JOAN SCHULZE GALLERY

Joan, it seems, is always pushing the envelope of what's considered a quilt. She is always ahead of her time, and interest in her work seems to lag about three to five years. I've noticed, however, that discerning collectors are keeping up with her pace. She is currently working in silk and paper.

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[Joan Schulze] AVAILABLE WORK

Visual Index of Her Work

Reflection
Weather or Not
Speak No Evil, See
The Other Time
Champagne
Mostly Red
Coexistence
Object of Desire I
Object of Desire II
Gold
Sweet Dreams
Pewter
Seven
There is no Lily
Sunday
Gabriel's Song
Travel Notes: Italy
North Wall
Joan Schulze: Quilting On The Edge
Reprinted from the review by Laura J. Tuchman, FiberArts, Summer 1994, pg. 14.


A quilt's not a quilt unless it can cover a bed, or so Joan Schulze used to say. ''But I find that I'm loosening up on my definition considerably,'' says the Sunnyvale, California, artist.
In fact, most of the 17 works by Schulze on view last fall at Smith Anderson Gallery on Palo Alto, California, took the art quilt so far beyond tradition that the show's title, ''Rethinking the Quilt,'' seemed a playful understatement.
Made of plain silk, hand-painted paper, and printed cloth, the newest works show Schulze pushing the notion of transparency from a purely visual experience to a physical one: By tearing and peeling the paper side of the quilt, she allows color to shine through the silk side.
The peeling paper and the resulting layers of color give the quilts both a striking luminosity and also the look of old walls or aging frescoes--apt imagery for the artist's many European themes.
Travel Notes: Italy, for example, resembles a sunlit walk through the tumult that is urban Italy. The quilt's photo-transfer imagery includes rising scaffolding, an aged statue, and fragments of words that recall the peeling posters that adorn so many Italian walls.
These new works often carry a somewhat dreamy, unplanned twist. In There Is No Lily, for example, the tip of a flower leaf shows just above a light, wood-toned piece of fabric. Together, the two resemble the form of pencil, as if to hint (though unintentionally) at the artist's deep interest in words.
Similarly, in Seven Hours In Paris, Schulze's imagery follows the long layout of the Musee d'Orsay, the art museum housed in a recently renovated train station Schulze toured during a stop in Paris. But the quilt's blocky, formal pattern was not planned to resemble the corridorlike museum and its many side rooms; Schulze noticed the connection later and was delightfully surprised.
Schulze's newest works could never be called quiet or soothing. Yet true to their medium, they manage to convey a certain comfort factor-though they captivate rather than lull. They are a sort of tumult you can wrap yourself in.
One wants to call these quilts mixed-media works, yet that would ignore their very quiltedness. And besides, impractical as it may be, they would look awfully good on a bed.

Selected One-Person Exhibitions
Smith Anderson Gallery, Palo Alto, CA
McWhirter's ARTSPACE, Australia
Perspectives Gallery, Minneapolis, MN
Allegra Gallery, San Jose, CA
Alabama State University, Montgomery, AL
and many others

Selected Group Exhibitions
''New Directions: Quilts for the 21st Century,'' Walnut Creek, CA
''Quilt National,'' 1993, '91, '89, Athens, OH
''Fantastic Fibers,'' Yeiser Art Center, Paducah, KY
''Celebrating the Stitch,'' Newton Arts Center, Newton, MA
and many others

Collections/Commissions
Queen of Apostles Catholic Church, San Jose, CA
R. Dakin, International, San Francisco, CA
Kaiser Permanente, Denver, CO
and many others

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