The Subversive Stitch: Embroidery and the Making of the Feminine

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I devoured this in one sitting ... McBrinn has drawn together such a readable history of this hitherto overlooked subject, which not only demands to be recognised alongside Rozsika Parker's, but prompts fresh discourse on men's history in needlework.

The Subversive Stitch, Rozsika Parker – Anna Vidal Honours 2020 The Subversive Stitch, Rozsika Parker – Anna Vidal Honours 2020

If the pen is mightier than the sword, then the needle itself wields its own visual power. Now in her eighties, Olga Frantskevich’s hand-woven tapestries recall scenes from her childhood in Belarus under German occupation. They tell vivid stories of friends and neighbours, widows and soldiers lost to war, her brightly coloured child-like scenes punctuated with traumatic memories.Very excited to announce that I will be showcasing my Honours Collection at New Zealand Fashion week this year! Recent Posts It's also interesting how many women subverted this and used it for their own uses, particuarly in the 20th Century. I would love to see the Dinner Party exhibition and I was very interested by the table cloth in Sweden sewn by survivors of Nazi concentration camps. Since I am new in the world of embroidery, I was eager to read such an interesting looking work as this and I must say I was not disappointed.

the Subversive Stitch: Men and the Culture of Queering the Subversive Stitch: Men and the Culture of

Quién iba a pensar que el bordado pudiera dar tanto de sí. A lo largo de este libro (que mejora a partir del segundo capítulo, cuando la autora se mete propiamente en materia) se nos habla de cómo la costura, sobre todo la decorativa, es reflejo y escenario de las concepciones imperantes sobre género y clase. También de la distinción, igualmente preñada de ideología, entre el Arte al que le ponen la mayúscula y la artesanía con letras pequeñitas. Fue publicado a mediados de los ochenta, pero Rozsika Parker lo actualizó con un prólogo para su reedición en 2010, de modo que no ha quedado demasiado desfasado. I really, really enjoyed this look at embroidery and the making of the feminine throughout (mostly English) history. I give it 4 stars only because it would have really been improved by colour photos at a higher resolution...but this re-issue is very fine otherwise. Forgotten the title or the author of a book? Our BookSleuth is specially designed for you. Visit BookSleuth

Softness of form and colour in the wall-mounted collage of carpet offcuts by Bea Bonafini are inspired the Neolithic cave paintings found in the Sicilian island of Levanzo. The intertwined forms of ‘Shape Shifting V’ move concentrically and from human to animal, recalling the urgency of hunting scenes and spiritual imagery painted on walls in the darkness of hidden cave chambers. The use of carpet being transferred to the wall and hung as an artwork also challenges the expected use and display of an everyday, functional material. No obstante, sí hay algo que me toca un poco la moral: esa tendencia de los anglosajones a describir cualquier materia en términos exclusivamente anglosajones (Rozsika Parker hace alguna referencia a la Rusia posrevolucionaria, poco más). Es decir, te escriben, por ejemplo, una historia sobre la jardinería para zurdos en Estados Unidos e Inglaterra, pero la titulan Historia de la jardinería para zurdos, punto. Que ya se sabe que los EE. UU. y el United Kingdom son el puto mundo entero. Algo semejante pasa desde el punto de vista racial. Hablando de subversión, ¿obligaban a las esclavas negras a bordar, quedaba esa labor reservada a las mujeres blancas? De la misma manera en que el bordado tiene su papel en el movimiento sufragista, ¿lo hizo en la lucha por los derechos civiles de los afroamericanos? El libro se me acaba antojando demasiado blanco, y me da rabia que esas preguntas no fueran ni someramente respondidas. The Subversive Stitch: embroidery and the making of the feminine by Rozsika Parker published by I. B. Tauris Post-Victorian era, the book seems to fizzle a little bit. There's some discussion of the Women's Suffrage Movement in Britain, but I felt like the use of embroidery in protest could have been explored in more depth. The book also glosses over embroidery for the whole mid-20th century, leaping from Suffrage to the 1970s and it just felt a little off when compared to the level of detail given in the earlier chapters.