Thread History: Rosie Lee Tompkins' Quilt Brilliance
Portrait of Rosie Lee Tompkins with one of her quilts, 1985. Photo © BAMPFA
Adapted and updated from The Textile Eye Report no. 7- Fall 2020
The Textile Eye on Exhibitions
Rosie Lee Tompkins: A Retrospective, BAMPFA, Berkeley, CA, USA
On February 19th, 2020, a massive retrospective of nearly seventy works by Rosie Lee Tompkins (1936-2006), an accomplished African-American quilt artist, opened at the Berkeley Art Museum and Pacific Film Archive (BAMPFA). The show was scheduled to run through December, but has been extended through July 18th, 2021 due to a forced COVID closure.
In June, Roberta Smith of The New York Times published an in-depth article on Tompkins, calling her work an exemplar of “African-American improvisational quilt-making” and comparing it to the paintings of Paul Klee. A new awareness of her creations as true pieces of art, encompassing masterful color choices, sharp social commentary, and brilliant composition, is emerging. The Black Lives Matter movement may be partly to thank for this overdue appreciation of artists like Tompkins.
Untitled, c. 2003; quilted by Irene Bankhead, 2006; undetermined, mostly velvet, velveteen with faux pearl beads; 40 x 74 in. Photo © BAMPFA
Untitled (“crazy” quilt), 1996; quilted by Irene Bankhead, 1998; velvet, velveteen, cotton embroidery, silk, cotton corduroy, rayon brocade, printed silk, silk crepe with rhinestones, decorative trim (with beading, sequins, faux pearls, metallic thread, and velvet), novelty patch, faux fur, beaded embroidery, and cotton muslin backing; 96 x 76 in. Photo © BAMPFA
The show and triumphal coverage was only possible due to a historic bequest to BAMPFA by Eli Leon. Leon, a scholar and advocate for African American quilt-making traditions, donated his entire collection of nearly 3000 African-American quilts, including more than 500 by Tompkins, upon his death in 2018. Leon was a close friend and early champion of Tompkins— he purchased any quilt she would sell him. He organized one of the first shows to feature her quilts at the Richmond Art Center, and worked with BAMPFA in 1997 to organize her first solo exhibition.
Untitled, c. 2002; cotton, printed cotton, polyester, canvas, knit velour, polyester fleece, wool, polyester knit, polyester double knit, cotton embroidery, and buttons; 104 x 145 in. Photo © BAMPFA, Ben Blackwell
Untitled, undated; cotton, cotton-polyester blend, polyester linen; 120 1/2 x 81 in. Photo © BAMPFA
Untitled, 1996; quilted by Irene Bankhead, 1997; cotton, polyester, printed velour, polyester knit, and cotton backing; 98 x 62 in. Photo © BAMPFA
Born Effie Mae Howard, the artist later adopted the pseudonym Rosie Lee Tompkins. She learned quilting traditions from her mother while growing up in rural Arkansas, but did not begin to practice the craft seriously until the 80’s, following a move to the Bay Area. Her works are radical pieces of storytelling, but not functional: none of her quilts have backs.
Three Sixes, detail, 1986; quilted by Willia Ette Graham, undated; polyester, polyester double knit, wool jersey, and cotton muslin backing; 97 x 81 in. Photo © BAMPFA
Three Sixes, 1986; quilted by Willia Ette Graham, undated; polyester, polyester double knit, wool jersey, and cotton muslin backing; 97 x 81 in. Photo © BAMPFA
Untitled, 1986; quilted by Willia Ette Graham and Johnnie Wade, 1996; found and repurposed denim with pockets and manufacturing labels, and cotton muslin backing; 86 x 66 in. Photo © BAMPFA
Untitled, detail, 1986; quilted by Willia Ette Graham and Johnnie Wade, 1996; found and repurposed denim with pockets and manufacturing labels, and cotton muslin backing; 86 x 66 in. Photo © BAMPFA
She used a wide range of materials in her quilts and assemblage sculptures, from carefully selected, purchased fabrics to scraps to glass bottles. Deeply religious, she often used Christian references, and likened her process to a kind of meditative prayer. She once told Leon, “if people like my work, that means the love of Jesus Christ is still shining through what I’m doing”.
Christmas Tree, 1997; glass jar, metal cap, glass knob, fabric, costume jewelry, seashell necklace, decorative trim (with rhinestones, beads, and metallic yarn), fabric cord, metallic cord, “Hell on Wheels” patch, individual beads and faux pearls, glue, and other media; 11 x 6 x 5 in. Photo © BAMPFA
Untitled (bottle), c. 1982, restored; tin cans, flocked paper, cotton fabric, metallic ribbon, decorative trim (with rhinestones and beading), novelty buttons, beads, costume jewelry, pebble glass, belveteen patches, glue and other media; 16 3/4 x 5 x 5 in. Photo © BAMPFA
“Jewelry Christmas Tree” bottle, 1996; plastic jug with cap, cotton fabric, decorative trim (with rhinestones, metallic thread, faux pearls, and beading), costume jewelry, metallic cord, novelty buttons, beads, seashells, feathers, pebble glass, glue, and other media; 12 x 6 x 6 x in. Photo © BAMPFA
Untitled, 1987; glass bottle, Elmer’s glue cap, decorative trim (various types, consisting of metallic thread, rhinestones, faux pearls, and crocheted and embroidered flowers), patterned rayon fabric with cording, velveteen, wood beads, metal bracelet, glue, and other media; 13 x 4 x 4 in. Photo © BAMPFA
Untitled, detail, 1970s, with embroidered scripture added mid-1980s; quilted by Irene Bankhead, 1997; found and repurposed hand- and machine-embroidered fabrics, decorative trim, crocheted doilies, velveteen, shisha mirror embroidery, cotton thread embroidery, and cotton muslin backing; 102 x 92 in. Photo © BAMPFA
Untitled, 1970s, with embroidered scripture added mid-1980s; quilted by Irene Bankhead, 1997; found and repurposed hand- and machine-embroidered fabrics, decorative trim, crocheted doilies, velveteen, shisha mirror embroidery, cotton thread embroidery, and cotton muslin backing; 102 x 92 in. Photo © BAMPFA, Ben Blackwell