Quilts as Visual History—Notes
[1] Suzanne Yabsley. Texas Quilts, Texas Women. (College Station: Texas A&M University Press, 1984), xiii.
[2] Van E. Hillard, “Census, Consensus, and the Commodification of Form: The NAMES Project Quilt.” In Quilt Culture Tracing the Pattern, ed. Cheryl B. Torsney and Judy Elsley (Columbia, MO: University of Missouri Press, 1994), 112, 118.
[3] See Jacqueline Tobin. Hidden in Plain View: The Secret Story of Quilts and the Underground Railroad (New York: Doubleday, 1999); Marsha Macdowell, ed. African American Quiltmaking in Michigan (East Lansing, MI: Michigan State University Press, 1994).
[4] See, for example: Yabsley, Texas Quilts; Ruth Haislip Roberson, ed. North Carolina Quilts (Chapel Hill: University of North Carolina Press, 1988); Joyce D. Hammond, T’ifaifai and Quilts of Polynesia (Honolulu: University of Hawaii Press, 1986); Carolyn O. Davis, Hopi Quilting: Stitched Traditions from Ancient Community (Tucson: Sanpete Publications, 1997); Robert Charles Bishop, A Gallery of Amish Quilts: Design Diversity from a Plain People (New York: Dutton, 1976); Kae Covington. Gathered in Time: Utah Quilts and Their Makers, Settlement to 1950 (Salt Lake City: University of Utah Press, 1997).
[5] Elaine Hedges. Hearts and Hands: The Influence of Women and Quilts on American Society (San Francisco: Quilt Digest Press, 1987), 66, 85.
[6] Hedges, 63.