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Editorial Reviews
From Library Journal
Shaw, curator of the Shelburne Museum from 1981 to 1994, is a recognized authority on American folk art. This volume, his first devoted entirely to the quilting tradition, stands out amid a plethora of books on the history of the quilt, not only for the richness of its carefully chosen illustrations but also for the wealth of information it conveys. A good companion volume to Patsy and Myron Orlofsky's Quilts in America (LJ 3/1/75; Abbeville, 1992. rev. ed.), which emphasized the early years of American quiltmaking, Shaw's book covers some of the same ground. But Shaw also examines contemporary quiltmaking since 1970; Amish, African American, Hawaiian, and Native American quiltmaking traditions; the modern art quilt; and innovative work done by Japanese quiltmakers who are adding quilting to their own rich textile tradition. Cameo portraits of premier quiltmakers add personal interest to the narrative. Among scores of full-color illustrations are many quilts from private collections published here for the first time. Highly recommended generally, this volume would be a good choice for memorial or library patrons' group purchase. [Zlendich's quarterly stitchery column begins in the April 15 issue of LJ.?Ed.]?Janice Zlendich, California State Univ. Lib., Fullerto.
-?Janice Zlendich, California State Univ. Lib., Fullerton
Copyright 1996 Reed Business Information, Inc.
From Booklist
Nothing indicates the history and development of the quilt better than full-color photographs of actual samples. Though Shaw's book is expensive, it's worth it for the visuals alone. But the text is not insignificant; he examines the contrasts among Amish, African American, Hawaiian, Japanese, and Native American works. A nod is given to contemporary fabric artists, both with individual profiles and with a chapter exploring the form and function of quilts today. A great source for artist and collector alike. Barbara Jacobs
Shaw, curator of the Shelburne Museum from 1981 to 1994, is a recognized authority on American folk art. This volume, his first devoted entirely to the quilting tradition, stands out amid a plethora of books on the history of the quilt, not only for the richness of its carefully chosen illustrations but also for the wealth of information it conveys. A good companion volume to Patsy and Myron Orlofsky's Quilts in America (LJ 3/1/75; Abbeville, 1992. rev. ed.), which emphasized the early years of American quiltmaking, Shaw's book covers some of the same ground. But Shaw also examines contemporary quiltmaking since 1970; Amish, African American, Hawaiian, and Native American quiltmaking traditions; the modern art quilt; and innovative work done by Japanese quiltmakers who are adding quilting to their own rich textile tradition. Cameo portraits of premier quiltmakers add personal interest to the narrative. Among scores of full-color illustrations are many quilts from private collections published here for the first time. Highly recommended generally, this volume would be a good choice for memorial or library patrons' group purchase. [Zlendich's quarterly stitchery column begins in the April 15 issue of LJ.?Ed.]?Janice Zlendich, California State Univ. Lib., Fullerto.
-?Janice Zlendich, California State Univ. Lib., Fullerton
Copyright 1996 Reed Business Information, Inc.
From Booklist
Nothing indicates the history and development of the quilt better than full-color photographs of actual samples. Though Shaw's book is expensive, it's worth it for the visuals alone. But the text is not insignificant; he examines the contrasts among Amish, African American, Hawaiian, Japanese, and Native American works. A nod is given to contemporary fabric artists, both with individual profiles and with a chapter exploring the form and function of quilts today. A great source for artist and collector alike. Barbara Jacobs
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Citations
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6
books
cite this book:
- The Needle's Eye: Women And Work in the Age of Revolution by Marla R. Miller in Back Matter
- Yvonne Porcella: Art & Inspirations by Yvonne Porcella in Back