PRESS RELEASE

Press Relations Agence Catherine Dantan Marie Decap 7, rue Charles V - 75004 Paris Tél. : 01 40 21 05 15 Email : [email protected] 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 6070 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 XXth 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 [email protected]. As space is limited for all of our conferences, gallery talks and performances, please reserve at [email protected].




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 [email protected]. 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 BestDressed 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 20th 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 : [email protected] 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 [email protected] www.catherine-dantan.fr

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