DP - QUILT ART EN 20130102 - Mona Bismarck | American Center

PRESS RELEASE
Press Relations
Agence Catherine Dantan
Marie Decap
7, rue Charles V - 75004 Paris
Tél. : 01 40 21 05 15
Email : marie@catherine-dantan.fr
www.catherine-dantan.fr
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CONTENTS
P 3 – INTERVIEW WITH EDDIE MCDONNELL, DIRECTOR OF THE MB AMERICAN CENTER
P 5 – NOTE ABOUT THE EXHIBITION BY DANIELLE BERGER FORTIER, DIRECTOR OF
EXHIBITIONS & PROGRAMS
P 6 – PRESS RELEASE
P 8 – EXHIBITION LAYOUT AND IMAGES AVAILABLE FOR THE PRESS
P 14 – GLOSSARY OF QUILT TERMS
P 15 – PROGRAMS ACCOMPANYING THE EXHIBITION: CALENDAR OF EVENTS
P 21 – 2013 PLANS
P 22 – USEFUL INFORMATION
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INTERVIEW WITH EDDIE MCDONNELL, DIRECTOR OF THE MBAC
The name of the Mona Bismarck Foundation changed in December 2011. You are now the Director
of the Mona Bismarck American Center for art & culture. What are your goals?
We have fundamentally the same goal as we did before, that is strengthening the friendship
between France and the United States through art and culture; however, with regard to the way and
the means we will employ to achieve this goal, we are making a number of changes in order to
become more dynamic.
What do you anticipate in terms of activities?
We are focusing on four programs: Exhibitions, Events, Education, and Community. In terms of art,
we want to highlight important artists in America who may not be as well-known in France: such was
the case with our recent exhibition of the Wyeth family, notably Andrew Wyeth, a major American
painter of the 20th century who was even elected to the Académie des Beaux-Arts in France. It was
also the case of our last exhibition: Mary Cassatt, an iconic artist in the United States who is less wellknown
in France even though she lived in Paris and was part of the French Impressionist movement.
We are planning two exhibitions per year that will range in media and time period, for instance with
our upcoming exhibition dedicated to the textile art of quilts. Each show will present opportunities
for unique related events, conferences, guided tours, children's workshops and musical
performances.
Do you anticipate musical programs?
Indeed. We intend to showcase young talent, often American, for intimate concerts that attract 60-
70 people in our townhouse. This past year we tested the idea of mini-concerts in our salons
featuring the Fondation des Etats-Unis, the Fulbright Commission, David Stern’s Opera Fuoco, Jay
Gottlieb and Lauren Libaw, among others – and the results were very positive.
And educational programs?
This past fall, we launched our first round of educational programming through partnerships with
experienced instructors. We hosted art classes in English: drawing classes and printmaking
workshops, enabling visitors to actively engage in American culture and language. In light of the
QUILT ART exhibition, we will also organize workshops about quilt-making: workshops and
demonstrations on patchwork, trapunto and appliqué, in partnership with the Association France
Patchwork. We will also continue to reach out to schools offering special guided visits to our galleries
for students along with their teachers.
Will all of these activities take place at 34 avenue de New York?
Yes! Just a few steps from the Palais de Tokyo, on the banks of the Seine and across from the Musée
du Quai Branly and the Eiffel Tower. We recently reorganized our building to free up the elegant
rooms on the first floor for a variety of activities. In addition, the MONA Café opened its doors on the
ground floor with a view of our beautiful private garden, where visitors can sample American treats.
The decor is in homage to our founder Mona Bismarck, an exceptionally elegant woman. It is open
Wednesdays to Sundays, from 11 am to 6 pm.
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What do you hope for the years to come?
Our goal is to become a reference point for American culture in Paris. We believe there is a need for
a place to act as a magnet center that is accessible to all and for that we are fortunate to have some
real advantages. The fact that we are an entirely private institution that relies on the support of our
patrons allows us a great deal of flexibility in our choice of programming. We are also lucky to be
located within such a high concentration of major cultural institutions like the Palais de Tokyo, the
Musée d’Art Moderne de la Ville de Paris, the Musée Galliera, the Musée Guimet, the Cité
d'Architecture, and the Musée du Quai Branly. In addition, the city of Paris has recently taken
measures to make our neighborhood more conducive to foot traffic, so our area attracts even more
people, and helps us to create synergies with our neighboring institutions. In short, all of this should
help to revive the sleeping beauty of avenue de New York!
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NOTE ABOUT THE EXHIBITION BY DANIELLE BERGER FORTIER, DIRECTOR OF EXHIBITIONS
& PROGRAMS
QUILT ART: L’Art du Patchwork represents a rare opportunity for the Mona Bismarck American
Center for art & culture to display 25 diverse and colorful quilts from the distinguished collections of
the American Museum in Britain. With these works, we are delighted to show our visitors a
completely different side of American art, thereby illustrating the depth and diversity of American
cultural traditions. These quilts, through their different techniques and decorative textile finishes, as
well as their unique links with American history – the Civil War, the underground railroad, life on the
frontier, relationships with native Americans, Amish traditions, Hawaii – exemplify the defining
aspects of our national culture and character.
Indeed, the United States itself can be seen as a patchwork – which will be the subject of a lecture
we organize with Géraldine Chouard, Professor at the University of Paris-Dauphine. The popular
metaphor for our country is a melting pot, but perhaps a patchwork quilt is a more appropriate
comparison – like a quilt, the country is comprised of multiple sources, coming together in harmony
while retaining the individual properties that make our country the diverse and varied place it is, not
to mention the highly democratic nature of quilt-making which resonates with our national ideals.
This connection between craft tradition and national history sets the context for quilt making apart in
the United States and in France, for instance, where the tradition has been so embraced as
evidenced by the success of several dedicated magazines such as Quiltmania and Les Nouvelles:
Patchwork et Création Textile who have agreed to be partners for this exhibition.
On that note, we are truly delighted with the programming opportunities inspired by the exhibition,
notably in regards to our collaboration with the Association France Patchwork, the largest non-profit
organization devoted to promoting and developing quilt making in France. With special thanks to
Catherine Bonte, president of France Patchwork, we are delighted to announce a programming
partnership which will take place at the MBAC every Thursday during the exhibition – offering visitors
the opportunity to attend conferences, demonstrations, quilting bees and hands-on workshops
animated by France Patchwork, free of charge.
Since we started researching the works in this collection and determining the programs to
accompany the exhibition, we have heard from countless friends of the institution that they are also
collectors of quilts, or that they quilt on their own. Unlike more esoteric museum fare, quilts are
personal, familial, they saturate us and come home with us – they cover our beds and comfort us, as
they have since the earliest days of our nation – and even the earliest days of civilization. We are
delighted to bring these 25 beautiful and historic quilts from the American Museum in Britain to
Paris, offering visitors the opportunity to discover another aspect of the United States through its
craft traditions.
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PRESS RELEASE
At 34 avenue de New York, a dynamic new site of American
culture, the Mona Bismarck American Center plays a major role in
strengthening French and American friendship and understanding
through exhibitions, events and education.
Following the fall 2012 exhibition of Mary Cassatt’s prints and
drawings, comes a whole new register: decorative arts and textiles,
as the MB American Center invites you to discover, from February
13 to May 19, 2013, QUILT ART: L’Art du Patchwork, an exhibition
based on the textile collections of the American Museum in Britain.
Presenting 25 quilts dating from the 18th to the 20th centuries, this exhibition represents a unique
opportunity to celebrate the richness and diversity of the American tradition, as well as the
originality and multidisciplinary of MB American Center programming.
From the Rose of Saron to the Album Quilt, Friendship, Star of
Bethlehem or Crazy Patchwork, and the very famous Hawaiian quilts,
this show highlights typically American models and materials, rarely
displayed in France. If the size of certain pieces emphasizes the
virtuosity and patience of their creators, we also find symbols and
details within the patterns evoking the political, economic, social and
religious realities of their day.
During the exhibition, visitors will have the opportunity to enrich their understanding of these works
through a series of lectures with Géraldine Chouard, Professor at the University of Paris-Dauphine.
Through workshops and demonstrations in partnership with France Patchwork (the largest and most
important non-profit organization devoted to quilt-making in France), as well as quilting bees and
discussions, visitors will find something new every Thursday in the MB American Center galleries. A
series of musical performances inspired by the quilts will also take place during the exhibition –
featuring American jazz, folk and acoustic music.
The earliest quilts date as far back as sewing itself. There is evidence that
the ancient world (Egypt, Greece, the Middle East) was already familiar
with quilt-making, as it appears in the Bible – “Joseph’s coat of many
colors,” for instance, an early example of patchwork. In Europe, the
practice dates back to the Middle Ages, used for the Crusaders’ clothing
and (padded) trappings that protected horses during tournaments.
Banners were made according to the same technique and of course the
Harlequin's costume includes two colored parts assembled together.
When they immigrated to the United States, European communities
brought with them their respective textile practices, which they adapted
to the materials available. Heterogeneous in nature, the practice mixes Old World, locally-produced
and other imported fabrics, such as silk, resulting in uniquely American styles, patterns and
techniques.
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Located in Bath, England, the American Museum in Britain was founded by Dr. Dallas Pratt, an
American psychiatrist and collector, and John Judkyn, a British antiques dealer who became an
American citizen in 1954. Opened to the public in July 1961, the AMIB marked the culmination of a
project to preserve and make known American decorative arts, so as to provide a better
understanding of the history of the United States and its people.
AMIB Curators Laura Beresford and Katherine Hebert, authors of the catalogue Classic Quilts from
the American Museum in Britain, contributed to this exhibition.
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EXHIBITION LAYOUT AND IMAGES AVAILABLE FOR THE PRESS *
From colorful blocks to floral imagery, embroidered motifs and appliqué emblems, checks, stars and
stripes, QUILT ART includes all types of American icons: eagles, cherry trees and log cabins, as well as
a number of different quilt making techniques: from elaborate appliqué designs to hundreds of small
squares set on point, hand-quilting in red and white to more modern machine-pieced details.
Upon entering the exhibition, visitors will be greeted by the oldest quilt in the exhibition – the Pink
Whole Cloth, which dates back to 1760, as well as several exquisite examples of quilts illustrating the
influence of American flora on the artisanal practice: Garden Wreath, Rose of Saron and Cherry
Trees. The largest quilt in the exhibition, the decorative Baltimore Album Quilt, measures 3.14 m x
3.14 m with its 25 different appliqué blocks, also greets the visitor in this very first gallery, which also
includes an introduction to the American Museum in Britain, its quilt collection and a pedagogical
glossary of terms for visitors to understand the techniques utilized in the works on view.
The second gallery exemplifies the geographical and historical diversity of American quilt making
traditions, with the conservative Amish examples alongside the more flamboyant Hawaiian Queen
Kapi’olani’s Fan Quilt, the Star of Bethlehem and Sunburst quilts juxtaposing an example from Gee’s
Bend. The colorful gallery juxtaposes various time periods and geographies to underline the richness
of the collection, but also the ubiquitous nature of quilt making all over the United States, from its
founding to today. Visual forms from one example (for instance the squares comprising the cubes in
Tumbling Blocks) resonate with vastly different style quilts (for instance Trip Around the World), by
nature of their shape, but also the intricate needlework and evident labor-intensive commitment –
despite the hundreds of miles and decades that may separate the quilts themselves. Such formal
comparisons and contrasts are encouraged by the physical installation of the exhibition, planned in
collaboration with textile curators Laura Beresford and Katherine Hebert of the American Museum in
Britain.
In the third and final gallery, an emphasis has been placed on the strong graphic design elements of
the quilts on view, which resonate with a contemporary aesthetic despite the various historical
contexts in which they were created: from the Civil War era Darts of Death to the red and white
friendship quilt called Robbing Peter to Pay Paul (also known as the Drunkard’s Path or the Rocky
Road to California), to the Lafayette Orange Peel quilt (named in honor of an anecdote about the
Marquis de Lafayette, a popular hero of the American Revolution).
Overall, the decision made not to organize the exhibition chronologically or regionally allows the
visitor to discover the tremendous diversity and range of this American tradition, finding similarities
and differences across the time periods, places and microcosms within the United States.
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REDWORK QUILT TOP (after 1881)
Redwork became popular during the second half of the nineteenth
century. The development of a color-fast red dye (known as ‘Turkey
red’) and the low cost of cotton led to a boom in the number of red
and white quilts being made. Inexpensive materials meant that
those with less money could engage in this hobby. Even people not
accomplished at drawing could undertake redwork because penny
squares – with pictures already printed upon them – were sold in
stores for a penny a piece.
It is doubtful that the blocks in this piece were made from penny
squares. The pictures have a rough (but jocular) quality about them, which contrasts with the
neatness of the stitching. The even nature of the small stitches suggests that the blocks and border
were all embroidered by the same hand. The design in the border is more assured and was perhaps
copied from a template.
This fascinating piece of social history juxtaposes domestic scenes with those of a military and
patriotic nature (including a portrait of George Washington).
MOSAIC DIAMONDS QUILT (1861)
Hexagons are one of the oldest patchwork patterns. In 1835, Godey’s
Lady’s Book published a Honeycomb Quilt pattern. Early nineteenth
century quilts used small hexagons, sometimes no bigger than one
inch across, as an opportunity to parade the new printed fabrics that
were becoming available.
Hexagon quilt tops are pieced using the paper technique. Uniformly
sized hexagons are cut from paper. The fabric is then cut a quarter of
an inch wider and secured, turning the edges to the back of the
paper. Once these fabric hexagons have been made, they are
arranged in the desired pattern and whip-stitched together. Once the
pattern is complete, the papers are removed.
The assembly of this quilt is very intricate and patterns change according to viewpoint.
LAFAYETTE ORANGE PEEL QUILT (1830-75)
The Marquis de Lafayette was a popular hero of the American
Revolution. A French general, he served in the Continental Army under
George Washington. His success in the Revolution made him popular
among Americans.
This pattern is named for an anecdote concerning the general. Soon
after the American Revolution, a celebratory banquet was held at
which oranges were served. Lafayette was among the guests and it is
said that he quartered his orange before peeling. One of the female
guests was so enraptured by the evening that she took his orange peel
segments home and designed a quilt block with them. It is unlikely that
this story is anything more than a popular myth. Among the other names for this pattern are:
Pincushion, Bay Leaf, Tea Leaf and Lover’s Knot.
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The blocks for this quilt are constructed in a manner similar to that of Robbing Peter to Pay Paul.
Four segments are cut from the blue square and sewn onto the white square, while the segments cut
from the white square are sewn onto the blue one. These squares are then alternated to produce an
overall pattern of circles, which may have inspired the Double Wedding Ring style quilt.
TUMBLING BLOCKS STAR QUILT (circa 1852)
This magnificent quilt was made for exhibition at the New Jersey
State Fair, held in Trenton in 1852. Each Tumbling Block is made
from three pieces of silk (of light, medium and dark shades) that
have been tacked onto diamond shaped papers and then sewn
together. The individual blocks have been arranged to form an eyedazzling
twelve-pointed star that plays optical illusions. Not
surprisingly, the maker of this quilt was awarded a silver medal.
Although the blocks and the quilting have been sewn by hand, the
background fabric of blue striped silk has been assembled from
three lengths of fabric stitched together by a sewing machine. In
1852, treadle sewing machines were still expensive novelties. Sarah Taylor Middleton was one of the
earliest female physicians in Pennsylvania, and, as such, probably had a little more money to spend
on this innovation.
Sarah was an exceptional needlewoman who recognized that success depended upon attention to
detail. The striped background fabric has been joined to make it large enough to contain the
substantial Tumbling Blocks design. Each pin stripe has been precisely aligned to ensure continuity in
the printed pattern. The hand-quilting is meticulous. Simple parallel lines cover most of the quilt top.
Scallop filler is used in the borders and quilted oak leaves are stitched between the star points.
ONE-PATCH QUILT – DIAMONDS VARIATION (1969)
Gee’s Bend, Alabama
The African-American rural community at Gee’s Bend, Alabama,
numbers about 700. The geographic isolation of Gee’s Bend has resulted
in the community often experiencing a delay in receiving modern
innovations. New housing and other amenities were provided for the
community under Franklin D. Roosevelt’s New Deal programs.
As part of his work to document Civil Rights abuses, Episcopal priest
Francis X. Walter was in Alabama during the 1960s. He saw the quilts
being produced by the women of Gee’s Bend and recognized the
opportunity to form a cooperative business, making these quilts for sale.
On March 26, 1966, the quilters met in a local Baptist church and
established the Freedom Quilting Bee. This was the first business owned
by African-Americans in Wilcox County, Alabama. The quilts were sold in New York City and the
revenue was spent on necessities.
Incredibly popular, the quilts of Gee’s Bend were even sold at Bloomingdale’s. Working for such large
companies required the quilters to be highly consistent. Many of the quilters felt these regulations
curbed their creativity. The demand for their quilts was short-lived; the contract with Bloomingdale’s
ended within a few years. Although not a long-term commercial success, the quilts of Gee’s Bend are
celebrated as great works of art and have been displayed in major art museums all over the United
States.
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QUEEN KAPI’OLANI’S FAN QUILT
Early XX th century, Hawaii
Traditionally, Hawaiians used kapa cloths (made from beaten
mulberry bark) as bedcovers – the climate on the islands being too
warm for thick multi-layered quilts. It is thought that missionaries
introduced Hawaiian women to the art of quilting as a suitable
alternative to forbidden dances and ceremonies. Quilting was
embraced by the women, who produced pieces that were
distinctly Hawaiian in design.
This stunning example, with its striking contrast between dark
appliquéd design and light background, is typical of Hawaiian
quilts. The central pattern has been cut from a large piece of fabric, folded and cut to produce a
symmetrical design.
The stylised feather and fan design is a traditional Hawaiian pattern. Like the Hawaiian flag quilts, it
has a sentimental meaning. The fans represent the fan of Queen Consort Kapi’olani (1834-1899). The
feathers refer to the royal coat of arms, which shows a pair of warrior chiefs holding Kahilis (feather
plume standards). The border of the quilt is an appliqué Maile lei design, a traditional Hawaiian
flower garland.
BALTIMORE ALBUM QUILT (circa 1847)
Of all Album quilts, those produced in Baltimore, Maryland, are the
most prized – such as this flamboyant example, made for display
rather than domestic use. The exceptional condition of this and
other Baltimore Album quilts supports the idea that they were
intended as extravagant gifts, with little practical purpose, which
honored the givers as much as the recipients.
The availability of new fabrics for appliqué work sparked displays of
virtuosity. Vermiculate fabrics were effectively employed to
emulate floral seed-heads. New fondue fabrics, with their gradated
tonal range, gave three-dimensional shape to silhouettes of vases
and bowls. Such fabrics were expensive – another proof, perhaps, that these quilts were to be
considered primarily as showpieces.
Block designs have been used in several quilts. Floral motifs are common to all Baltimore Album
quilts; particularly baskets, vases and cornucopias. The presence of two blocks featuring red
keepsake books is a clear reference to the autograph or memory albums that inspired these pieces.
The verse that surrounds the book motif on the left even has the title ‘For the Album’. The
recurrence of the same blocks in different quilts has led some historians to suggest that they may
have been available in kit form or professionally designed.
The signatures on this quilt are not necessarily those of the makers. Many of the inscriptions are
penned in black indelible ink (available for sale from 1840), although some initials have been
embroidered in neat cross-stitch. Several names are accompanied by short verses, with themes of
friendship and life in a new home.
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LOG CABIN QUILT – light and dark variation (1875-1900)
Log Cabin is the most recognizable of all quilt blocks and the one most
strongly associated with America. Given their incredible popularity, it is
surprising that the origins of the Log Cabin pattern are unknown. Most
Log Cabin quilts date from between 1850 and 1889. So many thousands
of these quilts were made in the mid nineteenth century that, by the
1870s, Log Cabin had its own category in quilt contests at state fairs.
The blocks are foundation-pieced from strips of dark and light fabric. A
central square (usually red or yellow, but sometimes black) is sewn to a
foundation fabric (or scrap paper) with the Log Cabin design drawn onto
it. Each strip is then stitched to the paper and folded, so that the
pattern extends outwards until the block is complete. This method enables the quilter to achieve a
very precise finish. The light fabrics are used on one half of the block; dark fabrics, on the other.
Depending on how the blocks are arranged, different patterns can be achieved.
The blocks of this quilt have been composed in a variation known as Light and Dark. The overall
effect is one of light and dark diamonds alternating across the quilt top. Each strip is very thin, only
half an inch wide. The number of seams and the foundation fabric add bulk to the quilt, making
quilting unnecessary.
ROBBING PETER TO PAY PAUL QUILT (circa 1889)
This complex looking design only uses two different blocks placed in
different directions to create the pattern. Once the basic block has
been mastered, the pattern is simple to create. A fan-shape has been
cut from the white block and added to the red, while the section cut
from the red block is added to the white block. The skill lies in
turning the block through ninety degrees to ensure the continuance
of the pattern.
This block design has several names, including Rocky Road to
California and Drunkard’s Path. The red ‘pathways’ formed by the
arrangement of the blocks clearly inspire these road related names. The blocks make a bold pattern
and the simple quilting does not detract from this eye-catching design. There are nearly four hundred
inscriptions on the quilt. The individuals named on the quilt did not sign it themselves. Instead, the
signatures were added by Victor J. Nye, who was assisted by his wife. It was not unusual to have one
person responsible for the inscriptions on a Friendship quilt, particularly if they had good
handwriting. The quilt top was pieced by one person, Connie Chard, in 1889. Her name is signed on
one of the blocks. As there is no single person identified as the quilter, it is likely that several
members of the church helped with the quilting.
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ROSE of SARON QUILT (1850)
Rose of Saron quilts were popular during the nineteenth century and
were traditionally made for newlyweds. The pattern is thought to
represent romantic love and the sacrament of marriage. The name
stems from ‘The Song of Solomon’: Let him kiss me with the kisses of
his mouth. For thy love is better than wine. I am the Rose of Saron and
the Lily of the Valleys […]
There are many variations of the Rose of Saron pattern. This design is
the most common, with stems and buds radiating from a central rose.
The border has mitred inner corners, which is unusual for quilts of this
date. The flowers have not been padded using the trapunto method of
inserting pockets of padding through discrete slits in the backing.
Instead, additional cotton was placed underneath the red fabric roses before they were appliquéd
onto the quilt top.
This Bride’s quilt was made by Lavinia Krishner in celebration of her marriage to John Fox in 1850.
While a baby, John Fox had been taken by Native Americans and given the name ‘Little Fox’. As he
never learned his true identity, he adopted the name John Fox. Many years later, Lavinia and John’s
initials were embroidered in cross-stitch in the border of the quilt by their daughter, along with the
date of their marriage.
UNION QUILT (circa 1885)
Union quilts were tremendously popular during the 1860s,
especially in the northern states. Most Union quilts were made
in Pennsylvania. As in this example, they often featured the
eagle – a majestic symbol of the United States since the late
eighteenth century. Here, however, the composition is
unusual. The emblematic bird is not the expected centrepiece.
Instead, no less than four eagles are aligned to each corner. A
stylised star occupies the centre of the quilt.
Despite the eagle being a favorite subject for quilts, there is no
geometric design for it as there are for other birds. As a
consequence, all eagle designs are appliquéd onto quilts.
Depending on the skill of the individual quilt maker, therefore, representations of the exalted
emblem of the Great Seal could end looking more like commonplace farmyard fowls (as in this
example).
Appearances can none the less be deceiving. In a letter to his daughter in 1784, Benjamin Franklin
argued that the lowly turkey would be a much more fitting symbol of America than the seemingly
noble eagle. Franklin declared the eagle a “rank Coward” and thought the turkey “though a little vain
and silly, a Bird of Courage [which] would not hesitate to attack a Grenadier of the British Guards
who should presume to invade his Farm Yard with a red coat on”
* All images included in this press release are available for the press to use exclusively in connection with the
promotion of the exhibition Quilt Art : l’Art du Patchwork, on view at the Mona Bismarck American Center for
art & culture from February 13 to May 19, 2013. Copyright: © American Museum in Britain, must be
mentioned.
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GLOSSARY OF QUILT TERMS
In France, patchwork is the term used to define a work comprised of three layers (top-stuffingbacking),
in which the top is made of different pieces of fabric assembled together. In the United
States, the term patchwork is used less frequently, as Americans use the term quilt more generally to
designate a work of three layers sewn or tied together (with patchwork referring to a specific kind of
quilt). From the Latin culcita (cushion filled with feathers or wool), the word became cuilte in old
French, then couette, and finally quilt.
Patchwork: A design pieced together from fabric, often used to make a quilt top.
Block: A basic unit of quilt construction, usually in the form of a square, which is repeated or
arranged in rows to form the design of a quilt top.
Quilting: Decorative stitches used to hold layers of a quilt together.
Scrap bag: A bag where women store scraps of fabric, as quilting is the art of making new with old,
conforming to the Puritan principle at the root of the American nation.
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PROGRAMS ACCOMPANYING THE EXHIBITION: CALENDAR OF EVENTS
Please note that our events calendar is constantly being updated. For the most recent information,
sign up to receive our newsletter at info@monabismarck.org.
As space is limited for all of our conferences, gallery talks and performances, please reserve at
rsvp@monabismarck.org.
Thurs February 14, 3 PM-4 PM – Gallery Talk with France Patchwork
Christiane Billard, an avid quilter and member of France Patchwork, will lead a free guided
tour of the exhibition in French. With her deep knowledge of the history of quilting, she will
place the quilts in their historical contexts, animating the MB American Center’s galleries
with great enthusiasm.
FREE
Thurs February 21, 11 AM-5 PM – Traboutis Demonstration with Penelope Roger
Traboutis, a word invented by renowned quilter Penelope Roger herself, is a technique that
combines embroidery and stuffing. A master of this delicate art, Penelope Roger will offer an
all-day workshop in collaboration with France Patchwork (for details, please consult
www.francepatchwork.com), which the public is invited to observe.
FREE
Thurs February 21, 2:30 PM-3:30 PM – African-American Family Quilt Show & Tell
In the context of US African-American history month, Stacey McMahon will present examples
of the four generations of quilts from her family, the Jaco family, from Salisbury, Missouri.
With unique examples from her family’s treasure trove, Stacey will explain how these pieces
came to be, specific patterns that her family valued (and their relationship to the
underground railroad), and the family history that kept the collection together for over 200
years ago.
AFRICAN-AMERICAN HISTORY MONTH EVENT
FREE
Thurs February 21, 6:30 PM-9:30 PM – Craft Night with Etsy
Local French and American handmade artists Marine Gauthier, Clémence Callo, Jonua
Besnard and Charlotte Bason, among others, from the Etsy groups Team Paris and I heart
France, will host a Craft Night each month featuring contemporary craft techniques, each
with a different theme related to the exhibition. February will celebrate African-American
fabrics, as part of US African-American History Month.
Detail about the specific workshops for this evening will be available on our website and
Facebook page one week prior to the event. At that time, registration will begin.
We thank Etsy for their generous support of this series of events, and teams I heart France
and Team Paris for their participation.
AFRICAN-AMERICAN HISTORY MONTH EVENT
FREE (registration required)
Fri February 22, 10 AM-1 PM – The Basics of Mosaics
Like a patchwork quilt, this ancient tessellation art form pulls together different colors and
textures to create beautiful works of art. In this two-part class for adults, you will learn the
basics of mosaic making and create your own mosaic mirror. Taught by Stacey McMahon, in
English (French if necessary). (second session: Friday, March 1, 10 AM-1PM)
180 euros including all supplies for the 2-part workshop.
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Tues February 26, 7 PM – Off-Site Event: Isabelle de Borchgrave Artist Talk
In conjunction with the QUILT ART exhibition, the Arts Arena presents contemporary
“textile” artist Isabelle de Borchgrave. A screening of a new documentary about her work
will be followed by a talk by the artist and a reception. For reserved seating, please contact
artsarena@aup.edu. For more information, please visit www.artsarena.org.
Grand Salon, The American University of Paris, 31 ave Bosquet, 75007 Paris.
FREE
Thurs February 28, 1 PM-3 PM Exploration pour l’art textile Demonstration on Acrylic
Paints
Traditionally used for painting on paper or canvas, acrylic paints can also be used effectively
on fabric. In this demonstration, the public is welcome to watch EPAT members experiment
with mixing different kinds of acrylic paints and applying them on fabric.
FREE
Thurs February 28, 3PM-6PM – Silk Scarves for Springtime
Have you ever admired how a stylish silk scarf adds cache to every outfit? In this class with
Stacey McMahon, visitors are invited to learn several painting-on-silk techniques and make
three silk scarves. Perfect for springtime!
60 euros, including all materials.
Thurs February 28, 6 PM-7 PM – African-American Quilts: Color, Creation and
(Counter)Culture
Géraldine Chouard and Anne Crémieux, professors, visual culture specialists and the
directors of two documentaries, will discuss African-American quilts and show excerpts of
their films. The first, “Riché Richardson. From Montgomery to Paris” (2009), is dedicated to
an artist whose quilts portray important historical figures in the African-American
community, such as Martin Luther King, Josephine Baker, and Rosa Parks. The second, “Gwen
Magee, Mississippi. Threads of History” (2012), examines spectacular textile pieces
illustrating decisive periods in Southern history, such as slavery, lynching and other forms of
violence linked to race. These bold films will provide an opportunity to examine the forms
and challenges involved with African-American quilting, as it continuously blends tradition
with modernity.
AFRICAN AMERICAN HISTORY MONTH EVENT
Fri March 1, 10 AM-1PM – The Basics of Mosaics
Like a patchwork quilt, this ancient tessellation art form pulls together different colors and
textures to create beautiful works of art. In this two-part class for adults, you will learn the
basics of mosaic making and create your own mosaic mirror. Taught by Stacey McMahon, in
English (French if necessary).
180 euros including all supplies for the 2-part workshop.
Weekend of March 1-3, 13 Moons Performance with Grayhawk Perkins and Mezcal Jazz
Unit
13 Moons, featuring Grayhawk Perkins, a New Orleans-born Native American (Choctaw and
Houma Indian) will include a unique blend of blues, folk, jazz and rock intertwined with tribal
rhythms and themes, with the Montpellier-based Mezcal Jazz Unit band. The compositions
by Grayhawk, lead vocalist and lyricist, are based on traditional songs and refer to the
thirteen moons of the Native American calendar. Mixed with harmonies and rhythms from
the world of jazz, the result is an upbeat sound that appeals to a wide range of audiences.
Grayhawk Perkins calls upon his expertise on Native American and American Colonial history,
as well as his work as an educator, historian, artist, and 'tribal storyteller.
For more information about the timing and tickets for this event, visit our website at
www.monabismarck.org.
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Sun March 3, 11 AM-5:30 PM – Family Patchwork One-Day Workshop
Have you ever wanted to create your own family heirloom? Piece by piece, you will learn
how to design and create a basic patchwork quilt using recycled clothing from your family,
new fabric and even photographs. As a patchwork quilt was traditionally made by a group of
people, this class is open to adult family members with children over 10 years of age (all
children must be accompanied by an adult). Taught by Stacey McMahon (in English, French if
necessary).
70 euros per adult-child couple, including all materials which have been generously provided
by Inès Patchwork.
Thurs, March 7, 11 AM-5 PM – France Patchwork Quilting Bee in the Galleries
France Patchwork quilters will work on specific quilt models during each quilting bee held in
the MB American Center galleries, while visitors are invited to observe their work, ask
questions about the different techniques, and see the quilts come to life literally.
FREE
Thurs, March 14, 11 AM-5 PM - France Patchwork Quilting Bee in the Galleries
France Patchwork quilters will work on specific quilt models during each quilting bee held in
the MB American Center galleries, while visitors are invited to observe their work, ask
questions about the different techniques, and see the quilts come to life literally.
FREE
Thurs March 14, 3PM-4 PM – Gallery Talk with France Patchwork
Christiane Billard, an avid quilter and member of France Patchwork, will lead a free guided
tour of the exhibition in French. With her deep knowledge of the history of quilting, she will
place the quilts in their historical contexts, animating the MB American Center’s galleries
with great enthusiasm.
FREE
Thurs, March 21, 11 AM-5 PM - France Patchwork Quilting Bee in the Galleries
France Patchwork quilters will work on specific quilt models during each quilting bee held in
the MB American Center galleries, while visitors are invited to observe their work, ask
questions about the different techniques, and see the quilts come to life literally.
FREE
Thurs March 21, 6:30 PM-9:30 PM –Craft Night with Etsy
Local French and American handmade artists Marine Gauthier, Clémence Callo, Jonua
Besnard and Charlotte Bason, among others, from the Etsy groups Team Paris and I heart
France, will host a Craft Night in March dedicated to contemporary patchwork.
Detail about the specific workshops for this evening will be available on our website and
Facebook page one week prior to the event. At that time, registration will begin.
We thank Etsy for their generous support of this series of events, and teams I heart France
and Team Paris for their participation.
FREE (registration required)
Thurs March 28, 1PM-3PM – Exploration pour l’art textile Demonstration on Acrylic Media
Building on the February demonstration of acrylic paints, EPAT invites visitors to explore the
wide variety of acrylic media that can be used with fabric, including matte and glossy gel
medium, textured gel medium and gesso.
FREE
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Wed April 3, 8 PM – Musical Performance: Jordan Morton, Bassist
In collaboration with the Fondation des Etats-Unis, the MB American Center is pleased to
present Jordan Morton, American double bassist. As the recipient of the Harriet Hale
Woolley Scholarship and residency at the Fondation des Etats-Unis, she is completing a year
of private study under the tutelage of double bass virtuoso François Rabbath, developing a
repertoire of new compositions for bass and voice. Jordan’s sound and style resonate with
the aesthetic qualities of the quilts on view, bringing the exhibition to life with a range of
musical influences.
Thurs April 4, 11 AM-5PM – France Patchwork Quilting Bee in the Galleries
France Patchwork quilters will work on specific quilt models during each quilting bee held in
the MB American Center galleries, while visitors are invited to observe their work, ask
questions about the different techniques, and see the quilts come to life literally.
FREE
Thurs April 11, 11 AM-5 PM - Traboutis Demonstration with Penelope Roger
Traboutis, a word invented by renowned quilter Penelope Roger herself, is a technique that
combines embroidery and stuffing. A master of this delicate art, Penelope Roger will offer an
all-da y workshop in collaboration with France Patchwork (for details, please consult
www.francepatchwork.com), which the public is invited to observe.
FREE
Thurs April 11, 3PM-4 PM – Gallery Talk with France Patchwork
Christiane Billard, an avid quilter and member of France Patchwork, will lead a free guided
tour of the exhibition in French. With her deep knowledge of the history of quilting, she will
place the quilts in their historical contexts, animating the MB American Center’s galleries
with great enthusiasm.
FREE
Wed April 17, 8-10 PM – International Student Soirée
University students in Paris are invited to enjoy an evening of conversation and cocktails,
including live musical performances related to the QUILT ART exhibition. Organized in
partnership with the American University of Paris, university students in the Paris region are
invited to mix and mingle in French and English at this exclusive event.
FREE
Thurs April 18, 2PM-3PM – Stitched Dance Performance
This live performance of music and contemporary dance features pieces inspired by the
textures, colors and patterns on view in the QUILT ART exhibition. The choreography will
bring the exhibition to life through music and movement.
FREE
Thurs April 18, 6:30-9:30 PM –Craft Night with Etsy
Local French and American handmade artists Marine Gauthier, Clémence Callo, Jonua
Besnard and Charlotte Bason, among others, from the Etsy groups Team Paris and I heart
France, will host a Craft Night in April dedicated to projects featuring fabrics and ribbons.
Detail about the specific workshops for this evening will be available on our website and
Facebook page one week prior to the event. At that time, registration will begin.
We thank Etsy for their generous support of this series of events, and teams I heart France
and Team Paris for their participation.
FREE (registration required)
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Fri April 19, 8 PM –Opera Fuoco
To mark the beginning of their residence at the MB American Center and to shed light on the
QUILT ART exhibition, David Stern and the Opera Fuoco propose a musical encounter
exploring early 20th century American composition. The young artists of the Lyric Studio will
sing works of Aaron Copland, Samuel Barber, Charles Ives, and Irving Berlin. This
performance will be preceded by masterclass sessions partly open to the public by prior
reservation. Concert and cocktail, 20 euros.
Thurs April 25, 1PM-3PM – Exploration pour l’art textile Demonstration: Printing on Fabric,
Part 1
In this demonstration, members of EPAT will show interested visitors techniques for printing
on fabric using collographs, re-shapeable foam stamps, and textured cardboard.
FREE
Thurs April 25, 6:00 PM-7:00 PM – America as Patchwork: Forms and Values of Quilts in
American Culture
Patchwork quilts provide a geographical metaphor of the United States in all its forms from
the colonial period to the present day. Not limited to the domestic sphere, this art form
often engages in the political scene, with the tradition of the Protest Quilt, for example, used
to defend various causes such as the fight against alcoholism, the abolition of slavery and
women’s suffrage.
In this talk, Géraldine Chouard, professor at the University of Paris-Dauphine, will analyze
issues surrounding an ancestral cultural practice in constant renewal – with the recent
examples of The Names Quilt, created in honor of those who have died of AIDS, and 9/11
quilts stitched in memory of the victims of the September 11 terrorist attacks.
Mon-Fri, April 29-May 3, 11 AM-12:30 PM – Family Patchwork during School Vacation
Week
Have you ever wanted to create your own family heirloom? Piece by piece, you will learn
how to design and create a basic patchwork quilt using recycled clothing from your family,
new fabric and even photographs. As a patchwork quilt was traditionally made by a group of
people, this class is open to adult family members with children over 10 years of age (all
children must be accompanied by an adult). Taught by Stacey McMahon (in English, with
French as necessary).
150 euros per adult-child couple for week-long workshop, including all materials, which have
been generously provided by Ines Patchwork.
Sat May 11, 2:30 PM-5:30 PM – Mother’s Day Silk Scarves Session
Have you ever admired how a stylish silk scarf adds cache to every outfit? In honor of
Mother’s Day (May 12 in the USA, May 26 in France), mother-daughter duos are invited to
learn several painting-on-silk techniques and make 3 of their own silk scarves.
60 euros per couple, including all materials.
Thurs May 16, 1 PM-3PM – Exploration pour l’art textile Demonstration: Printing on Fabric,
Part 2
Continuing the exploration of ways of printing on fabric, EPAT members will demonstrate
carving stamps from soft rubber pads, and cutting stencils that can be used to paint repeated
designs on fabric.
FREE
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Thurs May 16, 630 PM-930 PM –Craft Night with Etsy
Local French and American handmade artists Marine Gauthier, Clémence Callo, Jonua
Besnard and Charlotte Bason, among others, from the Etsy groups Team Paris and I heart
France, will host a Craft Night in May exploring jewelry made with textiles.
Detail about the specific workshops for this evening will be available on our website and
Facebook page one week prior to the event. At that time, registration will begin.
We thank Etsy for their generous support of this series of events, and teams I heart France
and Team Paris for their participation.
FREE (registration required)
Sun, May 19 – Last Day to see QUILT ART!
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2013 PLANS
LITTLE BLACK DRESS
July 3 to September 22, 2013
The Mona Bismarck American Center for art & culture is pleased to present Little Black Dress,
organized by the Savannah College of Art and Design Museum of Art (SCAD) and curated by SCAD
trustee and Vogue Contributing Editor André Leon Talley. It will be open to the public from July 3 to
September 22, 2013, and is sponsored by M•A•C Cosmetics.
Little Black Dress charts the historic and contemporary significance of a singular sartorial
phenomenon. Featuring approximately 50 garments from a canon of modern fashion designers, the
exhibition includes contributions from veteran fashion designers and those of the international Best-
Dressed List such as Marc Jacobs and Renée Zellweger.
“Little Black Dress is designed to showcase the divergent and individual manifestations of the little
black dress across this modern century and the last,” said Talley. “The exhibition highlights the
strength of individualism, charting the evolution of the little black dress from its native definition of
invariable propriety, to new and distinctly contemporary explorations of texture, tone and
silhouette.”
YOUSUF KARSH: ICONS OF THE 20 th CENTURY
October 16, 2013 through January 26, 2014
During his lifetime, Yousuf Karsh (1908-2002) held over 15,000 sittings and produced over 150,000
negatives. Among these were portraits of some of France and the United States’ most exhilarating
political, cultural and intellectual figures, including Ernest Hemingway, François Mauriac, Grace Kelly,
John F. Kennedy, Christian Dior and Man Ray.
The exhibition at the Mona Bismarck American Center will reunite approximately 60 of the
photographer’s most striking portraits of French and American dignitaries and luminaries,
juxtaposing Frank Lloyd Wright with Le Corbusier, for example, and Charles de Gaulle with Dwight
Eisenhower. Original photographs will be presented alongside archival material from the dozens of
Life and Paris-Match covers that Karsh captured, marking the transformation of his intimate portraits
into public icons.
Karsh’s remarkable artistic career was matched only by the extraordinary lives of those he
photographed. The exhibition will celebrate his exceptional contribution to shaping personal and
historical memory throughout the twentieth century.
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USEFUL INFORMATION
MONA BISMARCK AMERICAN CENTER FOR ART & CULTURE
Exhibition Organization
Eddie McDonnell, Director of the MB American Center
Theresa Rousseau, Director of Finance and Administration
Danielle Berger Fortier, Director of Exhibitions & Programs
34, avenue de New York
75116 Paris
Tel: + 33 (0)1 47 23 38 88
Email : info@monabismarck.org
Facebook: http://www.facebook.com/MonaBismarckAmericanCenter
Métro: Alma Marceau, Iéna
Bus: 42, 63, 72, 80, 92
Exhibition and MONA Café opening days and times
Wednesdays to Sundays, 11:00 AM to 6:00 PM (except for holidays)
Admission
Adults: 7 €
Reduced admission: 5 € (Children 12-17, Seniors 60+, Unemployed, with valid ID)
Free: Children under 12
PRESS RELATIONS
Agence Catherine Dantan
Marie Decap
7, rue Charles V
75004 Paris
01 40 21 05 15
marie@catherine-dantan.fr
www.catherine-dantan.fr
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