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Cotton Fields, Sunflowers, Blackbirds, and Quilting Bees depicts a group of Black women sitting in a field full of cotton plants and sunflowers with several flocks of black birds flying in the distance. The figures are quilting together, creating a large checkerboard pattern quilt with dozens of sunflowers.
The patterns were a reference to Christian Dior's signature tweed suits. [8] Houndstooth patterns, especially black-and-white houndstooth, have long been associated regionally with the University of Alabama (UA). This is because the longtime UA football coach Paul "Bear" Bryant often (though not exclusively) wore black-and-white houndstooth ...
This work is Butler's largest quilt to date, measuring approximately 11 x 13 feet, and features nine life-sized figures. [31] The photograph Butler used for this work is a 1919 black and white photograph of the 369th Infantry Regiment, nicknamed the Harlem Hellfighters, from World War I. Butler says, "My work is to continue to lift them up in ...
In a review by Lisa Hammel for the New York Times entitled "Quilts: A Folk Idiom That Has Come of Age", Hammel writes about how the New American Quilt artists "have been stretching the limits of the folk idiom through new processes and new techniques, new images and new ideas, until they have come out at out at the other end with something ...
The style of these quilts was determined largely by time period and region, rather than race, and the documented slave-made quilts generally resemble those made by white women in their region. [8] After 1865 and the end of slavery in the United States, African-Americans began to develop their own distinctive style of quilting.
The colourful patterns and designs that are embroidered resulted in the name "Nakshi Kantha," [6] which was derived from the Bengali word "naksha," referring to artistic patterns. [7] Early kanthas had a white background accented with red, blue, and black embroidery; later, yellow, green, pink, and other colours were also included.
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