dutch textiles

“Lancaster County, Pennsylvania. These two Church Amish women are engaged in quilting. Quilting bees are popular in this area. Notice the illuminated family record on the wall.“ 3/20/1941

Rusinow, Irving, Photographer . Series: Photographic Prints Documenting Programs and Activities of the Bureau of Agricultural Economics and Predecessor Agencies, ca. 1922 - ca. 1947. Record Group 83: Records of the Bureau of Agricultural Economics, 1876 - 1959 

Find more photos from Pennsylvania’s Lancaster County by photographer Irving Rusinow in the National Archives Catalog »

Yinka Shonibare_The Swing (after Fragonard)_2001
The Swing (after Fragonard) is an installation in which a life-size headless female mannequin, extravagantly attired in a dress in eighteenth-century style made of bright African print fabric, reclines on a swing suspended from a verdant branch attached to the gallery ceiling. Beneath her, a flowering vine cascades to the floor. The figure is static, poised at what appears to be the highest point of her swing’s forward trajectory. Her right knee is bent, while her left leg stretches out in front of her, causing her skirts to ride up. She appears to have just kicked off her left shoe, which hangs mid-air in front of the figure, suspended on invisible wire. Yinka Shonibare’s The Swing (after Fragonard), made in Sheffield in 2001, is based on an iconic Rococo painting The Swing (Les hazards heureux de l’escarpolette), 1767 by Jean-Honoré Fragonard. The sensuality of the original painting is maintained in Shonibare’s version. The opulence of her dress and the frivolity of her gesture, swinging languidly across the gallery, make Shonibare’s figure a direct translation of the Fragonard original. The mannequin’s skin is dark, and her dress and shoes are made out of brightly coloured African print Dutch wax printed cotton. Dutch wax textiles have been a signature in Shonibare’s work for many years, and represent the cultural hybridity central to his practice.
Tate Gallery, London