Academic literature on the topic 'Feminist Textiles'
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Journal articles on the topic "Feminist Textiles"
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Bardazzi, Adele. "Textile Poetics of Entanglements." Polisemie 3 (October 30, 2022): 81–115. http://dx.doi.org/10.31273/polisemie.v3.813.
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By looking at the works of the poet Antonella Anedda (b. Rome, 1955) and the artist Maria Lai (Ulassi, 1919–Cardedu, 2013), this study investigates the relationship between poetic texts and textiles, contending that the ‘intra-action’ – to use the feminist physicist Karen Barad’s term – between the language of poetry and that of textile can be understood through a paradigm of entanglements that expands the semantic capacity of both words and textiles. One main objective of this study is to re-think the genre of lyric poetry and some of its core generic markers, in particular apostrophe, rhythm, and repetition, in light of a focus on materiality and tactility; this shall problematise ideas of linearity and completeness in favour of notions of movement, instability, and tactility. This will enable us to propose new parameters that allow for conceptualisation of textile poems and the textile poetics of entanglement that they articulate.
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Dembińska-Pawelec, Joanna. "Arachne z ulotną nicią. Sygnatura kobieca w późnej poezji Bogusławy Latawiec." Poznańskie Studia Polonistyczne. Seria Literacka, no. 32 (October 2, 2018): 267–83. http://dx.doi.org/10.14746/pspsl.2018.32.14.
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The author of this sketch interprets Bogusława Latawiec’s poems in the context of women’s signatures. Poetry of Latawiec was usually read by critics in relation to the Polish avant-garde tradition represented by men: J. Przyboś and T. Karpowicz. The author recalls N. K. Miller’s proposition of feminist reading and her theory of text as an arachnology. Analysing Latawiec’s poems she shows some signs of feminine writing contained in metaphors: a thread, textiles, weaving, sewing, needlework. These signs are of particular importance in the metatextual poems talking about the process of creating as a weaving a text.
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WIGLEY, KATE. "Radical Decadence: Excess in Contemporary Feminist Textiles and Craft, Julia Skelly." TEXTILE 17, no. 1 (January 2, 2019): 96–99. http://dx.doi.org/10.1080/14759756.2018.1505859.
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Michelman, Susan O., and Susan B. Kaiser. "Feminist Issues in Textiles and Clothing Research: Working Through/With The Contradictions." Clothing and Textiles Research Journal 18, no. 3 (June 2000): 121–27. http://dx.doi.org/10.1177/0887302x0001800301.
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McKay, Anna. "Clothing and Female Reclusion in The Life of Mary of Egypt and The Life of Christina of Markyate." Early Middle English 3, no. 1 (2021): 17–31. http://dx.doi.org/10.17302/eme.3-1.2.
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Over the past two decades, medieval feminist scholarship has increasingly turned to the literary representation of textiles as a means of exploring the oftensilenced experiences of women in the Middle Ages. This article uses fabric as a lens through which to consider the world of the female recluse, exploring the ways in which clothing operates as a tether to patriarchal, secular values in Paul the Deacon’s eighthcentury Life of Mary of Egypt and the twelfth-century Life of Christina of Markyate. In rejecting worldly garb as recluses, these holy women seek out and achieve lives of spiritual autonomy and independence.
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González-Arias, Luz Mar. "Penelope in Three Movements: A Reading of Dorothy Molloy’s ‘Waiting for Julio’." Review of Irish Studies in Europe 2, no. 1 (March 19, 2018): 225–40. http://dx.doi.org/10.32803/rise.v2i1.1729.
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This essay is a close reading of Dorothy Molloy’s poem ‘Waiting for Julio’ under the spotlight of the classical characters of Penelope and Ulysses. In Molloy’s text, the constant emphasis on clothes and textiles will add an important layer of meaning to the palimpsest of readings of the Greek myths. Although feminist interpretations of Penelope are numerous, the reading of strong gender asymmetries into Homer’s plotline—what we could call ‘victim narratives’—has been pervasive both in criticism and in artistic revisions of the myth. Thus, the critical assessment of this poem will be enriched by the tradition of interpretative frames for the Homeric story. I will also place Dorothy Molloy’s poem in an international context of revisionist myth-making and, specifically, will connect it with a long list of Penelopes recreated by contemporary Irish women poets. This close reading will be structured in three sections that account for the three themes that are paramount both in Molloy’s contemporary text and in the related episodes in the Odyssey: the institutionalization of love, the long wait with its strong relationship to clothes and textiles and, finally, the return of the hero.
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Jacob, John. "Personal Vision and Feminist Epistemologies from a (Gay) Male Standpoint: Implications for 21st Century Textiles and Apparel Scholars." Clothing and Textiles Research Journal 18, no. 3 (June 2000): 207–11. http://dx.doi.org/10.1177/0887302x0001800313.
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Bruggeman, Daniëlle. "Agency that matters: Participatory practices of making-with." International Journal of Fashion Studies 9, no. 1 (April 1, 2022): 151–72. http://dx.doi.org/10.1386/infs_00064_1.
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This article explores three recent cases of alternative, critical fashion practices from the Netherlands that create more agency for makers, wearers and matter. The cases are as follows: (1) the project ‘JOIN Collective Clothes’ by designer Anouk Beckers; (2) the ‘Feminist Needlework Party’; and (3) ‘The Linen Project’. By facilitating collective, participatory practices of making, these cases explore how to give more attention to the actual material aspects of textiles and clothes – and especially to the material aspects of making that hardly get any attention in a globalized market-driven fashion industry. All case studies highlight different material practices of working with matter – e.g. growing flax or doing needlework – that we have generally lost touch with in western consumer culture. In order to develop a deeper understanding of the importance of offering more attention to matter, these case studies have been analysed by drawing upon the theoretical discourse of ‘new materialism’ as well as the theoretical notion of ‘making-with’. By exploring these participatory cases of making-with, this article aims to offer more attention to the material aspects of fashion beyond a consumerist conception – showing how agency matters.
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Ríos Erazo, Camila Andrea. "The role of women’s dressing in the current social activist movement in Chile (2019‐20)." Clothing Cultures 7, no. 2 (September 1, 2020): 165–76. http://dx.doi.org/10.1386/cc_00035_1.
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In the context of the current protests in Chile, women are more empowered than they have been in previous years; they dare to protest freely in the streets to express themselves and demand their rights. They enhance their political message through their bodies by wearing accessories such as blindfolds or hoods. They have transformed these objects into symbols of protest. Women protesting with bare torsos or wearing only bras are some of the meaningful ways that some women are currently expressing themselves politically in Chile. These dress/undressed objects are more than simple pieces of fabric: they express political dissent and women’s vulnerability. This article will consider the role and significance that women’s dressing plays in the current Chilean social movement from different perspectives. This research will analyse clothing through case studies on three women ‐ María, Rosa and Almendra ‐ who belong to feminist collectives that have actively participated in the recent protests in Santiago de Chile. The interviews conducted were anonymized, so fictitious names are presented. María belongs to a collective that carries out performances related to liberation through dance and acting. Rosa and Almendra belong to a well-known collective who, through their characteristic red hoods and dances, express their political dissent by singing songs alluding to revolt. In all cases, textiles are a fundamental part of their characterization and identity formation. This article will ultimately argue that dressing, in the context of protest, is an element of power, both in its role of granting freedom and empowering unity for a collective struggle.
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Smith, Gillian. "Generative Design for Textiles: Opportunities and Challenges for Entertainment AI." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 13, no. 1 (June 25, 2021): 115–21. http://dx.doi.org/10.1609/aiide.v13i1.12925.
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This paper reports on two generative systems that work in the domain of textiles: the Hoopla system that generates patterns for embroidery samplers, and the Foundry system that creates foundation paper piecing patterns for quilts. Generated patterns are enacted and interpreted by the human who stitches the final product, following a long and laborious, yet entertaining and leisurely, process of stitching and sewing. The blending of digital and physical spaces, the tension between machine and human authorship, and the juxtaposition of stereotypically masculine computing with highly feminine textile crafts, leads to the opportunity for new kinds of tools, experiences, and artworks. This paper argues for the values of textiles as a domain for generative methods research, and discusses generalizable research problems that are highlighted through operating in this new domain.
Dissertations / Theses on the topic "Feminist Textiles"
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Crawford, Fiona. "When you go looking for me, I am not there : description by absence." Thesis, Federation University Australia, 2020. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/176302.
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When women don’t have access to public voices, their stories may be told through symbols and sewing, publicly viewed but understood only by an audience of intimates. My research builds upon my May 2016 residency in Assisi, Italy, and explores description through absence. Punto Assisi, an embroidery tradition predating the Renaissance, is still practised by women of Assisi. Uniquely, the subject matter is empty of detail. The negative space in Punto Assisi work can be seen as echoing the absence of information about the makers. Invisible and indispensable, women and their work have provided the fabric of human society throughout history, yet the names and faces of female artists and artisans are rarely documented. This embroidery style resonated with my interest in women's work and how ubiquitous and anonymous it is. Based on the concept of drawing with thread to manifest content, I explore description through absence, and honour the unknown makers of this art. Studio practice revealed insight into materiality, imagery, form design and palette. The haptic process of sewing gave insight into a universality of the experience of making, a connection crossing time, place and culture. The experience of the maker is highly individual and takes place in diverse contexts. The maker and their experience may be unknown, except to self, however the outcome, the product or the artwork may be indexical of a place, time or the maker, known or unknown. As such, unknown women makers have a presence in their works. The negative space in the uncoloured linen yields a presence and materiality that allows us to engage with what isn’t there. Absence is made material. Materiality, memory, narrative, and identity are themes emerging from this project. In my contemporary application of the style constraints yielded creative freedom. In absence, I found description.Master of Arts (Visual and Performing Arts) (Research)
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Lawrence, Anne. "Feminist Design Methodology: Considering the Case of Maria Kipp." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc5538/.
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This thesis uses the work and career of the textile designer Maria Kipp to stage a prolegomena concerning how to write about a female designer active during the middle of the twentieth century. How can design historians incorporate new methodologies in the writing of design history? This thesis explores the current literature of feminist design history for solutions to the potential problems of the traditional biography and applies these to the work and career of Kipp. It generates questions concerning the application of methodologies, specifically looking at a biographical methodology and new methodologies proposed by feminist design historians. Feminist writers encourage scholarship on unknown designers, while also they call for a different kind of writing and methodology. The goal of this thesis is to examine how these new histories are written and in what ways they might inspire the writing of Kipp into design history.
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Sen, Pallavi. "I Don’t Have Confirmation, I Only Have Context." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4236.
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Yang, Hsueh-Lan. "Feminine beauty: the woman of the world /." Online version of thesis, 1991. http://hdl.handle.net/1850/11645.
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Crenn, Julie. "Arts textiles contemporains : quêtes de pertinences culturelles." Thesis, Bordeaux 3, 2012. http://www.theses.fr/2012BOR30054/document.
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L’étude propose une vue d’ensemble de la création textile à travers différents prismes puisque nous abordons les pratiques artistiques utilisant les costumes d’époque, la broderie, l’assemblage textile, les cheveux, les tissus traditionnels, la tapisserie ou encore l’art du quilting. Qu’il s’agisse des oeuvres de Yinka Shonibare, Louise Bourgeois, Hassan Musa, Faith Ringgold, Kimsooja ou Tracey Emin, chacun des artistes sélectionnés pour notre étude, propose une recherche visant une pertinence culturelle grâce à l’élaboration d’une pratique plastique où expériences personnelles et collectives s’entremêlent. La pertinence culturelle étant entendue ici comme une reconstruction critique et théorique d’une histoire par l’appropriation de matériaux et/ou de techniques textiles spécifiques. Nous avons opté pour un travail thématique afin d’analyser au mieux ce que nous appelons la scène textile globale. Une première partie propose l’analyse des travaux d’artistes réfléchissant sur l’histoire et la culture noire. Nous étudierons une sélection d’oeuvres mettant en lumière deux traumas : l’esclavage et le colonialisme, ainsi que leurs répercussions actuelles sur la culture et la société. Ainsi les travaux de Faith Ringgold, Yinka Shonibare, Hassan Musa et Maria Magdalena Campos-Pons seront analysés afin de parler de problématiques comme « l’hybridité culturelle », la créolisation, la situation de l’art contemporain africain ou encore la représentation du corps noir dans l’art. Une seconde partie est axée sur les notions d’exil, de diaspora et de l’inconfort induit par le nomadisme, le statut « entre-deux ». Les pratiques de Mona Hatoum, de femmes artistes arabes comme Lalla Essaydi, Shadi Ghadirian ou Ghazel, ainsi que les travaux de Kimsooja, Janine Antoni et Ana de la Cueva nous permettrons d’entrer au coeur d’une scène artistique dont les enjeux critiques nous portent à réfléchir sur la mondialité, dans ses aspects positifs (enrichissement, échange, dialogue) comme négatifs (uniformisation, standardisation, perte des spécificités locales). Grâce au vecteur textile, chacun de ces artistes appréhende le monde et la société d’une manière à la fois poétique, critique et politique. Une troisième partie est dédiée aux artistes (majoritairement des femmes) ayant choisi l’utilisation de techniques textiles traditionnelles comme la broderie, le tissage ou la tapisserie. Avec l’explosion de la scène féministe depuis les années 1970 jusqu’aux travaux actuels, la broderie n’est désormais plus considérée comme un loisir typiquement féminin, mais comme une véritable arme politique. Une arme dirigée vers le machisme, le patriarcat ou encore les inégalités liées au genre. Dans ce cadre, les pratiques d’artistes comme Elaine Reichek, Judy Chicago, Louise Bourgeois, Joana Vasconcelos, Tracey Emin, Ghada Amer, Cathy Burghi, permettront d’aborder la broderie dans l’art contemporain de manière diversifiée et hétérogène. À travers ces différentes analyses, nous observons la déconstruction de la hiérarchie des arts et le fait que l’art textile contemporain apparaît comme un art engagé et pertinent, proposant des perspectives de réflexions riches en lien avec les problématiques du monde actuelThe study advises an overview of the textile creation in the widest sense because we approach the artistic practices using period costumes, embroidery, textile assembly, hair, traditional fabrics, tapestry or quilting art. That it is about works of Yinka Shonibare, Louise Bourgeois, Hassan Musa, Faith Ringgold, Kimsooja or Tracey Emin, each of the artists chosen for the study, is in search of a cultural relevance within his artistic practice where personal and collective experiences are interwoven. The cultural relevance being understood here as a critical and theoretical reconstruction of a (his)story by the mean of appropriation of specific textile materials and techniques. We opted for a thematic work to analyze at best what we call the global textile scene. A first part proposes the analysis of works from artists who think about Black culture and history. We will study works that shade light on two traumas: Slavery and colonialism, as well as their echoes on nowadays culture and society. So the works of Faith Ringgold, Yinka Shonibare, Hassan Musa and Maria Magdalena Campos-Pons will be revealed to speak about issues such as “cultural hybridity”, creolization and the situation of the African contemporary art or also the representation of the Black body in art. A second part is centred on the notions of exile, Diaspora, discomfort caused by nomadism and the “in-between” status. The practices of Mona Hatoum, Arab women artists such as Lalla Essaydi, Shadi Ghadirian or Ghazel, and the works of Kimsooja, Janine Antoni and Ana de la Cueva will allow us to enter the heart of an artistic scene the critical stakes of which carry us to think about the globalisation, within its positive (enrichment, exchanges, dialog) as negatives aspects (standardisation, losing of local specificities). Each of these artists dreads the world and the society in a poetic and political way. The third part is finally dedicated to the women artists who chose the use of traditional techniques as embroidery, weaving or tapestry. Since the explosion of the feminist scene during the 1970s until current works, embroidery is henceforth no more considered as a typically feminine leisure, but as a real political weapon. A weapon steered towards the male chauvinism, patriarchy or gendered disparities. In this frame, the practices of such artists as Elaine Reichek, Judy Chicago, Louise Bourgeois, Joana Vasconcelos, Tracey Emin, Ghada Amer, Cathy Burghi, will allow to approach the embroidery in contemporary art in a diversified and heterogeneous way. Through these various analyses, we observe the deconstruction of art hierarchy and that contemporary textile art appears as a committed and relevant art, proposing perspectives of rich reflections in connection with the actual issues of our world
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Woodhouse, Diana Christine. "Women's Textile Graffiti: An Aesthetic Staging of Public/Private Dichotomies." OpenSIUC, 2016. https://opensiuc.lib.siu.edu/dissertations/1222.
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The cultural performance of textile graffiti, or yarnbombing, dramatizes women’s contested relationship to the public/privates dichotomies that constitute neoliberal capitalism as well as liberal democracies. Across both of these institutions, privatized matters are problematically excluded from political consideration, and private sphere values—such are nurturance, interdependence, and communalism—are denied their necessity and legitimacy as public goods. Textile graffiti artists furnish an association between public and private life by placing signifiers of domesticity and caregiving onto the public streets, and adorning those nurturant signifiers with political and/or feminist messages. In so doing, textile graffiti functions to politicize caregiving, to highlight its gendered dimensions, and to remind city-goers of caregiving as a public issue and a public good that is necessary to the overall health of a functioning liberal democracy. This study explores textile graffiti from various political, aesthetic, and historical angles in order to situate it within an enduring feminist struggle to re-imagine public/private binaries through valorization of the artifacts, values, and communicative practices that are associated with the private sphere of the home.
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Bonneau-Kaya, Crystal M. "Benevolent vs. Hostile Sexism Impact on Work Performance for Women in Turkey." TopSCHOLAR®, 2010. http://digitalcommons.wku.edu/theses/175.
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All studies to date that have assessed the direct impact of benevolent vs. hostile sexism on performance outcomes have done so in the context of a Western society. Because of this void in the literature, it remained unknown how living in a low egalitarian and/or non-Western society may impact women's experiences of sexism. The purpose of this study is to address this gap in the literature. This study investigates the impact of benevolent vs. hostile sexism on women in four Turkish textile factories. 210 Turkish female textile factory workers were randomly assigned to the benevolent sexism, hostile sexism, or control condition. Performance and level of gender identification were measured. The results of this study indicated that while participants were impacted by sexism, the impact of benevolent vs. hostile sexism resulted in different outcomes than for women in higher egalitarian Western Societies.
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Brunton, Jennifer. "Cultural narratives and the historical subject : Annie Garnett, her diary, life and works." Thesis, Lancaster University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.301817.
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This thesis investigates and contextualises as a historical subject a woman textile artist, Annie Gamett (1864-1942). It explores her personal writings, in particular the diary which she kept between the years 1899 and 1909. The use of autolbiographical writings requires a reflexive methodology. In recognising this I engage with the fragmentary material in the archive using feminist theories and discourses to produce an 'intellectual biography', within which the elements of Annie Gamett's life, revealed through her own words, interact with the cultural narratives which challenged and impinged on her individual life. In engaging with Annie's subjectivity, as a historical 'site', I aim to reveal the subtle complexities of 'real' lived experience, and show how a woman, who was inspired by her love of nature and troubled by the effects of industrialisation, was able to develop her creative skills and run a successful textile business within the remit of the Arts and Crafts Movement. My approach to this historical subject unites a feminist perspective with an endorsement of the discipline of Women's History and its central commitment to the recovery of lost vOIces.
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Nordeman, Erinn Mary, and Erinn Mary Nordeman. "The Endless Chain." Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/625683.
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Quilts can be blankets that keep you warm at night. They can be several pieces of fabric that are purposefully sewn together to make a beautiful, meaningful pattern. Quilts can be gifts. They can be pieces of artwork that someone has poured their heart into. Over time, quilts can become more meaningful to their owners. They can become a memory of their maker. I hope that the quilts I have made in the last year live on and become more meaningful in time. They are an expression of a young woman in 2017 and her quarrels with tradition.
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Dahlquist, Kirsten Lee. "Women and Architecture: Re-Making Shelter Through Woven Tectonics." Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1606.
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Weaving and architecture, conceived simultaneously with cave paintings, are two ancient forms of craft used to enclose space and provide shelter harmoniously with nature. In its basic composition, a useable textile is the interlacing of two members, warp and weft, at right angles to create structure and surface respectively. Textile artist Anni Albers of the Bauhaus attributes the organization of weaving to the skills of an ancient goddess. Her understanding of prehistoric cultures further links women closer to the overall creation of structure, though perceived as a masculine endeavor. Consequently, early advancements in architecture, the structural organization of shelter, are a result of feminine inventions. Moreover, it has been the female who has been entrusted with emotional and sensual elements of shelter since prehistory. Through the creation of a home, woman’s mastery of the domestic realm strengthened and led to gender-defining ideologies. Suburban typologies of the post-war United States heightened the feminine domestic role through social and environmental isolation of the gender. The suburbs ironically conditioned an alternative sentiment of the built environment featuring ideals of tradition, sustenance, and continuity with nature.
In the modern era, weaving and architecture have devolved to be similarly designed and chosen for aesthetic qualities only. Textiles are produced for an indoor existence with weaving traditions unchanged and innovation seen in synthetic fibers. Modern shelter is chosen and constructed using inefficient practices popularized in the 1950s, with advancements only in materiality. Both disciplines overlook their feminine link and mutual advantages of protection, flexibility, user connection, tactile engagement, and environmental impact.
As a result of this disregard, the capacity of the planet suffers due to outdated and unsustainable residential building practices, while quality of life degrades due to the inabilities of built spaces to nurture and engage inhabitants effectively. Based on eco-maternalist philosophies within architecture and the structural, spatial, and tactile qualities of weaving, these crafts can again interlock into a modern, efficient construction of shelter. The time has come to rethink building design and the feminine integration of weaver and architect provides a foundation for the discovery of an appropriate assembly for the next generation.
Books on the topic "Feminist Textiles"
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1955-, Quinton Sarah, Woodman Donald, Mitchell Allyson, Sorkin Jenni, Art Gallery of Calgary, and Textile Museum of Canada, eds. When women rule the world: Judy Chicago in thread : she will always be younger than us : with work by Orly Cogan, Wednesday Lupypciw, Cat Mazza, Gillian Strong, Ginger Brooks Takahashi. Toronto: Textile Museum of Canada, 2009.
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Amorim, Elaine. No limite da precarização?: Terceirização e trabalho feminino na indústria de confecção. São Paulo, SP, Brasil: Annablume, 2011.
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Mulvey, Kate. Decades of beauty: [the changing image of women, 1890s-1990s. London: Hamlyn, 1998.
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Melissa, Richards, ed. Decades of beauty. New York: Checkmark Books, an imprint of Facts On File, Inc., 1998.
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Canevaro, Lilah Grace. The Politics of Objects. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198826309.003.0003.
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Chapter 2 offers different models and parameters of female agency. Iliadic and Odyssean women are differentiated in terms of their roles in war- and peacetime respectively, and the ways in which Andromache and Helen weave are used as case studies for ‘normal’ and ‘exceptional’ female characters. The chapter engages closely with these exceptional women, bringing together Helen and Penelope in terms of their liminal position in society and the elevated agency that allows. Drawing on feminist literature on female communicative channels and the potentially liberating power of technology, this chapter then presents the ‘politics of objects’: the creation and distribution of textiles through which supposedly ‘commodified’ characters create their own kind of commerce, and their own way of communicating.
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Shoin, Kyoto. Basic Flower: Feminine and Modern (World Textile Collections, No 1). Kyoto Shoin International, 1992.
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Bryan-Wilson, Julia. Fray: Art + Textile Politics. University of Chicago Press, 2021.
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Pérez, Laura E., and Ann Marie Leimer, eds. Consuelo Jimenez Underwood. Duke University Press, 2022. http://dx.doi.org/10.1215/9781478022930.
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Consuelo Jimenez Underwood’s artwork is marked by her compassionate and urgent engagement with a range of pressing contemporary issues, from immigration and environmental precarity to the resilience of Indigenous ancestral values and the necessity of decolonial aesthetics in art making. Drawing on the fiber arts movement of the 1960s and 1970s, Chicana feminist art, and Indigenous fiber- and loom-based traditions, Jimenez Underwood’s art encompasses needlework, weaving, painted and silkscreened pieces, installations, sculptures, and performance. This volume’s contributors write about her place in feminist textile art history, situate her work among that of other Indigenous-identified feminist artists, and explore her signature works, series, techniques, images, and materials. Redefining the practice of weaving, Jimenez Underwood works with repurposed barbed wire, yellow caution tape, safety pins, and plastic bags and crosses Indigenous, Chicana, European, and Euro-American art practices, pushing the arts of the Americas beyond Eurocentric aesthetics toward culturally hybrid and Indigenous understandings of art making. Jimenez Underwood’s redefinition of weaving and painting alongside the socially and environmentally engaged dimensions of her work position her as one of the most vital artists of our time. Contributors. Constance Cortez, Karen Mary Davalos, Carmen Febles, María Esther Fernández, Christine Laffer, Ann Marie Leimer, Amalia Mesa-Bains, Robert Milnes, Jenell Navarro, Laura E. Pérez, Marcos Pizarro, Verónica Reyes, Clara Román-Odio, Carol Sauvion, Cristina Serna, Emily Zaiden
Book chapters on the topic "Feminist Textiles"
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Lee, Christina. "Embroidered Narratives." In Feminist Approaches to Early Medieval English Studies. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463721462_ch02.
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This essay discusses the significance of embroidery in the culture of Early Medieval England. Largely the work of women, such objects have been understudied in the cultural, religious and economical history of the period. The essay argues that this omission is partly based in gender stereotypes which have favored some material culture over these remains. The essay discusses some of the remaining artefacts, as well as the significance of textiles as objects in gift-giving contexts.
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Osherow, Michele. "‘At My Petition’." In The Oxford Handbook of Early Modern Women's Writing in English, 1540-1700, 67—C5.P36. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780198860631.013.4.
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Abstract This chapter attends to a 1665 needlework picture of the Book of Esther, part of the textile collection of the Victoria and Albert Museum, to demonstrate how women's biblical embroidery functions as biblical commentary. This needlework is one of many extant renderings of the narrative; in fact, Queen Esther was the most popular biblical heroine featured in seventeenth-century domestic embroidery. Stitched Esthers do more than present a model of feminine virtue: this Esther communicates readings of character and narrative that counter dominant interpretations. Increasingly, scholars attending to early modern women have recognised ways women’s textiles are akin to women’s texts. The museum’s Esther announces a keen reading of biblical text and underscores a connection between biblical language and embroidered image. The Book of Esther relies on an abundance of structural and linguistic patterns to bolster its themes, and the needleworker astutely translates these patterns onto her visual display.
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Smilan, Cathy. "The Art of Climate Change." In Advances in Media, Entertainment, and the Arts, 100–117. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-1665-1.ch006.
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A multi-faceted assignment in a course, Feminist Perspectives of Craft, guided students to investigate the thesis that global warming and climate change are feminist concerns using research, debate, studio inquiry and critique. After team debates, students created individual art pieces; the criteria were that the piece must articulate some aspect of the implications of climate change, human interaction with and responsibility for the environment, and include one or more aspects of the textile techniques that we were exploring in class. Living in a New England coastal community built upon fiber craft, textile and seafaring industry, these elements guided visual art exploration and lesson planning questioning how human interaction with the environment sustains the economy and how societies, in turn, must sustain our earth that provides for the community. Critiques of process and final artwork informed lesson planning about how decisions have far reaching impact extending to the global community.
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Lather, Amy. "The Materiality of Feminine Guile." In Materiality and Aesthetics in Archaic and Classical Greek Poetry, 196–222. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474462358.003.0007.
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Whereas the previous chapter saw Prometheus, Hermes, and Odysseus adapting and manipulating at-hand materials in attempts at deceit, in the examples of feminine deception at stake in this chapter exists a distinctive way of using objects, one that relies less on the canny crafting of materials and more on a kind of vitality unique to finely-crafted objects of adornment. Rather than entangling themselves with things through their material engagement with them, the women of this chapter (Aphrodite, Hera, Clytemnestra, and Medea) instead rely more on the capacity for objects to seduce and effect their own entanglements and, in so doing, enact each woman’s deceptive plots. By concentrating narrowly on four accounts of feminine ruses or doloi, the continuities between their respective uses of material things will come into sharp focus. If the first chapter showed how textiles could function as extensions of the women who made them, here too women will be seen to be operating in close concert with their accoutrements: combining their awareness of how assemblages of particular material qualities will impact their targets with words as carefully-wrought as the objects each woman recruits in her deceit.
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Bossen, Laurel, and Hill Gates. "Questions About Footbinding." In Bound Feet, Young Hands. Stanford University Press, 2017. http://dx.doi.org/10.11126/stanford/9780804799553.003.0001.
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This chapter challenges assumptions that footbinding was confined to the urban elite and that women with bound feet were unproductive. On the contrary, footbinding was very common among poor villagers who could not afford to support unproductive members. Examining the enormous historical importance of women’s work in China’s handcraft textile production, this chapter argues for the importance of handwork performed by footbound daughters. Emphasizing the work girls performed before marriage, this chapter also considers the misdirections and omissions that have sidetracked queries about a practice that debilitated hundreds of millions of Chinese girls and women. Feminist historians and economic historians alike have underestimated the significance of hand labor by young girls and failed to examine its links to footbinding.
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Couturaud, Barbara. "A Visual Investigation of Feminine Garments at Mari During the Early Bronze Age." In Textiles and Gender in Antiquity. Bloomsbury Academic, 2020. http://dx.doi.org/10.5040/9781350141520.ch-012.
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Oliva, André Álvarez, and Paula Jeria Tapia. "El textil como soporte de identidad, memoria y resistencia feminista en La Serena." In El despertar chileno, 411–30. Consejo Latinoamericano de Ciencias Sociales. CLACSO, 2022. http://dx.doi.org/10.2307/j.ctv2v88fjv.19.
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Jiménez Sánchez, Álvaro, Eliza Carolina Vayas Ruiz, Víctor Hugo Guachimbosa Villalba, and María Rosa Frontera Sánchez. "Analysis of the Approach to Online Advertising of Leading Sportswear Brands." In Management and Inter/Intra Organizational Relationships in the Textile and Apparel Industry, 241–62. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-1859-5.ch011.
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Brands like Nike or Adidas are predominant in almost every country. One of the keys of their success is due to the investment in advertisement and to their different strategies of promotion. This research analyzed 117 ads of five important sports brands (Nike, Adidas, Puma, Reebok, and Converse) with the higher number of views in YouTube. Within the numerous variables, the study of the main important characters, the duration of the advertising, the year or decade of creation, the presence of violence, the context or environment where they were developed, the gender that is predominant (masculine or feminine), or the character's age stand out. The results showed that women still have a secondary role in sport advertisement and that younger and celebrities have the leading role, especially in the football scope, in the majority of the observed videos. It is concluded that brands are increasingly stand up for the feminine public and gradually are spreading out in the search of new market niches in order to keep innovation in promoting youth trends with this sport brands as promoters.
Reports on the topic "Feminist Textiles"
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Reddy-Best, Kelly L., and Laura Kane. A Feminist Visual Content Analysis of College-Level Textile and Apparel Textbooks 1970s-2010: Intersections of Gender, Race, and Size. Ames: Iowa State University, Digital Repository, November 2015. http://dx.doi.org/10.31274/itaa_proceedings-180814-141.
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