Why We Quilt
Citation: Knauer, Thomas. Why We Quilt: Contemporary Makers Speak Out about the Power of Art, Activism, Community, and Creativity. North Adams: Storey Publishing, 2019
Summary: “In a world of instant messaging, on-demand TV, and same-day delivery, cutting fabric into small pieces and stitching them back together makes little practical sense. Yet quilting, as both a craft and an art, thrives. “Today quilting is a conspicuous choice,” writes Thomas Knauer. “Quilts are no longer about material necessity, but instead fulfill other, deeper, needs: they provide social, cultural, aesthetic, and personal connections that are unique to each quilter.” In this deeply personal and profoundly thoughtful tribute to quilting past and present, Knauer highlights 40 contemporary makers who share not only their stunning quilts but also powerful insights into what compels them to keep quilting in the twenty-first century.”
Weaving in the Peruvian Highlands
Citation: Callañupa Alvarez, Nilda. Weaving in the Peruvian Highlands: Dreaming Patterns, Weaving Memories. Cusco: Center for Traditional Textiles Cusco, 2007.
Summary: “Handwoven fabrics comprise the living history and culture of the Peruvian highlands from Cusco to Machu Picchu and beyond. Fabric patterns with evocative names reflect the landscape and events in vivid color, evolving over time. The weavers who create these fabrics in the time-honored way are keepers of the culture and sustainers of a noble but difficult lifestyle in tune with the earth. They raise llamas and alpacas for fiber, collect plants for natural dyes, spin yarn on primitive spindles, and weave acres of cloth on simple backstrap looms just as their forebears have done for thousands of years. They weave clothing, rugs, bedcovers, potato sacks, hunting slings, and sacrificial fabrics for themselves and their villages, and for sale to supplement their meager incomes. Travellers visiting the area (hundreds of thousands a year from North America alone) are drawn to this authentic, well-crafted work and given the opportunity to collect it at every street corner and rail stop. Weaving in the Peruvian Highlands is their guide to quality, understanding, and appreciation. They will learn how pattern names such as meandering river or lake with flowers relate to the geography and history, and how the traditional natural materials and colors enhance the value of the work.”
Citation: Mouritsen, Ole G. Seaweeds: Edible, Available, & Sustainable. Chicago: The University of Chicago Press, 2013.
Summary: “Mouritsen takes readers on a comprehensive tour of seaweeds actually are––marine, algae, not plants––and how people of different cultures have utilized them since prehistoric times for a whole array of purposes––as food and fodder, for the production of salt, in medicine and cosmetics, as fertilizer, in construction, and for a number of industrial end uses, to name just a few. He describes the vast abundance of minerals, trace elements, proteins, vitamins, dietary fiber, and precious polyunsaturated fatty acids found in seaweeds, and provides instructions and recipes on how to prepare a variety of dishes that incorporate raw and processed seaweeds. Approaching the subject from both a gastronomic and a scientific point of view, Mouritsen sets out to examine the past and present uses of this sustainable resource, keeping in mind how it could be exploited in the future.”
Citation: Brown, Susan and Matilda McQuaid. Scraps: Fashion, Textiles, and Creative Reuse. New York: Cooper Hewitt, 2016.
Summary: “Scraps: Fashion, Textiles, and Creative Reuse focuses on three designers who use textile scraps as the creative impetus for their work. Luisa Cevese (Riedizioni, Italy), Christina Kim (dosa, USA), and Reiko Sudo’s (NUNO, Japan) distinctive stories illustrate how each finds it both aesthetically and financially worthwhile to recycle while striving to sustain traditional textile practices and skills in a modern world.”
Quilts and Human Rights
Citation: MacDowell, Marsha, Mary Worrall, Lynne Swanson, and Beth Donaldson. Quilts and Human Rights. Lincoln: University of Nebraska Press, 2016.
Alternative shortened citation: MacDowell, Marsha, et al. Quilts and Human Rights. Lincoln: University of Nebraska Press, 2016.
Textile Arts of India
Citation: Hatanaka, Kokyo. Textile Arts of India: Kokyo Hatanaka Collection. San Francisco: Chronicle Books, 1996.
Summary: Presenting a fabulous collection of fabrics dating from the 17th century to the first half of the 20th century, this monumental book is as historically fascinating as it is lovely to look at. Included are hundreds of full-color photographs, taken especially for this volume, of rare and exquisite textiles that are painted, block-printed, woven, tie-dyed, and embroidered. An essay by Zahid Sarder of the San Francisco Examiner Magazine traces the history of textile manufacturing in India and explains the various techniques of this radiant and enduring art form. Textile Arts of India is a feast for the eyes and an indispensable reference for collectors, designers, or anyone interested in Indian culture and art.
Citation: Tanavoli, Parviz. Persian Flatweaves: A Survey of Flatwoven Floor Covers and Hangings and Royal Masnads. Suffolk: Antique Collectors’ Club Ltd., 1988.
Summary: “This is the first comprehensive survey of the vast and fascinating subject of Persian flatweaves, and in particular floor covers. Previous publications on the subject have largely been dealers’ restricted catalogues focusing on a narrow geographical area or the weavings of a particular group, or sections in more general books. This book thus fills a huge gap in the oriental carpet and textile literature. Flatweaves have until recently been seen as merely the products and property of the poor. Since the late 1960s, however, growing attention has been paid to the best known type of flatweave, the gelim, revealing both its quality and variety. Other flatweaves, such as the palas, which is no less frequently found than the gelim, have scarcely been mentioned in any of the literature published so far, yet are shown in this work to be objects of great beauty and diversity.”
Citation: Balfour-Paul, Jenny. Indigo. London: The British Museum Press, 1998.
Summary: The blue dye indigo has been the world’s most valued dyestuff for almost five millennia. This text covers in detail all aspects of this subject: historical, agricultural and botanical; chemical and technological; commercial and economic; indigo’s various uses in textiles and art; and its many sociological, medicinal, folkloric connotations.
Indigo: Cultivate, Dye, Create.
Citation: Neumüller, Kerstein and Douglas Luhanko. Indigo: Cultivate, Dye, Create. London: Pavilion Books, 2018.
Summary: Explore the gorgeous possibilities of dyeing with indigo! This stunning and practical handbook takes you through it all: growing the plant; mastering warm or cold dyeing with indigo, fructose, hydrosulfite, and fermented vats; making multicolored projects; and troubleshooting potential problems. Create intricate moyo-sashi and hitome-sashi embroidery, patchwork quilts, resist-dyed patterns, and more. Both beginners and experienced dyers will feel inspired to work with this wide range of innovative recipes and unique projects.
Citation: Amsden, Charles Avery. Navaho Weaving: Its Technic and History. Santa Ana: The Fine Arts Press, 1934.
Summary: Charles Avery provides an in-depth study of the technical aspects of weaving in Navaho culture through illustrations, descriptions, and analyses of the weave structures, looms, and dye processes used to make cloth.