Donald Trump's inauguration for his second term as U.S. president is set to take place tomorrow in Washington, D.C.
His supporters and political allies, including far-right figures like Éric Zemmour, a former French presidential candidate known for his xenophobic views, and Italy's Prime Minister Giorgia Meloni, are preparing to attend the event. Meanwhile, many Washington, D.C. residents who oppose Trump are reportedly leaving the city to avoid the celebrations.
For those of us who find Trump's triumphant return, four years after he left under the shadow of a Capitol attack by his supporters, a bitter pill to swallow, how can we cope? As suggested in previous posts, some critics may turn to threads and needles for solace. But let's take it a step further and consider the symbolic power of quilts.
This doesn’t mean hiding under one, but rather reflecting on their unique ability to capture irony and commentary. Take, for instance, the Crazy Quilt (1880–1890) from the Museum of Fine Arts, Boston. This quilt resembles a vibrant collage, incorporating a portrait of President James A. Garfield encircled by a garland and American flag motif, alongside whimsical figures such as Santa Claus carrying toys, a balloon seller surrounded by children, and even assorted animals, flower, fruit and vegetables.
Now, imagine what a "crazy quilt" for this inauguration might look like. It would probably feature Trump in his signature MAGA hat, surrounded by tech magnates-turned-Trump supporters like Elon Musk, Mark Zuckerberg, and Jeff Bezos. Assorted right-wing politicians, the Trump Tower, his infamous wall, courtroom sketches, and perhaps even Stormy Daniels might make their way into the design. What other motifs could be stitched into such a chaotic tapestry? Let's imagine it and laugh.
To ponder instead on the broader impact of the presidency, let's turn to Carolyn Mazloomi's "Strange Fruit II" (2020), a powerful quilt. An NEA National Heritage Fellow, Mazloomi has been creating profound works in the quilt medium since the 1970s, exploring racial and gender issues.
Inspired by what the artist calls "America’s first protest song," "Strange Fruit II" draws deeply from her personal history of growing up in the Deep South during the Jim Crow era and coming of age during the Civil Rights Movement. The quilt features a black-and-white screen-printed image of Billie Holiday, a tree bearing victims of lynching, the American flag, and four Ku Klux Klan figures positioned in the lower section.
Mazloomi, a pioneering figure in the field of African American quilts, founded in 1985 the Women of Color Quilters Network. She has also published extensively on the subject. Born into a family of amateur artists and musicians in Baton Rouge, Louisiana, Mazloomi often intertwines music with her curatorial and artistic work. This connection makes "Strange Fruit II" a particularly significant example of her oeuvre, especially in today's climate of heightened awareness of racial injustice.
As Mazloomi herself once stated, "Quilts are a soft landing for tough conversations." Her work reminds us that art can offer solace and provoke thought, guiding us with courage through challenging times.
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