History and Art & QUILTS

by Jackson Wilde
Hung on gallery walls at the International Quilt Museum, quilts made during World War I show the loss, sacrifice and patriotism of an era punctuated with conflict. With traditional patterns and repurposed fabrics, some quilts were made in honor of those serving in the military at the time, while others provided words of encouragement—stitched advice for a salubrious life. Other quilts were made as fundraisers, with donors paying to have their name embroidered on quilts, with funds perhaps benefiting the American Red Cross.
In an adjacent gallery, the handiwork of Katie Pasquini Masopust allows an audience to see music—colors and shapes, placed in abstract series, visually represent musical notation in a dynamic fashion. Quilts boasting dimensional geometry and sewn graffiti on unassuming walls are also on display—a snapshot of Pasquini Masopust’s near three-decade career making studio art quilts.
Seeing such art labeled a quilt—or a quilt categorized as art—is certain to take some by surprise. But at the International Quilt Museum, quilts mark the intersection between modern art, common tradition and world history.
The museum acknowledges the past and looks toward the future of the quilting medium and hopes to broaden the horizon of museumgoers regardless of their background.
“The modern, studio art quilt, no matter how abstract, has its roots in traditional quiltmaking,” said Leslie Levy, the Ardis and Robert James Executive Director of the International Quilt Museum. “It’s important to us to show progression in quilting while also paying homage to the history of the artform.”
Part of that history is recognizing the impact of textiles from all over the world.
“Through our research and acquisitions at the IQM, we know that many popular American quilt designs are not exclusive to quiltmaking in the United States,” Levy said. “For instance, Log Cabin patterns—typically thought of as being unique to American quilts—are found in various forms of material culture around the world.”
Bolstering the collection with international quilts and quilt related objects is a large part of the IQM’s mission to build a global collection and audience that celebrates the cultural and artistic significance of quilts.
Established in 1997, the IQM at the University of Nebraska-Lincoln houses the largest publicly held quilt collection in the world with roughly 8,800 quilts and quilt related objects. The collection represents more than 60 countries with some pieces dating as far back as the 1700s.
The IQM was initially established with a remarkable donation of more than 1,000 quilts from the private collection of Ardis and Robert James. Both born and raised in the Cornhusker State, the Jameses spent years traveling and collecting a broad selection of antique and studio art quilts from the world over, and ultimately opted to leave the collection to UNL after exploring several other organizations around the United States.
“To Nebraskans, quilts are precious,” Ardis said in a 2005 interview, showing part of her reasoning behind why UNL was chosen to steward the prized collection.
With so many objects, cultures and styles represented, you’ll never see the same exhibition twice. Though many of the exhibitions are sourced from the museum’s in-house collection, many highlight works held in private collections that travel from gallery to gallery. The exhibition department at the IQM is hard at work constantly developing, designing and installing new exhibits scheduled years in advance.
Whether a layman or a quilt aficionado, everyone can find an interest and affinity for quilts at the IQM.
Located at 1523 N. 33rd Street in Lincoln, the IQM is open Tuesday through Saturday from 10 a.m. to 4 p.m. Visit internationalquiltmuseum.org for more information.
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