Podcast appearances and mentions of harriet powers

Today's episode features: Folk Artist Harriet Powers Sponsored by ⁠⁠⁠2 Complicated 4 History⁠⁠⁠ Produced by ⁠Primary Source Media⁠

Drawing on letters, personal testimony, works of art, novels, and historic Black newspapers, this book is an interdisciplinary exploration of Black women's contributions to the intellectual life of nineteenth-century America. Rebecca J Fraser's book Black Female Intellectuals in 19th Century America: Born to Bloom Unseen? (Routledge, 2022) reconceptualizes the idea of what the term "intellectual" means through its discussions of both familiar and often forgotten Black women, including Edmonia Lewis, Harriet Powers, Sojourner Truth, and Harriet Tubman, amongst others. This re-envisioning brings those who have previously been excluded from the scholarship of Black intellectualism more generally, and Black female intellectuals specifically, into the center of the debate. Importantly, it also situates the histories of Black women participating in the intellectual cultures of the United States much earlier than most previous scholarship. This book will be of interest to both undergraduate and postgraduate specialists and students in the fields of African American history, women's and gender history, and American studies, as well as general readers interested in historical and biographical works. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

Drawing on letters, personal testimony, works of art, novels, and historic Black newspapers, this book is an interdisciplinary exploration of Black women's contributions to the intellectual life of nineteenth-century America. Rebecca J Fraser's book Black Female Intellectuals in 19th Century America: Born to Bloom Unseen? (Routledge, 2022) reconceptualizes the idea of what the term "intellectual" means through its discussions of both familiar and often forgotten Black women, including Edmonia Lewis, Harriet Powers, Sojourner Truth, and Harriet Tubman, amongst others. This re-envisioning brings those who have previously been excluded from the scholarship of Black intellectualism more generally, and Black female intellectuals specifically, into the center of the debate. Importantly, it also situates the histories of Black women participating in the intellectual cultures of the United States much earlier than most previous scholarship. This book will be of interest to both undergraduate and postgraduate specialists and students in the fields of African American history, women's and gender history, and American studies, as well as general readers interested in historical and biographical works. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Drawing on letters, personal testimony, works of art, novels, and historic Black newspapers, this book is an interdisciplinary exploration of Black women's contributions to the intellectual life of nineteenth-century America. Rebecca J Fraser's book Black Female Intellectuals in 19th Century America: Born to Bloom Unseen? (Routledge, 2022) reconceptualizes the idea of what the term "intellectual" means through its discussions of both familiar and often forgotten Black women, including Edmonia Lewis, Harriet Powers, Sojourner Truth, and Harriet Tubman, amongst others. This re-envisioning brings those who have previously been excluded from the scholarship of Black intellectualism more generally, and Black female intellectuals specifically, into the center of the debate. Importantly, it also situates the histories of Black women participating in the intellectual cultures of the United States much earlier than most previous scholarship. This book will be of interest to both undergraduate and postgraduate specialists and students in the fields of African American history, women's and gender history, and American studies, as well as general readers interested in historical and biographical works. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Drawing on letters, personal testimony, works of art, novels, and historic Black newspapers, this book is an interdisciplinary exploration of Black women's contributions to the intellectual life of nineteenth-century America. Rebecca J Fraser's book Black Female Intellectuals in 19th Century America: Born to Bloom Unseen? (Routledge, 2022) reconceptualizes the idea of what the term "intellectual" means through its discussions of both familiar and often forgotten Black women, including Edmonia Lewis, Harriet Powers, Sojourner Truth, and Harriet Tubman, amongst others. This re-envisioning brings those who have previously been excluded from the scholarship of Black intellectualism more generally, and Black female intellectuals specifically, into the center of the debate. Importantly, it also situates the histories of Black women participating in the intellectual cultures of the United States much earlier than most previous scholarship. This book will be of interest to both undergraduate and postgraduate specialists and students in the fields of African American history, women's and gender history, and American studies, as well as general readers interested in historical and biographical works. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Drawing on letters, personal testimony, works of art, novels, and historic Black newspapers, this book is an interdisciplinary exploration of Black women's contributions to the intellectual life of nineteenth-century America. Rebecca J Fraser's book Black Female Intellectuals in 19th Century America: Born to Bloom Unseen? (Routledge, 2022) reconceptualizes the idea of what the term "intellectual" means through its discussions of both familiar and often forgotten Black women, including Edmonia Lewis, Harriet Powers, Sojourner Truth, and Harriet Tubman, amongst others. This re-envisioning brings those who have previously been excluded from the scholarship of Black intellectualism more generally, and Black female intellectuals specifically, into the center of the debate. Importantly, it also situates the histories of Black women participating in the intellectual cultures of the United States much earlier than most previous scholarship. This book will be of interest to both undergraduate and postgraduate specialists and students in the fields of African American history, women's and gender history, and American studies, as well as general readers interested in historical and biographical works. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Drawing on letters, personal testimony, works of art, novels, and historic Black newspapers, this book is an interdisciplinary exploration of Black women's contributions to the intellectual life of nineteenth-century America. Rebecca J Fraser's book Black Female Intellectuals in 19th Century America: Born to Bloom Unseen? (Routledge, 2022) reconceptualizes the idea of what the term "intellectual" means through its discussions of both familiar and often forgotten Black women, including Edmonia Lewis, Harriet Powers, Sojourner Truth, and Harriet Tubman, amongst others. This re-envisioning brings those who have previously been excluded from the scholarship of Black intellectualism more generally, and Black female intellectuals specifically, into the center of the debate. Importantly, it also situates the histories of Black women participating in the intellectual cultures of the United States much earlier than most previous scholarship. This book will be of interest to both undergraduate and postgraduate specialists and students in the fields of African American history, women's and gender history, and American studies, as well as general readers interested in historical and biographical works. Learn more about your ad choices. Visit megaphone.fm/adchoices

Drawing on letters, personal testimony, works of art, novels, and historic Black newspapers, this book is an interdisciplinary exploration of Black women's contributions to the intellectual life of nineteenth-century America. Rebecca J Fraser's book Black Female Intellectuals in 19th Century America: Born to Bloom Unseen? (Routledge, 2022) reconceptualizes the idea of what the term "intellectual" means through its discussions of both familiar and often forgotten Black women, including Edmonia Lewis, Harriet Powers, Sojourner Truth, and Harriet Tubman, amongst others. This re-envisioning brings those who have previously been excluded from the scholarship of Black intellectualism more generally, and Black female intellectuals specifically, into the center of the debate. Importantly, it also situates the histories of Black women participating in the intellectual cultures of the United States much earlier than most previous scholarship. This book will be of interest to both undergraduate and postgraduate specialists and students in the fields of African American history, women's and gender history, and American studies, as well as general readers interested in historical and biographical works. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-south

Season 15 continues!!! We meet our dear friend Katy Hessel!!!! Art historian, podcaster, author and presenter. She is best known for creating and curating The Great Women Artists; under this label, she runs an Instagram account and a successful podcast named by British Vogue as one of the top podcasts of 2021. In 2020, Katy wrote and presented a documentary on Artemisia Gentileschi for BBC Four's Inside Museum series, followed by a documentary on Monet in for BBC Four's Art on the BBC entitled The French Revolutionary and an appearance on BBC Two's Inside Culture with Mary Beard. Beyond the BBC, Katy has presented films for the likes of Dior, the Tate, the Barbican, the Royal Academy of Arts, and the National Portrait Gallery. She has engaged in keynote speeches and panel events at the Oxford Union, Intelligence Squared, and the National Gallery, and has curated exhibitions at Victoria Miro, Timothy Taylor, and the Tate Modern. In 2021, Katy was named one of Forbes' 30 Under 30 in Arts and Culture. In 2022, Katy published her debut book, The Story of Art Without Men, to much fanfare and critical acclaim, hitting the Sunday Times' bestseller list in its first week of publication. How many women artists do you know? Who makes art history? Did women even work as artists before the twentieth century? And what is the Baroque anyway? Discover the glittering Sofonisba Anguissola of the Renaissance, the radical work of Harriet Powers in the nineteenth-century USA and the artist who really invented the Readymade. Explore the Dutch Golden Age, the astonishing work of post-War artists in Latin America and the women artists defining art in the 2020s. Have your sense of art history overturned, and your eyes opened to many art forms often overlooked or dismissed. From the Cornish coast to Manhattan, Nigeria to Japan this is the history of art as it's never been told before.​Follow @Katy.Hessell on Instagram. Thanks for listening!!! Hosted on Acast. See acast.com/privacy for more information.

Katy Hessel is an art historian, broadcaster and curator dedicated to celebrating women artists from all over the world. How many women artists do you know? Who makes art history? In her new book, THE STORY OF ART WITHOUT MEN, Katy Hessel challenges the canon as we know it and showcases the female and gender non-conformist artists who are so often excluded from the history books. Discover the glittering Sofonisba Anguissola of the Renaissance, the radical work of Harriet Powers in the nineteenth-century USA, and the artist who really invented the Readymade. Explore the Dutch Golden Age, the astonishing work of post-War artists in Latin America, and the women artists defining art in the 2020s. This is the history of art as it's never been told before. 5x15 brings together five outstanding individuals to tell of their lives, passions and inspirations. There are only two rules - no scripts and only 15 minutes each. Learn more about 5x15 events: 5x15stories.com Twitter: www.twitter.com/5x15stories Facebook: www.facebook.com/5x15stories Instagram: www.instagram.com/5x15stories

On this special episode, male-identifying hosts Matt Hennessey and Ryan Edgington have been excommunicated from the programme in favour of guest hosts Lydia Porter and Alessia Arcuri who spoke to Katy Hessel about her new book, "The Story of Art Without Men." How many women artists do you know? Who makes art history? Did women even work as artists before the twentieth century? And what is the Baroque anyway?Discover the glittering Sofonisba Anguissola of the Renaissance, the radical work of Harriet Powers in the nineteenth-century USA, and the artist who really invented the Readymade. Explore the Dutch Golden Age, the astonishing work of post-War artists in Latin America, and the women artists defining art in the 2020s. Have your sense of art history overturned, and your eyes opened to many art forms often overlooked or dismissed. From the Cornish coast to Manhattan, Nigeria to Japan this is the history of art as it's never been told before....And lest you had previously considered this show to be too male-dominated, this quasi-tokenistic act of self-immolation on the part of Matt and Ryan now permits us to never again address any future criticisms you may have about this fine programme. Especially if they are warranted.As always, we will continue to accept flattery and well wishes, as well as the occasional pint. This is The Hatchards Podcast... without men.

On this weeks episode of Fatal Fortunes, Al and Nathan discuss the life and works of HARRIET POWERS (1837-1910) including discussion of womxn's creative expression through the visual arts. #OnTuesdaysWeTalkGhosts WEBSITE: fatalfortunes.com PATREON: patreon.com/fatalfortunespodcast INSTAGRAM: @fatalfortunes The Four Seasons (Vivaldi) by John Harrison with the Wichita State University Chamber Players (http://www.johnharrisonviolin.com/) is licensed under a Attribution-ShareAlike 3.0 International License (http://creativecommons.org/licens

Economist Betsey Stevenson shares the latest data on the impact of the pandemic on women in the workforce, and our listeners weigh in with their parenting stories. And, Harriet Powers, who lived in Georgia in the 1800s, is considered to be at the forefront of the African American story quilt tradition. As WBUR's Amelia Mason reports, two of her only surviving quilts were recently exhibited together for the first time.

Learn about female quilt makers, Harriet Powers, Aunt Ellen, and Aunt Margret! Host: Payton Hamilton Music by Auronegro from Pixabay --- Send in a voice message: https://anchor.fm/black-art-bulletin/message

Just three days to NaPodPoMo (national podcast post month) Today is National Internet Day. Why? Well on this day in 1969 - 52 years ago - Charley Kline, a young grad student on the UCLA campus sent the first internet message to his colleague, Bill Duvall, at Stanford. Another man, a computer scientist named Joseph Licklider, also deserves credit for being an internet pioneer with an early vision of a worldwide computer network long before it was built. Born on this day in 1837 in Clarke County, Georgia, African-American slave and quilt maker Harriet Powers. Today's word is appliqué.

Today is the birthday Harriet Powers (1937). Folk artist and quilt maker she was born into slavery outside Athens, Georgia (1837). Her quilts hang in the Smithsonian and the Museum of Fine Arts in Boston.

Quilts, and textiles in general, have a funny way of being overlooked by the fine art world. They're dismissed as craft, as outsider, as “women's work,” or as potentially uninteresting museum exhibits. But some quilts, and some quilters, tell their stories, explain our histories, and simply refuse to be denied. This episode was produced in partnership with the Museum of Fine Arts, Boston. The exhibition “Fabric of a Nation: American Quilt Stories” is on view until January 17, 2022. See the images: https://bit.ly/3jNT4FZ Music used: The Andrews Sisters, "Bei Mir Bist Du Schoen" Blue Dot Sessions, “Moon Bicycle Theme,” “Stucco Blue,” “Coronea,” “Lumber Down,” “Velvet Ladder,” “Gale” Get tickets to the exhibition: https://bit.ly/3GAli0M Support the show: www.patreon.com/lonelypalette

In this episode Sherri has the pleasure to speak with Jeniffer Swope, curator of the "Fabric of a Nation: American Quilt Stories" exhibition at the Museum of Fine Arts, Boston. Jennifer shares information about the exhibition (which is currently up and running now) as well as a publication that can be purchased from the MFA's website. She then shares 8 different quilts that are being featured in the exhibition and speaks on the cultural and historical significance of each quilt. More information on this exhibition can be found below.Show Notes Blog Post: https://www.aquiltinglife.com/2021/10/a-quilting-life-podcast-episode-40-show-notes.html/Under the Tree (Quilt on the Wall): https://tidd.ly/3m4ZCBuPlaza (Quilt on the Table): https://tidd.ly/3prRvkyFabric of a Nation Exhibition Website (Where tickets can be purchased): https://www.mfa.org/exhibition/fabric-of-a-nationFabric of a Nation Publication: https://www.mfa.org/publication/fabric-of-a-nationFabric of a Nation: American Quilt Stories InformationQuilts and coverlets, used in North America since the 17th century, have a unique capacity to tell stories. Their tactile making by hand and their traditional use in the home impart deeply personal narratives of their creators, and the many histories they express reveal a complex record of America. Upending expectations about quilt displays—traditionally organized by region, form or motif—Fabric of a Nation: American Quilt Stories is a loosely chronological presentation that is divided into seven thematic sections and incorporates the perspectives of artists, educators, academics and activists.More than 50 works on view include remarkable examples by an under-recognized diversity of artistic hands and minds from the 17th century to today, including female and male, known and unidentified, urban and rural makers; immigrants; and Black, Latinx, Indigenous, Asian and LGBTQ+ Americans. Standouts include Pictorial Quilt (1895–98), an icon of the MFA's collection and one of only two known surviving quilts by Harriet Powers, an exceptional artist and storyteller born into slavery in 1837, and the recently acquired To God and Truth (2019), a vibrantly colorful and elaborately patterned work by contemporary artist Bisa Butler. While celebrating the artistry and intricacy of quilts and coverlets and the lives they document, the exhibition also invites visitors to consider the complicated legacies ingrained in the fabric of American life.Visit the A Quilting Life YouTube channel for more great video content: https://www.youtube.com/channel/UCmSR-jDR956ATQe30JHX87wEnjoy what you heard? Be sure to rate and review us on Apple Podcasts and your review could be read on the show! 

Show Notes:0:57 - David and Roberta Logie Department of Textile and Fashion Arts1:01 - Museum of Fine Arts, Boston1:07 - Boston 3:08 - Winterthur Program, American Material Culture 5:29 - MFA (Museum of Fine Arts, Boston)5:36 - Fabric of a Nation: American Quilt Stories5:46 - Grab tickets to visit the Fabric of a Nation: American Quilt Stories exhibition 5:48 - MFA (Museum of Fine Arts, Boston)6:14 - Logan International Airport7:30 - Quilts and Color. The Pilgrim / Roy Collection 7:40 - Quilts and Color. The Pilgrim / Roy Collection catalogue 7:52 - MFA (Museum of Fine Arts, Boston)7:57 - Quilts of Gee's Bend8:26 and 8:44 - The Pilgrim / Roy collection 8:47, 8:51 and 9:33 - Gerald Roy8:48, 8:56 and 9:38 - Paul Pilgrim9:06 - Josef Albers9:48 - Brimfield10:02 and 10:05 - Amish12:11- Quilt and craft revival 12:23 - Studio craft movement14:24 - Carla Hemlock14:26 - Kahnawake Mohawk14:33 - Beading work 15:39 - Ivy league school17:46 - The Ann and Graham Gund Gallery19:17 - Foam core galleries19:29 - Quilts and Color. The Pilgrim / Roy Collection 19:44 - Fabric of a Nation: American Quilt Stories exhibition 20:09 - Foam core galleries20:15 - Kyla Hygysician22:48 - Poston Internment Camp22:50 - Arizona22:52 - World War II22:52 - Masako Hirata22:53 - Quilt by Japanese American kids in the Poston Internment Camp22:56 - Masako Hirata's fourth grade class 23:04 - National Japanese American Historical Society 23:05 - San Francisco23:35 - Harriet Powers's Bible Quilt23:39 - MFA (Museum of Fine Arts, Boston)23:40 - Harriet Powers's Pictorial quilt23:49 - Harriet Powers24:30 - Michael Thorpe (@iversonsdurag)24:21 - New York 24:23 - Newton, Massachusetts24:31 - Longarm quilting machine 24:37 - George Floyd24:46 - Michael Thorpe's quilt and poem 25:00 - Applique26:48 - Poston Internment Camp fourth grade class quilt 26:56 - World War II27:03 - Civil War27:10 - Applique 28:12 - Civil War29:10 - Harriet Powers29:53 - Harriet Powers's Pictorial quilt29:55 - Memphis World Fair of 189731:07 - Museum of Fine Arts, Boston32:43 - Steely Dead32:46 - Denver33:24 - John and Hank Green 33:34 - Indiana33:47 - Quilt Buzz34:10 - Log Cabin traditional quilt block 34:14 - Four-Patch traditional quilt block 34:16 - Nine-Patch traditional quilt block34:30 - Gerald Roy34:34 - Paul Pilgrim34:57 - Resist-dyed textile techniques 36:22 - Wholecloth quilts 36:23 - Victorian Crazy quilts 36:25 - Traditional sampler quilts 36:53 - Harriet Powers36:59 - Fabric of a Nation: American Quilt Stories exhibition 37:05 - Quilts and Color. The Pilgrim / Roy Collection exhibition 37:11 - Faith Ringgold's quilt, Dream 2: King of the Sisterhood (1988)37:36 - Fabric of a Nation: American Quilt Stories exhibition 37:38 - Applique37:47 - Tie dye37:53 - Faith Ringgold37:54 - Sharpie28:05 - Dr Martin Luther King 38:09 - Fannie Lou Hamer38L10 - Rosa Parks38:16 - Civil Rights movement38:25 - Sylvia Hernández38:26 - Williamsburg, Brooklyn38:44 and 38:54 - Connecticut 39:42 - Faith Ringgold39:45 - Harriet Powers39:55 - Susan Hoffman 40:02 - Bisa Butler 40:08 - Fabric of a Nation: American Quilt Stories exhibition 40:56 - Museum of Fine Arts, Boston website41:21 - MFA (Museum of Fine Arts, Boston)Click here for more information on Fabric of a Nation: American Quilt Stories and how to visit the museumFollow us:Amanda: @broadclothstudio https://broadclothstudio.com/Wendy: @the.weekendquilter https://the-weekendquilter.com/Anna: @waxandwanestudiohttps://www.waxandwanestudio.com/Quilt Buzz: @quilt.buzzhttps://quiltbuzzpodcast.com/Intro/Outro Music:Golden Hour by Vlad Gluschenko

The true story about Harriet Powers ab American quilter and folk artist.

Kyna Clemons is a textile quilt artist, activist, and home-school educator in the Washington DC metropolitan area, founder of Ujima Children of the Sun Homeschool Collective. A graduate of Howard University, Ms. Clemons draws inspiration for her quilts from the work and life of Harriet Powers, an enslaved African-American folk artist and quilt maker. Ms.Clemons and her husband, George Clemons, are proud parents of seven children, whom they have home-educated together for over fifteen years. Learn more about her work at:https://www.facebook.com/Ujimachildre... --------------- Black Family Homeschool Educators and Scholars (BFHES) Network was created by Dr. Cheryl Fields-Smith and Dr. Khadijah Z. Ali-Coleman. Dr. Fields-Smith is the most prolific scholar of research focused on Black homeschooling families. Dr. Ali-Coleman is a homeschooling parent, community organizer and scholar who recently completed research on African-American dual-enrolled homeschooled students. Both wanted to create the teach-in to bring together practitioners and researchers to share ideas and identify the ways Black homeschooling families thrive. Learn more about Black Family Home Educators & Scholars Teach-In at http://www.blackfamilyhomeschool.org --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

It's been a great opportunity for us to learn and connect with so many colleagues, new listeners and friends!Hey it's The King & Eye Life Podcast Team:Listen to this recording as a podcast by subscribing here: https://anchor.fm/king-and-jeff Find us on YouTube: The King & Eye Life Podcast - YouTube Find us on Facebook: https://www.facebook.com/SunSoulX369 Stay in touch with us via email: kingandeye369@gmail.com --- Send in a voice message: https://anchor.fm/king-and-jeff/message Support this podcast: Pay $KingAndEyeLife on Cash AppThis episode is sponsored by· Anchor: The easiest way to make a podcast. https://anchor.fm/appSend in a voice message: https://anchor.fm/king-and-jeff/message

RIP Ruth Bader Ginsburg. Von den Gerichten zur Kunst: Frauenwerke verdienen bei den Auktionen, laut einer Studie aus dem Jahr 2017, die Hälfte, die Männerwerke erzielen. Dabei ist klar: In dreissig Jahren werden all diese grossen Männer-Millionensammlungen kaum mehr Wert haben, da wir alle Frauenkunst gesammelt haben, die die Welt verändert. Doch hier die Lieblinge von der Rohnerin und laStaempfli.

Harriet Powers, a slave from Georgia, transformed the traditional communal art of quilting into a free and creative expression. Journey with me through one of two surviving works, "Pictorial Quilt.".Image credit: Boston Museum of Fine Arts. Resources for this episode include: Boston MFA, Smithsonian American Art Museum, writings by Whitney Chadwick ("Women, Art and Society") Samantha Moreno, Michelle Cliff, Cheryl Rivers, Carol Crown and contemporary quilter Peggie Hartwell (peggiehartwell.com)

Harriet Powers, a slave from Georgia, transformed the traditional communal art of quilting into a free and creative expression. Journey with me through one of two surviving works, "Pictorial Quilt.".Image credit: Boston Museum of Fine Arts. Resources for this episode include: Boston MFA, Smithsonian American Art Museum, writings by Whitney Chadwick ("Women, Art and Society") Samantha Moreno, Michelle Cliff, Cheryl Rivers, Carol Crown and contemporary quilter Peggie Hartwell (peggiehartwell.com)

I’ll tell you something I’ve never really understood: the difference between “art” and “craft.” Yes, I get the sociological difference (“art” is made in New York and Paris; “craft” is made in Omaha and Wichita), but what about the substantive difference? One common way to differentiate the two is to say “art” is not functional and “craft” is functional. You can’t sit on a painting but you can sit on a chair. If that’s the difference, then the “Museum of Modern Art” in New York should be called the “Museum of Modern Art and Craft,” because it’s full of (not very comfortable) furniture. I also cannot really comprehend the difference between “insider art” and “outsider art.” Again, I get the sociological distinction (see above), but who gets to say who’s inside and who’s outside? And if there’s “insider art” and “outsider art,” is there “insider craft” and “outsider craft?” In the world of quilting (which is much bigger than you think), Powers is a bit like Vermeer: not many pieces, but all highly valued. And like Vermeer, she’s interesting because we don’t know a lot about her. All I know is this: there was a freed slave named Harriet Powers who made really beautiful, highly literate, and deeply religious quilts. In the world of quilting (which is much bigger than you think), Powers is a bit like Vermeer: not many pieces, but all highly valued. And like Vermeer, she’s interesting because we don’t know a lot about her. In This I Accomplish: Harriet Powers’ Bible Quilt and Other Pieces (2010), Kyra Hicks does her best to fill in the many blanks. The book is a combination detective story, journey of discovery, and guide to further research. Hicks, a master quilter herself, doggedly pursues every lead she can find regarding the mysterious Powers, and they take her to some very unexpected places (for example, Keokuk, Iowa). The picture of Powers that emerges from This I Accomplish is that of a skilled, religiously-inspired artist, confident and proud of her work, moving through a long-forgotten world of African American quilters. If you know any quilters (and I know you do), this book would make an excellent gift. If you’d like to see Powers’ quilts for yourself, they are held by the National Museum of American History (part of the Smithsonian) in Washington and the Museum of Fine Arts in Boston. Please become a fan of “New Books in History” on Facebook if you haven’t already. Learn more about your ad choices. Visit megaphone.fm/adchoices

I'll tell you something I've never really understood: the difference between “art” and “craft.” Yes, I get the sociological difference (“art” is made in New York and Paris; “craft” is made in Omaha and Wichita), but what about the substantive difference? One common way to differentiate the two is to say “art” is not functional and “craft” is functional. You can't sit on a painting but you can sit on a chair. If that's the difference, then the “Museum of Modern Art” in New York should be called the “Museum of Modern Art and Craft,” because it's full of (not very comfortable) furniture. I also cannot really comprehend the difference between “insider art” and “outsider art.” Again, I get the sociological distinction (see above), but who gets to say who's inside and who's outside? And if there's “insider art” and “outsider art,” is there “insider craft” and “outsider craft?” In the world of quilting (which is much bigger than you think), Powers is a bit like Vermeer: not many pieces, but all highly valued. And like Vermeer, she's interesting because we don't know a lot about her. All I know is this: there was a freed slave named Harriet Powers who made really beautiful, highly literate, and deeply religious quilts. In the world of quilting (which is much bigger than you think), Powers is a bit like Vermeer: not many pieces, but all highly valued. And like Vermeer, she's interesting because we don't know a lot about her. In This I Accomplish: Harriet Powers' Bible Quilt and Other Pieces (2010), Kyra Hicks does her best to fill in the many blanks. The book is a combination detective story, journey of discovery, and guide to further research. Hicks, a master quilter herself, doggedly pursues every lead she can find regarding the mysterious Powers, and they take her to some very unexpected places (for example, Keokuk, Iowa). The picture of Powers that emerges from This I Accomplish is that of a skilled, religiously-inspired artist, confident and proud of her work, moving through a long-forgotten world of African American quilters. If you know any quilters (and I know you do), this book would make an excellent gift. If you'd like to see Powers' quilts for yourself, they are held by the National Museum of American History (part of the Smithsonian) in Washington and the Museum of Fine Arts in Boston. Please become a fan of “New Books in History” on Facebook if you haven't already. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

I’ll tell you something I’ve never really understood: the difference between “art” and “craft.” Yes, I get the sociological difference (“art” is made in New York and Paris; “craft” is made in Omaha and Wichita), but what about the substantive difference? One common way to differentiate the two is to say “art” is not functional and “craft” is functional. You can’t sit on a painting but you can sit on a chair. If that’s the difference, then the “Museum of Modern Art” in New York should be called the “Museum of Modern Art and Craft,” because it’s full of (not very comfortable) furniture. I also cannot really comprehend the difference between “insider art” and “outsider art.” Again, I get the sociological distinction (see above), but who gets to say who’s inside and who’s outside? And if there’s “insider art” and “outsider art,” is there “insider craft” and “outsider craft?” In the world of quilting (which is much bigger than you think), Powers is a bit like Vermeer: not many pieces, but all highly valued. And like Vermeer, she’s interesting because we don’t know a lot about her. All I know is this: there was a freed slave named Harriet Powers who made really beautiful, highly literate, and deeply religious quilts. In the world of quilting (which is much bigger than you think), Powers is a bit like Vermeer: not many pieces, but all highly valued. And like Vermeer, she’s interesting because we don’t know a lot about her. In This I Accomplish: Harriet Powers’ Bible Quilt and Other Pieces (2010), Kyra Hicks does her best to fill in the many blanks. The book is a combination detective story, journey of discovery, and guide to further research. Hicks, a master quilter herself, doggedly pursues every lead she can find regarding the mysterious Powers, and they take her to some very unexpected places (for example, Keokuk, Iowa). The picture of Powers that emerges from This I Accomplish is that of a skilled, religiously-inspired artist, confident and proud of her work, moving through a long-forgotten world of African American quilters. If you know any quilters (and I know you do), this book would make an excellent gift. If you’d like to see Powers’ quilts for yourself, they are held by the National Museum of American History (part of the Smithsonian) in Washington and the Museum of Fine Arts in Boston. Please become a fan of “New Books in History” on Facebook if you haven’t already. Learn more about your ad choices. Visit megaphone.fm/adchoices

I’ll tell you something I’ve never really understood: the difference between “art” and “craft.” Yes, I get the sociological difference (“art” is made in New York and Paris; “craft” is made in Omaha and Wichita), but what about the substantive difference? One common way to differentiate the two is to say “art” is not functional and “craft” is functional. You can’t sit on a painting but you can sit on a chair. If that’s the difference, then the “Museum of Modern Art” in New York should be called the “Museum of Modern Art and Craft,” because it’s full of (not very comfortable) furniture. I also cannot really comprehend the difference between “insider art” and “outsider art.” Again, I get the sociological distinction (see above), but who gets to say who’s inside and who’s outside? And if there’s “insider art” and “outsider art,” is there “insider craft” and “outsider craft?” In the world of quilting (which is much bigger than you think), Powers is a bit like Vermeer: not many pieces, but all highly valued. And like Vermeer, she’s interesting because we don’t know a lot about her. All I know is this: there was a freed slave named Harriet Powers who made really beautiful, highly literate, and deeply religious quilts. In the world of quilting (which is much bigger than you think), Powers is a bit like Vermeer: not many pieces, but all highly valued. And like Vermeer, she’s interesting because we don’t know a lot about her. In This I Accomplish: Harriet Powers’ Bible Quilt and Other Pieces (2010), Kyra Hicks does her best to fill in the many blanks. The book is a combination detective story, journey of discovery, and guide to further research. Hicks, a master quilter herself, doggedly pursues every lead she can find regarding the mysterious Powers, and they take her to some very unexpected places (for example, Keokuk, Iowa). The picture of Powers that emerges from This I Accomplish is that of a skilled, religiously-inspired artist, confident and proud of her work, moving through a long-forgotten world of African American quilters. If you know any quilters (and I know you do), this book would make an excellent gift. If you’d like to see Powers’ quilts for yourself, they are held by the National Museum of American History (part of the Smithsonian) in Washington and the Museum of Fine Arts in Boston. Please become a fan of “New Books in History” on Facebook if you haven’t already. Learn more about your ad choices. Visit megaphone.fm/adchoices

I’ll tell you something I’ve never really understood: the difference between “art” and “craft.” Yes, I get the sociological difference (“art” is made in New York and Paris; “craft” is made in Omaha and Wichita), but what about the substantive difference? One common way to differentiate the two is to say “art” is not functional and “craft” is functional. You can’t sit on a painting but you can sit on a chair. If that’s the difference, then the “Museum of Modern Art” in New York should be called the “Museum of Modern Art and Craft,” because it’s full of (not very comfortable) furniture. I also cannot really comprehend the difference between “insider art” and “outsider art.” Again, I get the sociological distinction (see above), but who gets to say who’s inside and who’s outside? And if there’s “insider art” and “outsider art,” is there “insider craft” and “outsider craft?” In the world of quilting (which is much bigger than you think), Powers is a bit like Vermeer: not many pieces, but all highly valued. And like Vermeer, she’s interesting because we don’t know a lot about her. All I know is this: there was a freed slave named Harriet Powers who made really beautiful, highly literate, and deeply religious quilts. In the world of quilting (which is much bigger than you think), Powers is a bit like Vermeer: not many pieces, but all highly valued. And like Vermeer, she’s interesting because we don’t know a lot about her. In This I Accomplish: Harriet Powers’ Bible Quilt and Other Pieces (2010), Kyra Hicks does her best to fill in the many blanks. The book is a combination detective story, journey of discovery, and guide to further research. Hicks, a master quilter herself, doggedly pursues every lead she can find regarding the mysterious Powers, and they take her to some very unexpected places (for example, Keokuk, Iowa). The picture of Powers that emerges from This I Accomplish is that of a skilled, religiously-inspired artist, confident and proud of her work, moving through a long-forgotten world of African American quilters. If you know any quilters (and I know you do), this book would make an excellent gift. If you’d like to see Powers’ quilts for yourself, they are held by the National Museum of American History (part of the Smithsonian) in Washington and the Museum of Fine Arts in Boston. Please become a fan of “New Books in History” on Facebook if you haven’t already. Learn more about your ad choices. Visit megaphone.fm/adchoices