Image: Riding a Curve by Jude Hill, Hand/Eye Magazine Elaine Lipson offers her poetic definition of Slow Cloth: Joy - Slow Cloth has the possibility of joy in the process. In other words, the journey matters as much as the destination. Contemplation - Slow Cloth offers the quality of meditation or contemplation in the process. Skill - Slow Cloth involves skill and has the...
Katherine May is a textile designer-maker based in London. “My concerns for textile waste and fast fashion has taken me on a journey of patchwork and quilt making - it’s thrifty techniques and it’s history of collective making.” text/image via Quilting: How to get started, The Telegraph: Quilts do not have to conform to stereotypical images of faded florals suited...
Fall Color Harvest at Stone Edge Farm
permacouturepress: Our late September fall harvest at Stone Edge Farm in Sonoma, California, was a vibrant palette of food and color! We gathered dyes and edibles from all the cultivated, organic, heirloom and wild plants, getting to savor the joy of slow food AND slow textiles. We were honored to collaborate again with Stone Edge Farm’s culinary director, John McReynolds. John and I had...
I’ve been struggling with posting about my personal thoughts on yarnbombing for quite some time. I’m still formulating my ideas, but I just wanted to repost projectcraftivism and write a few words in response. projectcraftivism’s post focuses on the environmental impact of yarnbombing and offers a number of valid points. Personally, my struggle with yarnbombing is whether it...
Love & Thrift - The Local Cloth Project
via Love & Thrift: Project: The Local Cloth Project [During a short residency at the Harvest Worksroom in East Brunswick Vuletich aims] …to explore through textiles and cloth, larger ideas around quality and craftsmanship, emotional attachment to products, and what it means to feel connected to a place, a location and to a community of people. “…Here at Harvest...
counter craft website update
The counter-craft.org website has finally undergone a makeover. The full website includes research resources, permalinks to the zine and will hopefully become a place for craftivists, crafters, researchers to discuss, share and collaborate.
Maille à Part
Maille à Part is a yarnbombing collective based in Montreal. “Our artistic interventions in the streets of Montreal are directly linked to the values our group members share, such as democratising and dehierarchising the artistic disciplines by valuing textile arts. We are sensitive to a wide range of social struggles such as feminist and anti-capitalist battles and Indigenous claims. We...
Embroidered Quilts from the Adithi Collective
via University of Illinois at Chicago Exhibit at the Library of the Health Sciences, during October and November, 2003* Adithi is a private, nonprofit organization dedicated to assisting women. Adithi’s mission is to empower a diverse group of Indian women living in poverty. The Adithi project is distinctive for its transformation of the traditional kantha (embroidered quilts) into a...
Hoopla Radical Craft Zine - Issue #1
Finally available for download - $.50 Australian Issue #1 September 2007 Featuring: Radical Craft History Craftivism Cross Stitch Sock Monkey Knitting Climate Change Craft Hoopla began as a zine made for the Craft and Storytelling workshop at the 2007 TiNA Festival in Newcastle. And has now turned into a biannual publication, showcasing the world of radical craft and creative...
The Lynch Quilts Project
image and text via: http://blackthreads.blogspot.com Are you familiar with The Lynch Quilt Project? This community quilt project is lead by artist LaShawnda Crowe Storm of Indianapolis, IN. (Her 2004 quilt in the photo here is title “Her Name Was Laura Nelson.”) The Lynch Quilts Project is a community-based effort meant to explore the history of lynching and consequences of racial...
Bruce Metcalf - Selected Writings →
For those of you researching craft, Bruce Metcalf has made a lot of his writings and lectures available on his website. “These essays show the development of my thinking about the crafts, starting in 1980. Most of these essays are out-of-print. A few were never published in the first place. Some were published (or presented as lectures) with illustrations, but the versions here have only...