The Subversive Stitch

After reading the 'Introduction' by Rozsika Parker (2010) in 'The Subversive Stitch: Embroidery and the Making of the Feminine' I. B. Taurus, I examined some of the textile related work on display at the Tate Modern by Louise Bourgeius, Phyllida Barlow, Colin Self, Tracy Emin and Sarah Lucas among others. I found that these works could be considered 'subversive' or 'weapons of resistance' in the way they differ from the more traditional uses of textiles as craft or domestic hobbies. The female artists such as Tracy Emin, Sarah Lucas and Louise Bourgeois have used the medium of textiles to challenge ideas of female roles in society and the feminine ideal. By using something traditionally considered feminine, domestic or 'crafty' and juxtaposing it with bold statements or sinister imagery makes more of a political impact.

When looking for examples of textile art that date from before the 1970s feminist movement in textile art, I only found a couple of examples, and they were both by male artists. Both these examples use textiles in what would be considered 'high art' at the time they were made, whereas the work of the female textile artist in the 1970s or 1980s were probably not seen in the same light.

It is difficult for me not to look at the examples of textile art from the Tate Modern as anything but fine art since it is after being exhibited at a fine art institution. However, if they were all exhibited in non-art gallery environments, it would be likely that my opinion of a couple of the artworks would change. For example, I found that 'Interior Decoration' by Beatriz Gonzalez (the screen printed curtains) wouldn't be out of place in a design museum/exhibition and neither would Nicholas Hlobo's 'Ikhonkco' (embroidered ribbon and rubber on paper).

Rozsika Parker described textile arts as being as 'source of constraint' for the maker. In my opinion, I think she may have been alluding to the way that textile art is downgraded from 'high art' to crafts and the frustration for the artist as their work is not recognised on the platform it deserves. In a physical way, this 'source of constraint' could also be used to describe the way in which textile art, in particular embroidery, is carried out - slowly, laboriously, stationed in one place, usually in the home. In a contemporary context, the work produced by Fine Cell Work, the organisation which provides materials and sewing skills to prisoners, could be viewed as a 'source of constraint'. Prisoners find the work soothing as it promotes reflection and it gives them something to focus on during their incarceration.

References:

Rozsika Parker (2010) ‘Introduction’ in The Subversive Stitch: Embroidery and the Making of the Feminine, I.B

Taurus