Annotated
Bibliography:
Barraclough, Adam. “Interview: Jenny Hart.” Crown
Dozen. 20 September 2006. www.crowndozen.com/features/archives/00458.shtml
Barraclough interviews Hart and talks about how her work originated and
her process. It also discusses how she chooses her subject matter and
her relationship with the pieces she creates.
Berlo, Janet Catherine. "The Artist and Her Domestic Muse:
May Sarton, Miriam Schapiro, Audrey Flack." That Great Sanity. Ed.
Susan Swartzlander and Marilyn R. Mumford. Ann Arbor: The University of
Michigan Press, 1995.
Berlo selects quotations from Schapiro’s writings about domesticity
and what is means to collect or save item for future reinvention. Schapiro
feels that her materials, or her “junk”, represents her own
universe. To use the domestic realm is to use details of everyday life.
Cohn, Terri. “Lisa Kokin: Memorable Constructions.”
FiberArts 21, September/October (1994): 19.
This article is profiling some of Kokin’s earlier work. This work
is strongly based on found materials. It also alludes to some of her biographical
history.
Davis, Virginia. “As Ye Sew, So Shall Ye Reap.” FiberArts
27, September/October (2000): 55.
This article also remarks on Kokin’s personal history with sewing.
It describes her process of collecting found objects to be used at her
disposal. Davis references a found large jar of buttons, which could be
foreshadowing some of Kokin’s later work using buttons.
Feinstein, Roni. "Carrie Moyer and Sheila Pepe at the Palm
Beach ICA." Art in America (Dec 2004): 14 Feb. 2007. <http://www.findarticles.com/p/articles/mi_m1248/is_11_92/ai_n7637909/>.
This article discusses how her materials are autobiographical. She crochets
as a homage to her mother, who taught her and uses shoelaces as an homage
to her grandfather, who had a shoe repair shop after immigrating to New
York. Pepe says she finds the labor-intensive nature of her work to be
a way of honoring handicraft and takes crocheting from domestic to architectural.
Gouma-Peterson, Thalia. Miriam Shapiro: Shaping Fragments of Art and the
Life. New York: Harry N. Abrams, Inc., Publisher1999.
A book that spans Miriam Schapiro’s extensive artistic career. It
covers her artistic background, her process and is an excellent source
for reproduced images of her work.
Gouma-Peterson, Thalia, ed. Miriam Schapiro: A Retrospective,
1953-1980. The College of Wooster, Wooster: 1980.
Another source that offers wide and general knowledge about Schapiro and
is based around her retrospective show. It includes the artist’s
own description of how she made Anatomy of a Kimono, one of her largest
pieces. Issues of domesticity
Griffin, Cisco. “Interview with Jenny Hart.” Art Star.
20 September 2006. < http://www.artstarphilly.com/interviews/interview_hart.html>
This is an interview with Hart by the gallery where she is currently showing.
It discusses subject matter and some of her more non-traditional embroidery
pieces.
Harris, Morgan K. “Pop Art.” FiberArts: September/October
(2006): 48-51.
This article gives an introduction to Jenny Harts’s work and speaks
about the resurgence of craft mediums in the art world.
Hull Webster, Mary. “Lisa Kokin at Holy Names College.” Art
Week 31, no.4 (2000).
Hull Webster gives insight into how the artist works, including her process
and also some content issues related to emotional and personal biography.
Hume, Ivan N. All the Best Rubbish. Harper and Row Publishers,
New York: 1974.
This book looked at collections from a historical, but also a more personal
standpoint. Hume also addressed why people collect from personal experience
and how organizations began to collect. Characteristics of collectors
were also discussed.
Kokin, Lisa. “Lisa Kokin: About This Work.” September
20, 2006.
http://www.lisakokin.com/buttonwork/
This is the artist’s website about her work. It is useful for viewing
reproductions of the work as well as her personal statements about the
work.
Koper, Rachel. “Stitching Up A Storm.” 6 August 2004. The
Austin Chronicle. 20
September 2006. http://www.austinchronicle.com/gyrobase/issue/story?oid=oid%3a223068
This is an article/interview referencing a show Hart was involved with
in Austin. It discusses her use of embroidery for portraiture and her
choice of subject matter.
Lloyd, Wilson Ann. "Sheila Pepe at the Boston Center for
the Arts." Art in America (July 2000): 114-15. 14 Feb. 2007. <http://www.findarticles.com/p/articles/mi_m12481is_7_88/ai_63365666>.
This article reviews an exhinition by Pepe that includes site-specific
sculpture crocheted out of non-conventional linear materials. The work
is purposely melded with the exposed architecture of the site. It describes
the labor intensive nature of the work and how she molded the space to
fit the spatial needs of her work.
Pearce, Susan M. Museums, Objects, and Collections. Smithsonian
Institute Press, Washington DC: 1992. 56.
A source as to why objects are collected and what it means to collect
an object psychologically, socially, and culturally. It also discussed
how we view collections as extensions of the self.
Renne, Elisha P. Cloth That Does Not Die: The Meaning of Cloth
in Bunu Social Life. University of Washington Press: United States. 1995.
Renne analyzes how cloth is used and understood in a West African cultural
context. It is also gives insight into how cloth is thought about in other
cultural contexts by bringing up how meaning is derived in this particular
context.
Schneider, Jane & Weiner, Annette B. Cloth and the Human Experience.
Smithsonian Institute Press: Washington DC. 1989.
This book is an anthology of papers based on how we understand cloth and
its functions. The introduction describes ways in which we understand
cloth outside of the end products it creates. It discusses the inherent
qualities in cloth that lend us to certain understandings and associations
with it.
"Sheila Pepe | Strings, Things, and Pictures." Blackbird: An
Online Journal of Literature and Arts. 2003. VCU. 14 Feb. 2007 <http://www.blackbird.vcu.edu/v2n1/gallery/pepe_s/slides/strings.htm>.
This site transcripts a lecture Pepe gave about her work featured in the
Mills Gallery at the Boston Center for the Arts in 1999. She describes
several works and explains the autobiographical nature of the materials
and describes her inclination to “junk drawer” materials.
Her large crocheted pieces cast shadows, which she draws to shape the
narrative of the piece.
Sider, Sandra. “Femmage: The Timeless Fabric Collage of
Miriam Schapiro.” Fiberarts: Summer 2005: 40-43.
This is an article that briefly describes Schapiro’s career and
her creation of femmage and participation in the Pattern and Decoration
Movement.
Sonnenburg, Rhonda. “Layer Upon Layer.” FiberArts
32, Summer (2005): 47.
Kokin is included in an article about contemporary who use layers in their
work related to fiber arts. It describes her current work of making collage
paintings out of buttons and other found items.
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