Having eaten lunch while looking at FISH slides, I made a quick visit to the Textile Museum on campus. I was only able to see some of the Migration exhibit that showcased quilts and other pieces on migration and immigration . Some of the pieces were simply gorgeous.
I wasn't able to give the museum the time it deserved as I had to get back to work. I hope to have the chance to return before we leave DC. But, even if I don't, I am glad I got the see the few pieces I did and enjoy their beauty.
I wouldn't have given this museum much consideration before. But, this brief visit definitely has me thinking otherwise. It is more an art museum than a museum telling me about the history of textiles. I did not expect that, and that's why I think it is definitely worth a visit. It's just tough picking which museum in DC to visit. There are too many, and most of them are just fantastic.
Cotton, Triangular Trade, 2015
-Susan Lenz
Artist Statement:
"The need for slaves, crops, and manufactured goods displaced millions during the 16th through 19th centuries. Coming from South Carolina, I am very aware that the humble cotton boll represents this sad part of history."
This is the first piece I saw when I took the elevator up to the third floor. I have always loved how cotton bolls look. They look exactly like the cotton balls we use at home, but they are on a bush! :) Susan's display of this bolls hanging is alluring.
-Susan Lenz
Artist Statement:
"The need for slaves, crops, and manufactured goods displaced millions during the 16th through 19th centuries. Coming from South Carolina, I am very aware that the humble cotton boll represents this sad part of history."
This is the first piece I saw when I took the elevator up to the third floor. I have always loved how cotton bolls look. They look exactly like the cotton balls we use at home, but they are on a bush! :) Susan's display of this bolls hanging is alluring.
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| Cotton, Triangular Trade |
Sedna's Tears, 2015
- Charlotte S. Bird
Artist Statement:
"Sedna, sea goddess of the inuit, cries for the progressing diaspora of her people. She sees their houses fall into the ocean. They move their villages, but the ice goes north, making them traverse wider, rougher seas to hunt. Orcas invade and disperse their traditions prey. The white bear comes ashore, hungry. The brown bear and the advancing forest confront him."
I really liked three quilts depicting one piece of art and one story. The composition and execution could not have been easy. I also really like the scene.
- Charlotte S. Bird
Artist Statement:
"Sedna, sea goddess of the inuit, cries for the progressing diaspora of her people. She sees their houses fall into the ocean. They move their villages, but the ice goes north, making them traverse wider, rougher seas to hunt. Orcas invade and disperse their traditions prey. The white bear comes ashore, hungry. The brown bear and the advancing forest confront him."
I really liked three quilts depicting one piece of art and one story. The composition and execution could not have been easy. I also really like the scene.
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| Sedna's Tears |
Implosion 4, 2015
-Beth Barron
Artist Statement:
"This is the 4th in a series of mandalas. After literally being locked out of my home, I did not know where to go. Using found band aids, symbolic of wounding and resilience, I looked within to find the center (the heart) I had lost. I stitched together my life, a new story, a stronger map to lead me on my next journey towards home."
Implosion 4 is different and beautiful. It reminded me of the cross-section of a tree trunk.
-Beth Barron
Artist Statement:
"This is the 4th in a series of mandalas. After literally being locked out of my home, I did not know where to go. Using found band aids, symbolic of wounding and resilience, I looked within to find the center (the heart) I had lost. I stitched together my life, a new story, a stronger map to lead me on my next journey towards home."
Implosion 4 is different and beautiful. It reminded me of the cross-section of a tree trunk.
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| Implosion 4 |
Mogadishu, 2012
- Nebo Laverncik
There is beauty in the frangibility of this piece.
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| Mogadishu |
On the Path, 2015
- Daniela Tiger
Artist Statement:
"My people have been forced to leave their ancestral homelands for as long as history has been recorded. Moving towards an uncertain destiny as the story is written, without more than crackers in their pockets. In my work, I am attempting to create a narrative of people on the move, some tired, some drained of all energy. And yet, some remain hopeful, searching into the horizon for sign of welcome. They are weary as they carry their earthly belongings, their children and their elderly, escaping oppression and seeking a new start. Without a clear sense of destination, they cling to each other and have faith that a new day will dawn. Today our people cling to an ancestral home ferociously, hoping that our past identity that has been synonymous with the Diaspora can turn into a new page of permanence."
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| On the Path |
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