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Clothing trade --- Social classes --- Women artisans --- Needleworkers --- Women --- History. --- Employment
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"The eighteenth century has been hailed for its revolution in consumer culture, but Material Literacy in Eighteenth-Century Britain repositions Britain as a nation of makers. It brings new attention to eighteenth-century craftswomen and men with its focus on the material knowledge possessed not only by professional artisans and amateur makers, but also by skilled consumers. This edited collection gathers together a group of interdisciplinary scholars working in the fields of art history, history, literature, and museum studies to unearth the tactile and tacit knowledge that underpinned fashion, tailoring, and textile production. It invites us into the workshops, drawing rooms, and backrooms of a broad range of creators, and uncovers how production and tacit knowledge extended beyond the factories and machines which dominate industrial histories. This book illuminates, for the first time, the material literacies learnt, enacted, and understood by British producers and consumers. The skills required for sewing, embroidering, and the textile arts were possessed by a large proportion of the British population: men, women and children, professional and amateur alike. Building on previous studies of shoppers and consumption in the period, as well as narratives of manufacture, these essays document the multiplicity of small producers behind Britain's consumer revolution, reshaping our understanding of the dynamics between making and objects, consumption and production. It demonstrates how material knowledge formed an essential part of daily life for eighteenth-century Britons. Craft technique, practice, and production, the contributors show, constituted forms of tactile languages that joined makers together, whether they produced objects for profit or pleasure"--
Material culture --- Textile crafts --- Needleworkers --- Consumers --- Consumption (Economics) --- History
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"The Art of Mary Linwood is the first book on Leicester textile artist Mary Linwood (1755-1845) and catalogue of her work. When British textile artist and gallery owner Mary Linwood died in 1845 just shy of 90 years old, her estate was worth the equivalent of £5,199,822 in today's currency. As someone who made, but didn't sell, embroidered replicas of famous artworks after artists such as Gainsborough, Reynolds, Stubbs, and Morland, how did she accumulate so much money? A pioneering woman in the male-dominated art world of late Georgian Britain, Linwood established her own London gallery in 1798 which featured copies of well-known paintings by these popular artists. Featuring props and specially designed rooms for her replicas, she ensured that her visitors had an entertaining, educational, and kinetic tour, similar to what Madame Tussaud would do one generation later. The gallery's focus on picturesque painters provided her London visitors with an idyllic imaginary journey through the countryside. Its emphasis on quintessentially British artists provided a unifying focus for a country that had recently emerged from the threat of Napoleonic invasion. This book brings to the fore Linwood's gallery guides and previously unpublished letters to her contemporaries, such as Birmingham inventor Matthew Boulton and Queen Charlotte. By examining Linwood's replicas and their accompanying objects through the lens of material culture, the book provides a much-needed contribution to the scholarship on women and cultural agency in the early 19th century"--
Needleworkers --- Businesswomen --- Women artists --- Embroidery --- Pictures --- Artist-run galleries --- Nationalism and art --- Art and society --- History --- Copying --- Linwood, Mary,
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Animal pounds --- Animal shelters --- Animal welfare --- Chron --- Dogs --- English literature --- Engraving, Colored --- Hand coloring --- Lithography, Colored --- Needleworkers --- Ragged schools --- Royal Society for the Prevention of Cruelty to Ani --- Specimens --- Temporary Home for Lost and Starving Dogs --- Great Britain
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"In the late 1970s, Hollywood producers took the published biography of Crystal Lee Sutton, a white southern textile worker, and transformed it into a blockbuster 1979 film, Norma Rae, featuring Sally Field in the title role. This fascinating book reveals how the film and the popular icon it created each worked to efface the labor history that formed the foundation of the film's story. Drawing on an impressive range of sources—union records, industry reports, film scripts, and oral histories—Aimee Loiselle's cutting-edge scholarship shows how gender, race, culture, film, and mythology have reconfigured and often undermined the history of the American working class and its labor activism. While Norma Rae constructed a powerful image of individual defiance by a white working-class woman, Loiselle demonstrates that female industrial workers across the country and from diverse racial backgrounds understood the significance of cultural representation and fought to tell their own stories. Loiselle painstakingly reconstructs the underlying histories of working women in this era and makes clear that cultural depictions must be understood as the complicated creations they are"--
Working class women --- Women in the labor movement --- Needleworkers --- Textile workers --- Women --- Puerto Rican women --- Labor movement --- Women labor leaders --- Working class --- History --- Labor unions --- Organizing --- Political activity --- HISTORY / United States / 20th Century --- POLITICAL SCIENCE / Labor & Industrial Relations --- SOCIAL SCIENCE / Gender Studies --- Norma Rae (Motion picture : 1979)
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Knitting and crochet have long been considered forms of folk art, but in the 21st century, these time-honoured crafts are breaking away from the outdated stereotype of cosy domesticity. Whether miniature or oversized, multi-coloured or monochrome, abstract or naturalistic, intimate or exhibitionist, knitted works are now invading galleries, museums and other public spaces. Yarn has become a medium for artistic expression as valid and multifaceted as painting, sculpture or photography. Showcasing forty international artists who incorporate knitting, crochet and more into their practice, this book provides a survey of yarn work in contemporary art, illustrating the huge range of ways in which these techniques have been embraced as a form of creative expression. Some artists evoke a kind of nostalgia, rediscovering skills that have fallen from fashion or promoting the value of ancient handicrafts in an industrialized world of mass-production. Others push the boundaries of knitting by using non-traditional materials such as rope or wire, or by using its sculptural potential to tackle themes that are political, personal or transgressive. Although often associated with feelings of warmth, enclosure and familial love, yarn can also represent the ties that bind us together or a membrane that protects us from the world. Packed with striking images, this book demonstrates how knitting needles and crochet hooks can created works of art that are challenging and unique, forcing us to take a fresh look at our own lives and beliefs and at the objects that surround us every day.
Knitting --- Textile design --- Knit goods --- Crocheting --- Knitters (Persons) --- Yarn in art --- Art, Modern --- kunst --- Genger Orly --- Just kate --- Blalock Ashley V --- Robins Freddie --- Kaehler Schweizer Dominique --- De Keijzer Noortje --- Mathignot Aurélie --- Jenkins Casey --- Hamilton Jo --- Toulouzan Gisèle --- Papp Shanell --- Martin Leigh --- Barrère Emmanuelle --- Vincent Nathan --- Dance Jessica --- Bergstedt Marie --- Sperkova Blanka --- Joly Clémence --- Cuevas Ben --- Tellier-Loumagné Françoise --- Samsonsen Randi --- Vansconcelos Joana --- Begrlund Isabel --- Van der Leest Felieke --- Dachary Cécile --- Olek Agata --- Benninger Jürg --- Taimina Daina --- Widdess Tracy --- Dupuis Camille --- Osborne Joanna --- Muir Sally --- Newport Mark --- Warner Geraldine --- Sébyleau Agnès --- Tsykalov Dimitri --- Krenkel Katharina --- Bel Lili --- Lebon-Couturier Solène --- Jenkins Kate --- 745.52 --- 7.039 --- breiwerk --- breien --- textielkunst --- textiel --- eenentwintigste eeuw --- 746.4 --- Kunstmaterialen ; textiel ; breiwerk ; haakwerk ; patchwork --- Textiele kunst ; installaties --- Textielkunst ; 21ste eeuw --- Contemporary art --- Modernism (Art) --- Fancy work --- Dry-goods --- Textile fabrics --- Decoration and ornament --- Design --- Textile industry --- Artisans --- Needleworkers --- Textielkunst ; naaiwerk, breiwerk, haakwerk --- Art --- Applied arts. Arts and crafts --- crocheting --- knitting [process] --- wool [textile]
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