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\"Pattern designer, teacher, and presenter Sherilyn Mortensen shares her experience and passion for free-motion quilting in the Ultimate Beginner's Guide to Free-Motion Quilting. In this go-to resource, Sherilyn shows off over 150 quilting designs with easy-to-follow guides that can be applied to traditional and modern quilts. The guide details the required tools and materials, tips and techniques, and 12 quilt block projects that each show off three ways to apply quilting designs to the same pattern. Whether you are looking to learn the art of quilting or seeking inspiration, you are sure to find it in the Ultimate Beginner's Guide to Free-Motion Quilting.\"--from back cover.

Illuminates ‘The Quilt Project’, a cross-cultural, collaborative initiative involving the community in the city and region beginning in Mar 2021, culminating in an exhibition of quilts created to bring attention to discrimination against women and promote gender equality, Community Gallery, Dunedin, Jul 2022. Presents an overview of the project and the process, noting the influence of traditional quilting in engaging women in the community with textile processes and discussions to highlight issues of gender disparity throughout the world. Names the four community groups whose partnership with the project ensured its success. Source: National Library of New Zealand Te Puna Matauranga o Aotearoa, licensed by the Department of Internal Affairs for re-use under the Creative Commons Attribution 3.0 New Zealand Licence.

A milestone in perception occurred in 1971, when the Whitney Museum of American Art displayed quilts in a museum setting:Abstract Design in American Quiltsbestowed institutional recognition of the artistry inherent in these humble textiles. In subsequent decades, quilting's popularity exploded. Some who took up quilting created pieced quilts that honored traditional patterns, symmetry, and repetition. But others saw the potential for pushing beyond patchwork, giving birth to the art quilt. Today, adherents from both art and quilting backgrounds incorporate storytelling, digital images, nonfabric materials, asymmetry, and three dimensions-in short, anything goes in the world of art quilting, as long as the result is stitched, layered, and not primarily functional.As a writer covering textiles, art, and craft, Linzee Kull McCray wondered just how deeply fiber artists were influenced by their surroundings. Focusing on midwestern art quilters in particular, she put out a call for entries and nearly 100 artists responded; they were free to define those aspects of midwesterness that most affected their work. The artists selected for inclusion in this book embrace the Midwest's climate, land, people, and culture, and if they don't always embrace it wholeheartedly, then they use their art to react to it. The proof can be seen in the varied, powerful quilts in this energizing book.Enlivened by the Midwest's landscapes and seasons, Sally Bowker paints her fabrics with acrylics, creating marks and meaning with layers of hand stitching and appliqued bits of fabric. Shin-hee Chin uses sketchlike stitching for its ability to penetrate fabric and create depth; living in the Midwest helps her stay balanced between eastern philosophy and western culture. The metals and mesh that Diane Núñez incorporates into her quilts connect to her days as a jeweler as well as to the topography of her home state of Michigan. Pat Owoc prepares papers with disperse dyes, then selects from as many as 150 to create her fabrics; her art-quilt series honors midwestern pioneers. Martha Warshaw photographs old fabrics, tweaks the images in Photoshop, and prints the results for her pieces, which connect her to the legacy of quilting in past generations.The Midwest has always had strong textile communities. Now the twenty artists featured in this beautifully illustrated book have created a new community of original art forms that bring new life to an old tradition.The ArtistsMarilyn Ampe, St. Paul, MinnesotaGail Baar, Buffalo Grove, IllinoisSally Bowker, Cornucopia, WisconsinPeggy Brown, Nashville, IndianaShelly Burge, Lincoln, NebraskaShin-hee Chin, McPherson, KansasSandra Palmer Ciolino, Cincinnati, OhioJacquelyn Gering, Chicago, IllinoisKate Gorman, Westerville, OhioDonna Katz, Chicago, IllinoisBeth Markel, Rochester Hills, MichiganDiane Núñez, Southfield, MichiganPat Owoc, St. Louis, MissouriBJ Parady, Batavia, IllinoisBonnie Peterson, Houghton, MichiganLuanne Rimel, St. Louis, MissouriBarbara Schneider, Woodstock, IllinoisSusan Shie, Wooster, OhioMartha Warshaw, Cincinnati, OhioErick Wolfmeyer, Iowa City, Iowa

The idea of creating a quilt for display in Ballarat Health Services' Maternity Unit in Victoria came to surface during a staff lunch break one day in April 2014. About 15 years ago midwives on staff at the time created a quilt, which can still be viewed in the entrance to the birthing suite today. Since then many more just as creative staff have joined the midwifery team at Ballarat Health Services and so it was thought time to create another quilt to display in Ballarat Health Services' Maternity Outpatients Department. 0 references

All of us have heard that a picture is worth a thousand words, yet the 25 pictures on each of the quilts in our office often evoke awed silence. I want to tell you the story of our quilts.All of us have heard that a picture is worth a thousand words, yet the 25 pictures on each of the quilts in our office often evoke awed silence. I want to tell you the story of our quilts.

The quilting studio examines the importance of craft in sustaining community through a design-build project that brings together qualities of hand and digital production, resourcefulness and stewardship. Standing apart from the fast-paced modern world, the quilter acts to preserve social fabric through patient, repetitive, and reflective work that challenges our notions of aesthetics and the ordinary. Over the period of two semesters, undergraduate students from three different year levels studied the work of their client, Ms. Benson, in order to understand how these values can be integrated in the process of architectural making.

This essay situates the NAMES Project AIDS Memorial Quilt within the vigorous culture of national commemorative building in the late twentieth-century United States, a culture that found its first articulation in the Vietnam Veterans Memorial. We begin with an assessment of ways in which the AIDS Memorial Quilt appropriated and extended the rhetoric of the VVM in terms of the two memorials' modes of democratic representation, their troubling of the boundaries between contexts of invention and reception, and their differential coding of the public and private. We take up later memorial projects, specifically the Oklahoma City National Memorial and the September 11,2001, commemorative projects, to suggest how the rhetoric of the AIDS Quilt can be marked as a harbinger of practices to come and how its progressive rhetoric has been turned in some later commemorative works to very different ends.

Kentucky's contribution to the perennially popular American craft of quiltmaking is a rich and varied one.Mary Clarke examines here the state of the craft in Kentucky and finds it as lively today as it was 150 years ago.