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Weavings of War: Fabrics of Memory accompanies a landmark traveling exhibit of textiles depicting the horrors of war, by women from Central and Southeast Asia, Latin America, and South Africa. Textile artists (mostly women) throughout the world have responded to the terror of 20th-century war by incorporating images of war into works produced with traditional methods: Hmong embroiderers created storycloths depicting the plight of unarmed refugees confronted with modern military might; Afghan rug weavers replaced traditional motifs with images of tanks, machine pistols and AK-47s; Peruvian appliqués picture soldiers beating peasants. These textiles encompass powerful contradictions: individual artistry versus community aesthetics; global versus local impacts of war; individual versus universal experience; and assumptions of folk arts as unchanging, rural, and complacent. Many of the artists still live in countries that are marked by recent conflict and some are refugees who have resettled in the United States. Weavings of War stands as an eloquent and powerful testimony of the impact of modern warfare in our world and the relevancy and resilience of folk arts in contemporary life. The exhibition provides an opportunity to examine our existing notions of not only traditional arts in general but also the role of traditional arts in cultures rent by armed conflict, social upheaval, and displacement. Among the contributors are curator Ariel Zeitlin Cooke, consulting curator/folklorist Marsha MacDowell, historian James Young, and folklorist Barbara Kirshenblatt- Gimblett.
Through the centuries, women have used textiles to express their ideas and political opinions, creating items of utility that also function as works of art. Beginning with medieval European embroideries and tapestries such as the Bayeux Tapestry, this book examines the ways in which women around the world have recorded the impact of war on their lives using traditional fabric art forms of knitting, sewing, quilting, embroidery, weaving, basketry and rug making. Works from the United States, Canada, Latin America, Asia, the Middle and Near East, and Oceania are analyzed in terms of content and utility, and cultural and economic implications for the women who created them are discussed. Traditional women's work served to document the upheaval in their lives and supplemented their family income. By creating textiles that responded to the chaos of war, women developed new textile traditions, modified old traditions and created a vehicle to express their feelings.
Contemporary Great Lakes Pow Wow Regalia showcases the work of contemporary Native American Indian artists who make and wear pow wow dance regalia in the Great Lakes region. In addition to photographs taken by Minnie Wabanimkee, the publication contains a series of essays on dance and dance regalia and a glossary of terms by Cameron Wood, Charlotte Heth, Arnie Parish, Thurman Bear, Frances Vincent, and Marclay Crampton.
Textiles and clothing are interwoven with Islamic culture. In Islamicate Textiles, readers are taken on a journey from Central Asia to Tanzania to uncover the central roles that textiles play within Muslim-majority communities. This thematically arranged book sheds light on the traditions, rituals and religious practices of these regions, and the ways in which each one incorporates materials and clothing. Drawing on examples including Iranian lion carpets and Arabic keffiyeh, Faegheh Shirazi frames these textiles and totemic items as important cultural signifiers that, together, form a dynamic and fascinating material culture. Like a developing language, this culture expands, bends and develops to suit the needs of new generations and groups across the world. The political significance of Islamicate textiles is also explored: Faegheh Shirazi's writing reveals the fraught relationship between the East – with its sought-after materials and much-valued textiles – and the European countries that purchased and repurposed these goods, and lays bare the historical and contemporary connections between textiles, colonialism, immigration and economics. Dr Shirazi also discusses gender and how textiles and clothing are intimately linked with sexuality and gender identity.
Michigan Quilts celebrates the 150th year of Michigan's statehood by focusing attention on quilt making, quilts, and quilters. Quilts have always represented prized family possessions, important family and community documents, and the strength and breadth of quilting as an art activity in the state.
A provocative edited collection that takes an original approach toward the black box of military technology, surveillance, and AI—and reveals the aesthetic dimension of warfare. War and Aesthetics gathers leading artists, political scientists, and scholars to outline the aesthetic dimension of warfare and offer a novel perspective on its contemporary character and the construction of its potential futures. Edited by a team of four scholars, Jens Bjering, Anders Engberg-Pedersen, Solveig Gade, and Christine Strandmose Toft, this timely volume examines warfare through the lens of aesthetics, arguing that the aesthetic configurations of perception, technology, and time are central to the artistic engagement with warfare, just as they are key to military AI, weaponry, and satellite surveillance. People mostly think of war as the violent manifestation of a political rationality. But when war is viewed through the lens of aesthesis—meaning perception and sensibility—military technology becomes an applied science of sensory cognition. An outgrowth of three war seminars that took place in Copenhagen between 2018 and 2021, War and Aesthetics engages in three main areas of inquiry—the rethinking of aesthetics in the field of art and in the military sphere; the exploration of techno-aesthetics and the wider political and theoretical implications of war technology; and finally, the analysis of future temporalities that these technologies produce. The editors gather various traditions and perspectives ranging from literature to media studies to international relations, creating a unique historical and scientific approach that broadly traces the entanglement of war and aesthetics across the arts, social sciences, and humanities from ancient times to the present. As international conflict looms between superpowers, War and Aesthetics presents new and illuminating ways to think about future conflict in a world where violence is only ever a few steps away. Contributors Louise Amoore, Ryan Bishop, Jens Bjering, James Der Derian, Anthony Downey, Anders Engberg-Pedersen, Solveig Gade, Mark B. Hansen, Caroline Holmqvist, Vivienne Jabri, Caren Kaplan, Phil Klay, Kate McLoughlin, Elaine Scarry, Christine Strandmose Toft, Joseph Vogl, Arkadi Zaides
The Maoist guerrilla group Shining Path launched its violent campaign against the government in Peru’s Ayacucho region in 1980. When the military and counterinsurgency police forces were dispatched to oppose the insurrection, the violence quickly escalated. The peasant community of Sarhua was at the epicenter of the conflict, and this small village is the focus of Unveiling Secrets of War in the Peruvian Andes. There, nearly a decade after the event, Olga M. González follows the tangled thread of a public secret: the disappearance of Narciso Huicho, the man blamed for plunging Sarhua into a conflict that would sunder the community for years. Drawing on extensive fieldwork and a novel use of a cycle of paintings, González examines the relationship between secrecy and memory. Her attention to the gaps and silences within both the Sarhuinos’ oral histories and the paintings reveals the pervasive reality of secrecy for people who have endured episodes of intense violence. González conveys how public secrets turn the process of unmasking into a complex mode of truth telling. Ultimately, public secrecy is an intricate way of “remembering to forget” that establishes a normative truth that makes life livable in the aftermath of a civil war.
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.
Tapestries of Hope, Threads of Love tells the story of ordinary women living in terror and extreme poverty under General Pinochet's oppressive rule in Chile (1973-1989). These women defied the military dictatorship by embroidering their sorrow on scraps of cloth, using needles and thread as one of the boldest means of popular protest and resistance in Latin America. The arpilleras they made--patchwork tapestries with scenes of everyday life and memorials to their disappeared relatives--were smuggled out of Chile and brought to the world the story of their fruitless searches in jails, morgues, government offices, and the tribunals of law for their husbands, brothers, and sons. Marjorie Agosín, herself a native of and exile from Chile, has spent more than thirty years interviewing the arpilleristas and following their work. She knows their stories intimately and knows, too, that none of them has ever found a disappeared relative alive. Even though the dictatorship ended in 1989 and democracy returned to Chile, no full account of the detained and disappeared has ever been offered. Still, many women maintain hope and continue to make arpilleras, both in memory and as art. This new edition of the book, updated for students, includes a reaction to the death of General Pinochet, a chronology of Chile, several new testimonies from arpilleristas in their own words, and an introduction by Peter Kornbluh. It retains a section of full-color plates of arpilleras, an afterword by Peter Winn, and a foreword by Isabel Allende. Students and interested readers will find the arpilleras beautiful, moving, and ultimately hopeful, and the testimonies a powerful way to learn about the history of contemporary Latin America and the arpillera movement in Chile.
For generations, men have left their homes and families to defend their country while their wives, mothers and daughters remained safely at home, outwardly unaffected. A closer examination reveals that women have always been directly impacted by war. In the last few years, they have actively participated on the front lines. This book tells the story of the women who documented the impact of war on their lives through their art. It includes works by professional artists and photographers, combat artists, ordinary women who documented their military experiences, and women who worked in a variety of types of needlework. Taken together, these images explore the female consciousness in wartime.