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Subject: RE: Using the reproduction indigo From: Ady Hirsch <adamroni@netvision.net.il> Date: Wed, 17 Aug 2011 09:32:44 +0300 X-Message-Number: 1

The South African indigo fabrics are still being made today - the Three Cats are the trade brand of the Da Gama corporation, manufacturers of Shweshwe, the African name for this fabric. Margo Krager started importing these in the Nineties (I think), but they're still produced and readily available in South Africa: http://www.dagama.co.za/HomeSewing/Home%20Sewing%20Home.html As far as I can remember, these used to be printed in Manchester, and when the factory went under, Da Gama bought the original copper rollers used to pring the fabrics, so the patterns really are 19th century. I used these extensively, and followed the instructions sent by Margo with her indigo fabrics; I soaked them overnight in a 3 gallon bucket of very hot water mixed with 4 cups of salt and 4 cups of vinegar - this was supposed to get rid of the extra dye. Afterwards I rinsed it several times until the water ran clear, then into the washing machine. I have never had any problems with fabrics treated this way. Hope this helps Ady

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Subject: Re: qhl digest: August 16, 2011 From: "M. Chapple" <mem914@yahoo.com> Date: Wed, 17 Aug 2011 05:50:41 -0700 (PDT) X-Message-Number: 2

RE: HIPVAs a confederate civil war era re-enactor who does quilting as part of my living history exhibition, I've followed this story for a while now. When doing demonstrations I discuss the quilt code and point out the value of a quilt and fabric during the time, particularly in the south. This story reminds me very much of the abolitionists use ofUncle Tom's Cabin as part of their anti-slavery propaganda. At the time, everyone believed it was a true story and a document of the terrible way slaves were treated by all slave-owners. Now we know it to be fiction. A couple of years ago I had a ranking member of the federal park service try to convince me that HIPV was true. The park service spends thousands of dollars each year promoting this story and they don't want to hear that it's a myth. They continue to have posters and other materials available to the public, most of which are reprinted each year at the tax-payers expense. I don't blame Ozella for this story - I blame the sloppy research that was done prior tothe story being released. And I blame a lax federal oversight for allowing the park service to spend money to propogate this myth. --0-1812522319-1313585441=:27080--

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Subject: dark indigo fabric From: textique@aol.com Date: Wed, 17 Aug 2011 14:28:21 -0400 (EDT) X-Message-Number: 3

Thank you all for your responses to my request for an indigo print. Each situation is different and this quilt 'needs' the old fabric. I just didn't have enough of the right blue. Y'allare great!

Jan

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Subject: Another indigo print question From: textique@aol.com Date: Wed, 17 Aug 2011 14:32:47 -0400 (EDT) X-Message-Number: 4

I posted a picture on the e-board of the back of one of my old indigo prints with white stars. The problem is only half the stamp is there. Can anyone tell me what the wholething should read?

Thanks again.

Jan Thomas

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Subject: Museum Accession Cards From: Teddy Pruett <aprayzer@hotmail.com> Date: Wed, 17 Aug 2011 21:00:37 -0400 X-Message-Number: 5

Laura wrote: <When things were  donated decades ago the intake notesreflect the limited knowledge of the era. it would be a great project to undertake to go through the quilt ones at least and modernize the data maybe this is a project that quilt historians could propose to them or maybe a bunch of us could volunteer to do thetask. Anyone interested>Years ago when I lived in Orlando Mary Cross was a guest at my home.We took a quick day trip to a small historical museum in the area The Pioneer Florida Museum in Dade City FL. It was a sweet museum with a well intentioned staff but we were appalled at the display and storage of the quilts - it was disastrous. We talked to one of the staff about a few of the quilts particularly a crib sized Broderie Perse and she pulledsome cards for us. There was little or no information on the quilts much of it incorrect. Mary had to leave but I made an appointment to go backand help them with display and add information to the cards. They were delighted and I felt like a very good girl.  Teddy Pruett

"I no doubt deserved my enemies

but I don't believe I deserved my friends."

Walt Whitman

 

www.teddypruett.com

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Subject: Re: Indigo fabric From: textique@aol.com Date: Wed, 17 Aug 2011 22:17:07 -0400 (EDT) X-Message-Number: 6

This is a multi-part message in MIME format. ----------MB_8CE2B64105F263E_678_94F7D_webmail-m165.sysops.aol.com Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="us-ascii"

Thank you kindly Audrey. I will be buying the old indigo for the restoration I'm working on but I'm going to order some of this new indigo 'just to play with'. It is too fun to pass up.

Jan Thomas Colorado Springs

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Subject: museum displays and info From: Laura Fisher <laurafisherquilts@yahoo.com> Date: Wed, 17 Aug 2011 22:36:03 -0700 (PDT) X-Message-Number: 1

Teddy's note abouta local museum's limited info reminded me of a visit to the Pioneeer Museum in Salt Lake City. I dropped by before making an afternoonpresentation in a day long design symposiumat whichaddressed participants standing mid-courtin the stadium of the Utah Jazz, equivalent to Madison Square Garden it seemed, not too intimate a setting for the subject.But I digress- the Museum contains many rooms with glass showcases filled with artifacts from people whowent outthere on the Mormon migration.

If you want to know whose it was and where they came from andare connected to, that's written in the display, but what it iswas barely addressed. The cases had not been opened in decades, judging from the dust surrounding all the objects. Textiles-including many woven coverlets and clothing- were folded and tough to figure out; too bad.I was surprised to see the minimal attention given to such old and once-cherished pieces saved by famiilies who endured much hardship to get there. They really need folks toarrange for bettercare and display of what is an interesting group of artifacts, if any QHL person is out there and interested, there's a good project.  And by the way, I contacted the Met. am awaiting a response, so email if you are interested.  Laura Fisher at FISHER HERITAGE 305 East 61st Street 5th floor New York, NY 10065

212/838-2596 www.laurafisherquilts.com fisherheritage@yahoo.com find us on facebook: Laura Fisher Quilts --0-429230536-1313645763=:52165--

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Subject: Re: Another indigo print question From: Barb Garrett <bgarrett421@comcast.net> Date: Thu, 18 Aug 2011 10:03:20 -0400 X-Message-Number: 2

Hi Jan -

That looks like part of a Da Gama label from South Africa. I just found the full image on a piece of reproduction indigo (purchased from Cotton In The Cabin within the last 4-5 years). Sandy might be able to help you -- http://www.cottoninthecabin.com/

I don't know how to post pictures on QHL, but have posted it in my album, Barb in southeastern PA, on the AQSG2 site. http://groups.yahoo.com/group/AQSG2/photos/album/112880569/pic/list

Hope this helps,

Barb in southeastern PA

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Subject: Re: Another indigo print question From: textique@aol.com Date: Thu, 18 Aug 2011 13:57:42 -0400 (EDT) X-Message-Number: 3

Thanks Barb, Ady sent me the image and I posted it in the same file on theeboard that my partial piece is in. It was in a box of 30s repair fabrics I purchased from Nancy Kirk and I've been fingering it since I pulled it out last year. That makes sense with what has been written in the last few days.

Lesson: Know thy fabric.

Jan

That looks like part of a Da Gama label from South Africa. 

Hope this helps,

Barb in southeastern PA

Subject: American Folk Art Museum From: "Audrey Cameron" <audreycameron@madasafish.com> Date: Fri, 19 Aug 2011 08:59:47 +0100 X-Message-Number: 1

This is a multi-part message in MIME format.

Hi All, I receivied an e-mail stating that the American Folk Art Museum has re-located to Lincoln Square N.Y. I don't know if you - especially New Yorkers know more about this but it seems like good news :

From the Museum: We are touched by the outpouring of support in these past weeks, as so many of you reached out with warm words, membership renewals, and contributions. Our Corporate Partners continue to renew their memberships, including The Est=E9e Lauder Companies, MetLife, the Bank of New York Mellon, and Credit Suisse in recent weeks, and we have received a capacity building grant from Bloomberg Philanthropies. Your generosity means so much to all of us on the board and staff as we reestablish the museum home at Lincoln Square.

From the earliest Americans to self-taught artists today, folk artists have celebrated themes of innovation, repurposing, and community. Though our location has changed, we remain firm in our commitment to maintaining the museum collection and to presenting exceptional exhibitions and public programs.

The American Folk Art Museum at Lincoln Square is a vibrant, lively space, and attendance continues to rise. Over one hundred people attend our popular =93Free Music Fridays series each week for live folk music and a look at the exhibitions. Weekly public tours each Tuesday and Thursday and the weekly jazz afternoon each Wednesday continue to draw wonderful crowds.

Thank you for your continued support as part of the folk art community. Please visit our website to join, renew your membership, or make a contribution. If you have questions about your membership, please contact Elizabeth Kingman, assistant director of development, at 212. 265. 1040, ext. 346, or ekingman@folkartmuseum.org. We look forward to welcoming each of you to our reinvigorated home at Lincoln Square.

 Super Stars: Quilts from the American Folk Art Museum (through September 25)

Quiltmakers have always sought inspiration from the world around them, introducing the outdoors into the domestic interior through bedcovers that may reflect the colors of the landscape, the imagery of flowers in a garden, or animal and insect life. These associations are explored in the exhibition =93Super Stars, which highlights the dazzling diversity of this variable pattern in more than one hundred years of quilt artistry. More >   

9/11 National Tribute Quilt (on continuous view)

The 9/11 National Tribute Quilt represents the response of the Steel Quilters of United States Steel Corporation to the events of September 11, 2001. This small quilt club conceived the monumental undertaking, ultimately receiving quilt blocks from all fifty states as well as Canada, Spain, Denmark, and Australia. The quilt measures eight feet high by 30 feet wide, and is constructed of 3,466 blocks in six panels. The four central panels form a montage of the twin towers of the World Trade Center against the New York City skyline. These are flanked by panels dedicated to the lives extinguished on the four flights and at the Pentagon. Each three-inch-square block bears the name of one person who perished in the disaster. More>   

Traveling ExhibitionKaleidoscope Quilts: The Art of Paula Nadelstern (June 18=96October 2, 2011, at the Akron Art Museum, Akron, Ohio)

Every artist must find a voice that feels true and strong. Paula Nadelstern (b. 1951) found hers early in her career as a quilt artist, inspired by a bolt of sensuous and beautiful Liberty of London fabric. The bilateral symmetry of the design was an epiphany that stirred Nadelstern imagination and that has yielded a seemingly infinite vein of creative expression for more than twenty years. More > 

 

Audrey Cameron in Lincolnshire, England audreycameron@madasafish.com ------=_NextPart_000_002B_01CC5E4E.589DFA30--

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Subject: Re: Using the reproduction indigo From: Quilltr@aol.com Date: Wed, 17 Aug 2011 21:18:54 -0400 (EDT) X-Message-Number: 2

Sandy McCay sells this on her website, Cotton in the Cabin, and has for the last 12 years. She has pages on the history of indigo, and washing instructions, too. It's really a great site. _http://cottoninthecabin.com/index.html_ (http://cottoninthecabin.com/index.html)

Lisa

_http://quilltr.blogspot.com_ (http://quilltr.blogspot.com/) _http://flickr.com/photos/lisa-kays_ (http://flickr.com/photos/lisa-kays) _http://groups.yahoo.com/group/woolstitchery_ (http://groups.yahoo.com/group/woolstitchery)

In a message dated 8/16/2011 9:53:15 A.M. Eastern Daylight Time, ibquiltn@comcast.net writes:

Just adding my 2 cents. I purchased a great deal of the reproduction indigo several years ago. If what reproductionfabrics.com is selling is the same, it is just gorgeous stuff. But, I am unsure as to the quality and what company is now making this. What I purchased might have come from Nancy Kirk? I can't remember, it's been a very long time. It had a three tigers stamp on the back and it was probably the most exceptional fabric I have ever worked with in weight and

beauty.

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Subject: traveling to the Newark Museum on your own. From: "Judy Grow" <judy.grow@comcast.net> Date: Fri, 19 Aug 2011 18:58:07 -0400 X-Message-Number: 3

www.newarkmuseum.org

For those of you traveling by train to the Newark Museum for the Tuesday exhibition, lecture and quilt turning (the day after the AQSG bus tour). The following was sent to me by Linda Nettleton at the museum:

Regarding the box lunch option for the Tuesday, Sept. 27 "Great Newark Quilt Turning" . The cost of the optional box lunch is $15 (in addition to the $50 admission for non-members). The box lunch information is due to be included on the event's online registration form (on the Newark Museum website) by this coming Monday, August 22. In the meantime, here is a description:

Box Lunch Option from Encore Caterers: $15 Includes choice of either: Tuna Salad, Homemade Roast Turkey with Dilled Havarti Sandwich, Vegetarian Wrap Box lunch also includes: Fresh Fruit Salad, Chips, Gourmet Cookie, Bottled Water, Coffee/Tea

Members of your group are welcome to either register on-line and order their box lunch as of this coming Tuesday, August 23 or call me on 973-596-6613 and I will be happy to take their registration information and lunch order over the phone. If we can be of further assistance in any way, please be sure to let us know.

We so appreciate your efforts on our programs' behalf and look forward to your visit with your colleagues and friends on Monday, September 26 as well as to Tuesday's Quilt Turning on Sept. 27.

www.newarkmuseum.org and click on Directions in the left column under Quick Links, you will see directions from both the NJ Turnpike and Garden State Parkway that may well suit your needs.

Here is the information re public transportation from the Newark Museum's website. This information is located beneath the driving instructions, so it may not have been readily apparent. it is slightly revised here.

Public Transportation By Train NJ Transit and PATH trains go to Newark Penn Station throughout the day and evening. Trains go to and from NYC's Penn Station to Newark's Penn Station throughout the day and evening. From Newark's Penn Station, I recommend that your colleagues take a cab (readily available). It is a short ride by cab to the Museum.

*Special Promotions:

. Buy your ticket online today with AMTRAK and use code V863 to get the 2nd ticket 50% off at http://www.amtrak.com.

Bus NJ Transit buses go to Newark Penn Station. From Newark Penn Station-Transit Bus #'s 11, 28, 29, 44 & 72. From Broad St. Station-#13 or #27 to Broad St./Washington Pl. (Walk 2 blocks along park to Museum). For additional information, fares and schedules: NJ Transit: 973-762-5100; 973-275-5555, http://www.njtransit.com PATH: 1-800-234-PATH, http://www.panynj.gov/path/index.html NJ Transit buses: 1-800-626-RIDE, http://www.njtransit.com/sf/sf_servlet.srv?hdnPageAction=BusTo AMTRAK: 1-800-USA-RAIL, http://www.amtrak.com/

Additional Directions

For more information about getting to The Newark Museum, visit Google Maps Parking Attended on-site parking, provided by Central Parking, an independent operator, is available (for a nominal fee) in the Museum parking lot, with entrances located at Washington St. and Central Ave. NOTE: Visitors may be required to leave their car keys with the Parking Attendants.

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Subject: World War II quilts on exhibit in Huntsville, Alabama From: suereich@charter.net Date: Fri, 19 Aug 2011 22:12:29 -

It is my pleasure to announced this weekend's opening of "Blood, Thread & Tears: World War II Quilts" at the Huntsville Museum of Art, Huntsville, Alabama. I am presenting a gallery tour on Sunday, August 21 at 2:00 p.m. The exhibit will be open from August 21 =E2=80=93 November 7, 2011, featuring approximately 20 WWII-era quilts and tops, and the ephemera to anchor them historically in time, including photographs, V mail, ration books, parachute samples, magazines and newspaper quilting patterns.

Sue Reich Washington Depot, Connecticut www.suereichquilts.com

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Subject: just a reminder From: ibquiltn@comcast.net Date: Sat, 20 Aug 2011 12:09:18 +0000 (UTC) X-Message-Number: 1

For those of you who are in the Northeast USA, just wanted to mention that the Mancuso World quilt show is this weekend in Manchester NH at the Radisoon . I went on Thursday and was so impressed. Well worth the trip if you might have been on the fence about going. I was white gloving during some of my time there and was marveling at different styles and traditions around the world. In particular, a Japanese quilt that won their country category had tons and tons of knots on the back of it. I was taught to pop my knots through between the layers and this was truly a surprise to see it a winner as judges I have encountered would mark a quilt way down for that. However, the front of the quilt is so spectacular that perhaps the judges Mancuso uses, just had to put that aside?

Not trying to be the quilt police, but seeing knots like that kind of blew my mind a bit.

 

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Subject: update on American Folk Art Museum From: "Candace Perry" <candace@schwenkfelder.com> Date: Sat, 20 Aug 2011 10:59:11 -0400 X-Message-Number: 2

http://www.nytimes.com/2011/08/20/arts/design/american-folk-art-museum-consi ders-final-options.html?_r=1 <http://www.nytimes.com/2011/08/20/arts/design/american-folk-art-museum-cons iders-final-options.html?_r=1&nl=todaysheadlines&emc=tha28> &nl=todaysheadlines&emc=tha28

Very disconcerting on so many levels.

Candace Perry

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Subject: Judging at the Mancusos' show in Manchester NH From: Pepper Cory <pepcory@mail.clis.com> Date: Sun, 21 Aug 2011 07:43:28 -0400 X-Message-Number: 1

Thanks Linda for your kind words about the World Quilt Show. To the list: if you live within driving distance of Manchester, coming to the show today would be a great day trip. The vendors' mall is nice too! Note: there are two halls with exhibition quilts and vendors and they're on opposite ends of the hotel complex so don't miss either! Interesting about the Japanese quilt with knots on the back...I was one of the judges. According to the rules of the show, we had to choose a best of country from each group of quilts submitted from that country. We debated long and hard about the entry Linda refers to. In the end it came down to considering that this piece, large as it was, was made as an art quilt and the judging needed to be weighted in favor of its artistic merit. Personally I was not fond of the embellishments that had obviously been added after the main quilting work was done but these little messy thread ends etc. could not bring down the overall effect of the piece. Here's a link to all the winners. "Mighty Departure" from Japan is the quilt Linda refers to. http://www.quiltfest.com/activities_detail.asp?id=124 . A very big thank you to Linda and all the volunteers who helped make this a successful show. Cheers from a road warrior who's flying back to her beloved Carolina today Pepper -- Pepper Cory Teacher, author, designer, and quiltmaker 203 First Street Beaufort, NC 28516 (252) 726-4117

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Subject: Judging From: "Linda Heminway" <ibquiltn@comcast.net> Date: Mon, 22 Aug 2011 07:54:09 -0400 X-Message-Number: 1

Pepper, no insult intended to you and the others who judged at all. I "got" what actually happened with that quilt, it has such visual impact and it is judged against the others in that same country, of course. Many viewers of the show asked, as well, to see the Japanese quilt with the teeny tiny squares and we all found it so interesting that there was monofilament thread used to hand quilt it. Many, couldn't imagine how hard on the hands that would be and why someone would choose that. Customs are different in other countries. Many, including myself, commented that if one were to do all that hand quilting, it is a shame that it could barely be seen. But, perhaps the quilter's intent was for the quilting to not take away from the color patterns she designed? Amazing, the amount of work and patience involved.

I was glad to read your comment, Pepper:

>We debated long and hard about the entry Linda refers to. In the end it >came down to considering that this piece, large as it was, was made as an >art quilt and the judging needed to be weighted in favor of its artistic >merit. Personally, I was not fond of the embellishments that had obviously >been added after the > main quilting work was done but these little messy thread ends etc. could > not bring down the overall effect of the piece.

I agree with you on the embellishments, Pepper. A bit too much for me, but it had such a wow factor and it was hung just as people came into the hall and it truly attracted much attention.

I think I am very sensitive to judging, having been "ripped to shreds" a couple of times for quilts that were, in my view, not understood in terms of artistic intent. I have often thought that some judges actually look for things to pick on in order to say something. It's hard to be the one on the receiving end. I have done both art and traditional quilting, by the way. One time an art quilt was really picked apart and I felt the judge didn't get my intention at all. So, it pleases me that you ruled in favor of artistic intent. As for my quilt, it was a quilt done "in mourning" as I had recently lost my dad. It was about the evenings dad and I would sit and watch the sun go down when the last glimmer of light was setting on the leaves, the small intects would occasionally be caught in that last glimmer of light and be highlighted against the last rays of the sun. I "built" tiny mosquitoes and dragonflies using metallic thread and beads, they were set on a fabric I search long and hard for that was a deep "eggplant" shade. The judge's comments about "too dark and not enough contrast" were showing she totally didn't get what I was trying to do, my intent. This judge was not looking at intent, she was merely looking at it as a quilt, looking for contrast and looking for something different. She, more than likely, never took the time to read my description of the quilt that was in our program, I guess. The quilt got little recognition and I put my heart and soul into it, even my tears. No one could understand, I guess, and I cannot expect this either. Though, if I ever made a quilt such as this again, I think I would have put something embroidered/written into it to say what my heart was crying out. Quilts that have something written like that, usually are more understood.

At any rate, I have had such bad comments about one or two tiny quilting stiches not being of the same consistent size on an art quilt that I have kind of given up having that kind of thing judged. : ) So, in the end, you gave me hope. So, after having my own work so critized, to see those knots was quite the eye opener about other judges and other countries. I have read comments made by other judges about knots on the back of quits (my quilts never have knots, Amish trained and really careful....) and it was a real shocker to see so many knots on this quilt and that it had won, when I feel (maybe I'm sour grapes a bit?) that the judge at my own guild show would probably have written scathing remarks about the knots and it would might have been lucky to have a "3rd place" ribbon due to the knots.

All judges are different and we are reminded, often, that it is "one person's opinion". : )

So, all in all, I was glad to read what you wrote, Pepper. It gives me hope that other judges are more aware of artistic intent than the back of the quilt being so perfect and things like visual impact do count in this world. I ran a challenge at my guild this year, and due to my sensitivities about artistic intent vs. technical skills, I actually had the owner of an art gallery as well as the owner of a quilt shop share in the judging. It gave both perspectives, I felt. I had good feedback from the art quilters about this.

>A very big thank you to Linda and all the volunteers who helped make this a >successful show. --

Thanks, Pepper. We work hard. I do love to white glove as it gives you a chance to be up close and personal with the quilts, more than the average quilt show attendee. I also hang quilts for my guild show each year. : )

Again, no critisisms toward you intended. I felt I needed to explain the "why" behind my own comments to you a bit here. I've felt rather beaten down by judging and it's made me judge shy a bit. : ) Constructive criticism is a good thing, of course.

Hugs, Linda Heminway Plaistow, NH

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Subject: Quilt Storage From: Lynn <lynnquilt@aol.com> Date: Mon, 22 Aug 2011 13:37:42 -0400 (EDT) X-Message-Number: 2

I am wondering what the current opinion is on polypropylene containers forstoring quilts and fabric. I know several years ago the PP or 5 rating was considered safe for storing quilts. Has that changed? This is how I have been storing fabric and quilts for a long time. Here in dry Arizona we don't have any moisture problems.  Wasn't sure about any gassing the polypropylene might be giving off. I don't want to give the wrong advice to others. Thanks in advance for any advice.

 

Thanks, Lynn http://quilts-vintageandantique.blogspot.com

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Subject: Re: Judging From: Jocelyn Martin <martinjocelyn@rocketmail.com> Date: Mon, 22 Aug 2011 10:56:12 -0700 (PDT) X-Message-Number: 3

I think this just goes to show...there is NO reason for being scathing while judging. I remember being one of a team of judges some time back, when presented with an effort...well. It was a historical costume, and it was 'wrong' from start to finish. The color was wrong, the fabric was wrong, theembellishment was wrong, and it was done with a significant lack of skill.The other judges and I agonized over what we could possibly say, since we were going to have to give it such low points. We couldn't even say 'nice effort' since it wasn't. I don't remember what we finally agreed to say...but that we WERE in agreement that hammering a novice for all the mistakes s/he had made, even if we were thinking, 'But s/he needs this feedback to improve'. I remember a friend who got dinged on a quilt she'd made for acolorblind person, because the color contrast was 'wrong'...I thought it was very clever of her to choose fabrics so that the recipient would find the quilt beautiful, even though the rest of us found it a less than stimulating choice. :)Jocelyn________________________________ -

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Subject: Re: update on American Folk Art Museum From: Quilltr@aol.com Date: Sat, 20 Aug 2011 11:10:04 -0400 (EDT) X-Message-Number: 5

This is very sad. Why is admission free, though? Certainly that would help, even a little.

I apologize for my posts showing up two days after I send them. I'm not really that behind on the discussion, and I'm not really parroting what other people have said. ;)

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Subject: Sad News From: DDBSTUFF@aol.com Date: Mon, 22 Aug 2011 13:30:24 -0400 (EDT) X-Message-Number: 6

It has been brought to my attention that well known Antique Quilt Dealer, Susan Parrish of New York City has passed away.

We were good friends for over 30 years and she will be greatly missed by all that knew her.

Regards,

Darwin D. Bearley

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Subject: folk art museum, Susan Parrish From: Laura Fisher <laurafisherquilts@yahoo.com> Date: Mon, 22 Aug 2011 22:52:21 -0700 (PDT) X-Message-Number: 1

 

NYC rents what is a public space at Lincoln Square (65th St) to the American Folk Art Museum for $1 a year, and thus they are not allowed to charge admission at thatfacility.  It was to be the museum's 'temporary' home while the new building was underconstruction on 53rd St, now closed of course, and remained the museum's 'satellite' location after the new building had opened.  There wassome pressure from quiltpeopleto make it a continuing showcase for quilts, but that concept never really got off the ground, One trustee kindly funded quilt and other shows there recently at a time whenthe museum sort of lost interest in the space.  Now they have moved back in there, and who knows what will happen in light of the NYTimes article about possible closure and relocation of the collection, the majority of which is warehoused at the moment.  I think they could have sought more money from MOMA so they would have a little cushion while considering the next steps, seemed odd they got even less than they owed.  How very sad if it closes for lack of leadership and funding. Most museums in NYC have lines out the door, surely the subect of folk art has an international audience, don';t know why it didnt better translate into revenue inNYC.  If you come to NYC do visit the current museum location at Lincoln Square at 65th Street across from Lincoln Center. The STAR quilt exhibit is still up.  About Susan Parrish, an antiques pal for years,artistic, active,adventuresome, felled suddenly by cancer. She had agreat eye for color and surface in antiques and folk art, and loved textiles from the humblest 1950s tablecloth to the superlative trapunto whitework or chintz quilt. Darwin and I and others all have'Susan' stories and memories of lots of laughter,having all spent hours together sharing accommodations and travailsin various states while on the hunt for treasures. She had alife of diverse interests and a wide circle of friendsthat is a model for how to live fully.  Laura

Laura Fisher at FISHER HERITAGE 305 East 61st Street 5th floor New York, NY 10065

212/838-2596 www.laurafisherquilts.com fisherheritage@yahoo.com find us on facebook: Laura Fisher Quilts --0-1863689721-1314078741=:22542--

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Subject: Sue Reich From: Pat Kyser <patkyser@hiwaay.net> Date: Tue, 23 Aug 2011 07:03:06 -0500 X-Message-Number: 2

Had Sue Reich here over the weekend as she gave a gallery talk for the opening of an exhibit of her WWII quilts at the Huntsville Museum of Art. The exhibit is moving, particularly to one who was a child in WII, and Sue is so knowledgable and at the same time, unassuming, in her talk. We all loved her and look forward to having her back in October when she will give a presentation to the local quilt guild. Got in some wonderful visiting with her! Pat Kyser in still hot Alabama

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Subject: Quilt Judging From: Judy Knorr <jknorr@optonline.net> Date: Tue, 23 Aug 2011 08:27:02 -0400 X-Message-Number: 3

Linda, Pepper and all, I once had a quilt ripped apart by a judge because of the border design. I used a pieced block to construct the border and explained it in my quilt description. The judge dismissed the whole design with "this quilt needs a border!" That was early in my quilting life and now that I have worked with judges at local and regional shows I have realized that they never see the written description! Most judging is totally based on just what the judges can observe by looking at the quilt. The written description are used for the pole cards and read by the general public. So now I write the descriptions to inform the public and follow my husband's reminder that as far as judging goes "it's just one person's opinion". I have had quilts that have received entirely different ratings by different judges in different shows. Just one reason to enter a quilt in more than one show! Judy Knorr

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Subject: judging question From: "Nancy Roberts" <aquilter@windstream.net> Date: Tue, 23 Aug 2011 09:48:48 -0400 X-Message-Number: 4

The comments on quilt show judging have been interesting and informative. A question occurred to me as I was reading the discussion, and perhaps Pepper or others who currently judge shows can provide insight. Does a quilt show judge have any of the information on the "why's" of a quilt when judging, particularly art quilts? Is there information provided so that a judge knows the intent of a piece? For instance, mention was made of a quilt for a color-blind recipient, and the muted contrast was noted in the judge's comments... would the judge know that this was an intentional use of the fabrics/colors/values? Viewers at a show get the full story when they read the artist's statement or the show program, but do judges have any of that information when they are evaluating a piece?

The judging I've seen has gone on at a fairly rapid pace, and no information was provided about the quilt or quiltmaker. However, I've not seen much art quilt judging, so I'm curious. Thanks for your input. Best regards, Nancy www.quiltnans.blogspot.com

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Subject: Re: judging question From: Dale Drake <ddrake@ccrtc.com> Date: Tue, 23 Aug 2011 10:23:33 -0400 X-Message-Number: 6

All:

If you've never been to a Sacred Threads exhibit, I'd highly recommend it. I BELIEVE that it was begun in response to the issue that judges at quilt shows do NOT read or consider artist's statements - which they probably shouldn't, when you think about it, in order to keep a level playing field for all entries. But so many quilts are made for special reasons, whether they be a color-blind recipient or an outpouring of grief or a healing therapy. The Sacred Threads exhibit is juried, but the one I went to was also fairly loose from the technical standards point of view - which was fine.

If you do get to go, plan to spend the day - there's a lot to read and reflect on. The 2009 exhibit had benches for sitting and boxes for comments to the artists - just an excellent and moving experience. It's a biannual show - plan for Summer 2013.

http://www.sacredthreadsquilts.com/html/aboutUs.html

Dale Drake in Indiana

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Subject: Re: Quilt Judging From: Mitzioakes@aol.com Date: Tue, 23 Aug 2011 12:01:24 EDT X-Message-Number: 7

Guess I just 'HAVE' to add somethings. One - the main reason I enter my projects into shows for judging is to see what I need to work better on - if I get a ribbon great, if not I will see that I correct the errors judges' have seen...Two, no judge sees a project the same way, that is a given. So will continue entering my projects for judging - ribbon or not (mostly not in my case.) But, a funny part of judging happened to me in 2010. I had a wall hanging in for judging - did not get a ribbon which was fine. But when I got my 3 judges score sheets I realized I lost out on a ribbon because one judge took off points for finding a 'few strands of pet hair on my quilt'. My cats were in the dog house when I got home let me tell you. So let us all keep on getting our works judged, ribbon or not, it is worth it for the learning process. Mitzi from Vermont

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Subject: Re: Sue Reich From: Mitzioakes@aol.com Date: Tue, 23 Aug 2011 12:03:45 EDT X-Message-Number: 8

We all love Sue....she will be in VT in October showing one of her special flower exhibits at our annual show - plus she will be one of our judges for the event. We are lucky to have Sue and her knowledge about quilts - especially the WW2 ones. A child of WW2 Mitzi from Vermont

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Subject: Judging From: Gaye Ingram <gingram@suddenlink.net> Date: Tue, 23 Aug 2011 11:49:07 -0500 X-Message-Number: 9

Let me say right off the bat that I know nothing about judging quilts and have never had a quilt in a competition. So I approach the entire issue of judging from a broader perspective. My own practice has been in literary criticism, the judging of fiction and poetry, particularly. But I think the same general principles apply across all fields of creative work.

In the early 20th century the British critic Joseph Empson noted something he called The Intentional Fallacy. By that term, he referred to the error of evaluating a piece of writing in terms of its writer's intention.

First of all, it is well-nigh impossible to discern the writer's intention. The human mind being what it is, sometimes the writer or artist is the last person to recognize the real intention of a work. And if intention were clear, using it as a major component in judgment would make constructive criticism difficult and judgment of the work itself, compared with other works of its kind, impossible. Criticism would be limited to evaluating how well a work fulfilled its writer's intention. In other words, the use of intention would make disinterested judgment of artistry impossible.

All art forms have standards of excellence that grow out of the forms themselves and out of experience with other examples in that form. In fiction, for instance, the creation of compelling characters with whom readers can identify as human beings is necessary if the reader is to care what happens to them. A plot that gradually builds tension or conflict through incident and thus enlists the reader's interest is essential for the same reason.

Using these standards creates the level playing field another list member mentioned.

Good criticism precludes personal disdain and pettiness. The critic's judgment is done through use of an impersonal rubric. Yet she is then free to add some personal encouragement. In some cases, that's hard, but it's still possible because the judge is free to venture a personal comment and have it recognized as that. I've been known to remark that a writer's undertaking a particular subject suggested ambition/courage/insightfulness/something. I've observed that the title or some other element in the piece suggested a sensitivity that I hoped the writer would work to articulate in future work.

There have been times when the particular piece was so bad, I have wanted to say, "Please burn all your paper, pencils, pens, and give your computer to the Salvation Army immediately." But what purpose would be served? The personal statement should be a place where the judge can suggest a way for one to improve her practice. And coming at the end, it can ameliorate the pain of a severe artistic judgment.

Early in my career as a teacher I noticed something that I've seen repeatedly since: those teachers who were the weakest students and required greatest encouragement and latitude themselves often tend to be the most illiberal teachers and judges of student work. I've never understood why, but I've seen enough examples to know the pattern exists.

I've always believed that the critic who wrote personally scathing reviews, reviews that demeaned the writer instead of offering a disinterested comment on her work, had no real regard for the art form and even less for the human being who created the example at hand. I myself have seen a writer produce drivel, but through practice and reading the works of others, grow into an accomplished writer.

The proper role of criticism in any field is to encourage good art. It does this both through the use of objective standards based in the art form, which show the writer where she failed and how she might improve her work, and through a subjective comment that acknowledges the effort and expresses hope the artist will grow.

My experience suggests that we never really learn from someone who demeans us. The writer of a cruel critique might as well have "stood in bed" so far as encouraging good practice is concerned. IMHO.

From the hills of North Louisiana where we had RAIN last night, Gaye

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Subject: Re: qhl digest: August 23, 2011 From: Jane Hall <jqhall@earthlink.net> Date: Wed, 24 Aug 2011 07:27:32 -0400 X-Message-Number: 1

As a quilt judge, it has always been my understanding that a piece being judged (any kind of art...paint/fabric/writing) must stand or fall on it's own merits, what can be adjudged by an impartial observer. Words about the artist's intent are good information for the viewer, but should not enter into judging, in my opinion. I ask for the title of the piece, which sometimes gives a hint, but that's the extent of the extra information I want. Jane Hall

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Subject: judging.... From: "Linda Heminway" <ibquiltn@comcast.net> Date: Wed, 24 Aug 2011 08:02:23 -0400 X-Message-Number: 3

Mitzi said: >But when I got my 3 judges score sheets I realized I lost out on a ribbon >because one judge took off points for finding a 'few strands of pet hair on >my quilt'. My cats were in the dog >house when I got home let me tell >you.

Mitzi, I'm surprised that comment was made and that anyone would actually take off points for it. Really surprised. I see pet fur at many shows, I also see threads not clipped but also stray threads on quilts. I'm always surprised that people haven't gone over the quilts more carefully. But, then again, there are those who finish the quilt at midnight the night before... : )

When I submitted my whole cloth quilt to be judged, I went over it with care. I made sure there were no pet hairs and threads. Take note that that quilt was named "Salem's Cradle" as the round quilting hoop had become my cat Salem's cozy place to settle when I put the quilt aside and wasn't working on it. Her black fur (she's named Salem due to her Halloween cat image) was always all over that quilt. Yet, I got a ribbon for it, so I guess I managed to get all the fur off it. Or, this judge didn't care about it? Wonder if some judges have a pet peeve (get it, pet?) about this issue and other do not feel that has merit to mention?

By the way, just one more judging comment. I encountered the judge for our show walking between the rows of quilts looking carefully at them. She had yet to award the ribbons and she wanted to see how they hung, she said. I asked a bit more out of curiosity and she showed me two quilts, side by side. One hung straight and "square", flat. The other, though beautifully done, hung with a bias "wave" on the bottom of it. Both quilts, she said, score the same marks on her judging forms so her final decision was made to award the best of show ribbon to the one that would hang flat. Almost made me wonder if putting curtain weights into binding corners would help if a quilt were going to always be hung vs. used?

I wonder how one assures a quilt will hang flat? I've seen some that are just awful and others that are just flat as a board. : )

Linda Heminway Plaistow, NH

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Subject: Re: Yet another appearance of the UGRR quilt code From: Kris Driessen <krisdriessen@yahoo.com> Date: Wed, 24 Aug 2011 05:15:00 -0700 (PDT) X-Message-Number: 4

Did you read the paragraph that said "Flying Geese pattern was also used asa compass...That was the direction finder, that was the signalto go in the direction in which the Geese were pointing or =E2=80=98flying=E2=80=99." Completely oblivious to the fact that once you have picked up the quilt, you have changed the direction of the geese.So, no, Iwouldn't bother sending her a link. It would just get in the way of a goodstory.Kris

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Subject: On judging From: Pepper Cory <pepcory@clis.com> Date: Wed, 24 Aug 2011 09:31:59 -0400 X-Message-Number: 5

Hello all-In the hope of continuing a thoughtful and kindly discussion on judging, I offer these comments:

Most often when judging, the judges do not see any comments the makers write about their quilts. I think this is the right way to approach the judging of a piece--clean slate, open mind. In the case of an art quilt, while intent is often present, the piece should be able to stand on its own as art without an explanitory text. Think: if you go into an art gallery and see an Impressionaist painting, does the text go into great detail explaining the artist's motivation, the times in which he/she lived etc etc? Usually not--the text is brief--Sunflowers by V. Van Gogh-period. Art is art--it speaks and should speak for itself. Later, after the ribbons are hung and the exhibition open, any explanitory text can only add to the enjoyment of viewing the art quilt but the piece needs to stand on its own first when in competition. I have myself made quilts when in mourning or 'at something' (witness 9/11 quilts) but concede that if I wanted them to stand in competition, my personal intentions are just that-personal. I think in the wider field of art quilts, this means that quiltmakers will only get better and better and be taken more seriously as artists whose works are worthy of wider audeience and appreciation. I once was verbally flayed by an angry woman whose art quilt did not earn a ribbon at an exhibition I helped judge. She railed at me, "It's about the desolation of the earth and how Man is killing the planet!" While I empathized with her feelings, the quilt in question was a small vertical piece showing a painted black solitary tree against a grey background. Technically it was only average and the imagery was not strong enough to support the intent. Here's the truth: an art quilt need not be a banner for a cause. And even if the cause is worthy, it cannot out-weigh other artistic and to a lesser degree technical considerations. Sometimes an art quilt is so compelling that the imagery and artistic skill come together to make a masterpiece--see Hollis Chatelain's Precious Water for an example of this quality.

While I could talk about other aspects of judging, I'll end here and step down from the soapbox-over to you-Pepper

-- Pepper Cory Teacher, author, designer, and quiltmaker 203 First Street Beaufort, NC 28516 (252) 726-4117

Website: www.peppercory.com and look me up on www.FindAQuiltTeacher.com

--001517475b883e2a1204ab40566b--

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Subject: RE: judging.... From: "Miller, Maretta K" <millermk@uww.edu> Date: Wed, 24 Aug 2011 09:29:36 -0500 X-Message-Number: 6

Very good questions were presented, so let's look at them. First of all, as a disclaimer, I love to snuggle with a cat and welcome pets into my home,so please do not think I have a pet peeve (that was a good one, Linda...I giggled).

1. Why would the presence of pet hair (or dirt, blood, smoke, etc.) cause a judge to comment?

a. The first reason could be that the show specified that quilts were to be submitted without those embellishments. Ultimately they can detract from the quality of the show if it draws attention of the viewers from the beauty of the work.

b. Another reason is that those features can spread from one quilt to another. Sometimes show hosts completely isolate quilts with those conditions,perhaps judging/displaying them separately or not at all, due to the hazard they present to other entries.

c. Many people have allergic reactions to these substances, some serious.I know a FABULOUS, highly skilled, well known, and very gracious quilt judge who is allergic. As her judging day progresses, so do the reactions ofher allergies, yet I have never known her to knock a quilt out of a ribbonrank solely based on the presence of pet hair. Others to consider who maybe affected by allergies include show aides and the viewing public.

As chair of a show I made sure there was a receiving station of tables and aides armed with lint rollers whose job it was to remove as best they couldthe extra debris on incoming quilts. Still, I noted pet hair on some quilts as they hung in the show. It's ubiquitous.

2. What can I do to make sure my quilt will hang straight, and why is it important?

A straight hanging quilt is an indication that careful construction was followed, such as consistent seam allowances, squaring, etc. I've overheard many quilters say they don't care about it, that it's not worth their time, and I can honor that as a personal choice. But as a judge, I honor more the extra diligence a quilter exerts to make a project as good as possible. If one cares to ensure their product hangs straight, consult good quilt construction manuals or a competent quilt instructor, and, at the very least, make sure opposite borders and bindings of the quilts are the same length.

So, in the end, don't we want our best to be on display at shows? This could be the artistic features of the piece, or some incredible technique, etc. 

Now, to my question: If you are to make a copy of an historic or antique quilt, and it is "warped," do you copy that aspect?

Maretta

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Subject: Re: Books for Sale From: Getfruit@aol.com Date: Wed, 24 Aug 2011 11:32:08 -0400 (EDT) X-Message-Number: 7

I am interested in Nebraska Quilts and Quiltmakers if still available. I will be out of contact til Friday afternoon, but please let me know.

Violet

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Subject: Re: qhl digest: August 23, 2011 From: Jocelyn Martin <martinjocelyn@rocketmail.com> Date: Wed, 24 Aug 2011 13:23:22 -0700 (PDT) X-Message-Number: 8

>>>>As a quilt judge, it has always been my understanding that a piece beingjudged (any kind of art...paint/fabric/writing) must stand or fall on it'sown merits, what can be adjudged by an impartial observer. Iwould have to disagree with this. For example, suppose you're reading a short story that has a fairly improbable ending. Would your assessment of thestory differ if you knew it were an account of an actual historical event?It certainly would mine. Knowing what the author intended would be crucialin deciding whether s/he had skillfully retold an amazing event or had just lapsed into the 'and then the little boy woke up and it was all a dream' sort of cheesy storytelling. I attended an exhibit of Monet's paintings many years ago; knowing that he was trying to illustrate how changing light conditions affected the same object made a series of a dozen paintings of haystacks go from being repetitious to a fascinating challenge in looking for those differences. If as a concert-goer, I 'need' program notes to fully appreciate the music, why wouldn't I need context to be able to judge the merits of a quilt? Jocelyn________________________________ --0-63570129-1314217402=:74432--

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Subject: Re: judging.... From: Jocelyn Martin <martinjocelyn@rocketmail.com> Date: Wed, 24 Aug 2011 13:25:30 -0700 (PDT) X-Message-Number: 9

Linda,I've got to agree with you about the pet hair. I find cat hair in my office all the time, a room where there has been nary a cat in the yearsof my occupancy. How could the judge know that the cat hair didn't come off the clothing of the person who hung the quilt? :)Jocelyn________________________________ --0-1100894124-1314217530=:63213--

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Subject: Re: qhl digest: August 23, 2011 From: Gaye Ingram <gingram@suddenlink.net> Date: Wed, 24 Aug 2011 19:02:41 -0500 X-Message-Number: 10

Jocelyn wrote: "Knowing what the author intended would be crucial in deciding whether s/he had skillfully retold an amazing event or had just lapsed into the 'and then the little boy woke up and it was all a dream' sort of cheesy storytelling"

But that difference does not affect the quality of the story itself in any way. The story must stand on its own legs, and the story is the proper object of the criticism, maybe the only thing that can be judged in a remotely objective way. A writer expects his work to stand on its own.

And in the long run, it will. The Iliad is still around and being read because it is a good story on many levels. We read it on one level when we are very young, another in college, another still when we have experienced more of life and see aspects of our own experience in it. But that text is what we have and what matters. We don't even know who Homer was.

The issue seems to be whether you judge the story---or any work of art---by accepted standards of the art form or whether you judge it in relationship to the author's intention. What if the author's aim was high, and yet his story did not achieve that aim? Or if it is exactly what a person of lesser ambition "intended"? The matter soon becomes hopeless.

In literature, criticism does not address the writer, but the work.

The same is true in other art forms. What if the painting did not have H. Matisse's signature? If it were anonymous? Would that diminish or enhance its effect?

All we know about the maker of any work generally enriches our appreciation of the work, and there is a place to express that appreciation. Knowing where a work came in the maker's production, knowing with whom he was working can help explain influences and shifts in the nature of the work, knowing the difficulties he encountered all add to our appreciation of the entire artistic process and the maker's personal achievement. As human beings, we yearn to know such things, to understand the relationship between the creation and the creator. But in the end, those things do not make the painting or story or musical composition work as it does, do not make it work better or worse.

There is a place in criticism of art for the discussion of the relationship between the given work and its maker.

After we've looked at the object.

After all the object of criticism is to improve craft, not the maker.

And BTW, I should have mentioned Wimsatt and Beardsley as those who first used the term "intentional fallacy." Wm. Empson, a cranky soul, first found the term useful, but in time rejected it.

Gaye Ingram

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Subject: other thoughts about judging From: Andi <areynolds220@comcast.net> Date: Thu, 25 Aug 2011 00:17:24 -0500 X-Message-Number: 1

One of the interesting facets to being a quilt show judge is adhering to the conditions set out by the organizers. Shows vary in what they request of judges, and often those differences are not made known to the viewing public. They may also not be obvious to the contestants. These include time allowed for judging, whether quilts are seen hung or flat, rules for judges communicating with one another, information provided to the judges about the quilts and/or contest rules in advance, and so forth. It's not safe to make assumptions about what judges' remarks mean without that organizational context, and as has been noted, that context is usually unknown.

Another point of interest from this side of the ribbon is that when scribes are involved, there are varying degrees of opportunity to make sure that what a judge says is what is reported. I most definitely do not mean to criticize the hard-working volunteers who take notes as judges do their jobs, but show conditions vary, and there isn't always the chance for a judge to verify that her spoken comments were recorded accurately or in the spirit in which they were rendered.

Dispensing what judges said to the contestants or public is yet another variable in the entire quilt show experience, from contestant to visitor to organizer to judge.

Judging is labor intensive, especially for the almost-always volunteer effort behind most judged quilt shows. This can truncate the desired experience between quilt maker and judge for no reason other than there just weren't the resources to connect the two (or more) individually.

As a judge, I hope that I'm objective and dispassionate and capable of setting aside my biases to attempt to meet the organizers' requests of me. What I cannot control is what they subsequently do with my utterances, but it has been my great pleasure to assume that they do their best, since the rules and conditions were most likely set out in advance of the competitors' entry.

Andi in Paducah

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Subject: Re: qhl digest: August 24, 2011 From: "M. Chapple" <mem914@yahoo.com> Date: Thu, 25 Aug 2011 05:47:28 -0700 (PDT) X-Message-Number: 2

RE: UGRRWhile visiting the Virginia Quilt Museum in Harrisonburg last weekend I was dismayed to find a copy of HPV and a UGRR quilt kit for sale in the gift shop. Anyone viewing that would believe that the museum agreed with the myth, despite the fact that so many people have shown itto be untrue. I have attended several seminars at the VQM, and have always found the information they offered to be well researched. I am disappointed in this lapse.Mary in Virginia --0-239689458-1314276448=:31634--

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Subject: Re: qhl digest: August 24, 2011 From: "Candace Perry" <candace@schwenkfelder.com> Date: Thu, 25 Aug 2011 09:18:48 -0400 X-Message-Number: 3

I think sometimes small organizations -- and I am assuming that it a small museum -- might just look for relevant commercial material to sell in their shops, whether it is a perfect fit or not. And it might be a different person running the shop than the person in charge of programming, and if the book sells, well... We have a crazy new age-y book in our shop that I do not agree with, and I don't really like selling it as it does seem that we endorse the guy's views, which could not be further from the truth -- it's not bad stuff, it's just weird and annoying. It's a terrible conundrum, it truly is... Candace Perry

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Subject: Re: other thoughts about judging From: Mitzioakes@aol.com Date: Thu, 25 Aug 2011 09:46:15 EDT X-Message-Number: 4

Your comments are just great! Would you allow me to print them out and have them available to read by not only our judges for our upcoming show, but also the Committee itself and the scribes (all volunteer tho our judges are paid for judging and all other expenses). Having been a scribe for many years, it is a hard job, with limited time, all with hand-written comments to get down everything a judge comments about a quilt. Thanks for setting the job of judging on paper. Mitzi from Vermont (where Irene may come to visit on Sunday)

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Subject: DETRITUS ON QUILTS From: Teddy Pruett <aprayzer@hotmail.com> Date: Thu, 25 Aug 2011 10:22:05 -0400 X-Message-Number: 5

If you think judges see a lot of pet hair on quilts you oughta see what the appraisers are subjected to! I have a 110 pound dog with 10 inch long snow white fur (Great Pyrenees - people actually SPIN this hair!) and four black cats. I am all too aware how invasive the stuff of our beloved pets can be. I appraised what I'd consider to be a pretty well known quilt - published in magazines etc. by a very well known quilter. The client was tickled to death to own the piece but it was so covered in cat hair that the pattern was nearly obscured - truly one of the heaviest coatings of pet hair I've ever encountered. So sad. I felt as if I needed a change of clotheswhen I was through with the piece. Appraisers often see quilts that have just been taken from storage in all sorts of weird places - including one that was found in a metal barrel that floated down the Arkansas river!! But the worst in my memory was the one we opened up on a documentation day. The person brought several quilts thathad been found in the attic of a very prominent family. We opened the first one - it was literally "crawling" - it was so infested with silverfish the interior of the quilt was in motion. This happened nearly 20 years ago but was memorable. I think we folded the quilt up very rapidly and took the others away from the quilts lined up for documentation. Seems like we took the lady outside in a pretense to "see the quilt in better light" and explained to her what was going on. She was mortified of course asshe had no idea the condition. Don't think those quilts had been seen in many a year. Collectively we could most likely play a game of the worst "condition" in which we've seen a quilt. Not a fun game. Thinking positive thoughts for those of you in the eye of Irene. Be safe.  Teddy Pruett

"I no doubt deserved my enemies

but I don't believe I deserved my friends."

Walt Whitman

 

www.teddypruett.com

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Subject: Re: DETRITUS ON QUIL mTS From: Mitzioakes@aol.com Date: Thu, 25 Aug 2011 13:50:32 EDT X-Message-Number: 6

My cats (and I ) feel much better after reading of other examples of 'pet hair'., but I intend to go over my future entries a lot better from here on in. I have loved all of your stories and know that most quilters love pets.. Mitzi from Vermont where Irene my show her face on the weekend. (better than Katrina in New Orleans in 2005 that destroyed many of my quilts when my daughter's home was flooded to 8' above the foundation. They did not survive except one that had polyester batting and fabrics made for my first grand daughter over 30 yrs. ago )

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Subject: on judging.... From: Laura Syler <texasquiltco@airmail.net> Date: Thu, 25 Aug 2011 21:58:24 -0500 X-Message-Number: 7

I don't post on the list very often, and aren't ya'll glad!! I've started to reply to the question about the judges task several times only to find that I'm starting to write War And Peace! By the way...this topic makes for a great lecture!!

First, let me say that my comments here come from 4 facets. 1) I have been judging quilt shows since 1980. 2) I am NOT an NQA certified judge, tho, I have taken many of the courses offered on judging to keep abreast of what are considered current trends & techniques and best practices. 3) I am an AQS certified appraiser and am pretty good at being able to change hats and leave the other one at home. 4) I have been show chair for the Quilters Guild of Dallas on two different occasions, worked over a period of 10 years writing and re- writing the show categories and judging criteria and forms when our "industry" was in it's infancy. I have watched it develop and grow from judging masses of class produced quilt-as -you-go style quilts to the magnificent one of a kind masterpieces that grace the halls of today's quilt venues.

I've narrowed down my thoughts to two - well, maybe three points. Here goes..... **Judges are employees of the organization putting on the quilt show. They must abide by the judging criteria given to them by that organization. They must complete the task - regardless of how many quilts they are to examine - within the alloted time period. This usually doesn't give you more than 5-10 minutes tops to examine the quilt and complete the form. It is the organizations responsibility to develop the judging form, set forth the categories and rules and give these guidelines to the judges to abide by. Some don't always make sense, and make the task of the judge a tough one, but that's the way it works! I have heard of one person that required their personal "copywrited" form be used or they wouldn't consider judging....whatever!!! The guild pays me for my services, and I am - for that time period - their employee. I do as I'm instructed, using their tools and guidelines...for better or worse!

**Categories can be the kiss of death if you are looking for a ribbon! Unfortunately, or fortunately - you can look at it both ways - we have become so sophisticated in our quiltmaking that the categories that we used for the first Dallas Quilt Celebration in 1980 ; Bed quilt, Baby Quilt,and Made by a group, just won't cut it any more! We were even so high and mighty at that first show that we banned "kit quilts"!! - oh the audacity !! But by golly, we were purists!! oh yeah!! It is the responsibility of the show committee to determine the categories, and once your quilt is received, reserve the right to move it to a different category if deemed necessary. Judges should have that prerogative as well. It doesn't happen often, but I have requested a conference with my fellow judges and the show chair to discuss whether a quilt should stay in the category in which it was entered. Could be any number of reasons, but in the end, it seems that it has faired better for the quiltmaker.

**Judging forms...Boy, I know that just about every person who has ever judged more than one quilt show wishes for one standard form that everyone would use. But just like there is no magic pill to melt off the fat, there just isn't one form that works for everyone. Do you judge by points - workmanship equals XX points - do the points meet 5 pts, corners square 5 pts, curves on applique smooth 5 pts? Or do you judge by description - poor, fair, good, better, best? And just what is meant by "overall visual appeal"? Appealing to whom????? Often times the judging form/criteria is so broad that the judges might be better off by just taping the entry forms on the wall and throwing a dart for the blue ribbon winners. Quilt show committees are becoming more and more sophisticated so this is occurring less and less often.

Bottom line: I think that just as appraisers do appraisal days, someone should consider a critique day.....tell me what you think, what I've done well and what I could improve upon. Only problem is - we invest so much of ourselves into our quilts we become very emotional. Only those with thick skin need sign up. Although I did tell one lady who came into my store wanting to sell her work..."Have you ever thought of taking a class?"

Ok, Like I said....there is a lot more to the job of being a judge than I've touched on here. Much of it has been covered by my esteemed QHLers. Back to lurking.....

Laura BTW, would someone please send some rain to Texas...and turn the AC on??? Day 58 of 100+ temps! Enough already!!

Laura Syler Certified Appraiser of Quilted Textiles Teacher, Lecturer, Judge Richardson, TX