Read more
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. 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 and the Bloomsbury group Joseph McBrinn Part II: Elaborating identity: Expressing ideology, crafting community 5 Whig’s Defeat: Stitching settler culture, politics, and identityLisa Binkley6 “From Prison to Citizenship,” 1910: The making and display of a suffragist bannerJanice Helland7 Our Lady of the Snows: Settlement, empire, and “the children of Canada” in the needlework of Mary Seton Watts (1848-1938)Elaine Cheasley Paterson Part III: Recovering Identity: Locating the self through needlework 8 “Je me declare Dieu-Mère, Femme Créateur”: Johanna Wintsch’s needlework at the Swiss psychiatric asylums Burghölzli and Rheinau, 1922-25Sabine Wieber9 Hybrid language: The interstitial stitches of Anna Torma’s embroideriesAnne Koval10 Suturing my soul: In pursuit of the Broderie de Bayeux Janet Catherine BerloIndex...
