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Women's Textile Graffiti: an Aesthetic Staging of Public/Private Dichotomies

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Women's Textile Graffiti: an Aesthetic Staging of Public/Private Dichotomies Southern Illinois University Carbondale OpenSIUC Dissertations Theses and Dissertations 5-1-2016 Women's Textile Graffiti: An Aesthetic Staging of Public/Private Dichotomies Diana Christine Woodhouse Southern Illinois University Carbondale, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/dissertations Recommended Citation Woodhouse, Diana Christine, "Women's Textile Graffiti: An Aesthetic Staging of Public/Private Dichotomies" (2016). Dissertations. Paper 1222. This Open Access Dissertation is brought to you for free and open access by the Theses and Dissertations at OpenSIUC. It has been accepted for inclusion in Dissertations by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. WOMEN’S TEXTILE GRAFFITI: AN AESTHETIC STAGING OF PUBLIC/PRIVATE DICHOTOMIES by Diana Woodhouse B.A., San Jose State University, 2007 M.A., San Jose State University, 2009 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Doctor of Philosophy Department of Communication Studies in the Graduate School Southern Illinois University Carbondale May 2016 i Copyright by DIANA WOODHOUSE, 2016 All Rights Reserved ii DISSERTATION APPROVAL WOMEN’S TEXTILE GRAFFITI: AN AESTHETIC STAGING OF PUBLIC/PRIVATE DICHOTOMIES By Diana Woodhouse A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the field of Communication Studies Approved by: Nathan Stucky, Chair Craig Gingrich-Philbrook Satoshi Toyosaki Rebecca Walker Barbara Bickel Graduate School Southern Illinois University Carbondale December 16, 2015 iii AN ABSTRACT OF THE DISSERTATION OF DIANA WOODHOUSE, for the Doctor of Philosophy degree in COMMUNICATION STUDIES presented on December 16, 2015, at Southern Illinois University Carbondale. TITLE: WOMEN’S TEXTILE GRAFFITI: AN AESTHETIC STAGING OF PUBLIC/PRIVATE DICHOTOMIES MAJOR PROFESSOR: Dr. Nathan Stucky The cultural performance of textile graffiti dramatizes women’s contested relationship to the public/privates dichotomies that constitute neoliberal capitalism as well as liberal democracies. Across both of these institutions, privatized matters are problematically excluded from political consideration, and private sphere values—such are nurturance, interdependence, and communalism—are denied their necessity and legitimacy as public goods. Textile graffiti artists furnish an association between public and private life by placing signifiers of domesticity and caregiving onto the public streets, and adorning those nurturant signifiers with political and/or feminist messages. In so doing, textile graffiti functions to politicize caregiving, to highlight its gendered dimensions, and to remind city-goers of caregiving as a public issue and a public good that is necessary to the overall health of a functioning liberal democracy. This study explores textile graffiti from various political, aesthetic, and historical angles in order to situate it within an enduring feminist struggle to re-imagine public/private binaries through valorization of the artifacts, values, and communicative practices that are associated with the private sphere of the home. i i DEDICATION I dedicate this work to the caregivers in this world. Paid or un(der)paid, valued or devalued, you do important, necessary, and life-enhancing work. ii ii ACKNOWLEDGMENTS I want to thank my kind and excellent advisor, Dr. Nathan Stucky, for believing in this project, for encouraging me, and for offering his emotional and practical support at every step of the way. Thank you to my committee member, Dr. Craig Gingrich-Philbrook, for his help in opening my mind to performance—that is, the many of ways of thinking about it and enjoying it. Thank you to my committee members Dr. Satoshi Toyosaki, Dr. Rebecca Walker, and Dr. Barbara Bickel for their thoughtful insights and their generosity of time—both of which helped bring this document together. Also, thank you to Dr. Ronald J. Pelias for his gentle, yet earnest encouragement over the past five years. Thank you to my Southern Illinois family: Joe Hassert and Meggie Mapes; Ashley Beard, Thomas Campbell, Lindsay Greer, Greg Hummel, Benny LeMaster, Gigi Perez-Langley, Mike Selck, and Nico Wood Kos. All of your constant love and support has meant the world to me. No matter near or far, I am so lucky to have each and every one of you in my life and by my side. To my mom and my dad, thank you for your unconditional love, for always believing in me, and for building in me a strong, resilient foundation. To my sisters—my two best friends— thank you for brutal honesty, endless laughter, and compassion. To my grandma, thank you for always caring so much. I extend a very special thanks to Brandon Gainer—for every phone call, every week, every month, of every year. Brandon, thank you for listening to me about any and every thing. You are a true friend. And last, but certainly not least, thank you to my previous advisors, Dr. Deanna Fassett and the late Dr. John Warren—you are both such special people to me. iii iii TABLE OF CONTENTS CHAPTER PAGE ABSTRACT……………………………………………………………………………………… i DEDICATION…………………………………………………………………………………… ii ACKNOWLEDGMENTS………………………………………………………………………. iii CHAPTERS CHAPTER 1 – Textile Graffiti: A Dramatization and Reconfiguration of Women’s Domestic and Textile Craft………………………………………………………………. 1 CHAPTER 2 – Feminist and Street Graffiti Artists: Textile Graffiti’s Performative Predecessors…………………………………………………………………………….. 35 CHAPTER 3 – Textile Graffiti Artists As a Counterpublic of Caregivers...…………… 72 CHAPTER 4 – A Case Study of Textile Graffiti: Knit the Bridge as Enactment of Feminist Pedagogy ……………………………………………………………………………… 116 CHAPTER 5 – Textile Graffiti and Public/Private Dichotomies: An Enduring Social Drama………………………………………………………………………………….. 146 REFERENCES………………………………………………………………………………... 170 APPENDICES Appendix A – Image Consent and Approval Correspondence ……………………….. 199 VITA ………………………………………………………………………………………… 209 iv iv 1 CHAPTER 1 TEXTILE GRAFFITI: A DRAMATIZATION AND RECONFIGURATION OF WOMEN’S DOMESTIC AND TEXTILE CRAFT In the summer of 2010, I took a day trip to San Francisco with a girlfriend. At that time, we both lived about forty-five minutes away in the larger city of San Jose. Best known as the capital city of northern California’s “Silicon Valley,” San Jose is home to a concentrated sector of high-tech corporate bases like Google, Hitachi, eBay, and Apple. Preferring San Francisco’s Summer of Love hippie legacy over San Jose’s sleek and impersonal feel, my friend and I made these day trips often, and frequently exchanged fantasy narratives about moving there together one day. This particular summer day, however, was a special one—serving as more than our usual escape from the technorational ethos of our hometown, it was also a leave-taking and a celebration of my upcoming move to attend graduate school in Southern Illinois. To honor the event, we had planned on our usual course of thrifting in the historic Haight-Ashbury district, followed by a special picnic lunch in Duboce Park. After parking atop a cement hill, we traversed down it toward the main street. Suddenly, my friend stopped me, pointing enthusiastically at the lamppost ahead us. Circumscribing the post was a roughly two-foot length of periwinkle fabrics, separated into contrasting panels of varied knitted weaves. With a top layer of lattice-pattered yarn and a bottom layer of rouched lavender tulle, the textile’s middle panels were woven in opposite directions, and whimsically adorned with multicolor wooly poms. My friend and I circled the light post, “oohing” and “aahing” at the installation from all angles, even snapping a few souvenir photos with our phones. Back in San Jose that evening, I showed the images to my mother and text messaged them to my two older sisters. “How cute!” they each said, along with, “That’s neat!” Years later, 1 2 I still store the photos in my phone, looking at them from time to time, to re-experience the magic of that summer San Francisco day. I can still recall the deep longing I had felt to reach out and touch this knitted work; I still wonder who had put it there, and where the impulse to do such a thing had come from in the first place; still, I think about how long the installation took to make, and how long it stayed there, and still the memory makes me smile. Figure 1.1: First yarnbomb viewed by the author. San Francisco. Photo: Diana Woodhouse. What is Yarnbombing? A few months after moving to Southern Illinois and browsing through various online social network photo streams, I would learn that fabric installations like the one I had encountered in San Francisco had been popping up in major cities all over America and Europe. Referred to as yarnbombing, the practice was a form of street art that has been advancing steadily over the past few years. Also called yarnstorming, textile graffiti, and guerilla knitting, 2 3 yarnbombing is generally—but certainly not exclusively—practiced by collectives of women and involves “the act of attaching a handmade [textile] item to a street fixture, or leaving it in the landscape” (Moore and Prain 17-8). Led by Magda Sayeg of Houston, Texas, yarnbombing began in 2005 after Sayeg and her girlfriends covered a stop sign with a knit cozy and subsequently formed the art collective known as Knitta—a “street crew” that covers outdoor public spaces with knit, crochet, and embroidered installations. Yarnbombs, or “tags” as they are so
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