Table of Contents

Contents
Preface
Acknowledgments
Note on Terminology

Part 1. Introduction
1. The Evolution of a New Art Form from an Old Tradition
Tradition
Early Innovations
Unique among the Crafts
The Arrival of Modern Art and Some Talented Immigrants
The Return of Studio Craft
A New Spirit Emerges in Textile and Fiber Art
The "New" Modern Art Takes Center Stage
Fiber and Textile Art Begin to Flourish
"Homemade" Makes a Comeback, and Quilt Guilds Proliferate
A New Art Form Begins to Evolve: Early Influences and Challenges
Museums Play a Role
Old Skills Are Revived
Artists Take Charge of the Medium
Building a Support System
The New Quilts
An Important Question Is Raised
Achieving Professional Status
New Challenges
Some Final Thoughts and Observations

Part 2. Artists
2. Liz Axford
3. Susan Brandeis
4. Rachel Brumer
5. Pauline Burbidge
6. Elizabeth Busch
7. Jean Williams Cacicedo
8. Dorothy Caldwell
9. Kyoung Ae Cho
10. Nancy Crow
11. Nancy Erickson
12. Carole Harris
13. Ana Lisa Hedstrom
14. Marilyn Henrion
15. Michael James
16. Jan Myers-Newbury
17. Ris? Nagin
18. Joy Saville
19. Joan Schulze
20. Julie John Upshaw

Part 3. A Guide for Buyers and Collectors
21. Educational Resources and the Market
Museums
Collections and Acquisition Policies
Making Use of Museum Resources
The International Quilt Study Center
The Quilt Index
Internet Galleries
Private Galleries
An Overview
What to Expect
Cooperative Galleries
National and International Competitions
Regional and Traveling Exhibitions
Fiber Art Destinations
Open Studio Days
Large Quilt Shows and Festivals
Local Guild Exhibitions
Student Work
Charitable Auctions
22. Suggestions for Buyers
23. Collecting: Some Well-Known Collectors and What We Can Learn from Them
24. Suggestions for Beginning Collectors
25. Working with an Art Consultant
Training and Responsibilities
Fees
26. Commissioning a Quilt
27. Displaying, Caring for, and Storing Studio Quilts
Displaying Your Quilts
Hanging Quilts
Sleeve Casing Method
Steps
Framing
Care Instructions
Storage
28. What You Should Know about Appraisals
29. Insuring Your Art
30. Resources
Museums (Selected)
Art Centers, Textile and Textile Art Centers (A Sampling)
Artist Networks (A Sampling)
Galleries (A Sampling)
Juried Art Quilt Exhibitions
Juried, Mixed Traditional and Art Quilt Exhibitions/Competitions
Juried Fiber Art Exhibitions
Juried Craft and Studio Quilt Exhibits
Fine Craft Shows and Fairs
Overseas Exhibits
Publications of Interest
Additional Educational Resources
Event Calendars
Care Resources
Display Systems
Insurance
Art Consultants

Glossary
Notes
Suggested Readings
Artist Biographies
Index

Promotional Information

A lavish portfolio of exquisite quilts, with a guide for collectors

About the Author

Kate Lenkowsky has been quilting for more than a dozen years. Her "Call to Service," a large narrative quilt depicting volunteers serving their communities, hangs in the entryway of the Corporation for National and Community Service at its headquarters in Washington, D.C. She is a member of the Bloomington (Indiana) Quilters' Guild, the Studio Art Quilt Associates, the Alliance for American Quilts, and the Fiber Art Study Group in Washington, D.C.

Reviews

"Like other crafts that have become highly collectible, art quilts are making the transition from being viewed solely as functional objects to being seen as the fine art pieces they are. A very important book for quilters and collectors alike." Martha Sielman, Executive Director, Studio Quilt Art Associates