quilt-making

I saw Ginger Brooks Takahashi's work in the art auction for the Lesbian Herstory Archive. Although her work spans illustration, multimedia, wall hangings, and music, the themes of sexuality, gender, and community run throughout. (Rabbits also seem to be a motif).

Whether it's her involvement with the Mobilivre Bookmobile, where a super cute a 1959 Airstream Overlander trailer, interior-redecorated as a mini-zine and book arts store toured the country, or Butch in the Bog, a collaboration with Celeste Dupuy-Spencer, it's clear that aesthetic is as important as community building to her. As she told the New York City News Service, "As an artist, I like to create situations for people to come together and to have an encounter."

I first saw a selection of the Gee's Bend quilts at The Museum of African Diaspora in San Francisco. I'd never had anything against quilts before that, they just never struck me all that much. I couldn't deny that socially, they can bring women and family together in making and sharing them, but the generally rigid/symmetrical patterns, and often pastel colors and mixed floral prints, didn't grab me. But when I laid eyes on a Gee's Bend quilt for the first time, I was truly moved by not just the story behind it, but moved on a gutteral level by the beauty of the object itself.