Quilts 1700-2010: V & A Museum, London

Quilts 1700-2010 at the V & A is an exhibition that traces both the history and the social significance of quilts and quilt-making throughout Britain. The exhibition displays an eclectic mix of older, traditional quilts, along with work by modern artists such as Tracy Emin and Grayson Perry, as well as examples of quilt-making as a tool for good in society, such as the work of Fine Cell Work in prisons across the UK.

As with most exhibitions in the V&A, this one was extremely busy, making it hard at times to fully appreciate all the quilts. However, this is a very minor complaint, on an otherwise wonderful exhibition. Crafts are often over-looked by the art establishment, as they are often seen to be too low-brow, and lacking in true artistic merit or “vision”, I must admit that I disagree with this school of thought, and it was therefore, refreshing to see quilt-making being given its fair share of the limelight.

The works exhibited were organised chronologically which showed clearly how the social status of quilt-making had changed dramatically over time. Originally it was seen as a past-time suitable for upper middle-class ladies, and was a clear sign that someone had managed to climb the social ladder. However, with the rapid increase in imported materials, and shop bought textiles for the home, quilt-making became the preserve of those too poor to buy their own linen. This was true, until it experienced its recent renaissance due to hand-made, artisan crafts being very much in vogue.

The exhibition was successful in dispelling some myths about quilt-making, such as its reputation for being an almost exclusively female craft. There were works on display which had been created by men serving in the forces during the 18th and 19th centuries, as a way of keeping the soldiers from vices such as alcohol and gambling, and a patchwork quilt handmade by the inmates of Wandsworth prison. Furthermore, although there were many quilts which dealt with traditional themes and subjects such as the family life of its maker, be that a birth or a marriage, there were also quilts which dealt with a whole host of varies themes, such as the rise of China as a super power, Britain and multiculturalism, and abortion. These quilts proved beyond doubt, that this is a modern, thriving craft, that can effectively represent, not only the trials of the modern female (or male) life, but can also deal with issues that face the world as a whole.
I
will not attempt to describe even a fraction of the quilts on display, rather I will highlight my own personal favourites:

A quilt made from paper money, rather than from textiles, which showed the entire world made from the Chinese yuan. Not only was it obviously questioning the balance of power in the world today, and more importantly highlighted possible future changes in the world’s power structure, it was also exquisitely made, with exceptional attention to detail.

A patchwork made in India from minute pieces of military uniforms. The pattern and colours used have created a true masterpiece which has an aesthetic depth.

A design which used the symbol of the Union Jack, created in a number of different colour schemes to show the multicultural nature of modern Britain. Not only is the traditional symbol of Britishness used in a clever manner, it is also reclaimed from those organisations and parties which use it as a rallying cry for unsavoury standpoints.

Overall, this exhibition was remarkable, showing as it did the ability of ordinary people, with no formal art and design training to create truly beautiful work, and for that reason alone I would urge anyone and everyone to go to the V & A at once.