Examining the histories of Bisa Butler's quilted portrait I know why the caged bird sings

Bisa Butler, a contemporary fiber artist, roots her practice in the processes of craft and the histories of Black women. By creating large-scale quilted portraits that express the layered histories of Black Americans, she investigates stories that are often buried under false accounts that perpetuate a Euro-centric interpretation of history. In this thesis, I explore three histories represented in Butler's 2019 quilted portrait, I Know Why the Caged Bird Sings, through the research methods of biography and intersectional feminism. First, I underscore the ways that Butler's fine art contributes to the inclusion of fiber art in the high art space. Second, using the subjects of her quilt as a guide, I examine the histories of middle class, educated Black women in the early 20th century, which offers insight into the intersections of race, gender, and class embedded in this work. Finally, I investigate the work and identities of Black artists (not Black art history) by placing Butler and her quilted portraits in conversation with artists like Faith Ringgold and the artists of the AfriCOBRA movement. I use my exploration into these three to offer a thorough reading of I Know Why the Caged Bird Sings, identifying how the histories intersect and overlap to inform the narrative of quilt scholarship. The layered histories in Butler's work demonstrate the need to integrate fiber art, specifically quilts, into the mainstream of art history.