Wednesday, February 27, 2013
Monday, February 25, 2013
|Notice the expression on the cat's face- similar to Lulu (above)|
As a bonus, there's a link to my recent blog about about another wonderful black cat quilt. To read this month's Why Quilts Matter guest blog, click here.
Just a quick note for my readers. I was trying to remove spam comments before having my coffee, and inadvertently removed comments for half the month of February. I'm not sure how to restore the comments, so if you happen to notice comments that have been deleted, that's why. Sorry about that. I have a lot of traffic, and a lot of spam messages to monitor each day.
Sunday, February 24, 2013
Saturday, February 23, 2013
Friday, February 22, 2013
|improvisational patchwork with applique|
|Crazy Blocks, with raw-edge applique|
|Octagons / Snowball Variation|
Thursday, February 21, 2013
|Bicentennial Americana Sampler, 1976, Oklahoma, 80" x 102"|
Look what Mary Bywater Cross handed to me at the Columbia-Willamette Quilt Study Group Retreat earlier this week. It's a book she found at an estate sale in McMinnville, and it's called Modern Quilting!
I thought today would be a good day to post it since QuiltCon is going on right now in Austin, and I'd love to be there. Victoria Findlay Wolfe and McLisa Tangerine Starfish Sipes won Best in Show with their stunning double wedding ring. I've never seen anything quite like it- it's like a DWR deconstructed. Another quilt getting some attention is the one with numerous playfully done word blocks, each with the "f" word. Some might find it shocking and vulgar. I find it extremely witty. If it was for sale I'd buy it in a heartbeat.
The exhibit I'd really love to see is Roderick Kiracofe's Modern Historical Quilts, which includes modern examples from the second half of the 20th century. The idea of drawing connections between the past and the Modern Quilt movement is brilliant, and the exhibit should be seen as groundbreaking. A couple years back, he and I started talking about the quilts of that period, and I think we both agree it is exciting, relatively uncharted territory for quilt historians and quilt lovers alike.
Back to the book, it's a very thin volume of patterns published in Quilter's Newsletter Magazine back in the 70s. The book was first published in 1977, and reprinted in 1979. It's funny to look at these quilts and see how vastly different they are from our current idea of a "modern" quilt. Maybe modernized would be a better word. Just like we saw in other periods of quiltmaking revival, pattern designers drew much inspiration from the past, but updated certain things in the designs, and gave new pattern names. They even offered a new one, the Jonathan Livingston Seagull pattern.
So, definitely a fun little book, and something I thought would be good to share today. Wish I could be in Austin, but I hope everyone will take lots of pictures, especially of the Historic Modern Quilts exhibit!!
Wednesday, February 20, 2013
|pieced and appliqued quilt, c.1870, Kentucky|
|pieced quilt, c. 1850, Kentucky|
|block, sash and cornerstone detail, pieced quilt, c. 1850, Kentucky|
|MacMillan Family Quilt, 1868, Monroe County, Kentucky|
|pieced quilt, c. 1860, Kentucky|
|pieced quilt, c. 1870, Florence Caldonia Corley Shealy,|
Saluda County, South Carolina
|"Suspension Bridge" c. 1910, North Carolina|
|Mountain Mist New York Beauty, c. 1930 - suggested colors|
|Mountain Mist New York Beauty, c. 1930 - "traditional" colors|
|"Box of Crayons" quilt, c. 1940|
|"Torches of Liberty" c. 1950, by Gertrude Barr, Oklahoma|
|"Oriental Express" 1999, by Debra Kerns, Indiana|
|"Cinco de Mayo" 2008 by the Buda Bee Quilters, Texas|
|"New York Beauty" 2010, by Nancy Tanguay, Connecticut|
|"Great Cities²" by Christine Wrobel, Washington|
|"Lady Liberty Goes to Hawaii" 2011, by Marita Wallace, California|
It was a lot of fun visiting with the Tualatin Valley Quilt Guild again, and I thank them for inviting me back. I had visited them last year with 20th century quilts, my first time doing that lecture, and it was nice to come back and give a lecture that's much more of a well-oiled machine. I've learned a tremendous amount about these quilts- enough to go for hours without stopping, but the guild was probably glad I stopped after an hour. Seeing these quilts in chronological progression, accompanied by the deluge of information, can be kind of an intense experience!