Tamayo Contemporary Art Museum, Mexico City, Mexico

The Tamayo Museum (Museo Tamayo) was founded by Ruffino Tamayo in 1981, when the Mexican artist donated his own works, in addition to a massive collection of international contemporary art, with the goal of showcasing 20th-century art for the public. My favorite part of the whole museum was Tamayo’s collection of his own work that he hand picked to be on exhibit in the museum. The building, designed by Mexican architects Teodoro González de León and Abraham Zabludovsky, is made of reinforced concrete and white marble stone and is located in Chapultepec Park, a vast green space in Mexico City. The low-slung design and natural tones allow the building to hide in and among the trees. Inside, glass walls and light wood floors make the gallery spaces feel contemporary, open, and spacious.

Well-curated exhibitions change throughout the year, but the focus is always on contemporary and modern art, be it painting, video installation, and mixed-media, nicely bridging the twentieth and twenty-first centuries. Occasionally, there are also interactive exhibits. There are always seasonal exhibits. The museum is basically divided in half, with its permanent collection and new, temporary shows. The space itself makes for easy transitions between the wings and the central courtyard; a few steps sunken into the ground often feature sculpture.

Museo de Arte Moderno de México, Mexico City, Mexico

This is such a gorgeous musem. It is among the biggest museums of its kind in Latin America, witn an extraordinary collection focuses on the evolution of modern art in Mexico, especially with the Mexican School of Painting and the Breakaway Generation. In the equally beautifulChapultepec Park, the museum is housed in two circular buildings with two floors each and divided into four halls, and a gallery. You walk in and are immediatelywowed by how spectacular the design is. A remarkable sculpture garden connects the two buildings. The Xavier Villaurrutia and Carlos Pellicer halls allow visitors to admire the museum’s considerable permanent collection. This includes works by Diego Rivera, David Alfaro Siqueiros, José Clemente Orozco, and Frida Kahlo, among others. Other halls are used for temporary exhibitions which display parts of the museum’s collection curated under varying themes and topics. These exhibitions often reach some considerable international notoriety. The MAM plays an important role in research and investigation related to modern and contemporary art. Having opened in 1964 with an exhibition of works by Rufino Tamayo, the buildings were completed based on a design by the architects Pedro Ramírez Vázquez and Carlos A. Cazares Salcido of the University of Sonora. They worked in collaboration with Rafael Mijares Alcérreca. The main body of the museum takes an organic form, curved in parallel to the Paseo de la Reforma. It was intended to respond to the landscape and surrounding undulating trees. It’s also, importantly, always been understood as a highly modern capstone to the country’s modernization process. Having been designed, built, and opened at the very peak of the Mexican economic miracle, also part of the museum's story.

The Gelman Collection, Museo de Arte Moderno de México, Mexico City

The Gelman Art Collection is take your breath away amazing to behold. Sometimes it is better to be lucky than good. More on this museum later, but man oh man this is worth the trip to see. Here is a bit about the reason it hasn’t been available for public viewing: For the first time in 20 years, the Gelman Collection, perhaps the best private collection of modern Mexican art, is on view at the Museo de Arte Moderno (MAM) in Mexico City. The 68 objects that make up the temporary exhibition have been locked away since the death of Natasha Gelman in 1998. In the intervening decades the collection has become the stuff of legend here in Mexico, with whispers of the murder in 2013 of the notary who witnessed Natasha’s contested will; suits and countersuits over the means by which an elderly and diminished Mrs Gelman came to leave her Riveras, Kahlos, Tamayos and Izquierdos to a relatively unknown curator in New York named Robert Littman; and the disappearance of a large group of pre-Columbian treasures from the Gelman apartment in New York, whereabouts still unknown.

We were lucky to see the Chester Dale Collection of largely Impressionist Art at the Art Institute of Chicago (Diego Rivera painted his portrait as well) years ago and this gives me the same feeling of awe. The Gelman’s lived with these treasures.

Casa Azul, Frieda Kahlo Museum, Mexico City, Mexico

The Frieda Kahlo Museum is the blue house where she was born, died, and spent most of her life within these walls. It is a gorgeous space and it is filled with some of her possessions, some of her clothes and jewelry, and some of her art. A hard to beleive fact is that as many people visit this museum as do the National Museum of Anthropology, a museum that encompasses the history of Mexico. Frida’s father, Guillermo Kahlo – Hungarian-German by birth – had the house built in 1904. The historian Beatriz Scharrer, “in the style of the time: a central courtyard surrounded by all the interior rooms, and the exterior totally French.” The home was the meeting place for many of the great personalities who lived or met with Diego and Frida. Among them, Leon Trotsky, Henry Moore, Remedios Varo, and André Breton.

The kitchen has been preserved in its original condition, and remains an important part of the entire house. All the objects within it, including dinnerware and cookware, reflect the impact of Mexican culture on the artists’ daily lives. It is very beautiful in itself and it was very cool to visit. I bought tickets well in advance and if you think you want to go, so should you.

Lorraine Woodruff-Long: Quilting Through Fog

My quilt guild hosted this quilter last month and I have been thinking about her work ever since. On the 4th of July she announced her new portest project, which is related to the 27 Grievances in the Declaration of Independence that the colonists leveled at King George III. They sound eerily familiar to the fascism of today's GOP, which has allowed for the stripping away of many basic human rights protected in hte Constiturion. She is a clever quilter when it comes to protest and she has a foot firmly in the traditional quilting camp, which I very much like. The quilt pictured behind her here is a great example, where her commentary on climate change and the melting of the polar ice caps is dramatic and subtle at the same time. I look forward to continuing to be inspired but the ideas of others and nurturing a more creative me.

Forbidden Words Quilt Project

I just heard Lorraine Woodruff-Long speak about this project, which has been completed and is a quilt that is going on tour. Quilters have always been political and in the current climate, we are starting to feel like screaming is appropriate. Here is the background for this project from their website: A growing list of words and materials is being scrubbed from government websites and documents and flagged for review by federal agencies in an attempt by the Trump administration to remove all references not only to diversity, equity and inclusion, but also to climate change, vaccines, and a host of other topics. PEN America initially compiled a list of more than 250 words and phrases reportedly no longer considered acceptable by the Trump administration, from “abortion,” to “women,” and including “disability,” “elderly,” “Native American”and, unsurprisingly, the “Gulf of Mexico.” The list has now expanded to 384+ words and phrases, encompassing even desirable goals like “safe drinking water,” the mention of which can now result in research grants or other agreements with the federal government getting nixed. Some agencies ordered the removal of specific words from public-facing websites or the elimination of other materials (including school curricula) in which they might be included. In other cases, federal agencies used key words to flag materials for further review or asked staff to limit or avoid their usage. FORBIDDEN WORDS QUILT PROJECT Throughout the Fall 2025, they reached out to quilters, creators and makers to create blocks that will be sewn into a quilt featuring the words/phrases compiled by PEN America that are being flagged by the U.S. federal agencies to ban, limit, or avoid. Text will be created using fabric, letter templates and fusible, and cut out by hand and ironed onto a fabric block. Blocks will be cut from repurposed shirting, ideally from thrift and reclamation outlets or from your own home. THree quilters in my own guild (that I know of) participated in this amazing project. More to come.

Yumiko Higuchi: Embroidery and Applique Artist and Her Books

Wow, wow, wow. This book and this artist are both equal parts amazing! Yumiko Higuchi is a world-acclaimed Japanese embroidery artist renowned for her exquisite needlework masterpieces. Her unique work balances modern and traditional aspects of the art form. Most of her books delve into designs from the natural world, which is true of this one as well, but here in addition to embroidery, she is adding felt and applique as well and the effect is beautiful.

She was initially a handbag designer, and her designs translate well to garments, tea towels, and various flavors of bags. In the past I have made bags, but only in the context of a class, and it would be really cool to pre-embroider and applique material that would then be cut out and sewn into a bag. I got this book out of the library but knew immediately that I had to add it to my own library, and she has quite a few additional books published that I suspect are worthy of hunting down.

Cheryl Arkison: Improv Is My Love Language

I very much enjoyed this talk by a Canadian quilter who spoke to the Sew Squad that is hosted by the incompable Libs Elliot. She talked about the kind of quilter that she is and then went on to explain what it is about Improvisation that really speaks to her. Improv is definitely not my love language, but as she went through the various sorts of quilters it gave me some time to reflect on what kind of quilter I am. The list is as such: 1. Quality Control 2. Replication 3. Artisanal 4. Expressive 5. Improvisational The quality control quilted is all about the control. The seam ripper is always at hand because this quilter is acutely aware of the mistakes and is obsessive about fixing them. They are pinners. They have great pride in the craft of precision quilting. This is decidedly not me--I am attracted to gluing and I do occasionally pin. I also seam rip with more frequency than I would like to admit, but it is needs must, not fixing something that is a tich off. The replication quilter finds kits very appealing. They cannot imporvise even if they run out of fabric. They look for the exact fabric that is pictured in the pattern. While I am a big fan of a pattern, this is decidedly NOT me. I love doing a different color way, and if I run our, or as happened recently, the kit didn't have enough fabric, I just winged it and the other kit I bought I am already planning substitutions for my next one. I am surprised to find that Artisanal is my jam--handwork gets me excited! I love hand dyed and woven fabrics. They warm me. I do have a comfort with wonkiness that is part of improv, and I want more access to that, but I am not there yet, and I am also working on expressive, where I am getting to a point of view and how to tell the story. So her lecture taught me a lot about myself as a quilter.

Libs Elliott and Rebel Tech Quilting

What an amazing quilter, and I recently heard her speak about her process for design. Libs Elliott is a quilt artist renowned for blending computer algorithms with traditional crafts. Her random generator design uses Processing—an open-source coding language—to algorithmically randomize geometric shapes, block rotations, and color palettes.

The Generative Process that she uses, which is open source code, is something that she took our guild behind the curtain and showed how it could work for us. First there are Algorithmic Layouts: The code randomizes variables like block orientation, color distribution, and scale. It outputs endless unique compositions, which she then filters and selects for her designs. Each design is unique--it can be saved as a PDF (which she does, thousands of times over), but once you click on it again, it is not coming back. You can add a lot of elements, like how much of each color you want represented, and and what elements to add, and how much rotation you want, but then it is randome. Then comes the Human Element: Once a digital pattern is finalized, she uses it as a precise map to cut and sew fabric, introducing beautiful "human" imperfections into the mathematically driven design. She may use only a small portion of the pattern to make a quilt, and she may change things, it is really more of a starting place than the destination, but it is so cool. Now I have to get this pattern and see for myself.

Bold Blossoms by Kaffe Fassett

Kaffe Fassett (born 1937) is a world-renowned American-born artist and textile designer based in England, celebrated for his pioneering work in color-rich knitting, needlepoint, and patchwork quilting. Over a 50-year career, he has authored over 40 books, collaborated with designers like Missoni and Bill Gibb, and was the first living textile artist to have a solo exhibition at the Victoria & Albert Museum. I have signed up for the 2026 botanical block of the month club through Quiltfolk and he is one of the featured teachers. Given his age it seems like a good opportunity to see him interviewed and talk about his work and reflect on his career before it is too late but well into his artistic life and work. This book is a has a combination of needle point and fabric there are patterns for both quilts as well as needlepoint work. It has vibrant photography, featuring 25 projects (18 quilts, 7 needlepoints) inspired by floral designs. I would like to highlight the book's high-quality visuals and clear instructions, making it suitable for both, experienced and novice crafters. It acts as a comprehensive guide exploring color palettes and design processes. Kaffe is known for his knitting as well, but that is not featured in this book the highlights are looks at his fabric design which are large floral bright colored prints that are immediately identifiable as his work and very attractive this book is coffee table worthy but it is also available on Kindle Unlimited.

Kaffe Fassett In The Studio

Ok, the writing in this is maybe not five star material, but it is very good, and the book goes about descibing in pictures and in words the life work of Kaffe Fassett and it does a spectacularly beautiful and broad sweeping job of it. I am taking a class which takes you into his home and studio through Quiltfolk--until I signed up for it, I did not realize just how actively he travels and teaches. He is basically a giant in the area of textile arts. He is an iconic fabric designer, and he works in needlepoint, knitting, and quilting. He has been a working artist for over 50 years and has been a prolific author as well. In 1988 he became the first living textile artist to have a one-man show at the Victoria & Albert Museum in London. The exhibition attracted such crowds that the Museum doubled attendance figures during the run and the exhibition toured to nine countries afterwards. This book takes you through his living space, which is one of the things I love to see--where people lived and worked. When I am on the road, those are intentional stops for me. Carl Larssen is a Swedish painter known for painting his family, and his home is adorned with painted doors and walls that are evocative of his work--the same can be said for Fassett's home. He worked on this book during the pandemic, when we were all home more or less, and has an intimate feel to it, maybe aided and abetted by the amount of time he spent there that year. If you are a fan, do not miss this--he even manages to include a few patterns, even though that is not what the book's primary aim is, and if you aren't, take it out of the library--you might become one. His fabric isn't exactly my cup of tea, but it is vibrant, distinctive, and I have used small bits of it in quilts to add pop and color. Truely a one of a kind artist.

Gradients in Quilting

Johanna Masko talked to our guild about how to think about, design, and operationalize gradients in our quilting. Use of gradation is a prominent part of modern quilting, and there are a lot of ways to think about it. One is the paint chip aisle at the hardware store. There each individual chip shows a particular starting color, and then what happens when you add more and more white to it, or conversely more and more black. This is a familiar and maybe one could say conventional way to look at gradation. Masko advocates thinking about it more broadly--she uses gradents in the background of this quilt, which moves across a large area, and then in each of the dresden plates, she uses it more subtly. I really like the details of her design process, and what she thought about as she was designing this and other quilts that she has made. A couple of take aways from her lecture for me was to use the color apps that are available in order to better train my eye to correctly identify the gradient--so if I want to incorporate it that I can do it right. The other was that when developing a quilt, to think about if this will be a part of the design or not, to think more intentionally about design, and to figure out not only where you are going, but where you want to go. Once again, I feel like the more I learn the less I know--that I figure out more of what I didn't know but am also more aware of the vastness of what there is to know.

Robert Bosscher: Pushing Boundaries

I am a bottomless pit when it comes to watching lectures on quilting in general and modern quilting specifically. This speaker is a frequent flyer at QuiltCon and several of my guild mates recommended him--I saw him in conjunction with Libs Elliot's Sew Squad. There were two main points that he covered--the first is what is modern quilting. You have to have a working definition of it before you can talk about pushing the boundaries of it. As you might imagine, there are a lot of ways to look at it, going all the way from close to traditional quilting, with some modification in pattern and fabric, all the way to pure are quilts. Then he launched into some of the artists that he enjoys following. My favorite amongst them that I know was Bisa Butler, which he calls an artist working in fiber rather than a quilter, which I agree with, and the favorite that I was unfamiliar with was Kaitlim Rim, who does exploded blocks in a whimsical manner. He is well worth checking out if you get the chance, and he talks about a lot of different things in the modern quilting realm.

Sarah Goer Quilts

My quilt guild had a spring retreat that happened two weeks after I had should replacement surgery on my dominant arm. I did not sign up for it, appropriately worried that I would not be able to participate, but then 5 days ahead I got my brace off and was just in a sling. When I asked if I could sew, the APP seeing me saud "Sure." Things were looking up! The next day they were again dashed, because my physical therapist said that I could do nothing that essentially required me to shrug for several weeks, if not months, and surely sewing was again off the table?? I got an adjustable table that made typing at least possible, and waited.

The day before the retreat I decided to pull the trigger. The cost was modest, and I knew I could at least attend the lecture--which was with this improv quilter--this was such a gentle gateway into how to start improving, I really loved it. She does teach some on line classes, and I will definitely consider them once I am two handed again. The retreat itself went well. It turns out I mostly sew left handed--not sure I could sew without the left, but sewing with an impaired right was quite doable. I had cut out my BOM and not gotten it together and managed to finish that month and start the next. I also won a door prize of essential notions and so the cost of the retreat was practically nothing, and the abilty to spend a whole day with my guild mates was both fun and distracting. Two thumbs up!

Andrea Tsang Jackson: Transparency

I watched a lecture given by this artist, who trained as a gemologist, and who has translated that into quilt blocks for all 12 of the birth stones--using just 5 fabrics to create the gem effect--reallt remarkable, but that is not all. She does large public art instillations that are quilt inspired, and the lectire I listened to was one where you use on like color tools to get a transparenct effect, which was mind blowing. When I see those quilts in the transparency category at QuiltCon I thought they did it themselves, and maybe some of them do, but you do not have to guess--you can feed in the two colors that will cross paths in your quilt and it will tell you the color that would result in sucha a mixing. More on that later when I play with it a bit. More on this artist first. This is her artist statement: Andrea Tsang Jackson is a Canadian-born textile artist of Chinese descent based in Kjipuktuk / Halifax, Nova Scotia. Her work takes the traditional craft medium of quilting and applies it to a contemporary context, often using bright hues and bold graphics. She abstracts intentionally accessible imagery, inviting points of connection from the viewer to spark discussion and inquiry. Clean and crisp, vibrant but not loud, Andrea’s work uses solid-coloured commercial fabrics, found textiles, hand-dyed and painted fabrics, and more recently Tyvek. Andrea’s work often celebrates community and collaboration, and explores ideas of home and belonging. The rich history of quilting also heavily influences her practice; she sees it as an extension of community across time. Andrea strives to push the limits of the quilting medium — and other textile media — by exploring scale and dimension and moving traditionally domestic objects into the public realm. Through her public art in recent years, Andrea’s work has explored the translation of textiles into other media – drawing, architectural mesh, and acrylic carving. This act of translation continually poses questions of what textiles mean to us as communities and how textile work exists outside the home. The boundaries around folk art, fine craft and fine art are a continual source of enquiry in her practice as she operates within all of these areas.

Art Quilts of the Midwest by Linzee Kull McCray

I have an I am in the midst of a big house organization project and discovered this book amongst other things in a box and realized that while I had bought it I had never read it. That was a mistake. This is a really interesting approach to organizing quilters and their work. The author explored how deeply fiber artists were influenced by their surroundings. Focusing on midwestern art quilters in particular, she put out a call for entries and nearly 100 artists responded; they were free to define those aspects of midwesterness that most affected their work. The artists selected for inclusion in this book embrace the Midwest's climate, land, people, and culture, and if they don't always embrace it wholeheartedly, then they use their art to react to it. The emphasis in this book is on the art. These artists are not known as quilters at least in the modern quilting world. There are a lot of interesting techniques that are on display here and this and this book is inspirational if you are thinking of adding a an artistic embroidery or dyeing or printing component to your personal quilting.

Laura Hartrich: Liner Notes and Labels: Learning to Love Quilt Documentation

This artist presented her case for upping your documentation game to my quilt guild, and she made a great case for both why you should do it and how you can do it. I took a class with her at QuiltCon 2025, jusy monthd after one of her children had committed suicide and her quilt about them was in the show. So, emotionally complicated and she did not hide behind the messiness. Instead she disclosed, talking about how she was struggling with it. She is a storyteller and no all stories have hsppy endings. She taught me about more than a fast way to embroider letters that dat.

Laura Hartrich is an award-winning quilter who lives in Oak Park, Illinois, just outside of Chicago, with her family, and she graduated mid-career from a master’s program in occupational therapy. Her work explores themes of reflection, acceptance, time, and memory, and is driven by a deep love of color, texture, and meaning. A documenter of her life from a young age, she immediately connected with the tradition of labeling quilts and has been a dedicated labeler ever since. When she speaks about quilt labels, she emphasizes motivation over technique, believing that while many strong techniques exist, labels are often neglected without the right mindset. She is passionate about sending her quilts out into the world with their stories firmly attached, an idea that resonates deeply with many other quilters. Her key is to journal. She likes to do it long form, but you can do virtual, but the key is excessive documenation and then translating some of to the quilt label.

Hamnet (2025)

Chloé Zhao is a master at translating a book into a movie. I was very impressed with her adaptation of Nomadland and this is even more impressive. Maggie O'Farrell's book comes to life in this movie in a in a beautiful and cinematic way. I don't often say this but while I loved the book the movie was more emotionally on target. In addition to being a visually stunning, emotionally devastating movie it is also a deeply sensorial exploration of grief, anchored by exceptional performances from Jessie Buckley and Paul Mescal. This is the story of William Shakespeare at home. This comes from a work of fiction but attempts to explain both Shakespeare's attraction to a woman who is uneducated as well as to hypothesize the egis for his one of his greatest plays. Agnes, is the daughter of a forest witch, and her connection to the earth, the trees, and the sky feels tangible and powerful. She meets Will --who will eventually turn out to be The Bard—their connection feels just as alive and free. They frolic and flirt joyfully, and the qualities that make her an outcast to everyone else make her wonderful to him. In no time, they’re married, then have a daughter named Susanna, and then twins: a boy and a girl, Hamnet and Judith. They have a blissful home life when Shakespeare is home and this is shattered when Hamnet dies. The grief that they that he experiences leads to the tragic play Hamlet.

Viva Verdi! (2024)

This documentary has a song that was nominated for Best Song in the 2026 Academy Awards--which it did not win, but I liked the song far more than the winner. This is a documentary which follows the lives of artists after their careers end but not before their lives end. Situated in Milan, the cradle of art, retired opera singers and musicians live together in harmony at Casa Verdi, a neo-Gothic sanctuary commissioned by Giuseppe Verdi in 1898 to honor artists who devoted their lives to music and the arts. The documentary opens to the soaring strains of La Traviata, the curtains opening to a quotation that captures the spirit of a compassionate humanist devoted music lover: “Among my works, the one I like best is the Home that I’ve built in Milan for accommodating old singers not favored by fortune.” The premise of his deed was simple: during Verdi’s time, there were no pensions for artists; they were sadly left to their own devices. Devoting one’s life to art was therefore a courageous choice, reliant on hard work and luck, and Verdi sought to host all of those who had dared to follow their artistic passions. The cinematography in Viva Verdi! is both intimate and evocative, capturing the soul of Casa Verdi and its residents with a painterly touch. This visual approach creates a warm and immersive atmosphere that reflects the enduring and unifying brilliance of music, shared across generations. Through their personal stories, we traverse time, theaters, countries, and librettos. A wide range of nationalities mingle in Casa Verdi, telling intimate chronicles marked by success and ovations, disappointments, loss, and discrimination. Most of all, the film shows how a love for music and performing does not end when the paychecks cease. Even though most of the performers in the film have died by the time it came out, you can see that they were engaged in activies they loved to the end.

Ramble

This is month three of the Ramble quilt block of the month club. I have really been enjoying Tara Faughnan's instructional videos that go along with this. She is a great teacher, and having taken an in person class with her, heard her key note lecture at QuiltCon, as well as doing this BOM, her personality comes through and that is a good thing. I love the design, and I also love that it is a gentle skill builder. I believe it is billed as an intermediate pattern, and it is I think confident beginner friendly. The end result is more pleasing to me than her quilt Transverse, which was her last sew along. She points out in the first video that a medallion quilt has some risks associated with it, the first of which is that it is a medallion quilt, so with each layer outward there is a risk that it won't fit. Then she shows you the differences that occur if you sew an exact 1/4" and a scant 1/4" seam, if you press the seams open or to the side, and how quickly those differences add up when you are building in ever increasing outward layers. So the design has some fudge built in to it to allow for that. What a great idea! Then there is the fabric--I find the need for so many colors to be over kill, but then that is what she is known for--the colors. So maybe all is forgiven except that it is hard to sort and tag them all, and I am positive that by the end there will be design modifications. Already by month three I have some adjustments that have occurred, and the truth be told, I am not that great at following directions, and her written directions are a bit on the sparse side, so that is a perfect storm waiting to happen. The fabric is from the Windham Artisan fabric line, which has different colored threads in the warp and the weft, which gives it a beautiful depth and feel for a "solid", mostly because it isn't quite that, but oh my goodness, the fraying. If that drives you crazy, pick a different facbric. I have been sewing with Art Gallery Fabric Solids and they are so much the opposite of that! In any case, this is a bright, fun, and not too hard quilt that I am enjoying putting together, and hanging out virtually and not in real time with Tara Faughnan is icing on the top.