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Zusatztext A diverse range of essays which richly illustrate the importance of needlecrafts in forging, reconstituting, recovering and reclaiming individual and collective identifies. Focusing on Europe and North America, the authors illuminate hidden histories, challenge gender stereotypes and disrupt art/craft and professional/amateur binaries. Informationen zum Autor Johanna Amos is Assistant Professor (adjunct) of art, textile and fashion history at Queen's University, Ontario, Canada. Lisa Binkley is Assistant Professor in Material Culture, and Indigenous and Settler Women's Histories in the Department of History at Dalhousie University in Halifax, Nova Scotia, Canada. Klappentext The needle arts are traditionally associated with the decorative, domestic, and feminine. Stitching the Self sets out to expand this narrow view, demonstrating how needlework has emerged as an art form through which both objects and identities - social, political, and often non-conformist - are crafted.Bringing together the work of ten art and craft historians, this illustrated collection focuses on the interplay between craft and artistry, amateurism and professionalism, and re-evaluates ideas of gendered production between 1850 and the present. From quilting in settler Canada to the embroidery of suffragist banners and the needlework of the Bloomsbury Group, it reveals how needlework is a transformative process - one which is used to express political ideas, forge professional relationships, and document shifting identities.With a range of methodological approaches, including object-based, feminist, and historical analyses, Stitching the Self examines individual and communal involvement in a range of textile practices. Exploring how stitching shapes both self and world, the book recognizes the needle as a powerful tool in the fight for self-expression. Vorwort This book explores the needle arts as a powerful way of articulating identity, focusing on narratives of creative intention in the West from 1850 to the present Zusammenfassung The needle arts are traditionally associated with the decorative, domestic, and feminine. Stitching the Self sets out to expand this narrow view, demonstrating how needlework has emerged as an art form through which both objects and identities – social, political, and often non-conformist – are crafted.Bringing together the work of ten art and craft historians, this illustrated collection focuses on the interplay between craft and artistry, amateurism and professionalism, and re-evaluates ideas of gendered production between 1850 and the present. From quilting in settler Canada to the embroidery of suffragist banners and the needlework of the Bloomsbury Group, it reveals how needlework is a transformative process – one which is used to express political ideas, forge professional relationships, and document shifting identities.With a range of methodological approaches, including object-based, feminist, and historical analyses, Stitching the Self examines individual and communal involvement in a range of textile practices. Exploring how stitching shapes both self and world, the book recognizes the needle as a powerful tool in the fight for self-expression. Inhaltsverzeichnis List of FiguresList of PlatesList of TablesNotes on ContributorsAcknowledgmentsIntroduction: Stitching the self ... Johanna Amos and Lisa Binkley Part I: Emerging identity: Reconsidering the narratives of the needle 1 The identity of an embroidering woman: The needle arts in Brussels, Belgium, 1850-1914Wendy Wiertz2 “Experiments in silk and gold work afterwards to bloom”: The embroidering of Jane Burden MorrisJohanna Amos3 Becoming the boss of your knitting: Elizabeth Zimmermann and the emergence of critical knittingM. Lilly Marsh4 “Knitting is the saving of life; Adrian has taken it up too”: Needlework, gender ...
