CAPTURING WOMEN’S HISTORY:
QUILTS, ACTIVISM, & STORYTELLING
CONTENTS 1 Introduction 2
Dean’s Welcome
4 Capturing Women’s History: Quilts, Activism, & Storytelling 12
Hot Flash Fan
20
A Brief History: How the Quilts Came to University of Lousiville
22
International Outreach
24
The Stories Behind the Quilts
28
Exhibition History
29
Hite Art Institute Mission Statement
INTRODUCTION For nearly 50 years, successive waves
engagement with the International
are also due to Shelly Zegart for both
of feminist thought and art practice
Honor Quilt, seeks to reaffirm the
initially facilitating the gift as well as
have ensured that one of the greatest
critical relevance of these projects.
continuing as chair of the University
challenges we face—inequality among
Not only is the International Honor
International Honor Quilt Governance
sexes and genders—remains at the
Quilt a cornerstone of feminist art, it is
committee, Donald Woodman, Sy and
forefront of art making. The discussions
a foundational work of Social Practice
Keith Auerbach, former Provost Shirley
and debates instigated by feminist
art, an interventionist form of engaged
Willihnganz, former Dean of Arts and
artists have impacted society beyond
art making that has come to dominate
Sciences John Ferré, Through the
the disciplinary boundaries of the arts.
certain modes of socially and politically
Flower board president Judy Kovler,
Generative reflections on productivity,
motivated artistic address.
and the full University of Louisville
reproductivity, self-performance, and
We are honored that the Interna-
International Honor Quilt Governance
the consequences of an ever-expand-
tional Honor Quilt has found a home
committee including Dean of Arts and
ing image culture on our lives and
at the University of Louisville, where
Sciences Kimberly Kempf-Leonard,
sense of identity each owe a debt to
it will continue to drive conversation
Jim and Kay Grubola, John Begley,
feminist art of the past half century.
and activate generations of engaged
Ying Kit Chan, Nancy Martin, and Amy
The rapid pace of feminist critique
thinkers and makers. Bringing the
Fordham. Thanks to Judy Newland,
and course-correction has affirmed
Quilt to the university, and mounting
exhibition consultant and professor at
the urgency of this project. It has also
this monumental exhibition—the first
Colorado University-Boulder for her
ensured the historicization of its most
complete hanging of the hundreds of
insightful analysis and installation help
seminal artworks. Projects like the
individual quilts—was no small task,
with the exhibition. Finally, special
International Honor Quilt initiated as a
and thanking every contributor and
thanks is due to Maggie Leininger,
companion to Judy Chicago’s ground-
supporter would require a medium as
Director of the International Honor Quilt
breaking exhibition The Dinner Party,
large as the Quilt itself. However, very
at the University of Louisville, for her
are now well-established touchstones
special thanks are due to Judy Chi-
dedication to ensuring that the project
in art historical accounts of the 20
cago—for her guidance, insight, and
remains a point of activation and dis-
Century. But this historicization risks
diligence in making the gift a reality,
ruption now and into the future.
prematurely deactivating the work’s
and of course, to Through the Flower
contemporary critical force. This ex-
for the gifting of the Quilt, as well as to
hibition, “Capturing Women’s History:
Dr. Marilee Schmit Nason whose initial
Quilts, Activism, and Storytelling,” as
cataloging of the complete collection
well as the Hite Art Institute’s ongoing
in the 1990s was also gifted. Thanks
th
Chris Reitz, PhD
Gallery Director
Hite Art Institute
CAPTURING WOMEN’S HISTORY /
1
At the University of Louisville, we are extremely honored that Through the Flower, a non-profit organization founded by Judy Chicago, chose the Hite Institute as the home for the International Honor Quilt. As an accompanying project to her iconic The Dinner Party, Judy Chicago invited the submission of quilts honoring women of the quilt maker’s choice. The International Honor Quilt has a special place in history, not only as a unique quilt in terms of design, technique, and artistic expression, but also as an important product of the second-wave of feminism and a symbol of social change and justice. The International Honor Quilt and accompanying documentation is now available for active research and study to the university community and students of all ages, through on-going programs, exhibitions, and educational activities for scholarship, exhibition and instruction. We hope that the International Honor Quilt will inspire many people to visit the University of Louisville to explore and maximize the unique multidisciplinary learning opportunities presented by this project. It is an interesting and beautiful quilt and with every viewing it reveals something new. For me, the International Honor Quilt is an excellent project to promote social engagement and inspire positive change. I hope you will agree.
Kimberly Kempf-Leonard, Ph.D.
Dean, College of Arts and Sciences
University of Louisville
2
CAPTURING WOMEN’S HISTORY /
3
CAPTURING WOMEN’S HISTORY QUILTS, ACTIVISM, & STORYTELLING
4
To achieve a truly universal history, we would need a record that included all of humankind, in its full diversity. Until that time comes, I hope that people will accept the idea that, by implication, a symbol can be inclusive. 1
By Margaret Leininger
Capturing Women’s History: Quilts,
women in Western civilization, the large
Activism, and Storytelling illustrates the
installation includes 39 individual place
symbolic function of art and how it can
settings honoring a woman in history that
prompt both makers and viewers to
include an array of elaborately detailed
engage in conversations about women’s
china painted porcelain plates that sit
experiences and history. It might seem
on needlework runners made by hand
that discussion about women’s rights
incorporating intricate needlework and
and experiences are dated and “light”
weaving techniques. Measuring 48 feet
in relationship to contemporary culture
on each side, the triangular table sits on
that is more accepting of a variety of
a porcelain tiled floor called the Heritage
social identities including interracial
Floor that has an additional 999 names
relationships, expanded gender roles,
of women of achievement inscribed on
and professional opportunities. However,
the surface. Contrasting the holiness
the work in this exhibition exemplifies the
associated with the 13 men present at the
epitome of social issues that spurred our
Last Supper and the evil associated with
cultural shift that has taken place during
the same number of women in a witches’
the 35 years since its creation. Highlight-
coven, The Dinner Party questions this
ing two works, the International Honor
dichotomy.
Quilt and the Hot Flash Fan, the exhibition
The Dinner Party is a monumental work
revisits the question of why feminist art is
that positions women’s experiences and
still relevant forty-five years since Linda
creative actions in the context of contem-
Nochlin posed the question “Why Have
porary art. It not only is included in most
There Been No Great Women Artists?”.2
compendiums of art history, but has also
The International Honor Quilt was
been viewed in person by over 1 million
conceived by Judy Chicago to “extend
people as it traveled to 3 continents, 12
the spirit of The Dinner Party”, a prom-
countries and 16 venues. It continues to
inent work of feminist art completed
attract hundreds of thousands of viewers
in 1979 that is now in the permanent
to its permanent installation at the Brook-
collection of the Brooklyn Museum.3
lyn Museum where it accounts for 20% of
Created as a symbolic representation of
its attendance.
CAPTURING WOMEN’S HISTORY /
5
6
After the first exhibition of The Dinner Par-
elevated through the creation of The Dinner
ty, Chicago was continuously asked about
Party.5 Quilting, stitching, weaving, and
her selections of the women honored on the
other handwork identified has a long history
Heritage Floor, prompting Chicago to initiate
of being identified as domestic arts, wom-
an ancillary work to travel with The Dinner
en’s work, and functional craft. Capturing
Party that invited communal participation
Women’s History: Quilts, Activism, and Sto-
from women (and men) to honor a woman
rytelling further enforces Chicago’s push to
who had special meaning to them. Originally
place these processes on equal terms with
titled International Quilting Bee (1980-1996),
painting, sculpture, photography, and other
the project offered the opportunity to use a
contemporary art practices.
wide range of needle techniques in a way
The International Honor Quilt was
that mirrored the craft techniques Chicago
launched prior to the second installation
of The Dinner Party at the University of
suring twenty-four inches on a side with a
history to include countries ranging from
Houston Clear Lake when Judy Chicago
two inch border containing the name of the
China, India, South Africa, Mexico, El Sal-
and Mary Ross Taylor, a key supporter,
honoree as well as the state and country of
vador, and many more. One quilt honors a
worked together to create a kit providing
the maker. Viewers who came to see The
college in India whose first president was
instructions on how to make a quilt hon-
Dinner Party would now have an opportuni-
Constance Premnath Dass (1886-1970)
oring women that were important to them.
ty to contribute to the symbolic commem-
whose leadership “broke through barriers
A public call was initiated by Through the
oration of women’s history. As The Dinner
of prejudicial tradition”.8
Flower, the administrative entity respon-
Party toured internationally, the Internation-
Two separate quilts in the collection hon-
sible for overseeing the traveling of The
al Quilting Bee accompanied the exhibition
or Winnie Mandela, one made by an Aus-
Dinner Party, whereby women and men
and grew with more quilts added at each
tralian woman and another made in collab-
were invited to contribute a uniquely
venue.7 In addition, women honored in the
oration between six women from Soweto,
designed equilateral triangular quilt mea-
International Honor Quilt extend Western
South Africa. As with all of the quilts in the collection, these quilts demonstrate different approaches to making. The collaborative quilt is made from indigo dyed fabric using a traditional resist method that leaves white rings that repeat throughout the background. The other Mandela quilt is made from pieced white fabric, lace and embroidered names that honor additional women who, similar to Mandela, struggled to overcome racial inequality.9 Another quilt from El Salvador honors Marianella Garcia Villas who was born in 1948 and became a defense attorney supporting the rights of political prisoners. In 1978, Villas assisted in establishing the Salvadorean Commission for Human Rights.
CAPTURING WOMEN’S HISTORY /
7
8
The total collection consists of 542 individual quilts and accompanying documentation that details why each honoree was chosen, who it was made by and the materials used to create the quilt.
Villas was repeatedly tortured by security
of The Dinner Party while others explore
forces for her political actions that even-
drawing, painting, collage, and other
tually led to her untimely death by a U.S.
forms of making.
trained battalion as she was leading refu-
As the quilting tradition relies heavily on
gees away to safety. The quilt made in her
the collection of materials, the International
honor details her journey with the refugees
Honor Quilt straddles the world of artifact,
with an embroidered drawing of Villas and
material culture, and art. It is this stratifi-
the refugees gathering together among a
cation that places the International Honor
village in the mountains of El Salvador.
Quilt within the early debates of what
The total collection consists of 542
feminist art looks like. Early feminist artists
individual quilts and accompanying
recognized the marginality of techniques
documentation that details why each
labeled as craft, including weaving,
honoree was chosen, who it was made
needlework, sewing, etc and began to
by and the materials used to create the
demand attention for what has long been
quilt. The quilts range in materials that
deemed “women’s work.”10 The quilts
include moss, vinyl, wood, paper, hair,
consist of color schemes that range from
and other personal ephemera as well as
bright vivid tones of all colors to pastel
more traditional quilting materials. Some
blues, pinks, and oranges that epitomize
quilts reference the discourse of quilting
an aesthetic more commonly found in
using tiny pieces meticulously stitched
domestic settings than in contemporary
together into traditional patterns that
art galleries. Viewed collectively, the quilts
have been in use for hundreds of years.
create a mosaic of colors and textures
Others employ the term “quilt” loosely and
that only enhance the individual stories
explore a unique combination of materials
expressed in each quilt.
to convey a message. Some of the tech-
Framing this large-scale community par-
niques incorporated in the International
ticipatory work within quilting heritage also
Honor Quilt include embroidery, weaving,
enhances the impact of the International
and needlework connecting it to the ideals
Honor Quilt. Referencing the quilting bee
CAPTURING WOMEN’S HISTORY /
9
not only provides a platform for collective making, but also for social organizing. Quilts have a long history associated with philanthropy, consciousness raising, and storytelling. In Quilts in Community, Ricky Clark documents historic Ohio quilts that address social reform, fundraising efforts, and life’s rites of passages, including birth, marriage, and death. While quilts that addressed social reform were initially created among church communities, an increasing amount of quilts produced since the 1850’s demonstrate separate groups forming to address the “desire to change society than merely respond to its needs.”11 These social collective gatherings modeled by quilters entrenched in such traditions provided a ready-made framework for the International Honor Quilt. Judy Chicago created an environment that encouraged a rich dialogue around issues that were not only controversial but also represented a wide breadth of views. Topics related to equal rights, labor issues, sexual identity, reproductive choices, religious expression, and much more are captured in the collection. Not only does the International Honor Quilt extend the spirit of The Dinner Party, but it models Judy Chicago’s collaborative practices that encourage inclusivity and for every voice to be heard.12 Simultaneously intimate and emblematic, the quilts more than suggest the presence of 542 women’s voices—they clearly articulate a personal view of womanhood.
10
CAPTURING WOMEN’S HISTORY /
11
The brightly rainbow colored fan simultaneously memorializes and confronts the challenges of this life changing event.
12
HOT FLASH FAN The second work included in the exhibition
tribute her needlework expertise. Agreeing
Viewers are drawn into the work through
is the Hot Flash Fan, which was created in
to contribute her talents to the Hot Flash
the colorful figurative display of a woman’s
1985. Initiated by an NEA grant that paired
Fan, Ada O’Connor ended up coordinating
body as it shape shifts throughout each
regional artists with nationally recog-
over 30 needle-worker’s efforts in creating
panel. The detailed colorful stitching and
nized artists, Judy Chicago facilitated the
all of the stitching displayed within the
embroidered surface of this quilted con-
creation of this stunning work exploring
knotted hub of this piece.
struction camouflages subject matter that
menopause. Ann Stewart Anderson, the
The Hot Flash Fan is an enormous
depicts embedded photos of a woman’s
local Louisville artist, identified the theme
semi-circle divided into colorful panels
body after breast surgery or the collaged
and pointed out to Chicago that this topic,
that mimics a hand held fan replete with
elements of an I.U.D., condoms, tampons,
as with other topics related to women,
beaded, stitched, painted, and collaged
and other feminine care products. Unfortu-
resided outside traditional art discourse.
imagery depicting words associated with
nately, Ada O’Connor was tragically killed
After several planning sessions, Chicago
menopause. The brightly rainbow colored
in an automobile accident shortly after the
and Anderson developed the structural
fan simultaneously memorializes and
piece was completed. However, her gift of
elements of the fan. However, despite this
confronts the challenges of menopause,
needlework is securely recognized and will
formal development, the project was yet to
a life changing event for many women.
continue to live on in the Hot Flash Fan.
be transformed into the monumental work
Similar to the quilts representing life’s rites
that exists today. According to both Ann
of passages in Ricky Clark’s overview, The
Stewart Anderson and Judy Chicago, an
Hot Flash Fan documents women’s per-
impromptu visitor appeared at Judy Chica-
ceived and real experiences of one of the
go’s studio during this time seeking to con-
most transitional events of being a woman.
CAPTURING WOMEN’S HISTORY /
13
14
CAPTURING WOMEN’S HISTORY /
15
While both the Hot Flash Fan and the
art practice. In the exhibition catalog for
International Honor Quilt incorporate
Issue, Lippard writes, “…I would insist
quilting, they each represent a different
that one of the reasons so many wom-
approach to making. The International
en artists have engaged so effectively
Honor Quilt exemplifies an early form of
in social-change and/or outreach art is
what is now recognized as socially en-
woman’s political identification with op-
gaged art practice in which social issues
pressed and disenfranchised peoples.”14
are addressed through an open partici-
In 2006, Nochlin notes in her readdress
patory creative response. The Hot Flash
of “Why There Are No Great Women
Fan was limited in scope to the number
Artists” that women artists have impacted
of participating makers. Each method of
men’s art consciously or unconsciously.
making is equally valid, and both provide
Contemporary work by men includes an
creative empowerment to participants.
array of needlework techniques, work that
However each approach serves a different
references the body, includes self-ex-
purpose. For instance, Chicago employed
pression, and rejects the perfect—all
socially engaged making to allow for
criteria counter to the major movements in
hundreds of inspired viewers to become a
modern art.15 These changes grow out of
part of the conversation in a different and
the feminist art movement and represent
meaningful way using the International
a huge leap of progress when compared
Honor Quilt. Chicago provided limited
to an excerpt from 1992, where critic
structure to the artistic processes of the
Selma Kraft points out that “no male artist
International Honor Quilt but more defined
has been known to have said, ‘I try to see
methods in the Hot Flash Fan. While
through the eyes of many others,’ or ‘(My
viewers may interact with the Hot Flash
Art) is the thread of my connections which
Fan through conversation and observa-
makes the world intelligible to me.’”16 In
tion, participants in the International Honor
agreement with Nochlin, as we are moving
Quilt become uniquely embedded in the
forward in time, progress is being made,
work as they have creatively responded
even if slowly. However, it takes moments
to the issue at hand. It was this form of
such as this to look back, establish where
making that inspired future actions that
we are in relation to where we have been
include the Names Quilt empowering hun-
and where we still need to go. Capturing
dreds of families to honor those dealing
Women’s History: Quilts, Activism, and
with the AIDS epidemic.13
Storytelling encapsulates this moment
Both the Hot Flash Fan and the Inter-
causing one to pause and listen to the
national Honor Quilt firmly situate Lucy
many voices inspired by feminist artists
Lippard’s belief that feminist art is the
such as Judy Chicago who taught us how
basis for socially engaged practice as it
to take these first steps, to be heard, and
inherently seeks to disrupt social norms
to change history towards inclusivity.
and engage a general audience in a way that had not occurred prior to feminist
1
Judy Chicago, The Dinner Party, (Penguin Group, 1996), p. 12.
6
2
Linda Nochlin, “Why Have There Been No Great Women Artists Thirty Years After,”
Schlesinger Library, Radcliffe Institute, Harvard University.
Women Artists at the Millennium, (Massachusetts Institute of Technology, 2006), p. 21. 3
Judy Chicago, The Dinner Party From Creation to Preservation, (Merrell Publishers
Ltd., 2007), p. 17
16
7
Through The Flower, International Quilting Bee 1980, pamphlet, collection of the Judy Chicago, The Dinner Party From Creation to Preservation, (Merrell Publishers
Ltd., 2007), p. 272 8
Gerhard, Jane F., The Dinner Party Judy Chicago and the Power of Popular Feminism,
4
Judy Chicago, The Dinner Party, (Penguin Group, 1996), p. 9.
(University of Georgia, 2013), pp. 196-7.
5
Ibid, p. 10.
9
Hucker, Tricia, University of Louisville, Digital Collections, IQB-509a.
10
Glen Adamson, “Amateur”, Thinking Through Craft, (Berg Press, 2007), p. 150.
14
11
Ricky Clark, “Sisters, Saints, and Sewing Societies: Quiltmakers’ Communities”, Quilts
p. 10.
in Communities, (Rutledge Hill Press, 1991), p. 149. 12
Judy Chicago, The Dinner Party From Creation to Preservation, (Merrell Publishers
Ltd., 2007), p. 15 13
Gerhard, Jane F., The Dinner Party Judy Chicago and the Power of Popular Feminism,
15
Lucy Lippard, “Issue and Tabu”, Issue (Institute of Contemporary Art, London, 1980), Linda Nochlin, “Why Have There Been No Great Women Artists Thirty Years After,”
Women Artists at the Millennium, (Massachusetts Institute of Technology, 2006), p. 28. 16
Selma Kraft, “Definition of Feminist Art or Feminist Definition of Art?”, Politics, Gender,
and the Arts, (Associated University Press, 1992), p. 15.
(University of Georgia, 2013), p. 197. CAPTURING WOMEN’S HISTORY /
17
The International Honor Quilt was made by over 750 women from around the world.
18
CAPTURING WOMEN’S HISTORY /
19
Shelly Zegart (left) and Judy Chicago (right) at IHQ exhibition. Photo courtesy of UofL.
A BRIEF HISTORY
HOW THE QUILTS CAME T O U OF L
20
The University of Louisville is especially
anyone who would assist in identifying
grateful to Shelly Zegart, a Louisville arts
a new home for the International Honor
supporter and quilt expert, who facilitated
Quilt as Chicago’s desire was to have all
placing the International Honor Quilt at
of her major artworks placed in perma-
the Hite Art Institute. Zegart’s connection
nent collections. Goldstein quickly recon-
to Judy Chicago began in 1985 when
nected Chicago with Zegart, who had
Chicago came to Louisville to partici-
recently produced the documentary Why
pate in a National Endowment for the
Quilts Matter: History, Art & Politics.
Arts funded program developed by the
On April 24th, 2013, Zegart met with
Louisville Visual Art Association. Zegart
Judy Chicago and Donald Woodman,
provided Chicago with a place to stay
Chicago’s husband, at Chicago’s home
while the artist facilitated the production
studio in Belen, NM to work out a plan.
of the Hot Flash Fan, a work designed by
After an initial conversation with the
Judy Chicago and Ann Stuart Anderson.
Elizabeth Sackler Center in the Brook-
At the time, Chicago was at work on the
lyn Museum where The Dinner Party
Birth Project. Because Zegart’s husband,
is on permanent display, Zegart soon
Kenny Zegart, was an obstetrician, many
discovered the challenges the collection
spirited conversations ensued, and
posed. Since the International Honor
the two quickly became friends. Nearly
Quilt was conceived as an interactive
two decades later, in 2013, a friend of
companion work to The Dinner Party,
Zegart’s, the artist Susan Goldstein, met
Zegart thought the museum would have
Chicago at an art opening in Santa Fe.
a strong interest in the work. Instead, she
Chicago asked Goldstein if she knew
was informed that the collection required
I couldn’t be more proud of my hometown university for their forward thinking about this project, the enthusiasm of the Hite Art Institute and its leaders, and the collaboration of the many departments… —Shelly Zegart
too much storage as well as continual care
ant collection for scholars and students
heritage of Kentucky. A state known for not
and conservation. In addition, because the
working on art and women’s historical
only quilts, but also an expansive history
quilt wasn’t made by Chicago herself, the
contributions. Additionally, the acquisition
of weaving, Kentucky provides the most
institution had little interest in housing the
embodies the intersection of art, social
suitable place for the International Honor
monumental work.
history, material culture, women’s studies,
Quilt to call home. In November of 2013,
Upon her return to Louisville, Zegart be-
the humanities and more, all of which
the International Honor Quilt arrived at the
gan talking with Jim Grubola, former chair
address the core mission of the university’s
University of Louisville, where it is now a
of the Hite Art Institute, and Kay Grubola,
multi-disciplinary educational philosophy.
permanent part of the Hite Art Institute col-
an artist who had a significant role in the
The potential for the collection to be incor-
lection. Since its incorporation into the per-
creation of Zegart’s documentary Why
porated into curricula of other departments
manent collection, the International Honor
Quilts Matter: History, Art & Politics. Both
and colleges, including history, sociology,
Quilt has already inspired a resurgence of
encouraged Zegart to consider the Univer-
psychology and education, maximizes the
interest in women’s issues. Professors are
sity of Louisville’s Hite Art Institute as an
university’s efforts to develop critical think-
using the quilts as a resource for curricu-
alternative to the Brooklyn Museum. Within
ers. Within six months of Zegart’s meeting
lum across departments and the collection
a week, Zegart met with John Begley, Cu-
with Chicago and Woodman in Belen, NM,
has since traveled outside of the Louisville
rator of the Hite Art Gallery, Sy Auerbach,
a final agreement was reached. Provost
area where it has been well received by
esteemed local supporter of Chicago’s
Willihnganz demonstrated tremendous
over 20,000 visitors. Thanks to the seren-
previous work in Louisville, and his son
support by moving as quickly as she could
dipitous chain of events between Zegart
Keith Auerbach, as well as the Grubolas
to secure the International Honor Quilt as
and Chicago, University of Louisville is
to discuss a future for the International
a part of the Hite’s permanent collection.
proud to be the permanent home to this
Honor Quilt at the Hite Art Institute. Provost
Not only did the collection fit a niche in the
monumental work.
Shirley Willihnganz agreed that this was
institutional vision of the university, but it
a unique opportunity to gain an import-
also expands upon the rich cultural textile
CAPTURING WOMEN’S HISTORY /
21
INTERNATIONAL OUTREACH Below is the original call that went out to solicit participation in the International Quilting Bee (the original title for the International Honor Quilt) for the 1980 exhibition of The Dinner Party in Houston Texas. The call outlines the design and information that each quilt needed to contain such as the name of the honoree and the place of origin. Additional information detailing techniques, materials, and a personal narrative about the honoree was also accepted with each quilt. Participants from twelve different countries participated in this prominent feminist work of art. The collection has been exhibited in five different countries to date.
22
U.S.A.
SCOTLAND
INDIA
CANADA
ENGLAND
JAPAN
GERMANY
AUSTRALIA
AUSTRIA ROMANIA ISRAEL SOUTH AFRICA
CAPTURING WOMEN’S HISTORY /
23
THE STORIES BEHIND THE QUILTS
IQB-391 Maker: Eleanor Boyer Location: Evanston, IL, United States Year Made: 1981 Eleanor Boyer made her quilt to honor the accomplishments of Sandra Day O’Connor, the first woman Justice of the Supreme Court. Inspired by the tenacity of Sandra Day O’Connor in not taking “no” for an answer from the moment she began her law career, Eleanor honors these accomplishments that make positive steps towards equality everywhere.
IQB-164 Maker: Sandra Gilmour Location: Wayne, PA, United States Year Made: 1994-1995 Honoring the non-profit organization, Women’s Resource Center, Sandra Gilmour incorporates many non-traditional materials such as ribbons, doilies, and crocheted rosettes. This somewhat experimental approach to materiality demonstrates the unique feature of the International Honor Quilt in that each maker chose what materials they used and how they connected them together. The Woman’s Resource Center still exists today in Pennsylvania providing counseling and services in mental health, employment, and continuing education.
24
IQB-059 Maker: Ali Hansen Location: Cincinnati, OH, United States Year Made: 1980 Ali Hansen made this quilt to honor the life of her “adopted” grandmother, Bessie Ely. As a practicing artist, Ali had introduced Bessie to the work of Judy Chicago and the The Dinner Party when it was on exhibit in 1979. Bessie exclaimed, “I like this idea
IQB-388 Maker: Dora A. O’Farrell
of women artists!”. Bessie and Ali first met when Ali
Location: Fremont, OH, United States
was a child suffering from childhood arthritis that
Year Made: 1981
required years of reconstructive surgery. Bessie
Dora O’Farrell created this quilt to honor her
provided love and support and, as a result, became a source of inspiration to Ali.
grandmother, Dora Jones, who took the time to love, nurse, encourage, and work outside the home to support her family. At the age of 80, Dora Jones cared for her granddaughter’s three children, all under the age of three, so that she could obtain her degree. Her love of writing poetry and painting inspired her granddaughter to make this quilt.
CAPTURING WOMEN’S HISTORY /
25
THE STORIES BEHIND THE QUILTS
IQB-081 Maker: Martha Lynn Murphy Location: St. Louis, MS, United States Martha Lynn Murphy took the time to make this quilt to honor the everyday achievements of her mother Burna D. Murphy. Burna was an intensely pragmatic person who could still appreciate the tiny moments in life like the color of an autumn leaf or the shape
IQB-373
shifting clouds in the sky. As a mother, Burna taught
Maker: Nicola Grove
her four children to survive in a difficult world inspir-
Location: Great Britian
ing them to use their talents to the fullest in making
Nicola Grove made this quilt to commemorate
the world a better place.
the life of Marianella Garcia Viallas. As an active member of the Peace Movement in Great Britain, Nicola was inspired by the actions that Marianella took to continually save the lives of villagers in El Salvador from warring factions in her country. In 1983, while leading a party of refugees away from the bombardment zone, Marianella was killed by a U.S. trained battalion. Her body showed signs of mutilation and fractures, possibly resulting from torture. Nicola took the opportunity to participate in the International Honor Quilt by continuing the legacy of those like Marianella who have the strength to defend human rights.
26
IQB-572 Maker: Ilene Weiss Location: Cleveland, OH, United States Year Made: 1999 One of the memorable notes about this quilt are the comments submitted by the makers Ilene Weiss and Rifka Stern who made this quilt to honor their mother Mickey Stern. Not only did they produce this work
IQB-111
of art, but they also burned a hole in the carpet with
Maker: Mariam Weber
the iron, providing a lasting reminder of the hard
Location: San Francisco, CA, United States
work of love and change. Their mother, Mickey,
Miriam Weber created this quilt to memorialize
was an active supporter for women’s rights having attended her first consciousness raising group in 1969. She fought hard to protect the country from nuclear threat and worked against racism with the group CORE (Congress of Racial Equality). Additional significant contributions include bringing The Dinner Party to Cleveland, Ohio and serving on the
the life of her daughter, Avril Weber, as well as all women who struggle with mental illness. Having struggled for a number of years, Avril took her own life at the age of 30. Using the collection of elegant fabrics Miriam amassed over the years, she created this crazy-quilt inspired work.
board of Through the Flower for six years. To see more quilts and learn about their individual stories, visit our digital collection at: http://digital.library.louisville. edu/cdm/landingpage/collection/ihq
CAPTURING WOMEN’S HISTORY /
27
E X H I B I T I O N H I S T O RY
The International Honor Quilt, previously titled the International Quilting Bee, accompanied all but two exhibitions of The Dinner Party. They include the following venues: UCLA Armand Hammer Museum and Cultural Center, Los Angeles, CA, April – September 1996, “Sexual Politics: Judy Chicago’s Dinner Party in Feminist Art History,” Curated by Dr. Amelia Jones Royal Exhibition and Conference Center, Melbourne, Australia, January – March 1988 Schirn Kuntshalle, Frankfurt, West Germany, May – June 1987 The Warehouse, London, England, March – May 1985 Edinburgh Festival Fringe, Edinburgh, Scotland, August 1984 Fox Theater, Atlanta, GA. Sponsored by The Sculptural Arts Museum, July – October 1983 Glenbow Museum, Calgary, Alberta, Canada, December 1982 – February 1983 Art Gallery of Ontario, Toronto, Ontario, Canada, May – July 1982 Musee D’Art Contemporain, Montreal, Quebec, Canada, March – May 1982 Franklin Building, Chicago, IL. Sponsored by Roslyn Group for Arts and Letters, September 1981 – February 1982 Temple on the Heights, Cleveland, OH. Sponsored by Ohio–Chicago Art Project, May – August 1981 Brooklyn Museum, Brooklyn, NY, October 1980 – January 1981 Boston Center for the Arts, Boston, MA, July – August 1980 University of Houston at Clear Lake City, Houston, Texas, March – May 1980
28
The Department of Fine Arts at the University of Louisville was founded in 1937. In 1946 the department was endowed as the Hite Art Institute in recognition of the bequest of Allen R. and Marsha Hite. The mission of the Hite Art Institute is to educate our students to function at the forefront of the art world, to inspire critical thinking, promote a diversity of perspectives, and engage in the most current scholarship in art history, theory, studio art, and curatorial practices. As the most Fine Arts program in Kentucky, with 350 undergraduate and graduate majors, 25 full-time faculty members and a full-time staff of seven, the Institute offers degrees in studio, art history and critical & curatorial studies. Majors have the opportunity to earn a BA, BFA, MA or MFA in a variety of disciplines. Areas of study include art history, ceramics, critical & curatorial studies, drawing, fiber, glass, graphic design, interior design, painting, photography, printmaking and sculpture. The Hite Endowment has allowed the department to continue to excel by providing support for academic programs, library acquisitions, student scholarships, faculty and student research, visiting artists and scholars, and exhibitions. The University of Louisville, founded in 1798, is one of the oldest municipal universities in the United States. With a current enrollment of 22,000 students, the University of Louisville is Kentucky’s major urban university and one of the most rapidly expanding universities in the United States.
UNIVERSITY OF LOUISVILLE
HITE ART INSTITUTE
INTERNATIONAL HONOR QUILT
University of Louisville
Chris Reitz, Gallery Director
Louisville, KY40292
104 Schneider Hall University of Louisville Louisville, KY 40292
Digital Collection: http://uofl.me/intl-honor-quilt
Phone: (800) 334-8635 (502) 852-5555 Website: louisville.edu
Phone: (502) 852-6794 Website: louisville.edu/art
Maggie Leininger, Director 143 Lutz Hall University of Louisville Louisville, KY 40292
Email: hite@louisville.edu
Catalog Photography by Tom LeGoff, MFA, Hite Art Institute Catalog Design by Kathryn White, BFA Graphic Design, Hite Art Institute
CAPTURING WOMEN’S HISTORY /
29