SAQA
Studio Art Quilt Associates, Inc.
art quilt collector
Issue No. 3
Taking our place in history Art Quilt Collector is an important step in the progress of quilts as art within the tradition of journals focusing on the tastes and interests of those collecting a specific medium. These collectors’ publications begin to appear at a crucial stage of art forms, when enhancing and developing an expanding market will appeal to collectors. The Print Collector’s Quarterly, for example, was founded in 1911, at a time when fine art prints had attracted the attention of private and museum buyers. Subscribers numbered in the thousands during the twentieth century, including most of the world’s major museums. The Photograph Collector, founded in 1980, covers every imaginable aspect of the market, and serves as an inspiring model for Art Quilt Collector. Their features on museum and gallery news, notable exhibitions, emerging artists, sales, and symposia and conferences, along with profiles of collectors and established artists, have proven invaluable in contributing to the market for collectible photographs. Our goal in Art Quilt Collector is to support artists as well as collectors, creating an informed community for this exciting medium. — Dr. Sandra Sider, Acting Editor Curator, Texas Quilt Museum, and former SAQA Board President
Contents Living with art quilts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Studio Art Quilt Associates, Inc. (SAQA) is a nonprofit organization whose mission is to promote the art quilt through education, exhibitions, professional development, documentation, and publications.
Artists to watch
©2016 Studio Art Quilt Associates, Inc. All rights reserved. Reproduction without permission is strictly prohibited.
Brigitte Kopp. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Mary Pal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Dorte Jensen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Eliza Brewster. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Gallery: Portraits. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Wall Power. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 How to collect art like a pro . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 SAQA exhibition Concrete & Grassland . . . . . . . . . . . . . . . . . . . 36 Collector’s bookshelf . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
SAQA Art Quilt Collector is published quarterly by Studio Art Quilt Associates, Inc., a nonprofit educational organization. Publications Office: P.O. Box 572, Storrs, CT 06268. ISSN 2379-9439 (print) ISSN 2379-9455 (online) Managing Editor: Martha Sielman Designer: Deidre Adams Subscription is $29.95 for four issues. Outside USA: add $12.00 Subscribe online: SAQA.com>Store Cover: PW Block #4 by Ellen Oppenheimer 66 x 66 inches, 2003, IQSCM 2006.043.0015 see story p. 29
John M. Walsh III Collection of Contemporary Art Quilts
Living with art quilts by Cynthia Wenslow
M
any serious art collectors acquire artwork as an investment, and it is then kept securely and properly stored, seeing the light of day only on special occasions or when it is out on loan to an exhibition. For art quilt collector John Walsh, that isn’t enough; he wants to live with the art quilts he collects. “When I had my house in New Jersey, I also had a business. I would display about four quilts in my house, although I couldn’t display the largest ones,” says Walsh. “I would display another four or five in the office. That was fun because I wouldn’t display them in any room that had windows. Some offices had windows and some did not, and as offices
above: Jack Walsh in front of Cedar Waxwings at the AT&T Parking Lot by Terese Agnew all photos by Cynthia Wenslow
were assigned, I would tell people: ‘You can have a window or you can have a quilt, but you can’t have both!’” Avoiding exposure to light, especially ultraviolet (UV) light, is one of the most fundamental and repeated pieces of conservation advice given to collectors of fiber art. UV light causes textiles to degrade and bleaches the color from fabric. It’s impossible to reverse damage done by light exposure, and it’s cumulative. Although even household light fixtures of various types emit ultraviolet light, natural light is by far the most damaging source. Walsh recently undertook a renovation of his vacation home in the Finger Lakes area of upstate New York with an eye to the display of his collection. The result is a stunning gallery space — with an entire wall of windows.
The wooded hillside property was purchased by Walsh’s grandfather some 80 years ago. What now serves as the house started life as the property’s wine cellar in 1854 and is nestled between a hillside and a glen where a creek tumbles down over cascades in a steep decline to a large waterfall and the lake far below. The site naturally presented challenges during the expansion and renovation of the home. “This is a very difficult site,” Walsh says. “It’s just a small point of land where the rock walls fall off on both sides down to the surface of the water. I wanted to expand, but there’s very little room here and I didn’t want to ruin the site.” Working with an architect, Walsh designed the expansion to honor the building’s historic features while SAQA Art Quilt Collector | 3
Protect your art quilts While it’s not practical for most collectors to embark on an extensive renovation or building project that includes UV-attenuating window installation, the following tips can help you mitigate the effects of light exposure on your art quilts.
• Avoid displaying art quilts in direct sunlight or under strong artificial light • Keep rooms with textiles on display as dark as practical • Use UV-filtering film on windows and light fixtures whenever possible • Use light filtering draperies and shades to cover windows • Rotate items from your collection for display so one particular art quilt isn’t receiving a majority of the light exposure
roviding several renovated and new p living areas and the gallery space. The result is warm and inviting. Mindful of the varying needs of family members, both levels of the home have outside access and contain a kitchen, bedrooms, and living space. In the lower-level kitchen, a colorful orange and green horizontal art quilt by Terrie Mangat overlooks the space from the wall above the cabinets. Early quilt acquisitions are displayed elsewhere throughout the home, set among family heirloom furniture, wonderfully textured artwork, and personal memorabilia. In one bedroom, Walsh points to his Boy Scout sash with merit badges carefully sewn on. “This was my first exposure to fiber art,” Walsh laughs. The walls throughout the home are painted a uniform light yellow, combining with the wood floors, abundant nat-
Gallery view with works by Velda Newman, Terese Agnew, and Jan Myers-Newbury
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ural light, and wooded views to create a feeling of serenity. Exposed original stone and brickwork are beautifully replicated in the newer sections of the building, while the decorative brackets under the eaves on the porch echo the ironwork on the footbridge over the adjacent glen. The clear focal point of the home is the new gallery. Walsh even thought to include interior windows framing gallery views from adjoining living spaces on both stories of the west side of the house. When entering the home on the second level, one steps past walls lined with framed family photographs and progresses onto an open walkway looking out over the 34-foot long by 24-foot wide by 21-foot high gallery. From this vantage point, the view of the art quilts is arresting.
“The space is specifically designed for viewing large art quilts,” Walsh says. “Until the addition was put on, I never got to see a lot of these at home.” Directly opposite the walkway, the north wall of the gallery is comprised of 18-foot high windows framing a beautiful view of the glen and outdoor living areas. It is this wall upon which the art quilts are displayed. Carefully. Conservator Lisa Goldberg works with Walsh and his collection. “Jack had this idea that he wanted to put quilts in front of these windows. We had many discussions about the light,” says Goldberg. “The glass is all UV attenuating,” Walsh says. “We didn’t think that would be enough protection, so we installed a set of 10-foot wide by 18-foot high opaque shades which can be remotely raised and lowered with an iPad app.” These are blackout shades, so no light gets in.” Suspended on the room side of the shades are pairs of cables which hold nine-foot long powder-coated metal bars, on which the art quilts hang. Like the shades, the cables securing the art quilts are raised and lowered remotely by the iPad app. Walsh usually keeps the lower eight feet of the windows uncovered to reveal the view. The art quilts and shades are suspended above, protecting the textiles from the light. When you’re seated in the center of the gallery space, the art quilts seem far removed, but Walsh says, “If you want to see what a quilt looks like up close, you just lower it.” Seeing the system in action is impressive. The art quilts are able to be moved independently of each other, and the shades and quilts can all be stopped precisely where desired. Walsh manipulates the app on the iPad, and Cedar Waxwings at the AT&T Parking Lot by Terese Agnew smoothly
descends to take center stage. Every detail of the threadwork can be examined and appreciated, until the art quilt is safely raised back to its protected aerie. It’s a wonderful way to live with the collection. Cynthia Wenslow is an artist, writer and curator based near Milwaukee, Wisconsin. Contact her at cynthia@cynthiawenslow.com.
Resources American Institute for Conservation of Historic and Artistic Works (AIC) www.conservation-us.org Smithsonian Museum Conservation Institute www.si.edu/mci Minnesota Historical Society www.mnhs.org
above: Looking up from gallery floor with shades in normal position below: Gallery seating area with entry walkway above, with work by Joan Schulze
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artists to watch
Brigitte Kopp Kasel-Golzig, Germany A somber palette punctuated by accents of red and orange draws your attention to Brigitte Kopp’s work. Her use of line, whether embroidered or appliquéd, creates a hauntingly powerful story. She believes that art should be more than beautiful. Art should stimulate the viewer’s thinking about political and social issues. Women’s role in society, domestic abuse, and our care of the environment are just some of the themes you are invited to contemplate.
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Path to quilting I grew up in a tailor’s shop that produced work for couture establishments in Paris and Berlin. I collected every scrap of my favorite fabrics, mostly velvets, silk, and lace, beginning to copy the couture creations for my dolls. At first I sewed by hand, but as soon as I could reach the pedal of an old sewing machine that was being used as decoration, I was allowed to use the machine. I bugged the seamstresses with my questions: how does this work, how do you do this? I learned other needlework techniques, such as weaving, spinning, knitting, and embroidery from my grandmother’s numerous sisters, who were all professionals in their chosen métier. Being a member of SAQA brought me in contact with other professionals working with or for quilts and textile art. It pushed my boundaries to an international level, gave me support, and encouraged me to show my work worldwide.
Formal education I studied art, both painting and graphic design, as well as music, and later received an M.A. in music. After I got married, I was offered many concert engagements and was able to make a living through teaching music. I have always created in music and painting and drawing at the same time. I think
they interact well with one another. In both types of artistic endeavor, you have to learn about proportion, timing, effects, and color. The most important thing I ever learned was from Johannes Brahms. He said: “It is not hard to compose, but what is fabulously hard is to leave the superfluous notes under the table.” That principle is very important in the visual arts, too.
Stitch Stitch is my favorite medium for making art because my work is more graphic, somewhere between abstract and representational art. I use stitch as my drawing pencil. I prefer blacks and greys, but I sometimes add color with painted, appliquéd fabrics to express emotion. I like to play with the different possibilities of hand and machine stitching. Machine stitching in black or grey creates a solid line that I use for the main comabove, right: On her road to…
64 x 61 inches, 2014 below: Hau ab!/Hands off!
52 x 42 inches, 2012
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Gebärmütter
59 x 65 inches, 2014
position. A running hand stitch creates a line less solid, more delicate, so I’ll use it to draw things disappearing in the background as I did in On her road to… . I also prefer the running stitch for quilting, in the way one might use it for hatching in a drawing, as you will see in Gebärmütter. Or I use long hand stitches with thick threads for accents.
Series on women’s roles There are many different ways in which our society perceives women, depending on their roles or the roles that people allocate to them. One is having children. The German plural for 8 | SAQA Art Quilt Collector
wombs, Gebärmütter, designates both the organ as well as the women who are having more and more children. My Granny had 21 or 23 children. I don’t know the exact number because some died early. She had twins several times and gave birth to her last pair of twins at the age of 56. This piece focuses on the struggles women have making decisions about contraception and abortion versus having a lot of children. On her road to… is dedicated to all the women who have to suffer losses, whether the loss of their home, their livelihood, or even their family. I conceived of this piece while watching the
news on television and seeing what’s going on in Syria. The main design object in this piece is the “L” of the word loss. (In German, we would write the word with a capital L.) You can find the “L” in the black lines, the cuts, and in the red stripes of fabrics. The stitching for the background shows numerous crosses, also a sign for loss. Too Tired To… is about women being exhausted by all the conflicts and fights they have within their lives. And eternal God created Woman is about woman as an object of desire, but also about a woman’s wish to be loved, about women’s sexuality. The holes in this piece
Home Sweet Home 80 x 35 x 35 inches, 2012
Too Tired To‌ 58 x 49 inches, 2015
reference a woman’s body. The black lines, made of draped latex, are a reference to the snake in the Garden of Eden. They constitute a threat and drag your eyes to the focal point.
Developing ideas I am an observer of my environment. If I conceive of an interesting theme, I develop a picture of the quilt in my head including colors, materials, and techniques. This process can take months. Then I do a very detailed drawing. If I am not sure about the drawing, I will scan it and use Photoshop to play with proportions or colors. My work should be more than simply beautiful. I would rather stimulate critical thinking. My art is my commentary on the world, on our environment, and on how humans interact with one another. I hope to help viewers open their eyes and possibly look at things in a different way. www.saqa.com/gallery-detail.php?ID=5289
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artists to watch
Mary Pal Ottawa, Ontario, Canada Some seem wistful and others are full of joy, yet each of Mary Pal’s portraits brims with life. The effect is similar to crosshatched drawings, but instead is produced using layers of cheesecloth to create portraits of amazing depth and emotion. Often portraying people who are overlooked and ignored – the elderly and the homeless – Pal has created a portrait gallery of faces that exude personality and wisdom.
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Finding the right photograph What is it that makes a face so appealing to me that I want to sculpt it in cheesecloth? It can be many things: the expression might evoke an emotional response in me, or the lines on a face might speak volumes about what kind of life experiences that person has had, or the drama of the lighting in a photo might be enough. But in each instance, I have an immediate connection to the face and then I feel compelled to try my hand at translating that connection with textiles. My reference photos come from a variety of sources. Of course the internet is a prime treasure trove, but I’ve stumbled across photos in newspapers that catch my eye, and when I can persuade people with interesting facial features to pose for me, I take my own photos. I am currently working on a series of musician portraits and, from time to time, I do online searches that sometimes lead me to a photo that grabs me the moment I see it. Then the hunt begins to find the photographer and seek permission to use that artwork as reference for my own. I have met the most wonderful fellow artists in this way and maintain a correspondence with them afterwards, notifying them when “our” piece is being exhibited or has won an award.
Importance of Studio Art Quilt Associates The greatest impact on my art career undoubtedly was joining SAQA. While still a new member, I decided to go to a conference. That year, 2007, it was held at the Dairy Barn Arts Center in Ohio, at the opening of Quilt National. Not only was I able to experience a higher caliber of art quilt than I had ever seen before, but I was able to meet other attendees at the conference. I couldn’t believe how warm and welcoming these very talented artists were to a complete newbie, and I made wonderful friends. I spent that year learning through SAQA important aspects of becoming more professional — marketing and finding my voice. The next year I saw there was to be a fundraising All photos by Ray Pilon
Trusting 24 x 20 inches, 2014 Based on a photo by Csaba Zoller, used with permission
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Precious Time 60 x 36 inches, 2014 Based on a photo from the Vale Mining Corporation, used with permission
auction of one-foot square quilts, so I made a portrait from a new cheesecloth technique I was developing. It sold within seconds of the auction opening, which was an exciting moment for me. And when I went to the next conference, I met Martha Sielman, SAQA’s executive director, who looked up at me when I said my name, and said, “Oh, yes! You made the cheesecloth portrait.” I couldn’t believe she’d remembered one out of the hundreds they received. The more I delved into SAQA’s resources, the more I learned, and eventually it made sense that I would become a regional representative. At each conference, I made more wonderful friends, and throughout the years, I continued to grow and develop artistically and professionally. Eventually, I 12 | SAQA Art Quilt Collector
was invited to sit on the SAQA Board of Directors, and that was an opportunity for me to give back to SAQA. I devoted a lot of time to working with my fellow board members to help make the organization stronger. I didn’t make as much art in that period but kept honing my technique and teaching workshops. Today when I give a lecture on my artwork, SAQA features prominently in my presentation. From SAQA I learned all the mechanics of marketing: how to photograph my work properly, how to organize a solo exhibition, and how to pack my work for shipping, and how to design business cards, rack cards, and a website to promote my work. I’ve been able to take advantage of many opportunities to apply to exciting calls for entry and have my work travel inter-
nationally. And I know that if there’s something I don’t know, the answer is on the SAQA website or can be answered by the members of the online discussion group. SAQA is a phenomenal resource.
A new challenge Each time I make a piece, I like to challenge myself. Sometimes the challenge lies in the technical difficulty of using the medium of cheesecloth fibers to depict a particular aspect of a piece: Can I successfully distinguish between a headscarf and hair? Can I depict a knitted toque hat? Can I render a readily recognizable celebrity? For Precious Time, the reference photo I used was from 1907. The finished piece was 60 inches tall and was the first
right: Equus
24 x 18 inches, 2013 Based on a photo by Margaret Bednar, used with permission
below right: Madeleine
18 x 24 inches, 2013 Based on a photo from The Globe and Mail, used with permission
work I made of full figures, not just faces. The cheesecloth could be used to indicate light and shadow, but not nuances of facial expressions. The physical setting of a ramshackle exterior of a mine shaft contributed to what I was attempting to portray in this work: the hardship of mining. I didn’t want the background to compete with the figures, so I used diluted white paint on black canvas to subtly sketch in the timbers and rubble around them. Coincidentally, this process allowed me to leave the hat brims completely black, solving the problem of how to show the outline of the miners’ hats.
New perspectives I would like viewers to realize that what I do is flexible enough to be used by people of all levels of skill and ability and is, in fact, a lot of fun. I particularly enjoy teaching my technique to students so they can incorporate what I do into their own body of work, putting their own spin on it. The design stage is exciting because you start with a blank slate and everything is possible. Complete freedom! Beginning with an idea, you consider ways to make your concept tangible. For me, it’s like a puzzle, considering and reconsidering all the elements I might place within the composition, honing the design in a sketchbook or on the computer until it satisfies me. I hope viewers who see my art take away a renewed perspective, and maybe they reconsider something they thought they knew, that I’ve helped them to see it in a fresh light. I hope seeing my work gives them a sense of the passion I’m attempting to translate into fiber. marypaldesigns.com
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artists to watch
Dorte Jensen Ringe, Denmark
From the moment we are born, we are focused on faces. As a psychiatric nurse, Dorte Jensen has had a lifelong fascination with the amazing variety found in people’s faces, and that fascination comes through in her art. Composed of hundreds of minute pieces of fabric, she captures each person’s unique look without the use of paint or ink. Eyes are always the most difficult but also the most important.
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Faces It’s difficult to say exactly what makes a good subject. A face can have a particular expression or express a certain mood. If you want to find a good subject, go to an elderly person in your family and take a photo. Old people have their whole life story portrayed on their faces. It is far easier to make a good portrait of someone whose face has history than of a young person who is still an unknown quantity. I have worked as a nurse for 20 years at various psychiatric wards and am fascinated by the fact that there are so many different faces in the world. A face always contains the same components (eyes, nose, mouth, etc.) but there are many different ways that the individual parts can be composed. All faces are unique. If I stick to portraits, I’ll never run out of subjects. Sometimes I take photos myself, and sometimes I use other photographers’ pictures. The photos don’t need to be professional photos. A good, sharp amateur photo is fine. As long as it’s digital, I can use almost any photo. If you find a photo taken by another person that you want to use, it’s very important to get the photographer’s permission. Send an email and explain who you are and what you intend to do with it. Ask kindly. I’ve done this several times and I’ve never been refused.
Sewing I have sewn ever since I was a little girl, beginning with doll clothes on my grandma’s sewing machine when I was only four years old. For me, it’s important
left: Mother and Child
31 x 39 inches, 2015 top right: Abraham Lincoln
24 x 24 inches, 2015 right: Benjamin Franklin
24 x 24 inches, 2015
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that everything on my pictures is sewn. It would be easy to get the right color by painting or drawing, but I like the challenge of finding exactly the right piece of fabric in the right color. When people see my pictures, they often assume that they’re “just” paintings. I often have to ask them to take a second look to see that they really are stitched. When they learn that, they’re always more fascinated than they were at first. I consider each new picture a separate project, and I don’t work in series.
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I try out different color combinations when I make my patterns. Sometimes I feel more inclined to make realistic portraits, and sometimes I want to give a little more zest to my work so I change the colors. I work for my own pleasure, so everything depends on how I feel on a particular day.
Process I start with a digital photo that I manipulate in Photoshop Elements. During this part of the process, I decide on the
colors, size, and level of detail. When the pattern is ready, I print it out. I put the paper pattern on a light table, put Vlieseline interfacing over it, and trace the pattern onto the Vlieseline. I then iron a piece of background fabric to the Vlieseline. This is how I create a “canvas” with the pattern on the back. Next I use fusible Vliesofix to transfer the single pieces of the pattern to the fabric that I use for creating the portrait. I cut out each of the shapes,
take off the paper, and iron the pieces I have cut onto the background fabric. I set my sewing machine to a narrow zigzag stitch and sew down each of the individual pieces layer by layer. I love to create the eyes, but this is the most difficult part of the portrait process. The most boring part is cutting out all those tiny pieces of fabric. I don’t think I have one single favorite, but some of the pictures shown here are definitely among my favorites. Usually I think that my latest picture is the best one! www.stofbilleder.dk
(left) Town is calling
31 x 31 inches, 2014 (right) Green Man
31 x 31 inches, 2013 (below) Out of The Dark
31 x 59 inches, 2015
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artists to watch
Eliza Brewster Honesdale, Pennsylvania
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You cannot just walk past one of Eliza Brewster’s works. The photos are too stark; the emotions too raw. The implied narrative may be frustratingly enigmatic, but the colors and imagery command attention. A combination of printing, appliqué, and stitch ground the work in the quilt tradition, but the messages are powerful socio-political commentary.
Background in printing My formal training was in printmaking and etching from 1965 to the early 1970s. When I was in school, the etchings we made used nitric acid, kerosene, benzine, and oil-based inks. Then I had a baby. Using these chemicals was out of the question. The 1971 show at the Whitney Museum of American Art in Manhattan Abstract Design in American Quilts was a real eye opener. The tactile nature of those quilts is what really struck me. The three-dimensional aspect of the quilting made me want to touch them, to run my fingers along their surfaces. Of course this was impossible, but it is one of the reasons I quilt by hand. It’s a wonderful and flexible medium. I think that I was one of the very early members of Studio Art Quilt Associates. I still have one of the first SAQA Journals. SAQA was a major influence on my below: Orange Quilt
24 x 43 inches, 2010 with detail (left)
The Eye on the Prize 28 x 20 inches, 2012
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above: Define Yourself
17 x 30 inches, 2008 right: If It’s Legitimate Rape...
25 x 24 inches, 2014
career: seeing what other art quilters were doing and getting into SAQA exhibitions and other art quilt venues to show my work.
Working process I work spontaneously. I don’t plan my compositions ahead of time or make sketches. I do not know what will develop until the project starts to take shape. I use images from many sources, very often from unusual European magazines and lately from photographs I take with my cellphone and then edit. When I have several images and/or texts, I pull them all together using circles. Sometimes I start with a circle just to get me going. If I use color, it will usually be a warm palette, reds and oranges. They just seem to fit my ideas better. Everything I use in the process is water based. I use a plastic paper called Yupo for my plate. It is strong but can be cut with scissors for interesting shapes, again mostly circles. Using stencils and acrylic medium in various textures, I make the printing plate, 20 | SAQA Art Quilt Collector
which when dry will be printed on my etching press. I lay a piece of fabric over the inked plate and run it through the press. Now I have an image on my fabric. Next I find a photograph or use one of my own that I think will work with the image I have just printed. I put this photograph, or sometimes text, in my inkjet printer and print it on the type of transfer paper usually used for printing pictures or text on t-shirts. I also run organza through my printer and then glue or sew it onto the quilt top. Using a very hot iron, I press the image from the transfer paper over the top of the image that I printed on the fabric from my etching
Carefully Calculated To Deceive 22 x 35 inches, 2014
press. Now I basically have the framework for my composition, and I work on adding textures or paint or ink from markers to complete the composition.Â
Meaning Much of my recent work is commentary on social and political events. My favorite piece [so far] is a quilt called The Migration. Recent horrific events inspired this piece. I am sickened by the cowardly reactions of some of our governors who vow to turn back women and children who seek safety from crossing their borders, [and yes, I mean you, Greg Abbot]. I’m really trying to affect the thoughts and ideas of people who view my work, but I want my pieces to be enigmatic so people can take from them what they will.
The Migration 34 x 19 inches
www.fineartquilts.com
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photo by Randall Duryea
gallery portraits DAMSS (Daniela Arnoldi & Marco Sarzi-Sartori) MYTH 4 98 x 59 inches www.damss.com
Michelle Jackson Romancing Red 41 x 56 inches www.quiltfashions.com
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gallery | portraits
Marilyn Belford Perseus Saving Andromeda 78 x 66 inches www.marilynbelford.com
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gallery | portraits Kate Themel Holi Joe 17 x 15 inches www.katethemel.com
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gallery | portraits Jim Hay August 10, 1912 Tomato Soup 46 x 46 inches jmhay@mail.wind.ne.jp
Phyllis Cullen Java Jive 33 x 27 inches www.phylliscullenartstudio.com
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photo by Sondra Brady
gallery | portraits
Mary Ruth Smith Portrait Series: Hamburger 15 x 11 inches www.maryruthsmith.com
Lora Rocke Catfish Stringer 16 x 20 inches www.lorarocke.com
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photo by Marty McGillivray
gallery | portraits
Susan Else Family Life 38 x 20 x 20 inches www.susanelse.com
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photo by Drew Barnard
gallery | portraits Pat Kumicich Comic Relief 39 x 48 inches www.patkumicich.com
Sherri Culver Fire Chief Rain Boots 41 x 27 inches www.sherriquilts.com
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Wall Power:
What makes a quilt art?
by Carolyn Ducey
The studio art quilt collection at the International Quilt Study Center & Museum (IQSCM) at the University of Nebraska, Lincoln, represents one of the world’s most significant collections, numbering more than 300 examples that range from the mid-1970s to the current year. Launched by
Katie Pasquini Masopust Fortissimo 72 x 79.5 inches, 2005, IQSCM 2006.037.0001 SAQA Art Quilt Collector | 29
Jo Budd Dry Dock 2 97 x 135 inches, 1992-1996, IQSCM 2007.039.0001
c ollectors Ardis and Robert James, with the guidance of quilt curator and historian Penny McMorris, the collection includes work by twenty of the artists whose quilts are included in the book The Twentieth Century’s Best American Quilts (1999). Since 1997, when the James’ donated their collection to the University of Nebraska, building the studio art collection has become the purview of the IQSCM’s Acquisition Committee. The IQSCM’s committee is often asked, even challenged, to explain how we decide what will be added to the studio art collection. There are many different elements that we take into consideration. First of all, the definition and separation of pieces within the collection is problematic. We exhibit a variety of pieces on the walls of our museum and try to avoid placing them within particular categories. All of the quilts, 30 | SAQA Art Quilt Collector
whether new or old, used for the bed or to be hung on the wall, contain artistic elements and decisions that the maker consciously or subconsciously considered: line, color, repetition, depth, materials, and techniques. So, when asked, “Are all quilts art?” we answer “yes.” How then, do we define the particular pieces we designate as studio art quilts? One quite simple way is through the maker’s intent — typically, the quilts we define as studio art quilts are delineated as such by their makers and act as creative expressions meant to be displayed. The functionality of quilts isn’t denied in these works; in fact, it is often embraced, but these pieces are quite simply not meant to warm a body. We use the term “studio art quilts” to catalog these works. The inevitable questions then follow: how do you know what is good and how do you decide what to collect? These questions are more difficult to answer.
What guides our choices as we build the collection? One of the ways that we try to achieve balance is to use a voting system to guide us. Our committee members come from widely diverse backgrounds, with a host of experiences that helps to guide our choices. Each of us recognizes that we have subjective styles or visions, so we rely on one another to see quilts in different ways. We also travel to exhibitions around the world to see quilts — there’s no substitute for standing in front of a particular piece. We follow artists over time to see how their work progresses. We consider
the context of each particular quilt or artist: understanding the development of art history tells us much about what artists are exploring and seeking to express at any moment in time. But how to define what makes something good or bad? That can be a very subjective interpretation. For myself, I’m looking for wall power, a phrase I borrowed from Simon de Pury of Phillips auction house, when he was featured on the Colbert Report discussing contemporary art in an upcoming auction. De Pury explained that art has wall power “when it leaps
Shizuko Kuroha The Sea of Japan in Winter 79 x 78 inches, 1983, IQSCM 1997.007.1091
SAQA Art Quilt Collector | 31
off the wall.” It’s a term that I find most easily expresses a quilt’s indefinable qualities, evoking a response in me when looking at any type of art. Wall power makes a piece stay in my head, whether I particularly love it or not. It’s difficult to single out any one favorite in the IQSCM’s large collection. Certain pieces, however, transcend the test of time and look fresh and unique even as time passes. I’ll never forget the impact of Nancy Crow’s 1976 Crosses when it went up on the wall for our building’s opening exhibition in 2008. The play on a traditional Log Cabin pattern is made new and exciting through the progression of color, the transparency that occurs with a subtle color change, and the sheer dynamism of the design. This is an artwork that you can look at for hours. I returned time after time to soak it in. Ellen Oppenheimer’s work also mesmerizes me. The interplay of space and depth that Oppenheimer creates with her layered designs in PW Block #4 (see cover) is simple and direct, yet the complexity and sophistication of the combination keeps my eye moving and seeking new forms and shapes. Both Crow and Oppenheimer use simple geometric forms, but they take them to new levels with their contemporary approach. Jean Ray Laury did the same in her 1981 piece Starfire (not pictured here). In it, she transformed an eight-pointed star to a pattern that shifts and changes as you study it. Anna von Mertens creates abstract pieces in a truly unique manner. Her Mary Cassatt’s aura,
top left:
Nancy Crow Crosses 93 x 94 inches, 1976, IQSCM 1997.007.1088 left:
Anna von Mertens Mary Cassatt’s aura, after Degas 43.5 X 35 inches, 2009, IQSCM 2010.002.0003 32 | SAQA Art Quilt Collector
after Degas conveys a sense of human form in its organic shape. The vivid colors change as your eye moves up the surface. The cool blue brings to mind the interior scenes painted by Cassatt, featuring women and children in various poses. The vivid orange expresses the deep passion of the artist, whose work was so pivotal in her time. Elegy (flatland) is an evocative and compelling piece in a new series by Michael James. The overall format, of defined spaces contained within different planes of the quilts, intrigues me as I approach. It harkens to a traditional block-style tradition. As I near the quilt, however, I respond to the flow, the curve, and the power of the brushstrokes. Rippling water and subtle nuances of color suggest traditional landscapes. The ebb and flow of life, seen in its many facets, can be felt in these powerful quilts. Wall power. I encourage you to look at art in any medium, developing the confidence simply to listen and note your own reactions. Develop your knowledge of art history by looking at pieces created during a particular time, or simply absorb the works of new and interesting artists. Learn what you like and what you don’t, but mostly, learn to appreciate the compelling vision that an artist has put before you. Trust your instincts and see what you remember — the art that won’t let you go. You will have found your focus for collecting, either the works themselves or images that linger long after you leave the exhibition.
top right:
Michael James Elegy (flatland)
73 x 76 inches, 2015, IQSCM 2015.049.0001 right:
Ruth Eissfeldt Atlantis
59 x 59 inches, circa 2001, IQSCM 2006.043.0010
SAQA Art Quilt Collector | 33
Alan Bamberger on building an art collection by Sandra Sider
A
lan Bamberger, based in San Francisco, is a well-known independent arts consultant and writer. His many articles at ArtBusiness.com cover every aspect of collecting art, and Bamberger’s professional services include analyzing strategies for collecting and assisting artists in writing successful statements. In November he spoke with me via telephone and shared some of his insights. Using quilts as an example, Bamberger posed this very telling question to ask oneself when considering the purchase of a piece: “Why should I care? Yes, it’s a quilt, but it’s more — a work of art indicating the artist’s ability to materialize an artistic vision. And does it make me see life differently?” Bamberger recently published the second edition of his book The Art of Buying Art, which I can recommend to anyone in the process of building a collection. His advice is to the point and clearly written, as if he is talking to the reader. The book, which costs $24.95, is available at http:// artbusiness.com/bookorder.html.
This lecture is an abbreviated version of a speech originally given by Alan Bamberger to the Friends of the Mint at the Mint Museum in Charlotte, North Carolina. The entire lecture is available at http://artbusiness.com/collectpro.html
How to collect art like a pro In order to collect art intelligently, you have to master two basic skills. The first is being able to effectively research, evaluate, and buy any single work of art that attracts you. The second is being able to choose each individual work in such a way as to form a meaningful grouping, a practice more commonly known as collecting. If you’re like most people, you know how to buy art on a pieceby-piece basis, but may not be all that accomplished at formulating a plan for making multiple acquisitions over the long haul, or in other words, building a collection. You can find art you like just about anywhere you look and in an incredible variety of subject matters, mediums, and price ranges, but that can be confusing as well as intimidating. So how do you wade through it all and decide what direction to go in? How do you relate one purchase to the next? How do you organize or group your art together? How do you present it? And most importantly, how do you do all these things well? This is what collecting is all about; it’s the ultimate case of controlled purposeful buying. What makes a great collector great is his or her ability to separate out specific works of art from the millions of pieces already in existence and assemble them in such a way as to increase or advance our understanding of that art in particular or of the evolution of art in general. In any mature collection, the whole becomes greater than the sum of the parts, the collector comes to be accepted as a respected authority and in exceptional cases, goes on to set the standards, determine the trends, and influence the future of collecting for everyone. Regardless of how you view your collecting, whether serious or recreational, there are techniques that you can use to maximize
34 | SAQA Art Quilt Collector
not only the quality and value of your
news and when something exciting
work together or even if they work
art, but also your own personal enjoy-
is about to happen, they’re usually
together. “What’s all this art doing in
ment, appreciation, and understand-
among the first to find out about it.
my house at the same time? I really
ing of that art. Step one is being true
The top collectors go to great lengths
don’t know. I’m not quite sure.”
to your tastes. This means acknowl-
to scoop the competition when the
Pose your problem as soon as you
edging that you like certain types of
best art comes up for sale because it
can. Take the randomness out of your
art regardless of what you think you’re
doesn’t come up all that often. They
buying. See what’s going on in your
supposed to like or what seems to be
also know how to compare and con-
collection; find out what all those
the current rage. All great collectors
trast what dealers offer them in order
individual pieces you like so much
share this trait; that’s one thing that
to assure that something is as good as
have in common and proceed from
makes their collections stand out.
they’re led to believe it is.
there. Ask questions like:
When personal preference is ignored
Regarding the art that does make it
in favor of the status quo, one collec-
into your collection, most novice col-
tion begins to look just like the next. A
lectors will tell you that they buy what
few people dictate, the masses follow,
they like. That’s definitely the best way
everyone walks in lockstep, and the
to buy, but as you gain experience,
art you see from collection to collec-
the reasons why you buy what you
tion becomes boring and repetitive.
like should become increasingly more
• Why do I like the kinds of art that I’m buying? • What about it satisfies me? • Do I like the subject matter, what it represents, the colors, the historical aspects, the lives of the artists?
You may or may not be well along
conscious, complex, sophisticated,
• Does it take me to a special place?
in your collecting, but if you have any
and purposeful. For example, you
• Does it make me feel a certain way?
nagging doubts about what you’ve
might hear an advanced collector say
• Do I admire its technical aspects the
been buying, what you’ve deliber-
something like, “Not only do I love this
ately avoided, whether you’re totally
sculpture, but it’s also a prime exam-
satisfied or you just want to take a
ple of the artist’s best subject matter
moment to see what’s new, suspend
dating from his most productive time
your buying for a bit and take a look
period and it fills a major gap in my
around. Don’t confine yourself to the
collection.”
same old museums or galleries or
The best collectors show this sense
most? • Does it make me see life differently? • Is it that it’s old, new, local, foreign, big, small, round, square, whatever? Once you identify the common traits, you can refine your buying to
wherever you’ve been looking at art.
of sureness and direction in their
zero in on additional pieces that share
Get out there and see what else is
overall plans. And here’s where we
those traits. It’s almost like putting
going on.
get into the essence of collecting, of
together a mission statement or
Hand in hand with knowing the art
what distinguishes a superior collec-
clearly and specifically defining your
goes knowing the marketplace — and
tion from an inferior one. In a supe-
goals... and a collector with a specific
this is where many collectors fall
rior collection, every piece belongs;
mission or goals is always more effec-
short. The great collectors know
nothing is random or arbitrary. A less
tive at acquiring art than one who
just about everyone who sells what
experienced collector, on the other
rarely questions why they buy what
they collect; they’re on top of the
hand, may know plenty about each
they do.
market and the market knows them.
individual piece of art, but lack an
They’re tuned in to the late-breaking
overall understanding of how they
SAQA Art Quilt Collector | 35
SAQA Exhibition
Concrete & Grassland
Jennifer Hammond Landau Root & Branch 39 x 35 inches
Concrete & Grassland explores the juxtaposition of the natural landscape and the man-made cityscape. Artists were asked to submit works that explored either the soft lines of nature or the hard lines of urban structures. Shown together, the art focuses on the contrasts of both color and line, and the ways in which people have altered the natural world. The exhibition will premiere at the Grants Pass Museum of Art in Grants Pass, Oregon, from May 31-July 29, 2016 (www.gpmuseum.com).
Jill Kerttula Where the sidewalk ends 40 x 26 inches
Janet Windsor Resilience 21 x 21 inches photo by David Windsor
36 | SAQA Art Quilt Collector
Kathy York Development 52 x 44 inches
Alicia Merrett River Flow 59 x 20 inches
Susan Hotchkis Flourish 38 x 27 inches
SAQA Art Quilt Collector | 37
t h e co l l e ctor ’s b o o k s h e lf
Japanese Contemporary Quilts and Quilters: The Story of an American Import by Teresa Duryea Wong Schiffer, 2015 ISBN-13: 978-0764348747
reviewed by Martha Sielman
Prior to World War II, Japan had no history of patchwork quilting beyond the utilitarian patching of worn clothing. Today there are an estimated 3 million quilters in Japan and quilting is a multi-million dollar business. This book traces the history of how Americans popularized patchwork quilting in Japan and how it has developed within a very different culture. Teresa Duryea Wong has written a fascinating history of how quilting created a bridge between two very different cultures as Americans traveled to Japan and Japanese traveled to the United States. This engaging narrative is coupled with in-depth profiles of important contemporary Japanese quilters, including Yoko Saito, Keiko Goke, Noriko Endo, and Yoshiko Jinzenji. More than 200 photo-
ciates, Inc. Quilt Asso Studio Art
22
Portfolio
The art quilt
sourcebook
graphs show the Japanese artists’ quilts and studios, and the antique American quilts that once inspired them. I interviewed Teresa to find out more about how she researched her book. MS: How did you come to write this book? TW: My first job after college was in television news. Later I worked as a freelance journalist, wrote for newspapers and corporations, and was the publisher of a fine art magazine covering visual and performing arts in Texas. I now dedicate most of my time to research and writing. And occasionally quilting! The lure of Japanese quilts, fabric, and aesthetics first drew me in about 10 years ago. My interest at that time can best be described as a groupie who studied
Be inspired. Be motivated. Be prepared to be captivated. This beautiful full-color volume is available now. Go to saqa.com to order Portfolio 22, the art quilt sourcebook. 192
Portfolio 22 | Studio Art Quilt Associates, Inc.
Mary Ruth Smith
44 x 40 inches (112 x 102 cm) | 2014
38 | SAQA Art Quilt Collector
figurative
photo by Sondra Brady
Waco, Texas, USA 254-296-9495 | mary_ruth_smith@baylor.edu | www.maryruthsmith.com
photo by Kerby C. Smith
Coarsegold, California, USA 559-683-3060 | lura@lura-art.com | www.lura-art.com
Granite Series: Moonlit Waters
193
Portfolio 22 | Studio Art Quilt Associates, Inc.
Lura Schwarz Smith
conceptual
Portrait Series: Hamburger 15 x 11 inches (38 x 28 cm) | 2015
these quilts and their inspiration from afar. While I was finishing up a Master of Liberal Studies degree at Rice University, I began serious research for this book. MS: How did you go about planning and doing the research? Do you speak Japanese, and if not, how did you handle that? TW: I don’t speak Japanese. A portion of my research was conducted at Rice University. Having access to such a huge variety of academic resources (both online information and my professors) was an incredible bonus. In addition, I accessed books, articles, and other research material at several quilt museums in the U.S., and I also interviewed curators and other experts. In fact, I conducted more than 50 interviews in the U.S. and Japan. I made a lot of contacts and relentlessly asked them for help, especially when it came to being introduced to the artists.
In 2014, I went to Japan and spent almost a month there conducting interviews, visiting museums and quilt classes, attending the Tokyo International Great Quilt Festival, and doing other field research. I visited the homes and studios of ten quilters, which took quite a bit of advance work because I had to find someone who spoke Japanese to introduce me to these individuals. Only about half of my interviews in Japan were conducted in English. I also had the assistance of a professional translator for others, and in some cases a family member was available to translate. The vast majority of peoplewith whom I interacted were comfortable communicating with me in English through written emails. MS: What did you find out in the course of writing the book that was surprising to you? TW: There are so many things I learned while writing this book that I can truly
say the experience changed my life. One of the biggest surprises for me was how easy it was to communicate with quilt artists when we do not speak the same language. Once we got to talking, the language of quilts was somehow universal. The other huge surprise (once I got the proper introduction) was how gracious these artists were and how willing they were to invite me into their homes and tell me their stories. I have evolved from an initial fascination with Japan to being someone who truly loves Japan. I wish I could have included more quilters in the book, because there are so many talented individuals and incredible stories. And I wish that all of the quilts could have been full-page images, one quilt per page. However, the book would have become too large in format and costly. I am very proud of this book. I believe it tells a fascinating story and represents some of the best of contemporary quilting in Japan today.
SAQA has provided support, counsel, information, inspiration, and joy over the twenty-seven years I have been a member. I have learned enormously from others in the organization. It has given me an opportunity to share my talents and dreams, and to help others do the same. I want SAQA’s work to continue after my lifetime—the work of educating people about the art quilt and providing a “home” for artists like myself who are seeking to express themselves through art quilts. That’s why I’ve left a gift to SAQA in my will. —Judith Trager, Board member, SAQA Legacy Circle donor
Is SAQA in YOUR will?
Join Judith in supporting SAQA’s future! Contact Jean Tutolo, SAQA’s Development Director, for details about how you can give a legacy gift.
saqajean@gmail.com SAQA Art Quilt Collector | 39
Photo Finish
Pauline Burbidge Wind over Water 72 x 71.5 inches, 2003, IQSCM 2005.004.0001
