resources for research and teaching about textiles as a domestic art in art education

National Art Education Association

Resources for Research and Teaching about Textiles as a Domestic Art in Art EducationAuthor(s): Doug Blandy and Elizabeth HoffmanSource: Art Education, Vol. 44, No. 1 (Jan., 1991), pp. 60-71Published by: National Art Education AssociationStable URL: http://www.jstor.org/stable/3193266 .

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Detail: Crazy Quilt. C 1885. Collection of Oregon State University. Photo by Nancy Bryant and Elizabeth Hoffman.

Resources for Research and Teaching About Textiles as a Domestic Art in Art Education

Doug Blandy and Elizabeth Hoffman

Cottage Grove, Oregon, is a small rural village of approximately 7,000 people situated in the foothills of the Cascade Mountain range at the southern end of the Willamette Valley. Settled in 1850 and incorporated in 1862, this town is largely dependent upon the timber industry. Readers may know it best as the location in which Buster Keaton made his film "The General."

Visitors to the main streets of Cottage

Grove are likely to enter a small storefront called "The Over-45 Shop." Customers will encounter an inventory of handicrafts by local citizens over the age of 45. Possible purchases will include utilitarian objects associated with the home. Processes used to make these objects include crochet, knitting, embroidery, needlepoint, wood- working, ceramics, tatting, leatherwork, sewing, and rug-hooking, among others.

For most people entering the "Over-45

60 Art Education/January 1991



Shop," their primary purpose will be to purchase a new covering for a bed, clothes for a child's doll, potholders for the kitchen, or a whirly-gig for the garden. However, objects like these that are associated with the "Over-45 Shop" are also being seri- ously attended to by scholars from women's studies, American studies, folklore, popular culture, and material culture. These objects are variously known to these scholars as examples of the gentle arts (Isaacs, 1987), woman's art (Parker and Pollack, 1981), folk art (Dewhurst, MacDowell, and MacDowell, 1979; Jones, 1987), hobby art (Lippard, 1984), family arts (Pacey, 1984), and domestic arts (Isaacs, 1987). These objects are the focus of research into the nature of aesthetics and artmaking.1

Domestic art has also been studied by art educators. Collins and Sandell (1984) have brought to our attention the domestic arts through their discussion of the "hiddenstream." The hiddenstream is primarily associated with women artists who weave, quilt, stitch, do ceramics, and engage in body decoration. This work is closely linked with the pressing needs of everyday life and is produced within the domestic or home environment. The achievements of artists working in the hiddenstream, according to Collins and Sandell, include the sophistication of forms and processes with both an aesthetic and utilitarian purpose, the integration of art production and values with everyday life, craftsperson- ship, institutions such as quilting circles which reinforce community, and the recyclability of materials, among others. Collins and Sandell also note that artists working in the hiddenstream have "in- spired" artists working in the "mainstream." This inspiration is at times acknowledged, but is very often unacknowledged.

Collins' and Sandell's recommendations

1 For the purposes of this article, these objects will be referred to as domestic art. Domestic art is a phrase that has gained popularity in recent years to describe those arts made primarily by women in the home for a private audience - usually for family or close friends. The conditions under which the makers produced the art and the relationship between the maker and object and between the object and viewer/ user may be quite different from those relations apparent in the fine arts world. Usefulness seems to be a significant factor in the production of domestic art. Also, works are often the result of collaborative efforts.

to include hiddenstream or domestic art and artists in art education curriculum is not incongruent with those rationales developed by art educators advocating for multi-cultural, and community-based art education (McFee, 1966; McFee and Degge, 1977; Chalmers, 1974). These scholars have long recognized the importance of art and artists working outside of the so-called fine arts world. However, in the years following Collins' and Sandell's introduction of the hiddenstream to art educators, there has not been a wide- spread acknowledgement or inclusion of domestic art in art education publications and curriculum. There are, of course, notable exceptions. Congdon, (1986; 1989) has argued for the importance of including the language and criticism associated with the domestic arts in art education. Her articles on the inclusion of folk art in art education also support the inclusion of work by domestic artists (Congdon, 1987; 1986; 1985). A place for domestic art in art education has also been supported through the application of democratic principles integral to life and education in those nations purporting to be democratic (Blandy and Congdon, 1987). On a few occasions, domestic art has been included in the instructional resource pages inserted in Art Education (Cole, 1989; Capetta, A., and Fitzgerald, D. 1989), as well as on the cover of this periodical (Clark, 1985a, 1985b; Lewis, 1988).

Although we regret not seeing more domestic art considered in art education, we are not surprised by its absence. Its historical "hiddenness" has probably prevented many art educators from easily accessing resources associated with it. Its disparagement by the fine arts world has meant that domestic art and writings on domestic art will not appear in those institu- tional and print resources, such as art museums and fine arts publications, with which art educators are most familiar. We do not mean to imply, however, that resources are not available. Although art critics, art educators, aestheticians, and art historians have largely ignored the domestic arts, our research shows that scholars from other disciplines have not. An exten- sive and growing record of domestic art is currently being compiled by scholars from such fields as home economics, women's studies, folklore, American studies, and

Art Education/January 1991 61



popular culture. Art educators first encoun- tering such resources available on domestic art may be overwhelmed by the apparent massiveness of a topic associated with the many art forms integral to it.

It will be our purpose in this article to focus on resources associated with one facet of domestic art. Our concem will be with textiles. The breadth of this topic leaves one wondering how it could possibly be "hidden." Textile structures alone may include non-yarn structures (e.g., tapa, felt); non-woven textiles and processes (e.g., spinning, knitting, crochet, sprang, netting, braiding, knotting, twining); woven textiles, which may further be classified by loom type, fabric width, and/or weave structure; multiple fabric component structures (e.g., piecing, applique, quilting); embellishment and surface design (e.g. application of dyes; embroidery, quill, bead, and feather work); and multiple structures under one classification (e.g., basketry, lace). By concentrating on the myriad resources available in this one area, we hope to provide a categorical framework through which art educators can access other domestic art resources. Our approach to the topic is also cognizant of the many ways in which students learn and researchers access information. Conse- quently, readers will be referred to print as well as non-print resources. Sources presented will include approaches to self/ community studies; materials from clubs and guilds, special projects, retail stores, mail order, county fairs, and government; trade journals; galleries, museums, collections, and archives; library resources; university instructional media centers; and other miscellaneous sources. Although we believe our categories of resources are nearly exhaustive, the resources listed within each are purposely eclectic and only suggestive of the richness of each category. No one textile structure will be covered in all categories, but many textile structures will be given in order to demon- strate resources available in the various categories and to provide the reader with a broad orientation to textiles as a domestic art. We assume our readers will add to each category, and we recognize a need for the addition of new categories based upon the individual needs of scholars and students. In addition, the reader is cau- tioned that the addresses and telephone

numbers of the commercial and not for profit organizations may change.

Self Study/Community Study Collins and Sandell (1984) characterize the hiddenstream or domestic tradition as one that is primarily accessible through the interpersonal relationships between family members or between members of the same community. Techniques, processes, materials, and history are passed down to succeeding generations as are the surviv- ing products. This being the case, we first urge art educators and students to consider their families and communities or themselves as depositories of domestic art resources.

In our own researching and teaching about domestic art, we have found that the hope chests, cedar chests, sideboards, and blanket chests of our students, colleagues, family, and friends contain many fine examples of domestic art work. At times, our students and colleagues are practicing domestic artists. The personal narratives associated with these objects will reveal contextual information on the women and sometimes men who made them. Tales of cross-country trips, immi- gration, marriage, births, friendship, and death are often intimately connected to the products preserved. Print resources can be used to complement textile finds and oral history by identifying structure types, materials, and popularity of techniques in certain eras. For example, two resources which would illuminate lace and knitted forms, respectively, are:

Earnshaw, P. (1980). The identification of lace. United Kingdom: Shire Publi- cations, Ltd.

Macdonald, A. (1988). No idle hands: The social history of American knitting. NY: Ballantine Books.

Recommended sources for guiding access to a family's or community's oral history of domestic art can be facilitated through the following publications or projects:

Bartis, P. (1981). Folklife and fieldwork: A layman's introduction to field techniques. Washington D.C.: Ameri- can Folklife Center.

This publication contains a practical introduction to folklife fieldwork. Bartis' purpose" ... is to suggest some practical techniques for the collection of folklife




materials and to assist the non-specialist in doing the kinds of collecting that can make a lasting contribution to our knowledge of American civilization" (p. 1). Guidelines are given on what to collect, possible interview subjects, interviewing techniques, and possible purposes for the research. A model tape log and fieldwork data sheet are given. Bartis also provides the reader with a list of recommended readings and folklife studies and fieldwork. For those interested in photo-documentation, several fine examples associated with domestic art illustrate this publication.

The Foxfire Fund, Inc., Rabun Gap, GA 20568.

The Foxfire project conceived and directed by Eliot Wigginton and as evi- denced in the Foxfire books offer evidence of the success that oral history projects related to folk culture can have in a school setting. A complete description of this project with rationales, methodology, and anecdotal information is available in:

Wigginton, E. (1985). Sometimes a shining moment: The Foxfire experi- ence. Garden City, NY: Anchor Press/Doubleday.

The Massachusetts History Workshop, P.O. Box 755, Cambridge, MA 02238.

The Massachusetts History Workshop is a community-based project pursuing a "democratic" approach to history. Commu- nity residents and historians collaborate to record the history of those whom academic history has ignored. The workshop provides education, technical assistance, project development, and publications.

The Oral History Center, 57 Inman Street, Cambridge, MA 02139.

The Oral History Center has a strong educational focus and seeks to serve teachers, museum educators, curriculum specialists, social service workers, and others. Some of their projects use the arts to illustrate personal narratives. Consulta- tion and technical assistance are provided.

Many state arts councils or governments include a staff member or work with an outside consultant who specializes in folk art and folklife. Readers can consult their state arts council for the name of this individual. In addition, many universities and colleges include faculty with an interest in this subject. These individuals can also be contacted for information on doing folklife research.

Clubs, Guilds, and Study Groups For every textile structure, there is poten- tially a club, guild, or study group attached to it. These organizations exist for different reasons. Some see their primary function as social, providing an opportunity for friendship and social interaction. Others promote a charter based on educational pursuit. Many people find their textile group a convenient forum for political discussions and/or social reform.

Local or regional organizations are often part of national groups. Other local groups may have been started among a group of friends with similar interests. Some groups, like quilting clubs, limit their numbers because of the finite amount of space a group can gather around a quilting project. The city library or local fabric/craft stores are good places to investigate groups in any given region. Group leaders will often leave cards or flyers in libraries and businesses indicating group demographics and notices of membership possibilities.

National memberships such as the American Needlepoint Guild, Inc.; The American Quilt Study Group; The Ameri- can Sewing Guild; The Center for the History of American Needlework; The Embroiderers Guild of America; The Handweavers' Guild of America; The Knitting Guild of America; The National Standards Council of American Embroider- ers; and the Surface Design Association, have highly structured organizations, calendars, events, and publications which

Child's dress and cap. V 1880's. Collection of Oregon State University. Photo by Nancy Bryant and Elizabeth Hoffman.

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have grown out of their initial charters.2 For example, the American Quilt Study Group (AQSG) is primarily a research organization that is dedicated to "uncovering" the history of quilts and providing quilt-related information to those who desire consult- ants. They sponsor an annual seminar to present research papers which are then published in their journal Uncoverings. They also publish a newsletter entitled Blanket Statements. Their headquarters address is 833 Market Street, Suite 620, San Francisco, CA 94103; (415) 495-0163.

This group can be contrasted with the Handweavers' Guild of America, which is primarily a professional organization for weavers, spinners and dyers. It sponsors Certificates of Excellence in handweaving and spinning: its focus is one of preserving and sustaining the textile arts. Shuttle, Spindle & Dyepot, a quarterly magazine, provides members with exhibit and book reviews, information on new techniques and technology, as well as featuring artists in the field. Their office is located at 120 Mountain Avenue, Suite 101 B, Bloomfield, CT 06002, (203) 242-3577.

Special Projects Several textile techniques lend themselves well to collaborative process. This is especially true of piecework and quilting. Political groups have capitalized on the inherent qualities of these textile techniques to produce significant and oftentimes monumental art.

The Boise Peace Quilt Project (BPQP) is an onqoing project that promotes "people-to-people" peacemaking. (BPQP,

"2For a detailed listing of fiber-arts membership associations see Threads, August/September 1989 No. 24, p. 84.

personal communication, Spring 1989). It began as a small group of women wanting to do something to promote world peace. A long list of projects ensued. The "Rest, Dream, Act" quilt has been sent to sena- tors around the nation. It is hoped that they will sleep under the quilt, dream of peace, and through these visions act toward peace when making governmental deci- sions. The Soviet/American Peace Quilt involved Soviet and American women each portraying appliqued, cloth "photographs" of their children on a quilt. The Boise Peace Quilt Project also makes a quilt annually and awards it to someone who has worked toward world peace. The BPQP provides sewing information, organizational tips, sample postcards for those who would like to start their own groups, as well as nomination forms for Peace Quilt Award nominees. For more information write: Boise Peace Quilt Project, PO Box 6469, Boise, ID 83707; (208) 378-0293.

Another collaborative statement is exemplified in "The Ribbon." Justine Merritt envisioned a ribbon of peace encircling the Pentagon which would be made up of tens of thousands of segments, each created by individuals who responded to the problem: "What I cannot bear to think of as lost forever in a nuclear war." This amazing, grassroots, and highly emotional and visionary public arts project culminated in August 1985. The event is documented in the following book:

Philbin, M. & Lark Books Staff (Eds.). (1985). The ribbon/A celebration of life, Asheville, NC: Lark Books.

A third project which has been listed as one of the largest ongoing community arts projects in the history of the United States, is The Names Project. Begun in 1987, Cleve Jones and Mike Smith devised an idea for a quilt made up of banners 3' by 6'; each commemorating someone who has died of AIDS. Eloquently describing the creation, execution, and initial showing of the quilt at the Capitol Mall in Washington, D.C. on October 11, 1987, is the work:

Ruskin, C. (1988). The quilt: Stories from the Names Project. NY: Pocket Books.

County Fairs The first regional fair was mounted in the United States in 1807 by Elkanah Watson




(Office of Folklife Programs and Renwick Gallery of the National Museum of Ameri- can Art, 1982). Early fairs concentrated on agricultural processes and techniques; however, by the middle of the nineteenth century arts and crafts associated with the household began to be included.

The tradition of fair exhibits dedicated to textiles has continued since that time. The variation of entrants to such exhibits is great. Readers are referred to the coordi- nators of county fair exhibits as well as the entrants as valuable community-based resource persons. For example, the Lane County Fair Exhibitor's Handbook (1989) lists textiles as a discrete department with 16 divisions. These divisions include linens, fabric painting, knitting, crochet, artistic handiwork, afghans and quilts, tatting, garments of woven materials, garments of knit materials, rugs, weaving, handspun yarn, men's department, women's department, junior department, and special categories. Each of these divisions contains up to 36 subdivisions of possible entries. Included also in fair activities are numerous demonstrations and consultations that are open to the public.

Museums/Collections/Archives Museums and cultural centers provide exhibit space for actual textile items. Often, exhibits will be accompanied by publications related to the items shown. Though generally taken out of their domestic context and often isolated on walls or in display cases, textile items in exhibit spaces can be appreciated by viewers for their unique formal qualities as well as for their structural detail. The diversity in the size and structure of public and private; local, regional, and national institutions is matched only by the variety of artifacts they house. In this regard, it is important to not overlook smaller, less well-known local and regional resources. Such sites can hold specific and noteworthy collections. For example, the University of Oregon Museum of Art contains one of the finest collections of Asian costume and textiles in the United States. The Oregon Historical Society at 1230 SW Park Avenue, Port- land, OR 97205 houses over 100 quilts of socio-historical significance along with many other textile artifacts such as 19th and early 20th century costume of Oregon

residents. The Los Angeles County Art Museum is nationally recognized for recently establishing the American Quilt Research Center to provide a national repository for the objects and archival material that will facilitate interdisciplinary research in the area of quilts and quiltmaking. The museum's continually expanding collection encompasses three centuries of American and European quilts.

Exhibition catalogs are often culminating products from permanent or special exhibits that feature unique or unusual collections. Often these catalogs are the result of collaborative scholastic efforts. Publications such as the following are exemplary.

Bier, C. (Ed.). (1987). Woven from the soul, spun from the heart: Textile arts of Safavid and Quarjar Iran, 16th-19th centuries. Washington, DC: The Textile Museum.

Fitzhugh, W. & Crowell, A. (1988). Crossroads of continents: Cultures of Siberia and Alaska. Washington, DC: Smithsonian Institution Press.

Vincent, M. (1988). The ladies' work- table: Domestic needlework in 19th c. America. Hanover, NH: University Press of New England.

Besides providing exhibits, accompany- ing publications, and artifact storage, museums may take an active part in efforts such as the recent statewide quilt documentation projects. At least 29 states have been involved in studying and documenting quilts, their makers, and related textile traditions. Because these items are seen as having social and historical significance, museum personnel are often chosen to record and compile data. An excellent example of a case study of this type is:

Clark, Ricky (1988). Quilt documentation: A case study. In M. Motz and P. Browne (Eds.), American home/ Middle-class women and domestic material culture 1840-1940, (pp 158- 192). Bowling Green, OH: Bowling Green State University Popular Press.

Businesses, government agencies, public and private organizations, and educational institutions may have adjunct collections and/or archives which can be used by the textile researcher. For example, Oregon State University in Corval- lis, Oregon, has a fine clothing and textiles study collection housed and used primarily




by the Department of Apparel, Interiors, Housing, and Merchandising. This collection is open to outside researchers by appointment. The University of Oregon's Department of Folklore maintains a folklore archives to document student and faculty research. Among those items documented are textiles. A large slide collection of quilts is available for study.

Resources by Academic Discipline As mentioned earlier, scholars within various academic disciplines including women's studies, American studies, popular culture, home economics, folklore, history, anthropology, and sociology are researching questions relating to domestic arts, makers, and appreciators. Scholars working in each of these disciplines bring to the topic a specific and unique perspec- tive.

The study of textiles is included in this research. The resources available from each of the academic disciplines are too numerous to mention in this article. The reader is advised to consult with a research librarian at a college or university for assistance in locating the books, periodicals, monographs, museum catalogs, research reports, documents, disser- tations, and theses through which scholars are communicating their research efforts. Research librarians can also assist in identifying appropriate and accessible bibliographic tools for this purpose.

However, to provide one example of the possible resources associated with an academic discipline, we cite the contribution to textile research by Kate Peck Kent. Recently deceased, Dr. Kent was professor emerita of anthropology at the Univer- sity of Denver and a research associate at the Museum of International Folk Art in Santa Fe, New Mexico. She is widely regarded as an authority on Native Ameri- can weaving. The following titles suggest the depth of her investigations:

Kent, K. (1985). Navajo weaving/three centuries of change. Sante Fe, NM: School of American Research Press.

- (1983a). Pueblo Indian textiles: A living tradition. Santa Fe, NM: School of American Research Press.

- (1983b). Prehistoric textiles of the southwest. School of American Research Southwest Indian Arts Series. Albuquerque, NM: University

of New Mexico Press. - (1976). Pueblo and Navajo weaving

traditions and the western world. In Nelson H. H. Graburn (Ed.). Ethnic and tourist arts: Cultural expressions from the fourth world (p. 85-101). Berkeley, CA: University of California Press.

- (1961). The story of Navajo weaving. Phoenix, AZ: The Heard Museum.

Resources Available by Cultural Group Information on textiles is available through the study of cultural group distinctions. Museums, exhibits, research reports, and "how-to" publications will consider various textile forms and techniques as they may relate to a particular cultural group. Re- searchers and students examining the treatment of cultural groups across scholastic and popular sources can note conceptual similarities and differences. Interestingly, access to quantity and quality of information often will depend on the current "fashionability" of a particular cultural group among curators, researchers, and the general public. It is also important to acknowledge that "culture" as a means of distinguishing differences among people is a relatively recent phe- nomenon. Clifford (1988) reminds us that "culture" began to be seen as such in the early twentieth century as applicable to " ... all the world's functioning socie- ties ..." (p. 235). He advises us to see cultures not as rigid and discrete, but "contingent, syncretic, historical" (p. 235).

The following African-American, Amish, and Seminole resources respond to textiles as the process and product of various cultural groups currently enjoying a vogue among exhibitions, curators, researchers, and the general public. As such, citations will include trade and popular journals as well as scholarly contributions. In this way, it is possible to see how cultural groups are presented to different audiences.

African-American Quilting African-American quilting is increasingly attracting attention. Though "how-to" literature has not yet materialized, the influence of African-American quilts on interior design is becoming readily apparent by the number of such pieces sought by public and private collectors. The following publications, almost all from the




last five years, evidence recent interest in this textile process and product:

Burdick, N. B. (1989). Legacy: The story of Talula Gilbert Bottoms and her quilts. Nashville, TN: Rutledge Hill Press.

Ferrero, P.; Hedges, E.; & Silber, J. (1987). Hearts and hands/the influence of women and quilts on Ameri- can society. San Francisco, CA: The Quilt Digest Press.

Fry, G. (1989). Stitched from the soul: Slave quilts from the antebellum south. New York: Dutton.

Leon, E. (1988). Cut it down the middle and send it to the other side, improvi- sational technique in African-Ameri- can quilts. Threads, (19). pp. 70-75.

Leon, E. (1987). Who'd a thought it: Improvisation in African-American quilting. San Francisco, CA: San Francisco Craft and Folk Art Mu- seum.

McDaniel, G. W. (1982). Hearth and home: Preserving a people's culture. Philadelphia, PA: Temple University Press.

Ramsey, B. (1989). Country to city: Changing styles in Afro-American quilts. Quilting Today, (12) 56-67.

Tournier, Nan. (n.d.). Sea Island Black Quilters. In L. Horton & L. R. Myers (Eds.) pp. 40-46, Social fabric: South Carolina's traditional quilts. University of South Carolina, McKissick Mu- seum.

Vlach, J. M. (1978). The Afro-American tradition in decorative arts. Cleveland, OH: Cleveland Museum of Art.

Wahlman, M. S. (1989). African-Ameri- can quilts: Tracing the aesthetic- principles. The Clarion, 14(2), 44-54.

Wahlman, M. S. (1989). Religious symbolism in African-American quilts. "The Clarion, 14(3), 36-43.

Amish Quilting Another textile structure specific to a cultural group which has had great popularity in the recent past is the Amish traditional quilt. The traditional Amish aesthetic of a clear, cool palette and clean, simple lines has greatly influenced Ameri- can interior and clothing design. The film "Witness," reflects the American public's enchantment with a lifestyle that is counter to the fast-paced, technologically oriented

mainstream norm. Many quilt books carry specific chapters on Amish design. As design, it is recognized as a distinct and static style, even though the contemporary Amish quilt aesthetic differs greatly from earlier times. Refer to the following works:

Bishop, R., & Safanda, E. (1976). A gallery of Amish quilts, design diversity from a plain people. New York: E. P. Dutton.

Bishop, R., & Safanda, E. (1975). New discoveries in American quilts. New York: E. P. Dutton.

Boynton, L. (1986). Recent changes in Amish quilting. Uncoverings, 6, 33- 46.

Brackman, B. (1988). New Amish quilts. Quilter's Newsletter Magazine. (204), 46-54.

Cory, P. (1985). Quilting designs from the Amish. Lafayette, CA: C & T Publishing.

Haders, P. (1976). Sunshine and

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Left: Thongkam Rangsith with an example of her silk woven skirt or "sin", Portland, Oregon, C 1970. Photograph (Dk-A36.006) courtesy of the Randall V. Mills Archives of Northwest Folklore, University of Oregon. Lower left: Vivian Woodward with examples of her tatting, Nehalem, Oregon, Q 1980. Photo- graph (Dk-A61-001) courtesy of the Randall V. Mills Archives of North- west Folklore, University of Oregon. Lower right: Mourning Quilt, craftsperson(s) unknown, from the collection of Audrey Peters, Q 1880. Photo- graph (Dk-A65.00) courtesy of the Randall V. Mills Archives of North- west Folklore, University of Oregon.

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shadow, the Amish and their quilts. NJ: The Main Street Press.

Horton, Roberta. (1983). Amish adven- ture. Lafayette, CA: C & T Publishing.

Pellman, R. & Pellman, K. (1985). Amish crib quilts. Intercourse, PA: Good Books.

Pellman, R. & Pellman, K. (1986). Amish doll quilts, dolls, and other playthings. Intercourse, PA: Good Books.

Pellman, R. & Pellman, K. (1984). The world of Amish quilts. Intercourse, PA: Good Books.

Pottinger, D. (1983). Quilts from the Indiana Amish. New York: E. P. Dutton.

Young, B. & Young, H. (1980). Trip around the world quilts, a new approach. CA: Young Publications.

Seminole Piecework Seminole piecework is a good example of a textile technique that has been "lifted" from its cultural context and popularized by the general American sewing public. Many domestic artists have used the technique in their work, though few seem to know its derivation or use in Seminole costume. The following bibliographic citations focus on Seminole culture as well as "how-to" texts often found in trade journals.

Bradkin, C. G. (1982). The Seminole patchwork book. Atlanta, GA: Yours Truly.

Capron, L. (1956). Florida's "wild" Indians, the Seminoles. National Geographic, 60, (6), 810-840.

Capron, L. (1969). Florida's emerging Seminoles. National Geographic, 136 (5), 716-734.

Davis, H. J. (1955). The history of Seminole clothing and its multi- colored designs. American Anthro- pologist, 57 (5), 974-980.

Emerson, W. C. (1954). The Seminoles: Dwellers of the everglades. New York: Exposition Press.

Folkwear. (1982). Seminole jacket and skirt. San Rafael, CA: Folkwear, Inc.

Littlefield, Jr., D. F. (1977). Africans and Seminoles. CN: Greenwood Press.

McReynolds, E. C. (1957). The Semino- les. OK: University of Oklahoma Press.

Wood, M. (1981). Native American fashion. New York: Von Nostrand Reinhold.

Yund, G. (1989). Seminole patchwork deciphered, a primer on strip piecing. Threads, (25), 39-43.

When researching textile techniques by culture, it is vitally important to become aware of design or use restrictions dictated by the culture group. For example, use of certain motifs of the Kwakiutl, a Northwest coast Native American group, for commercial purpose by outsiders is considered a robbery by the Kwakiutl nation. Use of Navajo sandpainting designs by Navajo weavers is still controversial within the Navajo culture. Such use by non-Navajo would be ethically questionable. It is important to be sensitive to ownership and use issues as matters of ethical conduct in a pluralistic society.

Commercial Resources Commercial resources should not be overlooked as depositories of information useful to academic purposes. Fiber-related businesses, trade journals, and pattern companies will reflect public interests related to textiles and textile processes. The "Over-45 Shop" mentioned previously in this article is but one example. Re- sources of this type will include businesses and publications like the following.

"In the Beginning" at 8201 Lake City Way NE, Seattle, WA 98115 (206) 523- 8862 is a store that promotes home sewing, quilting, and related needle arts. Besides having a large inventory of products, they also offer a wide variety of classes, publish a seasonal newsletter, sponsor quilt block exchanges and con- tests, and serve as a clearing house for textile information and resources. The newsletter lists related conferences and exhibits, sales specials, book reviews, technique and technology updates, as well as local and national gossip. Though well- known and well-defined by its audience, similar types of information can be gleaned from local retailers on a smaller scale.

Other companies are structured primarily for mail order business. Mail order catalogs can carry a wealth of information. "Needlearts, International," PO Box 6447, Glendale, CA 91225 offers patterns, tools, materials, and instructions for techniques borrowed from other countries. For example, shashiko, an ancient Japanese needle art form that can be used as embroidery or quilting is currently of




interest in the American needle arts community. "Needlearts, International" offers shashiko thread, thimbles, needles, etc., so clients can effect the designs. Also available from this company are Japanese yukata fabrics, Malaysian and Indonesian batiks, and a large selection of books pon international fabric design.

"Pueblo to People," 1616 Montrose #3600, Houston, TX 77006, is a non-profit organization that depends on mail-order enterprise to support women's coopera- tives from Latin America. Innovative in structure and marketing, "Pueblo to People" markets goods produced by such organizations as MADRE, COMADRES, the Women's International League for Peace and Freedom, and Women for Guatemala. The charter for most of these organizations is founded on working toward world peace. Fabrics, clothing, totes, purses, hammocks, baskets, and table linens are among the fiber products available for sale.

One of the primary ways of understanding art is to become familiar with an artist's process. Having contact with the tools or materials of a particular art form can elicit new perspectives and reshape opinions. An excellent resource which provides insight to historical and cross-cultural clothing design is:

Burnham, D. K. (1973). Cut my cote. Toronto: Royal Ontario Museum.

Many pattern companies offer unique experiences for beginning sewers. "Folk- wear" has published a series of patterns based on historic and cultural origin. Oftentimes costume lore and options for contemporary or traditional techniques are given along with the pattern pieces. The Taunton Press, publisher of Threads, has recently purchased the Folkwear pattern company. They are planning to reissue thirty original patterns beginning in June 1990, then gradually add new patterns. "Past Patterns," PO Box 7587, Grand Rapids, MI, 49510 (616) 245-9456, offers a variety of patterns from the Victorian Age to the present. Can you think of a better way to understand the effect of the corsetted silhouette upon American women than to order a corset pattern, make one to "fit" your body, and try wearing it for a day? Such experiences offer new ways of understanding fashion as user as well as maker.

A plethora of "how-to" books are readily apparent and available to readers seeking guidance in the production of textiles. Some works supply much more than "how- to" information. The following books are resources of this type.

Davison, M. P. (1944). A handweaver's pattern book. PA: John Spencer, Inc.

This work is one of the best references for interpreting loom draft patterns.

Gostelow, M. (1983). Embroidery, traditional design, techniques, and patterns from all over the world. NY: Arco.

This book is considered to be a classic in the area of embroidery. It is organized by geographic region. Techniques and processes are discussed in the socio- cultural context of each region.

Lewis, A. A. (1973). The mountain artisans quilting book. NY: Macmillan Publishing Co., Inc.

One of the first books written before the publishing avalanche of quilting books which continue to flood today's market. Appalachian quilting is highlighted as a folk arts tradition.

McClun, D., & Nownes, L. (1988). Quilts! quilts! quilts! The complete guide to quiltmaking. SF: The Quilt Digest Press.

Detail: 19th century overshot coverlet. Collection of Oregon State University. Photo by Nancy Bryant and Elizabeth Hoffman. (Back and front of coverlet shown)

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This recent publication comprehensively explores the quiltmaking process. Areas of focus include quilting, applique, piecework, fabric selection, pattern choice, color theory, block sequence/set, batting, binding, and border selection.

Naderstern, P., & Hancock, L. N. (1988). Quilting together: How to organize, design, and make group quilts.

This book focuses on collaborative quilt projects. Group projects with historical significance, a political quest, and fund- raising objectives are featured. The authors also include suggestions for producing a collaborative quilt from initia- tion to execution.

Wilson, E. (1973). Erica Wilson's embroidery book NY: Charles Scribner's Sons.

Historical comments about and instructions for crewel, needlepoint, blackwork, whitework, metallic work, stump work, and applique make this one of the most com- prehensive and well-used embroidery resources ever written.

Trade journals are also an excellent source of "how-to" information and like retail stores, generally reflect the interests of the majority of their clients. Threads is published bi-monthly by the Taunton Press, Inc., 63 S. Main Street, Newtown, CT 06470, (203) 426-8171. Letters,

questions, tips, calendars, book reviews, and supply listings accompany feature articles on the many textile structures listed earlier in this article.

Some books are noteworthy for their ability to visually represent textiles in a way which is instructive, but also aesthetically pleasing. Often, photographers are listed along with the authors of the text. Three such works which promote visual understanding of the beauty of textile forms are:

Collingwood, P. (1987) The maker's hand, a close look at textile structures. Colorado: Interweave Press. Photographer: David Cripps.

Fassett, K. (1985). Glorious knits. NY: Clarkson N. Potter. Photographer: Steve Lovi.

Sahashi, K. (1988). Exquisite, the world of Japanese kumihimo braiding. Tokyo: Kodansha International. Photographer: Akihiko Tokue.

Films, Videotapes, and Slide/Tape Presentations Films, video-tapes, and slide/tape presentations on domestic art are available on most university campuses and/or through media lending agencies. Because of the cross-disciplinary nature of textiles, one might have to rely on the expertise of a media librarian to locate them. Four films which are exceptional are:

Cantow, R. (1981). Clotheslines. New York: Buffalo Rose Productions.

Film vignettes of women sharing their attitudes about laundry and demonstrating their own techniques yield a wealth of information concerning gender roles and expectations, social mores, and aesthetic satisfaction. The diversity of approaches to something as simple as folding towels supports the notion that a closer look at our everyday lives can reveal monumental discoveries.

Ferrero, P. (1987). Heart and hands: The influence of women and quilts in American society. San Francisco, CA: The Quilt Digest Press.

This film and book explore the role of women and textiles in the 19th century. Using eras in American history such as the westward expansion, the Civil War, and the Suffragette Movement, the authors present a history which reveals women as active, political beings.




Frederic Burk Foundation for Education. (1980) Quilts in women's lives. San Francisco, CA: Ferrero Films.

Nine women quilters give testimony to their art. Each explains why she quilts, what inspires her to create in cloth, and how quiltmaking fits into her life.

Sherman, S. (1979). Kathleen Ware, quiltmaker. Eugene, OR: Folklore Program, University of Oregon.

This film documents the entire process of piecing and quilting a Lone Star quilt. The daily life of the quiltmaker is included.

Machine-Readable Data File The Clothing and Textile Arts CD-ROM includes a summary or description of each article listed. It contains over 17,000 citations published since 1970. Edited and produced by Sandra S. Hutton, a search can be set up by key terms, author, and other citation information. It is available by subscription only with yearly updates. Subscription price = $395. Orders can be sent to: The Clothing and Textile Arts Index, PO Box 1300, Monument, CO 80132; (719) 488-3716.

Conclusion In this article we have suggested a categorical methodology to the domestic arts through which access to information on textiles as a domestic art becomes possible. In doing this, we have also recommended print and non-print resources that art educators can use in teaching and researching topics related to domestic arts generally and textiles specifically. Our choice of resources has been eclectic for the purpose of demonstrating the breadth of materials related to textiles as a domestic art. Our purpose has been to demon- strate that the domestic arts are less hidden than we might suspect and that their hiddenness might be symptomatic of attitudes held by those associated with fine arts disciplines as opposed to other disciplines such as home economics, American studies, popular culture, and women's studies. It is our hope that this bibliographic essay will contribute to teaching and inquiry related to the topic.

The research associated with this article was supported in part through a curriculum development grant from the Study of Women in Society, University of Oregon, Eugene, Oregon 97403.

Doug Blandy is an Assistant Professor in the Department of Art Education at the University of Oregon. Elizabeth Hoffman is a Ph.D student in the same department and Associate Editor of the 1989 issue of the Journal of Multi-cultural and Cross-cultural Research in Art Education.

References

Blandy, D. & Congdon, K. G. (Eds.) (1987). Art in a democracy. NY: Teachers College Press.

Capetta, A. & Fitzgerald, D. (1989). Story cloth. Art Education, 42 (4), 25-26.

Chalmers, F.G. (1974). A cultural foundation for education in the arts. Art Education, 27 (1), 20-25.

Clark, G. (Ed.). (1985a). The Star of Bethlehem or Rising Sun, c. 1825. Quilt by Betsy Trotten. Art Education, 37(1), cover.

Clark, G. (Ed.). (1985b). Crazy Quilt, 1890-1900 by Martha Flowers. Art Education, 38 (6), cover.

Clifford, J. (1988). The predicament of culture: Twentieth-century ethnography, literature, and art. Cambridge, MA: Harvard University Press.

Cole, E. (1989). The allegory of the unicorn. Art Education, 42 (4), 25-26.

Collins, G. & Sandell, R. (1984). Women, art, and education. Reston, VA: National Art Education Association.

Congdon, K. G. (1985). The study of folk art in our school's art classrooms: Some problems and considerations. Journal of Multi-cultural and Cross-cultural Research in Art Education, 3 (1), 65-75.

Congdon, K. G. (1986). The meaning and use of folk speech. Studies in Art Education, 28 (2), 93-106.

Congdon, K. G. (1987). Toward a theoretical approach to the study of folk art: A definition. Studies in Art Education, 28 (2), 93-106.

Dewhurst, C. K., MacDowell, B., & MacDowell, M. (1979). Artists in aprons: Folk art by American women. NY: E. P. Dutton.

Isaacs, J. (1987). The gentle arts: 200 years of Australian domestic and decorative arts. Sydney: Landsdowne Press.

Jones, M.O. (1987). Exploring folk art: Twenty years of thought on craft, work, and aesthetics. Ann Arbor: UMI Research Press.

Lane County Fair exhibitor's handbook. (1989). Eugene, OR: Lane County Fair.

Lewis, H. P. (Ed.). (1988). Guatemala, Samayac Cape. Art Education, 41 (6), cover.

Lippard, L. (1984). Making something from nothing (Toward a definition of women's "hobby art"). Get the message ? A decade of art for social change (pp. 97-109). New York: E. P. Dutton.

McFee, J. K. (1966). Society, art and education. In E. C. Mattill (Ed.), A seminar for research in art education (pp. 122-140). University Park: Pennsylvania State University.

McFee, J. K. & Degge, R. M. (1977). Art, culture, and environment. Dubuque, IA: Kendall/Hunt.

Office of Folklife Programs and Renwick Gallery of the National Museum of American Art. (1982). Celebration: A world of art and ritual. Washington, DC: Smithsonian Institution Press.

Pacey, P. (1984). Family Art: Domestic and eternal bliss. Journal of Popular Culture 18 (1), 43-52.

Parker, R. & Pollock, G. (1981). Old mistresses: Women, art and ideology. New York: Pantheon.




resources for research and teaching about textiles as a domestic art in art education

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