Displaying art quilts

The versatility of the medium means you have many choices

by Cynthia Wenslow

Since its inception in 1989, SAQA has been instrumental in moving art quilts into the mainstream art conversation and bringing art quilts to contemporary galleries and museums around the world. Exciting exhibitions like Stories of Migration: Contemporary Artists Interpret Diaspora—created by SAQA in collaboration with The George Washington University Museum and The Textile Museum—are now being envisioned specifically with these venues in mind.

With this increasing acceptance and the structural diversity of art quilts, the question of ultimate presentation of the artwork has become more complex. Artists are examining their practices to meet expanding opportunities.

SAQA members creating twodimensional work employ a wide array of finishing and presentation methods. Options include unfinished edges, overstitched edges, facings, traditional quilt bindings, hanging from a fabric sleeve, stretching the work on stretcher bars like paintings, mounting on canvas, matting like a photograph, framing with glass or without, and many combinations of the above.

In making these presentation decisions, the artist must consider several factors. These can be broadly divided into aesthetics or purpose. By understanding the choices artists make, collectors can make more informed acquisition decisions as their collections grow. In a recent online discussion, SAQA members provided some insight into their current thinking about mounting and framing art quilts.

Aesthetics

When it comes to the aesthetics of mounting or framing art quilts, artists generally possess one of three mindsets: yes; no; it depends.

Susie Monday, a Texas SAQA member, prefers to present her work stretched on wooden frames or, in the case of small works, matted. “I think of my work first as art and second as quilt,” Monday said. “I like the tautness of the surface and the preciseness of the shape, and that the work stands out from the wall when the textile is stretched.

“Although the quilt loses some portability, framing or matting adds formality to the presentation. My work thus can be seen as comparable to a painting on canvas on stretcher bars. Collectors see my work in that way and are willing to consider paying more, too,” Monday concluded.

SAQA juried artist Jean M. Judd differs in her outlook. “I have never framed or mounted any of my artwork,”

Susie Monday

left: Escape Velocity, 26 x 19 x 3 inches, 2012 right: Pomegranates, 16 x 12 x 1.5 inches, 2015 showing work stretched on wooden frame

left to right: Purple Angel, 36 x 36 inches, 2004 Last Angel, 39 x 26 inches, 2010 Blue Angel, 36 x 36 inches, 2009 Health clinic waiting room in Denver, Colorado

Reverse side of Last Angel showing hanging slat inserted into the hanging system on the back.

Judd said. “After talking to many gallery and museum directors, who have all told me that they prefer the organic feel of textile work hung as it was intended to hang, like a tapestry, I haven’t explored the option,” continued Judd. “I’ve never received feedback from exhibitions saying my work would have been better mounted or framed.”

For SAQA juried artist Rosemary Claus-Gray, who often creates with sheer silk organza, the presentation is dictated by the artwork. “To me, the way one presents the work is an entire composition, so the method of presentation needs to add to or be in the background of the art, not to distract or dominate.”

“I consider each piece separately, and I have multiple approaches to my art presentation,” Claus-Gray continued. “When I use a neutral, archival mat board, I attach the sheer work in a minimal way, stitching the piece to the mat board with invisible monofilament thread. I attach it in as few places as possible, to allow the work to seem to float over the mat board and to interact with air currents and change with the light. I use a minimal metal frame in either a gold or silver finish, around the edges. It’s barely there.”

Purpose

Many artists make presentation decisions based on practical considerations.

Rosemary Claus-Gray

Portals III

36 x 25 inches (framed), 2012

Portals VIII

54 x 40 inches, 2012 This piece is hung by an acrylic slat sewn directly to the piece with monofilament thread. This avoids a line across the piece and minimizes show-through. The piece moves with air currents.

Elena Stokes Horizon IV

6.5 x 8.5 inches, 2016 full view and side view showing mounting

Deb Cashatt is one half of the SAQA juried artist member duo Pixeladies, creating art with collaborator and friend Kris Sazaki. (see article, page 24) Cashatt said that on occasion, the Pixeladies have stretched pieces. Why?

“I think potential buyers have an easier time envisioning framed work in their home or office,” Cashatt said. “We have one patroness who purchased a large quilt and had it framed and put under glass. The quilt looks very nice and fits with the other fabric pieces she has mounted in this manner.”

SAQA juried artist member Elena Stokes has begun mounting her smaller work. “Psychologically, it feels more like ‘Art’ to buyers, and it’s ready to hang. I’m now mounting my small pieces on cradled panel boards. These give the professional presentation of framed and mounted work, as well as ease of hanging, but they still feel organic.”

While mounting or framing an art quilt can make it more accessible for some collectors or add presence to smaller works, it isn’t always an option. Depending on the requirements of a particular exhibition, having the artwork mounted can mean a piece is ineligible for inclusion. Many art quilt exhibitions need to be able to roll the art quilts to reduce shipping and storage costs.

Canadian SAQA member Kit Lang ordinarily prefers to mount or frame her work. “The exception is if I’m entering the piece in a show that requires them to be unmounted. Because I’ll be mounting them later, I make sure I build in an extra 4 inches of border that I hand stitch to the back before I put on the sleeve.”

Protection of the artwork is often a consideration for quilts intended for display in high-traffic public areas. These works might benefit from being mounted and separated from the viewer by glass or acrylic sheeting. However, doing this can add considerable cost and hanging weight if the piece is large.

Finally, the artist may choose presentation methods that produce a cohesive look for a particular series or body of work. This approach has the practical advantage of making an exhibition or grouping easier to hang while providing immediate context for the viewer.

Cynthia Wenslow is an artist, writer and curator based near Milwaukee, Wisconsin. Contact her at cynthia@ cynthiawenslow.com.

Ask the artist

With the wide range of layered and stitched artwork being created today, the presentation question will remain vital to the conversation. When considering an acquisition, here are some questions to start a dialogue with the artist.

• What is the hanging or display method?

• Why did you choose this method?

• How is the hanging or display device attached to the artwork? Is it removable?

• Is there anything special I need to know to care for an art quilt presented this way?