Статті в журналах з теми "Patchwork quilting"

AbstractQuilt hand craft is different form of art compared with the other media such of painting or sculpture with the quilter express their imagination and enthusiasm, reasoning, and emotion in quilt craft.Quilt have unique patchwork in the upper layer which combine different pattern, shape, colors and fabric materials AbstrakQuilt ( istilah : selimut tebal) merupakan jenis ketrajinan tangan yang berbeda mediannya dengan bentuk seni kerajinan lain, seperti seni lukis dan seni patung dimana quilter ( pengrajin quilt) akan mengekspresikan imaginasi, antusiasme, pemikiran, emosi dalam karyanya. Quilting memiliki pacthwork nya kan mengekspresikan metafora dan ide quilter tersebut

Mentally and financially independence are essential matters that should be learned early. Among them are for children who do not have guardians or parents. Solutions designed to encourage independence, by teaching additional skills and instilling an entrepreneurial mentality in children or Kidspreneurs. The team chose to train sewing skills using the quilting technique because it is basic and easy, and the raw materials are inexpensive and readily available. The program focused on making prayer mats considering the simple shape and the uneven age and sewing skills of the children. In addition to providing entrepreneurial mental strengthening and sewing training on quilting techniques, the team also provided assistance with sewing machines, patchwork and sewing tools. The results of the training show the enthusiasm of the children and their desire to become entrepreneurs. From this training, the children of Aisyiyah Karanganyar orphanage members will be able to be independent and even contribute to similar empowerment in their surroundings.

<strong>Abstract</strong><br />As main reference for this research, PT. Tasindo Tassa Industries produces around 3 tons of fabric waste from bags production, in which 80% is of polyester kind. Fabric waste are cheaply bought by local waste collector to be remaked as bucket, as one<br />example. Other simple methods of processing fabric waste, such as patchwork, quilting, resin, and webbing are commonly made into craft products, and can be easily found anywhere. Hence, focus of this research is to explore polyester waste with certain<br />technique with innovative value, and to design it into sellable products. Through focus group discussion and a series of experiments, polyester waste are made into bags collection using fabric manipulation technique. Results of this research can be used as reference to help home industry or small scale craftsmen to produce ready-to-sell<br />products.<br /><br /><br /><strong>Abstrak</strong><br />PT. Tasindo Tassa Industries sebagai studi kasus penelitian ini, menghasilkan sekitar 3 ton limbah kain hasil produksi tas, dimana 80% adalah jenis poliester. Sampah kain biasanya dibeli oleh bandar sampah dengan harga yang sangat murah untuk diproduksi lagi menjadi berbagai produk sederhana, seperti<br />ember salah satunya. Sampah kain pada umumnya biasa diolah lagi menjadi produk kerajinan dengan teknik sederhana seperti patchwork, quilting, resin, dan anyam, yang bisa dengan mudah ditemukan dimana-mana. Fokus penelitian ini adalah mengeksplorasi sampah poliester dengan teknik yang<br />memiliki nilai kebaruan dan merancangnya menjadi produk layak jual. Melalui focus group discussion dan eksperimen, sampah poliester dirancang menjadi koleksi tas dengan menggunakan teknik manipulasi kain. Hasil penelitian bisa dipakai sebagai acuan dasar untuk membantu industri skala<br />rumahan atau pengrajin kecil memproduksi barang siap jual.

Fast traslate Icon translate Fast traslate Icon translate Fast traslate Icon translate Fast traslate Icon translate Fast traslate Icon translate Fast traslate Icon translate Pandemi Covid-19 ini menuntut semua lapisan masyarakat untuk memilikikesadaran yang tinggi akan kebersihan hingga pengendalian terhadap laju sampahdan limbah dengan tujuan menjaga dan memperpanjang umur bumi dan isinyadalam sebuah gerakan sustainable lifestyle. Limbah tekstil yang dihasilkan dalamproses produksi garmen dan konveksi yang tidak ditangani dengan baik menjadisalah satu penyumbang sampah industri khususnya di Kota Bandung. RumahPengharapan Baru merupakan sebuah Lembaga Kesejahteraan Sosial Anak(LKSA) yang memiliki misi mendukung dan melengkapi perkembangan anaksesuai bakat dan minatnya, hal ini sejalan dengan Program Studi D-3 Seni Rupadan Desain Universitas Kristen Maranatha yang aktif dalam kegiatan pengabdianmasyarakat dengan memberikan pelatihan kepada warga sekitar kampus maupun lembaga-lembaga yang membutuhkan. Pelatihan ini dilaksanakan untukmengasah keterampilan soft skill dan pengetahuan eksplorasi teknik pesertadengan metode praktik patchwork quilting pada kain perca sisa konveksi sehingga hal tersebut dapat menjadi bekal dalam pemanfaatan limbah tekstil secara mandiri untuk dikembangkan menjadi produk kreatif siap pakai yang memiliki nilai daya jual dan peluang dalam industri kreatif/wirausaha kecil rumah tangga.

Limbah kain perca merupakan limbah anorganik yang memerlukan perhatian khusus dalam penanganannya dengan tujuan untuk keberlanjutan lingkungan. Metode yang sering digunakan dalam pengelolaan limbah adalah 3R (Reduce, Reuse, Recycle). Dari teknik pengolahan Reuse kemudian berkembang menjadi upcycling yang lebih menekankan kepada peningkatan nilai manfaat material. Dalam bidang interior, kain perca di-upcycling menjadi pembungkus busa untuk dudukan dan sandaran pada kursi flat-pack. Konsep dasar pembuatan kursi flat-pack adalah pemanfaatan limbah kardus yang disusun sedemikian rupa sehingga terbentuk kursi yang dapat digunakan pada ruangan interior seperti ruang tamu dan ruang keluarga. Kemudian konsep pembuatan bahan ini dikembangkan dengan menggunakan papan MDF yang lebih keras dan kokoh. Untuk lebih memberi kenyamanan pada kursi, perlu ditambah busa yang dibungkus kain. Teknik sambungan yang digunakan dalam menyambung kain perca berupa patchwork, quilting, dan applique. Untuk mempercantik produk dan sekaligus sebagai identitas pembuatan, dapat menambahkan teknik sablon, baik sablon manual ataupun sablon digital.Fabric waste is inorganic waste that requires special treatment in its handling with the aim of environmental sustainability. The method often used in waste management is 3R (Reduce, Reuse, Recycle). Reuse processing methods then developed into upcycling, emphasising more on increasing the value of material benefits. In the interior, fabric waste is upcycling into foam coverings for backrests and seats. It mounts on a flat-pack chair. The main idea behind flat-pack chairs is to use cardboard trash that has been arranged in such a way that chairs may be made. It is suitable for usage in indoor spaces such as living rooms and family rooms. Then the concept of making this material was developed using a more rigid and sturdy MDF board. Comfortable on the seat need to be applied by adding foam that covered by the fabric. Joint techniques to combine fabric waste can use patchwork, quilting, and applique technique. To decorate the product and simultaneously as the identity of manufacture, can embed screen printing techniques, either manual screen printing or digital screen printing.

This paper explores an Indigenous research methodology, the tivaevae model, and its application within the Cook Islands education system. The article will argue that the cultural values embedded within its framework allow for the successful implementation of this Indigenous methodology. The model draws from tivaevae, or artistic quilting, and is both an applique process and a product of the Cook Islands. It is unique to the Cook Islands and plays an important part in the lives of Cook Islanders. The tivaevae model will be explained in detail, describing how patchwork creative pieces come together to create a story and can be used as a metaphor of the past, present and future integration of social, historical, spiritual, religious, economic and political representations of Cook Island culture. Further, the paper will then make links with the model to teaching and learning, by exploring secondary schools’ health and physical education policy and practices. Finally, the efficacy of the model in this context and its research implications will then be discussed.

Product surface textures are designed to improve their aesthetic, tactile, and mechanical quality. Surface texture manufactured with microrough patterns over a wide area differs from common geometric product machining. We have proposed generating a surface texture with regular patterns by milling. Here we propose generating a random-pattern surface texture using image processing. Digital surface-texture data consists of “real” three-Dimensional (3D) machining information. Wide-area digital surface-texture data such as scattered point data, Initial Graphics Exchange Specifications (IGES), and Standard Triangulated Language (STL) require humongous memory. The complexity and area of surface texture processed to generate tool paths is limited by computational considerations and generating the tool path for a widearea surface texture is time-consuming, so we propose generating random wide-area-pattern surface texture without the need for wide-area digital texture data. Instead, this uses only wide-area image data and narrowarea digital data. A wide-area tool path is generated by image quilting, which creates a patchwork in which patches represent both image and digital data for narrow-area surface texture, reducing surface distortion for patch boundaries. This paper introduces the generation of random pattern texture and machined samples assessing patch-boundary distortion.

Humanity's activities cause the destruction that occurs in the world as a caliphate, as stated in Surah Ar-Rum (30), verse 41 of the Quran. One of the products that might harm the ecosystem is waste. Various countries, including the Indonesian Government, have competed with numerous initiatives and policies to save environmental sustainability. The author of this study provided training on how to conserve the environment by processing trash, particularly fabric waste. Bina Nusantara University's community development initiative invites numerous assisted MSMEs to participate in a waste management training session. Participants are instructed on how to transform fabric waste into useful interior products. The techniques conducted start from joining fabric waste with patchwork, quilting, and applique connection techniques. From the connection results, the product's value can be increased again by adding a digital screen printing technique. Islamic Art is one of the many motifs that can be used. Implementing Islamic geometric patterns and floral, vegetal, and calligraphy designs on interior accessories are some examples of Islamic art motifs. Apart from being able to decorate the interior of the home, particularly by giving it an Islamic feel, the objective of creating this product is to conserve the environment through upcycling technology.

Contemporary quilters use a wide range of Patchwork and Quilt designs and styles, from ancient and ethnic to post-modern futuristic patterns. Unusual quilting designs have increasingly become popular as decorative textiles. During the late 20th century, art quilts became popular for their aesthetic and artistic qualities rather than for functionality. Patchwork &amp; Quilt as a form of art is very popular throughout the world. Patchwork &amp; Quilt technology is based on stitching together, tufted fabric pieces with decorative embroidery patterns and variations on the theme of the artist's intentions. The larger design is usually based on repeat patterns built up with different fabric shapes. Patchwork is most often used to make quilts, but it can also be used to make bags, wall-hangings, warm jackets, cushion covers, skirts, waistcoats and other items of clothing. Some textile artists work with patchwork, often combining it with embroidery and other forms of stitchery. Traditional patchwork – blankets and pillows include such familiar themes as Log Cabin, Star, Pineapple, Scrap-Quilts, Bargello etc. Traditional patchwork has identifying names based on the arrangement of colors and shapes. A unique form of patchwork quilt is the Crazy Quilt. Crazy quilting was popular during the Victorian era (mid-late 19th century). The crazy quilt is made up of random shapes of luxurious fabric. The patchwork pieces are stitched together forming "crazy" or non-repeat, asymmetric compositions. Fancy embroidery embellishes the seam lines between the individual, pieced shapes. Traditions of Latvian Quilt continues at Quilt Latvian Society. Inspired by the world, Latvian artists creatively extend the style and technique-specific boundaries. Patchwork &amp; Quilt is a process that continues to evolve and improve the selection of fabrics and innovative technological solutions and means of artistic versatility. The aim of the work – To study traditional 19th century patchwork motif and to explore the usage of Crazy Quilt motif in contemporary patchwork. Material and Methods. This paper analyses the contemporary textile artists’ quilts and traditional 19th century Crazy Quilt motif. Conclusions. The research explores traditional 19th century patchwork motif, summarizes and analyses most common visual and technological features of Crazy Quilt motif. As a result of the research, and on the basis of personal experience, authors offer the Crazy Quilt practical training (workshop) objectives and terms of reference to ensure patchwork technique practical and artistic components. Applying both – traditional and contemporary patchwork sewing techniques and combining them with textile techniques such as embroidery, crochet, textile printing and different painting techniques, there is scope for costume decoration process. The Workshop’s content is suitable for students and participants who are interested in patchwork, quilting and everything in the diverse world textile arts in the 21st century, for beginners and intermediate makers. Participants can use a Crazy Quilt for design idea and learn the easy ways how to draw chosen designs and combine patterns to create a contemporary quilt and costume elements. As a result, students obtain new knowledge, self-experience in traditional textile techniques and motivation to study textile technology.

RESUMO Patchwork é uma arte têxtil com iconografias formadas a partir da costura de pedaços de tecidos sobre telas produzidas por artistas, majoritariamente, mulheres. Em decorrência dessa composição, os temas desta pesquisa englobam o quarteto arte têxtil em patchwork, mulher, natureza e esfera doméstica, categorias estreitamente imbricadas do ponto de vista social e histórico. A ancoragem conceitual do artigo está voltada, essencialmente, para as perspectivas de Jean-Yves Durand, Elaine Hedges, Michel Foucault, Allison Fraiberg, Teri Klassen, Linda Nochlin, Rozsika Parker e Beverly Seaton sobre artes com agulhas, cuidado de si, cultura material, domesticidade, feminilidade, hierarquia, identidades, memória, maternidade, subserviência e autonomia. De cunho metodológico qualitativo, o recorte empírico são as artistas do Clube Brasileiro de Patchwork e Quilting de São Paulo, cujas entrevistas e repertório de imagens das suas telas têxteis possibilitaram uma compreensão mais ampla sobre os significados sociais e culturais representados em suas obras. Dois eixos seminais compõem os achados da análise empírica: (1) estética social das flores e jardins e (2) significados da casa a partir de reminiscências sobre a infância. As reflexões conceituais entrecruzadas às trajetórias de vida e às expressões pictóricas das telas de patchwork das artistas do Clube permitiram apreender elementos sobre o lugar e os sentidos da arte têxtil e da mulher artista no cenário contemporâneo brasileiro.

This paper explores the historical significance of quilting in Canada and its evolution into a revived, highly individualistic art form in order to argue for the merits and value of a consolidating digitization project. Piecing together the patchwork of our quilt history reveals the traditionally feminized and criminally undervalued artistic processes and works that, in many cases, were the only medium by which women historically could memorialize, commemorate, or share their and their families’ histories. They are undeniably a crucial part of our cultural record.

Textile art possesses the ability to communicate with the viewer in as much as the viewer understands the visual images. It involves art made of textiles or about textiles by utilising techniques such as embroidery, patchwork, quilting, applique, tapestry, dyeing, and painting, among others. This study explores the use of conventional and non-conventional textile materials in a mixed-media technique in the production of artefacts aimed at raising awareness of corruption in Ghana; a national canker that is retarding the country’s growth. It employed a practice-based research approach to gain new ideas or knowledge in the study through practice. The study revealed that the artefacts serve as an effective communication tool to create awareness of the dangers of corruption in the country, thereby expanding the frontiers of textile art by exploiting various techniques and materials.

The following essay constitutes a theoretical journey through the landscape of the NAMES Project AIDS Quilt, one narrated from the perspective of those who live on to mourn, to remember. To some critics, my approach might at once appear radical or unorthodox since I focus on how Quilt spectators engage with the artifact and are thereby implicated in the history of the epidemic, rather than on how the dead are made to speak from beyond the grave. My intent is not to invalidate the claims made or the conclusions reached by other critics who have written persuasively about how the Quilt facilitates a voice (both individual and collective) for those who have died of AIDS-related illnesses; indeed, such critics have contributed a wealth of significant knowledge to critical understandings of the pedagogical and political functions of the Quilt. My intent, rather, is to respond to a set of as yet unexplored questions about how the ever-evolving landscape of the AIDS epidemic has altered the nature and purpose of Quilt spectatorship. When the Quilt was created in 1985, “naming names” was an important strategy for political survival, especially given the institutional apathy that silenced and marginalized all who were infected and/or affected by the epidemic. However, over the past sixteen years, apathy has slowly given way to increased attention by medical and media institutions. No longer is memory and reverence enough. Now, we must ask ourselves how the Quilt can continue to be used to combat the emergent obstacles that have sprung up in the wake of apathy and silence. This is not to suggest that remembrance, mourning, and reverence are not still significant responses to the epidemic; we cannot forgot the past, lest we repeat it. But it is to suggest that as we look back, we also must move forward and continue to chart new horizons for how our minds and bodies engage with the Quilt as a social and political space. Throughout this essay, then, my conclusions are at best tentative, offered more as a gesture of hope than as a model for survival. It is my hope that critics can continue to press against social spaces both with caution and determination because those actions matter. We must act with caution because there can be devastating consequences of asserting claims to visibility and location. We must act with determination because there are equally perilous consequences of not doing so. Since its meager beginnings, the NAMES Project AIDS Quilt has undergone exponential changes in size, shape, and scope, but critical responses to the Quilt have remained stagnant with most critics attributing to the Quilt a single meaning and purpose: to revere the dead. Cultural critic Peter S. Hawkins, for instance, argues that "the Quilt . . . is most profoundly about the naming of names" (760), while journalist Jerry Gentry suggests that the Quilt bespeaks "a national and international constructive expression of grief" (550), a grief which most powerfully resonates in the loss of individual lives. While "naming names" is a politically important function of the Quilt, critics who read the artifact as only motivated by memory assume that exhibitions of the artifact facilitate a static model of performance. For such critics, the Quilt represents a mass graveyard--both as a place of interment and as a place in which ideological meanings are circumscribed by the fixity and stillness of reverence. (This reading is partly enabled by the fact that each panel measures the size of a human grave.) Not only does this reading universalize the meaning of the Quilt but also it establishes a monolithic viewing position from which to receive that meaning. Here, I outline an alternative model of reception which is implicit in the design and display of the Quilt. While this model acknowledges reverence as one potential response to the Quilt, it does not foreclose other ways of reading. Rather than facilitating a grave performance, then, the Quilt enables performances within the grave. These performances are constituted in/through a dynamic exchange between speaker and listener, text and context, and work to produce a range of ideological meanings and subject positions. To understand how the Quilt locates its viewers within a particular subject position, it is first necessary to specify the speaker-listener relationship established in displays of the Quilt. This relationship is played out through a series of confessional utterances which, as Michel Foucault explains in The History of Sexuality, Volume 1, imply a dialectic relationship between speaker and listener in which subjectivity is predicated on subjection (61-62). The speaker's desire to confess necessitates the presence of a listener, one not wholly passive since his/her presence incites and enables the will to confess. In this way, both speaker and listener are marked as active/passive agents in an exchange characterized by reciprocity and negotiation. Because speakers and listeners simultaneously serve as subject and object of the confession, the exchange cannot be represented as static (active/passive) or unidirectional (sender-message-receiver). Since many critics already have carefully delineated the processes through which the Quilt directs the address of the panels and constitutes the dead as subjects, here I want to focus on how spectators are constructed as subjects who bear witness. Critics typically posit viewers of the Quilt as unified, coherent, monolithic subjects; yet Foucault's discussion of the confessional exchange assumes a subject-in-process. For me, this process is most accurately characterized as schizophrenic. My use of schizophrenia is tropic rather than diagnostic, in that the term works figuratively to describe subject formation rather than to identify the nature of psychiatric disturbance. Two characteristics (which are derived from the symptomatology of the psychic disorder schizophrenia) define the schizophrenic spectator: one, the loss of "normal" associations; and two, the presence of "auditory hallucinations." The first characteristic of schizophrenic spectators is the loss of "normal" associations. Remi J. Cadoret notes that in schizophrenics, "[t]hought processes appear to lose their normal associations, or usual connecting links, so that the individual is often unable to focus his [sic] thinking upon a particular mental task" (481). For schizophrenics, conventional relational markers (such as chronology, causality, temporality, and spatiality) no longer order cognition; instead, these markers are distorted (if not entirely ineffectual), creating for the schizophrenic a fractured sense of self in/and world. Without these normal associations, the schizophrenic wanders aimlessly (and often in isolation) through a chaotic world in search of structure, meaning, and purpose. Temporal associations provide perhaps the most common means of ordering experience. Viewed as a linear progression characterized by movement, change, and renewal, time structures the historical and the everyday by sequencing, demarcating, and hierarchizing events. Within the Quilt, this sense of progression is supplanted by perpetual repetition of the present. Elsley has offered a similar observation, noting that the Quilt operates in a "transitory present" tense, it "exists in a continual state of becoming" (194). In one sense, this perpetual present tense derives from the fact that no two displays of the Quilt are identical. Panels are ordered differently, new names and panels are added, older panels begin to show signs of wear-and-tear. A perpetual present tense also derives from the fact that the Quilt charts the progression of an epidemic that is itself ongoing, incomplete. Thus, the landscape of the Quilt is re-mapped in light of advances in HIV-treatment, softening/tightening of social mores, and changes in AIDS demographics. Another common means of ordering experience is though spatial associations. Location orders the social through architecture, urban planning, and zoning, endowing spaces with a well-defined purpose and layout. Yet the Quilt provides few signals regarding how spectators are intended to navigate its surface. As Weinberg notes, the Quilt is a "great grid" with "no narrative, no start or finish" (37). By describing the Quilt as a "grid," Weinberg implicitly ascribes to the artifact a controlling logic, a unified design--what in quilting parlance is termed a patchwork sampler. This design pattern, however, does not direct the flow of spectators in a single stream of traffic. This is so because, unlike a Drunkard's Path or Double Wedding Band pattern in which the individual panel blocks work together to create a unified design across the surface of the quilt, a patchwork sampler is constituted by a series of single panel blocks, each with a unique design, history, and logic. As a result, patrons' movements are guided by associations and punctuated by pauses, interruptions, and abrupt changes in course. The randomness of engagement is further enabled by the muslin walkways which visually separate the panels, marking each as distinct and disallowing any sense of continuity (narrative, spatial) among them. The routes which visitors of the Quilt traverse thus are transitory and ephemeral, simultaneously charted and erased in the moment of passing by. The second characteristic of schizophrenic spectators is the presence of auditory hallucinations. Cadoret defines these hallucinations as "the perception of auditory stimuli, or sounds, where none are externally present . . . . The voices . . . may repeat his [sic] thoughts or actions, argue with him [sic], or threaten, scold, or cure him [sic]" (481). Auditory hallucinations can lead the schizophrenic to believe that s/he is under constant surveillance or can cause the schizophrenic to slip further into a self-contained, isolated world of delusion. That the Quilt is made up of "a myriad of individual voices" (Elsley 192) is immediately apparent in the number of individuals who have taken part in its construction and display. With each quilt panel, spectators are confronted with multiple voices--the person who has died, the person(s) who made the block, the person(s) who stitched the block to others for a specific display, and so on. Moreover, the Quilt places these "individual voices . . . in the context of community" (Elsley 191). For Quilt spectators, then, memories of a life lived coexist with grief over a life cut short, anger at institutional apathy and systemic homophobia, faith in the import of remembering those who have died, and so on. Each of these voices vie for the spectator's attention, facilitating a gaze that is dynamic, multidirectional, mobile. Because the gaze is not fixed, the Quilt cannot convey a solitary truth claim to its viewers; rather, spectators must immerse themselves within the delusion and confusion of voices, imposing some sense of order on their own viewing experiences. Given that persons with AIDS continue to be marginalized within American culture, my use of the schizophrenic spectator to trace the reception dynamic of Quilt exhibits might appear to perpetuate, rather than unsettle, dominant ideological formations. Of course, this is the critical conundrum at the center of all investigations into subject formation: that is, "how to take an oppositional relation to power that is, admittedly, implicated in the very power one opposes" (Butler 17). Despite the potential pitfalls, I nonetheless use the trope of schizophrenia precisely because it recognizes the ways in which Quilt spectators, persons with AIDS, and persons who have died of AIDS-related illnesses are divested of the power and authority to speak even before they begin speaking. Furthermore, because the schizophrenic subject is founded on ever-shifting affinities (in time, across space), the position enables spectators to chart alternative lines of relation among institutional practices, ideological formations, and individual experiences, thus potentially mobilizing and sustaining a shared political program. It is on these twin goals of pedagogy and polemics that the NAMES Project originally was founded, and it is to these goals that we now must return. References Butler, Judith. The Psychic Life of Power: Theories in Subjection. Stanford: Stanford UP, 1997. Cadoret, Remi J. "Schizophrenia." Collier's Encyclopedia. Vol. 20. Eds. Lauren S. Bahr, et. al. New York: Collier's, 1997. 480-482. Elsley, Judy. "The Rhetoric of the NAMES Project AIDS Quilt: Reading the Text(ile)." AIDS: The Literary Response. Ed. Emmanuel S. Nelson. New York: Twayne, 1992. 187-196. Foucault, Michel. The History of Sexuality, Volume 1: An Introduction. Trans. Robert Hurley. New York: Vintage, 1990. Gentry, Jerry. "The NAMES Project: A Catharsis of Grief." The Christian CENTURY 23 May 1989: 550-551. Hawkins, Peter S. "Naming Names: The Art of Memory and the NAMES Project AIDS Quilt." Critical Inquiry 19(Summer 1993): 752-779. Weinberg, Jonathan. "The Quilt: Activism and Remembrance." Art in America 80(Dec. 1992): 37, 39.