Empowering Girls through

Jocelyn Russell Middle and Upper School Art Teacher Mary McDowell Friends School [email protected] Egyptian Fragment, Mamluk period 1300-1420 embroidered with silk 17 ½ x 5 7/8 inches

Bayeux c 1066 Embroidery on linen 1.6 by 224.3 feet Hannah Gilpin Acworth School sampler 1800

Betsy Wardwell (1785-1817) Mary Balch School, Providence, Rhode Island, 1797 Plain weave on linen embroidered in silk 17 ½ x 14 ½ inches Millsent Connor (born 1789) Embroidered Sampler, 1799 Silk on linen 21 1/8 x 16 1/4 in.

Suffage Banner c.1911 Paint, embroidery and applique on canvas Kate Walker Wife is a Four Letter Word 1978 Embroidery on muslin

Beryl Weaver Spare Rib 1978 Embroidered Runner Elaine Reichek Funeral for the Grid. 1978 Fabric and wood construction 10 x 16 in.

Elaine Reichek Sampler (Blade Runner). 2001 Hand embroidery on linen 30 x 46 3/4 in. Judy Chicago (Embroidery by Pat-Rudy Judy Chicago (Embroidery by Baese, Jane Gaddie Thompson and Joyce Jane Gaddie Thompson) Gilber) Birth Tear, 1982 Resolutions: A Stitch in Time Sampler Embroidery on silk 1994 - 2000 Counter Cross Stich and Embroidery on Linen Tracey Emin Everyone I Have Ever Slept With 1963-1995 Appliquéd tent, mattress and light 48 x 96 1/2 x 84 1/2 in Jenny Hart Dirty Face, Crowning Glory, 2003 hand embroidery on cotton panel 17" x 18"

Jenny Hart Girl with Japanese Clouds,. 2006 hand embroidery on denim 12" x 12" Jenny Hart This Work Never Ends, 2002 hand embroidery on vintage muslin 10" x 8"

Jenny Hart with Dame Darcy Blue Lass, 2004 hand embroidery on cotton panel 18" x 24" My work features thematic illustrations of love and Allison personal history via hand-embroidered drawings and text. The imperfection and vulnerability of the Manch embroidered line resembles the fragility of human emotion, while the medium harks back to a seemingly distant past. Threading a sense of humor throughout, drawings and text are stitched onto handkerchiefs, tea towels, and tablecloths that are often adorned with preexisting machine-embroidered imagery. My aesthetic derives from a long-standing personal experience with the medium. My mother taught me embroidery as a child and my grandmother was a skilled -maker. This body of work started when I began crudely embroidering personal narratives and music lyrics onto cotton handkerchiefs inherited from my grandmother. While the work is not directly diaristic, the pieces are highly personal in their concept and execution. I draw from song lyrics, family Big Poppa, 2008 photos, and figures from popular culture stitching Hand-dyed embroidered imaginary lines to meaningful events in my life. handkerchief Allison Manch My grandfather was a photographer, my grandmother was a lacemaker 2008 Embroidered handkerchief

Allison Manch Dorothy Manch's Golden Football, 2008 Embroidered handkerchief Allison Manch The Producers (Rza) 2008 Embroidered handkerchief

Allison Manch Contact 2007 Embroidered handkerchief

Joette Maue be strong , 2009 hand embroiderd re-appropriated linen, 15 x 58.5 in.

Tilleke Schwarz Play with me, 2006 71 x 65 cm

Megan Whitmarsh King Kong & Love, 2005, 3" x 5", hand embroidery on fabric

Maggie Rozycki Hiltner The Truth About Rabbits, 2007 hand-stitched cotton and found textiles 10.5 x 24” Non Iron On Transfer Methods - Carbon Paper Transfer Pen (or transfer pencil) Method Running stitch Pass the needle in and out of the fabric, making the surface stitches of equal length. The stitches on the underside should also be of equal length, but half the size or less than the upper stitches.

BACK STITCH Bring the thread through on the stitch line and then take a small backward stitch through the fabric. Bring the needle through again a little in front of the first stitch, then take another stitch, inserting the needle at the point where it first came through. Split stitch Bring the needle through at A and, following the line to be covered, take a small back stitch so that the needle comes up through the working thread.

Satin stitch Work straight stitches closely together across the shape, as shown. Take care to keep the edge even, and if you are following an outline marked on the fabric, take your stitches to the outside of the line so that the marked line does not show.