Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Museum of Craft and Folk Art records, 1970-2012. Archives of American Art, Smithsonian Institution.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Museum of Craft and Folk Art records, 1970-2012. Archives of American Art, Smithsonian Institution.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Museum of Craft and Folk Art records, 1970-2012. Archives of American Art, Smithsonian Institution.
Dr. Raymond Dobard, quilter and art historian, provided a historical overview of African American quilts and detailed explanations regarding the ways in which the quilts were constructed. After the lecture, Robert Hall led the docents on a tour through the exhibition 'Always There: The African American Presence in American Quilts.'
Lecture and exhibition tour. Related to exhibition 'Always There: The African American Presence in American Quilts.' Dated 19930717.
Biographical / Historical:
'Always There: The African American Presence in American Quilts' displayed 27 quilts with photographs and related objects, and surveyed 200 years of black quiltmaking. The quilts, images and artifacts in the exhibit were presented within a dual framework of black history and quilt history. Profiled quiltmakers included Mary Bell Berry, Jessie Telfair, Dorothy Nelle Sanders, parents of school children at P.S. 48 in New York City, Michael Cummings, Carolyn Mazloomi, Lillian Beattie, Jim Smoote, and Carole Harris. The exhibition was organized by the Kentucky Quilt Project, Inc. in Louisville, Kentucky, and on display at the Anacostia Museum from July 15 to October 17, 1993.
Local Numbers:
ACMA AV002165
Collection Restrictions:
Use of materials is restricted. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Curator Dr. Gladys-Marie Fry led a gallery walk of the exhibition 'Man Made: African-American Men and Quilting Traditions.'
Exhibition tour. Related to exhibition 'Man Made: African-American Men and Quilting Traditions.' Dated 19980117.
Biographical / Historical:
Man Made: African-American Men and Quilting Traditions featured quilts made by members of the least represented group among all American quilt makers, African American men. The quilts shown had their origins in both the nineteenth and twentieth centuries, and included both utilitarian bed quilts to purely decorative ones. The quilt makers represented ranged from the 9-year-old Herbert Munn to the 105-year-old Benjamin Jackson. The quilts came from four different areas of the country: the Deep South, the Atlantic Seaboard, the Midwest, and the Far West. The exhibition was developed by guest curator Dr. Gladys-Marie Fry at the University of Maryland in 1996.
Collection Restrictions:
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
During an interview for a news segment on FOX News 5, Anacostia Museum Director Steven Newsome talked about the exhibition 'Always There: The African American Presence in American Quilts' and African American quilt techniques; and a provided an explanation of story quilts. The news segment also included footage of the quilts which were on display throughout the exhibit.
News program. Related to exhibition 'Always There: The African American Presence in American Quilts.' Dated 1993.
Biographical / Historical:
'Always There: The African American Presence in American Quilts' displayed 27 quilts with photographs and related objects, and surveyed 200 years of black quiltmaking. The quilts, images and artifacts in the exhibit were presented within a dual framework of black history and quilt history. Profiled quiltmakers included Mary Bell Berry, Jessie Telfair, Dorothy Nelle Sanders, parents of school children at P.S. 48 in New York City, Michael Cummings, Carolyn Mazloomi, Lillian Beattie, Jim Smoote, and Carole Harris. The exhibition was organized by the Kentucky Quilt Project, Inc. in Louisville, Kentucky, and on display at the Anacostia Museum from July 15 to October 17, 1993.
Collection Restrictions:
Use of materials is restricted. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Maria Goodwin - member of the Daughters of Dorcas and Sons quilt guild - discusses her quilting experience, the evolution of quilt making, and the Washington, D.C. based quilting group - Daughters of Dorcas and Sons. Goodwin recalls her early memories of cutting out triangles and sewing them together with her mother, who was a seamstress; she states her mother taught her an appreciation for fabric. She explains she was not interested in clothes making, and decided to explore quilting because she found quilt making less confining. Goodwin explains how the members of Daughters of Dorcas and Sons interact with one another, and describes the various styles the members employ in their quilt making. She talks about how the quilt has evolved from a functional piece to a piece of artwork displayed on the wall; the development and evolution of art quilt; use of technology in quilting; the increase in pricing of quilting and sewing machines; the evolution of fabric house; special quilting fabric lines; the various types of quilting; and working with colors in quilting. Goodwin explains the debate and development of categories in quilt competition shows; use of other media, in addition to fabric, in quilting; the intersection between quilting, family history, and scrapbooking; the growth of quilting communities; the importance of a foundation for beginner quilters; and how quilters build their skills over time. Goodwin talks about her creative style, her creative process, how she designs her quilt, where she finds inspiration, and how her interest in quilting grew. She loves the challenge of designing and incorporating ancient history, including illuminated manuscripts, into her quilts. Goodwin talks about the future of quilting, including children learning to quilt; the importance of preserving old quilts because they document family and quilting heritage; and the importance of documenting the creation of the quilts through video and photographs so the creation process is preserved.
Interview. Dated 20110131.
Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Museum of Craft and Folk Art records, 1970-2012. Archives of American Art, Smithsonian Institution.
