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Quilt-making Workshop

Quilt-making Workshop. American Transitions Conference | August 11, 2011. The Water Brought Us Here... The Water Will Take Us Back. By : Carolyn, Mazloomi , Date : 1991 Location Made: Cincinnati, Ohio ( OH) Project Name: Kentucky Quilt Project

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Quilt-making Workshop

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  1. Quilt-making Workshop American Transitions Conference | August 11, 2011

  2. The Water Brought Us Here... The Water Will Take Us Back By: Carolyn, Mazloomi, Date: 1991 Location Made: Cincinnati, Ohio (OH) Project Name: Kentucky Quilt Project Contributor: University of Louisville Archives and Records Center ID Number: 34-26-7 Fabrics: Cotton

  3. The Sun Sets on Sunbonnet Sue The Seamster's Union (Local #500) - Brackman, Barbara; Metinger, Nancy; Dwigans, Cathy; Metzinger, Laurie Schwarm; Hood, Gloria; Englinski, Georgann; Dill, Bonnie; Boyer, Patty; Kelley, Bette; Jones, Carol Gilham; Dangerfield, Nadra; Anderson, Bryan Date: c. 1979 Location Made: Lawrence, Kansas Project Name: Michigan State University Museum Collection ID Number: 01.0001 Fabrics: Cotton, Cotton or polyester blend, Velvet, Multiple scrap Purpose or Function: Art or personal expression, Artwork/wall hanging Other Notes: Purchased by collector Kitty Clark Cole and donated to the Michigan State University Museum in 2001. Inscription: Seamsters Union #500 Lawrence Kansas

  4. Sunbonnet Sue Uses Renewable Energy By: Laura Martin Location Made: Arlington, Texas Project Name: New from Old ID Number: 55 Quilt Size: 16 inches x 16 inches

  5. Strange Fruit: A Century of Lynching By: April Shipp Date: 2003 Location Made: Auburn Hills, Michigan Project Name: Michigan Quilt Project Contributor: Michigan State University Museum ID Number: 08.0001 Fabrics: Silk, Cotton, Other, Corduroy Purpose or Function: Commemorative, Art or personal expression, Artwork/wall hanging Inscription: Strange Fruit. A Century of Lynching and Murder 1865-1965 (in red machine embroidery) Dedicated to Ida Bell Wells-Barnett (in gold machine embroidery) 100s of names of victims of lynchings and their states (in gold machine embroidery)

  6. Four Freedoms By: Bertha Stenge Date: 1943 Location Made: Chicago, Illinois Contributor: Illinois State Museum ID Number: 1996.68.2 Fabrics: Cotton, Other blends, Solid/plain, cotton and rayon blend Purpose or Function: Art or personal expression Other Notes: Inspired by Norman Rockwell's paintings., 6 other quilts by Bertha in Museum's collection. Inscription: Freedom from Fear, Freedom of Worship, Freedom from Want, Freedom of Speech

  7. Origami Cranes Quilt By: Lois K. Ide Date: 1986 Collection: Lois K. Ide Collection Source: Historical object(s) or artifact(s); H 86245 Submitting Institution: Ohio Historical Society Lois K. Ide (1920-2010) titled her hand quilted work Origami Cranes. Made in 1986, she designed the quilt in horizontal stripes of solid red, solid white, blue and white polka-dots, and screen printed birds. Appliquéd origami cranes of different sizes are scattered across the quilt. The crane, a symbol of peace in Japan, is one of the Japanese's favorite subjects for the paper folding technique of origami.

  8. Merits of Bombs? By: MeenaSchaldenbrand Date: November 2005 Location Made: Plymouth, Michigan Project Name: Michigan Quilt Project Contributor: Michigan State University Museum ID Number: 08.0004 Fabrics: Cotton, Camouflage, metallic Purpose or Function: Commemorative, Art or personal expression, Artwork/wall hanging

  9. Road to Recovery, New York World's Fair Quilt By: Mary Gasperik Date: 1939 Location Made: Chicago, Illinois (IL) United States Contributor: Gasperik Collection ID Number: 066 Fabrics: Cotton, Print, Solid/plain Purpose or Function: Commemorative, Challenge or Contest entry, Artwork/wall hanging Other Notes: The theme of the 1939 New York Fair was transportation, perhaps explaining Gasperik's decision to depict a road with a traveling car. Two of the emblems of this Fair are appliqued at the top of the quilt: the needlelike Trylon and the Perisphere globe. Inscription: Quilted inscriptions bottom to top read: CHICAGO, 1929, 1930, 1931, 1932, 1933, 1934, 1935, 1936, 1937, 1938, culminating at the top with NEW YORK WORLD'S FAIR 1939. Road signs pointing the way read: "Road to Recovery" and "New York City."

  10. Peaceable Planet By: Jacksonville Beach Elementary School/Heidi B. Lowey-Ball, Date: September, 1995 Location Made: Jacksonville Beach, Florida (FL) United States Project Name: Lands' End All-American Quilt Collection Contributor: American Folklife Center, Library of Congress ID Number: AFC 1997/011: Folder 9053 P1 Fabrics: Cotton Purpose or Function: Challenge or Contest entry, Other, Artwork/wall hanging

  11. The Charm of Impressionism By: Marlene Brown Woodfield, Date: January, 1992 Location Made: Indiana (IN) United States Project Name: Lands' End All-American Quilt Collection Contributor: American Folklife Center, Library of Congress ID Number: AFC 1997/011: Folder 9008 P1 Fabrics: Cotton or polyester blend, Cotton Purpose or Function: Challenge or Contest entry, Artwork/wall hanging

  12. History of Colorado Trains Quilter Group: Volunteers of the Rocky Mountain Quilt Museum Date: 1994 Location Made: Colorado (CO) United States Project Name: RMQM Permanent Collection Contributor: Rocky Mountain Quilt Museum ID Number: PQ.1995.004.001 Fabrics: Cotton, Other synthetic, Solid/plain, Plaid, Geometric, Floral, Dotted, Striped, Checked Other Notes: This pictorial quilt is a celebration of all types of railroads in Colorado history. It has hand embroidered decorations with cotton thread, buttons, a bell, and braid. As part of the museum's "Quilts in Public Places" program, this quilt hung at the Caboose Hobbies store in Denver in 1996. See notes for explanation of panels.

  13. Quilt Square • Choose an aspect of an art or social studies topic that you teach. • How would you represent it in a quilt square? • As you are working think about other aspects of this topic you or your students could translate into quilt squares.

  14. Consider • How is this different from a more traditional assignment like an essay? • How might you incorporate other art forms, artworks, and/or primary source materials? • Where are other interdisciplinary connections?

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