Konstfacks bibliotek

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*00148001
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*008200504t20192019mdua|||||b||||001 0|eng|d
*020  $a9781538118399$qhardcover
*020  $a1538118394$qhardcover
*035  $a(OCoLC)on1104411988
*035  $a(SE-LIBR)jv3kvjbtg218fj1n
*041  $aeng
*05014$aTT149$b.C7333 2019
*08204$a745.5$223
*084  $aIh$2kssb/8 (machine generated)
*24510$aCrafting dissent :$bhandicraft as protest from the American Revolution to the pussyhats /$cedited by Hinda Mandell.
*264 1$aLanham, Maryland :$bRowman & Littlefield,$c[2019]
*264 4$c©2019
*300  $axv, 339 pages$bcolor illustrations$c24 cm.
*336  $atext$btxt$2rdacontent
*337  $aunmediated$bn$2rdamedia
*338  $avolume$bnc$2rdacarrier
*340  $b24 cm.
*4901 $aAmerican Association for State and Local History book series
*504  $aIncludes bibliographical references and index.
*5058 $tReflections on craft--and craft-makers--as change agents /$rJayna Zweiman --$tYarn, thread, scissors, fabric : a crafter's tool kit for mending democracy as engaged citizens /$rHinda Mandell --$tCraftivism from Philomena to the pussyhat /$rSandra Markus --$tWeaving the way toward liberty : John Singleton Copley's Portrait of Mr. and Mrs. Thomas Mifflin (Sarah Morris) /$rElizabeth S. Hawley --$tSpinning, sewing, and soliciting for the American Revolution /$rLaura Elizabeth Sapelly  --$tThe anti-craft activism of enslaved Americans : conspicuous consumption as resistance /$rKatie Knowles --$tThe Underground Railroad quilt code myth and the culture of crafted experience /$rFelicity Lufkin --$tFinding Frederick and Anna Douglass's parking lot : public art's role in combating historical erasure and urban renewal /$rHinda Mandell --$tStitching dissent : from the suffragists to pussyhat politics /$rAnne Bruder --$tHow homespun cotton cloth became the fabric of Indian political life /$rRekha Sharma and Gargi Bhaduri --$t"It's getting bitchy in knitting circules" : the history of the stitch 'n bitch movement and internalized misogyny /$rErika K. Jackson --$tThe entanglement of consumption, commerce, and craft activism /$rHannah Bush --$tHow to smash the patriarchy : a guide for fat old ladies and their friends /$ra graphic essay by Donna Druchunas --$tCraftivism and DIY citizenship /$rTal Fitzpatrick --$tA tale of two scarves, of "pride" and "pain" /$rMáire O Sullivan, Shona Bettany, and Toni Eagar --$t"Consent trumps everything" : the clothesline art project and the election politics of sexual assault /$rShannon Dehoff and Jill Swiencicki --$tCurating craftivism and rethinking collection(s) /$rMary Worrall and Shirley Wajda --$tHow to be a craftivist : the art of gentle protest and the case of the "living wage" for one of the largest retail companies in the United Kindgom /$rSarah Corbett --$tCrafting a place in history : creating subversion with handcrafts in modernity /$rBetsy Greer --$tMending our clothing, mending the world /$rSarah Kuhn --$tCrafting change : craft activism for community-based art therapy /$rLauren Leone --$tCrafting, crime, harm, and justice in Australia /$rElaine Fishwick and Alyce McGovern --$tCrafting the "vulva quilt" : a community response to being silenced /$rMichelle Napoli and Michaela Kirby --$tCraft as a pedagogy of hope /$rSuzanne Schmidt --$tReshaping the narrative around poeople of color and craftivism /$rDiane Ivey --$tThe sisterhood ot the Trump/Putin cross-stitch /$rAlison Rowley and Althea Thompson.
*520  $aPussyhats, typically crafted with yarn, quite literally created a sea of pink the day after Donald J. Trump became the 45th president of the United States in January 2017, as the inaugural Women's March unfolded throughout the U.S., and sister cities globally. But there was nothing new about women crafting as a means of dissent. Crafting Dissent: Handicraft as Protest from the American Revolution to the Pussyhats is the first book that demonstrates how craft, typically involving the manipulation of yarn, thread and fabric, has also been used as a subversive tool throughout history and up to the present day, to push back against government policy and social norms that crafters perceive to be harmful to them, their bodies, their families, their ideals relating to equality and human rights, and their aspirations. At the heart of the book is an exploration for how craft is used by citizens to engage with the rhetoric and policy shaping their country's public sphere. The book is divided into three sections: "Crafting Histories," Politics of Craft," and "Crafting Cultural Conversations." Three features make this a unique contribution to the field of craft activism and history: The inclusion of diverse contributors from a global perspective (including from England, Ireland, India, New Zealand, Australia). Essay formats including photo essays, personal essays and scholarly investigations. The variety of professional backgrounds among the book's contributors, including academics, museum curators, art therapists, small business owners, provocateurs, artists and makers. This book explains that while handicraft and craft-motivated activism may appear to be all the rage and "of the moment," a long thread reveals its roots as far back as the founding of American Democracy, and at key turning points throughout the history of nations throughout the world.
*650 0$aHandicraft$xPolitical aspects.
*650 0$aHandicraft$xSocial aspects.
*650 7$aHandicraft$xSocial aspects.$2fast
*7001 $aMandell, Hinda$4edt
*830 0$aAmerican Association for State and Local History book series
*852  $5Ko$bKo$cDESIGN & KONSTHANTVERK -$hIh
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^

Pussyhats, typically crafted with yarn, quite literally created a sea of pink the day after Donald J. Trump became the 45th president of the United States in January 2017, as the inaugural Women's March unfolded throughout the U.S., and sister cities globally. But there was nothing new about women crafting as a means of dissent. Crafting Dissent: Handicraft as Protest from the American Revolution to the Pussyhats is the first book that demonstrates how craft, typically involving the manipulation of yarn, thread and fabric, has also been used as a subversive tool throughout history and up to the present day, to push back against government policy and social norms that crafters perceive to be harmful to them, their bodies, their families, their ideals relating to equality and human rights, and their aspirations. At the heart of the book is an exploration for how craft is used by citizens to engage with the rhetoric and policy shaping their country's public sphere. The book is divided into three sections: "Crafting Histories," Politics of Craft," and "Crafting Cultural Conversations." Three features make this a unique contribution to the field of craft activism and history: -The inclusion of diverse contributors from a global perspective (including from England, Ireland, India, New Zealand, Australia) -Essay formats including photo essays, personal essays and scholarly investigations -The variety of professional backgrounds among the book's contributors, including academics, museum curators, art therapists, small business owners, provocateurs, artists and makers. This book explains that while handicraft and craft-motivated activism may appear to be all the rage and "of the moment," a long thread reveals its roots as far back as the founding of American Democracy, and at key turning points throughout the history of nations throughout the world.