I’m really glad I didn’t choose to write this paper about Stephanie Syjuco because I am way too aesthetically invested in a wholly vain and uncritical way in fantasizing about owning and wearing the shit that she makes. I’m reading this JBW article that blurbs both Cat Mazza (who I am writing about) and Syjuco and I just lost like ten minutes of reading time when Syjuco came up because I am just batting my eyes at her shit.
One thing I like about Syjuco’s work, other than that it’s cool af and good and the way she structures her arguments aren’t as sketch as other feminist craftivists, is that it really makes this connection, against the backdrop of 2000s Feminisms, between craft and material culture of course but specifically like, that very particular thing that I’m perversely obsessed with, Lauren Greenfield, Paris Hilton vs. Feminist Critiques of Paris Hilton Not Just The Broad Ones But The Ones That Center An Object. This may seem really obvious when I lay it out, but talking about, I dunno, say, Sublime Stitching, is also at once talking about The Simple Life, and I would really like to locate myself there. Right there.
Also (have I mentioned this yet?) I gotta say that I kinda don’t have any complaints about logoknits, mostly because I really, really, really, really want some of those pieces. :/
Anyway I guess you have enough info now to read Mary Ann Beecher’s “Becoming Modern: One Hundred Kitchens and a Cellar or Two" which is definitely for real one of the most influential pieces that I have read and looks more like the type of work that I would like to do than practically anything, and of coooourse she was co-opted by a regular design program where I can’t get a PhD, ugh
b. that “feminism is for everybody” shirt circulating tumblr c. FEMINISM IS FOR EVERYBODY. SHIRT. d. people in my art history class today got mad at bell hooks for not liking Paris is Burning. not for the reasons you are thinking! because they didn’t like that she suggested that a white person can’t make a documentary about whatever they goddamn want to.
I’m not ready to pull a book from my old work so I borrow it through interlibrary loan and have it delivered to my new work, even though I can only keep it for six or nine weeks as opposed to infinite weeks and even though I know my old supervisor saw my name on this MeL slip.
halfsquaretriangles a dit : hahahah i am so sorry about everything, so cringingly sorry about knitters
It’s okay, listen, I promise when I get a chance I will showcase contemporary feminist fiber/craft artists (knitters?) who are not horrible and possibly (possibly?) talk about the things that Cat Mazza has done that are not irritating (?)
speaking of which, I keep meaning to ask you if you ever used knitpro?
I guess in the grand scheme of things “Stitch for Senate" is infinitely less obnoxious than "Wartime Knitting Circle" so maybe I should go easier on Cat Mazza (or just write my paper about Sabrina Gschwandtner).
sautdelafoi a dit : Ah, I saw these pieces in some article a while ago, the spin of the article was “she is nuts but may also turn out one day to be proven really cool, so we are not making decisive judgement either way.” I thought she was wicked cool.
she’s been doing this shit pretty much as long as feminists have had blogs about Reappropriating Women’s Craft As Feminist Praxis (and forgetting that the seventies happened, except maybe the Brady Bunch) so I feel like they should have had enough time to make up their mind