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210824t20212017ilu fo d z eng d
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9780226369822
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7
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10.7208/9780226369822
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doi
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(DE-B1597)568171
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(DE-B1597)9780226369822
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DE-B1597
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eng
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DE-B1597
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eng
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ilu
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US-IL
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N7433.9
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.B79 2017
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4
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N7433.9
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.B79 2017
100
1
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Bryan-Wilson, Julia,
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author.
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aut
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http://id.loc.gov/vocabulary/relators/aut
245
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0
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Fray :
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Art and Textile Politics /
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Julia Bryan-Wilson.
264
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Chicago :
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University of Chicago Press,
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[2021]
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4
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©2017
300
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1 online resource (296 p.) :
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90 color plates, 62 halftones
336
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text
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txt
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rdacontent
337
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computer
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c
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rdamedia
338
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online resource
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cr
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rdacarrier
347
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text file
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PDF
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rda
505
0
0
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Frontmatter --
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Contents --
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Introduction: Textile Politics --
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1 Queer Handmaking --
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2 Threads of Protest --
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3 Remains of the AIDS Quilt --
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Afterword: The Currency of Cloth --
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Acknowledgments --
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Notes --
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Index
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Access restricted by licensing agreement.
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In 1974, women in a feminist consciousness-raising group in Eugene, Oregon, formed a mock organization called the Ladies Sewing Circle and Terrorist Society. Emblazoning its logo onto t-shirts, the group wryly envisioned female collective textile making as a practice that could upend conventions, threaten state structures, and wreak political havoc. Elaborating on this example as a prehistory to the more recent phenomenon of "craftivism"-the politics and social practices associated with handmaking-Fray explores textiles and their role at the forefront of debates about process, materiality, gender, and race in times of economic upheaval. Closely examining how amateurs and fine artists in the United States and Chile turned to sewing, braiding, knotting, and quilting amid the rise of global manufacturing, Julia Bryan-Wilson argues that textiles unravel the high/low divide and urges us to think flexibly about what the politics of textiles might be. Her case studies from the 1970s through the 1990s-including the improvised costumes of the theater troupe the Cockettes, the braided rag rugs of US artist Harmony Hammond, the thread-based sculptures of Chilean artist Cecilia Vicuña, the small hand-sewn tapestries depicting Pinochet's torture, and the NAMES Project AIDS Memorial Quilt-are often taken as evidence of the inherently progressive nature of handcrafted textiles. Fray, however, shows that such methods are recruited to often ambivalent ends, leaving textiles very much "in the fray" of debates about feminized labor, protest cultures, and queer identities; the malleability of cloth and fiber means that textiles can be activated, or stretched, in many ideological directions. The first contemporary art history book to discuss both fine art and amateur registers of handmaking at such an expansive scale, Fray unveils crucial insights into how textiles inhabit the broad space between artistic and political poles-high and low, untrained and highly skilled, conformist and disobedient, craft and art.
546
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In English.
588
0
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Description based on online resource; title from PDF title page (publisher's Web site, viewed 24. Aug 2021)
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Access is available to the Yale community.
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Art
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Political aspects
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Case studies.
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0
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Art, Modern
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20th century
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History.
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0
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Feminism and art.
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0
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Fiberwork
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Political aspects.
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0
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Handicraft
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Political aspects
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United States.
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0
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Homosexuality and art
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United States.
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0
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NAMES Project AIDS Memorial Quilt.
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0
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Textile crafts
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Political aspects
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Chile.
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Cecilia Vicuña.
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Harmony Hammond.
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amateur.
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contemoprary art.
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craft.
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craftivism.
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feminism.
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protest.
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queer.
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textiles.
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0
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De Gruyter University Press eBook pilot project 2017.
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0
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yulintx
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None
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Online resource
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8
0
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Online resource
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4
0
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Online book
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https://yale.idm.oclc.org/login?URL=https://www.degruyter.com/isbn/9780226369822
901
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N7433.9
902
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Yale Internet Resource
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Yale Internet Resource >> None|DELIM|16143686
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online resource
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2022-04-19T16:08:42.000Z
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DO NOT EDIT. DO NOT EXPORT.
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https://www.degruyter.com/isbn/9780226369822