Coverlet (Section) c. 1940

Curator: Looking at "Coverlet (Section)" created around 1940 by Ruth M. Barnes, it appears to be a mixed-media design, likely intended as a weaving draft. We see a meticulous geometric pattern in shades of blue and white. Editor: It strikes me as strikingly modern, despite its age. There’s something almost digital about the blocky, pixelated forms. You can almost feel the grid it's built on. Curator: Indeed. Quilts and coverlets were, historically, very important in communities and the creation of such textiles would often be communal in nature. Editor: This particular work being on paper suggests it functions less as the ‘end product’ and more a study, a blueprint, which really underscores the process, the planning involved. What labor was needed to translate this sketch? Curator: Exactly. These coverlets also were symbols of social status and family history; the patterns would often be passed down. It reflects the individual artist’s place within that context of textile production, a key part of decorative arts. Editor: So much textile work has historically been overlooked in art history – deemed craft, not ‘art’. But pieces like this force us to reconsider the role of women's labor, skill and design that have too long been rendered invisible. Curator: Absolutely. It challenges our notions of high art versus craft and demands we examine the social implications inherent within material culture. The choice of repeating geometric shapes speaks to this blend. Editor: And beyond geometry, I’d note a resemblance with the kind of imagery and composition you might expect from works that embrace ‘pattern-and-decoration’. Curator: A connection I share as the social values associated with pattern and ornamentation changed as they were being elevated within fine art discourses. What do you make of that dark background? Editor: The indigo lends a real depth and complexity; there’s an emotional resonance to such pieces born out of utilitarian need but rich in social narratives. The choice is interesting, to bring that out as its ground instead of using a more natural fiber. Curator: Right. The work invites conversations about access, privilege, design history. Hopefully we were able to invite them, too, today. Editor: It’s about remembering art, in all its diverse forms, reflects and is interwoven with lives, both rich and obscured by history.