Collector’s bookshelf

by Teresa Duryea Wong

Schiffer, 2015 ISBN-13: 978-0764348747

reviewed by Martha Sielman

Prior to World War II, Japan had no history of patchwork quilting beyond the utilitarian patching of worn clothing. Today there are an estimated 3 million quilters in Japan and quilting is a multi-million dollar business. This book traces the history of how Americans popularized patchwork quilting in Japan and how it has developed within a very different culture.

Teresa Duryea Wong has written a fascinating history of how quilting created a bridge between two very different cultures as Americans traveled to Japan and Japanese traveled to the United States. This engaging narrative is coupled with in-depth profiles of important contemporary Japanese quilters, including Yoko Saito, Keiko Goke, Noriko Endo, and Yoshiko Jinzenji. More than 200 photographs show the Japanese artists’ quilts and studios, and the antique American quilts that once inspired them.

I interviewed Teresa to find out more about how she researched her book.

MS: How did you come to write this book? TW: My first job after college was in television news. Later I worked as a freelance journalist, wrote for newspapers and corporations, and was the publisher of a fine art magazine covering visual and performing arts in Texas. I now dedicate most of my time to research and writing. And occasionally quilting!

The lure of Japanese quilts, fabric, and aesthetics first drew me in about 10 years ago. My interest at that time can best be described as a groupie who studied

The art quilt sourcebook

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Be prepared to be captivated. This beautiful full-color volume is available now.

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192 Portfolio 22 | Studio Art Quilt Associates, Inc.

Coarsegold, California, USA 559-683-3060 | lura@lura-art.com | www.lura-art.com

photo by Kerby C. Smith

Portfolio 22 | Studio Art Quilt Associates, Inc.

Waco, Texas, USA 254-296-9495 | mary_ruth_smith@baylor.edu | www.maryruthsmith.com

photo by Sondra Brady

these quilts and their inspiration from afar. While I was finishing up a Master of Liberal Studies degree at Rice University, I began serious research for this book.

MS: How did you go about planning and doing the research? Do you speak Japanese, and if not, how did you handle that? TW: I don’t speak Japanese. A portion of my research was conducted at Rice University. Having access to such a huge variety of academic resources (both online information and my professors) was an incredible bonus. In addition, I accessed books, articles, and other research material at several quilt museums in the U.S., and I also interviewed curators and other experts. In fact, I conducted more than 50 interviews in the U.S. and Japan. I made a lot of contacts and relentlessly asked them for help, especially when it came to being introduced to the artists.

In 2014, I went to Japan and spent almost a month there conducting interviews, visiting museums and quilt classes, attending the Tokyo International Great Quilt Festival, and doing other field research. I visited the homes and studios of ten quilters, which took quite a bit of advance work because I had to find someone who spoke Japanese to introduce me to these individuals. Only about half of my interviews in Japan were conducted in English. I also had the assistance of a professional translator for others, and in some cases a family member was available to translate. The vast majority of peoplewith whom I interacted were comfortable communicating with me in English through written emails.

MS: What did you find out in the course of writing the book that was surprising to you? TW: There are so many things I learned while writing this book that I can truly say the experience changed my life. One of the biggest surprises for me was how easy it was to communicate with quilt artists when we do not speak the same language. Once we got to talking, the language of quilts was somehow universal.

The other huge surprise (once I got the proper introduction) was how gracious these artists were and how willing they were to invite me into their homes and tell me their stories. I have evolved from an initial fascination with Japan to being someone who truly loves Japan.

I wish I could have included more quilters in the book, because there are so many talented individuals and incredible stories. And I wish that all of the quilts could have been full-page images, one quilt per page. However, the book would have become too large in format and costly. I am very proud of this book. I believe it tells a fascinating story and represents some of the best of contemporary quilting in Japan today.

SAQA has provided support, counsel, information, inspiration, and joy over the twenty-seven years I have been a member. I have learned enormously from others in the organization. It has given me an opportunity to share my talents and dreams, and to help others do the same. I want SAQA’s work to continue after my lifetime—the work of educating people about the art quilt and providing a “home” for artists like myself who are seeking to express themselves through art quilts. That’s why I’ve left a gift to SAQA in my will. —Judith Trager, Board member, SAQA Legacy Circle donor

72 x 71.5 inches, 2003, IQSCM 2005.004.0001