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Journal articles on the topic 'Feminist Textiles'
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1
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.
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Bhuyan, Zona. "An Urban-Spatial Analysis of the Women in the Informal Sectors of Greater Guwahati City of Assam, India." Space and Culture, India 1, no. 1 (May 1, 2013): 69. http://dx.doi.org/10.20896/saci.v1i1.21.
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This article reflects the use of urban space by women in urban informal sectors in the city of Guwahati located in North East India. The population influx from across the borders in the aftermath of the partition has huge implications both on polity and on economy of the northeastern states in general and Assam in particular. Importantly, the urban informal sectors have a sizeable share in terms of its significant contributions towards Gross Domestic Product (GDP) as well as generation of employment opportunities largely. Using a feminist perspective, the research is an attempt to investigate the engagement of women in the informal sector in greater Guwahati. Research findings reveal that the occupations of the women workers are location-specific, that is, the manufacturing sectors (textiles, food preparation, printing and skilled service) are mainly home/shop based production (fixed locations) whereas the service sectors (leisure, caring, elementary construction, elementary sales and cleaning occupation) operate at variable locations (construction sites, street pavements, marketplaces and other various locations). Further analysis shows that the informal sector is highly demand dependent and such demands are in the central business areas of the city, therefore informal sector services (skilled services and elementary services) are found to be located in and around the central areas of Guwahati city. Women operators in the informal sector are attracted to the central business district because of the many advantages that it enjoys relative to other parts of a city. The paper concludes by calling on policy makers and physical planning agencies to evolve more pragmatic strategies for urban development matters in order that urban informal sector activities can be integrated into urban development plans. Finally, further research is called for on how urban planners could redesign the urban space with appropriate consideration of the informal sector operators.
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Raghavan, Priya. "‘Oh, There Are Politics in Billie’s Work!’: Billie Zangewa and/at the Boundaries of Feminist Visual Activism." Journal of Cultural Analysis and Social Change 7, no. 2 (December 31, 2022): 19. http://dx.doi.org/10.20897/jcasc/12760.
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This article explores the consequences of reading textile artist Billie Zangewa’s art through the frame of feminist visual activism, both in terms of (i) recognizing the political potential of Zangewa’s work, as well as (ii) interrogating the conceptual boundaries of visual activism. Situating Zangewa’s work within a rich legacy of Black and postcolonial feminist investments in self-love and self-care, and in celebrations of domesticity (‘daily feminisms’ in Zangewa’s words), I argue that Zangewa’s art exemplifies the Black feminist practice of reclaiming the terms under which Black women are looked at, redressing histories of erasure as well as hypervisibility underwritten by the abjection, objectification, sexualization and dehumanization of Black women. Attending to Zangawe’s medium, fabric, I also argue against allegations of the individualised, atomized nature of self-love politics, demonstrating how Zangewa’s modality of self-love is deeply embedded in (rather than hostile to recognitions of) universality, solidarity, and the shared, collective experience of Black womanhood. Finally, reading Zangewa’s work through the lens of Lewis’ (2017) frame of presencing and Campt’s theorization of black visuality as refusal, I make the case for re-thinking visual activism as a relational, inter-subjective exercise in sense-making, generating a range of affects and effects that exceed its sites of production and circulation.
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Viñao, Silvia. "Del auge del arte textil a la investigación personal." Arte y Políticas de Identidad 21 (December 29, 2019): 160–77. http://dx.doi.org/10.6018/reapi.416791.
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Este artículo consta esencialmente de dos partes. La primera constituye una breve revisión del papel de la mujer en la sociedad y en el arte a través del arte textil. En ella se analiza cómo la actividad textil tuvo gran influencia en la incorporación de la mujer en el mundo laboral y cómo el fenómeno de la incorporación de la mujer al mundo laboral se produce de modo paralelo a su incorporación al mundo del arte y a la valoración del arte textil. Revisaremos algunos ejemplos de las artistas que han empleado o emplean el lenguaje textil para expresarse en el terreno artístico como afirmación de su identidad femenina.
En segundo lugar, expondré los principales aspectos de mi propia investigación en el campo del arte textil, por medio de la técnica que denomino “Collage cosido”. Las obras realizadas con esta técnica tienen las características propias del collage ya que ensamblan distintos elementos, pero además se unen cosiéndolos. De este modo, puntada a puntada, se reproducen las líneas propias del dibujo. Así se aúnan las características de la pintura o dibujo tradicional con el arte contemporáneo y la expresión de la mujer desde la perspectiva de género. This article consists essentially of two parts: the first part is a brief review of the role of women in society and in the textile art. In that, it is analyzed how the textile activity had a great influence in the incorporation of the woman in the labor world and how this phenomenon occurs in parallel to her incorporation into the world of art and the valuation of textile art. We will review some examples of artists who have used or use the textile language to express themselves in the artistic field as an affirmation of their feminine identity.In the second part, I will expose the main aspects of my own research in the field of textile art though the technique, I call “Sewn collage” the works made with this technique have the characteristic of the collage since they assemble different elements but also join them by stitch, the proper lines of the drawing are reproducer. The characteristic of the painting or traditional drawing are combined with the contemporary art andthe expression of the woman from the perspective of the gender.
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Schwall, Hedwig. "Reknitting communities: Rita Duffy’s vital gestures." Review of Irish Studies in Europe 2, no. 1 (March 19, 2018): 92–123. http://dx.doi.org/10.32803/rise.v2i1.1711.
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As textile is an apt metaphor for the complexities of human perception and of societal structures, it is not surprising that textile motifs have been central to the work of Rita Duffy. In Duffy’s oeuvre, North and South, masculine and feminine, politics and economics, the conscious and unconscious, life and death drives, past and future, are the warp and woof of this life-embracing artist. Different items of textile (school uniforms, skirts, shirts, anoraks, handkerchiefs, sheets, mantles, wigs, cloth dolls and knitted dolls) have been a metaphor and a metonymy for her main concern: the question of how art – textile art – can set people free. This article highlights the importance of the textile items the artist herself selected for inclusion in this issue of RISE showing how each of them point at ways to move from a power system into one of agency, from fate to destiny. Each of the textile works are briefly situated in the context of other painters (Kahlo and Picasso, David and Chagall), writers (Parker and Morrissey, Enright and Tóibín) and thinkers (Bollas, Arendt, Santner, Mouffe, Rothberg). Time and again Duffy’s textiles turn out to be linked to ‘the good enough mother’ and to women’s solidarity, both of whom facilitate the child’s passage from trauma to genera, developing from a negative past to a positive future in which an authentic self can be realized. Duffy’s textile language will be discussed in six sections: (1) four drawings predating the textile items in this issue reflect how the mother enables the artist’s disciplined imagination; (2) clothes belonging to ‘martyrs’ are so ‘othered’ that instead of holding the past they break narrow new moulds; (3) Cloth 1, Duffy’s handkerchief of Bloody Sunday illustrate how reading genera is a ‘seeing with the whole emotionality’; (4) this ‘hankie’ is further contested and contextualized in Duffy’s collaboration with Muldoon; (5) the idea of the hankie and laundry extends into the veronica motif and into an understanding of Duffy’s political art as a realization of Arendt’s natality, which leads to (6) Duffy’s most recent development of the Souvenir Shop method, where connectedness and humour are more articulated than ever and where the politics of culture involve multidirectional memory and economic participation.
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Montgarrett, Julie. "Textile Art and Feminist Social Activism: The Daily Diminish Project." TEXTILE 15, no. 4 (July 27, 2017): 396–411. http://dx.doi.org/10.1080/14759756.2017.1337378.
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Pérez-Bustos, Tania, Eliana Sánchez-Aldana, and Alexandra Chocontá-Piraquive. "Textile Material Metaphors to Describe Feminist Textile Activisms: From Threading Yarn, to Knitting, to Weaving Politics." TEXTILE 17, no. 4 (August 1, 2019): 368–77. http://dx.doi.org/10.1080/14759756.2019.1639417.
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Appel, Sara. "Post-Feminist Puritanism: Teaching (and Learning from) The Lowell Offering in the 21st Century." Radical Teacher 102 (June 22, 2015): 43–50. http://dx.doi.org/10.5195/rt.2015.138.
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Based on an analysis of classroom discussions and online reading responses, this essay explores how an all-women group of University of Pittsburgh undergraduates responded to The Lowell Offering, a collection of writings by mid-19th century women textile workers. While Facebook Chief Operating Officer Sheryl Sandberg equates “leaning in” to claim one’s place in the male-dominated corporate world with youthful feminist success, what to make of the inspiration these ambitious women students found in puritanical representations of self-sacrificial factory girls? Far from being a sign of substantive progress in women’s rights, the author argues that the “post-feminist” discursive environment shaping these students’ sense of themselves as twenty-first century women workers is rather a symptom of the mutually reinforcing relationship between neoliberal market imperatives and traditional femininity.
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Held, Sarah. "Textile Healing – Feminist Resistance Against Sexualized Violence and Femicides Through Activist Art." Journal of Textile Design Research and Practice 10, no. 2 (May 4, 2022): 175–94. http://dx.doi.org/10.1080/20511787.2022.2135312.
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Martin, Patricia Yancey. "The Moral Politics of Organizations: Reflections of an Unlikely Feminist." Journal of Applied Behavioral Science 25, no. 4 (November 1989): 451–70. http://dx.doi.org/10.1177/002188638902500410.
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In this autobiographical account, the author describes how her background and organizational experiences in school, the church, employment, and other contexts have influenced her life and work. The author's upbringing in a Deep South town dominated by a textile company and her work in universities as a student and faculty member have led to her interest in organizational use and abuse of power, decision making, ethics, discriminatory practices, and the contradictions of official versus informal goals and practices. When organizations in her life failed to uphold their promises of neutrality, meritocracy, and fairness, particularly with respect to women, the author came to realize how much organizations tolerate and sometimes even reward rule violations. This prompted her to become a feminist, and to view organizations as entities responsible for the morality of their outcomes.
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Tapia-de la Fuente, María Belén. "Círculo digital de bordado como método de investigación feminista." Revista CS, no. 38 (November 9, 2022): 252–74. http://dx.doi.org/10.18046/recs.i38.5204.
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Por medio de este artículo, doy cuenta del proceso de investigación desarrollado en el estudio Entre bordar y ser mujeres: habitar el cuerpo a través de los hilos, en el que busqué comprender los modos en los cuales el bordado colectivo se constituye en una práctica feminista y una forma de habitar el cuerpo en bordadoras de la zona suroeste de Abya Yala. Para incorporar el bordado en la creación de conocimiento, utilicé como método el círculo de bordado digital, permitiéndome descoser los métodos estructurados y hegemónicos, integrar las geografías y los afectos, desbordar la investigación y bordarla con hilos propios. El uso de las materialidades textiles para producir investigación feminista se volvió un ejercicio innovador, interpelando a las ciencias sociales, para proponer estudios interdisciplinarios y encarnados, que traspasen las fronteras y permitan conocer las experiencias de personas y comunidades a través de sus cromáticas, espacialidades, ritmos y movimientos.
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Sánchez-Aldana, Eliana, Tania Pérez-Bustos, and Alexandra Chocontá-Piraquive. "What are textile activisms: a view from feminist studies to fourteen cases from Bogota?" Athenea Digital. Revista de pensamiento e investigación social 19, no. 3 (September 23, 2019): 2407. http://dx.doi.org/10.5565/rev/athenea.2407.
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Yadav, Sneha. "TRADITIONAL TEXTILES OF MADHYA PRADESH- CHANDERI & MAHESHWARI SARIS." BSSS Journal of Management 12, no. 1 (June 30, 2021): 153–61. http://dx.doi.org/10.51767/jm1213.
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The idyllic township, the birthplace of the most enduring creations of Madhya Pradesh- the Maheshwari Sari and Chanderi Sari. The Maheshwari Sari was conceived and designed by Queen Ahilya Bai. The cotton and silk fibers of the Maheshwari Sari draw up a picture of grace itself. Deriving inspiration from Ahilya Bai’s beautifully carded palace walls; the Maheshwari stands elegantly complete with its elaborate patterns and intricate borders. Serene in its simplicity. Majestic in its design. Determined in its strength. Feminine in its softness. Soft, tender drapes. Delicate, luminous sensations. A melody in fabric. A sweet lullaby that lulls you to sleep. A tune that soothes the senses. Such is the charisma of the velvety, translucent Chanderi. Delicately woven threads in subtle hues. The textural luminosity and lissom drape of Chanderi silk makes it a favourite dress for special occasions. The astounding grace and dignified poise of Chanderi is a sight worth beholding. It is indeed a scintillating symphony of softness.
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Matallana-Peláez, Susana E. "Desalambrando: A Nasa Standpoint for Liberation." Hypatia 35, no. 1 (2020): 75–96. http://dx.doi.org/10.1017/hyp.2019.14.
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This article examines the Nasa peoples’ resistance praxis known as “Desalambrar”. Through the analysis of Nasayuwe language, textile art, and ritual dance, the article looks at the idea of ontological continuum at the heart of this praxis, exploring how this concept provides the Nasa with a philosophical standpoint for what they have called “the liberation of Mother Earth”. The article then examines how this idea challenges the Eurocentric divide between Man and Nature/Woman and what it can possibly mean for women, gender, feminism, and the environment.
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Razor, Sasha. "The Code of Presence: Belarusian Protest Embroideries and Textile Patterns." FOLKLORICA - Journal of the Slavic, East European, and Eurasian Folklore Association 26 (July 29, 2022): 72–98. http://dx.doi.org/10.17161/folklorica.v26i.18373.
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Since the fraudulent presidential elections of 9 August 2020, the Republic of Belarus has become a battleground between the women-led democratic opposition forces and the authoritarian regime of Alexander Lukashenka. Current forms of political oppression in Belarus make open public protest dangerous. This exhibition report highlights safer ways to express dissent in a dictatorial society by grounding it in the textile arts, collective labor, and participatory practices. “The Code of Presence: Belarusian Protest Embroideries and Textile Patterns” is a permanent digital exhibition that I curated in 2022 hosted by the University of Michigan Library. The exhibition features 12 textile projects created by professional female artists from Belarus, including the works of Rufina Bazlova, Masha Maroz, Varvara Sudnik, Anna Bundeleva, Nasta Vasiuchenka, Lesia Pcholka, Vasilisa Palianina, Dasha Sazanovich, Yuliya Tsviatkova and Da(r)sha Golova. The exhibition explores how Craftivism, a global trend in contemporary art associated with political activism, correlates with the artists’ perceptions of the country’s textile heritage. The purpose of this report is to introduce individual artists, their voices and projects. It is grouped into three distinct, albeit overlapping, categories: 1) individual craftivist strategies in Belarusian protest embroideries; 2) collective craftivist embroidery practices; and 3) traditional textile patterns in other media. Galvanized by the protests of 2020–2021, political artists’ embroideries and ornamental graphics emerged as a protest ritual of a new kind, igniting a powerful process of cultural heritage revitalization, and documenting the events of the protests, working with such themes as feminism, female labor, memory, and trauma.
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Lean, Marion. "Materialising Data Feminism – How Textile Designers Are Using Materials to Explore Data Experience." Journal of Textile Design Research and Practice 9, no. 2 (May 4, 2021): 184–209. http://dx.doi.org/10.1080/20511787.2021.1928987.
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Horan, Elizabeth, and Evan Chastain. "“Bordas sobre la trama esencial”: Needlework as Communal Rhetorical Practice in El obsceno pájaro de la noche." Arboles y Rizomas. Revista de Estudios Lingüísticos y Literarios 1, no. 2 (December 5, 2019): 1–17. http://dx.doi.org/10.35588/ayr.v1i2.3827.
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This essay applies a feminist synthesis of rhetoric and material culture theory to José Donoso’s novel, El obsceno pájaro de la noche (1970). Donoso’s novel depicts needlework as a communal rhetorical practice among women characters within enclosed communities. They sew, embroider, and repair. Drawing from Goggin and Tobin’s studies of needlework as rhetorical practice (2002, 2009a, 2009b, 2009), we investigate women’s needlework and sewing, contextualizing the historical and cultural referents within Chile’s long history of textile work, including the explication of epidermal aesthetics in Halart (2017). The paradoxically violent and restorative acts of sewing and repair provides the background for the many monologues the novel sets in the sewing circles of La Chimba convent. Each woman’s stitch enacts revenge for ongoing displacement and confinement to domestic spaces of home/convent. This essay argues that las viejas develop and claim a communal voice through their needlework upon the mute and bound monster of the imbunche, which becomes the fabric for their polyvocalic expression. In sewing the figure of the imbunche, the female characters participate in a tactile rhetoric that precedes verbal and occularcentric discourse and emphasizes the immediate and relational sense of touch. Our research is feminist as it recenters Donoso criticism on the female characters within his work, to showcase how their machinations and manipulations of materials enact an agency denied by a discourse and identity which prioritizes visual and verbal expression. We encourage Donoso studies towards a feminist focus on communities of women and process over individual and product.
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Karlsson, Mariko Takedomi, and Vasna Ramasar. "Selling women the green dream: the paradox of feminism and sustainability in fashion marketing." Journal of Political Ecology 27, no. 1 (April 30, 2020): 335–59. http://dx.doi.org/10.2458/v27i1.23584.
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This article explores the paradox of corporations using social and environmental justice concerns to market products that are themselves made in conditions of environmental and social injustice, most often in the Global South. The effects of the fashion industry on people is two-pronged: 1) the unsafe and exploitative conditions under which many garment workers operate, and 2) the severe and harmful water and air pollution caused by fashion industry factories. There are thus contradictions inherent in the manner in which corporations, through their marketing, seek to foster feminism and environmentalism, whilst sourcing their garments from factories that operate in problematic ways. Using case studies of advertising campaigns from three Swedish companies, HM, Monki and Gina Tricot, we conducted a discourse analysis to understand the messages to consumers as well as the image of the company that is portrayed. Through our political ecology analysis, we suggest that the promotion of feminism and environmentalism is not consistently applied by companies in their own practices and could at worst be labeled green and 'fem washing.' These approaches can also be deeply problematic when they lead to the exotification of others, and cultural appropriation. We further find that the marketing strategies in fashion serve not only to promote the sale of products but also have the effect of placing environmental responsibility onto individual consumers. Ultimately, fashion marketing serves to obfuscate ecologically unequal exchange and the true costs of fashion.Key words: gender, marketing, consumption, feminism, fashion, textiles, advertising, ecologically unequal exchange, sustainability
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Malheiro, J. M. M., and L. R. S. Salvado. "Microscopic study of bacteria-textile material interaction for hygienic purpose." Microscopy and Microanalysis 15, S3 (July 2009): 63–64. http://dx.doi.org/10.1017/s1431927609990778.
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AbstractUnderwear is the most intimate form of dress, and feminine panties are particularly in close contact with genital mucosa, vulvar skin and perineum area. In fact, despite some controversy, the textile material has been pointed out as promoter of vaginal infection, trough changes on the normal skin physiology. The physiology of vulvar skin is very specific in terms of temperature (≈ 34°C), moisture and pH (< 4.7). This region is also colonized by a very specific microflora that is essential either to protect against pathogenic microorganisms, either to maintain healthy conditions of temperature, moisture and pH.
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Malheiro, Joana, and Rita Salvado. "Analysis of Fibrous Composition for Hygienic Purpose – Recommendations for Application on Feminine Underwear." Materials Science Forum 636-637 (January 2010): 60–67. http://dx.doi.org/10.4028/www.scientific.net/msf.636-637.60.
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The vulva-vaginal infections are common in women. The textile materials, used in underwear and absorbent hygiene products, are identified as risk factors, but their influence on the emergence of these infections is not yet clear. Bacterial adhesion is associated with persistence of microorganisms in the material that is related to the recurrence of infections. This paper is an initial attempt for the elucidation of these questions. Some of the main features involved in this phenomenon are identified and characterized.
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Sun, Christine (Qin), Dong Zhang, Larry C. Wadsworth, and Mac McLean. "Development of Innovative Cotton-Surfaced Nonwoven Laminates." Journal of Industrial Textiles 31, no. 3 (January 2002): 179–88. http://dx.doi.org/10.1106/152808302026111.
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Cotton-based nonwovens have been developed at Textiles and Nonwovens Development Center (TANDEC), The University of Tennessee, with the cotton fibers on the surface or in the core layer laminated with meltblown (MB) and/or spunbonded (SB) webs. Both Cotton-Surfaced Nonwovens (CSN) and Cotton-Core Nonwovens (CCN) have excellent soft hand, breathability, absorbency, and tensile properties making them ideal for many medical applications such as isolation gowns, hospital drapes and gowns, shoe covers, head covers, underwear, pillowcases, diaper components (acquisition, core, back sheet), feminine hygiene pads, baby wipes, etc. In this paper, the processes to produce these cotton-surfaced nonwovens will be presented, including as-bonded, heat-stretched CSN fabrics, and foam-finished CSN nonwovens.
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LÓPEZ MARÍN, LILIANA. "Género y racialización en la dicotomía arte culto / arte popular." RE-VISIONES, no. 11 (December 2021): 173–89. http://dx.doi.org/10.57149/re-visiones.11.13.
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Este artículo ofrece un acercamiento al problema de la división racial del trabajo entre las mujeres, partiendo de un análisis en torno a la estratificación social, de género y racial presente en la dicotomía arte culto/arte popular. Se trata de una reflexión feminista acerca del valor que se concede a la producción cultural de las mujeres con base en la racialización. Se aborda la cuestión desde el ámbito de la producción textil: el arte, el diseño y la práctica textil artesanal, tomando como eje de estudio el trabajo teórico y político del Movimiento Nacional de Tejedoras Mayas de Guatemala para examinar la relación entre racismo y colonialidad, así como para exponer el tema de la apropiación cultural.
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MacDonald, Juliette, and Andrea Peach. "‘Made with love, filled with hope’. Knitted Knockers and the materiality of care: Their impact on the women who make and receive them." Journal of Arts & Communities 10, no. 1-2 (March 1, 2020): 83–93. http://dx.doi.org/10.1386/jaac_00007_1.
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This reflective case study sets out to ask ‘How do participatory textile-making projects engage and impact participants and recipients?’ by focusing on Knitted Knockers UK, a global network of knitters who voluntarily create prosthetics for women following mastectomy or lumpectomy. The article examines the choices women are faced with following breast cancer surgery, and considers ‘softer options’ to surgical reconstruction, including knitted prosthetics. Drawing on qualitative data gathered via personal communications and social media, personal experience of breast cancer diagnosis and treatment, and feminist discourse with relation to breast cancer and the body, the authors evaluate the relationship between well-being, healthcare and digitally connected knitting communities. They offer reflections on the materiality of care the Knitted Knockers represent and consider the role these hand-knitted prosthetics can play in providing a sense of community and emotional well-being for both the creators and the recipients of these knitted gifts.
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Fernández Aceves, María Teresa. "María Arcelia Díaz (1896-1939): feminista, trabajadora textil, líder sindical y pionera de políticas sociales y laborales en Zapopan." Encartes 4, no. 8 (September 21, 2021): 227–54. http://dx.doi.org/10.29340/en.v4n8.208.
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En este ensayo entretejo distintos materiales (audio, visuales, musicales, mapas y datos estadísticos) con mi interpretación histórica sobre la importancia de María Arcelia Díaz (1896-1939) como feminista, trabajadora textil, líder sindical y pionera de políticas sociales y laborales en Zapopan, y la resonancia que tienen sus luchas en nuestro presente. La voz, lo visual, lo textual y lo sonoro los entrelacé en mi narrativa histórica para reconfigurar el tiempo vivido y la experiencia temporal silenciada y callada de Díaz.
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Colón-Warren, Alice E., and Idsa Alegria-Ortega. "Shattering the Illusion of Development: The Changing Status of Women and Challenges for the Feminist Movement in Puerto Rico." Feminist Review 59, no. 1 (June 1998): 101–17. http://dx.doi.org/10.1080/014177898339488.
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In this paper we examine the weaknesses of development strategies which have been applied in Puerto Rico. The process of industrialization by invitation, referred to as Operation Bootstrap, was instituted by the United States of America by the end of the 1940s. This involved tax incentives and subsidies for companies and was dependent on industrial peace and low wages in labor-intensive, low-wage industries, especially those of textile and clothing. Naturally, women's labor was encouraged as a result of the lower cost, as well as assumed dexterity, of the female in such areas. While these new activity areas for women also allowed other benefits in the form of legislation and increased social services, the inherent problems of rapid, labor-intensive industrialization also led to displacement and increased underemployment and impoverization of female headed families from the 1960s onwards. The paper explores some of the changes in gender relations which resulted from these policies and looks at the challenges which the feminist movement in Puerto Rico has made, particularly with regard to state processes to bring about beneficial changes in the economic, legal, political and social status of women in Puerto Rico.
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Satı, Büşra. "Working-Class Women, Gender, and Union Politics in Turkey, 1965–1980." International Labor and Working-Class History 100 (2021): 87–108. http://dx.doi.org/10.1017/s0147547921000119.
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AbstractThis paper focuses on the ideology and discourses of Tekstil İṣçileri Sendikası (the Textile Workers’ Union, Tekstil) in Turkey to highlight some of the specific visions of the organized labor for an emancipatory gender politics during the 1970s. This history of intersection between gender and working-class organizing has been overlooked by the Left scholarship on the one hand and liberal feminist scholarship on the other. This paper addresses this gap in the literature by highlighting gender and class concurrently throughout the history of the transformation of gender politics in labor organizations. The history of the simultaneous development of gender-related policies in Tekstil/DİSK and TEKSİF/Türk-İṣ reveals an unexplored aspect of the contentious dynamic between rival labor organizations. Between 1975–1980, the politics of gender became another pillar in trade union competition. Following the transnational influences in this transformation, this paper highlights a forgotten period of labor organizing and locates it within the history of labor and women's movements at the national and global scale.
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Civit López, Anaïs. "Recuperación de la tradición textil en Santa Perpètua de Mogoda: una aproximación desde la práctica artística en clave de Aprendizaje-Servicio." Revista de Investigación en Educación 19, no. 2 (October 30, 2021): 176–91. http://dx.doi.org/10.35869/reined.v19i2.3674.
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Memòria, recuperació d’artesania i sostenibilitat es un proyecto entre la Universitat de Barcelona y los IES Rovira-Forns y Estela Ibèrica de Santa Perpètua de Mogoda. Pretende recuperar los sistemas productivos tradicionales de la artesanía aplicándolos a la producción artística y al diseño; dotar al alumnado de las herramientas necesarias para la producción artesanal vinculada con la memoria histórica local; intercambiar con la población las costumbres y tradiciones en relación con la producción artesanal; evidenciar, basándose en los preceptos fundamentales de la economía feminista, la importancia del trabajo doméstico. El proyecto se desarrolla a través de la metodología de Aprendizaje-Servicio (ApS): estudiantes del Grado de Bellas Artes tutorizan a alumnado de tercero de ESO de los dos institutos a través del Programa de Servicio Comunitario del Ayuntamiento de Santa Perpètua de Mogoda. Mediante la ficha didáctica Identitats truncades (2020) de Eulàlia Grau Costa et al., en clave de metodología del descubrir, el alumnado explora la realidad de la producción textil y artística. El proyecto culmina con una primera exposición y unas jornadas de investigación y docencia artística. Se potencian valores sociales como la reutilización y un modelo textil más sostenible para incidir directamente en el territorio y la comunidad recuperando la rica memoria local textil.
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Whitley, Sa. "We Call Them Bandos." TSQ: Transgender Studies Quarterly 9, no. 2 (May 1, 2022): 266–88. http://dx.doi.org/10.1215/23289252-9612949.
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Abstract This article explores the impact of the subprime foreclosure crisis on black transgender women in Baltimore, Maryland, by thinking with Project 42, a series of art installations curated by trans artist Molly Jae Vaughan that memorializes forty-two trans murder victims in the United States. Focusing on the project's memorialization of the late Tyra Trent, a black transgender woman who was murdered in a city-owned vacant property in the Central Park Heights neighborhood, the essay considers the textile design of Project 42’s “memorial garment” for Tyra Trent, which includes a pattern with the abstraction of the Google Earth imaging of the murder location, and black trans dance artist Aísha Noir's performance in the honorary dress as a collaborator with Vaughan for Project 42 installations. What follows is a political reflection at the intersection of black feminism, economic geography, and urban planning that demonstrates how black transfeminist worldmaking invites us to “revitalize” or replace traditional urban planning projects and challenge gendered racial capitalism.
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Hackney, Fiona. "Interview with Angela Maddock." Journal of Applied Arts & Health 13, no. 3 (December 1, 2022): 417–26. http://dx.doi.org/10.1386/jaah_00121_7.
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This interview with Angela Maddock explores well-making in the context of her own textile arts practice, teaching and research. Describing well-making as a potentially transformative act of making, both physically and psychologically, Maddock associates it with processes of contributing, building, attaching and connecting – enabling agencies and affects that bring people and things together. Projects range from the knitted performance piece Bloodline, which she co-made with her mother, and quilts made collaboratively with midwifery students from their own repurposed underwear. Maddock’s work ranges from public commissions to informal domestic pieces made for herself, friends and family, but she is always attuned to the memories and meanings embodied in the materiality of fabric. Knitting, trauma, family, feminism and subjectivity are themes that run throughout Maddock’s work which includes unmaking as much as making, disassembly and repurposing, in a process of remaking the self as much as the stuff of everyday life.
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Anggia, Franceline. "More Than Serving Food on the Table: Understanding Household Relations of a Woman as a Factory Worker." Lembaran Antropologi 1, no. 1 (January 31, 2022): 20–33. http://dx.doi.org/10.22146/la.3513.
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Western modern theorists have long perceived intimate relations as unproductive, irrational, and unrelated to the economy. This kind of approach neglects nuanced ties that might be preconditions of women’s participation in the paid workforce. Consequently, women workers’ perspectives in defining their work have often been overlooked. This study will critically examine an industrial woman worker’s way of defining work-decision by exploring how a desire to maintain intimate relations in the household serves as a crucial precondition for women’s participation in the paid workforce. Though precariousness pervades a woman worker’s work condition, a chance to work as a factory worker also becomes a source of self-esteem and self-confidence. This study shows how nuanced and intimate relations within a household which involve performative acts of gender as a mother and a wife constitute a woman worker’s insistence on working in a precarious condition. This research departs from an ethnographic-based approach relying on participant observation and in-depth interviews with a textile factory woman worker in Yogyakarta. Data analyses are processed based on thematic interpretation of field notes, transcript of the interview, and review of relevant literature regarding feminist theoretical understandings of the economy.
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Maskiell, Michelle. "Embroidering the Past: Phulkari Textiles and Gendered Work as “Tradition” and “Heritage” in Colonial and Contemporary Punjab." Journal of Asian Studies 58, no. 2 (May 1999): 361–88. http://dx.doi.org/10.2307/2659401.
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While the men worked in the fields in the wine-like [winter] air, the women sat in the afternoon sun spinning and embroidering while they sang together, before starting to cook for their men. They embroidered phulkaris….” (Tandon 1968, 65). These stereotypes of feminine and masculine work in Prakash Tandon's memory book Punjabi Century illustrate dominant literary representations of economic production in Punjab, a province of the British Raj from the mid-nineteenth century until it was partitioned between independent India and Pakistan in 1947 (see fig. 1). Many Punjabi women used phulkari (literally, “flower-work”) embroidery to decorate their daily garments and handmade gifts in the nineteenth century. Illustrations only partially convey the vibrant visual impact of phulkaris, and even color photographs fail to capture fully the sheen of the silk thread. The embroidery ranges from striking geometric medallions in reds, shocking pinks, and maroons, through almost monochromatic golden tapestry-like, fabric-covering designs, to narrative embroideries depicting people and objects of rural Punjab. Women stitched phulkaris generally on handwoven cotton cloth (khadi), and phulkaris shared linked construction techniques, a dominant embroidery stitch (the darning stitch), and several distinctive motifs (Frater 1993, 71–74; Yacopino 1977, 42–45; Askari and Crill 1997, 95–101).
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Elias, Hajni. "WOMEN'S ROLE IN THE PRODUCTION AND SALE OF ALCOHOL IN HAN CHINA AS REFLECTED IN TOMB ART FROM SICHUAN." Early China 43 (March 11, 2020): 247–84. http://dx.doi.org/10.1017/eac.2019.16.
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AbstractPictorial brick tiles and stone carvings from the Eastern Han period show women engaged in the production of alcohol, and early histories and literary sources provide an insight into women's role in brewing, drinking, and selling alcohol in shops and in the market. Preparation of alcohol for ritual ceremonies, banquets, and daily consumption is listed among the many household duties for which women were responsible. It was women's work (nüshi 女事), as was the production of textiles, which assigned women with an economic role but also gave them a moral identity in the social sphere. However, women's mastery of brewing—mentioned but rarely elaborated—upon, did not connote feminine virtues in the same way as weaving. Through a close examination of artistic representations that show women engaged in the making of alcohol on the estate and in a workshop setting in the southwest (present-day Sichuan province), this article aims to examine the role women played in alcohol production and their contribution to the economy of both their household and the region in early Imperial China.
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Laing, Ellen Johnston. "VISUAL EVIDENCE FOR THE EVOLUTION OF "POLITICALLY CORRECT" DRESS FOR WOMEN IN EARLY TWENTIETH CENTURY SHANGHAI." NAN NÜ 5, no. 1 (2003): 69–114. http://dx.doi.org/10.1163/156852603100402421.
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AbstractIn China in the first half of the twentieth century, official and unofficial efforts were made to regulate or influence women's dress, despite the fact that for urban, sophisticated, independent, middle-class urbanites, fashions were largely determined by the women who wore them. The first official mandate for women's dress, promulgated by the new Republican government in 1912, had little lasting effect. Unofficial efforts in 1915 and 1920 to influence women's garb, stemming from the antiforeign National Goods Movement, which the textile industry had originated much earlier and which urged patriotic Chinese to "buy Chinese," was also largely inconsequential. Only the Nationalist official designation in 1927 of a "national" feminine dress was effective. Using dated visual evidence from the print media, this paper assesses the failures and successes of these two official and one unofficial attempt to define proper attire for Chinese women.
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Merienne, Florence. "Factores determinantes en la división sexual del trabajo en la industria textil costarricense (1960-1980)." Diálogos Revista Electrónica 22, no. 1 (November 4, 2020): 1–35. http://dx.doi.org/10.15517/dre.v22i1.42922.
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El siguiente artículo tiene como propósito identificar los factores que intervienen en la división sexual del trabajo obrero en la industria textil costarricense fuertemente feminizada entre 1960 y 1980, época de auge de la producción textil en este país. El análisis de fuentes primarias de diversas índoles reveló la diversidad de los factores y actores en juego. La investigación se fundamenta en el examen de las planillas de varias empresas del sector textil, de expedientes por persecución sindical, de fuentes periodísticas y del Instituto Nacional de Aprendizaje. También se recurrió a entrevistas a trabajadoras y empresarios y a la literatura para reconstruir el contexto socio-cultural. De esa investigación, se desprende que aun en un contexto de escasez de mano de obra en la industria textil costarricense, los empresarios no renuncian a su visión de género y siguen organizando el trabajo en torno a la categoría de género. Las normas jurídicas, los modelos familiares, los sindicatos heredan también esa visión de género y contribuyen a su vez a perpetuar esa división sexual del trabajo. Patriarcado y capitalismo se nutren mutuamente en ese proceso, resultando para las obreras un lugar subordinado en el proceso de producción, el cual se traduce en fuertes desigualdades salariales en detrimento de ellas. Si bien, existen organizaciones feministas para cuestionar esa visión, no logran transformar sus reivindicaciones en un movimiento colectivo de envergadura nacional.
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Lynd, Juliet. "Precarious Resistance: Weaving Opposition in the Poetry of Cecilia Vicuña." PMLA/Publications of the Modern Language Association of America 120, no. 5 (October 2005): 1588–607. http://dx.doi.org/10.1632/003081205x73434.
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Woven through the threads of the poetry, performance, and visual art of Cecilia Vicuña are the image and metaphor of weaving itself, a visual and cultural reminder of an other—indigenous and feminine—form of forging cultural memory. Ever committed to using the aesthetic both to remember the violent exclusions of history and to explore the perpetuation and transformation of the marginalizing structures of power in the present, Vicuña's multigenre work spans over thirty years of Chile's turbulent history of struggle with dictatorship and toward democracy. This essay analyzes the interlacing of textile and text in quipoem, a collection of the poetry and visual art of this author-artist that re-presents a constantly evolving theorization of the complex relation between aesthetics and politics, writing and difference, and memory and power in the postcolonial, postdictatorship context of the Americas in the age of neoliberal globalization.
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Artzi, Bat-ami. "Almost Like the Amazons." Latin American and Latinx Visual Culture 4, no. 3 (July 1, 2022): 54–74. http://dx.doi.org/10.1525/lavc.2022.4.3.54.
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The duality concept was central to ancient Andean gender structures. However, testimonies show that these structures included more than two categories, several of which are of a male body engaged in feminine performance. This article suggests another angle from which to explore this gender complexity. Through analysis of visual culture, together with lexical, archaeological, and ethnohistoric sources, I uncover an Andean gender category of the masculine woman warrior. Textual accounts describe this category as involving a female body that is engaged with performance and qualities that were considered masculine. In artistic expressions, the category is also portrayed as a female body with masculine attributes, such as hairstyle and jewelry used typically by men. Another characteristic of the masculine woman category is limited reproductive potential. This study focuses on three masculine woman warriors: Mama Huaco and Chañan Cori Coca from the Inca tradition, documented in colonial texts and artworks, and a Wari masculine woman, woven and painted on textiles and ceramics. My research reveals that some masculine woman warriors were mythologized and worshipped for their prowess in defending their territories, while others may have been mythologized as military leaders.
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Castres, Astrid. "La production de linge à Paris à l'ère des nouveautés (1520–1620)." French Historical Studies 43, no. 2 (April 1, 2020): 167–95. http://dx.doi.org/10.1215/00161071-8018455.
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Arécis Au cours du seizième siècle, le linge blanc, gage de propreté et signe de distinction sociale, prit une place grandissante dans l'habit. Au gré des modes de la cour et de la venue d'artisans étrangers qualifiés, ou passés par les Flandres et l'Italie, des nouveautés techniques et formelles (point coupé, dentelles, fraises et porte-fraises, etc.) furent peu à peu introduites dans la capitale du royaume de France. En partant du cas parisien, cet article examine les mutations que connut la production de linge entre 1520 et 1620, à la suite de l'apparition de ces procédés nouveaux. Pour la plupart mis en œuvre et transmis par des femmes, ils conduisent à réfléchir aux particularités d'exercice de savoir-faire féminins ainsi qu'au rôle joué par les lingères et par les ouvrières en linge dans le processus d'innovation textile au début de l'époque moderne. A sign of cleanliness and of social distinction, white linen played an increasingly important role in dress throughout the sixteenth century. Novelties and new technologies (cutwork, lace, and the construction of ruffs, supportasse, etc.) appeared in French workshops in order to follow courtly fashion trends, and because of the arrival of foreign workers trained in Flanders and in Italy. Focusing on the Parisian case, this article examines the influence of these new processes on linen production between 1520 and 1620. The analysis of these techniques, which were implemented and transmitted mostly by women, leads to a broader reflection on the features of feminine know-how and the role played by women workers in early modern textile innovation.
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Bartlett, Djurdja. "Léon Bakst and Fashion: Beyond and After the Ballets Russes." Costume 51, no. 2 (September 2017): 210–34. http://dx.doi.org/10.3366/cost.2017.0025.
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Shortly after designing costumes for the Ballets Russes' piece Jeux, Léon Bakst collaborated with the couture house Paquin in 1913, and continued to engage with dress and textile design up to his death in 1924, variously embracing oriental, neo-classical and Russian ethnic aesthetic idioms. Due to his symbolist artistic education, personal tastes and financial circumstances, Bakst did not fulfil his dream to design new fashions for the woman of the future within the commercial world of haute couture. Instead, most of his dress designs during the First World War until his death were created as one-off pieces for a group of very rich, extravagant women. Bakst was nevertheless a passionate advocate of modernity, and a skilful manipulator in the field of contemporary media, in which he equally vigorously promoted his own oeuvre, the phenomenon of fashion and the concept of a new emancipated woman. Bakst's retrograde aesthetic and his progressive writings show him as a striving modernist, carefully navigating his personal interests and business opportunities in the rapidly changing times at the beginning of the twentieth century. This article integrates Bakst's dress designs and his thoughts in the global discourse on the concepts of fashion, modernity, feminism and cosmopolitanism.
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Świgost-Kapocsi, Agnieszka. "200 Years of Feminisation of Professions in Poland—Mechanism of False Windows of Opportunity." Sustainability 13, no. 15 (July 22, 2021): 8179. http://dx.doi.org/10.3390/su13158179.
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This paper presents the problem of the female labour market in Poland and the phenomenon of the feminisation of selected occupations. The main aim was to identify the mechanisms behind the feminisation of occupations in Poland and its consequences by combining considerations of labour market theory with development path theories. This research employed various methods such as the method of analysis of secular trends, as well as a critical reinterpretation of the literature review. Data from the 19th century to 2019 were analysed. The textile industry, education, local public administration, and social care are included in the analysis. The research motivation was to answer the question as to when and under what conditions the selected occupations were feminised. The mechanism of false windows of opportunity was identified, as well as times when the windows of opportunity to enter a given occupation opened and closed for women. Specifically, the research findings described that the female labour market is dependent on the male labour market and thus windows of opportunity offer new employment opportunities but with limited possibilities and under poorer conditions.
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Ljungbäck, Hugo. "‘Hands at Work’: Patching Women’s Film Histories through Sabrina Gschwandtner’s Film Quilts." Cinéma & Cie. Film and Media Studies Journal 22, no. 39 (January 24, 2023): 127–45. http://dx.doi.org/10.54103/2036-461x/16678.
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This paper examines the work of artist Sabrina Gschwandtner, whose recent series of 16mm and 35mm film quilts reproduce sequences from early women directors’ films and from orphaned textile-production documentaries and re-edits their narratives through spatial montage by sewing celluloid strips into traditional quilt patterns. Appropriated from film archives, each strip of film holds embedded within it a history of women’s labor, and through her sewing techniques, which call attention to the connection between film’s intermittent motion mechanism and the sewing machine, Gschwandtner patches women’s film histories back together. By considering the techniques of colorists and editors in early cinema as originating within handcrafting and ‘feminine’ labor, the traces of their hands at work form new histories through Gschwandtner’s quilts. In her artwork, the invisible contributions of these forgotten women become visible, foregrounding their tactile, intensive, and time-consuming labor. Gschwandtner’s film quilts also suggest that, rather than digital technology marking the death of cinema, it has just liberated the celluloid strip to be used and encountered in endless new ways.
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Stevenson, Prue. "‘Stim Your Heart Out’ and ‘Syndrome Rebel’ (Performance Artworks, Autism Advocacy and Mental Health)." idea journal 17, no. 02 (December 1, 2020): 87–104. http://dx.doi.org/10.37113/ij.v17i02.387.
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‘Stim Your Heart Out’ is a set of concepts and beliefs that advocate the benefits of the autistic culture of ‘stimming’, a repetitive physical action that provides enjoyment, comfort and contributes towards self-regulation of emotions. Facilitating the exploration of contemporary movement in the context of stimming and self-regulation, workshops generated a series of movement scores, culminating in a patented choreographic system of stimming performances documented at the www.stimyourheartout.com website and associated film. ‘Syndrome Rebel’ utilises this new choreographic system, where a performative movement score was created. A new stimming symbology/language was then developed and embroidered around the edge of a circular blanket, to record the movement score in this new symbology. The artist then interacted with these symbols within a live integrated movement score stimming performance. Continuing the conversations of Civil Rights and Feminism, the work uses textiles, language and performance to challenge the use of deficit language by the medical academic fraternity, and to protest against social behavioural norms, and the stigma that medical and educational practitioners and society associate with autistic behaviours, due to their medicalised perspective of ‘cure.’ These works advocate for autistic people to be able to celebrate and practise their autistic culture, while sharing the self-awareness of our sensory perception and neuroperspective with the rest of society. The project and performance address the prevalence of mental health conditions among autistic people, raise the discussion of art as a process of social cognition, and speak to the gap between descriptions of embodied cognition and the co-construction of lived experience. ‘Stim Your Heart Out’ project and ‘Syndrome Rebel’ performance make connections across my lived-experience and research practices within the arts and sciences.