October 18-December 29, 2012
GREAT QUILTS, GREAT STORIES
Treasures from the Permanent Collection
SLICE QUILT: All for One Quilters [NEQM 2003.05]
Most of us learn history from words--the textbooks we study in school, the novels and newspapers we pore over, the stories told by those who lived through events great and small.
But history can also be learned from objects. This exhibition uses quilts from the museum's Permanent collection as well as objects and artifacts from other museums and private individuals to tell some fascinating stories. We learn about the death of an English princess, the opening of sea trade with the Orient, the life of a portrait painter among America's Native Peoples living in the 1840s, as well as many other fascinating tales.
July 12-October 14, 2012
BACKSTITCH
A 25-Year Retrospective of Advances & Milestones in Quilting
INNOCENCE by Hollis Chatelain
Backstitch examines the breadth and depth of changes in this traditional American art form over the past quarter century. The exhibition was planned to mark the 25th anniversary of the New England Quilt Museum.
The exhibition draws work from 25 critically acclaimed artists from across the country--a veritable Who's Who of leading quilters working in styles from the traditional to the avant garde.
Showcased are techniques including embellishment, fabric dyeing, fusing, photo transfer, thread painting and more. Also represented: commemorative quilts, historic reproduction quilts and quilts for a cause.
Click here to download a PDF of the exhibition gallery guide.
Exhibition sponsored by the Quilter's Guild of Dallas Helena Hibbs Endowment Fund & Janome.
Thank you!
The exhibition draws work from 25 critically acclaimed artists from across the country--a veritable Who's Who of leading quilters working in styles from the traditional to the avant garde.
Showcased are techniques including embellishment, fabric dyeing, fusing, photo transfer, thread painting and more. Also represented: commemorative quilts, historic reproduction quilts and quilts for a cause.
Click here to download a PDF of the exhibition gallery guide.
Exhibition sponsored by the Quilter's Guild of Dallas Helena Hibbs Endowment Fund & Janome.
Thank you!
March 29-July 8, 2012
FENWAY PARK CENTENNIAL
Quilts by Rosemary Bawn & Other Quilt Artists
FENWAY PARK CENTENNIAL
by Rosemary Bawn
Just in time for the 100th birthday party of Fenway Park comes a quiltmakers’ celebration of an American landmark.
Co-curated by Vivian Lee Sayre and Rosemary Bawn, this exhibition brings together a collection
of art quilts that capture the excitement of 100 years of Fenway Park.
Co-curated by Vivian Lee Sayre and Rosemary Bawn, this exhibition brings together a collection
of art quilts that capture the excitement of 100 years of Fenway Park.
January 19 - March 24, 2012
CAMPAIGNS & COMMEMORATIVES:
Quilts for Presidents
The “silly season” of national campaigning is upon us. Join us for an exhibit highlighting the unique role that textiles have played in our national politics.
Until women in the United States won the right to vote in the 20th century, their political influence was expressed through their male family members, or through letter writing, peripheral political involvement or needlework. Campaigns have used textiles to promote their candidates since the early 19th century. Put these two factors together and something novel happens: either quilts are created from campaign textiles or patterns are altered to honor a president or a political party.
Campaigns and Commemoratives highlights four centuries of political textiles used in quilts to support the campaigns of everyone from President Washington to President Obama. Included are Washington’s Plume, medallion quilts showcasing presidential handkerchiefs, donkeys, elephants and even some political satire. Enjoy this fascinating look at everything that is both serious and fun about our national political game.
Exhibit sponsored in part by the Demoulas Foundation.
Thank you!
Until women in the United States won the right to vote in the 20th century, their political influence was expressed through their male family members, or through letter writing, peripheral political involvement or needlework. Campaigns have used textiles to promote their candidates since the early 19th century. Put these two factors together and something novel happens: either quilts are created from campaign textiles or patterns are altered to honor a president or a political party.
Campaigns and Commemoratives highlights four centuries of political textiles used in quilts to support the campaigns of everyone from President Washington to President Obama. Included are Washington’s Plume, medallion quilts showcasing presidential handkerchiefs, donkeys, elephants and even some political satire. Enjoy this fascinating look at everything that is both serious and fun about our national political game.
Exhibit sponsored in part by the Demoulas Foundation.
Thank you!
October 20-December 31, 2011
PATIENCE TO RAISE THE SUN:
Art Quilts from Haiti & Their Power to Change Women's Lives
L'ARBRE DE VIE Haiti PeaceQuilts
An exhibit of vibrant, poignant and thought-provoking art quilts made by the PeaceQuilts cooperative movement: Haitian women building a better life for themselves and their families by making pieces for sale abroad.
For more information on the PeaceQuilts initiative, founded and nurtured by Martha's Vineyard resident Jeanne Staples, visit www.haitipeacequilts.org.
July 14-October 16, 2011
MAINE'S QUILT HERITAGE:
Quilts from the Maine Quilt Documentation Project
Compass Star detail (J Roche collection)
Guest Curators: Cyndi Black & Wendy Reed
A rare opportunity to view beautiful and historic quilts dating from as early as 1804.
This is the sister exhibit to another at the Maine Quilts show at the Augusta Civic Center, July 29-31.
See both to fully appreciate the hidden quilt treasures of the Pine Tree State.
April 14-July 10, 2011
ONE FOOT SQUARE, QUILTED & BOUND
Applique Pictorial (NEQM Permanent Collection)
Guest Curator: Pam Weeks
As we mark the 150th anniversary of the start of the Civil War, the New England Quilt Museum presents an exhibit of unique quilts, several of which were made for soldiers wounded in that conflict. The exhibit also includes rare and never-before-displayed Civil War artifacts and textiles.
As often happens in historical research, serendipity played a role in the coming together of this collection of quilts, which are constructed with an unusual technique that almost certainly originated in New England. Guest curator Pam Weeks, who collects autograph quilts, was only looking to acquire one with an ancestor’s name on it when she stumbled upon her first block-by-block quilt. As a quilt historian and certified appraiser, Weeks immediately realized that this piece was unusual.
Weeks’ auction quilt was made from silk blocks individually layered, quilted and finish-bound, and only then whip-stitched together: “one foot square, quilted and bound.” Some call this style “potholder quilting.”
Intrigued, Weeks began to research the history of the technique. The first written reference she found was an in 1835 edition of Godey’s Ladies Book. By the time of the Civil War, the method was a popular way for groups of seamstresses to work together to make quilts for injured and recuperating soldiers.
As we mark the 150th anniversary of the start of the Civil War, the New England Quilt Museum presents an exhibit of unique quilts, several of which were made for soldiers wounded in that conflict. The exhibit also includes rare and never-before-displayed Civil War artifacts and textiles.
As often happens in historical research, serendipity played a role in the coming together of this collection of quilts, which are constructed with an unusual technique that almost certainly originated in New England. Guest curator Pam Weeks, who collects autograph quilts, was only looking to acquire one with an ancestor’s name on it when she stumbled upon her first block-by-block quilt. As a quilt historian and certified appraiser, Weeks immediately realized that this piece was unusual.
Weeks’ auction quilt was made from silk blocks individually layered, quilted and finish-bound, and only then whip-stitched together: “one foot square, quilted and bound.” Some call this style “potholder quilting.”
Intrigued, Weeks began to research the history of the technique. The first written reference she found was an in 1835 edition of Godey’s Ladies Book. By the time of the Civil War, the method was a popular way for groups of seamstresses to work together to make quilts for injured and recuperating soldiers.
January 20-April 9, 2011
NO HOLDS BARRED
Art Quilts from SAQA/New England
CHASM LAKE by Carol Anne Grotrian
Guest Curator: Valarie Poitier
A juried exhibit of recent art quilts by the New England region members of Studio Art Quilt Associates. SAQA is a non-profit organization whose mission is to promote the art quilt through education, exhibitions, professional development and documentation.More than fifty members living in six New England states entered pieces for this exhibit at the New England Quilt Museum.
“While we all work in different environments,” says Guest Curator Valarie Poitier, “we all start with the same basic materials: needles, threads, fabric, paint, dye, sewing machines, irons, stamps, found objects, courage and training.”
Although most people are familiar with traditional bed quilts, the art quilt answers a need for more than just warmth in a pleasingly-designed coverlet.In fact, even the definition of “quilt” changes when the art quilter enters this most traditional of fields. For the purposes of this exhibit, artists were constrained by the need to produce a three-layer object consisting of fabric, an inner substrate and a backing. There also had to be stitching holding those three layers together. After that, their imaginations were freed to create using any materials they chose. The result is a diverse and colorful collection of abstract, landscape, portrait and geometric pieces. No Holds Barred will challenge every viewer’s preconceptions about what quilting is all about.
A juried exhibit of recent art quilts by the New England region members of Studio Art Quilt Associates. SAQA is a non-profit organization whose mission is to promote the art quilt through education, exhibitions, professional development and documentation.More than fifty members living in six New England states entered pieces for this exhibit at the New England Quilt Museum.
“While we all work in different environments,” says Guest Curator Valarie Poitier, “we all start with the same basic materials: needles, threads, fabric, paint, dye, sewing machines, irons, stamps, found objects, courage and training.”
Although most people are familiar with traditional bed quilts, the art quilt answers a need for more than just warmth in a pleasingly-designed coverlet.In fact, even the definition of “quilt” changes when the art quilter enters this most traditional of fields. For the purposes of this exhibit, artists were constrained by the need to produce a three-layer object consisting of fabric, an inner substrate and a backing. There also had to be stitching holding those three layers together. After that, their imaginations were freed to create using any materials they chose. The result is a diverse and colorful collection of abstract, landscape, portrait and geometric pieces. No Holds Barred will challenge every viewer’s preconceptions about what quilting is all about.
October 21-December 31, 2010
AFRICAN-AMERICAN QUILTS TODAY:
A Celebration of Motherhood, Sisterhood & the Matriarchy
CHURCH LADIES by Michele David
Guest Curator: Dr. Pearlie M. Johnson
African American Quilts Today focuses on the works of four leading quilters: NedRa Bonds, Sonié Ruffin, Sherry Whetstone and Michele David.
Quilts for this exhibition were selected according to four themes: Motherhood and Fertility, Women and Matriarchs, Inspiration and Empowerment, and Ancestral Legacy.
The focus is on the ways in which African American quilters use complex systems of encoded images, symbols, colors and shapes to express issues related to race, class, feminism, identity and empowerment. The quilts also deal with the oral tradition of storytelling, which has origins in Africa. The quilters in this exhibit create fabric art imbued with stories of both personal and historic significance.