Relevant bibliographies by topics / Women's art and craft

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Women's art and craft'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Women's art and craft"

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Portisch, Anna Odland. "The craft of skilful learning: Kazakh women's everyday craft practices in western Mongolia." Journal of the Royal Anthropological Institute 16 (May 2010): S62—S79. http://dx.doi.org/10.1111/j.1467-9655.2010.01610.x.

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Liddle, Jeannine L. M., Lynne Parkinson, and David W. Sibbritt. "Purpose and pleasure in late life: Conceptualising older women's participation in art and craft activities." Journal of Aging Studies 27, no. 4 (December 2013): 330–38. http://dx.doi.org/10.1016/j.jaging.2013.08.002.

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Hedges, Elaine. "Quilts and Women's Culture." Radical Teacher 100 (October 9, 2014): 10–14. http://dx.doi.org/10.5195/rt.2014.148.

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My interest in women's needlework, and especially quilts, began with a course I team-taught several years ago on women's art and literature. Because those of us teaching the course were concerned to break down class and race barriers, and distinctions between "high" and "low" art, or crafts, as well as distinctions between art and work, we were especially interested in women's needlework, as a form of activity that is universal ‒ not confined to any one class or race ‒ and that has combined the practical with the esthetic or artistic. It has always been necessary for women to sew, and, wherever and whenever extra time and energy have allowed, sewing has become "esthetic," in the sense of giving expression to an artistic impulse, providing its practitioners with an outlet for their creativity.
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Sari Wulandari, Guntur, and Martinus Dwi Marianto. "RajutKejut Art: Participatory Knitting Installation Artwork in Public Spaces." IICACS : International and Interdisciplinary Conference on Arts Creation and Studies 2 (April 6, 2020): 69–75. http://dx.doi.org/10.33153/iicacs.v2i1.17.

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RajutKejut Community is a knitted women's community since 2014 carrying out yarn bombings, wrapping large objects in Jakarta's public spaces with knits. Citizens can see, feel and interact sensually so that the work and community become close to the public. People who often raise social problems become a discourse of work following the cultural context of the people of Jakarta. The research question is how the shape of RajutK shock's artworks. The purpose of this study is to find alternative art forms using creative media. This study uses qualitative methods through observation, interviews, literature studies, and document reviews. This analysis uses the Norman Fairclough critical discourse analysis method. The choice of method is to find the RajutK shock art form by searching for the relationship between the micro text and the macro context of society. The conclusion of the research shows that RajutK shock's works are contemporary works of art, art that still explores discourse in the realm of style. Today, RajutK Shock is a combination of installation art, participatory art, knitting craft, pop art and street art.
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Milspaw, Yvonne J., and Geraldine Niva Johnson. "Weaving Rag Rugs: A Women's Craft in Western Maryland." Journal of American Folklore 99, no. 393 (July 1986): 355. http://dx.doi.org/10.2307/540833.

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Wadende, Akinyi. "Chwuech: Sustained Art Education among Luo Women of Western Kenya." Journal of Adult and Continuing Education 17, no. 2 (November 2011): 5–19. http://dx.doi.org/10.7227/jace.17.2.3.

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This article presents the findings of a qualitative study on the Bang jomariek, a women's group in West Reru in Western Kenya who engage in the production of indigenous arts and crafts (pots, baskets, and architecture) to generate income and explore politics, medicine, and other matters that affect them and their community. The women shared their motivations for engaging in the production of these art forms and the characteristics of these educational processes and their environment. I highlight the transformative experience on their lives as a result of the arts and crafts-based adult education work. This article is significant to feminist and anti-colonial adult education as it stresses the importance of processes, potential, and goals of an African indigenous creative education amongst rural women.
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Пташкина, Г. М., О. В. Кузнецова, and В. А. Степанов. "Novice Craft and Technology Teachers’ Competence Formation through Research Activities." Психолого-педагогический поиск, no. 2(58) (July 9, 2021): 78–91. http://dx.doi.org/10.37724/rsu.2021.58.2.007.

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В статье раскрыта роль предмета «Технология» для школьников и студентов не только в формировании соответствующих навыков и умений в области материаловедения, трехмерного проектирования и технологий изготовления женской одежды, но и развития творческих способностей и активности. Описаны процессы воссоздания древнерусского исторического костюма; поиска и освоения новых материалов (домотканый лен), технологии шитья и порядок сборки (соединения) деталей; конструирования платья из коллекции красивой женской одежды «Рязанская акварель» для различных возрастных групп; последовательность процессов и технология, включая инструменты и приспособления (набивная доска, молоток и др.) художественной обработки тканей набойкой. Представлены результаты деятельности студентов — будущих учителей, обучающихся по направлению «Педагогическое образование» (профиль «Технология и физика»), по реконструкции и изготовлению древнерусского женского костюма Старой Рязани; конструированию нарядного женского платья из коллекции «Рязанский аквариум»; художественной обработке (набойкой) тканей и изделий из них; использованию «бросовых» (бумага, фольга, картон, пластиковая и стеклянная тара) конструкционных материалов для декоративно-прикладного творчества. Приведены фрагменты тканей и платьев, изготовленных студентами. Сформированные у студентов компетенции в области материаловедения, трехмерного проектирования и технологий изготовления женской одежды могут быть успешно использованы ими в будущей педагогической деятельности в школе при организации образовательного процесса по технологии швейного дела, кружков и внеурочной деятельности, а также осуществлении исследовательских проектов с одаренными учащимися. The article treats the craft and technology education curriculum in secondary and higher education institutions. It treats the role of the subject both in the development of creative abilities and in the formation of skills required for 3d-modelling, women’s clothes designing. The article describes the process of creating old-Russian historical costumes, the process of searching for new materials (homespun linen) the technology of modelling, designing, and sewing of articles from the collection of female clothing “Ryazan aquarelle” for different age groups, tools and equipment (wooden board, hammer, etc.) required for hammer printing. The article presents old-Russian traditional women’s clothing (Old Ryazan) made by students, novice Craft, Technology and Physics teachers. It also presents a dress form the “Ryazan aquarium” collection. It deals with hammer printing and the use of such materials as paper, foil, cardboard, plastic and glass for art and craft activities. It presents fabrics and clothing made by students. Students’ competencies of 3d-modelling, women’s clothes designing and their knowledge of fabrics and materials can be successfully used in classroom activities, extracurricular activities and research work with gifted students.
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Hardiman, Louise. "Invisible Women." Experiment 25, no. 1 (September 30, 2019): 295–309. http://dx.doi.org/10.1163/2211730x-12341344.

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Abstract Maria Vasilievna Iakunchikova designed three works of applied art and craft in a Neo-Russian style for the Russian section of the Paris “Exposition Universelle” of 1900—a wooden dresser, a toy village in carved wood, and a large embroidered panel. Yet, so far as the official record is concerned, Iakunchikova’s participation in the exhibition is occluded. Her name does not appear in the catalogue, for it was the producers, rather than the designers, who were credited for her works. Indeed, her presence might have been entirely unknown, were it not for several reports of the Russian display in the periodical press by her friend Netta Peacock, a British writer living in Paris. The invisibility of the designer in this instance was not a matter of gender, but it had consequences for women artists. In general, women were marginalized in the mainstream of the nineteenth-century Russian art world—whether at the Academy of Arts or in prominent groups such as the Peredvizhniki—and, as a result, enjoyed fewer opportunities at the Exposition. But the Neo-national movement, linked closely with the revival of applied art and the promotion of kustar industries, was one in which women’s art had space to flourish. And, in the so-called village russe at the Exposition, which featured a display of kustar art, by far the larger contribution was made by women, both as promoters and as artists. In this article, I examine Iakunchikova’s contribution to the Exposition within a broader context of female artistic activity, and the significance of the Russian kustar pavilion for a gendered history of nineteenth-century art.
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Thompson, Lynne. "The Promotion of Agricultural Education for Adults: The Lancashire Federation of Women's Institutes, 1919–45." Rural History 10, no. 2 (October 1999): 217–34. http://dx.doi.org/10.1017/s0956793300001795.

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A recent article in Rural History illustrated how the Women's Institutes between the wars Were influenced by contemporary feminism. The argument of the article was that in seeking to change the material condition and status of countrywomen, and in effect, emulating craft trades union strategies, the WI movement sought to alter perceptions of women's labour in the home by enhancing their skills, encouraging co-operative endeavour and promoting an ‘active domesticity’. Furthermore, the domestic arena was extended to cover all aspects of rural life related to the home, garden, farm or allotment.However, as time passed between the wars, less interest was shown in agricultural work outside the home, and, as Morgan states elsewhere, the agricultural ‘side’ of the movement became ‘severely diminished’. Whilst one might not seriously quarrel with this statement with reference to some periods of WI history, it is, nevertheless, a somewhat reductive approach to have taken when considering the interwar period. During that time, there is evidence to suggest that in some regions at least, WI members maintained more than a passing interest in agriculture per se. This was not simply in relation to the production and preservation of food, but rather as a means of maintaining the influence of women in rural policy making. This interest can be best detected in the educational sphere, from the promotion of classes in a wide range of agricultural activities and demonstrations at agricultural and horticultural shows, to WI membership of local agricultural education committees. Furthermore, the National Federation of Women's Institutes (NFWI) fought in many ways to maintain the agricultural ‘side’ of the movement because it was an integral part of its wider mission to educate countrywomen, particularly those who were destined to live and work in the Empire
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Shercliff, Liz. "Towards a New Homiletic." Feminist Theology 29, no. 1 (September 2020): 48–60. http://dx.doi.org/10.1177/0966735020944894.

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Feminism’s contribution to homiletics so far has arguably been restricted to exploring gender difference in preaching. In 2014, however, Jennifer Copeland identified a need not merely to ‘include women “in the company of preachers” but to craft a new register for the preaching event’. This article considers what that new register might be and how it might be taught in the academy. It defines preaching as ‘the art of engaging the people of God in their shared narrative by creatively and hospitably inviting them into an exploration of biblical text, by means of which, corporately and individually, they might encounter the divine’ and proposes that in both the Church and the Academy, women’s voices are suppressed by a rationalist hegemony. For the stories of women to be heard, a new homiletic is needed, in which would-be preachers first encounter themselves, then the Bible as themselves and finally their congregation in communality. Findings of researchers in practical preaching discover that women preachers are being influenced by feminist methodology, while the teaching of preaching is not. In order to achieve a hospitable preaching space, it is proposed that the Church and the Academy work together towards a new homiletic.
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Dissertations / Theses on the topic "Women's art and craft"

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Morton, Jennifer Heather. "Desert voices, pitjantjatjara women's art and craft production in Ernabella, South Australia." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq22544.pdf.

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Wood, Susan, and s2000093@student rmit edu au. "Creative embroidery in New South Wales, 1960 - 1975." RMIT University. Architecture and Design, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20070206.160246.

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In the years between 1960 and 1975 in NSW there emerged a loosely connected network of women interested in modern or creative embroidery. The Embroiderers' Guild of NSW served as a focus for many of these women, providing opportunities for them to exhibit their work, and to engage in embroidery education as teachers or as learners. Others worked independently, exhibited in commercial galleries and endeavoured to establish reputations as professional artists. Some of these women were trained artists and wanted embroidery to be seen as 'art'; others were enthusiastic amateurs, engaged in embroidery as a form of 'serious leisure'. They played a significant role in the development of creative embroidery and textile art in NSW and yet, for the most part, their story is absent from the narratives of Australian art and craft history. These women were involved in a network of interactions which displayed many of the characteristics of more organised art worlds, as posite d by sociologist Howard Becker. They produced work according to shared conventions, they established co-operative links with each other and with other organisations, they organised educational opportunities to encourage others to take up creative embroidery and they mounted exhibitions to facilitate engagement with a public audience. Although their absence from the literature suggests that they operated in isolation, my research indicates that there were many points of contact between the embroidery world, the broader craft world and the fine art community in NSW. This thesis examines the context in which creative embroiderers worked, discusses the careers of key individuals working at this time, explores the interactions between them, and evaluates the influence that they had on later practice in embroidery and textiles in NSW.
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Mahlaba, Siphelele Nadia, and K. D. Ige. "Economic development and women empowerment in Zamimpilo art and craft co-operative." Thesis, University of Zululand, 2018. http://hdl.handle.net/10530/1849.

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Theses Submitted to the Department of Sociology in fulfilment of the requirements for the Master’s Degree in Sociology in the Faculty of Arts at the University of Zululand, 2018.
Development agencies, non-government Organizations (NGOs) and government organizations around the world aim for the betterment of women in all spheres of their lives. Empowerment has been considered the main focal point towards the achievement of the wellbeing of women. The study was about cooperatives and women empowerment. It investigated the extent to which participation, empowerment, capacitation and benefits of membership contribute in enabling cooperatives to empower women. This study applied the Capability Approach (CA) in an attempt to understand the need and importance of capabilities to women in a cooperative. The quality of life of an individual is analysed in terms of the core concepts of functionings and capability, thus the CA focuses directly on the quality of life that individuals are actually able to achieve. The Capability Approach proposed that the most vital thing to deliberate when valuing well-being is what people are actually able to do. Capacitation to disadvantaged people is very important in that it ensures services and assistants directly meet their needs. Participatory planning can be regarded as an instrument for identifying the needs of all persons within a community, a way of constructing harmony, and means of empowering deprived or marginalised groups. Participatory development has created the need that there should be inclusion of everyone concerned in the decision making that enables the utilization of all ideas and experiences especially of the poor in rural communities and that they should have influence in the decision making process. The study hypothesized that the perceived level of participation; empowerment and capacitation will determine the benefit of membership in a cooperative. The survey was conducted using a Five-Level Likert scale to decipher respondents’ perceptions of level of participation, empowerment, capacitation, and perceived benefits. In the beginning of analysis, responses (N=110) were reduced using Principal Components Analysis (PCA) to determine how questionnaire items contributed to variables under consideration, variables extracted were correlated and regressed. A linear regression analysis was used to describe how a benefit of membership mediates the relationship between participation, empowerment and capacitation. iii The results showed that members’ perceived levels of empowerment mediate their Perceived Benefits of membership (PERBEME). This shows how benefits of membership in a cooperative are determined and empowerment experienced. Cooperatives have a potential of empowering women and that is achieved through democratic operation, where members equally participate in the daily business. The findings showed a correlation between independent and dependent variables. The findings further demonstrated that capacitation, empowerment and participation, influence change on the benefits of membership in a co-operative.
National Research Foundation (NRF)
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Lee, Ruth Lorna, and mikewood@deakin edu au. "Our fingers were never idle: Women and domestic craft in the Geelong region, 1900-1960." Deakin University, 1993. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050915.122114.

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This thesis is an exploration of women's domestic crafts in the Geelong region, between 1900 and I960, Through analysing oral testimony and the women's handicraft artefacts, the nature of the domestic production of handicrafts and the meanings the makers have constructed around their creations and their lives is illuminated. The thesis is organised around the themes of work, space, the construction of femininity, memory, time and meaning. The thesis argues that until recently, the discipline of history has privileged the experiences of men over those of women. It challenges the trivialising of women’s handicrafts. It also argues that within the restrictive social structures around them and within the confined nature of their situations, the women of my study asserted themselves to transform their environments and to improve their situations through labour in the home. In ‘making do’, recycling materials and creating functional and decorative needlework items for their homes and families, the women were often finding solutions to pressing practical and economic problems. Doing handicrafts was rarely just a passive way of filling in time. Rather, making and creating was for these women a multi-layered activity that similtaneously fulfilled a complex range of needs for themselves and their families. A multiplicity of deeply personal, aesthetic, familial, social, practical and economic needs were met in the making of domestic craft artefacts, whose symbolism reflected the values and meanings of the women's cultures, homes and families.
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Hoban, Sally. "The Birmingham Municipal School of Art and opportunities for women's paid work in the Art and Crafts Movement." Thesis, University of Birmingham, 2014. http://etheses.bham.ac.uk//id/eprint/5124/.

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This thesis is the first to examine the lives and careers of professional women who were working within the thriving Arts and Crafts Movement in Birmingham in the late nineteenth and early twentieth centuries. It utilises previously unresearched primary and secondary sources in art galleries, the Birmingham School of Art and local studies collections to present a series of case studies of professional women working in the fields of jewellery and metalware, stained glass, painting, book illustration, textiles and illumination. This thesis demonstrates that women made an important, although currently unacknowledged, professional contribution to the Arts and Crafts Movement in the region. It argues that the Executed Design training that the women received at the Birmingham Municipal School of Art (BMSA) was crucial to their success in obtaining highly-skilled paid employment or setting up and running their own business enterprises. The thesis makes an important new contribution to the historiography of The Arts and Crafts Movement; women's work in Britain in the late nineteenth and early twentieth centuries; the history of education and the industrial and artistic history of Birmingham.
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Offensend, Elizabeth Gillette. "Crafting a Space: A Feminist Analysis of the Relationship Between Women, Craft, Business and Technology on Etsy.com." PDXScholar, 2012. https://pdxscholar.library.pdx.edu/open_access_etds/892.

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In recent years, craft fairs, shows and markets where crafters sell their handmade goods such as pottery, jewelry, handmade clothes and needlework have grown in popularity across the United States. A common intent among individuals in this community echo political statements made by the turn of the century Arts and Crafts movement, while there are political aspects of the community that can also be seen as an extension of the third wave feminist do-it-yourself (DIY) ethic of the late 1990s. This newly enlarged community of crafters that congregates in person also has a strong online presence. Etsy.com plays a large role in this community. The introduction of websites such as Etsy.com to the communities they serve has widespread impacts. The aim of this study is to analyze how Etsy.com impacts the lives of women who use the website to earn income. Following ethnographic traditions, the researcher interviewed five community members. The focus was on thick description of the DIY community and thematization of interview narratives. To meet participant observation criteria, the researcher also volunteered at the Independent Publishing Resource Center (IPRC) in Portland, Oregon for 4 months. Additionally, the researcher conducted a textual analysis of blogs, websites, artwork, and other sources of data collected from the online hand crafting community. The study presents and discusses the themes that emerged from the data, including women's work, feminism and technology, the crafters' political statements, the crafters as owners of legitimate businesses, and Etsy.com's impact on local economy. The results paint a picture of the community (both on and offline) and how Etsy.com helps to shape this. The researcher then discusses how to assess the impacts tools such as community websites will have on the communities they serve.
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Shinko, Kathryn A. "Vignettes." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1429884060.

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Wilson, Elizabeth Danielle. "I Want a Man Who: Desires, Wishes, Ideals, and Expectations in Women’s Online Personal Ads." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1284691475.

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Hein, Dawn Michelle. "The art and craft of the interior." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1209805.

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This thesis gives a voice to the call for a holistic approach to the preservation of commercial and particularly domestic architecture. Interior architecture is an important piece of the whole in need of consideration. Arts and Crafts interiors in the state of Indiana are considered in reference to this fact and the case studies chosen exemplify the connection between cultural history and the interior architecture and design.The Arts and Crafts Movement's philosophy worked to integrate the entire design with the surrounding site. The interior was the focus of the synthesized design and it is this emphasis that must be captured. The Midwest played an important role in the development of the Arts and Crafts Movement and central Indiana's interior residential architecture gives evidence to the movement's influential philosophy as well as social changes in the early twentieth century.An introduction to the Arts and Crafts Movement briefly discussing its history in England and the United States is provided as well as a discussion of the Movement's philosophy. Following the history is a chapter concerned with the Arts and Crafts influence in Indiana. Manufacturers and retailers are identified as well as products marketed. Architects and artisans are discussed. Next, a chapter identifies significant interior elements, furnishings, finishes and floor plans. Finally, four case studies are examined ranging from a self-built bungalow to an architect-designed estate. Floor plans, architectural features, and finishes are covered.
Department of Architecture
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Barmby, James Thomas. "The art and craft of university coordination." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/45690.

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The purpose of this study is to understand the apparent acquiescence of senior officials at Alberta’s universities to legislation that might pose a threat to their institutions’ autonomy. In 1975 the Alberta government under the leadership of Premier Peter Lougheed attempted to introduce a mechanism for coordinating university programs in the Adult Education Act by placing Alberta’s four universities against their will within a system of provincial public post-secondary institutions. The 1975 Act failed to receive third reading due to successful lobbying efforts, yet in 2003 Lougheed's vision was finally realized with the passage of the Post-Secondary Learning Act (PSLA), which enlisted Alberta’s four universities without resistance as members of a provincial system that coordinates post-secondary programming. A historical analysis, this study was framed within the dimensions of Wenger’s Communities of Practice model to analyze the interaction and trust between and among senior university and government officials in their attempts to find agreement on matters concerning the coordination of university programming. The study found that, only where there was evidence of all three dimensions of the Communities of Practice model, was there mutual trust as well as agreement by the university officials on government initiatives regarding the coordination of university programming. The main conclusion of the study is that university officials responded well to the program coordination concerns of the provincial government when the university officials, treated as equals to their government counterparts rather than as agents of government policy, were given the opportunity to participate in the development of the program coordination legislation and policies in conjunction with government officials.
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Books on the topic "Women's art and craft"

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Daedone, Nicole. Slow sex: The art and craft of the female orgasm. New York: Grand Central Life & Style, 2011.

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Daedone, Nicole. Slow sex: The art and craft of the female orgasm. New York: Grand Central Life & Style, 2011.

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Fancy's craft: Art and identity in the early works of Djuna Barnes. Selinsgrove [Pa.]: Susquehanna University Press, 1986.

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Art & craft. Leamington Spa: Scholastic, 1997.

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Cooper, Patricia J. The quilters: Women and domestic art : an oral history. 2nd ed. New York: Doubleday, 1989.

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Cooper, Patricia J. The quilters: Women and domestic art : an oral history. Lubbock, Tex: Texas Tech University Press, 1999.

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Sally, Main, and Bob Walter, eds. Newcomb pottery & crafts: An educational enterprise for women, 1895-1940. Atglen, PA: Schiffer Pub., 2003.

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Identidad y estilo entre las alfareras mixtecas y amuzgas de la costa de Oaxaca y Guerrero, México. Oaxaca, Oaxaca, México: Centro INAH Oaxaca, CONACULTA-INAH, 2010.

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Africa: Women's art, women's lives. Trenton, NJ: Africa World Press, 1997.

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Adams, Edward Ben. Korean folk art & craft. Seoul, Korea: Seoul International Pub. House, 1987.

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Book chapters on the topic "Women's art and craft"

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Taylor, Steven S. "Craft and Art." In Leadership Craft, Leadership Art, 109–22. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137012784_7.

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Sapiro, Ian. "Craft, Art, or Process." In The Routledge Companion to Screen Music and Sound, 305–17. New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315681047-25.

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Atkinson, David M. "Transcending Art’s Craft." In Thinking the Art of Management, 85–106. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230589988_5.

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Wildavsky, Aaron. "Analysis as Craft." In The Art and Craft of Policy Analysis, 419–43. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58619-9_16.

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Leone, Lauren. "Introduction." In Craft in Art Therapy, 1–20. New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003050513-1.

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Jhaveri, Krupa. "Healing Roots of Indigenous Crafts." In Craft in Art Therapy, 118–30. New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003050513-10.

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Iyer, Mahesh. "Integrating Traditional Crafts Within Clinical Practice." In Craft in Art Therapy, 131–43. New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003050513-11.

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Katoshevski, Michal, and Ephrat Huss. "Using Crafts in Art Therapy Through an Intersectional Feminist Empowerment Lens." In Craft in Art Therapy, 144–54. New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003050513-12.

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Leone, Lauren. "Finding Our Way Together." In Craft in Art Therapy, 157–76. New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003050513-14.

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Mageary, Joe. "Zines, the DIY Ethic, and Empowering Marginalized Identities." In Craft in Art Therapy, 177–89. New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003050513-15.

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Conference papers on the topic "Women's art and craft"

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Zoran, Amit. "Hybrid craft." In ACM SIGGRAPH Art Gallery. New York, New York, USA: ACM Press, 2015. http://dx.doi.org/10.1145/2810185.2810187.

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Gross, Mark D., and Ellen Yi-Luen Do. "Design, art, craft, science." In the 2007 Symposium. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1496630.1496636.

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Richardson, Andrew. "New Media, New Craft?" In ACM SIGGRAPH 2006 Art gallery. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1178977.1179121.

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Buechley, Leah. "Celebrating Art, Craft and Computation." In FabLearn Europe'18: Conference on Creativity and Making in Education. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3213818.3213879.

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Rizali, Nanang. "Arts, Designs, and Textile Craft Art." In Proceedings of the 3rd International Conference on Creative Media, Design and Technology (REKA 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/reka-18.2018.1.

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Ueda and Miyazaki. "Sustainable society based on traditional art and craft." In 2003. 3rd International Symposium on Environmentally Conscious Design and Inverse Manufacturing - EcoDesign'03. IEEE, 2003. http://dx.doi.org/10.1109/ecodim.2003.1322705.

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Ueda, A., and K. Miyazaki. "Sustainable society based on traditional art and craft." In 2003 IEEE 58th Vehicular Technology Conference. VTC 2003-Fall (IEEE Cat. No.03CH37484). IEEE, 2003. http://dx.doi.org/10.1109/vetecf.2003.239925.

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Nazarov, A. "Practical Small Craft Design: Combining Art with Science." In The International Conference on Marine Design. RINA, 2011. http://dx.doi.org/10.3940/rina.md.2011.12.

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Filimonova, N. Iu. "Women's theme in early journalism and art Nikolay Leskov." In ТЕНДЕНЦИИ РАЗВИТИЯ НАУКИ И ОБРАЗОВАНИЯ. НИЦ «Л-Журнал», 2018. http://dx.doi.org/10.18411/lj-11-2018-108.

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Zheng, Xin. "Classic Craft: Fuzhou Bodiless Lacquer Ware." In 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.081.

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Reports on the topic "Women's art and craft"

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Pickar, Charles K. Blitzkrieg: Operational Art or Tactical Craft. Fort Belvoir, VA: Defense Technical Information Center, May 1992. http://dx.doi.org/10.21236/ada253540.

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Shannon, Caitlin S., and Beverly Winikoff. Misoprostol: An emerging technology for women's health—Report of a seminar. Population Council, 2004. http://dx.doi.org/10.31899/rh17.1002.

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On May 7–8, 2001, the Population Council and the Center for Reproductive Health Research & Policy of the University of California, San Francisco, convened a technical seminar in New York City on the use of misoprostol for women’s health indications. The seminar was designed to provide a forum for researchers, providers, women’s health advocates, and educators to exchange information with the goal of advancing the potential of misoprostol to improve women’s health. Participants discussed the state of the art in research, examined current clinical use of misoprostol, and created strategies for the future. The first day focused on scientific and clinical aspects of misoprostol use. The second day’s discussion centered on the future of misoprostol for women’s health, including identifying priorities for research and the role of provider groups and women’s health and advocacy organizations in helping to ensure misoprostol’s continued, appropriate use. At the end of each session, the group had an opportunity to share ideas and discuss unanswered questions. This report covers the key issues raised by each speaker and highlights general areas of discussion among participants.
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Hunter, Fraser, and Martin Carruthers. Iron Age Scotland. Society for Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.193.

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The main recommendations of the panel report can be summarised under five key headings:  Building blocks: The ultimate aim should be to build rich, detailed and testable narratives situated within a European context, and addressing phenomena from the longue durée to the short-term over international to local scales. Chronological control is essential to this and effective dating strategies are required to enable generation-level analysis. The ‘serendipity factor’ of archaeological work must be enhanced by recognising and getting the most out of information-rich sites as they appear. o There is a pressing need to revisit the archives of excavated sites to extract more information from existing resources, notably through dating programmes targeted at regional sequences – the Western Isles Atlantic roundhouse sequence is an obvious target. o Many areas still lack anything beyond the baldest of settlement sequences, with little understanding of the relations between key site types. There is a need to get at least basic sequences from many more areas, either from sustained regional programmes or targeted sampling exercises. o Much of the methodologically innovative work and new insights have come from long-running research excavations. Such large-scale research projects are an important element in developing new approaches to the Iron Age.  Daily life and practice: There remains great potential to improve the understanding of people’s lives in the Iron Age through fresh approaches to, and integration of, existing and newly-excavated data. o House use. Rigorous analysis and innovative approaches, including experimental archaeology, should be employed to get the most out of the understanding of daily life through the strengths of the Scottish record, such as deposits within buildings, organic preservation and waterlogging. o Material culture. Artefact studies have the potential to be far more integral to understandings of Iron Age societies, both from the rich assemblages of the Atlantic area and less-rich lowland finds. Key areas of concern are basic studies of material groups (including the function of everyday items such as stone and bone tools, and the nature of craft processes – iron, copper alloy, bone/antler and shale offer particularly good evidence). Other key topics are: the role of ‘art’ and other forms of decoration and comparative approaches to assemblages to obtain synthetic views of the uses of material culture. o Field to feast. Subsistence practices are a core area of research essential to understanding past society, but different strands of evidence need to be more fully integrated, with a ‘field to feast’ approach, from production to consumption. The working of agricultural systems is poorly understood, from agricultural processes to cooking practices and cuisine: integrated work between different specialisms would assist greatly. There is a need for conceptual as well as practical perspectives – e.g. how were wild resources conceived? o Ritual practice. There has been valuable work in identifying depositional practices, such as deposition of animals or querns, which are thought to relate to house-based ritual practices, but there is great potential for further pattern-spotting, synthesis and interpretation. Iron Age Scotland: ScARF Panel Report v  Landscapes and regions:  Concepts of ‘region’ or ‘province’, and how they changed over time, need to be critically explored, because they are contentious, poorly defined and highly variable. What did Iron Age people see as their geographical horizons, and how did this change?  Attempts to understand the Iron Age landscape require improved, integrated survey methodologies, as existing approaches are inevitably partial.  Aspects of the landscape’s physical form and cover should be investigated more fully, in terms of vegetation (known only in outline over most of the country) and sea level change in key areas such as the firths of Moray and Forth.  Landscapes beyond settlement merit further work, e.g. the use of the landscape for deposition of objects or people, and what this tells us of contemporary perceptions and beliefs.  Concepts of inherited landscapes (how Iron Age communities saw and used this longlived land) and socal resilience to issues such as climate change should be explored more fully.  Reconstructing Iron Age societies. The changing structure of society over space and time in this period remains poorly understood. Researchers should interrogate the data for better and more explicitly-expressed understandings of social structures and relations between people.  The wider context: Researchers need to engage with the big questions of change on a European level (and beyond). Relationships with neighbouring areas (e.g. England, Ireland) and analogies from other areas (e.g. Scandinavia and the Low Countries) can help inform Scottish studies. Key big topics are: o The nature and effect of the introduction of iron. o The social processes lying behind evidence for movement and contact. o Parallels and differences in social processes and developments. o The changing nature of houses and households over this period, including the role of ‘substantial houses’, from crannogs to brochs, the development and role of complex architecture, and the shift away from roundhouses. o The chronology, nature and meaning of hillforts and other enclosed settlements. o Relationships with the Roman world
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