This case study used ethnographic data collection tools to focus on the educational models and approaches used by the Tall Pines Quilt Guild (TPQG) in Huntsville, Texas. In this study I strove to explore the transfer of quiltmaking knowledge in a community-based art education organization, a quilt guild, and how those educational methods and models could be adapted to the museum setting. I became a member of the Guild and took on the research role of a participant observer to witness how the TPQG perpetuates the quilting craft for its members. Through observing various Guild events, such as monthly meetings, workshops, and bees I found the members frequently participated in cooperative and collaborative social learning. The rationale for undertaking this study was that there are many publications on how to make quilts, the history of quilt patterns, indexes of quilt patterns, quiltmakers' stories, quilt research, and quilt exhibition catalogues. However, proper documentation of the educational approaches used by women in quilt guilds has not been researched. Quilt guilds provide an environment where adults can learn and expand their knowledge about the quilting craft in the form of lifelong learning. By looking into how the Tall Pines Quilt Guild acts a community-based art education organization, the identified educational models used by quilt guilds could be employed at museums displaying quilt exhibits with potential program models and characteristics to inform the public about quilts, quiltmaking, and quilters. / text

In this arts-based study, I will discuss using craft techniques such as crazy quilting in the creative process of making art. The paper describes the history of crazy quilts, a brief summary of artists who use quilts as a medium, and a description of how teaching craft-making skills in the classroom can encourage students to use them for art-making.

A sense of place and time has been the unconscious focus of my adult life. While living in Hawaii I often searched for ancient rock carving sites. These art forms have the ability to convey the mystery, magic and history of previous times. I use human figures, beads and various textiles with similarities to these petroglyphs as a powerful metaphor for my search to find a place that is home

System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Nov. 2005 (Falstaff), Apr. 2, 2007, Mar. 30, 2008, and June 19, 2009. Includes bibliographical references (p. 41-43).

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In this arts-based study, I will discuss using craft techniques such as crazy quilting in the creative process of making art. The paper describes the history of crazy quilts, a brief summary of artists who use quilts as a medium, and a description of how teaching craft-making skills in the classroom can encourage students to use them for art-making.

Quilts can be blankets that keep you warm at night. They can be several pieces of fabric that are purposefully sewn together to make a beautiful, meaningful pattern. Quilts can be gifts. They can be pieces of artwork that someone has poured their heart into. Over time, quilts can become more meaningful to their owners. They can become a memory of their maker. I hope that the quilts I have made in the last year live on and become more meaningful in time. They are an expression of a young woman in 2017 and her quarrels with tradition.

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The AIDS Quilt Songbook was a musical response to the shame surrounding the outbreak of the HIV virus and was one of the first art song publications to deal with the topic of HIV and AIDS. This DMA thesis documents the significance and history of the AIDS Quilt Songbook, traces the progression of the project up until December 1, 2008, and documents the work, experiences, and words of the composers who have been inspired to contribute to the AIDS Quilt Songbook Project. In 1981, the medical and popular press reported the first cases of a quickly spreading virus among homosexual males. This virus is currently diagnosed as HIV and AIDS. Lack of funding consumed the early years of what grew to become a national pandemic. The artistic community was one of the major catalysts for funding and education. Cleave Jones and other gay rights activists developed the NAMES Project as a memoriam for those lost to the pandemic. The AIDS Quilt Songbook was created to parallel the AIDS Quilt as "a never-ending work whose meaning and spirit is renewed and redefined with every addition." This concept of additions has continued the expansion of the AIDS Quilt Songbook Project from 1993 to the additions premiered on December 1, 2008 (World AIDS Day) at The Court Theater in Chicago, Illinois, entitled the "Chicago AIDS Quilt Songbook: A Benefit for Season of Concern." The AIDS Quilt Songbook project has sixty-seven documented additions, but only eighteen of the sixty-seven additions are collected. This thesis examines the events, compositions and experiences of the composers: Chris DeBlasio, Ricky Ian Gordon, Daniel Kallman, Cary John Franklin, and Evan Kuchar, who submitted compositions to the AIDS Quilt Songbook between 1991 and 2008. The compositions examined are: Walt Whitman in 1989 by DeBlasio, I Never Knew by Gordon, When I am dead, my dearest by Kallman, As Imperceptibly as Grief by Franklin, and Death Spiral by Kuchar.

Over the years I have created many different images and explored a variety of media along my artistic journey. Similar images continue to occur in my work - images from my life as a child and as an adult in rural settings. I lived on a poultry farm and was involved in working with my parents there. When I married, my husband was a cattle farmer so I continued to live on a farm and use rural images in my work. Living in the country makes me constantly aware of the relationship between God, nature and man. I believe that we can find beauty in the most ordinary objects or places. My artwork is intended to help others find this beauty.