story quilts

Check out these female artists, now in their 70s, 80s, and 90s that we should have known about a looong time ago. Behold their artistic works. 

Starting from the top row, going left to right

Carmen Herrera: The 99 year old is known for her abstract geometric style 

Agnes Denes: At 83 years, Denes is known for her works which integrate philosophy, math, science, and map projections. 

Dorothea Rockburne: After getting her start in mathematics, Rockburne discovered a unique expression on geometric abstraction. 

Monir Shahroudy Farmanfarmaian: Iranian artist mixes Persian geometric with Abstract Expressionism

Lorraine O’Grady: The rock critic turned artist 

Etel Adnan: The artist with small, but powerful abstract works

Joan Semmel: An artist of figuration, beautifully capturing human nudity 

Rosalyn Drexler: Known for her brightly colored, cartoon/film-noir paintings

Judith Bernstein: Best known for her in-you-face approach to gender politics

Faith Ringgold: An artist of “story quilts”

Michelle Stuart: A earth artist who creates land-art based work

Note to Self

Do not become
your mother.
Not because you
do not love her,
you do,
that is one fact that
late-night Google searches
cannot tell you.
But love is not equivalent
to imitation.
You are not your mother.
You were born for a
different kind
of life.

Vote for the
Legalise Marijuana party.
If they ask why,
tell them.
If they don’t ask,
don’t tell.

Kiss boys.
Lots of them.
Girls, too.
When you find someone
good enough,
kiss them in your sleep.
You’ll know them
when you find them.
Their lips will taste like
home.

Sing.
Loudly.
Badly.
Harmonise,
or not.
Fuck the soprano line.

Do drugs,
but not the bad ones.
Educate yourself enough
to know what the bad ones
are.

Have sex.
Love it.
Or hate it.
Depends on the situation.
Do not be afraid
to let people see you.

Shave your pubes.
If you can’t be bothered,
don’t shave your pubes.
It’s as simple as that.

Iron your pants.
Do not iron your pants.
Make
your own
choices.

Make love.
Make cookies.
Make friends.
Make happiness.
Do not let other people
tell you the recipe.
Your heart knows
the recipe.
Listen to it.

Hate Shakespeare,
even though everyone
will disagree with you.
Express your opinions.
Listen to other people’s opinions.
Disagree politely,
unless you
really,
really
disagree.
In that case, fight them.

Love your friends.
Even when you want to
hate them.
Help your friends.
Even when they do not want
your help.

Breathe.

Quit smoking cigarettes.
Don’t quit smoking weed,
but acknowledge the fact that
you are psychologically
addicted to it.

Masturbate.
Frequently.
Smoke weed,
and then masturbate.
(Trust me,
it will improve the experience).

Live.
Live loudly.
Live without fear.
Live like a poet.
Feel
everything.
Fall in love.
Fall in love with the moon.
And the trees.
And the grass.
Fall in love with
the world in general.
Allow yourself the opportunity
to hope.
Or to cry.
Do both,
simultaneously.
Multitask.
Read three books at once.
Lose track of all the poems you
haven’t written yet.
Get back on track.
Write them.
Even the bad ones.
Be the bad one.
Break the law.
Tell stories.
Make stories.
Stitch together
a patchwork quilt
of stories.
Tuck yourself in at night.
Do not forget
to say
thank you.

7

Golden Age Gals: Mavis Doriel Hay

Books:

Mysteries non-series:

Murder Underground (1934-ish)
Death On The Cherwell (1935)
The Santa Klaus Murder (1936)

Non-Fiction: Published under her married name Mavis FitzRandolph

30 Crafts (1950)
Traditional Quilting: Its Story and Practice (1953)

Co-Written with Helen Elizabeth FitzRandolph:

Rural Industries of England and Wales (1929)

Co-Written with F.M. Fletcher:

Quilting: Traditional methods and design (1972)

Editor:

Landsman Hay: The Memoirs of Robert Hay, 1789-1847 (1954)

instagram

Sometimes when you buy a cabinet, it comes with a machine! I found this machine in a beautiful maple Queen Anne style cabinet in Hagerstown Maryland, and it needed to plug rewired so that I could use it with a dual plug like the featherweight or 301 have instead of a hardwired one. I picked it up yesterday, and it’s running like a top! After checking the serial number I came to find she was born in June of 1948, one of 35,000 15-91 machines commissioned that day! I wish she could tell me all of her stories! 😎❤
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#quilt #quilting #patchwork #quiltville #bonniekhunter #vintagesewingmachine #singer1591 #vintagesewing #alwaysvintage #singersewing (at Mouth of Wilson, Virginia)

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anonymous asked:

Hi! I was wondering if you had any book recommendations written by Indian lesbians? I wanted to get a book or two for my gf's birthday

The ones I know of are 

  • Babyji by Abha Dawesar
  • My Story by Kamala Das, 
  • Facing the Mirror: Lesbian Writing from India by Ashwini Sukthankar
  • The Paths of Marriage by Mala Kumar
  • Goja: An Autobiographical Myth by Suniti Namjoshi
  • Stealing Nasreen by Farazana Doctor

Ones that I know of but am not sure of the orientation of the atuhor:

  • Kari by Amruta Patil (graphic novel)
  • The story “The Quilt” by Ismat Chughtai, included in several anthologies, first published in 1941(!)

I’ve read and really enjoyed Miss Timmins’ School for Girls by Nayana Currimbhoy, a bisexual book set in India by an Indian author, but the author isn’t a lesbian.

Hope that helps!

vimeo

This uplifting, Emmy-winning PBS film tells the modern-day “Cinderalla” story of the quilt-makers of Gee’s Bend, Alabama. Artists born into extreme poverty, they live to see their quilts hailed by a The New York Times art critic as “some of the most miraculous works of modern art America has produced." 

[#blackexcellence]

Harlem-born artist Faith Ringgold is famous for her “story quilts” that explore themes of race and gender, particularly in the art history world. One work about Matisse finds the artist commenting on his use of black models and the link to male desire. Many of the narratives center on a fictional heroine named Willa Marie Simone who goes to Paris to become an artist. The Picnic at Giverny (1991) reverses Willa’s submissive role and shows the figure boldly painting in Monet’s Giverny garden, while a nude Picasso poses along the sidelines. 

Who’s Afraid of Aunt Jemima? Faith Ringgold. 1983.

“Many people will already have seen Ms. Ringgold’s work, a hybrid of European art and the powerful visual poetry of African traditions…
“Who’s Afraid of Aunt Jemima,” while visually beautiful, is filled with moments of wry or bitter comedy, for it deals essentially with racist assumptions about African-Americans in our society. This is a recurring theme in the work of the artist, who is African-American, along with references to women’s issues and concerns…anger and disillusionment can be seen in Ms. Ringgold’s works, but also hope, happiness, love and pride in her ancestry.” – Master of Story Quilts and Much More, Benjamin Genocchio, 2009

Currently reading a book of antique quilt patterns & stories. The quilt on the right is from Indiana around 1850. Almost all of the quilts in this book are marked with maker as “unknown”, because, you know, the historical devaluing of women’s work/labor/art as “domestic craft”. Imagine the woman who made this quilt. What her life was like, what her heart wanted. Did she find this quilt hard to make? Where did she get the fabric? How did she arrive at her colour choices? How long did it take her to finish this piece? What would it have meant to her, to see people 150 years later, admiring her work in a fine, big, glossy book?

Guardians of the Galaxy and my issues with comic books as a whole

(Hey I’m posting about something non-anime! This is going to happen every once in a while. Get used to it.)

Guardians of the Galaxy is exemplifies a lot of issues I have with Marvel filmmaking. I didn’t hate the movie, but I hate a lot of things about it and what they suggest about the state of blockbuster filmmaking right now. Now there’s a lot of hype for this movie that I didn’t like or a looooot of reasons, but I’m gonna focus on the two I feel prepared to talk about at length right now. I came back from this movie earlier this evening and basically shat this out so it’s a pretty immediate response. It also presumes familiarity with SPOILERS, so don’t say I didn’t warn you. Now onto the show: 

1. It shouldn’t be Peter Quill’s story

There is no reason why Peter Quill is the protagonist of Guardians of the Galaxy besides the fact that he’s a dude and vehicle for ironic 80s nostalgia. Gamora’s the neglected center of the film. She’s the one who has a connection to the villains and a reason for going after the infinity stone besides a vaguely-articulated sense of “not being a douche.” She’s also the weakest character in the film as it exists. A lot of stuff about her straight-up doesn’t make sense. Like, she’s an assassin trained by Thanos, the most powerful being in the universe, and some scrub manages to beat her up and get her sent to jail? If she’s been brainwashed since childhood and is strong enough to become Thanos’s favorite daughter, then what did it take to break free from him? Why did she tell Peter this after having known him for less than a day? Wouldn’t it have been thrilling to see all this? There’s a powerful story within her, more powerful than Peter’s, which amounts to “detached asshole immediately shows his noble side when faced with true evil and also mourns for his dead mom." Gamora is also the member of the guardians to have a distinct relationship with Draxx, who initial wants to kill her to avenge his family. She’s the motivated, dramatically interesting one, but she still hangs around at the fringes of Peter’s stagnant narrative. Why?

Guardians of the Galaxy has a bad script, and an obvious solution to a lot of its issues (weak villains, Thanos’s complete disengagement from the plot, "huh?” character motivations, and why the team even decides to work together in the first place) would be to make Gamora the story’s center, since she has a direct connection to most of the weakest points. While I can’t point to a definitive reason why they didn’t do this, I am frustrated that we got an entry in the Marvel Movieverse starring a talking raccoon before one starring a female character. They’re bringing back Howard the Duck and the most prominent super heroine in film is still the 5th most prominent Avenger. It wouldn’t even be difficult. In fact, it would make the movies better! Scripts pass around so many people that I can’t have been the only person to see this solution! I’m not crazy. Just pissed that this shit gets a pass in terms of representation when it could have been so much better so, so easily. I don’t want to settle for this. Women getting shafted by the narrative, subjected to constant ass shots and getting called whores by their friends as a joke. The audience for Marvel films has a substantial feminist contingent. They shouldn’t stand for this! WE shouldn’t stand for this! It’s exhausting and we deserve better films, both in terms of quality and representation. But we’re not going to get them unless we demand them! (I’ll just keep sitting here, yelling).

2. It’s so ugly and unimaginative 

For a movie billed as an adventure of galactic proportions, a whoooooole lot of it takes place in narrow industrial corridors. And if not that, then CGI space battles that could have been lifted from Thor 2. Or any other Marvel movie. Or even a Star Wars prequel. The Star Wars prequels at least managed to make it seem as they take place in a galaxy far, far away, where humanity is just a single drop in a bucket inhabited by millions of distinct alien cultures. None of the characters or extras in Guardians of the Galaxy besides Groot and Rocket were any more alien than “human, but blue and with some ridges on their scalp.” This is sub-Star Trek levels of creative worldbuilding - but at least Star Trek is a universe with spacefaring humans. Humans haven’t left Earth here! Peter should be the only one! I don’t know who all of these apparent humans who make up most of the extras are. Fyumans from the planet Fyearth, maybe? Nobody gave a fuck. At one point the guardians go to a civilization built in the hollowed out decapitated head of a gigantic space god and it looks like - guess what - grey industrial corridors. I’ve seen Guardians of the Galaxy compared to Space Dandy, but that’s sooooooooo off. Space Dandy is bursting with visual creativity, full of color, surreal alien designs, and constantly shifting yet masterful animation. Meanwhile, I think most of the visual resources in Guardians of the Galaxy went into making Rocket and Groot? The film is most alive during the one minute that Benicio Del Toro is onscreen, since his character bares the faintest shadow of something from, like, The Fifth Element, but everything else looks like it’s out of Firefly. Boring.

For as much as I dislike this film, I do have to thank this film for helping me recognize my longstanding frustration with comic books (specifically referring to the DC and Marvel continuities) as a medium. I don’t like the idea that all of the stories populating comic books - each with their own gods, heroes, and objects of unfathomable power - exist in the same continuity. I perceive gods as representations of transcendent forces, so seeing them personified as hulking musclemen who can walk, quip, and get beat up by the protagonist disagrees with me on such a fundamental level that I can’t even articulate it. Ultimate powers keep ousting each other so that the protagonists don’t run out of things to beat up. Power levels are so indefinable that they don’t mean anything next to each other. That’s why Kevin Smith’s Dogma makes me so angry. It’s a “turtles all the way down” situation, trivializing and petty, the exact opposite of what I seek in art. All of these “solutions” like the multiverse or new 52 or the constant retcons seem like bandages for the Titanic - on the macro scale, the idea that corporations are in charge of these massive, patchwork stories is fundamentally broken. They lead to broken, inconsistent, watered-down wholes that subsist on diminishing returns from their occasional, almost-seeming accidental creative successes. Comic books feel like they’re always reaching towards but never able to achieve an end. I like stories that know how to do that. 

Please realize that I don’t think comic books are artistically worthless or have disdain for people who love comics. Comics have told lots of great stories, they just frustrate me as a whole. These frustrations are deeply rooted in how I perceive art and the world and by no means hold true for everyone. I’m sure that many comic book fans find great beauty in what I see as fractured as slipshod, and I’d love to hear their perspectives. It’s just that, to me, comic books are like individual pieces from a thousand different puzzles shoved into have been shoved into one box. They look like they should fit together, and I struggle to, but ultimately they were never made to and the effort is wasted. Comic books as these massively collaborative, corporation-owned story-quilts built up and redefined by thousands of creators over the decades is a beautiful experiment. It’s just that, the turnaround is so long - going on 100 years - and I don’t like the products as they are now.

Faith Ringgold (born October 8, 1930, in Harlem, New York City) is an African-American artist, best known for her painted story quilts.
During the 1960s, Ringgold painted flat, figural compositions that focused on the racial conflicts; depicting everything from riots to cocktail parties,which resulted in her “American People” series, showing the female view of the Civil Rights Movement.The 1970s mark her move into the sculptural figures that depicted fictional slave stories as well as contemporary ones. Ringgold began quilted artworks in 1980; her first quilt being “Echoes of Harlem."She quilted her stories in order to be heard, since at the time no one would publish her autobiography."Who’s Afraid of Aunt Jemima?” (1983) is a quilt showing the story of Aunt Jemima as a matriarch restaurateur.Ringgold modeled her “story quilts” on the Buddhist Thangkas, lovely pictures painted on fabric and quilted or brocaded, which could then be easily rolled up and transported. She has influenced numerous modern artists, including Linda Freeman, and known some of the greatest African-American artists personally, including Romare Bearden, Jacob Lawrence, and Betye Saar.