The Subversive Stitch: Embroidery and the Making of the Feminine

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Access-restricted-item true Addeddate 2012-07-27 20:19:58 Bookplateleaf 0002 Boxid IA160019 Camera Canon EOS 5D Mark II City London Donor El libro parece bien documentado y aunque no se extienda demasiado en su argumentación, tampoco parece irreflexivo o caprichoso en sus hipótesis. Sobre todo se agradece que, siendo la autora terapeuta de orientación psicoanalítica, no se deslice más que en un par de ocasiones, y de manera bastante leve, en la ensalada freudiana (yo al menos lo agradezco). Woah! I find it very worrying that the head of a degree subject area can make a statement about academic writing which will negatively influence all the students doing a Textile degree! So many ideas to follow up on from this read; Parker did mention some newer textile artists in her new introduction, and I'd love to read about the path of embroidery past the late 70s where this book stops.

The Subversive Stitch: Embroidery and the Making of the The Subversive Stitch: Embroidery and the Making of the

Also, this books made me feel much more respect towards the history of embroidery and the work of modern women in it and how they work towards a new conception of the art. The research is really interesting, returning to primary sources, no relying on Victorian writers (who often made up things - yes they did!!). The writing is let down by repetition and a bit of rambling, a tighter edit would have been good. The illustrations are relevant but the quality lets them down. Tate Modern’s recent Anni Albers (1899-1994) exhibition, curated by Ann Coxon and Briony Fer, demonstrated Albers’ role as an important artist in Modernism through her weavings, which she began in the 1920s Bauhaus workshops and developed through her exposure to ancient Latin American weavings once she moved to the US in the 1930s. These early civilization weavings and textiles that Albers immersed herself in can be seen as a form of communication, coding and language. Lilah Fowler, who is interested in our geopolitical space within today’s digital culture, worked with a computer programmer to produce custom software that created unlimited and unique digital patterns. Learning the technique of Navajo weaving, she first created hand-woven rugs from the digital information of hundreds of generated patterns, and then used a digital Jacquard loom. Early looms were often seen as early computers, in the way they read information to weave designs via holes punched in cards. UR - https://pure.ulster.ac.uk/en/publications/queering-the-subversive-stitch-men-and-the-culture-of-needlework The role of embroidery in the construction of femininity has undoubtedly constricted the development of the art. What women depicted in thread became determined by notions of femininity, and the resulting femininity of embroidery defined and constructed its practitioners in its own image. However, the vicious circle has never been complete. Limited to practising art with needle and thread, women have nevertheless sewn a subversive stitch - managed to make meanings of their own in the very medium intended to inculcate self-effacement.Rozsika Parker's exploration of the history of embroidery (primarily within the scope of Britain) and its relationship to femininity drew my attention because I've taken up embroidery entirely on my own in the past few years. A lot of the appeal for me was the historical connection, so of course I looked around for books on the history of the art. Add in a discussion of gender and society and I'm sold.

THE SUBVERSIVE STITCH REVISITED: THE POLITICS OF CLOTH THE SUBVERSIVE STITCH REVISITED: THE POLITICS OF CLOTH

Very excited to announce that I will be showcasing my Honours Collection at New Zealand Fashion week this year! Recent PostsRozsika Parker’s book brings to light the relationship between women (mainly upper and middle class) and embroidery. Exposing how embroidery was used to subdue and control girls and make them ready for marriage. How samplers represented the quiet dignity of a girl but also how some also stitched quotes into them hinting of their unhappiness. This led to women using stitch as a means of communicating their dissatisfaction of their lot. Examples of this are the suffragettes and the anger of the women’s lib movement. This story of embroidery brings us to where we are now with artists like Tracey Emin and movements like Craftivism. I really, really enjoyed this look at embroidery and the making of the feminine throughout (mostly English) history. I give it 4 stars only because it would have really been improved by colour photos at a higher resolution...but this re-issue is very fine otherwise. I’ve wanted to read this book for a while but to be honest as it is hailed as a piece of academic feminist literature I was put off. I expected it to be wordy, heavy going and worthy but to my relief it is none of these things. Yes it is academic but the writing style flows and is always engaging, full of evidenced based opinion. I can't remember how I came across this book, but I couldn't resist putting it on the list for our feminist book club, and was very happy when it got voted in for discussion. When I started reading it, I got a little apprehensive, since it seemed extremely academic and rather niche, and I was worried that the group (and I) wouldn't enjoy it. Entangled – Threads and Meaning’ was an exhibition held at Turner Contemporary in 2017 and curated by Karen Wright. Featuring all women artists, two of them are also included here. Judith Scott (1943 -2005) had an incredible intuition for working with threads and fibres in her sculptures. Born with Down’s Syndrome at a time when little was understood about care, she was institutionalised for thirty five years until she was rescued by her twin sister Joyce and enrolled in an art centre in California to support those with disabilities. There her innate talent for thread and sculpture was discovered, and she continued to create art prolifically until her death in 2005 age 62. Here we see one of her trademark woven and wrapped found objects cocooned in brightly coloured threads. Icelandic artist Hrafnhildur Arnardottir / Shoplifter works with the brightly coloured fibres of synthetic hair to create sculptures and wall-pieces that incorporate a playful and often humorous narrative (like her bright yellow ‘Smiley’) using traditional handcraft techniques like knitting, weaving, and braiding to create new forms of textiles, while referring to established methods in art. She is attracted to the playfulness found in folk art, naïvism, and handicraft which all have a strong influence on her organic process of creating work.