Art Quilts the Midwest

102 Pages·2015·10.012 MB·English

by  Linzee Kull McCray, Astrid Hilger Bennett

Art Quilts of the Midwest
A Bur Oak Book
Holly Carver, series editor

Art Quilts
of the Midwest
Linzee Kull McCray
Foreword by Astrid Hilger Bennett
University of Iowa Press, Iowa City
University of Iowa Press, Iowa City 52242
Copyright © 2015 by the University of Iowa Press
www.uiowapress.org
Printed in the United States of America
Design by Kristina Kachele Design, llc
All photos taken by the artists unless otherwise noted.
No part of this book may be reproduced or used in any form or by any means without
permission in writing from the publisher. All reasonable steps have been taken to
contact copyright holders of material used in this book. The publisher would be pleased
to make suitable arrangements with any whom it has not been possible to reach.
The University of Iowa Press is a member of Green Press Initiative
and is committed to preserving natural resources.
Printed on acid-free paper
Library of Congress Cataloging-in-Publication Data
McCray, Linzee Kull.
Art quilts of the Midwest / by Linzee Kull McCray ; foreword by Astrid Hilger Bennett.
pages cm. — (A bur oak book)
ISBN 978-1-60938-323-7 (pbk), ISBN 978-1-60938-331-2 (ebk)
1. Art quilts—Middle West—Themes, motives. I. Title.
NK9112.M295 2015
746.460977—dc23 2014034884
To Paul, for all.

Contents
The Art Quilt by Astrid Hilger Bennett } ix Donna June Katz } 39
Introduction and Acknowledgments } xiii Beth Markel } 43
Marilyn Ampe } 3 Diane Núñez } 47
Gail Baar } 7 Pat Owoc } 51
Sally Bowker } 11 BJ Parady } 55
Peggy Brown } 15 Bonnie Peterson } 59
Shelly Burge } 19 Luanne Rimel } 63
Shin-hee Chin } 23 Barbara Schneider } 67
Sandra Palmer Ciolino } 27 Susan Shie } 71
Jacquie Gering } 31 Martha Warshaw } 75
Kate Gorman } 35 Erick Wolfmeyer } 79

The Art Quilt
Quilting has enjoyed an explosion of popularity in the last four decades.
In 1971, in his seminal exhibition Abstract Design in American Quilts, at the
Whitney Museum of American Art in New York City, curator Jonathan Hol-
stein displayed large, colorful, traditional quilts on the white walls of one of the
world’s best-known contemporary art museums. The exhibition inspired many
new admirers and adherents. As a young printmaking student at Indiana Uni-
versity, I was no exception. Holstein’s small, spare book, American Pieced Quilts,
led me to abandon traditional elements of composition in favor of the grid of
piecework in my new textile work. Quilts and textile work thus became personal
for me as well.
In the next decade, quilters would proliferate. Most of them created tradi-
tional “pieced” quilts, embracing pattern, symmetry, and repetition. However,
ix