Project Description
Doris Ulmann’s photograph, Women Quilting, is more than an image—it is a statement on women’s work and visibility. Taken in Kentucky in the 1930s, this platinum print captures three women engaged in quilting, a skill essential in many rural communities. Often unpaid and passed down through generations, quilting has been viewed as less significant labor, but Ulmann challenges this notion by presenting it as an art form requiring patience, skill, and creativity.
By focusing on the women’s hands in motion, Ulmann highlights the artistry behind quilting. As feminist art historian Elissa Auther explains, craft has often been unfairly separated from fine art, making women’s work less visible in museums and galleries. This divide is not about creativity or skill but outdated ideas of what constitutes “real” art. Ulmann counters this by showcasing the quilters’ precision and dedication, aligning it with recognized artistic practices.
Quilting has long been a communal activity, bringing women together to collaborate and share knowledge. Scholar Elaine Hedges emphasizes that quilting is not just practical but also a form of storytelling and cultural preservation. This is particularly true in African American quilting traditions, where patterns and colors hold deep historical meaning. Floris Barnett Cash explains that quilting in African American communities was a means of survival, cultural preservation, and activism. Ulmann’s photograph, which depicts Appalachian life, also reflects these broader themes of community and heritage.
Ulmann documented rural communities and preserved traditions often overlooked. Her work blends documentary and artistic photography, prompting discussions on representation and authenticity. While some critics argue that her photographs romanticize rural life, others, like William C. Richardson, view them as important records of cultural traditions. His analysis positions Ulmann within American photography, showing how she elevated subjects often ignored by mainstream art and media.
Another key aspect of Ulmann’s work is its challenge to traditional definitions of labor. Historically, women’s artistic contributions have been undervalued. In her famous essay “Why Have There Been No Great Women Artists?” scholar Linda Nochlin argues that the exclusion of women from formal art training and institutions reinforced the perception that their work was less important. Similarly, Glenn Adamson’s essay, “Thinking Through Craft,” explores how quilting and other crafts were categorized separately from fine art, reinforcing gender biases. Ulmann’s photograph forces a reconsideration of these divisions by centering women and their craftsmanship.
Moreover, Rozsika Parker’s book The Subversive Stitch explores how textile arts have been dismissed as domestic tasks rather than legitimate artistic expressions. She argues that embroidery and quilting allowed women to express themselves within societal constraints. This perspective deepens the significance of Ulmann’s image, which captures quilting not just as a daily activity but as a meaningful artistic practice.
By photographing quilting, Ulmann highlights the artistry, labor, and historical importance of this craft. Her work invites viewers to rethink definitions of “art” and recognize traditionally overlooked creators. Through her lens, women’s labor is not hidden or dismissed; it is celebrated and made visible. Ulmann’s Women Quilting is more than a photograph; it is a statement on art, gender, and the value of traditionally overlooked forms of creativity.
Essay written by Aziza Altyyeva, Computer Science and Math double major, Berea College Class of 2027