The thing about quilting that bothers me is the decadence of today's craft. Up until a few years ago, quilts took a long time to make. You sewed by hand, and you collected old clothes, and fitted and worked a design over time, mostly an idea from memory, no rotary cutter and mat, no fancy machine, and it was a work of art, and it had it's own memory in time - that was the quilt I made for her when she got married. I made this one for when we had company when I was pregnant with whoever, while this one was in third grade, or in Autumn after Grandpa died. They represent time and memory. I think our decadent society is moving away from that in alot of ways. Maybe quilting is the journal by which we need to maintain time and memory, I don't know. It is completely ridiculous that when I want to make a quilt I go to a store to buy supplies, I order batting that is on a roll - it's so affluent. The point of the Gees Bend quilts is that a design is being worked, and reworked and stamped into a culture when there is nothing at all. Those women were the poorest of the poor, and they managed to have a consistent style with consistent motifs over many generations.
The Infinite Variety Show, Three Centuries of Red and White Quilts, highlighted the inner decadence of the quiltmaker. It was like the Sistine Chapel of Quilts. First thing that struck me, when my mind returned from awe, was that in a group of 650 quilts, there were very few Samplers. There is something about the contrast of red and white that inspired the quilt maker to make the best of artistic opportunities. First, if you have enough red and white (only) for a quilt, you planned. There was alot of patience in those quilts. They weren't made to just get through the winter. The quiltmaker was making a point, a statement, and the best thing is that they never imagined that anyone from the future really cared to listen.
They were cleverly displayed. The Museum knows it's market. It was overwhelming. I didn't feel as if I was going to bump into people, but I felt dizzy at times, from looking up and around and WOW! They were like stars in heaven. Because of the optical illusions, and the contrast, I lost control over HOW my eye was seeing. The eye went where the quilt told it too, over and over and over again. This was humbling, and that is what blew m
e away.
I am a fan of zig zags, and the monkey wrench (or churn dash), so this one appealed to me (top). Monkey Wrenches in zig zags. I love it! See Triple Irish Chain peeking out of the left side of the picture. Wow!
Also, I love the idea of using what you have, and not sweating when you run out. Look at this one (top of left picture). I don't think it's bleach. I think the quiltmaker used another color to fill in. Either way it's perfect because it's broken. Like People.
I am trying to display the Hawaiian one and have a button you can push playing the Hawaii 5-0 theme, when I do, I will post. It is fabulous. See this one with the three rings motif. I have never seen this before. So it was exciting to see something new. This theme was repeated in a few other quilts. Also very big was this overlapping ribbon/woven look. This one was particularly intricate. I'm beat. I'm going off to dream in red and white. I don't think I'm bothered by the affluence of being a quilter today. I'm not embarrassed that I need cool tools to get my job done. For some reason, all day I've been thinking about Walt Disney, resting peacefully in a cryogenic chamber, until science can return him to his full artistic capabilities. His legacy is so huge, it's like he's not really dead.
These ladies, with their red and white great ideas, best wishes, and artistic fury, are not dead, not insignificant, and definitely with us, live in Manhattan. 

