Free Delivery Over $100
|
|
|||
|
||||
OverviewThe 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. Full Product DetailsAuthor: Johanna Amos (Queen's University, Ontario, Canada) , Lisa Binkley (Mount Allison University, New Brunswick, Canada)Publisher: Bloomsbury Publishing PLC Imprint: Bloomsbury Visual Arts Weight: 0.363kg ISBN: 9781350242418ISBN 10: 1350242411 Pages: 256 Publication Date: 29 July 2021 Audience: College/higher education , Tertiary & Higher Education Format: Paperback Publisher's Status: Active Availability: In Print  This item will be ordered in for you from one of our suppliers. Upon receipt, we will promptly dispatch it out to you. For in store availability, please contact us. Table of ContentsList of Figures List of Plates List of Tables Notes on Contributors Acknowledgments Introduction: 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, 1850-1914 Wendy Wiertz 2 “Experiments in silk and gold work afterwards to bloom”: The embroidering of Jane Burden Morris Johanna Amos 3 Becoming the boss of your knitting: Elizabeth Zimmermann and the emergence of critical knitting M. Lilly Marsh 4 “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 identity Lisa Binkley 6 “From Prison to Citizenship,” 1910: The making and display of a suffragist banner Janice Helland 7 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, 1922-25 Sabine Wieber 9 Hybrid language: The interstitial stitches of Anna Torma’s embroideries Anne Koval 10 Suturing my soul: In pursuit of the Broderie de Bayeux Janet Catherine Berlo IndexReviewsStitching the Self considers historical textiles and the lives that made them. Diverse examples - from the English Bloomsbury group to a Swiss psychiatric asylum - show how textile making has long been used as an effective tool to craft personal and group identities. * Jessica Hemmings, University of Gothenburg, Sweden * Needles are evocative tools of material expression. This collection reveals the freighted history and practice of needlework, whose signal importance is demonstrated across this engrossing volume. Makers from varied circumstances are showcased in compelling ways, challenging categories of artistic production. * Beverly Lemire, University of Alberta, Canada * 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. * Vivienne Richmond, Goldsmiths, University of London, UK * Author InformationJohanna 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. Tab Content 6Author Website:Countries AvailableAll regions |
||||
