資料詳細

[ 洋図書 ] Fray : art + textile politics /

Julia Bryan-Wilson. -- The University of Chicago Press, -- 2017. --

所蔵

所蔵は 1 件です。

所蔵館	所蔵場所	資料区分	請求記号	資料コード	所蔵状態	資料の利用
配架日	協力貸出	利用状況	返却予定日	資料取扱	予約数	付録注記	備考
中央	3階B	一般洋図書	F/753.2/B91/F	7111133280		配架図 Digital BookShelf
2019/04/16	可能	利用可			0

Eメールによる郵送複写申込みは、「東京都在住」の登録利用者の方が対象です。

- 統合検索
  都内図書館の所蔵を
  横断検索します。 類似資料 AI Shelf
  この資料に類似した資料を
  AIが紹介します。

ページの先頭へ

資料詳細

ISBN	0226077810 (hardcover ; alkaline paper)
ISBN13桁	9780226077819 (hardcover ; alkaline paper)
無効なISBN等	9780226369822 (electronic book)
テキストの言語	英語
分類：NDC10版	753.2
個人著者標目	Bryan-Wilson, Julia
本タイトル	Fray :
タイトル関連情報	art + textile politics /
著者名	Julia Bryan-Wilson.
出版地・頒布地	Chicago :
出版者・頒布者名	The University of Chicago Press,
出版年・頒布年	2017.
数量	326 pages :
他の形態的事項	illustrations (chiefly color) ;
大きさ	27 cm.
書誌注記	Includes bibliographical references (pages 279-311) and index.
内容注記	Introduction: Textile politics -- Queer handmaking. The Cockettes' crafty genders ; Harmony Hammond goes down -- Threads of protest. Cecilia Vicuña's concepts and quipus ; Arpilleras, "tapestries of defamation" -- Remains of the AIDS quilt. Piecing the names, 1985-1992 ; Crafting conflicts, 1992-present -- Afterword: The currency of cloth.
要約、抄録、注釈等	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. --From book jacket.,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 craftivismthe politics and social practices associated with handmakingFray 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 1990sincluding 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 Vicuᬠthe small hand-sewn tapestries depicting Pinochets torture, and the NAMES Project AIDS Memorial Quiltare 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 frayof 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 poleshigh and low, untrained and highly skilled, conformist and disobedient, craft and art. -- From book jacket.
個人件名	Vicuña, Cecilia.
生没年等	1948-
団体件名	Umschulungswerkstätten für Siedler und Auswanderer
一般件名	Fiberwork -- Political aspects. Art -- Political aspects -- Case studies.
地名件名	Chile. United States.
資料情報1	『Fray : art + textile politics /』　Julia Bryan-Wilson.　The University of Chicago Press,　2017. （所蔵館：中央　請求記号：F/753.2/B91/F　資料コード：7111133280）
URL	https://catalog.library.metro.tokyo.lg.jp/winj/opac/switch-detail.do?lang=ja&bibid=1352035097

ページの先頭へ