Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Nuns --- Biography --- López y Vicuña, Vicenta María,

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

This book brings together the Palabrarmas series by the artist, poet, and activist Cecilia Vicuña (b. 1948, Santiago, Chile). A neologism that translates to "word weapons" or "word arms," Palabrarmas imagine new ways of seeing language. By taking the form of collages, silkscreens, drawings, poems, fabric banners, cut-outs, mixed media installations, and street actions, Vicuña brings together many aspects of her practice in poetry, activism, and visual art, allowing new meanings to emerge. This book presents a range of palabrarmas, created over the past four decades, in color for the first time. -- Provided by the publisher.

Vicuña, Cecilia --- Criticism and interpretation. --- Words in art --- Poets, Chilean --- Conceptual art --- Artists

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Overlapping autobiography with sharp political reflections, Vicuña weaves visceral entanglements between word and seed, sound and thread, quipu and blood, body and dust, or rubbish and cosmos. This exhibition and accompanying publication is the most comprehensive survey today of a groundbreaking work that has been deeply influential among her peers and for later generations. As the exhibition, this publication gives an overview of Vicuña's artistic practice as a poet, visual artist, and activist from the 1960s to the present day. It is edited by López, designed by Studio Manuel Raeder in Berlin, and includes a forward by Sofía Hernández Chong Cuy, new essays by Miguel A. López, Julia Bryan-Wilson and Carla María Macchiavello, existing essays by Lucy Lippard and Dawn Adès, an anthology of texts authored by Cecilia Vicuña, and a number of previously unpublished visual documentation that expands our understanding of her work.

Art --- installations [visual works] --- performance art --- easel paintings [paintings by form] --- gender issues --- political art --- mixed media works --- Vicuña, Cecilia --- Chile --- Vicuña, Cecilia --- paintings [visual works] --- Conceptual art

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

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.

Applied arts. Arts and crafts --- feminism --- textile materials --- textile art [visual works] --- anno 1970-1979 --- anno 1980-1989 --- anno 1990-1999 --- United States --- Chile --- Fiberwork --- Art --- Homosexuality and art --- Handicraft --- NAMES Project AIDS Memorial Quilt --- Textile crafts --- Feminism and art --- Art, Modern --- kunst --- textiel --- textielkunst --- twintigste eeuw --- activisme --- politiek --- gender studies --- kunst en politiek --- kunst en activisme --- Verenigde Staten --- Chili --- LGBTQIA+ --- AIDS --- feminisme --- 7.038/039 --- 745.52 --- Art, Occidental --- Art, Primitive --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Art and feminism --- Fabric crafts --- Textile arts --- Textile fiber crafts --- Fancy work --- AIDS Memorial Quilt --- NAMES Project Quilt --- Memorials --- Quilts --- Crafts (Handicrafts) --- Handcraft --- Occupations --- Decorative arts --- Manual training --- Sloyd --- Art and homosexuality --- Political aspects --- History --- Vicuña, Cecilia. --- Vicuña Ramírez, Cecilia --- Ramírez, Cecilia Vicuña --- Textielkunst ; theorie --- Kunst en politiek --- Kunst en activisme --- 746.01 --- Fiber work --- Fibers in art --- Textielkunst ; theorie, filosofie, esthetica --- cultuurfilosofie --- United States of America