Dindga McCannon

Dindga McCannon

09/08/20

QSOS-206

video

https://youtu.be/12dhsd3Opwg

Dindga McCannon

Carolyn Mazloomi

Remote

<?xml version="1.0" encoding="UTF-8"?>
<ROOT xmlns="https://www.weareavp.com/nunncenter/ohms" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="https://www.weareavp.com/nunncenter/ohms/ohms.xsd">
<record id="41418" dt="2025-12-10">
<version>6.0</version>
<date value="" format="yyyy-mm-dd"/>
<date_nonpreferred_format/>
<cms_record_id/>
<title>Dindga McCannon</title>
<accession/>
<duration>00:00:00</duration>
<collection_id/>
<collection_name/>
<series_id/>
<series_name/>
<repository>Quilt Alliance</repository>
<funding/>
<repository_url>quiltalliance</repository_url>
<interviewee>Dindga McCannon</interviewee>
<interviewer>Carolyn Mazloomi</interviewer>
<format/>
<file_name/>
<transcript_alt_lang/>
<translate>0</translate>
<media_id/>
<media_url>https://youtu.be/12dhsd3Opwg</media_url>
<mediafile>
<host>YouTube</host>
<avalon_target_domain/>
<host_account_id/>
<host_player_id/>
<host_clip_id/>
<clip_format>video</clip_format>
</mediafile>
<kembed/>
<language/>
<user_notes/>
<index>
<point>
<time>0</time>
<title>First involvement in quiltmaking</title>
<title_alt/>
<partial_transcript>I'm here today to interview Dindga McCannon who is a long time member of the Women of Color Quilters' Network and, just multitalented in so many media of the arts, especially quilts and painting.</partial_transcript>
<partial_transcript_alt/>
<synopsis>Dindga McCannon started sewing at a young age, taking after her mother and grandmother. As a young artist in the early 60's, McCannon mainly focused on painting and printmaking. She eventually started incorporating scraps of fabric into her painting, including African patterned fabrics that she got from a friend. She started working with fabric more when she began painting on cloth, which she did for the purpose of easily transporting her paintings around. McCannon started her first intentional quilt after her friend, Kay Brown, passed away. Brown had given McCannon a bag of fabric from her late mother and asked her to make a memorial quilt, and McCannon's interest in quilting grew from that project onwards.</synopsis>
<synopsis_alt/>
<keywords>African American quiltmakers; Scrap quilts; Painting; Quilt Purpose - Memorial; Quilt memory</keywords>
<keywords_alt/>
<subjects/>
<subjects_alt/>
<gpspoints>
<gps/>
<gps_zoom>0</gps_zoom>
<gps_text/>
<gps_text_alt/>
</gpspoints>
<hyperlinks>
<hyperlink/>
<hyperlink_text/>
<hyperlink_text_alt/>
</hyperlinks>
</point>
<point>
<time>202</time>
<title>Human rights quilt</title>
<title_alt/>
<partial_transcript>I've been exhibiting your work now for I guess-- fifteen years?</partial_transcript>
<partial_transcript_alt/>
<synopsis>Carolyn Mazloomi, the interviewer, has exhibited McCannon's work many times over the past twenty years. She asks McCannon to discuss one of the pieces she exhibited most recently, in a show about human rights in the new millennium. The quilt is called "Each One Teach Two," and she says that it's about disproportionate amount of women and girls who are illiterate compared to men. She has focused much of her career on telling the stories of African American women, The quilt is full of faces, and she tried to represent every female from every race and culture. The techniques in this quilt include paint, felting, machine embroidery, applique, and silk screen. McCannon still owns this quilt and keeps it in her house.</synopsis>
<synopsis_alt/>
<keywords>Quilt shows/exhibitions; African American quilts; applique; Embroidery; Art quilts</keywords>
<keywords_alt/>
<subjects/>
<subjects_alt/>
<gpspoints>
<gps/>
<gps_zoom>0</gps_zoom>
<gps_text/>
<gps_text_alt/>
</gpspoints>
<hyperlinks>
<hyperlink/>
<hyperlink_text/>
<hyperlink_text_alt/>
</hyperlinks>
</point>
<point>
<time>427</time>
<title>Learning how to quilt / What makes a great quilt</title>
<title_alt/>
<partial_transcript>You've employed so many techniques here. One of the things that's been very common in the quilt community, most of us are constantly taking classes.</partial_transcript>
<partial_transcript_alt/>
<synopsis>McCannon is mostly self taught, though she has taken some workshops and classes in mediums other than quilting, since she does consider herself a mixed media artist. She recalls going to England in 2000 for a Knit and Stitch conference, which she found when realizing that there were many mixed media artists like her who were living and working in England. At that conference, she was able to learn a variety of techniques, including embellishment machines and felting. That is mostly the extent of her formal training. McCannon loves work that's innovative and different from the norm. She appreciates experimental and visually progressive pieces. She says that she works in so many different mediums to keep herself interested and engaged in her art practice of 55 years.</synopsis>
<synopsis_alt/>
<keywords>Learning quiltmaking; Embellishment techniques; Art quiltmaking; Modern quiltmaking; quiltmaking classes</keywords>
<keywords_alt/>
<subjects/>
<subjects_alt/>
<gpspoints>
<gps/>
<gps_zoom>0</gps_zoom>
<gps_text/>
<gps_text_alt/>
</gpspoints>
<hyperlinks>
<hyperlink/>
<hyperlink_text/>
<hyperlink_text_alt/>
</hyperlinks>
</point>
<point>
<time>630</time>
<title>Quilts about significant Black women</title>
<title_alt/>
<partial_transcript>Uh, we also have another quilt here that was in, um, one of our most notable exhibitions for the Women of Color Quilters' Network, and it's the exhibition "And Still We Rise" which, visually, chronicles four hundred years of African presence, African American presence in the United States.</partial_transcript>
<partial_transcript_alt/>
<synopsis>McCannon talks about two quilts that were made for a show in Martha's Vineyard. The first one is called "Why Did It Take So Long," and depicts the first all African American female flight crew. It was made of cotton, some of which was hand dyed, as well as beads, paper, and felt. She included imagery of trailblazers who preceded the flight crew, which simplified portraits of them hanging from the bottom of the quilt. This quilt also includes machine embroidery, and she tells the story of how she came across her first Bernina embroidery machine and fell in love with it as a tool. The second quilt celebrates Althea Gibson, a Black women who was a very successful tennis player. This piece includes similar multi-media techniques as the previous one. She has made multiple quilts honoring Gibson since they are both from Harlem, first starting when the ESPN Zone in New York City commissioned a piece from her. McCannon put strips of text with Gibson's many accolades on the quilt.</synopsis>
<synopsis_alt/>
<keywords>African American quilts; Art quilts; Fabric - Hand-dyed; Bernina; Portraits on quilts</keywords>
<keywords_alt/>
<subjects/>
<subjects_alt/>
<gpspoints>
<gps/>
<gps_zoom>0</gps_zoom>
<gps_text/>
<gps_text_alt/>
</gpspoints>
<hyperlinks>
<hyperlink/>
<hyperlink_text/>
<hyperlink_text_alt/>
</hyperlinks>
</point>
<point>
<time>1131</time>
<title>Importance of quilting in American life</title>
<title_alt/>
<partial_transcript>Dindga, when you think in terms of quilts, how would you think-- how do you think-- what do you think about the importance, what's the importance of quilts in American life, do you have a thought about that?</partial_transcript>
<partial_transcript_alt/>
<synopsis>McCannon points out that while more men are starting to quilt, quilting is traditionally a women's medium that has been valued less than forms of art that men usually do. Women have had to fight for equality on the art scene, and often get lower prices for their work compared to men. She loves quiltmaking because there aren't any strict rules, and even an every day person can learn how to make a quilt square and play with fabric. She also points out that quilting is a long tradition, mentioning that quilted garments came from Africa as long as hundreds of years ago. McCannon talks about quilting in African American culture, particularly the quilters of Gee's Bend. She says that quilting has historically been one of the only acceptable ways for a woman to express herself artistically, and it is often a generational tradition that gets passed on.</synopsis>
<synopsis_alt/>
<keywords>Quilt history; African American quiltmakers; Gee's Bend quilts; Generational quiltmaking; Female quiltmakers</keywords>
<keywords_alt/>
<subjects/>
<subjects_alt/>
<gpspoints>
<gps/>
<gps_zoom>0</gps_zoom>
<gps_text/>
<gps_text_alt/>
</gpspoints>
<hyperlinks>
<hyperlink/>
<hyperlink_text/>
<hyperlink_text_alt/>
</hyperlinks>
</point>
<point>
<time>1269</time>
<title>Work space / Machine collection</title>
<title_alt/>
<partial_transcript>Let me ask you also, are you in your studio right now?</partial_transcript>
<partial_transcript_alt/>
<synopsis>McCannon's studio is in the basement of her home, and she lovingly calls it a mess. Even though she doesn't always remember everyday things, she has a very good memory for every art related item she has, where she bought it, and where it is in her studio. She has between five and seven different sewing machines. McCannon mentions that after her mother passed in 2000, she bought a designer Husqvarna Viking machine. Working to pay for that machine as well as learning how to use it helped her through her grieving process. She also loves her Bernina machine for embroidery, and lately has been using a Brother machine to do a lot of her sewing.</synopsis>
<synopsis_alt/>
<keywords>Work or Studio space; Bernina; Husqvarna; Quilt Purpose - Mourning; Mourning/Grief</keywords>
<keywords_alt/>
<subjects/>
<subjects_alt/>
<gpspoints>
<gps/>
<gps_zoom>0</gps_zoom>
<gps_text/>
<gps_text_alt/>
</gpspoints>
<hyperlinks>
<hyperlink/>
<hyperlink_text/>
<hyperlink_text_alt/>
</hyperlinks>
</point>
<point>
<time>1390</time>
<title>Artistic influences</title>
<title_alt/>
<partial_transcript>Are there any artists that have influenced you, or, people that have, um, inspired you to... quilt, or they've influenced you in any way in this-- in your art?</partial_transcript>
<partial_transcript_alt/>
<synopsis>McCannon, as a young artist, had a hard time being respected for being a Black woman who wanted to depict Black people in her art. She eventually found the Art Student's League, where she was able to study under prominent Black American artists such as Jacob Lawrence, Charles Alston, and more. She chose to learn from them because she knew she wouldn't have to explain "why" she paints Black people, like she typically had to do in more mainstream art education. They encouraged her that it was okay to paint her own culture. Other than that personal experience, she was also inspired by German artist Kathe Kollwitz, which helped McCannon realize that she wanted her work to say something socially and culturally significant.</synopsis>
<synopsis_alt/>
<keywords>Painting; African American quilts; studio quilt artist; Learning quiltmaking</keywords>
<keywords_alt/>
<subjects/>
<subjects_alt/>
<gpspoints>
<gps/>
<gps_zoom>0</gps_zoom>
<gps_text/>
<gps_text_alt/>
</gpspoints>
<hyperlinks>
<hyperlink/>
<hyperlink_text/>
<hyperlink_text_alt/>
</hyperlinks>
</point>
<point>
<time>1582</time>
<title>Modern challenges in quiltmaking</title>
<title_alt/>
<partial_transcript>When you're thinking-- when we're thinking about quiltmaking today, what do you feel is the biggest challenge? When you say, I'm a quiltmaker and I make quilts, any-- what's the biggest challenge with that?</partial_transcript>
<partial_transcript_alt/>
<synopsis>McCannon says that the only challenge for quilters who don't make a living off of their art is to be able to express themselves the way they wish to. However, if someone tries to make a living out of their quilting practice, other factors come into play. Historically, quilting and fiber arts hasn't been taken as seriously as other forms of art, either from art shows and museums not accepting fiber art as a medium, or quilters not being paid their worth. While that is still somewhat of an issue at times, McCannon sees a shift happening, where quiltmaking as an art form is coming into its own. She also remarks that out of her other practices, such as painting and printmaking, quiltmaking is by far the most labor intensive and time consuming medium. Quilters are finally starting to be able to charge their worth for that labor.</synopsis>
<synopsis_alt/>
<keywords>Quilt Purpose - Artistic expression; Art quiltmaking; Quilt shows/exhibitions; Selling quilts; Quilt Purpose - Personal income</keywords>
<keywords_alt/>
<subjects/>
<subjects_alt/>
<gpspoints>
<gps/>
<gps_zoom>0</gps_zoom>
<gps_text/>
<gps_text_alt/>
</gpspoints>
<hyperlinks>
<hyperlink/>
<hyperlink_text/>
<hyperlink_text_alt/>
</hyperlinks>
</point>
<point>
<time>1689</time>
<title>Quilts as family heirlooms</title>
<title_alt/>
<partial_transcript>Are there certain quilts that you keep in your collection that you anticipate on passing on to your children?</partial_transcript>
<partial_transcript_alt/>
<synopsis>McCannon says that her children will inherit whatever quilts are left and haven't sold. She doesn't usually intentionally withhold quilts from her sales, since selling her quilts allows her to continue making more. However, she created a series of quilts entitled "Harlem Memories" or "Memoirs," partly inspired by Laura Gadson's quilts. This is a series of 5 or 6 quilts that utilized ephemera that was passed on to her after her mother's passing, including old receipts and bills from her family's history in Harlem. This series was also provoked by the influx of different cultures into Harlem, particularly those that were disrespecting her culture or taking credit for the rich history of Harlem. It was her way of proving that her family had been in Harlem since the 1920s, contributing to its culture and history. She has passed a few quilts from that series on to different family members, and anticipates that the whole series will likely stay in the family.</synopsis>
<synopsis_alt/>
<keywords>Generational quiltmaking; African American quilts; African American quiltmakers; Quiltmaking for family; Quilt Purpose - Memorial</keywords>
<keywords_alt/>
<subjects/>
<subjects_alt/>
<gpspoints>
<gps/>
<gps_zoom>0</gps_zoom>
<gps_text/>
<gps_text_alt/>
</gpspoints>
<hyperlinks>
<hyperlink/>
<hyperlink_text/>
<hyperlink_text_alt/>
</hyperlinks>
</point>
<point>
<time>1822</time>
<title>Legacy as an artist</title>
<title_alt/>
<partial_transcript>And, how do you want to be known, Dindga?</partial_transcript>
<partial_transcript_alt/>
<synopsis>McCannon wants to be known as a woman who had a dream of being an artist in the 1960s, and that she was able to be successful in the dream in spite of the mishaps, adventures, and struggles she faced. She also wants to be known as someone who loved to share her skills and teach art, especially sharing art with the average person who doesn't consider themselves an artist. She spent about twenty years working as an art teacher in the shelter system, which was one of her most meaningful jobs. She got to help people who were struggling in life experience the spark that art gives her.</synopsis>
<synopsis_alt/>
<keywords>Teaching quiltmaking; Selling quilts; studio quilt artist; Knowledge transfer; professional quiltmaker</keywords>
<keywords_alt/>
<subjects/>
<subjects_alt/>
<gpspoints>
<gps/>
<gps_zoom>0</gps_zoom>
<gps_text/>
<gps_text_alt/>
</gpspoints>
<hyperlinks>
<hyperlink/>
<hyperlink_text/>
<hyperlink_text_alt/>
</hyperlinks>
</point>
<point>
<time>1920</time>
<title>Making a living with wearables</title>
<title_alt/>
<partial_transcript>One other thing I just remembered, I have to mention this, in addition to quilts you also make wonderful, wonderful one-of-a-kind, um, pieces of clothing. How did that come into the-- how did that make a segue into the art that you're producing, you-- you produce so much. How did you get started making those wonderful, uh, wearables?</partial_transcript>
<partial_transcript_alt/>
<synopsis>McCannon first learned how to sew garments when she spent a year and a half in fashion school, after her mother convinced her to go there instead of art school in the early 60s. After she left that school, she continued to create and sell wearables to make a living, eventually figuring out how to combine her art practice with wearables. She describes clothing as her "cash cow," something that allowed her to stay afloat while she continued to make the art that she was more passionate about. Up until a year ago she was still making and selling garments, but has since stopped to focus on projects she's more passionate about.</synopsis>
<synopsis_alt/>
<keywords>Selling quilts; Art quilts; Quilt Purpose - Personal income; Quilted goods</keywords>
<keywords_alt/>
<subjects/>
<subjects_alt/>
<gpspoints>
<gps/>
<gps_zoom>0</gps_zoom>
<gps_text/>
<gps_text_alt/>
</gpspoints>
<hyperlinks>
<hyperlink/>
<hyperlink_text/>
<hyperlink_text_alt/>
</hyperlinks>
</point>
</index>
<type/>
<description/>
<rel/>
<rights/>
<fmt>video</fmt>
<usage/>
<userestrict>0</userestrict>
<xmllocation>https://quiltalliance.net/ohms-viewer-master/render.php?cachefile=</xmllocation>
<xmlfilename/>
<collection_link/>
<series_link/>
</record>
</ROOT>