Winner of the 2023 Horowitz Prize by the Bard Graduate Center
Shortlisted for the 2024 Charles C. Eldredge Prize by the Smithsonian American Art Museum
A meditation on suffering, resilience, creativity, and grace
In 1942 Missouri Pettway, newly suffering the loss of her husband, pieced together a quilt out of his old, worn work clothes. Nearly six decades later her daughter Arlonzia Pettway, approaching eighty at the time and a seasoned quiltmaker herself, readily recalled the cover made by her grieving mother within the small African American farming community of Gee’s Bend, Alabama.
At once a story of grief, a quilt, and a community, Stitching Love and Loss connects Missouri Pettway’s cotton covering to the history of a place, its residents, and the work of mourning. Interpreting varied sources of history and memory, Lisa Gail Collins engages crucial and enduring questions, simultaneously singular and shared: What are the languages, practices, and processes of mourning? How is loss expressed and remembered? What are the roles for creativity in grief? And how might a closely crafted material object, in its conception, construction, use, and memory, serve the work of grieving a loved one? Placing this singular quilt within its historical and cultural context, Collins illuminates the perseverance and creativity of the African American women quilters in this rural Black Belt community.
Giới thiệu về tác giả
Lisa Gail Collins is professor of art and the Sarah Gibson Blanding Chair at Vassar College. She is author of The Art of History: African American Women Artists Engage the Past (Rutgers University Press, 2002), Art by African-American Artists: Selections from the 20th Century (Metropolitan Museum of Art, 2003), and Arts, Artifacts, and African Americans: Context and Criticism (Michigan State University, 2007). She is coeditor, with Margo Natalie Crawford, of New Thoughts on the Black Arts Movement (Rutgers University Press, 2006) and coauthor of African-American Artists, 1929–1945: Prints, Drawings, and Paintings in the Metropolitan Museum of Art (Metropolitan Museum of Art, 2003).
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