"Bad Bold Ones" in Stitches: Women’s Social and Political Union (WSPU) Suffragettes' Embroidery Sewn in and about Holloway Prison, 1910-1912
Presented by Dr. Maureen Daly Goggin
Show and Tell
Peggy is an independent art exhibit curator, artist and quilt maker in Tucson, Arizona, who holds an M.A. in art history. Over a 19 year career at Tucson’s Tohono Chul Park, she curated nearly 100 exhibits portraying the diverse cultures and artists of the Southwestern United States, including exhibits of historic and contemporary quilts and needlework. She is a member of the American Quilt Study Group, Arizona Quilt Study Group, and is a volunteer with the Tucson Quilt Documentation team and the Migrant Quilt Project. She served on the planning committees for the Patterns of the Past quilt history conferences (1996, 1998 and 2001). She helped organize the Arizona Historical Society's 100 Years/100 Quilts exhibit celebrating Arizona's centennial and curated Quilts Making a Difference, an exhibit for the 2012 Tucson Meet Yourself folk life festival. In September 2016, she presented her Uncoverings 2016 paper, "What the Eye Doesn't See Doesn't Move the Heart: Migrant Quilts of Southern Arizona," at the American Quilt Study Group's annual seminar. In September 2018, Peggy was inducted into the Arizona Quilters Hall of Fame.
A History of Indigo and Its Emergence in North America Colonial Quilts
Presented by Christine Dickey
What the Eye Doesn't See, Doesn't Move the Heart: Migrant Quilts of Southern Arizona
Presented by Peggy Hazard
As is evident in the study of quilts, textiles have given women a voice in social change. From the middle of the nineteenth century to the early twentieth century, like their sisters in the United States, British women fought valiantly for the right to vote. They circulated petitions, disrupted speeches, chained themselves to fences, set fires, threw stones and broke windows. Their actions landed many of the suffragettes in prison where they turned to their needlework to document their experiences. In this talk, Dr. Goggin brought to light five of the embroidered signature pieces created by WSPU suffragettes while imprisoned at Holloway. This talk illustrated how their needlework was a formidable act carried out in powerfully dehumanizing conditions.
An important component of quilt study is an understanding of fabric dyes. In her lecture, Christine traced the origins of indigo, the introduction of indigo fabrics to the colonies, and the technologies used to color cloth with indigo dye prior to introduction of commercially feasible synthetic indigo in 1897. In addition to the lecture, a small selection of indigo dyed textiles and several quilts containing indigo fabrics were available for inspection. Click HERE for an indigo pamphlet from the International Quilt Study Center. Note: the pamphlet displays in landscape though its orientation is portrait. Download to your computer and rotate for easier reading.
Immigration is a much-debated issue in the United States, but one fact is often left out of the conversation: the thousands of unnecessary deaths of undocumented immigrants that have been occurring on the southern Arizona border with Mexico since the imposition of trade and border policies in the mid-1990s. The Migrant Quilt Project is a grassroots effort in Tucson, Arizona, to collect clothing discarded in the desert by migrants and to reuse it to create quilts documenting the names of the unacknowledged victims of the border crisis. The quilts are intended to memorialize the dead, demonstrate the severity of the tragedy, and inspire people to support humane policy change. Based on interviews with the project’s founder, the quilts’ creators, immigration activists, and the author’s personal experience making a Migrant Quilt, Peggy toldl the story of the project’s origins and the effects of the quilts on those who have made and viewed them. The quilts are invaluable documents of our current time and place in history and this presentation discussed them within the contexts of art made from migrant clothing, border-themed quilts, and the heritage of socially-conscious quilt making.
In 2008, Christine retired from Toyota Motor Sales USA where she served as Color and Materials Manager in Corporate Product Planning for over 18 years. In this role, she worked with an international team of color designers and engineers to develop and select automotive paint color, fabrics, leather, and ornaments for Lexus, Toyota and Scion brand vehicles.
Christine learned to sew in 8th grade, sewed and sold a few quilts during her college years, and began studying quilt history after her retirement in 2008. With a lifelong love of color, and having worked professionally as a color designer, her focus has been on the history of natural dyes. Christine is a member of Textile Society of America. She is a docent at the Bowers Museum of Cultural Art in Santa Ana, California and a naturalist for Sea and Sage Audubon. Her hobbies are fiber arts and landscape painting. She graduated from University of California, Davis with a B.S. in Textile Design Marketing and holds an MBA from University of Southern California.
Arizona Quilt Study Group
©Arizona Quilt Study Group 2018-19
The March 9, 2019 Regional Quilt Study Day Review
The day's events included three guest speakers, sales tables where attendees sold their own textile related items or donated them to be sold with proceeds benefitting the study group, and Show and Tell. Scroll down to enjoy pictures of the day's events.
Maureen is a Professor of Rhetoric in the Department of English at Arizona State University where she teaches courses in theories and the history of rhetoric, women and material culture, visual rhetoric, and research methods. She is author, editor, and co-editor of 11 scholarly books as well as a textbook along with scores of articles on the history and the field of rhetoric, gender and race, visual and material culture, and needlework. Her latest collection titled Serendipity in Rhetoric, Writing, and Literacy Research is co-edited with Peter N. Goggin and appears under the University of Utah Press in 2018. She is currently co-editing with Shirley Rose, Women’s Ways of Making, and co-editing with Ursa Marinsek, Meditating and Mediating Change.