SFPL TO GO: The Library is opening two locations for Front Door Service: Excelsior Branch (opens Aug. 11) and the Main Library (opens Aug. 10). During our phased re-opening, patrons can only reserve items owned by those two locations. We will be opening more locations in September 2020 and will expand the number of branches that will be accepting reserves at the same time. 圖書館開放兩個館前提取服務地點：Main 總圖書館 (8月10日開放) 和 Excelsior 分館 (8月11日開放)。在分段重新開放期間，用戶只可從這兩個地點的館藏中預留，所有其他分館仍然暫停開放。我們將在9月開放更多分館。La Biblioteca está abierta para servicio limitado desde la puerta en la Biblioteca Central (empezando el 10 de agosto) y en la sucursal Excelsior (empezando el 11 de agosto). Durante nuestra reapertura por fases, los usuarios solo pueden reservar material que se encuentra en esos dos puntos. Todos los otros puntos de la biblioteca siguen cerrados. Estaremos abriendo de nuevo más puntos de la biblioteca en septiembre de 2020.
In 1974, women in a feminist consciousness-raising group in Eugene, Oregon, formed a mock organization called the Ladies Sewing Circle and Terrorist Society. Emblazoning its logo onto t-shirts, the group wryly envisioned female collective textile making as a practice that could upend conventions, threaten state structures, and wreak political havoc. Elaborating on this example as a prehistory to the more recent phenomenon of "craftivism"--the politics and social practices associated with handmaking--Fray explores textiles and their role at the forefront of debates about process, materiality, gender, and race in times of economic upheaval. Closely examining how amateurs and fine artists in the United States and Chile turned to sewing, braiding, knotting, and quilting amid the rise of global manufacturing, Julia Bryan-Wilson argues that textiles unravel the high/low divide and urges us to think flexibly about what the politics of textiles might be. Her case studies from the 1970s through the 1990s--including the improvised costumes of the theater troupe the Cockettes, the braided rag rugs of US artist Harmony Hammond, the thread-based sculptures of Chilean artist Cecilia Vicuña, the small hand-sewn tapestries depicting Pinochet's torture, and the NAMES Project AIDS Memorial Quilt--are often taken as evidence of the inherently progressive nature of handcrafted textiles. Fray, however, shows that such methods are recruited to often ambivalent ends, leaving textiles very much "in the fray" of debates about feminized labor, protest cultures, and queer identities; the malleability of cloth and fiber means that textiles can be activated, or stretched, in many ideological directions. The first contemporary art history book to discuss both fine art and amateur registers of handmaking at such an expansive scale, Fray unveils crucial insights into how textiles inhabit the broad space between artistic and political poles--high and low, untrained and highly skilled, conformist and disobedient, craft and art. -- !c From book jacket.