Section One-Narrative Quilts 

These quilts tell stories or describe historical events. Since most African Americans weren’t allowed to learn to read or pursue any sort of education during slavery, they had to record their own history and messages with pictures. Quilting was a creative way of getting messages out in a way that slaveowners would overlook. After all, slaves were forced to make quilts for the mistress of the plantation, so anyone giving a glance would just see a slave working (Butler). Quilting was a clever way for slaves to fight for freedom under the radar of their oppressors. The brutality of slavery forced African Americans to think outside the box when it came to doing anything under the watch of a slaveowner; bloody beatings and death were staple punishments during the time. The tradition of telling stories through quilting has survived throughout slavery and into the present. Artemesia Bowden-Visionary and Mrs. Zadora Whitlow McCoy: Girl Scout Trailblazer focus on the impacts that their respective namesakes had on present-day San Antonio (“Quilt Circle”). Lunch Counter serves as a memorial for the sit-ins that took place during the Civil Rights movement. As society evolves and changes towards equality, so do our art forms. 

Section Two-Scrap Quilts 

Scrap quilts are known for their colorful patterns. This type of quilt is made of multiple kinds of fabric; they used to be made of actual scraps during slavery, but this isn’t the case anymore (“African American Quilting”). It’s important to note that nothing about this kind of quilt looks scrappy. “Scrap” quilts are usually complex, colorful, and come from intentionally bought materials. This style comes from taking strips of fabric and stitching them together into a pattern. Some patterns appear to be abstract, and others make shapes or scenery. Fabric Queen is a good example of how vastly different patterns of fabric can come together and blend well (“Quilt Circle”). The queen’s dress in the quilt has shape to it, whereas her wand is letting loose a free form. A quilt from the ITC is an example of a more abstract design. It’s made up of shapes that come together to make a beautiful composition. There are pinks, blues, and oranges throughout the quilt that make the patchwork more interesting. This genre of quilt is unique and allows the quilter to experiment with color and shape. As a reward for careful planning, the creator ends up with a colorful quilt. It’s interesting to see how long quilting has been done in America, and it’s even more amazing to see what quilters can do when the proper materials are available to more and more people. 

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It’s important to note that quilting has been used to fight the bitter cold during slavery and then to make money for the free afterwards. Through every trial, it was and is an art form. This exhibit has a large focus on the quilts made by the AAQCSA (African American Quilting Circle of San Antonio), a nonprofit organization that honors the history of Black quilting (“AA Quilt”). This group serves as a community that allows African Americans to learn about their history, record it, and build new relationships along the way (“About AAQCSA”). The purpose of this exhibit is to honor the history and craft of Black quilting, which we’re more aware of, thanks to AAQCSA. We hope you enjoy it and learn something new.

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Marueen Walker

Krystal Ramos

Morgan Gaugler

Works Cited 

African American Quilt Circle of San Antonio Collection, UTSA Special Collections. 

“African American Quilting: A Long Rich Heritage.” African American Quilting From Slavery to the Present, http://www.womenfolk.com/quilting_history/afam.htm. 

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Benavides, James. “Object: Quilt.” UTSA Institute Of Texan Cultures, 9 May 2022, https://texancultures.utsa.edu/collection-blog/object-quilt-3/. 

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Butler, Alana. “Quiltmaking among African-American women as a pedagogy of care, empowerment, and sisterhood.” Gender and Education, vol. 31, 2019, pp. 590-603., Taylor and Francis Online, https://www-tandfonline-com.libweb.lib.utsa.edu/doi/citedby/10.1080/09540253.2019.1594708?scroll=top&needAccess=true. Accessed 18 October 2022.