Mary Mendla Fine Art Apparel Green Bay Road Thiensville Wi

2021

Works by Kris McDermet (VT).

Hooked past Blueprint

December 9, 2021–February 20, 2022

Hooked past Design brings together gimmicky fiber artists whose piece of work speaks to the expansive landscape of today'southward rug hooking customs. 13 artists, hailing from as shut every bit Milwaukee to equally distant every bit Toronto, Canada, have contributed a stunning assortment of over 40 hooked rugs to this exhibition, the first exhibition in the museum's history to focus solely on rugs.

Rug hooking is considered a time-honored tradition, one that became popular in North America in the mid-nineteenth century as a way to provide warmth and comfort in the home. An early form of recycling, rugs were often made of re-used scraps of habiliment and other remnant fibers, most notably wool. Recycling wool and dying it to accomplish a desired palette is still practiced by rug hookers today. As the works in Hooked by Pattern demonstrate, however, electric current artists are pushing the boundaries of the medium by incorporating a multitude of materials, from lace and silk to metallic thread and plastic.

Not solely for use underfoot anymore, gimmicky hooked rugs are often chosen "paintings in wool." Artists are deeply enmeshed in new approaches to rug hooking, resulting in a range of styles, from abstraction to portraits and landscapes. This creative multifariousness is on view in the exhibit.

Connections to everyday life are nowadays in Tracy Jamar's rugs. Jamar often uses repurposed personal items that on one level take "no worth" (worn-out socks, torn and faded t-shirts, and discarded habiliment), just through her process are transformed and given new life and value. Portraits and observations from the artists' lived experiences runs throughout the work of Mary Tooley Parker and Susan Feller. Parker illustrates scenes from her daily life through colorful vignettes and still-life pictures taken from her dwelling. An ambulatory feel is apparent in the piece of work of Susan Feller, who takes detailed nature studies near her business firm in West Virginia.

The natural globe informs the work of Rachelle LeBlanc, Kris McDermet, Liz Alpert Fay, and Capri Boyle Jones. Both LeBlanc and McDermet's work accost themes of ecology and conservation. McDermet's rugs honor nature through through intricately designed patterns of her ain creation. While LeBlanc's subject matter often draws attention to the degradation and pollution of our waters. Alpert Fay'due south work distills moments in nature, from the turning of the seasons to ripples in a pond. Similarly, Boyle Jones'south rugs evoke ethereal, yet-life scenes based on the sea.

2 carpeting hookers take a narrative, almost fantastical approach to their imagery. Heather Goodchild's practice involves exploring the rituals, regalia, and symbols of world religions and not-denominational societies. Ann Willey'due south rugs appear like illustrations in children'southward stories, with portraits of women and young children pictured amidst imaginary flora and fauna.

Several of the artists featured are from Wisconsin and are active members in the Cream Metropolis Rug Hooking Guild. Among them include Lyle Drier, Sharon Felten, Joyce Krueger, and Mary McGrath. Guilds are important for the transfer of cognition about rug hooking, with many artists learning the beginnings of the arts and crafts through order classes. The works by the Wisconsin artists are equally varied equally today's rug hooking, nevertheless show the artists' nuanced and long-standing dedication to the fine art form.

This exhibition is fabricated possible by the generous support of Jan Schley.

Victoria Findlay Wolfe: Now & And so, Playing with Purpose

September 2–December v, 2021

Victoria Findlay Wolfe: Now & Then, Playing with Purpose presents a stunning retrospective of quilts by Victoria Findlay Wolfe, one of today's about important modern quilters. Beautifully composed, this exhibition features Findlay Wolfe's memorable quilts and the stories behind them. From her start quilt through her almost contemporary creations, the exhibition includes fourteen new works made during quarantine and exhibited for the starting time time.

One of the quilting innovations nearly synonymous with Findlay Wolfe is her experimentation with the Double Wedding Ring, a notoriously difficult pattern from the Cracking Depression era comprised of interlocking arcs, melons, and concave squares.

Amongst Findlay Wolfe'due south new works are eight striking red dot quilts that explore seemingly countless permutations inside one original design and colour palette. Intended to be an ongoing series, she describes the quilts' development: "I am intrigued by the simplistic nature of the first eight works, and how they will go on to morph, deteriorate, and mesh in more than elaborate or deconstructed designs."

The relationship between Findlay Wolfe and the museum is longstanding, dating back to 2014, when we hosted her start-ever solo museum exhibition. Now, we are delighted to feature this incredible quilter as she continues to introduce with the quilting medium.

To purchase a signed copy of the showroom catalog, please click here.

This exhibition is fabricated possible past the generous support from Susan Graham Wernecke and Nib Wernecke, Jr.

Wisconsin Quilts: Stories in the Stitches

April 29–August 29, 2021

Wisconsin Quilts: Stories in the Stitches celebrates WMQFA's 10th anniversary. Twenty years agone, a group of women researchers wrote the seminal bookStories in the Stitches based on their documentation of quilts in Wisconsin. The women began  this longstanding projection, called the Wisconsin Quilt History Project, in the 1980s and still go along information technology today.

WMQFA's history is intimately entwined with the Wisconsin Quilt History Projection. Many of the quilt documenters became the museum'southward founding mothers. On the 20th anniversary of the book and the 10th ceremony of WMQFA, this exhibition brings together 30 quilts illustrated inStories in the Stitches, exhibited here for the commencement time.

The quilts reproduced in the volume represent detailed personal histories and incredible stories surrounding the quilts, including narratives of women'south lives during the Civil War and the Great Depression, personal triumphs and tragedies, connections to the 1933 Earth's Off-white, and quilts from the Works Progress Administration, among many others.

The result of deep research into the whereabouts of the quilts, many of which are still with the makers' descendants, this exhibition tells the rich history of quilt making in Wisconsin.

To run across a virtual of the exhibition, please visit WMQFA's YouTube channel.

This exhibition is made possible by the generous support of the American Quilt Study Group and Hilgendorf Memorials: Rock of Ages. Programming at WMQFA is supported past grants from the Wisconsin Arts Board, National Endowment for the Arts, and the Kohler Foundation Inc.

Remnants

February 2–Apr 25, 2021

Remnants presents an infrequent group of contemporary fiber artists whose work makes meaning from the textile fragments we run into daily. A worn shirt, loose threads, cranium relics, pocket detritus, discarded newspaper, fabric scraps, and abandoned plastics are merely a few of the overlooked materials these artists plough into wondrous works of art.

Grounded in the language of textiles, the work in Remnantsbroadly addresses timely themes of repurposing, mending, and recycling. A sense of fourth dimension permeates the practices of many of these artists every bit though slowing down bridges the split up between the found and the re-made. Ranging in scope from quilts to collage, sculpture to installation, the artists inRemnants treat leftover fabrics every bit places of retention, pieces of identity and their lived environments, manufactures of collaboration, and sites of intervention and re-imagination.

Artists in Remnants include Susie Brandt (MD), Joe Cunningham (CA), Patrizia Ferreira (WI), Pat Kroth (WI), Linda Marcus (WI) Amy Meissner (AK), Heidi Parkes (WI), Nirmal Raja (WI), Sylvan Robinson (NY), Lauren Sinner (OR), Holly Wong (CA), and Sherri Lynn Wood (OH).Â

To see a virtual bout of the exhibition, delight visit WMQFA's YouTube channel.

This exhibition is made possible by the generous support of the Wisconsin Arts Lath, National Endowment for the Arts, and the Surface Blueprint Association.

2020

Doreen Speckmann Remembered

November 19, 2020–January 31, 2021

Doreen Speckmann Rememberedfeatures twenty-five years of quilts made by the renowned Madison, WI, quilter Doreen Speckmann. Speckmann grew upwardly learning how to stitch. As the eldest of six she fabricated all her own clothes and was introduced to handwork—crocheting, knitting, and needlepoint—at a immature historic period. She had eschewed quilting, all the same, as an art for "only little old ladies on metal folding chairs in church basements." Worse yet, she feared at twenty-six she had missed the window for learning: "I had heard rumors of quilts that were started past one generation and finished past another." Simply in 1977, while expecting her daughter, Megan, she decided she absolutely had to make a baby quilt, and thus, began an obsession with quilts that produced two how-to books and numerous international quilting cruises until her untimely passing in 1999, at the summit of her career, while she was leading a quilting retreat in Republic of ireland.

In 1985 Speckmann fabricated a lasting impression on the judges of the beginning American Quilters' Order national quilt competition in Paducah, KY, where her innovative work,The Blade, won the professional person patchwork category. Speckmann was an expert patchworker. Subsequently receiving the AQS award, she was in high demand to teach. Endearing herself to quilters the world over, Speckmann was known to be incredibly funny, with a self-deprecating sense of sense of humour.

The majority of Speckmann's original designs are predicated on playing with a pocket-size number of geometric shapes to imaginatively make 1-of-a-kind motifs. When pieced together, these building blocks often create the illusion of curves. Every bit many quilters will tell y'all, curves are some of the most hard parts of a quilt to replicate. By using 2 types of triangles she cheekily dubbed "Peaky" (a correct triangle) and "Spike" (an isosceles one), she introduced her students to a world of facile curves. In her offset book,Blueprint Play, she adds to the repetoire of her simple shapes, ultimately providing the reader with twenty-seven templates of interlocking triangles and squares with which she encourages them to play.

This exhibition, organized in partnership with the Iowa Quilt Museum, shines a calorie-free on this influential artist, who was known for her wit and wisdom, her characteristic Berkenstocks, iconic trip the light fantastic toe moves, and impeccable patchworking and design skills.

This exhibition is fabricated possible by the generous support of the Wisconsin Arts Board and Susan Graham Wernecke and Bill Wernecke Jr.

Quarantine Quilts

Baronial 7–November 15, 2020

In early March 2020 WMQFA launched a collaborative art project meant to encourage artists staying at home to continue creating. This open call invited participants from throughout the earth to submit a 12 x 12-inch quilt block documenting their private and commonage experiences.

Past mid June the museum had already received over 300 blocks from artists throughout Wisconsin, besides every bit many other states, and every bit far away as holland and State of israel. Each block tells the story of family, friends, love, community, support, inward and outward reflections, new hobbies and seasoned expertise, joy, sadness, and shared experiences all through the medium of fiber.

The quilt blocks demonstrate an enormous amount of multifariousness in technique: embroidery, collage, felt, weaving, and rug hooking are just a few of the processes on display. Beginning in June the museum started to make these blocks into quilts and will go along doing so throughout the summer. After months of creation and submissions, come encounter the Quarantine Quilts together in the exhibition, The Quarantine Quilt.

To purchase an exhibit catalog, please visit https://www.blurb.com/b/10363474-the-quarantine-quilt .

This exhibition was made possible by the generous back up of Ellie and Julian De Lia.

Infinite Ivory & Blueish

February six–August two, 2020

Infinite Ivory & Blue presents the museum's stunning collection of blueish and white works. Quilts, woven coverlets, lace, Ikats, and historic garments envelope the viewer in a world of blueish and white. Unveiling significant works from the museum'due south vault, the exhibition features one of the oldest quilts in the collection alongside a substantial assortment of indigo-dyed quilts and coverlets from the nineteenth and early on-twentieth centuries. The stories told in Infinite Ivory & Blue include many noteworthy moments in the museum's collecting history.

The Joe and Mary Koval Drove encompasses a splendid display of twenty-seven vintage quilts, whose geometric patterns, patriotic symbols, and deep indigos capture of import themes in the history of American quilts. An astounding selection of thirty-five woven coverlets comprise the James Taylor Family Coverlets, which demonstrate weaving techniques from overshot to double weave and a variety of traditional patterning. The Lois Markus Lace Collection covers a breathtaking range of antiquarian bobbin and needlepoint lace along with an assortment of tatting, applique, and embroidered laces collected by Markus on her journeys throughout Europe. Richard Daehnert'southward collection of 230 objects predominantly from Due south and Primal America, Europe, Africa, and Asia showcases the powerful history of textile practices the world over. Daehnert, a former textile professor and distinguished textile artist, used many of these incredible examples in his teaching. In add-on to the collection works on view, Daenhert likewise contributed a series of his intricate thread-on-canvas works inspired by the historically rich combination of blue and white.

Some works in Space Ivory & Bluish explore deep personal narratives. A wedding dress fabricated by one of the museum's founding mothers, Marion Wolfe, is constructed out of silk from a parachute her hubby took habitation after serving in World War Ii. While others serve to derange and delight: an exquisite Whitework quilt from around the 1830s was donated to the museum past a Family Sharing Resale Shop, afterwards a person dropped information technology off with a notation indicating the quilt came from Canada, simply could provide no further details.

To purchase an exhibit itemize, please visit https://world wide web.blurb.com/b/10175138-space-ivory-and-bluish

2019

On Wisconsin Fiber Arts Biennial

November 21, 2019–February 2, 2020

On Wisconsin Cobweb Arts Biennial at the Wisconsin Museum of Quilts & Fiber Arts (WMQFA) presents the museum'due south fourth fiber arts biennial. Open to all artists who call Wisconsin "home," this phone call-for-entries exhibition, the fourth in the museum'due south history, invited artists to submit an original two- or three-dimensional fiber-based piece of work created in the terminal three years. Taken together, these works speak to the breadth and quality of cobweb arts being created by Wisconsin artists today.

Quilting, felting, embroidery, beading, and rug hooking are just a few of the processes employed past the over one-hundred artists in the exhibition. For many of these artists, making is a deeply rooted daily practise—one that they have spent many years, and sometimes a lifetime, engrossed in and honing. Thus, the works on view speak to the expansive chapters of fiber art to hold memories, convey emotions, limited identities, explore ideas, and tell stories.

Artists Featured in the Exhibition

Colleen Ansbaugh (Wabeno); Nancee Ariagno (Cedarburg); Cheryl Bartolone (Cedarburg); Tila Baumann (Mequon); Dagmar Beckel-Machyckova (Bloomer); Pat Bishop (Shawano); Camp Hometown Heroes (Grafton); Cindy Brinkman (Kewaskum); Anita Carpenter (Oshkosh); Jacquelyn Crema (Milwaukee); Richard Daehnert (Sheboygan); Ellie De Lia (Fox Betoken); Robin Dickson; Kelly Dirkman (Appleton); Lyle Drier (Waukesha); Janet Falk (Milwaukee); Patrizia Ferreira (Monona); Sharon Felten (Milwaukee); Mary Sue Fenner (Abrams); Mary Flanagan (Pickett); Processed Flynn (Middleton); Diane Galarneau (Oregon); Ludmila Gancova (Middleton); Pamela Greenfield (Port Washington); Sara Gryske (DeForest); Nari Haig (Whitefish Bay); Karen Halt (Mukwonago); Christina Harkness (Rhinelander); Judy Hearst (Milwaukee); Jean Heinrichs (Cedarburg); Kathleen Hughes (Wauwatosa); Zemirah Hunter (Racine); Barbara Johnson (Larsen); Kathleen Johnson (Glendale); Faye Junker (Grafton); Donna Karolus (Cleveland); Marianne Kayne (Milwaukee); Joan Kennedy (West Bend); Marla Morris-Kennedy (Mequon); Chris Kirsch (Watertown); Jenny Knavel (Delavan); Margaret Knepper (W Curve); Kim Konen (Kiel); Pat Kroth (Madison); Joyce Krueger (Waukesha); Sandy Kub (Grafton); Lynn Kunz (Hayward); Jean L. Leeson (Madison); Judy Zoelzer Levine (Bayside); Tink Linhart (Grafton); Jini Kai MacAdam (Madison); Jamin Mahan (Milwaukee); Linda B. Marcus (Fox Point); Amy Marks (Bayside); Chris Martin (Hartland); Linda Memmel (West Bend); Mary McGrath (Mukwonago); Sandra Churchill Meyer (Milwaukee); Jane Moore (Whitefish Bay); Nina Moyer (Blanchardville); Sue Neuser (Madison); Rumi O'Brien (Madison); Julie Oren (Milwaukee); Heidi Parkes (Milwaukee); Pathways Loftier Schoolhouse Students (Milwaukee); Sonja Pavlik (Glendale); Linda Pavlovich (Menominee Falls); Darrel M. Payne (Milwaukee); Rosy Petri (Milwaukee); Dagmar Plenk (Glendale); Karen Radtke (Mequon); Betsy Rasmussen (Milwaukee); Mary Reilly-Kliss (West Curve); Cynthia Reynolds (Madison); Maggie Sasso (St. Francis); Lori Schloesser (Watertown); Maribeth Schmit (Cedarburg); Mary Clare Schuller (Milwaukee); Sheboygan County Quilt Gild - Mod Team (Sheboygan); Patty Sherman (Germantown); Vicki Spiering (Wauwatosa); Karla Spinks (Green Lake); Gina Studelska (Grafton); Carol S. Surges (Brookfield); Linda Sweek (Wauwatosa); Parul Trivedi (Madison); Diane Casto Tennant (Greendale); Judy Valentino (Hales Corners); Kim VanBerkum-Bates (Markesan); Kay Walters (Cedarburg); Jane Hyer Walton (Flim-flam Point); Nancy D. Ware (Campbellsport); Jean Warren (Dousman); Judith Warren (Racine); Rochelle Whiteman (Trick Bespeak); Marilynn Wilke (Cedarburg); Roberta Williams; Linn Woodard (Port Washington); Connie Yersin (New Berlin); Ariel Ziarek (Cedarburg); Mary Zierold (Monroe).

This exhibition was supported by a grant from the Wisconsin Arts Board.

Work by Terese Agnew (at left) and Frank Connet (at correct).

Water

August 15–November 17, 2019

Waterbrings together an exceptional group of contemporary artists whose piece of work is inspired by the expressive possibilities of water. This exhibition, located in a region rich with fresh water, aims to bring attention to this valuable, withal vulnerable, resource through the lens of cobweb- and video-based works, sculpture, and installation.

The work inWateraddresses bug of conservation and climate alter while embracing water's evocative qualities and formal beauty. Many of the artists created new work for the exhibition and include top nationally recognized fiber artists (three take work in the Smithsonian's collection), a multimedia creative person, and a sculptor.

Our environmental impact on water'south natural mural is the foundation for the work past Terese Agnew, Susan Falkman, and Nnenna Okore. Agnew'southward intricately embroidered quilt, which took years to complete, depicts a pastoral, watery scene of a proposed deep-pit-mine site in rural Wisconsin. Arctic melting and changing water patterns inform Falkman'due south marble sculptures. Falkman, who carves rock to portray the softness of fabric and period of water, created half-dozen new sculptures for Water, one of which will be permanently installed on the museum's grounds. Internationally known for her piece of work concerning ecology destruction, Okore's richly textured fiber sculpture evokes the course of underwater plant life.

Themes of ecology and reuse run throughout the work of Karyl Sisson and Akiko Ike. Undervalued and discarded items, such every bit straws and zippers, class the building blocks of Sisson'southward intricate sculptures that conjure sea creatures and anemones. Utilizing only recycled fabrics, Ike, an artist from Niigata, Nihon, created three new large-scale carp, utilizing a special stitching technique called "chiku-chiku"—an onomatopoeic word for the sound of a stout needle going in and out of the material.

Wisconsin artists Heidi Parkes and Nirmal Raja describe us close to home through their sensitive observations of Lake Michigan. Parkes'southward wistful quilts evoke the lake's deep shades and color palette, and Raja's video stitches the water'due south surface and horizon line. The undulations and abstractions of water also inspire the piece of work of shibori artists Frank Connet and Mary Mendla, paper artist Jennifer Davies, and quilters Sarah Nishiura and Sarah J. Lauzon. While Vicki Reed made a new installation using cyanotype, a photographic process on treated textile, that interprets water as a metaphor for understanding our maternal history.

Gretta Mikkelsen: Tobacco Silks Reimagined

May 2–Baronial 11, 2019

Greta Mikkelsen: Tobacco Silks Reimagined at the Wisconsin Museum of Quilts & Fiber Arts (WMQFA) debuts Mikkelsen's stunning contemporary quilts inspired by antique tobacco silks. Tobacco silks were found in cigarette packages at the plow of the twentieth-century as a marketing strategy initially intended to increase competition among brands and ultimately to entice women to smoke. Women clientele were encouraged to collect the precious silk inserts with images of glamorous women, decorative objects, birds and flowers, among others, and incorporate them into sewing projects.

Mikkelsen became fascinated by tobacco silks when she saw them fashioned into a lustrous vintage pillow peak. Captivated by the dichotomy between the preciousness of the silk inserts and the insidiousness of the marketing and manufacturing of the tobacco products they represented, she began integrating the silks into handcrafted quilts that preserve the medium's effeminateness and timeworn qualities while reimagining their context.

The exhibition features twenty-three quilts by Mikkelsen on view for the first time. Each quilt presents a collection of a given motif: ceramic art, types of seashells and actresses, to name a few, are grouped together in Mikkelsen'south sensitive designs. Enhancing the physical qualities of the silks, Mikkelsen hand-pieces each quilt with silk taffeta and dupioni, vintage silk sari and kimono fabrics, hand-dyed silk ribbon, beads and satin embroidery floss. Every quilt presents an opportunity for Mikkelsen to experiment with material, colour, pattern and execution. Taken together, the quilts speak to the allure of stylish collectibles and the exploitation of desire from a bygone era.

Native Fiber

Jan 17–April 28, 2019

Native Fiber brings together a scenic array of work past contemporary Native American cobweb artists from throughout the Dandy Lakes. Curated in collaboration with Karen Ann Hoffman, a renowned Iroquois raised dewdrop worker, the exhibition features an expansive definition of fiber fine art, from quillwork to cordage, bead work, weaving, birch biting, leatherwork, and quilting. Under these artists' hands, Indigenous fiber art traditions are both maintained and advanced, communicating timeless stories and addressing modern themes.

Illuminating the astonishing ways Native American artists explore and alter boggling materials—black ash, birch, fur, and corn husk, to proper name a few—the exhibition comprises the work of thirty-one artists and i creative person guild, representing xx tribal nations. Every creative person's work falls nether the Indian Craft Act of 1990 and is considered authentic Indigenous fine art.

Many of the works in the exhibition were created specifically for Native Fiber. Repeating iconography and subjects run throughout, including symbols of healing, forgiveness, women'due south experiences, subjugation, and transformation. Together, the works attest to the diverse life and vitality of Indigenous cobweb arts today.

The artists featured in the exhibition include Lily Antone-Plass (Oneida Nation of Wisconsin), Sarah Berthelet-Villa (Oneida Nation of Wisconsin), Shirley Brauker (Trivial River Ring of Ottawa), Kelly Church (Ottawa/Potawatomi), Wilma Cook (Mohawk), Debra Fabian (Oneida Nation of Wisconsin), Karen Elise Goulet (White World Ojibwe), Martha Gradolf (Winnebago Tribe of Nebraska), Carla Hemlock (Kanienkehaka Mohawk Nation), Karen Ann Hoffman (Oneida Nation of Wisconsin), Terri Hom (Lac Courte Oreilles), Samantha Jacobs (Seneca), Holly John (Seneca), Penny Kagigebi (White Globe Ojibwe), Rick Kagigebi (Lac Courte Oreilles), James Kelly (Oneida Nation of Wisconsin), Pat Kruse (Ruby Cliff Band of Lake Superior Chippewa), Julia Marden (Aquinnah), Linda Lou Metoxen (Diné), Penny Minner (Seneca), Native Roots Arts Lodge (Iroquois), Salisha Ninham (Oneida Nation of Wisconsin), Melanie Tallmadge Sainz (Ho-Chunk), Scott Shoemaker (Myaamia), Stefanie Sikorowski (Oneida Nation of Wisconsin/Chickasaw Nation), Talon Silverhorn (Shawnee), Christopher Sweet (Ho-Chunk), Chholing Taha (Cree), Jeremy D. Turner (Shawnee), Shannon Marie Turner (Diné), Michelle D. Watson (Diné), and Jason Wesaw (Pokagon Band of Potawatomi).

This exhibition is supported by grants from the Maihaugen Foundation, Inc., and the Wisconsin Arts Lath.

2018

Fiber Arts in the Digital Age

September 27, 2018 – Jan 13, 2019

Living in the digital age ways inhabiting a fourth dimension where we are increasingly able to achieve what was previously unimaginable. This era has touched every attribute of life, and cobweb art is no exception. From artists designing their work via software to the benefits of digitally printing textiles, Fiber Arts in the Digital Age explores diverse fiber-based works that only exist due to modern technology. Each artist in the exhibition has contributed at least three works from a series to illuminate how working digitally enables them to expand on an idea, design, or pattern.

Fiber Arts in the Digital Age is curated by the museum and features fourteen artists from throughout the U.S. and one from the U.K. The artists include Jill Ault, Anna Chupa, Carolyn Crump, Jayne Bentley Gaskins, Meredith Re' Grimsley, Deborah Fell, Michael James, Patricia Kennedy-Zafred, Gay Lasher, Susie Monday, Olga Norris, Becka Rahn, Wen Redmond, Vicki Reed, and Charlotte Ziebarth.

This exhibit is sponsored past Susan Graham Wernecke and Beak Wernecke Jr.

13th Quilt Nihon

June 21 – September 23, 2018

This traveling international showroom features highlights from the acclaimed 2015 international quilt contest.  This biennial exhibition is the largest international quilting contest in Japan and ane of the most prestigious in the world. It is sponsored by the Japanese Handicraft Instructors Association, a group promoting handcrafted arts in Japan for over forty years. Winning quilts from their traveling showroom were first presented at the Tokyo Metropolitan Art Museum. The exhibit is split into ii categories, "Traditional" and "Contemporary."  WMQFA will be hosting a sampling of both.

Commemorating His Purple Reign: A Textural Tribute to Prince

March fifteen – June 17, 2018

The Wisconsin Museum of Quilts & Fiber Arts (WMQFA) is proud to be the commencement to host a new traveling exhibition defended to jubilant the life and art of Prince. Commemorating His Imperial Reign: A Textural Tribute to Prince is produced and circulated past the Textile Center in Minneapolis, Minnesota.

Prince non merely left behind grieving fans beyond the globe, but as well an impressive trunk of work and an inspiring legacy. This legacy inspired Dr. Carolyn Mazloomi to serve every bit both juror and curator to an fine art quilt exhibition  honoring his memory.

Bouquet of Appliqué

March fifteen – June 17, 2018

Traditional quilts featuring floral appliqué make up this mannerly spring themed exhibition with a focus on appliqué nuts. The Wisconsin Museum of Quilts & Cobweb Arts (WMQFA) is proud to present a new exhibition ex-clusively showcasing 9 traditional quilts from the museum's permanent drove. These quilts were selected because each highlights a different appliqué technique in a floral design.

2017

WMQFA Collection Highlights: Hexagons

February two – April 12, 2017

Quilt National '15

May 4 – July ix, 2017

Quilt National '15 is the 19th biennial exhibition of jury selected original and innovative contemporary quilts produced by The Dairy Barn Arts Centre. The quilts are the works of fiber artists representing 33 states and 8 different countries. The Wisconsin Museum of Quilts & Fiber Arts is proud to nowadays a selection of 25 of the 84 quilts exclusively chosen to be part of this special exhibition.

In Decease

July 13 – December iii, 2017

In Death channels human reactions to personal tragedy and mortality into fiber art. The Wisconsin Museum of Quilts & Fiber Arts is pleased to present a new group exhibition this summer. The bluntly titled exhibition, In Death, features over twenty gimmicky fiber artists from across the The states. On view July 13—Dec three, 2017, In Death lays blank the realities and mysteries associated with the end of life.

Lace: Works of Adornment

July 13 – December 3, 2017

The Wisconsin Museum of Quilts & Fiber Arts is very proud to denote it is the new custodian of a private collection consisting of hundreds of pieces of lace. A collection born of love, Lois Markus meticulously handpicked the pieces over the bridge of thirty years during her many travels between the United States and Europe. Markus writes, "I am and so excited my beautiful lace might find a abode where it can be admired." The collection was donated to the museum in 2015, turning Markus' hope into a reality.

Third Fiber Arts Biennale: Keeping Warm

December 7, 2017 – March 11, 2018

The Wisconsin Museum of Quilts & Fiber Arts (WMQFA) is proud to present a new exhibition exclusively showcasing Wisconsin artists. WMQFA is proud to continue its tradition of hosting a biennale for the sixth year running— a tradition almost as old equally the establishment itself.

The theme of this years Fiber Arts Biennale is "Keeping Warm" as per its slogan "Wisconsin'southward winters are common cold, but we know how to keep warm." This is a playful await at the way we bargain with the long winter months is both a applied and a whimsical mode.

2016

El Baúl de mi Abuelita: Costa Rican Cobweb Arts

January 14 – April 17, 2016

WMQFA is partnering with artist Patricia Sanabria-Friederich to bring an exhibition of Costa Rican fiber arts to the museum. Sanabria-Friederich, a native of Costa Rica, designs quilts inspired past the mosaic tiles found throughout Costa Rica. El Baúl de mi Abuelita translates to "My Grandmother's Trunk" and is the name of her family's quilt shop in Costa rica. Sanabria-Friederich and her relatives are helping the museum identify traditional Costa Rican textiles that volition be featured in the exhibition. These will include quilts made by Costa Rican quilters, Costa Rican ceremonial costumes, and dolls dressed in Costa Rican national dresses.

Woven Coverlets and Stevengraphs

Apr 21 – August 14, 2016

WMQFA is pleased to show off two of the museum's ain Collections in this exhibition. The James A. Taylor Coverlet Collection consists of 35 woven coverlets from the 19th century. The Stevengraph Collection are silk, Jacquard-woven novelties from the 19th century. Both Collections are being exhibited for the offset time.

Quilt Nihon

August 17 – November thirteen, 2016

Quilt Nippon is an exhibition featuring stunning and award-winning Japanese quilts, in both traditional and gimmicky styles, from Japan's largest quilt evidence. The exhibition is a collaboration betwixt the Japanese Handicraft Instructors' Association of Tokyo, Japan; National Quilt Museum of Paducah, Kentucky; New England Quilt Museum of Lowell, MA; International Quilt Study Middle and Museum of Lincoln, NE; and WMQFA. The four museums take partnered together to bring these amazing works of art to the United States. WMQFA will be the only place to run across these stunning artworks in the upper Midwest.

Folk Art

November 17, 2016 – February 2017

The Folk Art Costumes and Regalia exhibition is a collaborative effort with the Cedarburg Art Museum and Cedarburg Cultural Center. Each organization is focusing on a unlike aspect of folk art. WMQFA volition focus on traditional ethnic folk fine art costumes and regalia. The Cedarburg Fine art Museum is looking regionally at the Cedarburg's Christmas in the Country, celebrating the revival of folk art. The Cedarburg Cultural Center is looking at the future, inviting artists for a modern take on folk art.

2015

Colour In Motion

January 21 – Apr 12, 2015

Caryl Bryer Fallert-Gentry Retrospective. Virginia Avery Wearable Fine art Collection.

In Stitches

April xv – July 12, 2015

An exploration of embroidery and needle arts.

2nd Fiber Arts Biennale: Wisconsin State of the Art

July fifteen – October 18, 2015

Featuring Wisconsin artists from throughout the state.

From Insects to Elephants

October 21, 2015 – January 10, 2016

From creatures big to small, fiber artists accept been inspired by animals of all kinds.

2014

Modern Perspectives

Jan 8 – Apr 6, 2014

Celebrating modern and contemporary quilters!

From the Center

April 9 – June 22, 2014

Showcasing fiber art that explores grief, joy, promise, and healing. All of the artwork was created to benefit someone else in some way.

Traditions

June 25 – October 12, 2014

Featuring two quilting pioneers: Mary McElwain and Victoria Findlay Wolfe. McElwain operated a small quilt shop in Walworth, Wisconsin, that became famous world-wide. She pioneered dye cutting patterns and was a master promoter. Findlay Wolfe is a pioneer of modern and contemporary quilting.

Sheared Delights

Oct 15 – January xi, 2015

All things woolly and warm!

Program a Visit!

Our staff and volunteers are here to help make your visit every bit enjoyable and educational as possible. Please contact us with whatsoever questions you may have.

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Source: https://www.wiquiltmuseum.com/past-exhibits

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