I tried to wait before buying the second volume of Masters: Art Quilts, but when I was sitting the SAQA booth at IQF, it was right in front of me, mocking me. I didn’t open it at first, remembering how many days I spent reading (READING?) the first volume, knowing I was supposed to be working the table. That worked for a while; the table was busy, lots of people.

Then they were all gone. And the book was right in front of me. I grabbed it, opened it, saw the first quilt, and had to put it back when someone came up to the table. I did that about 5 times and finally gave up and decided to buy the damn thing.

Here’s the plus to buying it through SAQA…Lark Books is donating the full purchase price of the book ($24.95, worth every penny) to SAQA if you buy through us. Yes. I know Amazon is cheaper, but it doesn’t benefit an art quilting organization that happens to pay for a lot of the shows and publications my work gets into, so I chose to get it through them. It’s in the book sale section under retrospectives.

So back to the book. It’s a hefty beast, at 400+ pages. It focuses on 40 contemporary art quilters, with a few paragraphs on their technique, inspiration, and style by Martha Sielman, SAQA’s current Executive Director and a curator in her own right. I was impressed that I didn’t know all the artists’ names; I love to learn about new artists, and these books are wonderful for that. There are also about 5-10 pages of quilt pictures for each artist, interspersed with quotes from the artists themselves about their process or inspiration. The pictures make the book. They are as large as they can be on the page and in beautiful full color. Lark does a great job with publishing the Masters series.

Some of the artists you may have heard of include Jan Myers-Newbury, Emily Richardson, Chunghie Lee (who juried the Creative Force show that is traveling right now), Genevieve Attinger (in Creative Force), Paula Nadelstern, Rosalie Dace, Leslie Gabrielse, Nelda Warkentin, Dianne Firth, Alice Beasley, Mirjam Pet-Jacobs (in Sightlines), Jane Dunnewold, Laura Wasilowski, Eleanor McCain (juror for Quilt National 2011), Elizabeth Busch, and Dorothy Caldwell. I had seen a few of the quilts in the book, although mostly online. It’s wonderful to have them all in one place…the old Masters volume sits by my bed for pre-sleep perusal. This one can too.

I was impressed by Sielman’s inclusion of more male quilting artists. We know they’re out there, but often don’t hear from or about them, so it was a nice addition. Leslie Gabrielse’s work is very stylized, like art of the 1920s, but includes these surprises of plaid fabric in a woman’s leg that work to make the figure without overly distracting the eye. Arturo Alonzo Sandoval uses unique materials to make his art quilts, including velcro, metal, film, acetate sheets…you know, all the stuff we have around the house but haven’t made art out of yet (there’s still time, and now you have a role model). Jim Smoote was a real surprise to me; I had never heard of him (doesn’t mean much…I’m not the one who knows everything), but his portraits of African-American women are stunning portraits, skillfully placed in a modern setting. Someone please persuade him to get a website! Tim Harding was another new artist to me…I should clarify…I had seen one of his swimmer quilts before, but didn’t realize at the time that it was his work. His use of silks and folding the fabrics artfully treats the subject of water and swimmers…his vision is intriguing.

It’s hard to choose who else to focus on in this review…I really do feel that if you are working in or interested in art quilts in any way that you should own both these volumes. This book has a range of styles from figurative, through abstract, modern, and expressive. There are quilts reminiscent of landscapes, there are those that hint at our traditional background, there are portraits…which reminds me, I had not seen work by Carolyn Crump, and her use of color against the black outlines that looks so much like block printing is beautiful, but when she adds the stitching, the pieces sing. Her portraits are expressive and full of movement.

Bente Vold Klausen was another new artist to me. Her work seems to grow from some sense of violence upon her or others, with abstract figures created from newspaper articles wearing targets and surrounded by darkness. I had recently seen a reference to Izabella Baykova, another international artist whose work intrigues me. She uses sheer fabrics in her work; her figurative stories are wonderfully graphic, like a graphic novel, but so soft like Russia in winter. Her ability to manipulate her materials makes the silks and rayons glow.

The rest of the artists fill out an incredibly strong view of a piece of the current art quilting world. The book is inspiration for those of us working in and collecting quilt art; it contains solid examples of real ART in the fiber world, for those who don’t know what that is. I recommend this series and hope Lark continues to use Sielman’s curatorial skills in the future. For those looking for a voice, for their style, this book will help you to see what that looks like. For those who have a voice, this is pure inspiration and enjoyment.

Protected: This Quilt Is a Beast

Protected: Meeting the Nida’s

IQF Time Warp 2

I love that it takes me 9 months to finally get through all these photos. I’ll still be writing about the Scandinavian trip in 2012 probably.

This funky quilt is Color Comes to Back of Beyond, and is based on a colored-pencil drawing by Pauline McPharlin. The quilters are Janice Munzberg, Pam Holland, Pauline McPharlin, and Jeanette Coombes.

The group has done an amazing job making a drawing into a quilt, with the elements coming in from the left and the thread-painting used throughout the piece.

I wish there were somewhere they had written about the process they used; with 4 people involved, one of them a teacher, I’m curious how the delegation of work happened.

Here’s another piece of it.

This one looks like knees and legs to me, all under a big patchwork quilt. This is Pinnacle by S. Cathryn Zeleny, the title implying nothing to do with knees, of course.

The only other image I could find of a Zeleny quilt used a traditional quilt pattern to create these 3D shapes just like this one.

I know this is at a lousy angle, but there were 7 million people in front of this award-winning quilt, Mary Simon Rediscovered, by Nancy Kerns.

The pattern for the Baltimore blocks is a reproduction of a quilt by Mary Simon and can actually be purchased from the DAR Museum in Washington DC. Kerns designed the floral border herself and tried to stay true to the colors of the original piece. I’m a sucker for a nicely done Baltimore Album…it’s better to collect pictures of them than to try to do it myself, right?

I also like crazy quilts, and this one had a unique setting. This is Linda Steele’s Eastern Elements.

I’ve shown her crazy quilts here before (like one a year, I think).

The detailed embroidery and the settings for the blocks make her quilts stand above and beyond many crazy quilts.

Allison Aller’s Crazy in the Garden was inspired by the spring weather in her own garden.

Aller’s control of the color in this piece is very impressive. If you read her blog, you can watch her put this quilt together and make decisions about what goes where. Unfortunately, this piece went missing from a recent quilt market in Salt Lake City, Utah, along with 3 other quilts. C&T Publishing is offering a reward; details are here.

This is Kathy York’s Doors Across Austin.

You can read her statement about this particular quilt here. She dedicates the quilt to her son, who is autistic and doesn’t like change but does like novelty and bright colors. Although I photographed this quilt before I knew it was about her son, it was the mention of Temple Grandin that made me look twice. Temple Grandin is an autistic woman, writer, professor, consultant to the livestock industry on animal behavior, and doctor of animal science who has spoken up for many autistic people, showing the rest of the world that autism is not some sort of strange disease, but advocates early interventions and teaching coping skills. She has written a book about what it was like to grow up autistic, I’ve seen her in a few documentaries, and she has changed how the livestock industry deals with restraining and slaughtering animals, suggesting more humane ways to accomplish the tasks. In the video I watched, she actually gets in pens with the cows and lies down on the ground to get them to respond to her. The Woman Who Thinks Like a Cow is available online in pieces. I linked to the first portion on YouTube, if you’re interested. I’ve watched the whole thing…she has interesting comments on her childhood and her understanding of the bovine mind and how they’re linked.

This is Betsy Abbott’s Tidepool Treasure. This piece has lots of details…

but the bird’s head intruding on the sealife below is what really makes it interesting.

This is Rachel Wetzler’s The World, including work using Inktense pencils and Micron pens.

She writes a little bit about making the quilt on her blog, showing her inspiration from an antique map. Some of the animals are painted directly on the fabric and some are fused on. If you search through her posts for those titled The World, you can see some details and get more information about how she created each portion of the quilt. Note Adam and Eve peeking out in the center middle.

It’s an orange rhinoceros with blue hooves…it’s actually quite a beautiful creature, My Rhino by Pam Holland (same Pam as the one above, I believe).

This is an Albrecht Durer illustration from a few years back (1500 AD). He looks a little cranky carrying all that armor.

The totem pole is beautiful, but the delicate lines of the trees really make it stand out. This is Promise Fulfilled by Kathy Quinn Arroyo.

This is not a real totem pole; she studied the meanings of the different creatures and made a pole specifically for her family.

This is a very long and narrow quilt that is a study for a quilt reproduction of the entire Bayeux tapestry, a mere 238 feet long. This is Pam Holland again, who seems to have a lot more free time than I do, and is producing some very interesting work in that time…

Here is a closeup of one of the sections, so you can see the incredible detail she is putting into this sample.

I love his mustache. What’s also interesting is that I really didn’t pay attention to who made quilts when I took photos in Houston…I just took photos of what I liked and then a photo of the card, but I didn’t read the cards most of the time. I was all into the visual experience and didn’t want to mess it up with words…so for many of these, it’s the first time I’ve read the statement (or connected the fact that I photographed multiple quilts by the same artist).

This doorway was stunning. This is Facade by Melissa Sobotka, who compares the crumbling doorway to her own aging self, finding the original structure still apparent.

This doorway is in Tuscany.

This quilt reminded me of some drawings we did in my beginning Visual Arts classes in college, where we drew real objects and then combine them all into one drawing, then erased bits and pieces to get a final composition. This is actually a train; the piece is called The 844, by Lynne Pillus.

I like the mix of all the parts; you can tell it’s part of a train, but it’s not obvious and it’s colorful too.

A Noriko Endo piece…they seem to get more delicate as she gets more experience with her own technique. This is Radiant Reflections #2…

She writes that she is working on a series of reflection pieces, and you can see the orange of the leaves in the water.

The strange shapes and traditional blocks in the sky caught my eye with this piece, Sandstorm over the White Desert, by Jenny Bowker.

When she travels, she photographs people (and stuff) and then makes quilts from her photographs. The background may have originally caught my eye, but it was the face that made me photograph the quilt…

And check out the sandstorm building up in the quilting behind him.

I obviously will need one more post to get through all of these…plus I am trying to get quilting done in between. Really. I am. It is nice to go back and review these from November, though.

Protected: Hopefully Past the Frustration Stage

IQF Time Warp

So I realized I had never posted quilt photos from IQF Houston last November (welcome to school brain), and I started looking through them…and then I was thinking about what I actually SAW in Long Beach, and I think my tiny little brain just realized that we don’t actually see all the quilts in the show in Long Beach…that some only go to Houston.

Well, that sucks. I loved Houston last year, but it’s expensive and the timing sucks for a single mom with two kids who play soccer and who happens to be a schoolteacher, so it’s unlikely that I’ll be able to go again for a few years. So I guess that means I always miss out. Please don’t remind me that I don’t ever go to Quilt National or the Mancuso shows, so I always am missing out. I don’t want to be that enlightened until I get all the way through this cup of tea.

Anyway, so consider yourself in a time warp back to November, when the weather was not warping your brain so much (well, if you’re living here in San Diego, right now East County is a bit on the warm and humid side, but not really as bad as last year at this time, so I should shut up and stop complaining), and enjoy the quilts.

This is Stone II by Jean Wells Keenan, which was apparently inspired by a Rosalie Dace workshop.

The colors and use of the patterns in the fabric in this piece are really beautiful. Her website above has many more examples of her work.

If you know anything about Jamie Fingal, you’ll recognize her use of metal attachments in this quilt, Square Dance.

I stared at it for a long time, trying to figure out if it fit together in a different way, with all the squares lining up.

This is Swimmers’ Clock by Julie Duschack.

I have to say, I had to go check her website and google this piece to make sure I hadn’t photographed the wrong statement, because this doesn’t look like the work I associate with Duschack, but it’s hers. I liked the graphic quality and the balance in this piece.

This is Tanya Brown’s Siesta, which is much more amazing in real life (it’s bigger than I had expected).

I’m quite happy to let others do this kind of intensive threadwork, and it pays off in the texture of the wood and the raccoon.

This is The Fortune Teller, another piece by Sherry Kleinman.

It includes another painted figure with the 3D embellishments of the curtain around her.

Hollis Chatelain’s piece Innocence is large and bold, but what’s really amazing is in the quilting…

You can see shadows of it in the picture above, but she’s quilted faces of children into the larger face (as she dreamed the original image)…

There aren’t just a few faces…there are a ton of them.

This is Sticks and Stones 2, by Joan Frantz and Pat Cookson.

What’s interesting about this quilt is first of all how the reds make the whole thing feel like it’s leaning, but that Joan died in 2008 and this is one of her last quilts, and Pat finished the quilt for her. I started thinking about who might finish mine for me…if the top were done and all you had to do is quilt it (yes, Susan, I know you’d do it, but you’re older than I am…presumably I might outlive you…although Joan died early of ovarian cancer). Yes, this is a depressing topic…but something to think about.

Looking at all these, you might think I like bright colors…this is Judith and Bill Woodworth’s 3 Gs.

Judy designed and quilted it, and Bill painted it. I could see making this in commercial fabrics, but it’s actually a wholecloth quilt.

Inge Mardal and Steen Hougs painted and quilted this piece, Angling.

I love the cover picture of them on their website. Definitely watch and read the “About Us” section on their website. I’ve always wondered how two artists might work together to create one piece…they seem so calm and focused. I think I don’t have the right personality to be so calm while working with someone else.

I saw this one in Long Beach too, and almost took another photo of it, so it’s a keeper. This is Village in Galilee by Rachel Covo. (wow…Wordpress did it again…deleted a big part of the post when I published…what a weenie! Fixing it now…).

Covo talks about cloudless skies and the strong sun of the Mediterranean (reminds me of home). The colors and movement of this piece is what I liked.

It’s a Bodil Gardner piece, of course, featured many times on my blog. This is Tell Us a Story.

Gardner describes a mother telling stories to her children and the living room turning into Storyland (hence the sheep on the table). Gardner lives in Denmark, but not in the tiny bit of Denmark where I was this summer. If she had, I might have tracked her down and talked to her about her work (and asked to see her fabric stash). OK. No I wouldn’t. I’m really not a crazy stalker lady. Although I did see textile art this summer…I only went to places that we found in the arts booklet that was all over Skane in Sweden…so one would think they would expect me to show up, eh?

Another regular to my blog, Pamela Allen…but this piece is different from most of her other pieces…this is Water Garden in a Quasi-Egyptian Style…

It still uses the funky details of fabric that she uses, but it seems more graphic and stylized. Allen talks about Egyptian art shows all views; perspective is skewed so a person might be facing three different directions at once. She has used that technique with the water garden.

So that’s all I did today; I’ll do more tomorrow. I can only handle so much time-warping in one day, especially when WordPress keeps eating my words. It must have some serious indigestion.