quilt (R)evolution exhibit at the Dairy Barn (by Kathleen Loomis)

Just home from Athens OH where I visited the Dairy Barn for its current show, an exciting collection of work from most of the people who have served as Quilt National jurors over the 35 years of that exhibit.  It was special because the participants were asked to send three pieces: one from their earliest work, one of their work at the time they were jurors, and one of their current work. And most of them actually sent exactly what was requested!

The too-clever title of the show, “quilt (R)evolution” is silly but accurate, because the quilts do clearly mark the evolution of the quilts-as-art genre, and it was quite a change from the status quo.  Several of the oldest pieces are only a step or two away from traditional — and Ann Johnston’s 1979 quilt could have easily been made in 1879.

I’ve been obsessively following Quilt Nationals via catalog since 1983 and in person for at least 20 years (can’t remember exactly which one I first attended) so it’s not a surprise to me that quilts-as-art started so close to its traditional roots and took a few years to escape the conventions.  But it’s fun to be reminded of how the famous names we’re all familiar with started out, and how they got going in their own directions.

For instance, Joan Schulze started by making a big quilt that was the California winner in the big Good Housekeeping Quilts of America competition in 1976 — I remember that, even though I wasn’t much of a quilter at the time.  After it was photographed for the book (I think I have the book, too) her quilt and others were destroyed in a warehouse fire but after a long period of grieving she decided to remake it.  The design was original, with a batiked landscape in the center, but its wide border is composed of the traditional Road to California blocks (she did shock the viewers by making them in different colors to extend the landscape — blue for the sky, brown for the earth).

Joan Schulze, California II, 1979

Subsequently Schulze developed her signature style of using images appropriated from the media in collage-like phototransferred and screenprinted compositions that remind me of Robert Rauschenberg.

Nancy Crow started with huge symmetrical quilts that were meticulously planned and intricately pieced from templates using commercial prints.  Subsequently she found that improvisationally free-cutting shapes from hand-dyed fabrics and building her compositions gradually on the wall was a more satisfying approach.

on the catalog cover:  Nancy Crow, March Study, 1979

Katie Pasquini Masopust’s early quilt was a daring pentagon but executed in impeccably traditional craft from teeny calico prints.  Subsequently she started incorporating easel-painted canvas into her quilt constructions.

Katie Pasquini Masopust, Heavens Reach, 1981

Other jurors went in different directions.  Michael James, after years of strip-pieced curves, embraced digital photography cranked out on a huge-format printer.  Yvonne Porcella started by making functional kimonos, then went flat (but kept her signature palette, brights with black-and-white).  Jan Myers-Newbury started by hand-dying solid gradations, then discovered arashi shibori and never looked back.

Practically all of the early pieces were hand-quilted, but as the years progress most of them switched to the machine.  Practically all the early ones were carefully pieced or appliqued with no raw edges, no messy craftsmanship of any kind, but as the years progress we see fusing, raw-edge applique, phototransfer, non-cloth materials and any number of experimental techniques emerge (for instance, Tim Harding’s latest work is “quilted” with staples).

For those of us who have been tuned in to the quilts-as-art movement for a long time, the show is a great walk down memory lane.  Fortunately all the pieces in the show still look fine (although Ann Johnston’s, used on the bed for decades, has faded dramatically into the muted colors of vintage quilts).  For those of us who aren’t that familiar with the olden days of our little niche of the art world, the show will be an eye-opener: how far we’ve come in such a short time.

Unfortunately the catalog doesn’t reproduce the artist notes that appear on the walls of the Dairy Barn.  So, for instance, readers will probably think that Wendy Huhn’s extravaganza of female fairies perched on irons is about the drudgery of housework, when it’s really about a lethal disease that causes too much iron to build up in one’s blood vessels and joints.  (I know how easy it is to leap to that conclusion, because I eavesdropped on two young guys explaining to one another quite solemnly how women’s work is never done, etc, before one of them thought to read the sign.)

The show remains up at the Dairy Barn through November 22 — see it if you can!

 

 

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I’m cross-posting this to my personal blog, artwithaneedle.blogspot.com

 

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4 Responses to “quilt (R)evolution exhibit at the Dairy Barn (by Kathleen Loomis)”


  1. 1 clairan October 22, 2014 at 8:28 am

    Thanks Kathy. Retrospectives are usually interesting. It’s especially important for young artists to see where the “big names” started out. I remember seeing a Matisse exhibit where there was work that was tentative, reworked, some which looked like Cezanne others like Cubists. Through the exhibit you could see Matisse become the Matisse we love.

  2. 2 kathleenloomis October 20, 2014 at 6:07 am

    I don’t know of other reviews of the show; maybe some of the fiber magazines will get around to it in future issues. Critical review of fiber art in general, and quilts in particular, is hard to find.

    • 3 olganorris October 22, 2014 at 1:18 am

      You are certainly right about the dearth of reviews of fibre arts, but it would indeed be a shame to see slip such an opportunity as this overview of the development of central makers in an important field. Thank you for your article and thoughts. I am certainly looking forward to receiving the catalogue – and hope, as you say that some magazines take up the chance to provide an in-depth review.

  3. 4 olganorris October 20, 2014 at 3:32 am

    Kathleen many thanks for pointing out this exhibition. It sounds a fascinating idea, and you make it sound an exciting show. Indeed I immediately ordered the catalogue. Reproductions in a book will never be a substitute for seeing and experiencing reality, but they are better than nothing. I am curious to see how folks have progressed over the years, especially having the examples all together too.
    Apart from your article here, are there any critical reviews of this exhibition which perhaps give an over view of the development of the medium? As someone who participates at the edges I am curious to read what other watchers and participants think of the progress that has been made in the field over those 35 years. I remember being so excited in 1981 when I was introduced to Elizabeth Gurrier in New Hampshire and seeing her three-dimensional white quilts and then seeking out other examples of art approaches to quilting through Fiberarts Magazine, American Craft magazine, and by seeing some pieces of work in craft galleries.


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