Emmeline. Quilt Display. September 02nd , 2017.
There is a vast collection of books on quilting in existence today. Spirits of the Cloth: Contemporary African American Quilts stands out among them. In this book, Dr. Carolyn Mazloomi gives African American quilters, an emerging group within quilting, a voice to be heard and an opportunity to be recognized for their outstanding contribution to the field of both art and quilting. Not only does this book outline in detail the beginnings of African American quilting and how it has progressed through the years, it also provides stunningly beautiful photographs of quilts in this genre.
Just because it`s called a "quilt" display rack doesn`t mean that its use is limited to such items. Quilt racks would also be useful as in-store displays to advertise latest store deals, services, and products. You could also use these to hang curtains, which could then be use to surround your exhibitor space. Teachers can even use these to feature class artwork projects or as teaching aids. Photographers are also fond of using these to hold their background graphics during their outdoor pictorial sessions.
Now we are ready to hang our design wall and start using it. We just need to place bits of fabrics, blocks or quilt tops on the design wall, bring into line the corners and boundaries with the stitching lines. The consistency of the flannel will cause the fabric to fasten. There are times when we can use straight pins to break through the batting. This proves helpful in keeping all the sections in place.
With a preface written by Faith Ringgold and a foreword written by Cuesta Benberry, also quilters, writers and researchers within their own right, Spirits of the Cloth can be considered to be an academic work within the field of African American quilting. As a quilter, researcher, writer, historian, curator and lecturer regarded as an authority on the subject, Dr. Mazloomi`s scholarly work provides the uninitiated with a wealth of information on a topic virtually unknown before the latter quarter of the 20th century. The text highlights 150 quilts, referred to by the author as the "stories" of the artists who created them.
Mazloomi discusses how, initially, the work of African American quilters was largely ignored by the traditional quilting community, as it did not conform to traditional, commonly-held practices and beliefs surrounding quilting. Quilts created by African American quilters had, naturally, been influenced by the African culture from which the quilters and their ancestors had come. Even in the quilts of today, the use of bold, strong, vibrant color can be seen in the quilts of their black creators.
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