materials can be found at: http://www.quiltindex.org/collections.php

The Alliance for American Quilts is a 501(c)(3) nonprofit organization.

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The Alliance for American Quilts | 125 S. Lexington Avenue, Suite 101 | Asheville | NC | 28801

Quilter’s Home Magazine Not For “Little Old Lady” Type Quilters?

Saturday, March 21st, 2009

When the last issue of Quilter’s Home magazine was published, it was wrapped in a cellophane bag. Supposedly, the contents were just too “hot” for children to accidentally view, while their mothers were busily shopping at JoAnn Fabrics. In fact, that store decided not to carry that particular issue at all, although they have offered the magazine in the past, and conceivably may do so again in the future.

Not finding this title to buy, locally, when it first came out, we traveled from the central part of our state to its southern edge to a Barnes & Noble store. The check out person was intrigued when I pointed out the headline banner: “Shocking Quilts: We Show You The Controversial Patchwork!” He said that he would have to pick up a copy on his break.

THE IMAGES IN QUESTION

First, we saw a blue and white quilt by Mary Beth Bellah called “Helping Hand,” inspired by a Viagra commercial and including (but not prominently) a limited edition fabric that features male organs, a view so tiny that I missed it the first ten times I looked at this article, even with magnification. The thought is perversely amusing! In fact, not finding it, I thought that perhaps this “special feature” was quilted into the plain white fabric. No matter. The quilt was nicely done, but is one I simply would have walked past, in any show, as I do with any quilt that I need a written explanation to understand.

Next, we have a gun-toting Jesus in “Jesus Get Your Gun” by Shawn Quinlan. I did not recognize Him because the “halo” could just as well have served as the rim of a cowboy hat. The quilt itself is very well done, from a technical standpoint, as are all of the quilts and was inspired by the words of a bumper sticker. I took no offense. In fact, given what a PBS show had to say about the genetic background of Jesus, it is easier to imagine Him as having looked more like Yassir Arafat than the commonly-accepted notion of a blonde-haired, fair-skinned, European version of Jesus that shows up in most art renderings.

There are two quilts that provoke historical memory and many people would find them offensive for their stark reality. http://www.gwenmagee.com/portfolio.htm (link disabled today). One quilt, “Southern Heritage/Southern Shame” depicts bodies hanging in front of a Confederate flag. The other quilt, “God of Our Silent Tears I” is an image of men being executed in the electric chair. Both quilts were made by the same artist, Gwendolyn Magee.

I am recalling these images, one by one, so that you will understand my concluding remarks.

So, next, we have the well-developed (back side view) of a man in Randall Cook’s quilt, “I Remain.” The lone figure appears to be the lone survivor of a nuclear holocaust. The caption reads, in part, that the quilt is “sexually charged.” If viewing any naked body is a turn on, then that description may be accurate for some people, but would not apply to many readers. Certainly, I did not interpret the quilt in that manner.

The next quilt shown is my favorite: a baby’s wide-eyed emergence into the world from a birth canal. The quilt’s title is “Uncertainty.” I don’t perceive anything nasty or evil in Gayle McKay’s quilt. It depicts a true fact of life, and hey, aren’t we all grown-ups here?

The final quilt called “The L Word” by Diane Johns was my least favorite. I’d have to stop and analyze all the elements of it, color-wise and otherwise, to tell you why I did not like it. However, my main objection is the “ugly words” all over it, pejorative euphemisms for “homosexual.” I don’t like to hear or see those downgrading words. I prefer to think that we, as human beings, are all more alike than we are different; that we all have feelings; that we all bleed when we are cut. I am sure that this quilt made me consider the pain that same-sex partners must experience when tagged with the “q” word, or the “d” word, or the other “f” word, etc. However, I did not like those words, in my face, and they seemed to be the essence of the quilt. No doubt that was the intent.

Was I truly “offended” or “outraged” by any of these quilts? No. Could I agree with one reviewer, Jeff Vrabel, that they are all “filth?” No. Only if he would agree that the statue of David is porn, or that sacred paintings that depict Baby Jesus, in His entirety, are nasty. No, these quilts are not filth. They express different life experiences, history, and perceptions, period. The human body is, in and of itself, not disgusting or evil.

The purposeless “f” word, spoken or written by teenagers in public forums all over the Internet is more offensive to me, as are the constant references to “alternative lifestyles.” Those inferences get boring, after a time. Being “gay” is no longer a gay topic, especially when one thinks of all of the problems caused by same gender activities. I don’t need to delineate the potential health problems, some of them lethal, with which gays are victimized, nor the social stigma that their status can evoke.

Stereotype of “Little Old Lady” Quilters

Would I like to see more of this kind of art quilt in any quilt magazine or show? Not necessarily. Why not? Gee whiz, I must be one of those allegedly boring, “little old lady quilters.” You know the type: one who can stand and “ooh and aah” over beautiful quilts from the past because they are well-executed, have lovely colors, and warm the soul, and sometimes the body. You know, the quilts that do not need to disturb one’s sensibilities or make social statements?

I prefer to marvel at how many (hand) stitches per inch a quilter (of old) was able to make. I love to see scrap quilts because they tell me about the fabrics the quilter had available to her at that time, and I can often identify the age of the quilt by the colors of some of those scraps. I like traditional designs, but not exclusively. Many new quilt patterns today are lovely, but are often a spin-off of traditional designs. I mean, how many times can we reinvent the wheel? The answer is thousands of times, as witnessed by the countless variations of geometric quilt designs, alone, not to mention variable appliqué motifs.

I enjoy viewing the edge treatments of quilts and seeing how the approach to finishing the edges of quilts has changed, over time. I love the HISTORY of quilts. I like ALL quilts, just as I enjoy All art, but I enjoy some quilts, and some art, more than others. Get it? Like many people, I approach this current topic of “shocking quilts” in a quilt magazine with a bit of ambivalence.

In a sense, when we look at Mark’s magazine, we are seeing a new legacy. His was the first magazine to recognize “controversial” quilts, in print, and to bring them to a wider public forum. This must encourage the quilt artists involved and all quilt artists. It is important that they continue to express themselves and quilt their own “visions.” We do not live in a monolithic world. You may like to eat Oreo cookies, while my preference may be Ginger Snaps. That does not make you wrong, and me right.

I have always said that there is room for all, especially the creative people of the world. In my opinion, this magazine situation is not a black and white one. Many middle-aged women have told me that they like this issue! I do not think it is fair to categorize the readership of this magazine as for “young people” only. It may come as a great surprise to Mark that even very old people in nursing homes still kid around about sex, and/or show an interest, some actively! I could explain even further, but I will refrain!

This landmark issue of Quilter’s Home magazine presents art quilts that deal with tough subject matter. With all the stir and buzz about them, and the interviews and attention that Mark has gained from newspapers and talk show hosts, one wonders what the contents of the next issue will be. It is worth noting that good art work, rendered in whatever format, makes all of us think.

Good luck, Mark! Thanks for providing a forum to bring art quilts to the living rooms of all, even the “little old ladies.” The world is watching what you will do next.

Thanks to all the art quilters who share their talents and their work with the public through exhibitions and online. Without them, we would not be having this discussion. They have succeeded in making us all think, and that is a good thing!

Patricia Cummings
Quilter’s Muse Publications

Censorship Hits the Quilt World

Saturday, January 31st, 2009

The news that a relatively new magazine titled, “Quilter’s Home,” has been banned from sale at all JoAnn Fabric Stores, across the country, came as a surprise yesterday. The magazine, released on January 27, 2009, is the brainchild of former television show producer, Mark Lipinski. Before discovering that his true calling was quilts and expressions of humor, Mark was a producer of the Oprah show.

In a statement published on the Quilt Art mailing list of about 3,300 active art quilters and lurkers, it was revealed that an article by Jake Finch, author of two quilting books, has caused quite a stir. Reportedly, Jake interviewed art quilters whose work is a little “on the edge.” The magazine was specially-wrapped in clear cellophane to prevent unsuspecting children from stumbling across the suggestive images contained therein. The quilts in question were previously vetted and displayed in art venues by the handful of art quilters in question.

Lipinski, through the words of Finch in a subsequent statement, is not calling for a boycott of JoAnn Fabrics. He believes the chain store is a vital part of the crafts industry, and he does not want to inconvenience his readers who might wish to avoid shopping there now, out of loyalty to him or the magazine.

Any publicity, whether good or bad, is still publicity. Everyone will now clamor to try to get a copy of this magazine, just to check it out for themselves. I don’t blame them. In fact, I made some phone calls yesterday, and no stores within a driving distance to me have the magazine yet. The issue in question is the March 2009 edition.

I guess it all depends on what anyone would call objectionable, but after seeing the previews of violent movies, I find violence to be far more obscene than any quilt that depicts the human body … unless the quilt is just totally done in bad taste and is crass and nasty. Since I have not seen the quilts in question, I will reserve any judgment, and am posting this to alert you, just in case you’re curious, too.

Either the art of quilting has reached a new high or a new low. It will be up to the readers to decide.

Patricia Cummings
Quilter’s Muse Publications

The Age Old Question, “Who Gets the Credit?” Quilts and Judging

Friday, January 9th, 2009

Just when quilters thought that entering a quilt in a show was a fun thing to do, they may decide, after examining all the details, not to enter shows. Why, you ask? What is so complicated that once was so simple?

With many new quilters who do not know how to hand quilt or finish a quilt, a lot of them like to piece or applique a top and then leave the finishing to the “professionals.” In this case, the word, “professional,” actually means a person who has ponied up enough big bucks to purchase a long arm machine, and who has advertised that they are available to work on the quilts of others. Sometimes, hand quilters offer their services for hire, as well, although there seem to be less of them, these days, and presumably, the “wait” would be longer.

Machine quilters who were “paid for hire” to quilt other people’s quilts began demanding recognition, too. After all, if it were not for their work, the quilt top would still be folded up, unfinished. At first, the situation was more subtle. Machine quilters demanded that their name be listed on the show tag. Some quilt top owners balked at the idea, and some were ok with it, reasoning that fair is fair. Then, machine quilters for hire decided that if the quilt got a ribbon, then they should get a ribbon, too, and if there was a monetary prize, they should get a share of that.

Herein lies the rub. Money always complicates everything, especially between women. Realistically, the “piecer” or applique artist 1) bought all the raw materials, 2) spent her time making the quilt, 3) paid the show entry, 4) paid to have the quilt transported to the show, 5) if she was smart, paid for insurance, and 6) had to be on hand at the end of the show to pick up her quilt, or else pay to have it insured and shipped to her home. That represents a large investment of time, materials, and money. On top of that, they paid the quilter.

In the meantime, and I speak from experience, someone may have been eating Shortbread and still have the grease of butter on their fingers, yet felt compelled to “touch the quilt.” Non-quilters have no clue as to why touching the quilt is bad. The quilt is made to be UUUUUsssseeeeeddddd, isn’t it? Perhaps, used, but not abused. In some cases, the quilt was not created to be placed on a bed, but rather, on a wall to enjoy as “quilt art.”

Again, I speak from another show experience when I say that someone felt compelled to run the back of her hand, with a ring on it, over the embroidery stitches of a crazy quilt vest, thus ripping out some stitches. I am sure she didn’t mean to do it. I am equally sure that there are not enough white glove ladies in the world to prevent these inadvertent “accidents” at quilt shows. One’s eyes cannot be everywhere at every moment, nor can one holler loud enough to stop someone, standing at a distance, who is already blithely destroying someone else’s hard work.

I remember one instance of entering a show into a contest. It was in pristine condition when it left here. I got it back, rolled up into a mailing tube that was too small, and it looked like a sorry mess, not to mention that it was delayed for months in its return.

I am happy there are still quilt shows around. I do not enter any of them because of the uncertainty of my quilt coming back in the same condition. Yet, I enjoy seeing the antique quilts, and new quilts that people share. I might add this: I never attend a show to judge the quality of the work, unless I am being paid to judge the show.

Quilters strive for recognition in an arena that is saturated with “wanna-bees.” Why is recognition important? It can be a ticket to more recognition and more money.

One quilter told me that she resents making quilt tags that list the name of the quilt, its size, the designer’s name, the magazine or book that published the design, herself as quilt top maker, and the name of the person who quilted the quilt. It is way too much information. If that is the case, then it makes a case for creating quilts and not putting them in shows. Just enjoy them yourself.

I like the simple life, and showing quilts was already a complex deal before all of these new qualifiers were put in place. That is just my opinion. I am sure my thoughts will not deter anyone from their appointed course, but knowing some of the pitfalls will prepare you a little for what may lie ahead.

Jim had an interesting thought, this morning. He said, “If this was a framed pieced of art, would the framer be entitled to half of the “take” at a show?” Something to ponder.

With the Internet, you can share photos of your work without the quilt actually being handled, mauled, sneezed upon, etc. by anyone, not to mention “lost in the mail.” My book, Straight Talk About Quilt Care, free to read on our website, provides tips on mailing quilts, should you decide to do so. Good luck!

Patricia Cummings
Quilter’s Muse Publications

Christmas Poem

Friday, December 12th, 2008

Christmas scene with Fireplace quilt, Christmas tree skirt, and stocking ornaments made by Pat.

A Christmas Poem

©2007. Patricia Cummings, Concord, NH

‘Twas the night before Christmas and all through the manse,
the urchins were awaiting a man of expanse.
The stockings were hung with diligent care,
in hopes that the Gentleman, soon would appear.

Stevie was sleeping alone in his bed,
while Jackie laid, bug-eyed, hearing the tread
of reindeer and Santa, near the chimney they strode,
making dear Jackie run for the commode!

The mayhem on the roof was clearly proof certain.
Running to the window, Jackie drew back the curtain.
Alas, the old man made a quick get-away,
leaving Jackie to wonder, to hope, and to pray.

Did Santa leave presents or a black lump of coal?
To check this situation, could result in a scold.
For Mother and Father snoozed peacefully now.
To disturb their slumber could result in a row.

But he crept down the stairs, with nary a sound.
And, indeed, did see presents, strewn all around.
In the morning, over breakfast, he told his yearly yarn,
to complement the other story of the wee, lowly bairn.

Born in a manger, no room at the inn,
Come to save sinners from God-awful sin,
Redeemer and Savior, Emmanuel, too,
The Christmas tradition, ever old, ever new.

This poem is inspired by the antics of my oldest brother, Jack, who loved presents and did, indeed, report hearing Santa on the roof, each year. Anything is possible when we BELIEVE, and whether you call him St. Nicholas, Kris Kringle, or Santa Claus, “he” is the embodiment of the Christmas spirit. Please save a cookie or two for him, will you? And, while you’re at it, please set aside a carrot or an apple for each of the reindeer!

Blessings to you, this Yuletide, and peace, prosperity, and good health to everyone in the coming year.

Patricia and James Cummings
Quilter’s Muse Publications

Nice News Story About Quilters Making Lovely Quilt

Sunday, July 6th, 2008

Every now and then, a really heartwarming story comes through on the Internet. I particularly liked this one, based in Reno, Nevada.

http://tinyurl.com/5g9dym