214:. Thus the public had already been prepared for highly colored abstract art work; the pieced quilts in the Whitney exhibit fit into the current art scene. The Whitney's pieced art exhibit toured the country and was followed by a quilt craze, which reached a culmination in the Bicentennial events of 1976. Many quilts were made for that event and a revival of interest in quilting techniques and materials started giving artists expanded work potential. In addition the feminist movement of the late 60s and 70s produced a new interest in women who worked in the arts as well as formerly neglected women's work that could now be seen as art. Quilts, exhibited in galleries and museums, fit into the country's cultural and social concerns.
482:'s theory of the differences between male and female values to reject Michael James's call for stronger art in the quilt art world. She says that "the male, Jamesian model of 'quilt art' violates the very qualities that initially attracted women to quilting and reinforce their continuing pursuit of it. It feel, to a great many of them, alien. The imposition of a male model on a women's expressive form leaves in a position of discomfort the very people who are the life blood of the expressive form." Weidlich p 9. Weidlich argues that quilts emphasize relationship and connection, and that James would remove those association to conform to male standards of the artist as idiosyncratic and subversive.
506:. In the early 21st century, the Gee's Bend quilters, "discovered" by folk art collectors Bill and Matt Arnett, became celebrated as artists and toured the U.S. widely, carrying their "piece quilts" to innumerable communities where they gave talks about their lives and work. Coffee table books showed the work and lives of the Gee's Bend artists; items used domestically began to appear, bearing their designs. A lawsuit arose over whether the women's work was legally obtained and licensed by the Arnetts, who apparently sold the rights to the design for use in home dec designs. U.S. District Judge Callie Granade of Mobile dismissed the suits.
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191:. That exhibit of pieced quilts from the 19th and early 20th centuries, organized by Jonathan Holstein, presented the quilts on stark white walls with simple gallery labels. Holstein organized the exhibit so that each piece could "be seen both as an isolated object and as part of a balanced flow of objects." This type of visual presentation marked a break from the traditional crowded hanging of quilts in county fairs and guild shows that had predominated throughout earlier displays. The exhibit was widely reviewed, including a glowing report by the
175:(QHF) is a non-profit organization dedicated to honoring those who have made outstanding contributions to the world of quilting and quilted art. Many of the quilt artists discussed here appear in their list of honorees. The organization's list of honorees can be found on its website; early in their history, they had many honorees; now it appears that they generally honor only one and sometimes no quilt artists for their list.
76:(1928–2011) is cited by Robert Shaw as the "most prominent and influential of early modern quiltmakers." Laury was an "academically trained artist and designer who encouraged women to create their own new designs based on their own experiences, surroundings and ideas rather than traditional patterns." Laury wrote, "There are no rules in stitchery – no single 'right' way of working."
229:(a museum of twentieth-century American art), Lincoln, Massachusetts, 1975; "Quilts for 76", the Boston Center for the Arts, 1975; and "Quilted Tapestries," Kornblee Gallery, New York City, 1975. Many annual venues now exist in which quilt art is exhibited; these include the International Quilt Festival in Houston, Texas, and elsewhere, and Quilt Visions, in Oceanside, California.
85:(1928–2013), as a former painter, used her training in her quilted works. Donnell was a feminist who eschewed the "art scene" in order to explore quilts as liberating creativity for women. As recently as 1996 she was still teaching in the field with a course on the history, theory, and techniques of quilting at Simmons College and Westfield State College in Massachusetts.
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century through her scholarly work, social activism, and intricate, celebrated quilts (which often included rare
Scandinavian indigo dyes). The transition from traditional quilting through art quilts to quilted art was rapid; many of the most important advances in the field came in the 1970s and 1980s.
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in 2012, Joe
Cunningham points out, "In the centuries before the American Revolution, quilting was a technique learned as a part of the tailor's craft in England. The best known tailor/quilter is Joe Hedley(1750-1826) of Northumberland....." Cunningham goes on to cite many more examples of male quilt
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Holstein was also criticized for divorcing the quilts from their historical context, for applying a traditional male-dominated sense of aesthetic value to a woman's art, for dismissing applique quilts as artistically inferior to pieced examples, and for his apparent lack of concern as a collector for
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exhibit, "which represented everything the traditional rules of the craft told them to avoid: sloppy work and assembly, bizarre color combinations, nasty materials.... Quilt makers had kept the craft alive and in a relatively pure state, the latter largely because no czars of culture had bothered to
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Most of these controversies have become muted as the fine arts have opened up to a vast variety of materials and methods. The materials and structures assembled by quilt artists have gone beyond or negated many of the older connotations of the quilt. Nevertheless, many questions and concerns remain
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Because of feminism and the new craft movements of the 1960s and 1970s, quilting techniques, traditionally used by women, became prominent in the making of fine arts. Dr. Mimi
Chiquet, of the Virginia-based quilting collective The Fabric of Friendship, furthered the art's prominence in the mid-20th
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at
Harvard University. Also in 1975, Upton and Hoffman exhibited at the Kornblee Gallery on 57th Street in New York City. In doing so, they brought quilt art to the forefront as comparable to other forms of contemporary art. According to Robert Shaw, "Where other quilters were moving away from the
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By 2010 Gutcheon had established herself as a successful novelist based in New York City. James currently serves as
Professor and Chair of the Department of Textiles, Merchandising & Fashion Design at the University of Nebraska-Lincoln, the academic home of the International Quilt Study Center
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Other observers of the evolution of the quilt art medium point to the long time participation of quilt making by men. The
Weidlich argument could be interpreted more against elite art attitudes and less about gender appropriation. In one of the forward essays to "Man Made Quilts: Civil War to the
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Most quilt artists work in the area of the fine arts, specifically the visual arts. Their works are not generally functional in nature, although there are exceptions. The primary professional
English-speaking organization of artists using quilting materials and techniques is the Studio Art Quilt
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Other exhibits in the 1970s presented the "new type of quilt, one markedly different from its tradition-inspired counterparts." "The Art Quilt" was a traveling exhibit, sponsored by the Art Museum
Association of America, debuting at the Los Angeles Municipal Art Gallery on October 1, 1986. Two
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Charles and
Rubynelle Counts, after studying at Berea College and elsewhere, started a crafts center. Charles Counts designed tops which were then quilted by local artisans. Rising Fawn, the crafts center, continued to produce quilts into the mid-1970s; the designs are little known today but are
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in Athens, Ohio, at The Dairy Barn Arts Center, Visions Art Museum (Quilt
Visions), in San Diego California, and at The National Quilt Museum in Paducah, Kentucky. Art using quilting techniques are appropriate for all fine art venues. Many mixed media and collage art exhibitions are especially
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look closely at it....They made beautifully crafted quilts....The issue was hot for a long time, until enough exhibitions with orientations similar to the Whitney's had been seen across the country, and a constituency for new visual considerations in quilts had emerged." Holstein, p. 57.
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traditional quilt one step at a time, seeing how far they could push the quilt format while still remaining connected to historical precedent, Hoffman and Upton largely ignored the rules and the assumed limitations of traditional quilting and simply leapt forward." (Shaw, p. 60)
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Associates (SAQA), the members of which all count themselves as fine artists. SAQA has more than 3500 members as of May 29, 2020. A number of contemporary fine artists employ quilting techniques in their work. In the Fall, 2010 issue of the "Surface Design Association Journal",
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Quilted art outside the U.S. has flourished in the UK, France, Germany, the Netherlands, Switzerland, Scandinavia, Japan, Korea, New Zealand, Australia, Canada, and possibly elsewhere. More information about the art in these countries needs added to this site.
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making from the past up to the present. Jean Burks essay also lists multiple examples of men creating quilts and states, "No discussion of male contributions to quilting would be complete without mentioning the considerable achievements of psychiatrist
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Shaw's work is the most complete published study of quilt art. The book, 10 inches by 14 inches, includes 308 illustrations, most of them full page spreads of individual works of art. An excerpt from the book can be found at
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Michael James' remarks, to which Weidlich was responding, were given as a keynote address to the American Quilters Society Quilt Show and Contest Awards Banquet and subsequently published as "Quilt Art at Century's End,"
430:, founded in 1989. SAQA's membership overlaps with other professional organizations, such as the Surface Design Association and the International Machine Quilter. Major exhibitions involving only quilt art are at
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Joan Lintault produced original textile and quilted art before quilting or quilt art became a national pastime. She and Therese May, as well as the Counts, had work that was first published by Jean Ray Laury in
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Other quilt artists working in the 1970s include Terrie Hancock Mangat, Gayle Fraas and Duncan Slade, Nancy Clearwater Herman, Jan Myers-Newbury, Pamela Studstill, Joan Schultz, Yvonne Porcella, Ruth McDowell,
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There are some artists that are not using quilting techniques of hand sewing, machine sewing or long arm for example, but who the quilting 'world' have taken an interest. Artists like Fraser Smith, who
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A quilted work of art is generally defined as two layers of cloth held together by stitching. In most cases, a middle batting layer made of polyester, cotton, wool or silk is also incorporated.
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James teaches courses in textile design and quilt studies, and continues his studio practice focused on non-traditional quilts incorporating digitally developed and digitally printed fabrics.
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In a field that straddles craft and art, the controversies can arise rather quickly. Jonathan Holstein recounts being accosted by traditional quilters who were confused by the quilts in the
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The presentation of pieced quilts, with their emphasis on color and geometric forms, fit perfectly into the art modes of the time. The abstract expressionists, like
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Nancy Crow, another influential teacher and writer of books, was instrumental in freeing quilting artists from certain preconceptions about rules. Her 1995 exhibit,
53:. Practitioners of quilt art create it based on their experiences, imagery, and ideas, rather than traditional patterns. Quilt art is typically hung or mounted.
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Some of these controversies continue to the present day. Lorre M Weidlich, in the Spring 1996 (vol. 6, #9) Newsletter of the Studio Art Quilt Associates, uses
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Pauline Burbidge, a British artist, first saw old quilts in Portobello Road in London and 30 years later is still working in the medium. (McMorris p. 48)
69:"Child's Quilt" - a Jean Ray Laury design. Made by Carol Simpelaar, NY, 1970, cottons, dimensions: 37" x 47". Collection of Bill Volckening, Portland, Oregon.
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Although many quilts made and displayed prior to the 1970s can now be defined as art, the form was most importantly recognized as legitimate art in the 1971
114:(1978) was more technical. These two books are often cited as the place where contemporary quilt artists began. James' follow-up book, published in 1981 (
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Although quilt art originated in traditional quilting techniques, quilt artists now may use many different processes to create their artwork, including
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were quilting instructors, beginning a trend which still allows quilting artists to earn income from a pursuit close to their art. Gutcheon published
222:" in 1979, the first of the still existing biennial exhibits spotlighting contemporary, generally original, designs. It too is a traveling exhibit.
210:, who used large swaths of color on canvas, had had their moment in the 1950s. They were followed in the 1960s by such hard edge abstractionists as
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McMorris's book contains a great deal of history about the social conditions that led to the rise of quilting and art quilting in the 1960s.
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the stories of the women who made the quilts, "thereby marginalizing the makers by denying them their personal identities." Shaw, p. 54
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Quilt art exhibit installation view, International Quilt Study Center & Museum, University of Nebraska - Lincoln
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names the following as contemporary fine artists working with quilting techniques: Michael Cummings, Ursula Rauch,
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other exhibits were "The New American Quilt" at The Museum of Contemporary Crafts in New York City in 1976 and "
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who uses only denim to create his works, but uses glue, not quilting has shown extensively in the
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Johnson, Bob (08-25-2008). "Suits brought by rural Alabama quilters resolved", Associated Press
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Another controversy involves the work and people in the isolated Alabama hamlet of
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The Second Quiltmaker's Handbook: Creative Approaches to Contemporary Quilt Design
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Abstract Design in American Quilts: a Biography of an Exhibition
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Art quilts are now part of collections in museums such as the:
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Other important exhibits of the 1970s include "Bed and Board",
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The Quiltmaker's Handbook: a Guide to Design and Construction
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Quilt House view, Robert A. M. Stern Associates Architects
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852:"Fraser Smith - Carved Wood Quilts - TheQuiltShow.com"
613:. Loveland, CO, USA: Interweave Press LLC. p. 6.
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Renwick Gallery of the National Museum of American Art
1007:, Louisville, Kentucky: The Kentucky Quilt Project,
901:"Ian Berry: Behind Closed Doors - TextileArtist.org"
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647:. Studio Arts Quilt Associates. Archived from
155:, exhibited with Radka Donnell in 1975 at the
57:Early US and British contributors to the field
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1029:, San Francisco, CA: The Quilt Digest Press,
292:International Quilt Study Center & Museum
94:Quilts and Coverlets: A Contemporary Approach
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1269:List of North American pieced quilt patterns
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641:"A History of the Art Quilt, excerpted from
350:The Brigham City Museum of Art & History
294:, University of Nebraska, Lincoln, Nebraska
1124:International Quilt Study Center and Museum
826:"SAQA Celebrates 30 years! by SAQA - Issuu"
495:(1868-1966). Dr Dunton, the founder of the
288:, Smithsonian Institution, Washington, D.C.
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1048:, N/A: Hugh Lauter Levin Associates, Inc,
793:Man Made Quilts: Civil War to the Present
497:American Occupational Therapy Association
88:still distinctive. (Shaw, p. 49–50)
1514:San Jose Museum of Quilts & Textiles
1489:Museum of the American Quilter's Society
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1021:McMorris, Penny; Kile, Michael (1986),
795:. Shelburne Museum Inc. pp. 1–26.
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1519:Conservation and Restoration of Quilts
462:Controversies in quilt art in the U.S.
126:& Museum, located in Quilt House.
880:Houston Center for Contemporary Craft
791:Burks, Jean; Cunningham, Joe (2012).
781:, Vol VII, #3 (Fall, 1992) pp. 52-74.
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189:Abstract Design in American quilts
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261:Los Angeles County Museum of Art
958:"Artist creates works in denim"
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924:McCarthy, Fiona (2013-11-03).
486:Present" an exhibition at the
468:Whitney Museum of American Art
16:For the sewing technique, see
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254:Missoula Museum of the Arts,
108:The Perfect Patchwork Primer
1358:Underground Railroad quilts
1159:Layered textiles and quilts
1094:Michael James Studio Quilts
1079:Studio Art Quilt Associates
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1074:A History of the Art Quilt
514:Contemporary quilt artists
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401:Philadelphia Museum of Art
370:Indianapolis Museum of Art
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1394:International Honor Quilt
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985:Gillespie, Spike (2009),
609:Bolton, Patricia (2008).
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320:Charlotte, North Carolina
263:, Los Angeles, California
246:Museum of Arts and Design
147:Two other quilt artists,
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766:McMorris & Kile 1986
754:McMorris & Kile 1986
707:McMorris & Kile 1986
281:Harrisburg, Pennsylvania
237:New England Quilt Museum
671:"Fabric of their Lives"
510:and are hotly debated.
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364:Brockton, Massachusetts
318:of Craft & Design,
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142:Improvisational Quilts
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110:in 1973. James' book,
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380:National Quilt Museum
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173:Quilters Hall of Fame
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49:techniques to create
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23:For the textile, see
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899:admin (2016-11-16).
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1374:AIDS Memorial Quilt
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1380:Quilt of Belonging
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250:New York, New York
166:Katherine Westphal
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850:Davis, Mary Kay.
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620:978-1-59668-099-9
584:"About Quilt Art"
384:Paducah, Kentucky
339:Kearney, Nebraska
310:Racine, Wisconsin
306:Racine Art Museum
256:Missoula, Montana
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987:Quilting Art
986:
979:Bibliography
966:. Retrieved
964:. 2018-05-23
961:
952:
941:. Retrieved
929:
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832:. 2020-05-29
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1494:Quilt Index
1456:Molly Upton
1348:Rajah Quilt
1325:Ribbon work
1222:Ralli quilt
533:Tracey Emin
316:Mint Museum
204:Mark Rothko
149:Molly Upton
51:art objects
968:2018-07-09
943:2018-07-09
910:2018-07-09
885:2018-07-09
861:2018-07-09
836:2024-06-11
680:12 October
655:2007-09-16
571:References
504:Gee's Bend
120:Nancy Crow
1320:Penny rug
1310:Khayamiya
1279:Patchwork
1274:Log Cabin
1252:Patchwork
1207:Quilt art
938:0956-1382
830:issuu.com
731:Shaw 1997
719:Shaw 1997
695:Shaw 1997
634:Shaw 1997
588:Quilt Art
561:Ian Berry
525:Ai Kijima
376:, Indiana
187:exhibit,
31:Quilt art
1542:Quilting
1536:Category
1300:Appliqué
1293:Applique
1232:Trapunto
1212:Quilting
1165:Quilting
962:BBC News
565:Fine Art
456:applique
448:painting
276:, France
274:Sergines
47:quilting
18:Quilting
1416:Jo Budd
567:world.
549:Jo Budd
185:Whitney
1404:People
1217:Quilts
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557:carves
452:dyeing
25:Quilt
1315:Mola
1050:ISBN
1031:ISBN
1009:ISBN
991:ISBN
934:ISSN
797:ISBN
682:2014
615:ISBN
596:2016
368:The
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