Quilting bodies: the Gee's Bend Quilters, Sanford Biggers, and Jonathan VanDyke
Saved in:
| Title: | Quilting bodies: the Gee's Bend Quilters, Sanford Biggers, and Jonathan VanDyke |
|---|---|
| Authors: | Villacis, Austen (author) |
| Publisher Information: | University of Southern California Digital Library (USC.DL), 2023. |
| Publication Year: | 2023 |
| Subject Terms: | Roski School of Art and Design (school), Curatorial Practices and the Public Sphere (degree program), Master of Arts (degree) |
| Description: | The Quilts of Gee?s Bend? (Whitney Museum of American Art, 2003), ?Sanford Biggers: Codeswitch? (California African American Museum, 2020), and ?The Patient Eye? (Columbus Museum of Art, 2018) are episodic migrations of the quilt into American Art institutions via the form of the museum exhibition. ?The Quilts of Gee?s Bend? set a precedent as the first exhibition of historical quilts to be associated with a distinct group of makers in a modern American art museum, but in displaying the quilts as art, elided historical context in favor of cultural appropriation masked as formalism. In the time since, artists have undertaken appropriative strategies to present the quilt as an object and a subject with infinite, if unknown, entanglements with bodies, history, daily life, and ritual. Biggers uses quilts as tablets for artistic interventions, in reference to the contested notion that quilts were used along the Underground Railroad to guide enslaved people to safety, while VanDyke performs the act of slow looking, emphasizing the quilt?s ?thingness.? These artists, if problematically, explore how quilts as objects in institutions and objects appropriated by artists exist within a series of binaries. In doing so, they add to a growing number of artists bringing quilts and quilting histories into the 21st century. |
| Document Type: | Thesis |
| Language: | English |
| DOI: | 10.25549/usctheses-ouc113120749 |
| Accession Number: | edsair.doi...........a1d76f2599a8f1c908deca743d06a0c7 |
| Database: | OpenAIRE |
Nájsť tento článok vo Web of Science | Abstract: | The Quilts of Gee?s Bend? (Whitney Museum of American Art, 2003), ?Sanford Biggers: Codeswitch? (California African American Museum, 2020), and ?The Patient Eye? (Columbus Museum of Art, 2018) are episodic migrations of the quilt into American Art institutions via the form of the museum exhibition. ?The Quilts of Gee?s Bend? set a precedent as the first exhibition of historical quilts to be associated with a distinct group of makers in a modern American art museum, but in displaying the quilts as art, elided historical context in favor of cultural appropriation masked as formalism. In the time since, artists have undertaken appropriative strategies to present the quilt as an object and a subject with infinite, if unknown, entanglements with bodies, history, daily life, and ritual. Biggers uses quilts as tablets for artistic interventions, in reference to the contested notion that quilts were used along the Underground Railroad to guide enslaved people to safety, while VanDyke performs the act of slow looking, emphasizing the quilt?s ?thingness.? These artists, if problematically, explore how quilts as objects in institutions and objects appropriated by artists exist within a series of binaries. In doing so, they add to a growing number of artists bringing quilts and quilting histories into the 21st century. |
|---|---|
| DOI: | 10.25549/usctheses-ouc113120749 |