Philip Johnson's Glass House in New Canaan, Connecticut, seems small before you enter it. I always like to use people to delineate scale. See how spacious this space really is? And, just think -- with no screens, no operable windows, the only air movement is from a door in the center of each wall.
My friend Kathy enlightened me on sewing an inset corner. With practice I might just get it. I've drawn the seam lines, cut away leaving just 1/4" seam allowance, and reinforced the corner by sewing. Now I am snipping to that corner, and will sew in the piece starting in the corner. Practice makes perfect.
A bit of a zig-zag seam had me pulling out the freezer paper to make a template to get the shapes just right. Since I had the pieces decided, it was all right to use the template on the front, rather than ironing it to the back, like usual.
Boscobel, the early 19th century home overlooking the Hudson river, encourages art from this 21st century. Wish I knew the artist of this metal globe. In the background are more wonderful spheres. I want to make some and do some lawn rolling.
Another museum visit, this one to the Museum of Art and Design in NYC. Glass layered over and over for a brilliant effect in a room screen. The work of Miriam Ellner is called "Fata Morgana" and has four panels made with eglomise glass which is glass that is gilded on the back with gold or metal leaf.
Seen at the American Folk Art Museum last week, this center medallion quilt features a printed square by John Hewson. Hewson, a calico printer, challenged the authority of the British over colonial America through his printing on fabric. This center panel is his trademark. The quilt from an unidentified quilter dates to 1790- 1810.
Carl Klewicke, who lived from 1835-1913 in Corning, New York, finished this pieced silk quilt for his adopted daughter around 1907. It took him years to make, and was a wedding present for his daughter. I came across this at the Folk Art Museum in NYC this weekend. Takes my breath away.
Piper Shepard made "Lace Meander" in 2006 from gessoed muslin coated with graphite and cut with an X-Acto knife. Now in the collection of the Museum of Art and Design in NYC, the work is more than 12' tall an as wide. It took a year to complete.
Charles Jame's work of fashion, from the 30s to the 50s, is highlighted in an exhibition at the Metropolitan Museum of Art. Credited with designing the first strapless gown, a precursor to the down jacket, and gowns that were more sculpture than utility, James was a master of form.
Impossible to see in this shot, nevertheless, I did tour the home of America's first designer name, Russel Wright today. Set into the hill and overlooking a quarry, the home is an experiment in form and materials. Wonderful to visit.
The gardens of the Arkell Museum in Cananjoharie, New York, were fresh from a rain. The Winslow Homers were on loan, so I toured the collection in the museum of the founder of Beech-Nut. A new place to visit today.
This is the back of my last work. I love to just draw with the quilted stitch. Usually I hide the stitch in the background fabric, but this time it shows up, which I like. When I use my own fabric, it is lovely to follow the design that I put down.
How funny is it to have this be post #1111? I think that I may have missed two of the days, but all the rest of the posts have been one every night. Night after night. My challenge to myself. Go ahead, dip your oar.
Denise Mucci Furnish's 1986 work "Snakes and Ladders" was made from an old worn out Double Wedding Ring quilt that she overpainted. When I saw this at the Vermont Quilt Festival last weekend, it seemed so modern. Guess that is the point of showing it.