Here, A Place to Stand

Here, A Place to Stand (More Like a Big Ball) 46 x 65 in, 2016

Here, a place to stand.
One last embrace, earth and sky;
light and dark entwine.

Gratitudes that slipped away, almost.

I almost forgot these two things:

  • By chance I met a woman sculptor, an artist and teacher. I always enjoy meeting her. She was telling me about her current show and asked me what I was doing. For some reason, rather than showing her my finished quilt pictures, I told her about Kathy Nida’s quilt that was pulled by AQS. She was appropriately horrified and sorry that this was going on. What a nice moment. Keep on keeping on you people down in Chattanooga! (and AQS, I’m looking at you – not even a polite email acknowledgement? Really? Lame. Majorly lame.)
  • Heard a great horned owl the other night, the looong hoooooot, lacing through the night. Later on I heard the barred owl
  • Thank you Stewarts! I really needed some olives tonight and you really came through for me.
  • To date: 30 of 31 postcards received plus a bunch of bonus cards! Woot – thanks everyone!
  • Glad to get Verge back from its four year tour. Thanks SAQA for a great run.

September 11, Fifteen Years Later

REMEMBER

Photo by Pearl Yee Wong of the Michigan State University Museum

Last year I wrote:

I’ll be spending today quietly, thinking and doing “normal” things. That’s always the contrast isn’t it, what had been normal and this instant where the world becomes something else, something unknown until now. Something perhaps unimaginable but now sitting quite real in the world, alongside us.

This year I think there is more contrast and need for more reflection and I’m glad to be home for the day, trying to do normal things again.

September 10, 2001

In 2001, I’d been up visiting my parents at Brant Lake for a few days. I was considering a big life change and had gone to get away and think about it and to make a decision and plan. I’d brought my quilting – our guild’s challenge for that year, due later in the month. After the meeting I blogged:

This year’s challenge was to make something that involved a ninepatch block. And to tie it somehow to a famous line, bit of poem, title, song verse etc. We had lots of entries this year, from very traditional to not. I won second place in the unfinished category for my amish nine patch. My theme was “Order from Chaos.”

I was making a quilt based on an Amish crib quilt seen in the Esprit collection. I decided to make the nine patches with one inch squares and had them almost done when I got to the lake. Mom and I had fun sewing together and I made a lot of progress. On September 10th, I sewed the central section together and I was quite pleased with the effect.

The next morning we were waiting for our quilting friend Joan and her family to come for a visit when my brother called with the news of what had happened in New York City.

Many years later I took out the quilting I had started and requilted the whole thing, ending up as Summer Seen From September, 2001.

Art and The Eye of the Beholder and Art and Quilts

Early in the summer, Mom and I toodled over to the Clark Art Institute in Williamstown to see a fabulous visiting collection of paintings from the Prado. Here’s how it’s billed on their website:

Splendor, Myth, and Vision

“[It] might get you a little hot under the collar.”—New York Times

The New York Times calls Splendor, Myth, and Vision: Nudes from the Prado “a weighty but also steamy exhibition.”
Read the review here and plan your visit today!
Join us for the public symposium “Whose Nudes? Painting, Collecting, Displaying the Body in Early Modern Europe” on Friday, September 23 from 1–5 pm.


We went through the gallery rooms and were blown away by the huge size of the paintings as well as the realism and wonder at the masterful artists who had created them. Many were paintings of women with cherubs or women with women or women with men or women with god-like figures (generally male). All of these were round and zoftig, lots and lots of soft flesh and nothing held back. Some were male. These were equally eye-candy-ish, showing some fairly idealized and maximized anatomy, strength and power and sexuality abounding. Some were clothed in biblical dress, telling old testament stories. There were some that showed martyrs and other scenes.

We saw all this. We enjoyed all of what we saw. Some attracted our eyes more than others. Mom noted that there were several family groups, parents with children of elementary and middle-school age mainly. Some of the parents were doing a lot of narrating and art history type talking.

What we didn’t see: we didn’t see anyone gawking, or laughing or sniggering over all this expanse of flesh, even while reading the description of how yes, this really was the porn of its time, locked up in private rooms for viewing by the well-to-do. There were no protestors outside fighting against all this flesh, or even protesting from a feminist point of view on the sexualization of the human body.

People had paid their money to see these rarely traveled art treasures from the Prado and they were doing the standard gallery walk or they were actively enjoying it or they were thrilled to bits to have this opportunity. Many went on, I’d guess to go into the Clark’s main galleries where there are beautiful impressionist paintings showing bathing women, and there’s one huge painting involving a satyr and a whole lot of nymphs…

Nymphs and Satyr -  William-Adolphe Bouguereau, French, 1825–1905

All of this is a round about way of saying that the whole pulling of Kathy Nida’s quilt from Quiltweek Grand Rapids recently is still under my skin. Wanna see? OK, not that way. AQS put out some very hard-to-find statement about it and apparently refused to comment elsewhere when asked to discuss it on podcasts (go here for the podcast with Kathy Nida and other info about it all) or their website. SAQA put out a statement saying that they’d worked with AQS and understood that it was a business and as such had to worry about losing money etc etc but good news – they had agreed to show an additional SAQA exhibit of quilts at future shows. Which was a good thing because SAQA is all about getting public awareness of quilts as art.

Yesterday quite a good web article appeared entitled “How AQS Mishandled the Online Fallout After Pulling Kathy Nida’s Quilts by Abby Glassenberg. This was a good overview of what had gone down and an honest look at what happens if you don’t respond to people who reach out to you about a problem. (Note that I sent an email to the two top names at AQS at the beginning of this and didn’t even receive (as I expected to) a ‘Thank you for your kind email. We appreciate your taking the time and will consider what you wrote. Thank you again’ sort of response.

I had given up expecting any sort of response honestly and moved on to wondering what next steps might be good to keep the issue somewhere near the top of things when I opened my facebook and found a link to this, from AQS, offering a new challenge of making eighteen inch blocks of traditional patterns called “Big Girl Blocks, A Big Girl Challenge Just For You.” I doubt this comment will get moderated but hey, at least someone will theoretically look at it. They have lots of “please sign me up!” and “oh, I always wanted to make big blocks!” comments. Maybe they won’t notice mine. Someone earlier had commented: “Big Girl? What is this, 1955?” Whoever you are – love and kisses!

You know, I often comment that I didn’t live through the seventies so that stuff like unfair work/wage/financial stuff and gender bias and sexual discrimination could be allowed to flourish once more, all these years later. But, having realized that these fights never end, it’s up to all of us to keep putting our opinions in the ears of those who need to know them and to put our money and energy into fighting this nonsense.

So, go if you can to see Kathy’s quilts at Spool, get your “Where’s the Penis?” button and wear it proudly on over to Quiltweek Chatanooga. Let’s see how that goes. Maybe you could ask for you money back when all of the quilts aren’t on exhibit as promised by the AQS website?

To be continued. No doubt about it.

Yes, It’s That Day Again

There’s nothing like folding a whole lot of fat quarters to start a new day and year off right. To my eyes this is not color accurate but to give you an idea of my ironing board when I got done (does not include all the fabrics that followed me home from my vacation with mom)

Things I do…

while listening to other things: