Through the Decade: Two Centuries of Quilts Exhibition Review

Southeastern Quilt and Textile Museum (SQTM)

Sarah Grace Rogers, 13 September 2022

Through the Decade: Two Centuries of Quilts. Southeastern Quilt and Textile Museum. Cyndi
Hillard, Collections Manager. September 1, 2022—On going.
https://www.southeasternquiltandtextilemuseum.org/.

The Southeastern Quilt and Textile Museum (SQTM) is an organization located in

Carrollton, Georgia, that collects and preserves quilts and textiles of the Southeastern United

States; the museum interprets Southeastern textile and exhibits it to educate the public on textile

production in the region. The current exhibition, “Through the Decades: Two Centuries of

Quilts,” includes mainly quilts as well as other textile-related objects and machinery. While the

exhibit has many strengths in terms of content and display methods, there are several weaknesses

in its layout and environment that disrupt the integrity of the textile history being presented.

Upon entry into the museum, visitors are provided with a stapled collection of bulleted

notes on each of the pieces in the exhibit. The “Through the Decade: Two Centuries of Quilts”

exhibit at the SQTM is comprised of three main gallery spaces. All galleries are separated by

walls but are easily accessed from one another. They all feature off-white-painted walls, tan,

carpeted floors, gray tiled ceilings, and bright expansive white lighting from the ceiling. Gallery

I is the largest space with the most objects on display. It is an open, square floorplan with more

than 20 large quilts hung (by hooks at the corners) on the gallery’s three walls and a small

section on the farthest wall featuring a large table with folded quilts placed on it, a sewing

machine with exhibit and information brochures, and a mannequin wearing a tippet. Gallery II is

a smaller space with eight quilts hung on its four walls and a large loom taking up the center

space. The loom, while labeled with white, taped-on pieces of paper showing its components,
does not have its own label or accompanying information. A small woven chair and a

quilting/embroidery table are placed in the corner but also are not labeled. Gallery III is a

disconnected section of the exhibit, located down the hall, that is a part of the education and

meeting room. It features three large traditional quilts and several smaller modern ones as well as

a library and a conference-like table.

Each of these galleries share strengths that contribute to the overall effectiveness of the

exhibit. The content is representative of the region’s main industry across two centuries and

portrays the popularity and significance of quilts in the area. Each object, including the quilts,

loom, sewing machine, and embroidery elements, in the exhibit clearly aligns with the theme.

Each quilt is accompanied by a detailed description and provenance that explains where their

origin, material, and other facts; this information can be found in the stapled pamphlet provided

upon entry.

In addition to content, part of the display strengthens the exhibit as well. Quilts are fully

stretched out and hung on the walls to allow visitors to look at the complete textile. The openness

of Gallery I allows for one to step back and gain a full perspective of quilts while the flat

placement on the walls across all galleries allows for a close-up examination of the fabrics and

designs. The open method of display also allows for the comparison of the quilts in the exhibit,

especially within a gallery. Additionally, the colors and patterns of the quilts are not obstructed

by other aspects of the galleries because of the neutral tones of the space.

Though the content and display options could build a secure foundation for the exhibit, it

is weakened by inconsistencies and organization components as well as disturbed ambience.

Each quilt is associated with an object label located on the wall directly beside it; however, these

labels are not consistent across the exhibit. Some feature just the name of the quilt; others list the
name and a paragraph of information about the quilt. Some labels are bulleted, and others

include a bold sentence at the top with smaller, regular face font at the bottom. Additionally,

many labels are placed in a way that causes them to be covered up by the quilts. This can hide

the quilt’s name, and thus throw the visitor into a game of elimination to figure out which quilt it

is based on the associated pamphlet.

While the pamphlet provides information on the objects, regardless of if they have a label

or not, it is written out in a bland way on stapled copy paper. It is organized by gallery, but there

is little indication of which gallery is which on paper or in person. There are no gallery signs or

thematic or sub-theme labels. This creates a confusing path for visitors. Though the pamphlet

and labels suggest a chronological organization, the dates are not emphasized visually. There is

also not a provided or encouraged path or directory to follow beyond just guiding down the

walls. This prevents the development of a story or trajectory even though the objects are also

associated clearly with the theme.

Though these factors can draw away from the museum experience, they are not

permanent or irreversible. Several components may be altered or corrected to provide a richer

experience for the visitor. These may include gallery signs and theme and subtheme labels that

direct visitors and facilitate telling a more cohesive story. This could be aided by more uniform

labels with less information and an associated pamphlet with a map and photos of quilts and

other objects on display. A numbering or emphasized dating system may help guide visitors as

well. The atmosphere could be lightened with less, dimmer, or kinder lighting and even places to

sit in front of quilts for visitors to rest and observe. The museum may also enrich its visitors’

experiences through participatory or interactive experiences, such as tactile objects and textile

tools. These suggestions, while strengthening factors, are also limited by budgets and space,
though staff must consider how to best enhance visitor experience from the perspective of a

visitor.

Despite its weaknesses, the “Through the Decade: Two Centuries of Quilts” exhibit at the

SQTM offers a unique perspective on the textile culture of the southeast that allows the public to

view various quilts and textile equipment up-close, rather than from outside a display cabinet.

The objects present the content in an effective way, though the experience could be

supplemented with increased organization and spatial considerations. It is a significant aspect of

Carrollton history and should be displayed as such.

 Appendix

Figure 1: Gallery II, featuring several quilts, an Figure 2: Gallery II, featuring its three largest
embroidery station, and a loom. quilts and how they are hung upon the wall as well
as an embroidery table.

Figure 3: The loom of Gallery II. Figure 4: The shared wall of Gallery I, featuring
an example of the hanging, walls, ceiling, and
floors of the exhibit.
Figure 5: Georgia on Out Minds Figure 6: Moon Crazy Quilt Label Figure 7: King Crazy Quilt Label
Quilt Label

Figures 5 through 9:
Examples of different object
label formats seen throughout
the exhibit.

Figure 8: Hidden Quilt Label Figure 9: Whig’s Defeat Quilt

Label
 Figures 10
and 11:
Copy of the
provided
information
pamphlet
for the
SQTM
objects in
the exhibit.

Figure 10: Pamphlet Cover Page Figure 11: Pamphlet Page One