Cheater Quilt Fabric

L. Kent Wiolgamott: Mosaic patchwork quilts tell multiple stories

What: "Elegant Geometry: American and British Mosaic Patchwork"

Where: International Quilt Study Center & Museum, 1523 N. 33rd St.

When: Through Jan. 8

Hours: 10 a.m. to 4 p.m. Tuesday through Saturday; 1-4 p.m. Sunday; closed Monday

Admission: adult $6; student (with school ID) $3; child (5-18 years of age) $3; child (4 and under) free; family (up to 2 adults and their children or grandchildren) $12; UNL student (with UNL ID) and UNL faculty/staff (with UNL ID) free

Special Event: Bridget Long, guest curator of "Elegant Geometry," will present a public lecture and gallery walk Sunday at 2 p.m.

There are multiple stories to be told from the quilts in "Elegant Geometry: American and British Mosaic Patchwork."

The International Quilt Study Center & Museum exhibition is, first, about a technique that began in the early 18th century, flourished in the 19th century and had largely disappeared by the 20th. It's a tale of economics and democratization, of colonization and changing culture.

Let's start with the technique. To make a mosaic patchwork quilt, paper was cut into templates, primarily hexagons. Fabric was then cut and wrapped around the paper. It was stitched together loosely, then the pieces were joined using hundreds of very small whip stitches.

"It's a time-consuming process," said Jonathan Gregory, IQSCM assistant curator of exhibitions. "You have to cut the templates, wrap them, baste the fabric and do all these tiny stitches."

That process meant the quilter, who was almost certainly a woman, had to have leisure time. Given the cost and relative rarity of fine fabric 200 years ago, she also had to be a woman of some means.

The earliest example of the mosaic patchwork technique represented in the exhibition, put together by British quilt historian Bridget Long, is a silk patchwork coverlet from 1718. Owned by the Quilter's Guild of the British Isles, it appears only in a photographic print. The original is too fragile to travel and be displayed. But the design is nonetheless clear -- and complex.

The oldest quilt on view is circa 1796, a grouping of "fussy cut" (selective cutting of printed fabric design) hexagon rosettes that create a kaleidoscopic pattern that some would call psychedelic or op art.

It was made by Anna Ruggles, a British quilter. While their makers are unknown, eight of the exhibition's quilts originated in England, including the unusual, pictorial "Horseman." That quilt, circa 1815, was likely was sewn without the paper templates. It depicts a man on a horse carrying a banner and appears to be a nod to Asia, a quilt take on Orientalism that became popular in European painting of the 18th century.

rumble in the distance: a post not about Art in the Open

Here is a roughed out beginning of what I am planning to do with the vintage quilts. Basically, a quilted floor, with little quilted pup tents on top. I envision a room covered in pattern. vintagey, yellowed, yummy quilted pattern. I have a proposal in the works - well, in my head, for a piece with this. I intend to combine quilts made by me and vintage finds. The more honest and authentic, the better. Meaning, not "fake" distressed fabric, no fake cheater quilt fabric, no reproduction fabric. The blog title comes from the idea that we all have ideas rumbling around in our heads. We bring them to life and they start out as a distant sound, gain energy and get louder. Like a pebble rolling down a hill, a stampede of wildebeests or a tornado off in the distance. The closer and louder they get - the more we begin to pay attention and the ideas become real. Taking a risk and bringing the ideas to the light of day can be crazy. Like the alligator in the water waiting to chomp down on the the first wildebeest to step into the water. Not all ideas are great - but most of them work their way through the ambush of alligators. things that inspire me a to z Have you seen this? 10 art works you are supposed to love but don't top ten fancy words to use during critique. top ten materials to make art with. we are more than just makers of irony. aren't we? flash drives made from old computer parts, ipod cases that look like old walkmans. healing properties of music, is art the same? experimentation is important.period. Is it important to know the depth of any one art material? or, jack of all trades? talking about work before it is done - kills it accumulation - why more is better pricing & selling what have I read lately? Does it influence my work? new artist statement process vs. content? making it yourself vs.

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