Accidentally on Purpose: The Aesthetic Management of Irregularities in African Textiles and African-American Quilts
Figge Art Museum, 2006 - 175 ページ
This exuberantly illustrated book celebrates the sophistication, vivacity, and significance of improvisational African-Aemrican quilts, both as artistic achievements and as expressions of African-American traditions. The knowledge, attitudes, and values carried across the Atlantic by enslaved Africans appear to have informed a quiltmaking tradition so powerful that, to this day, it preserves its identity in a special province of African-American quilts. Such "Afro-traditional" quilts are made by people who have no formal art training and who usually do not consider themselves artists; they learned their craft and absorbed its aesthetics by watching and helping their mothers, aunts, and grandmothers who, in turn, learned form previous generations. The resulting--often highly idiosyncratic--quilts call out to be seen as the works of art that they are. The brilliance of this work must be partially credited to a tradition which encourages individual expression and provides a context in which the talents of individual artists can flourish. Improvisation, pervasive in black African art and familiar as a basic element of many African-American musical forms, is a vital force in this tradition. The artists maintain a generous attitude toward the accidental, embracing innovations that originate beyond the conscious domain. they use approximate measurement and "flexible patterning," in which the design, conceived of as a an invitation to variation, will not repeat, but will materialize in a sequence of visual elaborations. Afro-traditional attitudes and methods are antithetical to the standard American quiltmaking tradition--practiced by both whites and blacks--in which great value is placed on precise measurement and exact pattern replication. Instead they bear a keen likeness to the improvisatory practices of the textile-makers of Kongo and West Africa, regions from which American slaves were taken. These antipathies and affinities suggest an enduring African influence on the Afro-traditional quilt.
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accidentals aesthetic African Textiles African-American quiltmakers African-American quilts Afro-traditional Afro-traditional quiltmakers Afro-traditional quilts Akwete American quiltmaking American quilts American Slave applique Arbie Williams Arkansas Back Bakuba Bakuba skirt Bars Belgian Congo Black English borders California Central African cloth color cotton broadcloth cotton flannel cotton sheeting cotton twill culture Decorative Arts Diagram European-American example fabric Front gabardine Georgia Gladys Henry grandmother Half-squares improvisational Irene Bankhead irregular Johnnie Wade Laverne Brackens Lee Metcalf Leon collection Louisiana Mae Moore Mary Medallion mother motifs muslin Nine-patch Oakland patch patchwork quilt piece quilts polyester polyester doubleknit quilt blocks quilt Figure quilt top Quilted by Irene Quilted by Willia quilters raffia Rawick rectangles restructed Roman Stripe Rosie Lee Tompkins scraps sewing Sherry Byrd standard-traditional String strip quilt Texas tion Track Triangle Strip twill UN-L Archives variation Vlach Wahlman West African West and Central Who'd a Thought Willia Ette Graham wool Yoruba