the company quilters keep - siue
TRANSCRIPT
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The Company Quilters Keep
Comparing Communal and Solitary Quilters in the Midwest
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The lives and work of communal and solitary quilters
can best be seen within a spectrum of communities
of value.
Community of Value
People they know
Places they go
Things they do
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Literature Review
History
Art vs. Craft
Feminist scholars and artists
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History
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Art vs. Craft
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Feminist scholars and artists
Photo from www.foundryartcentre.com
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Epistemology
Methodology
Inductive analysis
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Methods
Participant observation
Questionnaire with free-listing
Unstructured and informal
interviews
Digital photography
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Ethical Considerations
Respondents as experts
Names
Images
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Exhibit Components Text and graphic panels
Quilts
Internet gallery
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Thematic Structure of Exhibit
The Quilters
The Company they Keep
Quilt Qualities
Becoming a Quilter
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The Quilters New Bethel Quilters
Audrey Kays
Sun Smith-Foret
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Church and community
Family and friends
Art world and competition
The Company they Keep
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Quilt Qualities
Color
Fabric
Pattern
Symbolism
Experimentation
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Becoming a Quilter
Communal
Solitary
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Conclusions: Blurred Boundaries
“I’m probably a traditional quilter who wants to be an art
quilter. But I don’t know if I’ve ever really made the leap.”
- Audrey Kays
“People who make traditional quilts are often very sociable
and so are art quilters. There are guilds, just as in traditional
quilting guilds; there are groups and associations of people
who are doing that more experimental work. And another
similarity is that people absolutely learn from and copy each
other. That’s always been there.”
- Sun Smith-Foret
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Conclusions:
Communities of value can allow a more
in depth view of quilters’ experience.
But…it is important to remember that
most quilters are involved in more than one.
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Acknowledgments
Thank you, without your help this
project would not have been possible.
Dr. Cory Willmott, The New Bethel Quilters (Dorothy Wydra, Wanda Lovett,
Millie Overholtz, Sylvia Trebing, Margaret Prehn, Bev Jones, Judy Horton,
Karen O’Koniewski, Sharon McBrien, Linda Lawhead, Loretta Taber, Sylvia
Hester), Audrey Kays, Sun Smith-Foret, Joyce Williams, Jenice Belling,
and my family: Erich and Phineas Halstead
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Bibliography Bernick, Susan
1994 A Quilt is an Art Object when It Stands Up like a Man. In Quilt Culture. Cheryl B. Torsney and Judy
Elsley, eds. Pp.134-150. Columbia: University of Missouri Press.
Donnell, Radka
1990 Quilts as Women’s Art. North Vancouver BC, Canada: Gallerie Publications.
Holstein, Jonathan
1973 The Pieced Quilt: An American Design Tradition. Greenwich CT: New York Graphic Society.
Hughs, Philip
2010 Exhibition Design. London UK: Laurence King Publishing.
Mainardi, Patricia
1973 Quilts the Great American Art. Feminist Art Journal 2:1, 18-23.
McGinty, Kathryn R.
1988 Miriam Shapiro and the Language of Quilts. M.A. thesis, Department of Arts, California State
University.
Peterson, Karin E.
2003 Discourse and Display: The Modern Eye, Entrepreneurship, and the Cultural Transformation of the
Patchwork Quilt. Sociological Perspectives 46(4):461-490.
Sunstein, Bonnie S. and Elizabeth Chiseri-Strater
2007 FieldWorking: Reading and Writing Research. Boston: Bedford/St.Martin’s
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Exhibit The Company Quilters Keep will be shown
in the Morris University Center Gallery
Opening reception
May 6th 6:00-8:00pm
Normal hours
May 7th-25th
Monday through Friday
8:00am-4:30pm