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"The Subversive Stitch is now available again with a new Introduction that brings the book up to date with exploration of the stitched art of Louise Bourgeois and Tracey Emin, as well as the work of new young female and male embroiderers. Rozsika Parker uses household accounts, women's magazines, letters, novels and the works of art themselves to trace through history how the separation of the craft of embroidery from the fine arts came to be a major force in the marginalisation of women's work. Beautifully illustrated, her book also discusses the contradictory nature of women's experience of embroidery: how it has inculcated female subservience while providing an immensely pleasurable source of creativity, forging links between women"--Publisher's description.

Sociology of the family. Sociology of sexuality --- Manufacturing technologies --- Embroidery --- Women in art --- Femininity --- 746.01 --- Borduurwerk --- Gender Studies --- Textielkunst --- Femininity (Psychology) --- Sex (Psychology) --- Women --- Embroidering --- Embroidery, Primitive --- Decoration and ornament --- Fancy work --- Sewing --- Needlework --- History --- Textielkunst ; theorie, filosofie, esthetica --- 7.03 --- 745.52 --- borduurwerk --- feminisme --- gender studies --- kunst --- textiel --- textielkunst --- Bourgeois, Louise --- Emin, Tracey --- Femininity. --- Women in art. --- History. --- Borduurwerk. --- Broderie --- CRAFTS & HOBBIES --- Femmes dans l'art. --- Féminité. --- Vrouwen. --- Histoire. --- Embroidery. --- Meiji period.

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Embroidery --- Femininity --- Women in art --- History

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Iconography --- Art --- art [discipline] --- feminism --- patchwork --- eroticism --- vrouwelijke kunstenaar --- women [female humans]

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How was it possible, by the later twentieth century, to have erased women as artists from art history so comprehensively that the idea of 'the artist' was exclusively masculine? Why was this erasure more radical in the twentieth century than ever before? Why is everything that compromises greatness in art coded as 'feminine'? Has the feminist critique of Art History yet effected real change? 

With a new Preface by Griselda Pollock, this new edition of a truly groundbreaking book offers a radical challenge to a women-free Art History. Parker and Pollock's critique of Art History's sexism leads to expanded, inclusive readings of the art of the past. They demonstrate how the changing historical social realities of gender relations and women artists' translation of gendered conditions into their works provide keys to novel understandings of why we might study the art of the past. They go further to show how such knowledge enables us to understand art by contemporary artists who are women and can contribute to the changing self-perception and creative work of artists today.

Sociology of the family. Sociology of sexuality --- Art --- History of civilization --- History --- art history --- sex discrimination --- women [female humans] --- vrouw in de kunst --- Feminism --- Gender --- Art --- Artists --- Art history --- Sexism --- Féminité --- Book

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Why is everything that compromises greatness in art coded as 'feminine'? Has the feminist critique of Art History yet effected real change? With a new preface by Griselda Pollock, this edition of a truly groundbreaking book offers a radical challenge to a women-free Art History.Parker and Pollock's critique of Art History's sexism leads to expanded, inclusive readings of the art of the past. They demonstrate how the changing historical social realities of gender relations and women artists' translation of gendered conditions into their works provide keys to novel understandings of why we might study the art of the past. They go further to show how such knowledge enables us to understand art by contemporary artists who are women and can contribute to the changing self-perception and creative work of artists today.In March 2020 Griselda Pollock was awarded the Holberg Prize in recognition of her outstanding contribution to research and her influence on thinking on gender, ideology, art and visual culture worldwide for over 40 years. Old Mistresses was her first major scholarly publication which has become a classic work of feminist art history.