Upcoming Exhibits

This series focuses on miniature scale and explores the unlimited layout and design options of the Log Cabin pattern. Amy used over 60,000 individual fabric pieces for the quilts in this exhibition.

Quilt expert Mary W. Kerr joins 13 other textile historians to show why Southern quilts have a distinctiveness setting them apart, including factors like their patterns, use of tiny pieces, and specific color choices.

Karen loves texture and working in layers. Her art quilts are made from the perspective of seeing them from a side view; looking at the layers of the plant shapes, seeing the flowers and insects peeking out.  This show is a variety of Karen’s work from several series she has created in the last 10 years:  Fantasy Garden, Glorious, and Marshland.  

On the day the museum opened in 1991, the entire collection included 85 quilts that were on loan from the founders, Bill and Meredith Schroeder. Over time, the collection has expanded both in quantity and diversity and today the museum’s collection exceeds 600 works of art and continues to grow.

This exhibition, of collection quilts representing 30 years, celebrates the significant impact of The National Quilt Museum on the quilting and arts community since its founding.

Modern quilting has existed in many forms for much of the 20th century. It wasn’t until the 2000’s that quilts with a modern aesthetic, the use of bold colors and prints, high contrast and graphic areas of solid color, improvisational piecing, minimalism, expansive negative space, and alternate grid work began to appear in greater numbers and quilters began to describe themselves as modern.

This exhibition is a collection of quilts made by members of The Modern Quilt Guild over the first ten years of the organization.

In order to combine her love of history, genealogy, and quilting, Cathy started work on a series called “Baltimore Goes Modern.”  This series uses blocks commonly found on album quilts and transforms them with a modern twist.Block size, quilt design, fabric colors, quilting, and block deconstruction are the main tools that Cathy uses to give a modern feel to a very traditional block.

Artists from around the world were challenged to create a new quilt about the virus, life during quarantine, or simply how they preserved their sanity during these uncertain times.  This exhibition features 30 quilts selected by Sandra Sider, Curator of the Texas Quilt Museum and editor of SAQA’s Art Quilt Quarterly.

Denise makes contemporary art quilt portraits of very non-contemporary structures: megalithic Celtic stones and monoliths, and more recent (but still centuries old) monastic ruins. 

These stonescapes–stone circles, standing stones, dolmens, burial tombs, abandoned churches, forgotten cemeteries, and lost-in-history portals and passageways –embody both immense timelessness and physical presence while evoking emotional remembrances of human pasts largely forgotten.

The National Quilt Museum is honored to host a collection of quilts from the 9/11 Memorial & Museum for an exclusive exhibition in commemoration of the 20thanniversary  of the  September 11, 2001 attacks, which killed 2,977 people, and the 1993 World Trade Center bombing, which killed six. 

Maggie’s goal as an artist is to create a compelling surface that invites the viewer to react, take a closer look and to strive to bring beauty or awareness into the world. 

The Silhouette Quilts exhibition combines the principles of composition, design and collage with art cloth and quilt making, to make it the best of both worlds.

Denise uses discarded quilts, a craft medium most commonly associated with women’s domestic work, recognizing that these artifacts have value as material repositories/artifacts embedded with the decisions of their makers–aesthetic, utilitarian, and creative. She appropriates the remains of quilts and paints into them, interacting with their form, pattern, and surface.

As a textile artist, Valerie chooses to express herself using dye, fabric markers, discharging agents, textile paint and a host of wet materials.In her Roots and Refuge Series, Valerie encourages one to consider roots as metaphors. Roots, like people, are intertwined and connected. Her intent is to challenge the viewer to see the beauty and complexity of roots.

John gained international recognition as a quilt artist in the late 1990’s and has since shown works nationally and internationally in this medium.John also creates works in many other media including sculpture, painting, cartography, and the graphic arts.