The Modern Embroidery Movement

Description

The reception of research on the social, cultural, and cognitive dimensions of memory in the field of Christian Origins has provoked debates about the significance of these approaches for Synoptic, Johannine, and historical Jesus scholarship. Alan Kirk shows how memory theory forms the basis for a comprehensive account of the formation of the gospel tradition and its history, one capable of displacing the moribund form-critical model and providing a new point of departure for work on a range of classic research problems in the tradition. The volume brings together 12 essays published between 2001 and 2016. The essays have been newly revised for this volume and organized under the following rubrics: ‘Memory and the Formation of the Jesus Tradition’; ‘Memory and Manuscript’; ‘Memory and Historical Jesus Research’; and ‘Memory in 2nd Century Gospel Writing’. The introductory essay, written for this volume, argues that the old form critical model, in marginalizing memory, abandoned the one factor capable of actually accounting for the origins of the gospel tradition, its manifestation in oral and written media, and its historical trajectory Title Page Copyright Page Contents List of Illustrations Plates Figures Acknowledgments Chapter 1: Introduction “Needlepainting”: An argument for embroidery as art Contributors to the modern embroidery movement Modern embroidery and the craft tradition Embroidery and feminism Defining the modern as decorative Recovering modern embroidery Conclusion Chapter 2: The Modern Embroidery Movement in Context Embroidery in the late nineteenth century Georgiana Brown Harbeson’s history of American embroidery Modern artists and embroidery Contemporary criticism of embroidery as art Embroidery versus tapestry Conclusion Chapter 3: Marguerite Zorach: The Roots of the Modern Embroidery Movement Background Zorach and Kandinsky Zorach’s choice Zorach’s lived experience Zorach, Greenwich Village, and primitivism Zorach and feminism Marguerite Zorach’s cubist embroidery Conclusion Chapter 4: Georgiana Brown Harbeson and Her Collaborators: Establishing the Modern Embroidery Movement Georgiana Brown Harbeson (1894–1980) Mary Ellen Crisp (b. 1896) Marcia Stebbins (1907–1976) Marian Stoll (1879–1960) Conclusion Chapter 5: Collaboration Marguerite and William Zorach Mary Ellen and Arthur Crisp Georgiana Brown Harbeson: Collaboration with industry Ilonka and Mariska Karasz Marian Stoll: Designer and executor Conclusion Chapter 6: Visualizing Manhattan A humanizing view of Manhattan: Zorach’s map of New York Challenging the Primacy of the Skyscraper From elite to popular culture: Two embroideries by Zorach Manhattan in the 1930s Conclusion Chapter 7: Nature as Symbol Zorach’s Vision of Nature Zorach: Finding a home in nature Harbeson: The four seasons Zorach and Harbeson: Two perspectives on the sea Mary Ellen Crisp and the American landscape tradition Marian Stoll and the Surrealist landscape Conclusion Chapter 8: Embroidered Portraits Reconsidering portraiture through a modernist lens Zorach’s autobiographical embroideries Zorach’s embroidered self-portrait Harbeson’s representation of American Indian women Conclusion Chapter 9: Conclusion Notes Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Chapter 6 Chapter 7 Chapter 8 Chapter 9 Selected Bibliography Archival material Selected Newspapers and Magazines References Index