DOCSLIB.ORG

Patchwork Culture: Quilt Tactics and Digitextuality

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Patchwork Culture: Quilt Tactics and Digitextuality University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2007 Patchwork Culture: Quilt Tactics And Digitextuality Michelle P. Barrett Ferrier University of Central Florida Part of the Digital Humanities Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Doctoral Dissertation (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Ferrier, Michelle P. Barrett, "Patchwork Culture: Quilt Tactics And Digitextuality" (2007). Electronic Theses and Dissertations, 2004-2019. 3158. https://stars.library.ucf.edu/etd/3158 PATCHWORK CULTURE: QUILT TACTICS AND DIGITEXTUALITY by MICHELLE P. BARRETT FERRIER B.S. University of Maryland, 1986 M.A. University of Memphis, 2001 A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Texts and Technology in the Department of English in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2007 Major Professor: Craig Saper © 2007 Michelle P. Barrett Ferrier ii ABSTRACT Embedded in the quilt top, the fabric patches are relays, time pathways to stories and memories of their former owners. Through the quilts, the voices of the past survive. The stories trace a path of connection between oral traditions, storytelling, the invention of meaning, and the preservation of cultural memory. The theory and method described herein use the quilt patchwork metaphor as the basis for a web interface for designing and modeling knowledge-based graphical, narrative, and multimedia data. More specifically, the method comprises a digital storytelling and knowledge management tool that allows one or more users to create, save, store, and visually map or model digital stories. The method creates a digital network of a community’s stories for digital ethnography work. Digital patches that represent the gateway to the stories of an individual are pieced together into a larger quilt design, creating a visual space that yields the voices of its creators at the click of a mouse. Through this narrative mapping, users are able to deal with complexity, ambiguity, density, and information overload. The method takes the traditional quilt use and appropriates it into a digital apparatus so that the user is connected to multiple points of view that can be dynamically tried out and compared. The hypertextual quilting method fulfills the definition of a deconstructive hypertext and emancipatory social science research methodologies by creating a collaborative, polyvocal interface where users have access to the code, content and conduits to rewrite culture’s history with subaltern voices. In this digital place of iii intertextuality, stories are juxtaposed with images in a montage that denies the authority of a single voice and refuses fixed meaning. In dialogue, contestation, and play, the digitextuality of the Digital Story Quilt provides a praxis for critical theory. The Digital Story Quilt method concerns itself with questions of identity, the processes through which these identities are developed, the mechanics of processes of privilege and marginalization and the possibility of political action through narrative performance against these processes. iv To my aunt, Dr. Barbara Robinson, M.D. who led the way. To my children, Sierra, Austen, and Haile Ferrier who make this work real and meaningful. To my husband, Lester Ferrier, Jr. for his unwavering support. To my father Frederick Everald Barrett, thank you for raising a rebel and for encouraging my interest in technology. And to my mother Betty Barrett Bruce, thank you for nurturing the artist within me as a means of expression, beauty and enduring grace. v ACKNOWLEDGMENTS I would first like to thank Dr. Craig Saper for challenging me to think about how research could be done differently in a digital age and for supporting my crazy quilt project. My committee members, Dr. James Campbell, Dr. Kristin Congdon, and Dr. Blake Scott all provided valuable feedback as I developed the conceptual framework for this project. To Dr. Bruce Janz, thank you for guiding me through the philosophical realms as I wrestled with deep thoughts. I give a special thank you to Jackie Graham, who created my first quilt and showed me a way to build community. Wanda Edwards, formerly the curator of exhibits at the Orange County Regional History Center in Orlando, Fla., challenged me to put my project to a reality test in her museum. Cherie Ashcroft, my soul sister, pushed me to think about how my work related to the larger world and its commercial uses. Cherie never tired of hearing my latest developments and directions and introduced me to the Gee’s Bend quilters’ work. Thank you, to both of you, for all of your encouragement and support throughout this awesome experience. As part of any quilt process, there are fragments of many other people and stories that helped to bring this work to fruition. You are forever embedded in the layers of this work and your love and caring will continue to keep me warm as I bring this work to life. And to God Almighty, I hope to glorify you with this work. Thank you for giving me such blessed gifts and for keeping me safe to do your will, now and forever. vi TABLE OF CONTENTS LIST OF FIGURES ............................................................................................................ x LIST OF TABLES........................................................................................................... xiv CHAPTER 1 INTRODUCTION .................................................................................. 1 A Quilting Heritage....................................................................................................... 11 The Quilt as a Technology............................................................................................ 14 CHAPTER 2 LITERATURE REVIEW ..................................................................... 21 The Power of Historical Imagination............................................................................ 25 Memory and Place-Making Imagination ...................................................................... 28 Poesis and the Source of Technological Production..................................................... 32 Recycling the Remnants of Everyday Narratives ......................................................... 41 Digital Literacies and the Hypertextual Space.............................................................. 46 The Quilter’s Space....................................................................................................... 57 CHAPTER 3 QUILT METHODOLOGY .................................................................. 63 Postcards from the Edge: An Ethnographic Journey .................................................... 65 The Quilt as Method ..................................................................................................... 72 Stage 1: Exploring Rhetorical Dimensions............................................................... 77 Fragmentation—Of the Fabric of Time and Space............................................... 85 Condensation – Formulaic Patterns of Narrative.................................................. 86 Juxtaposition – The Intertextual, Polyvocality of Piecing.................................... 87 Stage 2: Reconstructive Anthropology – Be the Quilter .......................................... 89 Improvisation – Time Pierced with a Stitch ......................................................... 97 Endurance – A Memorial that Stands Through Time........................................... 98 This Crazy-Quilt World ................................................................................................ 99 Case Study: The Quilts of Gee’s Bend ....................................................................... 100 CHAPTER 4 FINDINGS.......................................................................................... 103 Creating the Digital Story Quilt Patch........................................................................ 104 The Digital Story Quilt Patch ..................................................................................... 111 vii Beyond the Mystory Patch: The Digital Story Quilt .................................................. 115 The Hyperrhetorics of the Digital Story Quilt ............................................................ 122 Fragmentation ......................................................................................................... 122 Condensation........................................................................................................... 123 Juxtaposition ........................................................................................................... 123 Improvisation .......................................................................................................... 123 Endurance ............................................................................................................... 124 A Mystorological Experiment..................................................................................... 124 CHAPTER 5 DIGITAL STORY QUILT PROTOTYPES....................................... 131 Testing the Methodology
Load more

Recommended publications
  • Mead Library Listing As of December 2019 MEAD QUILTERS LIBRARY Page 2 of 14
    MEAD QUILTERS LIBRARY Page 1 of 14 Surname Forename Title Publisher ISBN Date Adams Pauline Quiltmaking Made Easy Little Hills Press 1-86315-010-2 1990 Alderman Betty Precious Sunbonnet Quilts American Quilters Society 978-1-57432-951-3 2008 Alexander Karla Stack A New Deck Martindale 1-56477-537-2 Anderson Charlotte Warr Faces & Places C & T Publishing 1-57120-000-2 1995 Anderson F. Crewel Embroidery Octopus Books Ltd. 0-7064-0319-3 1974 Asher & Shirley & Beginner's Guide To Feltmaking Search Press 1-84448-004-6 2006 Bateman Jane Austin Mary Leman American Quilts Primedia Publications 1999 Baird Liliana The Liberty Home Contemporary Books 0-80922-988-9 1997 Balchin Judy Greetings Cards to Make & Treasure Search Press 978-1-84448-394-5 2010 Bannister & Barbara & The United States Patchwork Pattern Book Dover Publications Ltd. 0-486-23243-3 1976 Ford Edna Barnes Christine Colour- the Quilters Guide That Patchwork Place 1-56477-164-4 1997 Bell Louise 201 Quilt Blocks, Motifs, Projects & Ideas Cico Books London 0-19069-488-1 2008 Berg & Alice & Little Quilts All Through The House That Patchwork Place 1-56477-033-8 1993 Von Holt Mary Ellen Berlyn Ineke Landscape in Contemporary Quilts Batsford 0-7134-8974-X 2006 Berlyn Ineke Sketchbooks & Journal Quilts Ineke Berlyn 2009 Besley Angela Rose Windows for Quilters Guild of Master Craftsman 1-86108-163-4 2000 Bishop & Robert & Amish Quilts Laurence King 1-85669-012-1 1976 Safandia Elizabeth Bonesteel Georgia Lap Quilting Oxmoor House Inc. 0-8487-0524-6 1982 Mead Library Listing as of December 2019 MEAD QUILTERS LIBRARY Page 2 of 14 Surname Forename Title Publisher ISBN Date Bonesteel Georgia Bright Ideas for Lap Quilting Oxmoor House Inc.
    [Show full text]
  • Textile Periods in Ancient Peru: Ii Paracas Caverns and the Grand Necropolis
    TEXTILE PERIODS IN ANCIENT PERU: II PARACAS CAVERNS AND THE GRAND NECROPOLIS BY LILA M O';EALE- UNRERSITY OF CFORNIA PUBLTICATIONS IN EwasN AROOY AND ETENOLOG#Y Volnme 39, No. 2, pp. 14>202, plates 1-6, 20 figures in text ,, ,, .. vE \ . # :. UNIVERSITY 0t CALIP6RNIA PRESS BERKELEY AND tOS ANGBLES 1942 TEXTILE PERIODS IN ANCIENT PERU: II PARACAS CAVERNS AND THE GRAND NECROPOLIS BY LILA M. O'NEALE UNIVERSITY OF CALIFORNIA PRESS BERKELEY AND LOS ANGELES 1942 UNIVERSITY Or CALIFORNIA PUBLICATIONS IN AMERICAN ARCHAEOGY AND ETHNOLOGY EDITORS: A. L. KRoEBER, R. H. LoWIE, T. D. MCCowN, R. L. OLSON Volume 39, No. 2, pp. 143-202, plates 1-5, 20 figures in text Submitted by editors March 12, 1941 Issued October 23, 1942 Price, 75 cents UNIVESITY OF CALIFORNIA PRESS BERKELEY, CALIFORNIA CAM1BRDGE UNIVERSITY PRESS LONDON, ENGLAND PRINTED IN THE UNITED STATES OF AMERIOA CONTENTS PAGE METHOD AND MATERIAL ..................................................... 143 Revisions . ............................................................... 144 Paracas time periods: Caverns and Necropolis ................................ 145 TRAITS COMMON TO ALL PERIODS .............................................. 148 Paracas yarns . .......................................................... 149 Paracas loom types ....................................................... 151 Technical processes at Paracas ............................................. 152 Warp-weft techniques ................................................... 152 Plain weaves ................. ......................................
    [Show full text]
  • Copyright Law and Quilted Art, 9 J. Marshall Rev. Intell. Prop. L
    THE JOHN MARSHALL REVIEW OF INTELLECTUAL PROPERTY LAW PATCHWORK PROTECTION: COPYRIGHT LAW AND QUILTED ART MAUREEN B. COLLINS ABSTRACT Historically, quilts have been denied the same copyright protection available to any other expression in a fixed medium. When quilts have been considered protectable, the protectable elements in a pattern have been limited, or the application of the substantial similarity test has varied widely. One possible explanation for this unequal treatment is that quilting is viewed as 'women's work.' Another is that quilts are primarily functional. However, quilts have evolved over time and may now be expensive collectible pieces of art; art that deserves copyright protection. This article traces the history of quilt making, addresses the varying standards of protection afforded to quilts and concludes that consistent and comprehensive protection is needed for this art form. Copyright © 2010 The John Marshall Law School Cite as Maureen B. Collins, Patchwork Protection: Copyright Law and QuiltedArt, 9 J. MARSHALL REV. INTELL. PROP. L. 855 (2010). PATCHWORK PROTECTION: COPYRIGHT LAW AND QUILTED ART MAUREEN B. COLLINS * INTRODUCTION When is a quilt a blanket and when is it art? This question takes on greater importance as the universe of quilted art expands and changes. Once relegated to attics and church craft bazaars, the quilt has come out of the closet. Today, quilts are found in museums 2 and corporate headquarters. 3 They are considered to be among the most collectible "new" forms of art. 4 Quilting is a multi-million dollar industry. 5 Handmade quilts fetch asking prices in the tens of thousands of dollars.
    [Show full text]
  • Alef-Bet Patchwork Quilt
    Women’s League for Conservative Judaism CH #24 ALEF BET INSTANT PATCHWORK QUILT Patchwork and quilting are two separate arts that were combined by the early settlers of this country to make beautiful quilts. Patchwork is very simple, requiring only accuracy in making the units. The sewing of patchwork consists only of a straight seam. Quilting is the process of sewing the layers of quilt together by hand. Patchwork and quilting, while pleasant to do, take time and patience – but are indeed worth it. Instant patchwork quilting is fun to do, for in no time at all, beautiful and lasting easy care quilts, comforters and throws can be made for loved ones. The quilts can be made quickly because you use material with a patchwork design for the top layer of your quilt (there is no need to sew squares together). This patchwork material may be bought at your yard goods department or you may use a “patchwork design” sheet found in the line department. Bed sheets are excellent to use for both top and lining of your quilt. If you buy the no-iron sheets, they are practically care-free and come in widths to fit all beds. MATERIALS: 1. Patchwork material – fast dye, cotton fabric. 2. Lining – fast dye, cotton fabric of same good quality as top. 3. Scraps of plain colored material for alphabet. 4. Long needle with large eye. 5. Small ball of matching or contrasting yarn. 6. Batting – enough for 1 or 2 layers (I used two for added puffiness) 7. Dining room table or large work table.
    [Show full text]
  • Heart Patchwork Quilt | Pottery Barn Kids 5/15/19, 1005 AM
    Heart Patchwork Quilt | Pottery Barn Kids 5/15/19, 1005 AM Start earning 10% back in Rewards with the Pottery Barn Credit Card. Learn more > POTTERY BARN PB/APT PB MODERN|BABY BABY KIDS TEEN DORM Williams Sonoma WS Home west elm Rejuvenation Mark and Graham | Ship To: SIGN IN REGISTRY KEY REWARDS FAVORITES TRACK YOUR ORDER What are you looking for? New Baby Kids Furniture Bedding Rugs Windows Bath Decor Backpacks & Lunch Baby Gear Beach Gifts Sale PB Modern Baby Up to 50% off Spring Furniture Sale Up to 60% off 25% off 20-40% off Flash Sale: 40% off Backpacks, Lunch & More Beach Towels, Totes & More All Kids' Bedding Ready to Ship Comfort Swivel Rocker Home > Bedding > Quilts & Comforters > Heart Patchwork Quilt Heart Patchwork Quilt Recently $32.50 – $189 Viewed Sale $12.99 – $74.99 CHOOSE ITEMS BELOW Earn $25 in rewards* for every $250 spent with your Pottery Barn Credit Card. Learn More OVERVIEW Spread the love over their sleep space with our Heart Patchwork Quilt. Pieced together with pastel-colored hearts, this quilt provides lasting comfort and charming style to their bed. DETAILS THAT MATTER Made of 100% cotton. Woven cotton gives the fabric a soft finish while providing durability and ultimate breathability. Quilt is expertly stitched by hand. Quilt is filled with 50% cotton and 50% polyester batting. Quilt and shams reverse to solid pink color. VIEW LARGER Roll Over Image to Zoom Shams have center tie closures. KEY PRODUCT POINTS Rigorously tested to meet or exceed all required and voluntary safety standards. Pottery Barn Kids exclusive.
    [Show full text]
  • Regional and Historical Variations in Suburban Poverty in the United States
    PATCHWORK PLACES: REGIONAL AND HISTORICAL VARIATIONS IN SUBURBAN POVERTY IN THE UNITED STATES by Christa Rachel Lee-Chuvala B.A., Taylor University (1999) M.U.P., Harvard University (2005) Submitted to the Department of Urban Studies and Planning in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Urban and Regional Studies MASSACHUSETTS INSTITUTE OF TECHNOLOGY September 2015 © 2015 Massachusetts Institute of Technology. All rights reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of author: …………………………………………………………………………….. Department of Urban Studies and Planning August 26, 2015 Certified by: ………………………………………………………………………………………. Amy Glasmeier Professor of Economic Geography and Regional Planning, Thesis Supervisor Accepted by: …………………………………………………………………………………….. Lawrence Vale Ford Professor of Urban Chair, Ph.D. Program in Urban Studies and Planning 2 Patchwork Places: Regional and Historical Variations in Suburban Poverty in the United States by Christa Lee-Chuvala Submitted to the Department of Urban Studies and Planning on August 26, 2015 in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Urban and Regional Studies. Abstract The majority share of metropolitan poverty in the United States has shifted from cities to suburbs through the effects of employment losses and the movement of lower-income populations. However, varied histories of suburban development, class and racial/ethnic divisions within and among suburbs, and widening suburban inequality all suggest that understanding suburban poverty requires moving beyond a simplified view of low- income suburbs as a uniform set.
    [Show full text]
  • History of Quilting
    History of Quilting When the first settlers came to this country they brought with them their quilting skills. New fabric was hard to come by, so fabric for clothing and for quilts had to be used and reused saving as much as possible from worn clothing. Thus the patchwork quilt was born. Scraps of fabric were cut into geometric patterns that fit together into larger blocks of design. Many of these patterns have been passed through generations, created by the ingenuity of our ancestors and traded within communities. Names for particular patterns sometimes changed as they moved from one part of the country to another, reflecting the environment within which it was named. (i.e. a pattern called the pine tree pattern in Connecticut might be named bear’s path in Ohio). Quilt making is an art form that both individuals, as well as groups of people participated in. From the lore surrounding quilt making we learn that parents passed the skills for quilt making on to their children at a very young age. The children would start with small patches of fabric, and learn to sew the very fine stitches needed for beautiful and elaborate quilts. Historically, quilting has generally been practiced by, and associated with women. This could be because the sewing skills needed to make a quilt have always been an integral part of women’s lives. Learning how to sew was such an important skill for girls to have that it was taught and practiced in the home and at school. Women of all classes participated in this form of expression.
    [Show full text]
  • Embroidered Patchwork Pillow: Janome America
    Published on Sew4Home Embroidered Patchwork Pillow: Janome America Editor: Liz Johnson Wednesday, 01 April 2015 1:00 It's the classic special touch: adding a little something on top. For instance, pie is great. Pie with whipped cream is awesome. A beautiful blend of fabrics in a simple patchwork pattern is always good. Overlaying that patchwork with embroidery can be great. It's a simple way to make a stunning statement. We chose four prints from the Indelible collection by Art Gallery Fabrics, then incorporated one coordinating solid to bring it all together. The patchwork itself is super simple – just a modified nine-patch but with eight blocks rather than the traditional nine. 1 The back features an easy envelope opening. We added a binding strip accent in the coordinating solid to the overlap panel. The icing on the cake is the dramatic embroidery. It stretches across five of the patchwork blocks. By selecting a large, open design, then stitching it out in just one color, you add texture, dimension and flair without distracting from the background beauty of the fabrics. You'll also notice the embroidery is slightly offset; this heightens the juxtaposition and creates a more interesting look than placing it exactly in the center. 2 We used the amazing Janome Horizon Memory Craft 15000 for both the sewing and embroidery on this project. The machine's built-in design library is fantastic, but that doesn't mean you can't also browse for even more options. This pillow's design came from an embroidery website, which was no problem at all thanks to how easy the MC15000 makes it to bring in and work designs from all types of sources.
    [Show full text]
  • The Cutter Quilt Fad, 1980 to Present
    The Cutter Quilt Fad, 1980 to Present: A Case Study in Value-Making in American Quilts A Thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at George Mason University by Rebecca H. McCormick Bachelor of Arts St. Edward’s University, 2010 Director: Jennifer Van Horn, Professor Department of History of Decorative Arts Fall Semester 2013 George Mason University Fairfax, VA This work is licensed under a creative commons attribution-noderivs 3.0 unported license. ii DEDICATION I would like to dedicate this thesis to my parents who made me who I am and to my husband who never asked, “So what are you going to do with that degree?” iii ACKNOWLEDGEMENTS This thesis would not have been possible without the tireless work and never-ending questions of my advisor, Jennifer Van Horn. iv TABLE OF CONTENTS Page List of Figures ................................................................................................................... vii Abstract ............................................................................................................................ viii Introduction ......................................................................................................................... 1 Chapter One: “Why Not Wear Them?” .............................................................................. 4 Dead Quilts and Cutter Quilts ......................................................................................... 5 The History of Dead Quilts ............................................................................................
    [Show full text]
  • Theories and Methods in Japanese Studies: Current State and Future Developments
    Hans Dieter Ölschleger (ed.) Theories and Methods in Japanese Studies: Current State and Future Developments Papers in Honor of Josef Kreiner V&R unipress Bonn University Press Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.des abrufbar. ISBN 978-3-89971-355-8 Veröffentlichungen der Bonn University Press erscheinen im Verlag V&R unipress GmbH. © 2008, V&R unipress in Göttingen / www.vr-unipress.de Alle Rechte vorbehalten. Das Werk und seine Teile sind urheberrechtlich geschützt. Jede Verwertung in anderen als den gesetzlich zugelassenen Fällen bedarf der vorherigen schriftlichen Einwilligung des Verlages. Hinweis zu § 52a UrhG: Weder das Werk noch seine Teile dürfen ohne vorherige schriftliche Einwilligung des Verlages öffentlich zugänglich gemacht werden. Dies gilt auch bei einer entsprechenden Nutzung für Lehr- und Unterrichtszwecke. Printed in Germany. Gedruckt auf alterungsbeständigem Papier. Table of Contents PREFACE...........................................................................................................7 Ronald DORE Japan – Sixty Years of Modernization? .........................................................11 KUWAYAMA Takami Japanese Anthropology and Folklore Studies................................................25 ITŌ Abito The Distinctiveness and Marginality of Japanese Culture.............................43 FUKUTA AJIO
    [Show full text]
  • A RHETORICAL APPROACH to CULTURAL LITERACIES ACROSS MEDIA Randy Nichols Clemson University, [email protected]
    Clemson University TigerPrints All Dissertations Dissertations 8-2011 A RHETORICAL APPROACH TO CULTURAL LITERACIES ACROSS MEDIA Randy Nichols Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_dissertations Part of the Rhetoric and Composition Commons Recommended Citation Nichols, Randy, "A RHETORICAL APPROACH TO CULTURAL LITERACIES ACROSS MEDIA" (2011). All Dissertations. 759. https://tigerprints.clemson.edu/all_dissertations/759 This Dissertation is brought to you for free and open access by the Dissertations at TigerPrints. It has been accepted for inclusion in All Dissertations by an authorized administrator of TigerPrints. For more information, please contact [email protected]. A RHETORICAL APPROACH TO CULTURAL LITERACIES ACROSS MEDIA A Dissertation Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Rhetorics, Communication and Information Design by Randy D. Nichols August 2011 Accepted by: Tharon Howard, Committee Chair Cynthia Haynes Constancio Nakuma Clifton S.M. Egan ABSTRACT A Rhetorical Approach to Cultural Literacies Across Media finds exigency in the challenges presented to students and teachers by the growing emphasis on globalization, and by the increasing demands for literacy in new media. My research develops a theoretical model for a rhetorical reading of cultural ―texts‖ in the context of cross-cultural learning experiences. This model is built on the metaphor of ―stolons,‖
    [Show full text]
  • The Social History of Quilt Making in America
    The Social History of Quilt Making in america In his seminal book, The Shape of Time: “Artistic production, whilst distinct, belongs to the ‘whole range of Remarks on the History of Things (1962), man-made things, including all tools and written’ and ’such things George Kubler expressed the view that the mark the passage of time with greater accuracy than we know, and concept of art should be expanded to include they fill with shapes of a limited variety’… ‘Everything made now is all man-made objects. His approach either a replica or a variant of some thing made a little time ago and eliminates the distinction between artifacts so on back without break to the first morning of human time’. and “major” art – architecture, painting, (.Kubler, 2007: 1) The demarcation between art and craft, an invention sculpture. Drawing on the fields of of the Renaissance mind, therefore, becomes unimportant when anthropology and linguistics, Kubler replaced considering objects of utilitarian nature. This suggests that quilts, and the notion of style as the basis for histories specifically American quilts, rightfully deserve the distinction of art, of art with the concept of historical sequence without qualification. and continuous change across time. Quilts of Gee’s Bend When the exhibition of the quilts of Gee’s Bend * first opened at the Whitney Museum of American Art in 2003, an article in the Wall Street Journal began, in part: “Museum curators have a lot to worry about in these tough times: attendance, security, damaged art. And now…bedbugs. Created by four generations of African-American Some of the biggest blockbuster exhibits of recent years have nothing to quilters from the isolated hamlet of Gee’s Bend, do with Van Gogh and Vermeer – they are all about quilts.
    [Show full text]