i’m watching this ac/dc documentary with dad and they’re talking about how their initial fan base was women it was just a huge fan base of dedicated women and I told him it sounds exactly like One Direction and he’s so mad
I wrote this parody back in 2010 and it would be a shame if Livejournal dies with this mocking post, so have a re-post here on tumblr. I actually love Stolen Throne, but it’s not going to win a Nobel prize, that’s for damn sure.
REBEL QUEEN: *is slain *
MARIC, a Level 1 Prince: OH NOES! I can barely hold a sword and now I’m all alone on the run from the usurper! HELP! HELP!
LOGHAIN, a Level 56 Warrior, several miles away: I have a really bad feeling about this shit.
5 Books on Women in Craft and Design A Shelfie from Kayleigh Perkov, Graduate Intern at the Getty Research Institute
Hi, I’m Kayleigh Perkov, graduate intern in Web and New Media/Digital Art History at the Getty Research Institute. I’m an art historian and am currently finishing up my doctoral dissertation on the integration of digital technology into craft practice in the late 1960s and early 1970s. I first started focusing on craft and design because it has such a rich—and sometimes contentious—history of engaging with women makers. In the last few years this scholarship has only become stronger and more vibrant, so to celebrate Women’s History Month, here are some of the books that inspire me about women in craft and design.
This book is creased for a reason; I come back to it constantly. Written by one of the foremost art critics of the latter half of the 20th century, Lucy Lippard tackles art and feminist politics in this anthology. Of particular personal interest is “Making Something From Nothing (Towards a Definition of Women’s ‘Hobby Art’).” In this essay, Lippard complicates the standard art/craft hierarchy and ideas of cultural respectability.
Art historians have long noted how women in the Bauhaus were encouraged to specialize in fiber or clay, mediums associated with traditional concepts of femininity. In this book, Smith neither laments this fact nor endeavors to boost these mediums. Instead, she engages with a collection of understudied theoretical writings from the Bauhaus weaving workshop, offering a new lens to understand the works and process of weaving.
Auther offers an alternative history of American art in the 1960s and ‘70s, told through an engagement with textiles and fiber. Studying both feminists who valorized fiber—such as Faith Ringgold and Miriam Shapiro—and the use of fiber as material in the work of minimalist and post-minimalist artists—such as Robert Morris—Auther offers her own answers to the age-old question of why some works are considered “art” and others “craft.”
Sorkin provides a new historical grounding for contemporary participatory and socially engaged art by focusing on three major figures in postwar ceramics: Marguerite Wildenhain; Mary Caroline Richards; and Susan Peterson. In this book, Sorkin makes an important methodological, as well as historical, intervention. She asserts that ceramics as a field is less about the objects themselves, and more about the act of making, which connects both to theories of pedagogy and performance.
An anthology edited by the influential design historian Pat Kirkham, this book is one I continually find myself reaching for in the early stages of a new project. Need an introduction to the work of women in fashion design or metals? You can find it in here. I particularly value this book because it explores the work of women across a spectrum of making, from one-off craft objects to mass-produced goods designed for the commercial market.