Quilt National 2013: The Oscars for the Art Quilting World

Quilt National 2013 opening, Dairy Barn, Athens, OH

I have been planning to go to the opening of  Quilt National 2013 for quite some time.  I have had it on my calendar for ages. While I  have been to every Quilt National since I moved to Ohio, I've never been to the opening.  Someone who is not a quilter asked me what it was, and the best I could come up with was that it is the Oscars of the Art Quilting world...only it is held every other year and there are only three judges rather than being judged by all your peers.

The quilts are judged from digital images submitted by the artists, but they are chosen blind.  The jurors are given the name of the work, a detail, dimensions, the artist statement and materials.  No names, although for some artists, their style is so remarkable you would have had to have had your head stuck in a paper bag not to recognize their work.  You cannot have shown the quilt anywhere, an it must not have been published anywhere---online, in blogs or on Facebook.  Even if someone from a guild or something has seen it and taken a photo without the artist knowing and put it up on the web, it can be disqualified.  851 quilts were submitted from artists in 44 states, five Canadian provinces and 16 foreign countries.  Only 85 were chosen.  It is not unusual to try for years to get in. Quilt National is one of the oldest art quilt venues and these rules keep the show fresh and exciting.

I was especially excited to go as I was going to meet Brooke Atherton and Del Thomas there for the first time, even though we have corresponded for quite some time.

This year's show was visually spectacular. I found myself looking intently at each quilt, close up and from a distance, even though close up at the opening was often difficult for the number of people present.  Line, color and form rang out and spoke to you.  I honestly felt that this is the best show Quilt National has put together of the ones I have been able to attend.

In general, I felt the show to be well balanced.  I did not find any quilt that my reaction was "What WERE they THINKING????"  The jurors were Linda Colsh, Judith Content, and Penny McMorris (who does not have a website other than Electric Quilt which she started, but is well known in the quilting field for having hosted and early PBS show on quilting as well as authored several books).  I was interested when someone (Martha Seilman?) suggested that the trends represented included a strong emphasis on neutrals, graphics and the utilization of digital photography in the works.  I don't remember anyone saying it, but I would also add mixed media in the works.  I really was puzzled by the "neutrals" comment because while I recognized the graphic quality of the works....my reaction was the wonderful richness of color and texture in the show.
When I went back and tallied the pieces (as best I could) neutrals DID out number the brightly colored pieces.

Abstracts (both pure abstract and abstract realism) were strongly represented, outnumbering the more realistic works by quite a bit.  However, we don't know what was submitted, and I think this tends to be over emphasized.  Strong pieces, works with great merit, whether they are realistic or abstract are what should be in the show, and that is precisely what I saw.

When I  entered the show, I turned to the right, and I was about 10 quilts shy of the beginning when I ran into Brooke.  She told me that she won an award and was having a hard time keeping still while she took at class at Nancy Crow's Barn.  I had not yet seen her piece, and shortly thereafter, they started announcing the  awards...I had to restrain myself from hollering when they announced that Brooke won Best of Show for "Springfield."

Detail, Brooke Atherrton, "Springfield," Quilt National 2

Brooke Atherton, Detail, "Springfield," Quilt National 2013

Brooke Atherton, detail, "Springfield," Quilt National 2013

I apologize, my photos are few, for one, you are only allowed to take shots at the opening...and I have been having such problems with my hands, that I opted to use my "point and shoot" for fear I would drop my DSLR, and I didn't notice that when I hit the "macro" button, I accidentally turned off the flash...so things were blurry and like Brooke's piece here, yellow from the interior lighting,

Brooke is known for using all sorts of bits and pieces as well as for torturing things by burning and melting.  She uses found objects and in this case she used paper maps, text (including something which looks like it is Welsh or at least written in Middle or Old  English ( a college text perhaps?).

Some of her found pieces are trapped under organza, or wrapped in little packages. She stitches things down by both hand and machine.  You'll recognize the metal "sheath" from the top of a wine bottle in the top photo.  Below you can see bamboo, and bits of annular ware, pottery from the late-18th and first half of the 19th century, her pieces seem to be abraded, either showing water damage or that it has passed though fire.  I also found bits of Native American pottery sewn down...a treasure trove for the material culturist.

On her statement, Brooke wrote
 "The hills are shadows, and they flow
From form to form,  and nothing stands.
They melt like mist, the solid lands,
Like clouds, they shape themselves and go."
--Tennyson

"A little stitching madness to hold an elusive memory"

Not only does Brook's piece have flow, texture, and all the other elements of design, but it starts a conversation with the viewer.  Which Springfield?  It could be any one of the 38 places in the U.S. with this moniker, or the ones in the United Kingdom, Australia, South Africa, Ireland or New Zealand (USA holds the largest number).  Why did she choose to include the fragments she did?  Certainly the Tennyson poem really DOES describe the piece....and what does it say about us? How do we relate to the land? What bits of our souls reverberate and intertwine with the land and memory?

You can see more of Brooke's work at http://www.brookeathertonart.com/ , and of course I've written about her pieces several other times here.  Just put a search up for Brooke Atherton in the blog search engine at right and you'll find earlier posts showing her work.  "Springfield" measures 32" h x 97" w.

Deidre Adams, "Tracings III, Quilt National 2013.60" h x 60" w.

I always cringe when people ask me what my favorite piece is....In fact in this show, I prefer NOT to say...I enjoy and appreciate so many pieces for so many different reasons, often the subject matter calls to me, or the message or political statement resonates with me.  I admit, however,  I am a color and texture junkie....and this is really the show for that!  Line, oh, that scrumptious foundation....

However, Deidre Adams piece "Tracings,  III"  grabbed me because it shimmered....glowed...and as Natalya Aiken said "pulsated."  Oh...ok, so it happens to also be in colors that I love and...it's all about texture and surface design.  Deidre's website is here.

Deidre Adams, detail, "Tracings III, Quilt National 2013

One thing about the show which tickled me was that when  I saw several quilts from across the room, I assumed I knew who the artist was because I thought I recognized their style..only to be surprised an found out it was someone else.  Likewise, I was often surprised to see pieces by other artist whose work I knew, but these pieces were a departure from the previous works I saw.

One which didn't fool me was another wonderful piece by Dianne Firth entitled "Storm"...like the piece I spoke about at Art Quilt Elements at the Wayne Art Center last March.  This one is another fantastic piece where the shadow composes part of the quilt.....Dianne won the McCarthy Memorial award.

You can see the other award winners here.  One of my favorites is the Hillary Fletcher (the first director) "Persistence Pays" Award which is given to the person who tried the most number to tries to get in, and finally was chosen this year.

So many quilts spoke to me, too many to list....well....I could, but your eyes would be bleary. I suggest that you go and see the show if you can and if you can't, at least buy the catalog.  I'll be reviewing that at  a later date.

Quilt National runs roughly from now until September 2, 2013 at the Dairy Barn Art Center,  Dairy Lane, Athens, OH.


I am participating in Nina Marie Sayre's off the wall Fiber Fridays blog tour, take a look at the other blogs here:

http://ninamariesayre.blogspot.com/

About Jurying and thoughts about Quilt National

Kennedy Museum of Art, Ohio University, Athens, OH

 Ever since the notifications came out about who was accepted into Quilt National, the Studio Art Quilt Associate's (SAQA) yahoo group and the Quilt Art message board has been flooded with who got in and who didn't...and why things might or might not have been chosen.  Quilt National, the Biennial show at the Dairy Barn in Athens, Ohio is one of the shows that almost every art quilter wants to have a piece exhibited, and few get in.  The caliber of the pieces submitted and the "big names" who submit, is very high indeed.

I was interested in how many people who I consider very good and who are published stated that they were more often than not not selected.  Pamela Allen, whose work is widely published and shown was finally accepted for the first time this year, after 5 previous attempts.

This got me thinking that wouldn't it be fun to have a "shut out" exhibition just down the street at the Kennedy Museum of Art.  The Kennedy is housed in the old Lin Hall of the Ridges, formerly a state mental institution which has been decommissioned, and the buildings largely taken over by Ohio University.  The Ridges Campus is sprawling with many glorious examples of public institutional architecture, something which has always interested me.  

While several of the main halls have been rennovated and serve as galleries, not all the floors have been fixed up.  In fact, as you can see here, some of the windows have been broken out and not boarded over or replaced.  I thought it would be kind of cool to have the quilts hung in rooms which hadn't been fixed up....but of course, that presents lots of problems from environmental issues for the quilts as well as safety issues for people.  

I also started to think about the sheer numbers.....according to one person who contacted the Dairy Barn, this year there were 870 entries and 80 were chosen to show.  Hmm.  That's a lot of quilts.  Just to give you a comparison, I asked Pokey Bolton how many quilts were shown at the International Quilt Festival in Houston, she replied that she thought there were over 1,000....just a little more than were submitted for exhibition at Quilt National.  Obviously, this would be entirely unworkable.  

I don't feel badly about not getting in, for the reasons I pointed out on my previous posts on jurying.  Alison Schwab pointed out that jurying is not the same as judging and that the three jurors for this exhibition were faced with the daunting task of choosing a cohesive exhibition out of all these different pieces of art which were submitted.

Wen Redmond shared an exercise that she has done with her local group.  I thought it was so interesting and telling that I asked permission to include it here, and she agreed.   Here's what she wrote:

"I have applied to QN for many years- I think starting in the 80's. I have gotten in once.

While it was a disappointment not to be selected this year, I am encouraged to try again.

Why?

This simple exercise that can be done with any show n' tell group. I learned of this exercise from Margaret Sheehan when I was one of 3 regional rep's for SAQA of VT/ME/NH.

Count the number of folks who want to 'play' and divide by 1/4. This will be the number of folks selected for a 'exhibit'.

Title the exhibit.

Select 'judges'.

Each judge will independently select 1/4 of everyone participating to be in the 'exhibit'.

Have the 'winners's stand in front of the room, holding their work. 

Judges will arrange the 'show winners' in the order of how the show will be presented.

Judges will explain their criteria for their selections. 

Have the audience participate by agreeing or not or just simply rearranging the order of the 'winners'.

This exercise demonstrates the subjectiveness of the particular judge, how themes affect the show selections and how hard it is 

to select a coordinated and exciting show, and therefore, not to be discouraged when not selected!"

I thought this exercise was brilliant, and people who submit their work to shows and are not accepted should think about this each time they are disappointed.

So, go forth, and make even better art!  

And....take a look at Nina Marie's blog roll of quilty blogs on "Off the Wall Fridays"

http://ninamariesayre.blogspot.com/

Quilt National 2011 Review

In the last post, I commented on a few things as to why I really liked this year's Quilt National Catalog.  I'll hit on a few more tonight. 

I have many of the previous catalogs....some exhibitions I've attended, others not.  To my mind, this edition is the best yet and one which is useful BEYOND being eye candy or a a souvenir of the show.  Why? It outlines exactly what they are looking for and considerations that anyone who is entering some of the more prestigious shows should think about.

After having watched "Stitched: The Documentary" and reading this edition, I understand far more about how pieces are considered and selected.  The importants of something which seems extremely fundamental, obtaining the best possible photographs of your piece, is driven home. 

I love the discussion about what each of the jurors brought to the process, what they were thinking and what they were looking for.  While we as individuals might not agree with them, I think that this is important in understanding the process and this show. 

Kathleen Dawson, the executive director of the Dairy Barn Art Center, wrote an impressive and thoughtful introduction.  It was a pleasure to see that ALL of the components had something to say and were not just fluff.

Yes, I'd like more photos with more details so we can see the texture of the stitches and understand that pieces often have a dimensional quality which doesn't show up easily....but I have to say, I keep on going back to it.

No, Lark Books didn't give me a free copy.  Nor do they know that I'm plugging their book.  Nor does Quilt National or the Dairy Barn Arts Center...Heck, they didn't select me for a potential reviewer for Masters: Art Quilts vol. 2, probably because I don't have enough followers or don't have enough "hits" to qualify...or maybe I just don't write well enough for them...but I have to say, you need to get a copy.  You can get it from your favorite bookstore, or from the Dairy Barn Art Center, or online...and yes, I sell used books on Amazon...so I'll give them a plug by sharing this link.  And no....I don't get anything from them either...in fact, I'm going to have to close up my Amazon shop soon as I'm losing my shirt lately.  Or...you can patronize your favorite library.....but please, please do take a look at this book.

Run, Don't Walk to Quilt National 2011

Wednesday, I dropped my daughter off for her freshman year at Ohio University in Athens, Ohio.  I had hoped to get over to the Dairy Barn to see Quilt National one more time...but it was just too hectic with all the programs we had to attend (really) and moving too much stuff into a 10' x 12' room shared with another young woman....

Quilt National is a biennial exhibition of contemporary quilts exhibited at The Dairy Barn Arts Center, a converted dairy barn which once served the psychiatric hospital just up the ridge.  The show is always interesting and it will close on Monday, September 5th.  So, you really do have to run and see it.

Of course, you should run and see it just because it is a fantastic show.  Every two years, three jurors, two quilt (fiber) artists currently working in the field and who have name recognition and a third juror --usually from a related but outside field to bring a different perspective  review quilts and pick approximately 85 quilts from the submitted entries which meet the entry rules/guidelines and represent the best of what was offered. 

The rules state that the purpose of the show is:  "To promote the contemporary quilt by serving as a showcase for new work that provides the viewer with appreciation of the variety of techniques and innovative trends in the medium of layered and stitched fabric.  The jurors will select works that represent unique approaches to the medium and demonstrate the breadth and diversity of contemporary expressions.  Visitors to Quilt National 2011 will see that the time-honored traditions are thriving and are being expressed in new forms as today's artists rise to meet the challenges of new techniques and materials."    This year, Pauline Verbeek-Cowart, Eleanor McCain, and Nelda Warkentin served as jurors.  This year, over 1,000 quilts were submitted....and only 85 were chosen. 

Since coming to Ohio in 2005, I have been privileged to be able to attend three of the shows.  Each year, I think that the show is more exciting and interesting than the show previous. Even so, it is difficult for me to pick what pieces are my favorites. 

This year's show I thought was interesting on several levels.  I found that there was a theme, in a way, for the pieces which were submitted.  Many used subdued palettes, often using greys and neutrals.  Don't get me wrong, there were plenty of eye catching and bright quilts, but my overall feeling was far more subdued.  I also felt that the quilts shown were pieces which when using an innovative technique or material, it made sense.  That is, it wasn't using a different technique or material just for the sake of being different or cutting edge or just to use it, the selection of that particular material and technique added to the piece; the piece would have been diminished if it hadn't used the material.  In addition, the pieces were masterful in their use of material AND technique.  For instance, using found materials or "green" materials might be just a trend, or stuck in, but when Paula Kovarik used plastic grocery bags in her "Global Warming, The Great Unraveling", the bags not only fit her topic and what she was trying to say but were gorgeous...I wouldn't have thought of using them like she did and it really added to the quilt.  Kim Shearrow used all manner of recycled and unusual materials in her "Sunrise at Age 45"  which created an absolute masterpiece of color and texture worked into her large and wonderfully designed (and sparkly) piece (which by the way, the catalog doesn't do justice to).

One of the things which pleases me the most about this show is the response and discussions which it engenders.  I was very happy to have bumped into Beth Schillig, a fellow SAQA member and Ohioan at the show in the beginning of August.  Beth and I immediately started to talk animatedly about what we were seeing....and I was sad that my time was so limited that I had to buzz through the show and not talk with her more fully about her impressions.  When I have gotten together with others who have seen the show at different times, people have almost tittered with "I don't think that was a quilt" or "what did you think of ....." or "What was your favorite???"  I love this because when statements are made, then it gives a starting point for a full discussion. Why DO you like that one?  What makes it more successful?  Is it more successful than another piece, and if you think so, why?  Why do you think that this particular piece shouldn't be here, or isn't really a quilt???? 

Certainly, the catalog also has created quite a buzz on the Quiltart message list as well as on the SAQA (Studio Art Quilt Associates) Yahoo group.  In fact, some of the discussion, particularly Eleanor McCain's comment "What about these works of art demands that they be formed from cloth and thread?  Is there a message and meaning that can only be revealed through this medium?  What in the quilt form is important to the art?  As a fiber art professor once asked 'If it's not about the fiber, why work in that medium (Eleanor McCain, Quilt National 2011:  The Best of Contemporary Quilts, Lark Crafts & the Dairy Barn Arts Center, p. 12.). 

The discussions which arose from this in some ways depressed me about what I was doing (the assertion that if a piece is representational --which most of mine are-- rather than abstract then it wasn't really an art quilt and wasn't worth thinking about).  It took a quick kick in the pants by Vivien Zepf to move me out of that bad train of thought.  I usually wait and buy the catalog at the Dairy Barn's gift shop as that way the Dairy Barn can benefit more from the proceeds.  Such heated discussions were arising out of the book, particularly from Eleanor McCain's comments and Pauline Verbeek-Cowart's comments (out of context, but generally her reaction that the first viewing she made of the entries she was looking for innovation and "was initially disappointed.  Not a single entry in my opinion represented that leap into new territory, or challenged conventional notions of the medium and stood as a radical new approach." (Ibid, p. 14), that I bought the book on Amazon so I could more fully understand the discussion and be able to look at the exhibition with a more critical eye developed from the discussions and reactions I was reading about.  Take a look here.

I'm really glad I did.  Although Andrea Lewis points out a problem in her foreword:  "Works in fiber were not meant to be experienced in two-dimensions.  Works in fiber are intended to be experienced firsthand, to allow the viewer to discover the nuances in surface texture and variations in color, and to appreciate the details articulated in stitches."  (Ibid., p. 6).    I agree....I must admit, even though I noted the size on the label in the book, when I saw Eleanor McCain's "9 Patch Color Study 7" at the show, I was blown away.  The illustration in the book is 3 1/2" square...the quilt measures 110" High by 109" wide...you're just not prepared for this.

A terrific problem with the catalog is that there are no close ups so that you can see the texture and the stitching.  Everything is absolutely flat...Each quilt, for the most part, is represented by one photograph.  In the case of Jayne Bentley Gaskin's Solitude  this is a grave disservice.  Nothing in the catalog nor the description prepares you for the fact that this quilt is three dimensional.  The person and the backpack are dimensional...stuffed with fiberfill so that the backpack stands out from the surface of the quilt as a real backpack does.  My memory says that it is, or is almost, life sized.  It is an amazing concoction of thread and fiber to render this piece.  I do think that the color on this edition is better than it has been in the past. 

If you are able...please see the show.  While the entire show's last date in Athens is this coming Monday, Sept. 5, it will be divided into three traveling shows.  From October 2, 2011 - November 4, 2011, it will be in St. Charles, Missouri at the Foundry Art Center (all three parts); and Feb. 14, 2012 - April 29, 2012 San Jose, California:  The San Jose Museum of Quilts and Textiles (parts A and B only).  For additional locations/dates please contact the Dairy Barn Arts Center.  At the very least, get a copy of the catalog...I think you'll be glad you did.  And if you do...please put your thoughts on the show here...I'd love to hear your reactions and discuss the pieces as well.

I really wish that photos of the quilts were allowed....but they aren't and so you're stuck with the shots I have here. :)