wall hanging by(fine artists) Lisa and Lori Lubbesmeyer
Monday, 21 October 2013
wall Hangings
wall hanging by(fine artists) Lisa and Lori Lubbesmeyer
Monday, 14 October 2013
Miller, K., (2009) The Art of Katazome [Online]Available at http://www.bentoncountymuseum.org (Accessed on 4th October at 11:17)
scarves quote
Salter, K., (2011) The neck's big thing: a colourful history of the silk scarf [Online] Available at: http://fashion.telegraph.co.uk/news-features/TMG8464030/The-necks-big-thing-a-colourful-history-of-the-silk-scarf.html (Accessed on 10th October 2013 at 15.27
Audrey Hepburn once said, 'When I wear a silk scarf I never feel so definitely like a woman, a beautiful woman.'
Crysalis, an EC project
http://makingfutures.plymouthart.ac.uk/mf3.php?pageID=10 (Accessed on 12 October 13 at 3.30)
Plymouth College of Art in association with Crysalis, an EC project funded under the INTERREG IV A 2 Seas Programme.
MAKING FUTURES
textiles sector is vast. it has social and environmental consequences , that outstrip other practices. effects are entwined in production and consumption, they traverse the exploitative regimes of the ‘sweatshop’ and a progressive activism rooted in a micro-politics of DIY, ‘Craftivism’, transition and slow movement thinking.
The terrain is complex entails seemingly contradictory turns. artisanal workshops can be just as polluting as a large regulated and efficient factory; pesticides are used heavily on cotton crops while the mordants used with dyes can be extremely toxic. synthetic does not inevitably equate with bad: enormous advances in synthetic cellulose fibers based upon sources of potentially sustainable raw materials.
government and some large manufactures, have made very significant contributions. small-scale initiatives and interventions are often particularly effective in addressing specific localized circumstances.
the range of activity,and the complex requirements creates an exceptionally challenging field of enquiry with opportunities to learn, to develop, and make positive impacts.
Thursday, 10 October 2013
Monday, 7 October 2013
Craft Activism
Tapper, J., Zucker, G., (2011) Craft Activism, New York: Random House Inc
p5
"When I am asked to define craft, I don't and I won"t. I like to think of it as undefinable
- with no rules - and that is why I was drawn to it in the first place. Craft is a way to connect with people, a way to create a community that you are inspired by. I have come to realise that once one's hands are in motion, "making" is difficult to stop."
p6
"I came to realise that all kinds of crafts have moved from private passion to public statement."
"...we were stunned to realise how far reaching this new blend of craft and activism ......"craftivism" ...
really is. "
it's part of the DIY movement, which promots handmade objects ....over mass-produced articles.
p7
Profitability of the work of one's own hands and heart have been expanded by the most up to date technology, in particular the internet.
p5
"When I am asked to define craft, I don't and I won"t. I like to think of it as undefinable
- with no rules - and that is why I was drawn to it in the first place. Craft is a way to connect with people, a way to create a community that you are inspired by. I have come to realise that once one's hands are in motion, "making" is difficult to stop."
p6
"I came to realise that all kinds of crafts have moved from private passion to public statement."
"...we were stunned to realise how far reaching this new blend of craft and activism ......"craftivism" ...
really is. "
it's part of the DIY movement, which promots handmade objects ....over mass-produced articles.
p7
Profitability of the work of one's own hands and heart have been expanded by the most up to date technology, in particular the internet.
Saturday, 5 October 2013
Extreem Knitting
Link to you tub vidio Looks like great fun.
Rachel John, Extreme Knitting, 1000 Strand Knit - YouTube
Example of extreme knitting from The Thinking Housewife web site.
A Knitted Car Cozy by Magda Sayeg and her group, Knitta Please
Friday, 4 October 2013
Gloria Loughman
These spectacular quilts make me feel the sun shining through the trees.
http://tangerinekey.wordpress.com/tag/gloria-loughman/
carol suto
I love the movement in this work.
Link to more of ner work. http://www.pinterest.com/janicecavaletto/quilts/
Greyson Perry
tapestries and articleartical byl Greyson Perry
http://www.telegraph.co.uk/culture/art/art-features/10117264/Grayson-Perry-Taste-is-woven-into-our-class-system.html
Taylor, C., Contemporary Art Quilts [Online] Available at :http://www.caroltaylorquilts.com {Accessed on 4th October 2013 at 12 20)
This looks great I love the colours used.
Dragonflies 2008
Red Clover 200
- Miller, K., (2009) The Art of Katazome [Online]Available at http://www.bentoncountymuseum.org (Accessed on 4th October 2013 at 11:17)
Love the subjects and colour of these art quilts.
Saturday, 21 September 2013
Thinking through craft
Adamson, G., (2007), Thinking through craft, Oxford, New York, BERG.
p11
"artworks are something made that have become more than something simply made".
craft does not function as a vehical of self doubt and rigorous internal analysis that art does-far from it. It is instead a supplement of the art work, .... A supplement is that which provides something necessary to another, "original" entity, but which is nonetheless considered to be extraneous (irrelevant) to that original....the supplement as pointing to a "lack", which might be present in a single work....
p12
"the guilt frame that surrounds a painting ...is not part of the artwork, but ...conveys the sense of the paintings importance, it props up the artwork".
p59
"the way in which something has been produced shows itself in te finished product. the way it shows itself is what we call facture".
p71
"it's not the technical side of it that matters: it's something beyond that".
The implication is that the proper response is not theoretical discussion, but shoulder-shrugging amazement. when somebody's' got "it" ...we are usually content to admire, rather than analyze.
p74
"good workmanship is that which carries out or improves upon the intended design. Bad workmanship is what fails to do so and thwarts the design.
p74/75
...craft skill never comes free; it must be learned. ...skill is something that seems noteworthy only from the position of the unskilled.
p81
...any craft had inherent moral integrity as a creative experience, so it followed that every child should be educated to become 'self-expressive craftsmen...'. The inclusion of artistic and vocational courses in school's curriculum was not a way to make education a more efficient way of building the economy, but rather a means of working towards "a sound society".
p83
...technigue applied through materials gives access to a universal whole.
p84
"The best education is one;s own experience.Experimenting surpasses studying".
p139
If modern art....is grounded in serching for self-awareness, then amerterism is a form of creativity that can never be intergrated into this model.In the popular imagination, hobby crafts ar on a par with such activities as stamp collecting and weekend sport - activities done in a spirit of self-gratification rather than critique.
p140
Sewing in the living room or woodworking in the garage are activities that reflect a culture of prosperous excess.
.....idle hands make for potentially revolutionary work.Similarly, the succassful displacement of unused time into harmless leisure activities has been vital to the project of capatalist expansion.
....there are huge profits to be gained by selling commodities (materials/equipment) to aspiring craftspeople, amaturs perform a valuable ....service to the economy.
Presicsely because they are made so lovingly, homemade crafts betray the degree to which their makers are integrated into the larger structure of capitalist ideology, in which commodidity forms are the primary carriers of meaning.
p152
Seek to be good but not to be great
A womans noblest station is retreat
Her fairest virtues fly from public sight.
Domestic worth still shuns too atrong a light.
p153
"Quality is something that a white Anglo-Saxon protestant man does .....Quality is expensive decoration for rich people who happen to be blind."
p155
rather than "untying the apron strings" the artists involved in womanhouse were "keeping the apron on, flaunting it , and turning it into art"
p11
"artworks are something made that have become more than something simply made".
craft does not function as a vehical of self doubt and rigorous internal analysis that art does-far from it. It is instead a supplement of the art work, .... A supplement is that which provides something necessary to another, "original" entity, but which is nonetheless considered to be extraneous (irrelevant) to that original....the supplement as pointing to a "lack", which might be present in a single work....
p12
"the guilt frame that surrounds a painting ...is not part of the artwork, but ...conveys the sense of the paintings importance, it props up the artwork".
p59
"the way in which something has been produced shows itself in te finished product. the way it shows itself is what we call facture".
p71
"it's not the technical side of it that matters: it's something beyond that".
The implication is that the proper response is not theoretical discussion, but shoulder-shrugging amazement. when somebody's' got "it" ...we are usually content to admire, rather than analyze.
p74
"good workmanship is that which carries out or improves upon the intended design. Bad workmanship is what fails to do so and thwarts the design.
p74/75
...craft skill never comes free; it must be learned. ...skill is something that seems noteworthy only from the position of the unskilled.
p81
...any craft had inherent moral integrity as a creative experience, so it followed that every child should be educated to become 'self-expressive craftsmen...'. The inclusion of artistic and vocational courses in school's curriculum was not a way to make education a more efficient way of building the economy, but rather a means of working towards "a sound society".
p83
...technigue applied through materials gives access to a universal whole.
p84
"The best education is one;s own experience.Experimenting surpasses studying".
p139
If modern art....is grounded in serching for self-awareness, then amerterism is a form of creativity that can never be intergrated into this model.In the popular imagination, hobby crafts ar on a par with such activities as stamp collecting and weekend sport - activities done in a spirit of self-gratification rather than critique.
p140
Sewing in the living room or woodworking in the garage are activities that reflect a culture of prosperous excess.
.....idle hands make for potentially revolutionary work.Similarly, the succassful displacement of unused time into harmless leisure activities has been vital to the project of capatalist expansion.
....there are huge profits to be gained by selling commodities (materials/equipment) to aspiring craftspeople, amaturs perform a valuable ....service to the economy.
Presicsely because they are made so lovingly, homemade crafts betray the degree to which their makers are integrated into the larger structure of capitalist ideology, in which commodidity forms are the primary carriers of meaning.
p152
Seek to be good but not to be great
A womans noblest station is retreat
Her fairest virtues fly from public sight.
Domestic worth still shuns too atrong a light.
p153
"Quality is something that a white Anglo-Saxon protestant man does .....Quality is expensive decoration for rich people who happen to be blind."
p155
rather than "untying the apron strings" the artists involved in womanhouse were "keeping the apron on, flaunting it , and turning it into art"
Thursday, 14 March 2013
Craft in dialogue
Jonsson, L., (ED), (2005), Craft in dialogue. Six views
on practice in change,Stockholm: IASPIS
Page 7
Crafts themselves are one of the areas in which the
contemporary is exposed and discussed.
Page 12
In the classical episteme, things are separate from history.
A thing is analyzed according to its visibility, measurability, and through
various tests......in the modern episteme the internal relations among things
are what is significant. The link to vision no longer plays the same crucial
role, the function of things and their determination do.
Craft is undergoing a revival in the 21st
century, but the question is why. Is it simply nostalgic yearning for the
human-made and the synthetic in between everyday life and art....
Page 31
Students now spurn the constraining focus on the physical
workmanship of finished products and the need to concentrate on a particular
material, and are instead becoming more
concerned with underlying ideas. ...There message is that if one resists
getting locked to a specific material, the possibilities of expression are
wider.
Page 39
“it is the uniformity of perfection that kills,”stated
Bernard Leach every thing is the same.
Page 64
“how can we remain indifferent to what is going on? Our art
must necessarily be a reflection of that which surrounds us.”
Page 65
With the use of poignant motifs, the public should be made to
react and then act by extension.
Page 68
To associate in groups and organizations is something that
has once again started to become more frequent among the crafts practitioners,
artists and designers in our time ...their association is based on mutually
shared attitude towards the work,
But is it art?
Freeland, C., (2001) But
is it art?, New York: Oxford University Press.
The book gives an overview of the history of art and some of
the theories in art. It is easy to read and understand. It has given me
connections between past and present, from the Arts and Craft movement, right
up to the technological age.
P11 Beautiful
objects do not serve ordinary human purposes, as plates and spoons do. ...
Something beautiful has ‘purposiveness without purpose’.
P60 stained glass,
... is now more associated with craft than art; and landscape gardening seems a
hobby or design practice rather than ‘Art’.
P 117-‘ ...some art
takes place outside ...using public or government funding. One example is the
public art project culture in action.
... public projects like this one are successors of earlier efforts to bring
art to the so-called masses, ... similarly, the arts and craft movement ...
aimed to enhance peoples everyday experiences by bringing beauty to there usual
aesthetic surroundings’.
P130 ‘Genius belongs
to creators who employ their medium so that, all viewers can respond, with awe
and admiration’.
Craft council report 2012
Economics as well as Environmental effects and concerns are
changing Contemporary crafts.
Crafters are becoming aware of the effects of there practice on the environment and so they are sourcing materials more locally and using recyclable/sustainable and environmental friendly materials,,
and where possible have changed there making processes.
The income of makers has declined but this may be due to the makers cutting back on hours due to the economic difficulties within the country.
Crafters are becoming aware of the effects of there practice on the environment and so they are sourcing materials more locally and using recyclable/sustainable and environmental friendly materials,,
and where possible have changed there making processes.
The income of makers has declined but this may be due to the makers cutting back on hours due to the economic difficulties within the country.
as technology becomes more advanced crafters are expected to
collaborative more rather than stay as
independent workers.
Craft council report 2012,
Available a: http://www.craftscouncil.org.uk/files/professional-development/Craft_in_an_Age_of_Change.pdf Accessed on 19th February 2013 at
11: 05
Cradle to Cradle
Mc DonoughW., Barungart, M., (2002), Cradle to Cradle remaking the way we make things, New York : North
Point Press.
Page 20
“Citys … are nothing less than overgrown prisons that shut
out the world and all its beauties,” wrote the poet John Clare.
Page 23
Winston Chirchill refered to manufacturing as, “the arsenal
of democracy.” Because the productive capacity was so huge, it could (as in
world war two) Produce an undeniably potent response to war conditions.
The book is about recycling and it states why the way we
recycle at the moment is not very good. This is due to the fact that we recycle
at present are not designed to be recycled.
The book suggests the path of redesigning the goods we make. This will
make recycling goods much more efficient, as they will be made completely from
reusable components.
The Persistence of Craft
Greenhaig, p., (ED) (2002) The Persistence of Craft, London:
A&C Black LTD.
1 Classification , 2 Economy, 3 Amatteuridm, 4 Techology, 5 Morality,
6 Ethnicity, 7 Place, 8 Domesticity, 9 Museolohy, 10 Gender,
11 History, 12 Modernity, 13 Quality.
Page 7
A key element of the idea of modern craft lies in these
observations. In an affirmation of
process over product, amateur craft is to do with the need to physically engage
with things ....it is not the same thing as the obsessive. Intense search that
is central to the professional sphere.
The former is to do with the injection of the subjective self into
objective phenomena the latter is to do with the objectification of the
subjective.
Page 13
Works of art are not objects, works of art are relationships
between people and oblects,. If the
relationship does not exist, neither does the work of art.
Art is primarily an ides. Remove the ides and only social class and economics remain.
Page 20
The actual making of beautiful objects is only one aspect of
the success or failure of a genre.
POWER OF MAKING
Charny, D., (2011), POWER
OF MAKING the importance of being skilled, London: V&A Publishing and
the Craft Council.
Page 43. The role of
making is ... to give life to things, but also to show evidence of life within
us, perhaps also at a spiritual level.
The effect the industrial revolution has had on today’s
craft movement. It also says where the craft movement may be moving in the
future.
The Craft Reader
Adamson, G., (Ed), (2010), The Craft Reader, New York: Berg.
Page 2
With the onset of the industrial revolution in the late
eighteenth century craft began to suffer...the arts and craft movement ,
emerged to rescue it. .....First craft skill was ... not simply eroded as a
result of industrialization. Rather, it has been continually transformed,
Describing craft as an art form,....disguises the otherwise
obvious ... the potential radicality of craft’s non-art
status.
craftivism
craftivism
Page 325
The focus of his critique shifted from machine as villain to
the perversity of a system of manufacture that reduced the worker to an
unthinking, unfeeling drone. For Ruskin, the principle error of contemporary
society resided in its tacit presumption that the consuming pleasure of the few
justified the dehumanisation of the many.
“Art is the operation of the hand and intelligence of man
together.”
“Fine art is that in which the hand, the head, and the heart
of man go together”
Page 326
“craft was something of a higher calling, for it was the
real art of the people.” affordable
P 437
In the modernist view, design supersedes craft as a
historical stage. Through informed effort and precise methodology design is
able to guide mechanical work and render it superior even to handwork ... ‘art
as a pure intellectual exercise.
Imperfections and deviations came to be seen as legitimating
characteristics. The historical roles are reversed – perfect machine work is
depicted as bad and imperfect handwork as good.
Craft is eventually cornered into a position of terminal nostalgia
or, worse, of elitism. Via a notion of consumer exclusivity.expencive
Small-batch production and even one-offs are now feasible in
many industrial settings ---(computer aided design etc..) bespoke
P 330
“Craft is not primarily an individual experience, but a
collective one.” community projects
P331
At heart, craft aims for a type of creativity that is
universal and pervasive. ... the fact that craft has come to be seen as a
mainly personal, even solitary, activity is perplexing indeed.
The old paradigm of mass production is on its way out: a new
paradigm, the individuation of experience, arises in its place.
Some time way back around the sixteenth century, craft and
industry were synonyms, both capable of denoting the idea of skill. Now that
industry is in the process of reinventing itself, perhaps design and craft will
become synonyms too: complementary aspects of the same ongoing process of
shaping experience through the interaction between people and things.
P 389
“every kind of capitalist production....” writes Marx, “has
this in common, that it is not the workman that employs the instrument of
labour, but the instrument of labour that employs the workman. .....”
The hand....is made redundant by technological advances.unemployment
P390
The modern person only works at what can be abbreviated. mechanised ?
P392
Craft as mode of activity translates into craft as a power,
an obscure power, nestling in the imaginatively conceived object. craftivism
Monday, 11 March 2013
social memory
Fentress.J. & Whickam.C., (1992) Social Memory: New Perspectives on the Past. Oxford: Blackwell publishers.
Chapter 1 page 7
When we remember, we represent ourselves to ourselves and to those around us. To the extent that our ‘nature; - that which we truly are – can be revealed in articulation.
scary thought
Page 8
Memory has retreated for us more and more into the personal. It is a source of private, not social, knowledge.
no one knows what your thinking.
Page 17 &18
A ‘map’ in the sense that we are using the term, is a visual concept, a constructed or projected image, referring to and bearing information about something outside itself. It is a concept that supports the ‘memory of things’.
A
mnemonic map is a visual image ... the visual expression of knowledge
is more complex than the semantic.........the map would be a
conceptualised image
this is the part of mapping that I find interesting.
Page 19
We
are so accustomed to using words to support our ‘memory of things’ that
we do not always notice that they are there. We fail to remember that
we are using a medium at all.
I would not have thought of words as a medium,
Page 88
Memories tend to be remembered in the first place because of their power to legitimize the present,
..... Memories about the past can themselves change across time, but
even when they do not, they will certainly be selected out of the
potentially infinite set of possible memories.
selective memory.
Page 210
It is we who are remembering, and it is to us that the knowledge, emotions, and images ultimately refer.
personal memories.
We
can neither know nor experience our memories unless we can first
‘think’them; and the moment we ‘think’ our memories, recalling and
articulating them, they are no longer object; they become part of us.
Only by making memories part of us, first, can we share them with others.
Memory has an immense social role. It tells us who we are.
these images are untouched by the hand of any painter; these stories cannot bear a copyright.
story telling, recounting the past to the younger generation,
Page 202
Memories die, but only to be replaced by other memories.
I like thi.
"Glory in human chaos": Stephen Walter's maps of London go on show at Fenton House
By Culture24 Reporter | 12 October 2011
© Stephen Walter
"My maps revel in the intricacy of life," says Stephen Walter. "My epithets to places are intrinsically tied into the stories and experiences of the people who inhabit them and their collective knowledge.
"Life is fascinating. People are fascinating. How this mixes with the geography of this world is even more interesting and endless.
"The maps glory in the human chaos and are a celebration of the concept of place. And the sheer intricacy of it all."
In Walter's world, every one of his minutely detailed drawings of London (The Island, as he sees it) tells a story.
Culture 24, Avilable at: http://www.culture24.org.uk/art/painting+%26+drawing/art366017 [Accessed on 18th 0ct 2011 at 11.45]
Landscape phenomenology
Wylie, J., (2007), Landscape, Oxon, Routledge.
page 139.
Landscape phenomenology often lays stress upon some measure of direct, bodily contact with, and experience of landscape.
page 141
land art/ earth art, - movement began late 1960s, - aim to liberate art from confined, controlled settings e.g. galleries / museums. (spiral jetty).
page 143
landscape is conceptualised in terms of active, embodied and dynamic relations betweem people and land, between culture and nature more generally.
these relations are seen as ongoing and evolving rather than static. forever changing
page 144
landscape becomes the accomplice and expression. ?
p145
we define ourselves - we define the essence of what it is to exist as a human being - in terms of visual detachment. we define ourselves not as creatures in a world but as points of view upon it.
p146
thinking is thus the essence of being human, or, as Descarts puts it, I think therefore I am.
p149
"far from my body being for me no more than a fragment of space, there would be no space at all for me if I had no body" (ibid102).
p150
As I contemplate the blue of the sky I am not set over against it as an acosmic subject: I do not possess it in thought, or spread out toward it some idea of blue.....I abandon myself to it and plunge into this mystery, it thinks itself in me. (Merleau-Ponty, 1969, p214 Merleau - Ponty, 1969 quoted in Wylie, 2007, p150)) It's only when someone puts it into words.
p152
When I look, I see with landscape
p160
Landscape here understood , is not an amount of something, but a quality of feeling, in the end an emotional investment. I aggree.
p161
'through living in it, the landscape becomes a part of us, just as we are part of it' (ibid. p.191).
At its most intense, the boundaries between person and place, or between the self and the landscape, dissolve altogether. (ingold, 2000,p.56, original emphisis).
p.162
the landscape is not so much the object as 'the homeland of our thoughts'. (ingold, 2000,
I like this.
p176
Landscape is more than a way of seeing. Landscape is that with which we see, a perception - with - the - world. When I look I see with landscape.
p178
'my power of imagining is nothing but the persistence of the world around me'. Yes I only think about what I see and hear.
p182
Phenomonology originally takes shape as a lost quest for lost essences and ultimate foundations. ? Is this true?
TOPOPHILIA
Tuan, Y., (1990) Topophilia, A Study of Environmental Perception, Attitudes, and Values. Nee York, Columbia UniversitPress.
page 1
With out self-understanding we cannot hope for enduring solutions to environmental problems, which are fundamentally human problems. And human problems ...... hinge on the psycholohical pole of motivation.
p.53
Has the female a characteristic way of structuring the world that is different from the male?
In every known culture , male and female are assigned distinctive roles; they are taught in childhood to behave in differing ways, .... Dolls and guns.
p.55
When a girl designs an environment, it is usually that of a house interior, ..... in a girl's scene, people and animals are mostly within such an interior or enclosure, and they are primarily .. in a static position. Why static>
Along with tall structures boys play with the idea of collapse; ruins are exclusively male constructions. Does this include decay?
p99A man's belongings are an extension of his personality; to be deprived of them is to diminish, ...his worth as a human being. Capitalism, ...a person in the process of time invests bits of his emotional life in his home, and beyond the home in his neighborhood. ...which in its familiarity protects the human being from the bewilderment of the outside world
Songlines
Chatwin, B., (1988), The Songlines, London: Macmillan Publishers.p2
Aboriginal creation myths tell of the legendary totemic beings who had wandered over the continent in the Dreamtime, singing out the name of everything that crossed their path-birds,animals, plants. rocks, water-holes-and so singing the world into existence.
p3
Now, in a Europe of mindless materialism, his 'old men' seemed wiser and more thoughtful than ever
p13
the Aboriginals had an earthbound philosophy. the earth gave life to a man; gave him his food, language and intelligence; and the earth took him back when he died. a man's own country' even an empty strech of spinifex, was itself a sacred ikon that must remain unscarred.
'to wound the earth ...is to wound yourself, and if others wound the earth , they are wounding you.
p13
the Aboriginals...were a people who trod lightly over the earth; and the less they took from the earth, the less they had to give in returm.
p17
Aboriginals could not belive the country existed until they could see and sing it...'to exist' is 'to be perceived'.
Home
Blunt, A.,Dowling, R., (2006), Home. London: Routledge.p22
home is not merely a physical structure or a geogrephical location but always an emotional spacel.
home is neither the dwelling nor the feeling, but the relation between the two.
p23
home does not simply exist, but is made. home is a process of creating and understanding forms of dwelling and belonging.
p49
for Rominies 'domestic rituals'are 'performed in a house, a condtructed shelter, and derive meaning from the protection and confinement a house can provide...it can be an ordinary housenold task such as ...sewing a seam.
p50
home is an idea: an inner geography ....
p52
household guides helped to redefine middle-class domesticity and the feminine attributes on which it was seen to depend, and gave a new status to women at home.
p53
magazines and a growing number of househokd guides helped to redefine middle-class domesticity and the feminine attributes on which it was seen to depend, and gave new status to women at home...throughout its history, the women's magazine has defined its reders 'as women'...femininity is always reprresented in the magazines as fractured....still to be achived. Houshold guides ...both asserting a femimized domesticity and instructing women on its achievements.
p53
resarchers in ...women's history have been reevaluating home economics, developing an understanding of it as a profession that... opened up oportunities for women...some were focused on the home, while others were more concerned with the broader social environment.
p54
the 1950s home increasingly articulated interior design as a form of household management....this discouurse gave women a new capacity to shape there part of the world during the 1940s and 1950s
one the one hande both state and market discourses suggested that women could sweep away the elements of traditional....home designs... on the other, popular magazines also placed a great deal of emphasis on the look of things and on looking itself, further inscribing women's identity within domestic space.
p57
'modern' architects argued that the kitchen should be a machine for cooking in, but this small modern, and efficient space.... completely overlooked ...working class social practice'.
kitchens were to small for a table, but ...reidents ate there...perched up at the ironing board or at the shelf by the hatch.
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