50 quilt blocks for the 50 states from "Hearth & Home" Magazine.

Here is the largest, most comprehensive history of American quilts ever published! The Quilt explores the evolution of quilting in America, showing in vivid colors and patterns how African American, Amish, Hawaiian, Hmong, and Native American quilts celebrate cultural identity, and how quilts connect us to one another through quilting bees and other community groups. Noted quilt historian Elise Schebler Roberts also goes beyond the historical nature of quilts to cover current efforts at quilt preservation, collecting and appraising, and state documentation projects. Her book features an encyclopedia of favorite quilt styles and is gloriously illustrated with more than 200 full-color photographs of classic collectible quilts.

The Bee-all and End-all: The complete quilter's companion and essential resource, jam-packed with information, supplies, expert interviews, techniques, community, and inspiration. All the tools of the trade: rotary cutters, sewing machines, longarms, anddesign software; fabulous fabrics and where to find them; and if you're just starting out, everything that belongs in a quilting basket. The online world made manageable with a guide to the most useful blogs, websites, e-mail lists, free patterns, and podcasts. National and regional shows, guilds, and the best retreats and quilt museums. Batting parties, tutorials on fabric dying, and a breezy history of the quilt boom. Profiles of twenty top teachers-including television's Ricky Tims and Alex Anderson, Esterita Austin and her award-winning landscape quilts, and Ruth B. McDowell, known for her bravura technique. This is a book to help every quilter deepen and grow-keep it as close by as your stash of fat quarters -Cover.

Contains over 700 how-to illustrations for backing quilts, embellishment, paper piecing, machine quilting, and using templates and stencils

Although they are commonplace in American homes, quilts are much more than simple patchwork bed coverings and wall adornments. While many of these beautiful and intricate works of art are rich in history and tradition, others reflect the cutting-edge talent and avant-garde mastery of contemporary quiltmakers. Kentucky Quilts and Quiltmakers: Three Centuries of Creativity, Community, and Commerce is the first comprehensive study to approach quilts as objects of material culture that have adorned homes throughout the history of the commonwealth and the country. Linda Elisabeth LaPinta highlights such topics as quiltmaking in women's history, the influence of early Black quiltmakers, popular Kentucky quilt patterns, types, and colors, and the continuing importance of preserving the commonwealth's quilt history and traditions. The author provides a panoramic view of Kentucky quiltmaking from colonial America through the American Revolution, the Civil War to the 1900s, to the new millennium and the dynamic quilting industry of today. LaPinta reveals Kentucky's pivotal role in shaping significant aspects of American quilt culture—Kentuckians founded the first statewide quilt documentation project, created important exhibits and major quilt organizations, and established the National Quilt Museum. Rounding out this all-encompassing volume is a collection of fascinating and intimate artistic commentaries by notable quiltmakers, as well as discussion of the key players who have conserved, celebrated, and showcased the commonwealth's extraordinary quilt culture.

Rejecting traditional notions of what constitutes art, this book brings together essays on a variety of fiber arts to recoup women's artistic practices by redefining what counts as art. Although scholars over the last twenty years have turned their attention to fiber arts, redefining the conditions, practices, and products as art, there is still much work to be done to deconstruct the stubborn patriarchal art/craft binary. With essays on a range of fiber art practices, including embroidery, knitting, crocheting, machine stitching, rug making, weaving, and quilting, this collection contributes to the ongoing scholarly redefinition of women's relationship to creative activity. Focusing on women as producers of cultural products and creators of social value, the contributors treat women as active subjects and problematize their material practices and artifacts in the complex world of textiles. Each essay also examines the ways in which needlework both performs gender and, in turn, constructs gender. Moreover, in concentrating on and theorizing material practices of textiles, these essays reorient the study of fiber arts towards a focus on process?the making of the object, including the conditions under which it was made, by whom, and for what purpose?as a way to rethink the fiber arts as social praxis.